By C. Michael Bailey

Amo Il Jazz. In the first issue of JazzNotice, the Italian jazz magazine/promotional instrument of Registrazioni Edizioni Discograpfiche [Recordings Discograpfiche Editions— RED Records] is a picture of the label’s president and CEO, Sergio Veschi. He is sitting with one of his label’s most high profile performers, American tenorist Jerry Bergonzi, during a break in recording Salvatore Tranchini’s “Radio Suite” (RED 280). In the photograph, Signore Veschi is revealed as a large man with silver-flecked hair and sleepy eyes resting at half-mast. But his most prominent attribute is his broad mustachioed smile. The sum of all his parts, Sergio Veschi looks like a happy, good-natured man doing what he has always wanted to do. He has much to be happy and good natured about. His label is one of the most popular and progressive jazz labels in Europe. No less than tenor titan Joe Henderson has described RED Records as “the Blue Note of Europe”.

Beginning with the RED records of the present, the label boasts a catalog of in excess of 100 compact disc releases, a special line of 180 gram pure virgin vinyl LPs, and a burgeoning mail-order business. 1998 saw, in addition to the publication of the first issue of JazzNotice and the release of seven new titles, the launch of the label’s “experimental” Web Site, http://www.ijm.it/redrecords. RED Records releases are distributed internationally and are available in the United States from all of the usual suspects: Borders Books and Music, Barnes and Noble, Best Buy, Amazon, CDNow, CD Universe, and EveryCD. To be sure, RED Records is enjoying a certain success today. That success has its roots in a story fit for the cinema. And at the swirling center is the irrepressible Sergio Veschi.

Il Colore di Jazz. Sergio Veschi is an interesting man with an interesting history. By his own account, he was born in the beautiful Appennines of the Marches in September 1943 near the town of Urbino, a hometown he shares with Renaissance painter Raphael. In 1956, he moved with his family to Milan, where he discovered jazz in the home of a professor who was giving him private French lessons. The first recordings young Veschi listened to were Clifford Brown’s EmArcy sides, Sydney Bechet’s seminal Blue Note recordings, and Mose Allison's superbly earthy Back Country Suite on Prestige. These recordings and many others convinced the youthful Veschi that jazz as the music for him. Veschi’s insatiable love for the music moved him at 18 years old to buy an alto saxophone from a second-hand shop. He taught himself to play using saxophone using a combination of hand-books and a tenacious interest in the music.

An Intellectual Renaissance Man. Jazz was not the only art form the voracious Veschi was interested in. He was also captivated by the cinema and literature, especially the great American writers of the 20th Century such as John Steinbeck, William Faulkner, Erskine Caldwell, Ernest Hemingway, Richard Wright, Ralph Ellison, and Langston Hughes. Like his interests, Veschi’s employment history was broad and experience building. While attending school, Veschi worked as bartender, delivery man, marketing executive, and personnel representative. But maybe the most significant job he had in his youth was working as a sales assistant in a bookshop for several years. It was in this capacity that Sergio was to be deeply influenced with respect to his cultural and intellectual development by this progressive and thought-provoking environment.

Gli ho ottenuto il Male…. In 1964, Veschi’s jazz education continued with his realized opportunities to attend concerts by leading jazz musicians of the day. The classic John Coltrane Quartet, Sonny Rollins with Don Cherry, Thelonius Monk, Charles Mingus with Clifford Jordan and Eric Dolphy, Ornette Coleman, a veritable cornucopia of Free Jazz during its zenith, made their way to Milan during the extremely fertile period of the mid-1960s. During this same period, Veschi began to collect all of the jazz recordings available to him in Italy. His metastasizing collection contained recordings by Jackie McLean, Cannonball Adderley, Charlie Parker, Dexter Gordon, John Coltrane, Bud Powell, Hampton Hawes, Art Pepper, Lee Morgan, Kenny Dorham, Bobby Hutcherson, Milton Jackson, Thelonius Monk, Sonny Rollins, Art Blakey, and George Coleman. A who’s who of Bebop and Hard Bop Royalty.

Politica e musica. Right after his 23rd birthday in1965, Veschi was recruited by Olivetti to work in the company’s marketing department. Additionally, he was enrolled at Milan State University as a working student in the Political Science Department. Born into an antifascist family (his paternal uncles had been seriously engaged in the antifascist resistance during World War II), Veschi actively supported the political struggles of the era, especially those of the students of Milan State University. Veschi held some leading political roles on campus in the years 1969 to 1973. Veschi seamlessly combined his pro-labor inclinations with the progressive influence of the University to become prominently active in grassroots politics.

