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A következő címkéjű bejegyzések mutatása: Charles Lloyd. Összes bejegyzés megjelenítése
A következő címkéjű bejegyzések mutatása: Charles Lloyd. Összes bejegyzés megjelenítése

2021. július 17., szombat

07-17-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 1994-2004 (3h 47m)

Flora Purim & Airto Moreira

07-17-2021 JAZZ.MiX # 33 jazz tracks on the the JAZZ_line 1994-2004 (3h 47m)# Flora Purim, Dave Holland Quartet, Jimmy Smith, Derek Bailey, Marcus Miller, David S. Ware,Charles Lloyd, Grażyna Auguścik, Attila Laszlo Band, Jaco Pastorius Big Band, Dave Douglas


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1994-2004



Brazilian singer and a founding member of Return to Forever. Her trademark is an adventurous improvisational fusion of Brazilian and American jazz.
Radio Experienca (Radio Experience) 4:47
Finale 3:54
from The Flight 1994
Influenced by both traditional Brazilian singers and the improvisations of American jazz divas like Ella Fitzgerald and Sarah Vaughan, Flora Purim was one of the most adventurous singers of the 1970s. After meeting and marrying her husband, percussionist Airto Moreira, in their native Brazil, Purim moved with him to the U.S. in the late '60s. Though she worked with Stan Getz and pianist Duke Pearson before the decade ended, it wasn't until joining Chick Corea, Joe Farrell, Stanley Clarke, and Moreira in the original Return to Forever in 1972 that she became well known in the States.


An acclaimed, ever-evolving jazz bassist, Dave Holland is a gifted improvisor and composer whose work has touched on acoustic post-bop, avant-garde jazz, and fusion.
Dave Holland Quartet
The Winding Way (Dave Holland) 11:57
Claressence (Dave Holland) 7:28
Dream of the Elders(Dave Holland) 11:07
Stylewise, the music on this CD sounds much closer to a mid-'60s Blue Note release than what one might expect from ECM. Although the general sound of the ensembles is light, the music is often filled with inner heat, a little reminiscent of a Wayne Shorter record. Altoist Eric Person and vibraphonist Steve Nelson work well together, bassist Dave Holland takes plenty of solo space, drummer Gene Jackson keeps the momentum flowing... Holland's originals have plenty of variety in moods while close attention is paid to dynamics. A satisfying and thought-provoking session.


A pioneer of soul-jazz who revolutionized the Hammond organ, turning it into one of the most incisive, dynamic jazz instruments of its time.
Stolen Moments (Oliver Nelson) 7:00
Angel Eyes (Earl Brent / Matt Dennis) 8:10
Slow Freight (Lupin Fein / Irving Mills / Buck Ram) 5:52
froim Angel Eyes 1996
A follow-up to the mostly heated performances of Damn!, this CD features organist Jimmy Smith sticking to ballads and slower material. There is a sextet rendition of "Stolen Moments" (with both Roy Hargrove and Nicholas Payton on trumpets); duets with both trumpeters, bassist Christian McBride, and guitarist Mark Whitfield; a trio; a quartet...

2021. március 20., szombat

"Nothing Sacred" #121 ALTER.NATION.MiX - weekly favtraX 20-03-2021 (13trx 1h 4m)

 ALTER.NATION #121 (13trx 1h 4m)



Allie Crow Buckley, Valerie June,Lake Street Dive, Mike Dillon, Charles Lloyd & the Marvels, Throttle Elevator Music, Nubiyan Twist, Blake Mills, Pino Palladino, Cory Hanson, The Sunburned Hand of the Man, Cool Ghouls
weekly favtraX 
2 0 - 0 3 - 2 0 2 1

"Nothing Sacred"

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California singer/songwriter with brooding, hypnotic adult alternative songs. West Coast singer/songwriter Allie Crow Buckley draws on influences ranging from '70s Laurel Canyon to dream pop and even classic metal for her brooding, hypnotic adult alternative songs. She also counts poets like Robert Graves and William Blake among her biggest inspirations.
...Produced by Buckley and returning producers Jason Boesel (Rilo Kiley) and Mike Viola (Candy Butchers), her full-length debut, Moonlit and Devious, features a song she co-wrote with Sharon Van Etten ("God Medallion"). The track "Nothing Sacred" opens the album with a bit of swagger and a gaping interval between rumbling synth bass and drums and Buckley's voice, as she employs mythological metaphors to explore the notion of destiny regarding a night out drinking and dancing ("Is this all part of some plan?/Living out some prophecy lifetimes in the making?")...

