Candy Dulfer – Sax-A-Go-Go (1993)

FrontCover1Candy Dulfer (born 19 September 1969) is a Dutch jazz and pop saxophonist. She is the daughter of jazz saxophonist Hans Dulfer. She began playing at age six and founded her band Funky Stuff when she was fourteen. Her debut album Saxuality (1990) received a Grammy nomination. She has performed and recorded with Hans Dulfer, Prince, Dave Stewart, Van Morrison, Angie Stone, Maceo Parker and Rick Braun and has performed live with Alan Parsons (1995), Pink Floyd (1990), and Tower of Power (2014). She hosted the Dutch television series Candy Meets… (2007), in which she interviewed musicians. In 2013, she became a judge in the fifth season of the Dutch version of X Factor.

Dulfer was born on September 19, 1969 in Amsterdam, Netherlands. She began playing the drums at the age of five. As a six-year-old, she started to play the soprano saxophone. At age seven, she switched to alto saxophone and later began playing in a local concert band Jeugd Doet Leven (English translation: “Youth Brings Life”) in Zuiderwoude.

Dulfer played her first solo on stage with her father’s band De Perikels (“The Perils”). At age eleven, she made her first recordings for the album I Didn’t Ask (1981) of De Perikels. In 1982, when she was twelve years old, she played as a member of Rosa King’s Ladies Horn section at the North Sea Jazz Festival. According to Dulfer, King encouraged her to become a band leader. In 1984, at age fourteen, she started the band Funky Stuff.

CandyDulfer01Dulfer’s band performed throughout the Netherlands and in 1987 was the opening act for two of Madonna’s European concerts.

In 1988, Prince invited Dulfer on stage to play an improvised solo during one of his European shows. In 1989 Dulfer appeared in Prince’s “Partyman” video.

Dulfer performed session work with Eurythmics guitarist and producer Dave Stewart and was a guest musician for Pink Floyd during the band’s performance at Knebworth in 1990, from which several tracks were released on a multi-artist live album and video, Live at Knebworth ’90. The Knebworth show has since been released as part of the Pink Floyd box set The Later Years 1987–2019 on CD, DVD, and BD.

Dulfer was also the featured saxophonist on Van Morrison’s A Night in San Francisco, an album in 1993, and performed with Alan Parsons and his band at the World Liberty Concert in 1995.

Dulfer collaborated with her father Hans Dulfer on the duet album Dulfer Dulfer in 2001. She joined Prince’s band in 2004 for his Musicology Live 2004ever tour.

In 2007, she released her ninth studio album Candy Store. The album reached a No. 2 position in Billboard’s Top Contemporary Jazz charts. Her songs “Candy Store” and “L.A. Citylights” reached the No. 1 position in Smooth Jazz National Airplay charts in the United States.


Dulfer is mostly a self-taught musician except for some training in a concert band and a few months of music lessons. Until 2010 Dulfer played a Selmer Mk VI alto – which is visible in the majority of early photographs. In 2010 she became an endorsee of the Dutch Free Wind saxophone, created by Friso Heidinga, who started building saxophones in Amsterdam in 2009.

In 2007, Dulfer was the presenter and interviewer in Candy Meets…, her television program for public broadcaster NPS. In the series, she met with Sheila E., Maceo Parker, Hans Dulfer, Van Morrison, Dave Stewart, and Mavis Staples. (wikipedia)


And here´s her 2nd solo-album:

Sax-a-Go-Go is the second album by Dutch alto saxophonist Candy Dulfer, released in 1993. It entered the US Billboard Top Contemporary Jazz Albums chart at No. 5 in February 1994, remaining on the chart for 31 weeks.