In the universal tradition of Politics and the Arts influencing one another, Veschi was asked to organize jazz concerts as part of the cultural activities promoted by the student political movements in which he was involved. He organized several concerts with American and Italian groups between 1973 and 1976. Among the concerts Veschi promoted were performances by the Max Roach Quartet, Don Cherry, Mal Waldron, Sam Rivers and many others. Veschi also became interested in diffusing jazz mainly to a younger audience and toward the working class. Veschi’s efforts centered on local and regional talent, which lead to his organizing a noted Italian Jazz Festival in the Main Hall of Milan University. It was during this Jazz Festival that Veschi, on his own initiative, recorded five LPs worth of music, which he distributed on a now defunct independent label. This marked Sergio Veschi’s entry into the world of jazz recording, sewing the seeds for the RED Records successes to come.

The Recording Business…Italian Style. During the summer holidays of 1973, Veschi met the Umbria Jazz Art Director Alberto Alberti, beginning a fulfilling personal and business relationship that lasts to this day. It was a chance late night telephone conversation between Alberti and Veschi that gave genesis to the idea of RED Records. Alberti suggested that Veschi consider recording the Sam Rivers Trio, who was coming to Italy from Hong Kong to perform at the Bergamo Jazz Festival. Veschi secured a studio and recorded the master; the only thing left to do is to produce the recording and distribute it.

Veschi’s search for a distributor concentrated on his acquaintances and friends accumulated during his years of political activism at the University. The University was a strong aggregation point for Milan’s left-wing intelligentsia including journalists, artists, political and trade-union leaders as well as various intellectuals who worked for publishing houses located in Milan. These Milano publishing houses were considered among the most important in Italy. It was through these channels that Veschi developed and close personal and business relationship with Editoriale Sciascia, who originally distributed RED Records.

Between 1977 and 1980, RED Records was mainly distributed in Italy and, with the exception of Horo Records, was one of the first Italian independent label to gain a grip on the national jazz record market. During this same period, the Black Saint label, founded by Giacomo Pellicciotti, was having serious financial problems and its owners were looking for a buyer. Entrepreneur Giovanni Bonandrini eventually purchased Black Saint. Bonandrini originally made a name for himself with the European recording concern, IREC. Veschi and Bonandrini would eventually meet and the two men would develop a close relationship. Bonandrini would soon become very instrumental in distributing RED Records internationally.

In the early '80s, the Italian jazz market wilted and RED Records distribution was entrusted to IRD/IREC, who continued to provide this service for the label. Franco Ratti from IRD distributed RED Records releases in Italy, while Giovanni Bonandrini executed distribution with the foreign market, exploiting the distribution channels of the Black Saint/Soul Note labels. The RED Records and Black Saint labels differed enough in nature and, as well as production effort to avoid any conflicts of interest.

Engaging an able distributor, the Black Saint sale, universal strategic relationships plus the eventual demise of the Horo label were all a fortunate chain of events responsible for converting the spark of the RED Records idea into the flame of the RED Records reality. Add to this the fact that RED Records was begun on a shoestring: the label was not a professional activity as all of the principal players were otherwise employed. Because of this, organization and expenses were necessarily reduced to a minimum and the necessary activities to run the label were addressed after hours and on the weekends. Add all of these factors with superb music crafted by master musicians and RED Records was gratefully able to take hold and thrive.

A Sharpening of Focus. During the middle to late 1980's, RED Records began to focus more and more on mainstream jazz in its most contemporary styles, devoting less attention to the Avant-garde and Free forms. For the conservative American or Japanese jazz markets, this refocusing would not have been seen as unusual and actually could have been considered prudent. However, such a conservative focus is not the European norm. The European jazz trend, as reflected by music critics and jazz festival organizers, was definitely inclined towards the Euro-American Avant-garde, even in its most radical forms.