Critically-acclaimed Memphis-based Americana singer, songwiter, and multi-instrumentalist. Blending folk, soul, blues, and traditional Appalachian elements into a refreshingly timeless sound that sits outside any particular musical era, Valerie June is a critically acclaimed singer, songwriter, and multi-instrumentalist who began her career in Memphis, Tennessee.
...Based in Brooklyn but hailing from Memphis, June's music rose out of a tapestry of American roots traditions that she has since elevated and, in the case of 2021's The Moon and Stars: Prescriptions for Dreamers, transcended. Ambling with guitar in hand down creative paths less taken, she and co-producer Jack Splash (Kendrick Lamar, Alicia Keys) have captured a rare gem of heartfelt expression and sweet liminality. Like a modern-day Astral Weeks, The Moon and Stars filters the familiar and organic through a celestial veil with June serving as medium between the spiritual and corporeal worlds...


A rootsy, Boston neo-soul outfit with eclectic jazz, funk, and folk influences. Known for their playful, cross-pollinated blend of neo-soul and pop/rock, Lake Street Dive have built a loyal fan base, weaving elements of jazz, folk, and funk into their sound. Showcasing vocalist Rachael Price, Lake Street Dive emerged from Boston's New England Conservatory in the mid-2000s and drew early praise for their exuberant live shows and inventive original songs
Lake Street Dive - Obviously / Hush Money
Having started out as a genre-bending indie outfit, Boston's Lake Street Dive have matured into sophisticated purveyors of vintage-inspired soul, funk, and adult contemporary pop. It's a sound that helped make 2018's Free Yourself Up such a delightful surprise, and one which they further perfect on their seventh album, 2021's thoughtfully ebullient Obviously. Produced with warm clarity by Mike Elizondo, the album again showcases the talents of lead singer Rachael Price, bassist Bridget Kearney, guitarist Mike "McDuck" Olson, and drummer Mike Calabrese. Also rejoining the group (having initially come aboard in 2017) is their not-so-secret weapon keyboardist/vocalist Akie Bermiss, whose jazzy piano chops and warm vocals help elevate the group's sound throughout...


The vibraphonist, drummer, and percussionist is an in-demand sideman as well as a bandleader in his own right. Vibraphonist, percussionist, and songwriter Mike Dillon is an eclectic, highly adventurous musician with a sound steeped in post-bop jazz, funk, and avant-garde rock. Drawing upon such wide-ranging influences as Harry Partch, Thelonious Monk, Tom Waits, and Frank Zappa, he has led and co-led numerous ensembles, including the Dead Kenny Gs, Garage a Trois, and Critters Buggin'.
Mike Dillon - Suitcase Man / Empty Bones / Tiny Pink Asses
Vibraphonist Mike Dillon's 2020 album Suitcase Man is a highly personal nine-song cycle in which he ruminates on his life and his over-30-year-long career... on Suitcase Man he takes a more minimalist approach, framing his gravelly vocals with spare vibraphone and percussion arrangements. Also contributing is Givers singer Tif Lamson, who lends gentle harmony and background vocals. There's a textural quality to many of Dillon's songs, with his rough, throaty, and hushed vocals working in bold contrast to the woody, soft-focus tones of his vibraphone... There's a textural quality to many of Dillon's songs, with his rough, throaty, and hushed vocals working in bold contrast to the woody, soft-focus tones of his vibraphone. It's a sound that evokes a vivid combination of the classical music of Harry Partch and the punk singer/songwriter sound of Tom Waits... 