The album peaked at number 77 in Australia. The album includes a version of Eugene McDaniels’ Vietnam War protest song “Compared to What”, and “I Can’t Make You Love Me”, a hit for Bonnie Raitt from her album Luck of the Draw (1991). (wikipedia)

European frontcover:

Saxophonist Candy Dulfer’s sophomore album, 1993’s Sax-A-Go-Go, built upon the smooth jazz of her debut while also playing up more of her hip-hop and dance music influences. Once again working with producer/multi-instrumentalist Ulco Bed, Dulfer delved even deeper into the club-ready funk and acid jazz that was in its heyday during the early ’90s. These are synthesizer and drum machine-heavy productions showcasing Dulfer’s high-energy saxophone lines. In that sense, tracks like the title cut (featuring rapper Easy Mo Bee) and the swinging funk number “Bob’s Jazz” sound like instrumental takes on the hip-hop and R&B sound of groups like TLC and Bell Biv DeVoe. A slick studio production for sure, but Dulfer’s longstanding love of artists like Maceo Parker, Miles Davis, and Prince came through. In keeping with this more organic, swaggering sound, Dulfer covered ’70s jazz-funk pioneer Les McCann’s classic “Compared to What” and delivered a convincing take on Average White Band’s “Pick Up the Pieces.” The result is an album that successfully conveyed Dulfer’s own jazz and funk-based style, just as it celebrated her standing as the queen of smooth jazz party music. (by Matt Collar)


Ulco Bed (bass, guitar, drums, percussion, vocals, keyboards)
Candy Dulfer (saxophone, vocals)
Frans Hendriks (drums, percussion)

many, many guest musicians:

01. 2 Funky (Bed) 4.47
02. Sax-a-Go-Go (featuring Easy Mo Bee) (Bee/Dulfer) 4.56
03. Mister Marvin (Bed) 5.36
04. Man In The Desert (Dulfer/Bed) 5.35
05. Bob’s Jazz (Bed) 4.51
06. Jamming (Dulfer/Bed) 5.23
07. I Can’t Make You Love Me (Shamblin/Reid) 4.31
08. Pick Up The Pieces (Single Version) (Ball/Stuart/White/McIntosh/McIntyre/Gorrie) 4.02
09. Sunday Afternoon (Prince) 8.04
10. 2 Funky (Radio Version) (Bed) 4.36
11. Compared to What (Mac Daniels) 5.56
(taken from the European edition)




More from Candy Dulfer:

Hans Dulfer And Ritmo-Natural – Candy Clouds (1970)

FrontCover1Hans Dulfer is one of Holland’s best known and most versatile musicians. He closely follows the latest trends, but maintains to be a typical jazz musician. For many years he operated as a stage performer par excellence, putting record making on the second plan. When in the nineties he finally becomes serious about recording, large-scale success follows in the Netherlands and even a star status in Japan.

Growing up in Amsterdam West, Hans Dulfer (Amsterdam, May 28, 1940) as a teenager became interested in jazz music. He taught himself to play saxophone and plays since 1957 in the big band of Theo Deken. In 1958 he joins the Clous van Mechelen Combo, in 1961 he was a member of the Metropolitain Quintet. In the mid sixties he plays with Willem Breuker and is a member of the Big Ballad Boogie Blues Beat Bounce Band. Dulfer plays also freejazz with Peter Snoei. He has since then become one of the most prominent figures of the Dutch jazz scene.

From 1968 to 1969 Dulfer was leading the band Heavy Soul Inc. with Willem van Manen (trombone), Maarten van Regteren Altena (bass) and Han Bennink (drums). He started in September 1968 with the series Jazz at Paradiso. In 1969 Dulfer wins the Wessel Ilcken Prize. Dulfers interest in pop music leads to collaboration with rock bands like Groep 1850 and Barrelhouse. Together with Jan Akkerman Dulfer records the album The Morning After Hans Dulfer02The Third in 1970, followed by the solo records Candy Clouds and El Saxofon. He was accompanied on these records, among others, by Latin musicians from the group Ritmo Natural.

