By Dee Dee McNeil
December 1, 2025
BIRDLAND BIG BAND – “STORYBOOK, THE MUSIC OF MARK MILLER” – Birdland Records
The Birdland Big Band is a sixteen-piece jazz orchestra, inspired by the traditional, popular bands of yesteryear like Count Basie and Thad Jones. The only difference is that Musical Director David DeJesus is pushing the music into a more modern, contemporary territory. This popular ensemble is a mainstay every Friday night at the world-famous Birdland Jazz Club in the heart of Manhattan, New York. Their music embraces a broad spectrum of jazz, pulling from the years of the 1950s through the 1960s. This album features original music by Mark Miller, with all the arrangements also by him.
You might ask, “Who is Mark Miller?” He is a versatile trombonist, composer and arranger who has a passion for big bands and Latin jazz. His career began in the Midwestern United States. He cut his musical teeth in Wisconsin and Minnesota, as part of a composer collective jazz sextet called “Motion Poets,” Miller recorded three albums. In 1995, they cut “Truth & Consequence.” In 1997, the ensemble released “Standard of Living.” In 2000, they won “Best Jazz Recording” from the Minnesota Music Academy for their album “Lose Your Mind & Come to Your Senses.”
Shortly after that successful run with the ‘Motion Poets’ Mark Miller relocated to New York City. Arriving in the City that never sleeps, he dove into the energy where his hopes were high for success in the music business. In NYC he found his niche with Latin bands. That endeared him to Nuyorican salsa, a type of salsa that developed from NYC’s rich Puerto Rican community.
To pay the rent, his trombone talents and chart reading abilities led him to work in Broadway shows. In 2002, he hit the tour road, playing on back-to-back tours with Billy Joel and Twyla Tharp’s rock ballet “Movin’ Out.” He was also a featured soloist in the Broadway show, “Come Fly Away,” playing the music of Frank Sinatra. That show ran for six-months, then took off on a USA tour.
Even touring, Miller found time to record. With his Minneapolis quartet, they pressed up “The Return of Slide Huxtable.”
The opening Miller composition on this album is melodic. Titled “Storybook.” Brandon Lee is featured on trumpet. The arrangement unfolds like chapters of a book, with Nathan Childers soloing after Lee, making his alto saxophone speak to us in warm tonal sentences.
When I saw that one of his special guests was Nicole Zuraitis, I knew I was in for a treat. She is a gifted vocalist and interpreter of songs. Miller features her on the Sarah Vaughan popular hit, “Tenderly.” Ms. Zuraitis does it her way and it’s lovely. Sam Dillon’s tenor sax solo is exquisite. The complexion of this arrangement changes when the trumpet of Raul Agraz ramps it up a notch.
One of my favorite arrangements and compositions was written by Mark Miller himself. It’s the
Straight-ahead production of “Chorale and Alleluia.” Troy Roberts is ‘off the chain’ with his improvised solo on tenor saxophone. Bassist Nariko Ueda is strong beneath the creative piano solo of Kenny Ascher. Miller honors both John Coltrane (writing a rubato intro with a modal groove established) and a nod to McCoy Tyner’s harmonic language in this arrangement. I also enjoyed the spirited drum solo by Chris Smith on Miller’s tune, “WTF.”
All in all, this is sixty-seven-minutes of excellence that celebrates the timeless beauty of the Birdland Big Band and the creative arrangements of Mark Miller.
THE BIRDLAND BIG BAND musicians are: Musical Director: David DeJesus, alto saxophone/flute; Mark Miller, arranger/composer/trombone; Nicole Zuraitis, vocals; Chris Smith, drums; Noriko Ueda, bass; Kenny Ascher & Adam Birnbaum, piano; Jason Marshall, baritone saxophone; Nathan Childers, alto saxes; Troy Roberts & Sam Dillon, tenor saxes; Raul Agraz, John Walsh, Brandon Lee, Glenn Drewes & Max Darché, trumpets; James Burton III, Ron Wilkins, & Sara Jacovino, trombones; James Borowski, bass trombone.