In spite bucking this conventional wisdom, the label realized a series of moral victories at home, including the winning of the critics poll of the Italian magazine Musica Jazz with releases by Massimo Urbani, Phil Woods, Franco D'Andrea, and Gian Luigi Trovesi. The label ceased actively participating in any kind of polls in 1985. However, several musicians who recorded for the label have been highly praised, both for their RED Records material and other activities, in the critic’s polls of Down Beat and other U.S. jazz publications. These recognized musicians include: Bobby Watson, Steve Nelson, Phil Woods, Kenny Barron, Joe Henderson, Victor Lewis, Jerry Bergonzi, Jim Snidero, and Steve Grossman.

Where the Rubber Meets the Road. Specific examples of internationally recognized RED releases include music by Bobby Watson, Sphere, and Joe Henderson. Watson’s Appointment in Milano, recorded with the Italian Open Form Trio, was signaled by the English Sunday Times as “…one of the best albums of the year” in 1986. Round Trip, taken from the same session, was included by Peter Keepnews in the jazz section of the regular Billboard column, “Selected CDs”. Love Remains is cited in the Penguin Guide to Jazz as one of the most important jazz recordings of the 1980s and is included in the Kansas City Jazz Museum multimedia Jukebox.

Sphere (with Charlie Rouse) was identified by critic Stanley Crouch as one of the most important groups in jazz history. The two Sphere RED releases (discussed later in this article) are uniformly admired in the jazz media. Of Sphere’s tenor saxophonist, Charlie Rouse, The Penguin Guide opined that Pumpkin’s Delight “…is his [Rouse’s] best recorded statement.” And finally Joe Henderson. Between his monumental State of the Tenor recordings for Blue Note in 1985 and his signing with Verve (and ultimate overdue critical recognition), Joe Henderson recorded two pianoless trio collections for RED Records [An Evening With Joe Henderson (CD 123215) and The Standard Joe (CD 123248)]. The All Music Guide contends that The Standard Joe is “…particularly recommended to listeners not that familiar with Henderson’s playing, for he brings new life to these often overplayed compositions.”

Joe Henderson and his RED recordings also provide an interesting story. Veschi relates that in the early 1990’s, RED Records releases were distributed in the U.S. by Polygram Special Imports. Richard Seydel, who had recently become director of the Polygram jazz section, called Sergio Veschi to find out if RED Records had an exclusive contract with Joe Henderson. When Seydel discovered that there was no contract, he signed Henderson to a multidisc contract with Verve and the rest (Down Beat poll finalist, Grammy recipient) is history.

Principia Musica. The basic philosophy of RED Records, which has evolved through the years since its inception, is to create a catalog destined to last in time because of the quality of the music. Veschi and his associates accomplished this by carefully selecting music able to express a high artistic value and establish itself in time through that artistic value— music that elevates itself above the celebrity of the artists produced. RED Records further promotes high music quality by allowing the artists the utmost freedom in expressing themselves. RED producers are careful not to restrict the creative process. It is a provocative thought as to whether the three Bobby Watson RED releases could have been made in the U.S. A final factor in ensuring high quality jazz has been to identify and record new or under-recognized talent before the major labels notice them and lures them away with more lucrative contracts. While an artist’s association with RED might seem short the quality of the output is uniformly high.

Local Color. Another priority of RED Records is to document Italian jazz. Veschi has modeled his approach after that of the old Blue Note label, encouraging musicians to cooperate closely among themselves and to support one another as leaders. The RED catalogue provides many examples of Italian jazz: Massimo Urbani, Piero Bassini, Carlo Atti, Piero Odorici, Salvatore Bonafede, Salvatore Tranchini and many others. RED Records is also strongly anchored to the local scene. The label is located in Milan, where it carries out its activity. Veschi contends that he does not care about being the number-one Jazz label in the world, because this would not be possible in any case. His desire is to offer music of the highest quality that speaks for and sells itself. Considering the trend in sales (of catalog items and new releases), Veschi feels that the label’s sales targets have substantially been reached.

The Present Into The Future. Towards the end of 1992, Veschi retired from Olivetti where he had deliberately avoided a career which would result in less free time and thus less time to devote to his label. In that same year, a mail-order service was set up and has been very successful for the label. Other advances include improved technology resulting in better editing and production of recordings. Effective promotional activity focusing diffusing the catalog was set into motion through constant participation in recording products conventions, where RED Records gained a name for the artistic quality of its recordings. Additional promotional activities included support and advertising at Italian jazz festivals, book fairs and music shows. In 1998, the first issue of JazzNotice, RED Records music magazine, was published. 35,000 copies were printed and distributed in record shops, through mail order, and at the various festivals the label takes part in. These promotional efforts have been paying off. The past several years have seen RED Records increase its sales volume to the amazement of industry insiders and Italian jazz critics alike.