In this period Dulfer performs with ‘De Perikels’ band in which tenor saxophonist Rinus Groeneveld and some former members of the Amsterdam funk band Solat play: Mr. Slim (steel drums, percussion), Frank Douglas (guitar), Glenn Gaddum sr. (piano, clavinet), Eddie Veldman (drums, vocals), Mitchell Callender (bass, vocals), Koko Kowsolea (congas), Glenn van Windt (timbales ), Lilian Jackson (vocals), Peggy Larson (vocals) and Mildred Douglas (vocals). Additionally Dulfer becomes board member at the Bimhuis, advisor to the North Sea Jazz Festival, and writes columns for music magazine OOR. He helps Dutch Rock artist Herman Brood in 1978 with his Cha Cha project, and plays regularly again with Barrelhouse. The book Jazz In China, published in 1980, contains articles and columns Dulfer has written over the years for various magazines. After releasing the album ‘I Did not Ask’ with De Perikels on the Vara Gram-label, he ends the group in 1981.

Dulfer focusses on playing electric freefunk with his new band Reflud (Dulfer vice versa) with a.o. Thijs Vermeulen on bass. Despite numerous line-up changes, the group achieves an excellent live reputation. In 1983 Dulfer plays at the North Sea Jazz Festival with Herman Brood and he is playing as a guest musician along with the avant-garde formations Kiem and Nine Tobs. In 1985 Dulfer works with Peter te Bos of the band Claw Boys Claw on a blues project. A large part of the band Sjako! forms his backing band for a while.

Hans Dulfer03While daughter Candy becomes more famous with mainstream pop-jazz, Dulfer sr’s becomes interested in speed- and thrashmetal. In 1990 he was appointed director of Paradiso (an important pop music concert hall in Amsterdam). He gives up on dis position already after a year because of internal disagreement. In 1990 Dulfer starts a new band: Tough Tenors. For VPRO national radio he subsequently presents jazz radio shows like ‘Streetbeats’, ‘Hothouse’ and ‘In the Midnight Hour’. In 1992, together with the Surinam Music Ensemble led by Eddie Veldman Dulfer presents the Kid Dynamite Suite, a tribute to the legendary tenor saxophonist Kid Dynamite from Suriname. In 1993 he receives the North Sea Jazz Bird Award. Soon after this he decides to move in a different musical direction.

Dulfer records a dance music album, titled ‘Big Boy’. This album leads to the hit single ‘Streetbeats’ and Dulfer becomes ‘world famous in Japan’. In response to the success in Japan Dulfer records especially for the Japanese market ‘Hyperbeat’. With this recording he becames defenitively a star in Japan, since it is the best-selling instrumental album of the year. In Japan, he receives a Golden Disc Award.

Hans Dulfer05Dulfer toured in Japan for the first time. Meanwhile, the album ‘Express Delayed (old recordings from 1978 with organ player Herbert Noord) appears on CD

The music on the new album ‘Dig!’ is comparable with the music on the 1994 album Big Boy. With the single ‘Dig!’, taken from the album, also a video clip is produced. Also this album is a success in several European countries, but especially in Japan. Dulfer is on tour in the Far East for the second time. In Europe, among other festivals, he plays at the Danish festival Roskilde.

The new album ‘Skin Deep!’ incorporates big-band and drum ‘n bass influences. This album was also quiet successful. Dulfer continues to do radio shows for VPRO radio and still performs every Wednesday in jazz café Alto in Amsterdam with his jazz band. These performances show that Dulfer, despite the success, never forgets his roots. Dedicated to the Japanese music market, the compilation album ‘The Greatest’ is produced.

Again, Dulfer is successfully on tour in Japan. A scheduled performance in China is cancelled due to sudden political tensions concerning the Kosovo crisis. Recordings of a concert at Club Quattro in Tokyo in 1998 appear on the live album CD ‘Papa’s Got A Brand New Sax’. A track of Dulfer is used as soundtrack of the Dutch film ‘The Delivery’.

Hans Dulfer06Dulfer celebrates his sixtieth birthday in pop music hall ‘De Melkweg’ in Amsterdam. Besides his own band ,amongst others, also his daughter Candy Dulfer, trumpeteer Saskia Laroo, pianist Michiel Borstlap, Kiers & De Vries (tenor saxophonists Wouter Kiers and Ruud de Vries) and Dutch politician Hans Dijkstal appear. ‘El Saxofon Part II’ is the last album he records for record company EMI.