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CINCINNATI CONTEMPORARY JAZZ ORCHESTRA – “THE NUTCRACKER REMIX” – www.cincinnatijazz.org
Eric Lechliter, Musical Conductor; Mandy Gaines, vocalist; Jim Leslie, drums; Aaron Jacobs, bass; Matt Harris, piano; Brad Myers, guitar; TRUMPETS: Matthew Anklan, John Zappa, Ralph DiSylvestro, & Kim Pensyl; TROMBONES: Zachary Granger, Marc Fields, & Brian Stevens; Josh Omaits, bass trombone. REEDS: Jeremy Long, Jamie Walkenhauer, Garin Webb, Dwayne Irvin & Phil Hilger.
Founded in 2013, The Cincinnati Contemporary Jazz Orchestra (a product of University of Cincinnati College Conservatory of Music) is one of the Midwest’s most prominent jazz bands. They showcase music of contemporary composers.
It was CCJO Band director, Rob Parton, who came up with the bright idea of The Nutcracker Remix. He is currently the Associate Professor of Jazz Trumpet at the University of North Texas. Professor Parton was inspired by the Ellington and Billy Strayhorn arrangements on Duke’s classic 1960 album, “The Nutcracker Suite.” Parton wanted to do something similar with 21st Century contemporary jazz as the vehicle. What better time to release such an album than around the holiday season when Tchaikovsky’s classic Nutcracker Suite is always so popular.
Throughout, you will hear both samba grooves and hip-hop influences. “Overture” features shifting arrangements, beginning with the walking bass of Aaron Jacobs that introduces a warm, harmonic horn exclamation. He is followed by Jim Leslie slapping his drums in our face with attention-getting-power. The tempos change in a breath, with synthesizer injections, including a digitally filtered trombone solo by Zachary Granger. There is electronic surprise in this arrangement.
Track #2 is oh so familiar, called the “Pistachio March.” Those of us familiar with Tchikovsky’s music quickly recognize this tune as the background soundtrack for Disney’s animated film, “Fantasia.” But it’s Track #3 that finally hits a jazz chord with me. It’s called “Sugar Rush” and features a powerhouse punch from drummer Jim Leslie, as well as including ‘the blues’ deeply rooted into this arrangement.
“Everybody Digs Flowers” is a pretty jazz waltz that also swings in a big band jazzy way. “Russian Dance” is renamed “Caipiroska” and gives guitarist Brad Myers an opportunity to step briefly into the spotlight. His muted trumpet shines. “Camel Capery” is the new name for “Arabian Dance” with drummer Jim Leslie using mallets to softly caress the rhythms from his trap drums.
Vocalist Mandy Gaines is featured on three Christmas carols including, “Christmas Time is Here”, “Merry Christmas Baby” and “Christmas This Year.”
“The Nutcracker Remix” by the CCJO (Cincinnati Contemporary Jazz orchestra) makes a lovely stocking stuffer for this holiday season.
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PAUL MARINARO – “MOOD ELLINGTON” – Origin Records
THE PAUL MARINARO BAND: Paul Marinaro, vocals; Tom Vaitsas, piano; Mike Allemana, guitar; John Tate, bass; Neil Hemphill, drums; Rich Moore, alto saxophone/clarinet/flute; John Wojciechowski, tenor & soprano saxophones/flute; Ted Hogarth, baritone saxophone/bass clarinet; Eric Jacobson, trumpet/flugelhorn; Raphael Crawford, trombone. VIOLINS: Lisa Fako (concert master); Eleanor Bartsch, Stephen Boe, Chuck Bontrager, Christina Buciu, Kathleen Carter, Karl Davies, Wendy Evans, Elizabeth Huffman, Carmen Kassinger, Kathryn Siegel & Jeff Yang. THE ARRANGERS: Mike Allemana, Alan Broadbent, John Clayton, Ryan Cohen, Bill Cunliffe, Carey Deadman, Mike Downes, Jim Gailoreto, Tom Garling, Chuck Israels, John Kornegay, Tom Matta & Chuck Owen.
One of Chicago’s premiere jazz vocalists, Paul Marinaro, released his debut album in 2013 called “Without A Song.” He followed up with “One Night in Chicago” in 2015. Then, two more releases in 2022 and 2023. His popularity spread across Illinois state like wildfire, soon crossing midwestern borders and becoming known to the country as perhaps one of a handful of respected male jazz singers who are active around the country.
On this double-set, fifth album release, he celebrates Duke Ellington’s music and legacy. Paul Marinaro offers a huge collection of both Strayhorn and Ellington’s historic compositions. the first nine songs celebrate the theme of ‘love and beauty.’ The next set of songs is more introspective, with the third set full of big band bluster. Here are familiar Ellington recordings we know and love.