Saxophonist Charles Lloyd is a forward-thinking musician whose supreme improvisational talents and interest in cross-pollinating jazz with rock as well as non-Western styles of music, established him as one of the key figures in the development of fusion and world music. 
An eclectic ensemble centered around saxophonist Charles Lloyd and guitarist Bill Frisell, Charles Lloyd & the Marvels play an expansive brand of jazz that draws upon the members' love of modal post-bop, country, surf rock, and more. 
Tone Poem is the third album by saxophonist Charles Lloyd's Americana jazz quintet the Marvels -- guitarist Bill Frisell, pedal steel guitarist Greg Leisz, bassist Reuben Rogers, and drummer Eric Harland... At 82, Lloyd is a master of the form who knows what he wants from his sidemen and how to get it... Lloyd and company render it with breezy elegance, poignant emotion, and deep respect... Both Gábor Szabó's "Lady Gabor" and Lloyd's "Prayer" date to the early 1960s when the guitarist and saxophonist were with Chico Hamilton's group. On the former, dancing drums and bass meet spiky flute jabs that feed Frisell's biting garagey psychedelia...


Uncompromising punk-jazz ensemble fronted by the inimitable tenor saxophonist Kamasi Washington. Throttle Elevator Music is a West Coast collective who birthed their own brand of ferocious punk-funk-inspired jazz with the release of their eponymously titled debut album in 2012. A mix of expansionary workouts and tight, raucous punk cuts, the record highlighted leader Kamasi Washington's unique playing, coupled with Wide Hive founder, producer, and composer Gregory Howe's impassioned and relentless drive.
Throttle Elevator Music - Final Floor / Ice Windows / Rooftop Sunrise
Throttle Elevator Music was never a conventional band. From 2011 to 2017 they existed as a studio cooperative assembled by Wide Hive Records' founder, producer, engineer, and composer Gregory Howe (who is also a brilliant guitarist). The lineup included saxophonist Kamasi Washington, pianist/bassist Matt Montgomery, and guitarist/drummer Mike Hughes. Between 2012 and 2017 their core membership expanded to include trumpeter and flugelhornist Erik Jekabson, guitarist Ross Howe, saxophonist Kasey Knudsen, and organist/keyboardist Mike Blankenship... Because of his dogged restlessness, aesthetic vision, and capable ear, Howe is adament that Final Floor is not an inferior, kitchen sink collection of castoffs. Instead it's a set of inspired ideas that could easily have found a place on any of the group's releases carefully sequenced into an aesthetic whole...  "Ice Windows" is a bubbling dubwise rocker that weds funky guitars to bluesy, swaggering horns before exploding into a maelstrom of color, texture, and dynamic. .. Closer "Rooftop Sunrise" sounds like a lost film cue from a chase scene in Across 110th Street. It commences with a nearly stifling closeness before Jekabson's trumpet breaks out amid nasty-sounding surf guitars, pulsating keys, clattering snares, and grooving saxes...

Versatile English collective whose always danceable sound crisscrosses and combines jazz, funk, Afro-beat, dub, turntablism, and hip-hop. Nubiyan Twist are a Leeds-conceived, London-based, genre-fluid musical collective orchestrated by guitarist/producer Tom Excell. Their expansive, eclectic music is a seamless meld of soul, funk, jazz, hip-hop, reggae, Indian classical music, gnawa, soukous, and electronic dance music.
Nubiyan Twist - Freedom Fables / Morning Light feat. Ria Moran / Tittle Tattle
Freedom Fables is the third long-player by London-based world groove fusion outfit Nubiyan Twist... On Freedom Fables, the role of the vocalist is primary. The band's eight instrumentalists serve both songs and singers with a propulsive polyrhythmic approach and kaleidoscopic harmonic palette that encompasses a rainbow of tones, colors, and textures...  U.K. neo-soul chanteuse Ria Moran fronts Nubiyan Twist for the scene-setting "Morning Light." Atop a bumping, jazz-hop bass line, cooing horns, and drifting electronics, Moran's singing is silky smooth and deeply expressive. She invites the horns to embrace her sunny, optimistic lyric with resolve -- and they do... Tittle Tattle" features current frontwoman Cherise Adams-Burnett. She glides, sasses, exhorts, and warns as horns charge headlong at multi-layered organic and synthetic percussion and keyboards, while guitarist Tom Excell's spiky funk vamps propel the groove...