Dulfer is an actor in two short Dutch TV movies that were broadcasted in june: ‘The Sound Of Drumming’ and ‘I Do not Believe’ (in which he plays the role of a corrupt manager). In July Dulfer is the final act on the North Sea Jazz Festival. Together with daughter Candy Dulfer records an album that appears on CD in Japan, early 2002.

Dulfer gains Royal honour when he becomes ‘ Knight in the Order of the Dutch Lion’. In july and august, he performs at the JVC Madarao festival in Japan. This world tour also brings him in Vietnam (late september/ early october), the USA (mid-october) and China (late october). Dulfer/Dulfer, the first duo album by Hans and Candy Dulfer, appears on September 21 in Japan. A few weeks later the album is also released worldwide. Father and daughter do a few gigs in december in Japan’s Blue Note Clubs.

Hans Dulfer07The album ‘Scissors’ is a result from the collaboration with dance producer handieMan Maurice. SENA (the Dutch organization that manages “neighboring rights” announces that Hans Dulfer is the most often played Dutch musician on foreign radio and television.

Dulfer contributes to ‘What A Difference A Day Makes’, a musical project of UNICEF in which a large number of Dutch artists and actors sing songs from the so called ‘American Songbook’. Of each sold CD € 6.50 goes to the UNICEF project. On this album Dulfer plays the song ‘Old Folks’ and plays with singer Gerard Joling. Dulfer and his band play on the afterparty in september, after the performance of the American saxophonist Pharoah Sanders in Zoetermeer. The band members are besides Dulfer, DJ Kikke (Ruben van Roon, the drummer of the Jazzmeteors), Eric Barkman (bass) and rapper MC Helder (John Helder)

Dulfer is part of the program at Jazz à Carthage in Tunisia, taking place in Tunis from 12 to 22nd April. He plays there on April 19, along with trombone player Joseph Bowie (Defunkt), pianist Bas van Lier, bass player Erik Barkman and drummer Erik Kooger.

Dulfer decides to do a ‘self release’. The album ‘Live In Breda’ is not available on CD or vinyl, but only digital, as mp3 tracks on an USB-stick.

During his performance at P60 in Amstelveen on February 15, Hans Dulfer receives from the hands of actor and friend Pierre Bokma and daughter Candy a platinum record for his album ‘Big Boy’ from 1994. Dulfer sold over 65,000 copies.

Dulfer celebrated his 75th birtday on the 28th of may with a spectacular musical party in the Amsterdam pop music hall ‘De Melkweg, Amsterdam. The whole year Dulfer is on his ‘Route 75 Tour’, with many performances, also in Japan along with daughter Candy. (taken from the official website)

Hans Dulfer04

In the 70’s, especially in Europe, there was no shortage of groups striving to merge the worlds of jazz and rock. Often the fruit of these labors seem proggishly vulgar, pedantically over-intellectualized (looking right at you, Soft Machine), or were simply train wrecks– the result of clueless musicians who understood neither jazz nor rock with any insight or subtlety, smashing them together like joyless stoners. So If I were to tell you that Dutchman Hans Dulfer’s Candy Clouds is a Jazz-Rock masterpiece and beyond, I’d understand if you required some further persuasion.

Let’s get something straight: Dulfer doesn’t even belong in the Prog-jazz ghetto with acts like Alcatraz, Xhol Caravan, and all the others. Candy Clouds’ mind-blowing brand of fusion has much more in common with the free/spiritual jazz scene in Europe, and can be easily to compared to the experimental fusion efforts of Archie Shepp or Gato Barbieri in the 70’s. It isn’t even entirely accurate to call this jazz-rock, as though the two modes of music share the spotlight equally; the music here is as Latin as it is heavy, and so this becomes a fascinating record of Spiritual Free Jazz Latin Psych. Stupendous.