Marinaro has a rich baritone voice. He knows how to pump it up with emotional integrity and believability. Paul Marinaro can sell the lyrics. When he sings and swings, “I love you, love you madly,” I believe him.
This album features 25 songs and thirteen arrangers, including Los Angeles based and New Zealand native Alan Broadbent. He’s a two-time Grammy-winner who arranged two of the four Billy Strayhorn compositions. Another Grammy winning bassist and arranger, John Clayton arranged two of Marinaro’s songs. “Azure” is a ballad and “I’m Just a Lucky So and So” shuffles and swings its way across my listening room.
Set two opens with the familiar Ellington standard, “Mood Indigo” arranged by saxophonist, Jim Gailloreto. I was puzzled by the arrangement on “In My Solitude” that was reharmonized by five-time Grammy nominee, Chuck Owen. I just didn’t understand the harmonies that buried such a beautiful Ellington melody.
The orchestra is made up of an A-list of Chicago musicians, including the sensitive accompaniment of pianist Tom Vaitsas who’s joined in the rhythm section by John Tate on bass, Mike Allemana on guitar and drummer, Neil Hemphill.
The horn lines on “All Too Soon” are beautifully executed and Paul Marinaro’s voice reminds me a little of Nat King Cole on this tune.
This is a wonderful concert to entertain you in your own personal space. Paul Marinaro’s emotional delivery and velvet smooth vocals are both pleasing and captivating. He reminds us of the legendary Duke Ellington legacy. Ellington was both a trendsetter and composer.
This vocalist also reminds us of a jazz heyday, when front-line, male lead vocalists and big bands ruled! He reminds me of the Joe Williams, Billy Ecstine, Frank Sinatra, Tony Bennett and Arthur Prysock era. Paul Marinaro’s music also petitions the importance and power of the first instrument on earth, the voice.
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JOSIE FALBO – “KICKIN’ IT” – Independent Label
Josie Falbo, vocals; Jeremy Kahn, Marshall Vente, Steve Million & Chris Sargent, piano; Eric Hochberg, bass; Lawrence Kohut, bass & elec. bass; Scott Mason, elec. bass; Tom Hipskind & Bob Rummage, drums; Fareed Haque, Paul Mutzabaugh & Kraig McCreary, guitar; Bobby Everson, Luiz Ewerling, Geraldo de Olivera & Rich Trelease, percussion; Julie Spring, harp; Rich Trelease vibraphone. TRUMPETS: Carey Deadman (producer), Rob Parton, Dave Katz, Mark Olen, Kirk Garrison, Chad McCullough; TROMBONE: Dan Johnson (lead), Steve Duncan, Tim Coffman, Andy Baker & Tom Matta (bass trombone); John Blane, tuba; SAXOPHONES & WOODWINDS: Ken Partyka (lead alto), Dan Nicholson, alto; John Wojciechowski, Steve Eisen, Geoff Bradfield & Scott Burns, tenor; Ted Hogarth & Linda Van Dyke, baritone. Jim Gailloreto, flutes/clarinet/soprano & alto saxophone; F HORNS: Sharon Jones (principal), Mary Jo Neher, Phil Stanley, Matthew Oliphant. CRYSTALL STRING SECTION: Shawn Stengel, conductor; Michèle Lekas, concertmaster. VIOLINS: Sam Battista, Hermine Gagneé, Renée-Paule Gauthier,Vladmir Gebe, Yuriy Geyer, Lauren Lai, Jesus Linarez, Kjersti Nostbakken, Eric Pidluski, Janis Sakai, Emi Tanabe, & Azusa Tashiro. VIOLAS: Rebecca Swan (principal); Bethany Pereboom, Benton Wedge, jay Pkike, Susan Price. CELLO: Mark Lekas (principal), Kerena Fox. Arrangers: Carey Deadman, Marshall Vente & Chris Sargent.
Vocalist, Josie Falbo seemed to know, even as a child, that she was destined to become a singer and recording artist. Her parents swear that she started singing at 19 months old. Today, her songs are vocalized in both Italian and English. During high school and college, she started winning scholarships, performing solo at the Lyric Opera House and showing style and potential in both classical and pop music. Years later, she is one of Chicago’s busiest singers, working with orchestras and smaller ensembles, at clubs and concerts. Finally, this beautiful bird nested comfortably into jazz.
