Andrew Grey Upside

When Anastasia Steele, a literature student, goes to interview the wealthy Christian Grey as a favor to her roommate Kate Kavanagh, she encounters a beautiful, brilliant and intimidating man. The innocent and naive Ana starts to realize she wants him. Despite his enigmatic reserve and advice, she finds herself desperate to get close to him - Cinquanta sfumature di grigio è l'adattamento cinematografico del bestseller diventato un fenomeno globale. La trilogia "50 sfumature" dalla sua uscita, è stata tradotta in cinquantuno lingue in tutto il mondo e ad oggi, ha venduto oltre 100 milioni di libri e e-book, più di 3.500.000 copie vendute solo in Italia, diventando da subito una delle serie più acquistate di sempre.

When Anastasia Steele, a literature student, goes to interview the wealthy Christian Grey as a favor to her roommate Kate Kavanagh, she encounters a beautiful, brilliant and intimidating man. The innocent and naive Ana starts to realize she wants him. Despite his enigmatic reserve and advice, she finds herself desperate to get close to him. Not able to resist Ana's beauty and independent spirit, Christian Grey admits he wants her too, but on his own terms. Ana hesitates as she discovers the singular tastes of Christian

Drummer Carola Grey's latest effort is most impressive not so much for her drumming (which is consistently excellent) but for her compositions (six of the eight performed) and the variety of moods and instrumentation that she utilizes throughout this date. The music ranges from the opening straightahead blues "Philosophy," the heated "Aldo Thin Suar" (which finds the horns jamming together in heated fashion) and the moody ballad "The Colour We Create" (a feature for Ravi Coltrane's mature tenor) to the funky "The Age of Illusions" (featuring Mike Stern's guitar and Peter Epstein's passionate soprano), the postbop trio outing "Waltz for Gina" and the loose blues "Attitudes." Virtually every musician (which also includes trumpeter Ralph Alessi) gets an opportunity to star (the percussionists dominate "Columbus King") and yet no one overstays their welcome. Since Grey also arranged the music, she deserves full credit for this stimulating session's success.

Al Grey and Billy Mitchell's musical paths first crossed in various bands led by prominent jazz leaders. After pursuing separate musical endeavors, fate brought them back together in the exciting Count Basie organization during the late 1950s, where they became key members of the band. Their time with Basie lasted until the late 1960 when they decided to chart their own course and co-lead an impressive sextet.