I am unable to find much information on this record, or indeed much on Mr. Dulfer himself. I was inspired to do this post after Bacosco at Orgy in Rhythm dropped another sweet Dulfer joint, El Saxofon, an event which was followed by my noticing the inclusion of a 6-minute edited-down version of the title track to Candy Clouds on Jazzman’s release of Spiritual Jazz Vol. 2.

Hans Dulfer08

That title track, split into two sections on the record and totaling nearly twenty minutes, is the heart of this fine album. Part 1 opens with a giant smash of heavy guitar that sounds like early Sabbath (forgive the obviousness of this comparison– it just sounds like fucking Sabbath), trading lines with conniptions of free sax. They go back and forth a few times, until the whole things drops and it’s a heavy psychedelic Latin jam with red hot sax burning through everything. In case I am failing to make the case, let me be blunt: it is awesome, as in awe-inspiring.

Part 2 takes its time getting started, beginning above the clouds with a long dreamy section, the sax heating up to flaming as the combo descends to earth… after six or seven minutes, your flight has landed, and that huge groove from Part 1 makes a return. Bigger, deeper, groovier even than before, Dulfer’s improvisations reach a thrilling space between, say, Gato Barbieri’s warm exotica shredding and Archie Shepp’s emotional Fire Music– all while electric guitars blaze in a cloud of reverb, a piano wanders off and gets lost, and a glorious cowbell abides with wisdom.

Just as good as “Candy Clouds 1&2” are the two tracks preceding it, a guitar-based groove with jungle shadows that’s honestly just too cool to be believed, and a huge Latin jam with excellent flute acrobatics (the flautist is doing that Black Harold-y thing where he’s sort of howling into the flute as he’s playing it, whatever that’s called). The Fire Music is in full force throughout. (

One ot the finest Dutch Jazz-Rock groups from  this period …  and it wasn’t the worst time in the hisotry of music !

Recorded 17th and 18th of August 1970


Steve Boston (percussion)
Dave Duba (guitar)
Hans Dulfer (saxophone)
Martin van Duynhoven (drums)
Groentjie (percussion)
John Grunberg (percussion)
Kees Hazevoet (piano)
Appie de Hond (percussion)
Jan Jacobs (bass)
Rob van Wageningen (saxophone, flute)
Timbales, Guiro – ,
Timbales, Vibraslap [Fibre Slap] –
Steve Boston (vocals on 06.)
Groentjie (vocals on 06.),

Hans Dulfer01Tracklist:
01. King Size Davy (Dulfer) 7.49
02. Satin-A (Dulfer) 6.56
03. Candy Clouds (Part 1)  (Dulfer/Jacobs) 4.00
04. Candy Clouds (Part 2) (Dulfer/Jacobs) 13.10
05. Froggy (Dulfer) 2.27
06. Red, Red Libanon (Dulfer) 2.52



Benny Carter – Benny Carter Plays Pretty (1954)

FrontCover1Bennett Lester Carter (August 8, 1907 – July 12, 2003) was an American jazz saxophonist, clarinetist, trumpeter, composer, arranger, and bandleader. With Johnny Hodges, he was a pioneer on the alto saxophone. From the beginning of his career in the 1920s he was a popular arranger, having written charts for Fletcher Henderson’s big band that shaped the swing style. He had an unusually long career that lasted into the 1990s. During the 1980s and ’90s, he was nominated for eight Grammy Awards, which included receiving a Lifetime Achievement Award.

Born in New York City in 1907, he was given piano lessons by his mother and others in the neighborhood. He played trumpet and experimented briefly with C-melody saxophone before settling on alto saxophone. In the 1920s, he performed with June Clark, Billy Paige, and Earl Hines, then toured as a member of the Wilberforce Collegians led by Horace Henderson. He appeared on record for the first time in 1927 as a member of the Paradise Ten led by Charlie Johnson. He returned to the Collegians and became their bandleader through 1929, including a performance at the Savoy Ballroom in New York City.


In his early 20s, Carter worked as arranger for Fletcher Henderson after that position was vacated by Don Redman. He had no formal education in arranging, so he learned by trial and error, getting on his knees and looking at the existing charts, “writing the lead trumpet first and the lead saxophone first—which, of course, is the hard way. It was quite some time that I did that before I knew what a score was.”