Blake Mills
is a guitarist, Grammy-winning producer, and recording artist. He is best known as a session musician and vocalist as well as a producer and remixer..
Pino Palladino is a Welsh-born bassist, composer, and producer of Italian ancestry. Since beginning his professional career in the 1980s, he has become one of the most prolific and sought-after session bassists in most genres...
Though just over half-an-hour in duration, Notes with Attachments, a curiously compelling set of instrumentals by bass ace Pino Palladino and producer, guitarist, multi-instrumentalist Blake Mills, took more than two-and-a-half years to complete. .. Notes with Attachments began life as Palladino's first solo album. He'd send Mills tracks based on ideas he'd was working on, hoping to involve him. Mills responded and Palladino sent more. Before long, Mills was adding production and instrumental touches to these mixes. It occurred to both men that a full collaboration made sense. They enlisted a small cast of friends including drummer Chris Dave, keyboardist Larry Goldings, saxophonists Sam Gendel, Marcus Strickland, and Jacques Schwartz-Bart, and violist/violinist Rob Moose.... Opener "Just Wrong" is a breezy little jam that grows right out of its frame. Mills plays sitar, nylon-string acoustic, and a Brazilian berimbau. These all create a bottom floor for Dave's syncopated kit drums as Moose's ethereal strings and Palladino's semi-acoustic bassline frame Gendel's wafting Poly Sax in a futurist take on bossa nova...


As part of Wand, with other bands, and on his solo work, Hanson pursues psychedelic music in all its forms... The singer/guitarist played an auxiliary role in numerous bands before settling into a more stable gig making rugged psychedelia with Wand. In addition to his full-time work with Wand and occasional toned-down duo work with Ty Segall, Hanson released solo albums like 2021's bucolic Pale Horse Rider.
Prolific and versatile, Los Angeles musician Cory Hanson's music has many faces. As the frontperson of Wand, Hanson and his bandmates churned out ragged and glorious psychedelic art rock, but his duo with like-minded polymath Ty Segall toned the experimentation down a touch for more acoustically drawn surreal rock... With second solo album Pale Horse Rider, Hanson goes in yet another direction, shaking off the reverb and fuzz of previous outings for an album of restrained and melancholic Americana. ..  "Angeles" surrounds the singer with backing from bass and a steady kick drum, highlighting his plaintive but still somewhat abstract lyrics linking the Los Angeles wildfires to searching for fulfillment in life and relationships. Hanson sings about someone driving an ambulance in his dreams as wails of noisy feedback squelch low in the mix... 


Free-form collective kaleidoscopically blending everything from doom metal to free jazz to old-time. Boston-based collective Sunburned Hand of the Man represented New England's free rock contingency throughout the mid-'90s and the wooly freak folk era of the 2000s. Made up of a loose assemblage of like-minded musical wanderers, the project's lineup shifted with almost each of their frequent low-key releases, which were often issued in limited editions on CD-Rs through the band's Manhand label.
Boston-based collective Sunburned Hand of the Man burned brightly throughout the 2000s, their lineup shifting with almost each new release as they zigzagged between everything from free jazz skronk to warped takes on old-timey folk... The album's seven tracks come from an archive of unreleased material recorded between 2007 and 2017, edited and reassembled into one flowing, if erratic statement... Even at its most bizarre and feral, Pick a Day to Die conveys a sense of positivity and excitement as the collective remains in the constant state of rediscovering themselves that they've made their life's work.