Eccumenicisim. In the mid-90s, RED Records engaged several artist from Argentina—- Pablo Bobrowicky, Norberto Minichillo, Luis Agudo, and Brazil— Hector "Costita" Bisignani, Alexander Mihanovic, to record a number of Latin jazz records, which come alongside the Latin jazz short-series by Ray Mantilla. Thus, the label has expanded its cultural focus past the European and American jazz markets to include the music of Latin America.

In 1999, RED Records produced six new releases and as many re-issues on CD of music previously only available on LP. These releases include: Bobby Watson’s Quiet as it's kept, Bobby Watson and Ralph Peterson with The Jazz Tribe’s The Next Step, JD Allen’s In Search Of ..., Fabio Morgera’s Slick (recently an All About Jazz pick of the week), Norberto Minichillo’s Baire’s Blues, and the Maurizio Giammarco Quartet’s Love Ballads.

RED Records and Information Technology. RED Records launched their World Wide Web site in 1998. The URL for the site is http://www.ijm.it/redrecords. The website is simple and gratefully not laden with memory-famished graphics slowing its download. Navigation about the site is readily facilitated. The site provides the entire RED catalog, a list of distributors, label news, on-line ordering capability (RED Shop), and an Italian Jazz Musician’s link. Overall, the RED Record’s website is functional and provides all the information interested parties need when trying to identify or locate RED releases.

Appetizer Platter. To really appreciate RED Records’ mission, one must listen to its releases. What follows is a sampler of mini-reviews of selected discs that represent the label and its philosophy. This musical antipasti platter should provide the reader/listener with a starting place with this very fine European jazz label.

Sphere— On Tour (CD 123191) and Pumpkins Delight: Sphere Live At Umbria Jazz (CD 123207). Originally slated as a Thelonious Monk Tribute band comprised of former Monk sidemen, Sphere went on to become on of the most important small jazz combos in the 1980s before disbanding after the death of leader and tenor saxophonist Charlie Rouse in 1988. Sphere reformed in 1998 with Gary Bartz in the reed position and released a fine self-titled disc on Verve. The two present RED Records releases focused on here were released in 1985 and 1986 respectively. Both are live recordings before what sounds like very large audiences. On tour was recorded in Bologna in November 1985. Pumpkin’s Delight was recorded July 14, 1986 at the Umbria Jazz Festival. They stand as the only live testaments of this exemplary jazz group.

Both On Tour and Pumpkins Delight are characterized by strong compositions and solos by bassist Buster Williams. He turns out to be the standout among these other three standouts. On Tour’s “Dual Force” and “Tayamisha” and Pumpkins Delight’s “Tokudo” and “Christina” illustrate the amazing compositional and performance command of the veteran bassist. Not to take away from the remaining consummate musicians in the band, Sphere was and is a jazz group’s jazz group. They are a standard by which others may be compared. These mid ‘80s RED releases are very representative of the Charlie Rouse driven Sphere at the pinnacle of the group’s short incarnation.

ETC— ETC (CD 123233) and ETC Plus One: ETC & Jerry Bergonzi (CD 123249). Fred Hersch is a quiet master. With little fanfare, Hersch has produced an impressive series of theme recordings for Nonesuch Records which include Plays Billy Strayhorn, Plays Rodgers and Hammerstein, and Thelonious: Hersch Plays Monk. In the late’80s and early ‘90s the Fred Hersch Trio using the nom de plume of “ETC” recorded two fine discs for RED Records. The first, self titled, was the trio of Hersch on piano with Steve Laspina on bass and Jeff Hirshfield on drums. The second adds Jerry Bergonzi to the mix for a super empathy between tenor and piano. ETC is comprised of all standards with standout performances of Miles’ “All Blues” and Sam Jones’ “Unit Seven”. Hersch is sensitive and perceptive, whether soloing or comping behind a bandmate (check out “Easy to Love”). He is a ballad player par excellence. ETC Plus One is made up of exclusively original numbers. Bergonzi adds his intuitive tenor to the band forming a very accessible tenor quartet. Both recordings are fulfilling. This is mainstream jazz performed by the young turks in their prime. Their music is full of invention and spontaneity, warranting a close listen.