Josie’s musical career spans nearly fifty years, but she never felt the need to be a huge celebrity artist. Instead, she was a working singer, doing what she loved and loving what she did. Her recent album, “Kickin’ It” is Josie Falbo’s third recording as a band leader.
“I never really needed to be a big star. I was working with excellent composers, singers, and musicians. I loved what I was doing. I was perfectly happy singing jingles. I didn’t have to travel and could spend time with my family,” Falbo explains in her press package.
The jazz singer opens this album with a swinging big band rendition of “I Get a Kick Out of You.” She and the big band swing hard, energetically, and non-stop. Josie makes the old standard her own. She also introduces us to her scat singing. But it’s the second song that completely usurps my attention. It’s the ballad called “Autumn Nocturne.” Josie introduces me to her warmth and velvet smooth tone. She handles the dips and intervals in this melody fluidly, without sliding to the notes. It’s really quite impressive to hear a taste of Ella Fitzgerlad’s style added for good measure. Also, the piano solo of Chris Sargent is stellar against the orchestra’s background beauty.
On “Flor de Lis” she sings the song once in Italian, featuring the guitar of Fareed Haque, then returns to sing the lyric in English. Her lovely, soulful arrangement of “Love Dance” reduces the players to a small ensemble. Falbo’s voice soars! Jeremy Kahn offers a breathtaking solo on piano.
This is an album that features several different recording sessions and musicians, but the high quality of the performances is never diminished.
Here is a vocalist that sings with so much emotion it is palatable. Her tasty little runs and delicious choices of repertoire fill me up. Additionally, she is an amazing scat singer. This is an album I will enjoy playing over and over again.
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THE FLYING HORSE BIG BAND MEETS GEORGE GARZONE – “UNBRIDLED” – Flying Horse Records
BAND PERSONNEL: RHYTHM SECTION: Daniel Tenbusch & Richard Drexler, piano; Noah Charles, guitar; Carlos Barreto, bass; Jamesly Jean-Mary, drums; Max Terechenok & Clarence Penn, drums; SAXOPHONES: George Garzone, lead tenor; Paul Van Wormer, lead alto, tenor/clarinet; Leon Edge, alto/clarinet; Edmund “Quint” Johnson V, Lead tenor/flute; Fortunato Occhino, tenor/clarinet; Colin Urbina, baritone/bass clarinet; Jeff Rupert, tenor/composer; TRUMPET: Alex Kastner, Joshua Mercado, Robert Schmidt, & Phebe Rich; TROMBONE: Daniel Parrish, Samuel Dufresne, Gabe Funk, & Benjamin Fuller.
Here is the 9th album release by an energized aggregation who call themselves, The Flying Horse Big Band. Composer, Jeff Rupert is the band director. He also is Director of Jazz Studies at the University of Central Florida. Rupert has written “Pharoah’s Daughter” (arranged by Michael Philip Mossman) that moves from a horn introduction, sounding like something played while the gates of the king’s palace are opening. Suddenly, the crash of Max Terechenok’s drums grabs my attention, followed by the rhythm section that establishes a groove. The tempo and mood of the song changes in support of a very lovely melody, with saxophone solos beautifully presented to captivate this listener.
George Garzone is an outstanding soloist on both this song and the opening Coltrane jazz standard, “Giant Steps.” We are off to a running start! Garzone is founder of the Boston-based trio, The Fringe, who boast to be the longest running jazz group in history. Garzone brings swinging avant-garde flair to the Flying Horse Big Band.
“Chasin’ Tail” sounds like a ‘boys’ national anthem. It races on the scene at a super-fast pace with Edmund “Quint” Johnson’s tenor saxophone improvising wildly. This arrangement also features the saxophone of Paul Van Wormer. The powerhouse drums of Jamesly Jean-Mary are notable and impressive.
The Flying Horse Big Band settles into a beautiful ballad rendition of the Lalo Schifrin composition, “Reflections.” Pianist Daniel Tenbusch shines on a popular Coltrane tune called “Impressions” that Slide Hampton arranged. George Garzone takes an amazing solo on this closing tune, like the exclamation mark at the end of a sentence.
The Flying Horse Big Band is on fire! The addition of George Garzone lifts the entire presentation ten notches.