Bay Area garage-inspired quartet with sophisticated psych-pop tendencies and three strong vocalists. Nuggets: Original Artyfacts from the First Psychedelic Era 1965-1968The San Francisco garage rock quartet Cool Ghouls mix the raw, primitive crunch of acts like the Troggs with the harmonies and sophisticated harmonies of the Association.
Cool Ghouls - At George's Zoo / 26th St. Blues
After a bunch of records that established Cool Ghouls as one of the better garage rock bands around in the 2010s, the San Francisco quartet launch themselves in about 12 different directions on their third album, At George's Zoo.-- They were never just a garage rock band -- adding some country-rock here and psychedelic folk there -- and now they sound like a jukebox where each song is a prime example of a style of music born in the mid- to late '60s. They tackle baroque pop, acoustic folk, piano ballads, surf psych, and sunshine pop, while still finding a couple slots for some jangling garage rock too. .. Everything the band touches turns to gold here; At George's Zoo is an impressive display of musical skill, and every stylistic gamble they take pays off. Before this record, Cool Ghouls came across like a group of guys having a good old time playing some good ole tunes; now they feel like a band capable of making something lasting. This is a fine first step in that direction.

Allie Crow Buckley, Valerie June,Lake Street Dive, Mike Dillon, Charles Lloyd & the Marvels, Throttle Elevator Music, Nubiyan Twist, Blake Mills, Pino Palladino, Cory Hanson, The Sunburned Hand of the Man, Cool Ghouls






2018. október 12., péntek

12-10-2018 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1960-1971

Yusef Lateef
12-10-2018 # JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1960-1971 # Yusef Lateef, John Coltrane, The Horace Silver Quintet, Andrew Hill, Charles Lloyd, Zbigniew Namyslowski Quartet, Jackie McLean, Dennis Coffey, Tal Farlow, Miles Davis, Keith Jarrett, Jean-Luc Ponty Experience

J A Z Z   M U S I C



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JAZZ_line  The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.
1960-1971



Hard-blowing tenor who greatly expanded his stylistic menu by exploring Asian and Middle Eastern rhythms, instruments, and concepts.  Yusef Lateef long had an inquisitive spirit and he was never just a bop or hard bop soloist. Lateef, who did not care much for the term "jazz," consistently created music that stretched (and even broke through) boundaries. A superior tenor saxophonist with a soulful sound and impressive technique, by the 1950s Lateef was one of the top flutists around. He also developed into the best jazz soloist to date on oboe, was an occasional bassoonist, and introduced such instruments as the argol (a double clarinet that resembles a bassoon), shanai (a type of oboe), and different types of flutes. Lateef played "world music" before it had a name and his output was much more creative than much of the pop and folk music that passed under that label in the '90s.
Yusef Lateef
Salt Water Blues (Yusef Lateef) 6:47
Goin' Home (Antonin Dvorák / Mark Fisher) 5:02
Lateef Minor 7th (Joe Zawinul) 4:59
from The Three Faces of Yusef Lateef 1960
On The Three Faces of Yusef Lateef, Riverside seems eager to present Yusef Lateef, technical virtuoso, on a series of songs that step closer to jazz tradition than any of his work in the recent past. Largely absent are Lateef's experiments with Eastern modes, rhythms, and instrumentation, and in their place is a collection of largely upbeat, accessible songs, with a balanced mix of standards and originals. Much of the introspective, personal quality of his previous albums seems lost in the effort, but Lateef's playing still remains stellar, especially on oboe. That instrument, which is by nature soft and muted, is given enough power by Lateef to lead on several songs, most beautifully on "Salt Water Blues," where its naturally melancholy sound seems perfectly matched with the low, rounded tones of Lateef's rhythm section, especially Ron Carter's bowed cello. The quintet also shines on the following track, Joe Zawinul's "Lateef Minor 7th," where they provide a gentle counterpoint to Lateef's sweet flute line. Not quite as expansive or daring as much of Lateef's other recordings, The Three Faces of Yusef Lateef still documents a fine musician at work during the peak of his career.