Joe Henderson— An Evening With Joe Henderson (CD 123215) and The Standard Joe (CD 123248). Joe Henderson’s State of the Tenor concerts at the Village Vanguard were released by Blue Note in 1985, shortly before his two disc stint with RED Records. Both sets of recordings have in common Henderson’s use of a pianoless tenor trio. The use of a pianoless tenor trio is not unprecedented. Sonny Rollins recorded what was three LPs worth of music at the Village Vanguard in 1958 in what was the first of many live recordings to be made in that venue. The tenor trio presents considerable challenges to the saxophonist. Henderson showed that he was not only up to that challenge with his State of the Tenor recordings, but had mastered the challenging combo. Further evidence of this mastery is found on Henderson'’ two RED releases.

An Evening With Joe Henderson precedes The Standard Joe by four years. Evening was recorded live at the Genova Jazz Festival in July 1987. He is joined by no less than Charlie Haden on bass and Al Foster on drums. The disc contains four lengthy performances of one Henderson Original and three standards. Henderson is at his fiery best, turning in fine solos on Monk’s “Ask Me Now” and Sam River’s “Beatrice”. The Standard Joe is a New York City recorded studio album recorded March 26, 1991. This trio finds Charlie Haden replaced by Rufus Reid, with Al Foster again rounding out the triumvirate. This recording boasts two original Henderson blues (“Inner Urge” and “Blues in F [In ‘n Out]”) and exciting tenor trio reductions of “Blue Bossa”, “Body and Soul” (two takes), and “’Round Midnight”. Henderson has a great, commanding tone on both of these recordings, captured at the height of his powers, which have diminished little since these fine recordings.

Cedar Walton— Blues For Myself (CD 123205) and The Trio Volumes 1, 2 & 3 (CD 123192, CD 123193, CD 123194). Cedar Walton is a jazz pianist of rarefied talent, who while being recognized as such, has never had the exposure his talent warranted. At one a brilliant technician and composer with an earthy, rich style and vision. These four discs were recorded in the mid-1980’s and provide a good illustration of jazz as chamber music and solo performance. Blues For Myself is only Walton’s second solo excursion following his rare Clean CutsPiano Solos by half a decade. On this disc, Walton brings a rested ear to such standards as, Ellington’s “Sophisticated Lady”, Monk’s “Let’s Call This”, and Neal Hefti’s “Lil’ Darlin’”. To these well worn tunes Walton brings new rhythmic life, polishing them to a high shine. His originals, especially “Blues for Myself”, and “Booker’s Bossa” further establish Walton as a solid composer, one who continues to be underrated.

The Trio Volumes 1, 2 & 3 immediately call to mind Hampton Hawes’ All Night Sessions Volumes 1, 2, & 3. Recorded during a single concert in Bologna March 28, 1985, The Trio displays jazz as chamber music. Walton is joined ably by bassist David Williams and Drummer Billy Higgins. Walton expresses his broad command through very large, orchestral playing on one piece (“My Ship”, “Lover Man”) to light as a feather on ballads (“Theme for Ernie”, “For All We Know”). All of Walton’s originals are compelling (“Holy Land”, “Theme for Red”). Walton’s support is solid throughout with Williams capable walker and Higgins the impeccable timekeeper.

Bobby Watson— Appointment in Milano (CD 123184) and Love Remains (CD 123212). Bobby Watson, Like Cedar Walton and Joe Henderson (to a degree) belong to a generation of Jazz musicians who were largely underrated. Their careers fall between those of the Hard and Post Boppers and the Young Lions. As a result, these artists, while receiving recognition, did not receive what they warranted. Watson started his professional career as many did under the tutelage of Art Blakey in the forever-young Jazz Messengers from 1977-81. He went on to participate in several early Wynton Marsalis projects and played a part in a variety of settings (George Coleman’s Octet, Charlie Persip’s Big Band, Dameronia, and the 29th Saxophone Quartet.