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LOREN SCHOENBERG AND HIS JAZZ ORCHESTRA featuring KATE KORUM & WARREN WOLF – “SO MANY MEMORIES” – Turtle Bay Records
Loren Schoenberg, piano/conductor; Kate Kortum, vocals; Warren Wolf, Xylophone; James Zito, guitar; John Murray, bass; Matt Lee, drums; TRUMPETS: Summer Camargo, Anthony Hervey; TROMBONES: Andre Perlman & Nick Mesler; WOODWINDS: Julian Lee, Daniel Cohen & Adam Stein, saxophone/clarinet; Langston Hughes II, saxophone.
This album time travels us back to the 1930s with a 16-track collection of previously unheard arrangements by Eddie Sauter. He was the man who created popular arrangements for vibraphonist Red Norvo and his wife, singer Mildred Bailey. They were celebrated as “Mr and Mrs. Swing” during their heyday.
Loren Schoenberg’s Jazz Orchestra is made up of a 15-piece ensemble of Julliard-affiliated musicians, both students and alumni, with Schoenberg at the helm. Having played piano early in his career, with some of the members of big band history, Schoenberg established his own band in 1980. That ensemble morphed into the last Benny Goodman Orchestra in 1985.
Schoenberg has chosen vocalist Kate Korum and vibraphone master, Warren Wolf to be the featured artists on this project aptly titled, “So Many memories.” They open this album with a Duke Ellington tune with lyrics by Irving Mills called, “Azure.” It’s a moderate tempo ballad that immediately winds us back to 1937. In fact, that’s when it was first released. Today, it is a classic in the big band genre. I would have enjoyed hearing the lyrics, but the vocalist sat out on this one.
However, Kate is up front and swinging on “Nice Work if You Can Get It.” Her voice is perfect for this project, reminding us of Mildren Bailey and that vein of jazz singer from the thirties.
Loren Schoenberg is a multi-instrumentalist, a Juilliard professor, as well as a two-time Grammy winning jazz scholar. As a historian, who was the former executive director of the National Jazz Museum in Harlem, Schoenberg’s work has been crucial in preserving and promoting jazz history. His emphasis has been on the big band jazz era.
Recorded in the Julliard band rehearsal room, his repertoire continues with “You Go to My Head.” This was a song I used to love to hear Dinah Washington sing. It’s followed by “I Know that You Know,” an up-tempo arrangement that warmly features Warren Wolf flying across the vibraphone with energetic mallets. This tune was a popular hit record for Doris Day, Glenn Miller, and two legendary jazz pianists, Erroll Garner and Oscar Peterson. It features spectacular trombone solos by Andre Perlman and Nick Mesler. Each plays their solo, then they trade fours with drummer Matt Lee.
Here is music that winds the clock back to a time and place many of us have never experienced, except in old classic films or in our great grandparents’s album collection. It’s a lovely way to keep an era alive.
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RIN SEO COLLECTIVE – “CITY SUITE” – Cellar Records
Rin Seo, conductor/composer; Adam Birnbaum, piano; Matt Clohesy, double bass; Jared Schonig, drums/percussion; Sebastian Noelle, guitar; Steve Wilson, piccolo/flute/alto & soprano saxophone; Ethan Helm, soprano & alto saxophone; Dan Pratt, flute/clarinet/tenor saxophone; Andrew Gutauskas, clarinet/bass clarinet/baritone saxophone; John Lake & Ingrid Jenson, trumpet; Adam Unsworth, horn; Nick Grinder, trombone; VIOLINS: Joyce Hammann, Sita Chay & Orlando Wells; Jody Redhage Ferber, cello.
The “City Suite” album opens with “City Suite: 1 – The Big Apple” as their premiere song. Rin Seo is the composer of every composition on this wonderful project, merging jazz with orchestral textures, conducted also by the composer and featuring a collective of fourteen players.
Double bassist, Matt Clohesy, is out front and powerful on the introduction, establishing both tempo and groove. He is joined by Adam Birnbaum’s wonderful piano improvisation that is stunningly beautiful. When the strings enter, I am totally blown away. They are as refreshing and surprising as a cold wind on a hot summer day.
“City Suite is a three-movements suite that reflects my impressions of New York City, where I chose to pursue my dreams. The first movement, The Big Apple, portrays a city that is vibrant, dynamic, fast-paced, and full of ambition. Cityscape, the second movement, captures the dazzling beauty of the city’s night skyline, while evoking feelings of isolation and nostalgia stirred by the rhythms of urban life. … The 3rd movement emerged during a solitary walk. It encapsulates the challenging and often lonely path of chasing a dream in such a massive city,” Rin Seo explains.