The most influential jazz musician of the late 20th century, one of the greatest saxophonists of all time, and the pioneer of jazz without limits. Despite a relatively brief career (he first came to notice as a sideman at age 29 in 1955, formally launched a solo career at 33 in 1960, and was dead at 40 in 1967), saxophonist John Coltrane was among the most important, and most controversial, figures in jazz.
John Coltrane
Blues to Elvin (Elvin Jones) 7:50
Blues to You (John Coltrane) 6:27
Mr. Syms (John Coltrane) 5:19
from Coltrane Plays the Blues 1962
Coltrane's sessions for Atlantic in late October 1960 were prolific, yielding the material for My Favorite Things, Coltrane Plays the Blues, and Coltrane's Sound. My Favorite Things was destined to be the most remembered and influential of these, and while Coltrane Plays the Blues is not as renowned or daring in material, it is still a powerful session. As for the phrase "plays the blues" in the title, that's not an indicator that the tunes are conventional blues (they aren't)...
John Coltrane - saxophone   McCoy Tyner - piano   Steve Davis - bass   Elvin Jones - drums


The leading composer and pioneer of hard bop, plus a pianist who blended vintage R&B, gospel, blues, and Caribbean elements into jazz.  From the perspective of the 21st century, it is clear that few jazz musicians had a greater impact on the contemporary mainstream than Horace Silver. The hard bop style that Silver pioneered in the '50s is now dominant, played not only by holdovers from an earlier generation, but also by fuzzy-cheeked musicians who had yet to be born when the music fell out of critical favor in the '60s and '70s.
The Horace Silver Quintet
Silver's Serenade (Horace Silver) 9:22
Sweet Sweetie Dee (Horace Silver) 7:35
Nineteen Bars (Horace Silver) 6:21
from Silver's Serenade 1963
Horace Silver's LP Silver's Serenade is a swan song; it was the final recording with his most famous quintet, which included drummer Roy Brooks, bassist Gene Taylor, saxophonist Junior Cook, and trumpeter Blue Mitchell. The band had made five previous recordings for the label, all of them successful. The program here is comprised of Silver compositions. The blowing is a meld of relaxed, soulful, and swinging hard bop, as evidenced in the title track... "Sweetie Sweetie Dee" moves from hard bop to funky bop... The knotty turn-on-a-dime changes in "Nineteen Bars," the final track, are pure instrumental and compositional virtuosity. Cook's blowing on his solo is matched by Silver's comping, moving through octaves and key changes. The tune smokes from start to finish as the album comes to a close. This is another excellent recording by the greatest Silver quintet...

2018. szeptember 25., kedd

25-09-2018 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1959-1965


25-09-2018 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 1959-1965 # Bill Jennings, Herbie Mann, Milt Buckner, Joe Castro, Sonny Stitt,Larry Young, Yusef Lateef, John Coltrane, The Horace Silver Quintet, Andrew Hill, Charles Lloyd

J A Z Z   M U S I C



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JAZZ_line  The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.
1959-1965


Jenning's sound has been compared to Tiny Grimes with a hint of early Charlie Christian. A peer of Billy Butler, Jennings played with Louis Jordan in the late '40s and early '50s. He also recorded R&B sides with Leo Parker and Bill Doggett.
Bill Jennings
Dark Eyes 4:44
Dig Uncle Will (Jack McDuff) 3:32
Enough Said (Alvin Johnson) 6:45
from Enough Said 1959
Jennings leads a relaxed quartet which includes Jack McDuff (organ), Wendell Marshall (bass), and Alvin Johnson (drums) on this 1959 session. Jennings shows off the bluesy tone that made him a favorite of B.B. King on his composition "Tough Gain" and the group-penned "Blue Jam," but aside from these, most of the tracks are slow-to-midtempo shuffles -- edifying yet not exciting...

Prolific and widely known flutist, beloved in jazz circles, has covered many world music styles. Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.
Herbie Mann
Johnny Rae's Afro-Jazz Septet
St. Thomas (Sonny Rollins) 8:04
Jungle Fantasy (Esy Morales) 7:56
Sudan 3:50
from Herbie Mann's African Suite 1959
Herbie Mann's African Suite (also released as St. Thomas) is an album by American jazz flautist Herbie Mann recorded in 1959 and first released on the United Artists label. The album was originally released under Johnny Rae's leadership due to Mann's contractual relationship with Verve Records.
Herbie Mann - flute, bass clarinet
Johnny Rae - vibraphone
Bob Corwin - piano
Jack Six - bass
Philly Joe Jones - drums
Carlos "Patato" Valdes, Victor Pantoja - congas
José Mangual - bongos