Bobby Watson is as fine an altoist as any performing today. He has a bright and intelligent tone complimented with nimble compositional skills. These attributes are well illustrated on these two RED releases (he has a third not included in this discussion, Round Trip [123187, 1985]). These recordings fall approximately in the middle of Watson’s career, following several Evidence recordings and prior to his Blue Note days. Appointment in Milano (CD123184, 1985) and Love Remains (CD 123212, 1986) are critically acclaimed recordings, providing Veschi’s label grand bragging rights. The former disc finds Watson recording with a relatively unknown, but superb Italian rhythm section called The Open Forum Trio. The disc title recalls another appointment (“in Guana”) by another alto saxophonist (Jackie McLean). The All Music Guide assigns Appointment in Milano a “Best of Artist” rating. Watson is at his lyrical best throughout the disc (as well as showing off his technical chops, check out the solo performance on “If Bird Could See Me Now” and the alto—drums duet on “Funcalypso”). All rhythm section members turn in memorable performances: Atillio Zanchio’s arco bass solo on the title track, Piero Bassini’s piano solo on “Watson’s Blues”, and Giampiero Prina’s great skins throughout.

Love Remains is considered in The Penguin Guide to Jazz as being a, “…startlingly poised performance” that “If the ‘80s threw up maybe a baker’s dozen essential jazz albums, Love Remains would be somewhere near the top.” And why not? The eclectic John Hicks on piano, Marvin Smith on Drums and Curtis Lundy on bass join Watson for the recording event. An all-star lineup to be sure. Recorded live in the studio, Love Remains represents the best a jazz recording can be. Crystalline conceptualization, performance and production, from the all-jazz-embracing “The Mystery of Ebop” to 12-bar perfection of “Blues for Alto.” Both of these Bobby Watson RED releases are among the finest jazz recordings I have heard in a long time. The additional creative leeway RED Records provided Watson resulted in music that proves Watson to have been terribly underrated as an alto saxophonist and composer. The music on these discs sets the record straight in a way that may not have been possible if Watson had been committed to a major label.

Jerry Bergonzi— Lineage (CD 123233). As recently as the May 1999 issue of Down Beat has a RED record been recognized. Jerry Bergonzi’s solo on Joe Henderson’s original blues, “Inner Urge” (from Lineage) is transcribed for guitar by Timothy Cummiskey. Of Bergonzi’s solo Cummiskey says, “…Bergonzi combines motivic development, rhythmic flexibility, voice leading, and line connection with a nearly infinite melodic and harmonic vocabulary…” This is the kind of music RED Records captures, music of a quality that both entertains and teaches.

Lineage is a superb musical vehicle. Bergonzi’s sheer musicality pulls this disc off without a hitch. Though there never would have been a hitch with the able support he receives from his rhythm trio of Mulgrew Miller on piano, Dave Santoro on bass and Adam Nussbaum on drums. Bergonzi and his crew navigate their way through the aforementioned “Inner Urge”, “Everything Happens to Me” and three Bergonzi originals. The disc is whole satisfying and the sound is exceptional.

Giovanni Tommaso- Via G.T. (CD 123233) and Massimo Urbani- The Blessing (CD 123257). And finally, Italiano il collegio elettorale. These two discs are compelling in that they illustrate the RED Records philosophy of encouraging cooperation among musicians, build multiple swinging combos and house musicians. The leaders of each discs supports on the other. Via G.T. is a bassman’s date from start to finish. Tommaso’s deft pizzacato is evident from the opening of “Meet You On the Way” to “No Day After, No!”, which contains and eerie arco bass-alto duet (with Massimo Urbani). “Sixteen Blues” contains a jaunty head and solid body of solos, particularly a muted Paolo Fresu on trumpet and an angular Danilo Rea on piano.

The Blessing is Massimo Urbani’s 1993contribution to the RED catalog. His capable alto weaves its way through a collection of standards and originals. Giovanni Tommaso is very much in evidence on this disc, provideing two compositions, “Opposites Attract” and “Train to Trane” and his pungent double bass throughout. Urbani excels on the standard ballads “What’s New” and “The Way you Look Tonight.” Both discs exhibit a high degree of musicianship and superb sonics. Listening delights.

The Color of Jazz. Red Records offers the international jazz community a carefully cultivated catalog, filled with superb performances by the well-known and little known alike. More than simply fine recordings, many may be looked on as historic. The Sphere recordings certainly fall under this category. Other releases represent the best in recorded jazz- the Bobby Watson contributions. But no matter the source or the date of recording, or the historic significance, the listener may always be sure that if they buy a RED recording, they are buying the finest the music has to offer. Bravissimo, Sergio.

Website: www.redrec.net