This Korean pianist, composer, and conductor has taken on a huge musical palate to paint her debut recording on the face of the world. It is bright with color and charisma. Her compositions are spectacular, with rich melodies and arrangements that paint pictures of her song titles. “Lullaby” is representative of the heartbreaking experience of losing a loved one, her cousin Ben. “Desert Flower” is a tribute to a Somalian model and activist who spoke out against female genital mutilation. Waris Dirie is Rin Seo’s inspiration for this tune. Ingrid Jensen’s trumpet brings voice to the voiceless during this lovely tender ballad. The horn lines sweep like flocks of birds against a blue sky. The pianist plays chords that cushion the tones floating from the bell of Jensen’s sensuous horn. This quickly becomes a favorite tune of mine.
As a first endeavor, I am impressed with the composition skills Rin Seo exhibits. “Music for Dance No. 2” is an Afro-Cuban inspired song with vibrant energy. I love the baritone saxophone solo by Andrew Gutauskas.
“Blues A La Carte” is the only ‘cover’ on this album. It is written by the great Wayne Shorter and features four exceptional solos by Steve Wilson, John Lake, Adam Birnbaum and Nick Grinder. To close, Rin Seo has composed a song that mirrors both the excitement and relaxation of Riding a Bike.” I can see the pedals moving quickly, and I feel the circular motion strongly laced through this arrangement. Ingrid Jensen is featured on trumpet. The drums of Jaren Schonig keep everything evolving in unstoppable time and motion.
Rin Seo shares her imagination and creativity with us in mesmerizing ways. I look forward to hearing much more from this talented woman.
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SWINGING IN THE HOLIDAYS – Songbook Ink
Finally, in celebration of the holiday season, here is a musical anthology of jazzy artists who have reimagined some familiar holiday songs for our listening pleasure. Beginning with “Baby, It’s Cold Outside,” we are reminded of the tune, written by Frank Loesser and made famous in the jazz world by Betty Carter and Ray Charles. It is covered by Vanessa Perea, Rob Edwards and the Konrad Paszkudzki Trio. This song was actually part of a 1949 musical called “Neptune’s Daughter” that starred the actress and award-winning swimmer, Esther Williams.
This is followed by “Winter Wonderland,” a popular song written in 1934. Guy Lombardo made it a big hit back-in-the-day. Who? You might ask. Lombardo was a real crooner back in the forties. The piano soloist on this arrangement sounds a lot like Erroll Garner. The vocalist and pianist is the talented Champian Fulton, along with her trio.
Former contestant on The Voice television show, Wyatt Michael is the vocalist on “Button Up Your Overcoat.” He sounds amazingly like the late great Frank Sinatra. In fact, he has released an album in the past called “Renaissance” to introduce his velvet smooth voice to the world.
You will enjoy the soprano vocals of Olivia Chindamo on a tune called “Snow.” She swings it along with the Konrad Paszkudzki Trio. Konrad’s piano excellence lets his fingers tinkle the soprano piano notes, reminding me of falling snowflakes. She also sings “Santa Claus is Coming to Town.”
There are plenty more holiday tunes on this album that will lighten your mood or turn you nostalgic. Tunes like “Santa Baby” (sung by Champian), “Jingle Bells,” “Silver Bells,” “White Christmas” (whose arrangement includes the Norwegian Jazz Orchestra ‘strings’) and of course “The Christmas Song” all put me in a holiday mood. There are Sixteen holiday songs in all. Each one features delightful arrangements and a variety of warm, palatable vocals by a group of male and female jazz singers. It’s perfect music to play at holiday get-togethers and Christmas dinners.
“SWINGING IN THE HOLIDAYS” BAND: Konrad Paszkudzki & Philip Granly, piano; Dylan Shamat, Hakon Bjorge & David Williams, bass; Alex Raderman, Kevin Congelton, Dag Markhus & Fukushi Tainaka, drums; Felix Peikli, clarinet; Stephen Fulton, trombone; Ken Peplowski, tenor saxophone/clarinet. Norwegian Jazz Orchestra (strings). LEAD VOCALS: Vanessa Perea, Rob Edwards, Champian Fulton, Wyatt Michael, Olivia Chindamo, Anais Reno, Benny Benack, Angela Grey & Felix Peikli.
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