He left Henderson to take Redman’s former job as leader of McKinney’s Cotton Pickers in Detroit. In 1932 he formed a band in New York City that included Chu Berry, Sid Catlett, Cozy Cole, Bill Coleman, Ben Webster, Dicky Wells, and Teddy Wilson. Carter’s arrangements were complex. Among the most significant were “Keep a Song in Your Soul”, written for Henderson in 1930, and “Lonesome Nights” and “Symphony in Riffs” from 1933, both of which show Carter’s writing for saxophones.


By the early 1930s, Carter and Johnny Hodges were considered the leading alto saxophonists. Carter also became a leading trumpet soloist, having rediscovered the instrument. He recorded extensively on trumpet in the 1930s. Carter’s short-lived Orchestra played the Harlem Club in New York but only recorded a handful of records for Columbia, OKeh and Vocalion. The OKeh sides were issued under the name The Chocolate Dandies.

In 1933 Carter participated in sessions with British band leader Spike Hughes, who went to New York City to organize recordings with prominent African American musicians. These 14 sides plus four by Carter’s big band, titled at the time Spike Hughes and His Negro Orchestra, were initially only issued in England. The musicians were from Carter’s band and included Red Allen, Dicky Wells, Wayman Carver, Coleman Hawkins, J. C. Higginbotham, and Chu Berry.


Carter moved to London and spent two years as arranger for the BBC Big Band.[2] In England, France, and Scandinavia he recorded with local musicians, and he took his band to the Netherlands. In these settings Carter played trumpet, clarinet, piano, alto and tenor saxophone, and provided occasional vocals. In 1938 he returned to America. He found regular work leading his band at the Savoy Ballroom in Harlem through 1941. The band included Shad Collins, Sidney De Paris, Vic Dickenson, and Freddie Webster. After this engagement he led a seven-piece band which included Eddie Barefield, Kenny Clarke, and Dizzy Gillespie.

In the middle 1940s, he made Los Angeles his home, forming another big band, which at times included J. J. Johnson, Max Roach, and Miles Davis. But these would be his last big bands. With the exception of occasional concerts, performing with Jazz at the Philharmonic, and recording, he ceased working as a touring big band bandleader. Los Angeles provided him many opportunities for studio work, and these dominated his time during the decades. He wrote music and arrangements for television and films, such as Stormy Weather in 1943. During the 1950s and ’60s, he wrote arrangements for vocalists such as Louis Armstrong, Ray Charles, Ella Fitzgerald, Peggy Lee, and Sarah Vaughan. On something of a comeback in the 1970s, Carter returned to playing saxophone again and toured the Middle East courtesy of the U.S. State Department. He began making annual visits to Europe and Japan.

BennyCarter06In 1969, Carter was persuaded to spend a weekend at Princeton University by Morroe Berger, a sociology professor at Princeton who wrote about jazz. This led to a new outlet for Carter’s talent: teaching. For the next nine years he visited Princeton five times, most of them brief stays except for one in 1973 when he spent a semester there as a visiting professor. In 1974 Princeton gave him an honorary doctorate. He conducted teaching at workshops and seminars at several other universities and was a visiting lecturer at Harvard for a week in 1987. Morroe Berger wrote Benny Carter – A Life in American Music (1982), a two-volume work about Carter’s career.

Time had little effect on Carter’s abilities. During the 1980s he wrote the long composition Central City Sketches which was performed at Cooper Union by the American Jazz Orchestra. Another long composition, Glasgow Suite, was performed in Scotland. Lincoln Center commission him to write “Good Vibes” in 1990. The National Endowment for the Arts gave him a grant that led Tales of the Rising Sun Suite and Harlem Renaissance Suite. This music was performed in 1992 when he was 85 years old.


Carter had an unusually long career. He was perhaps the only musician to have recorded in eight different decades. Another characteristic of his career was its versatility as musician, bandleader, arranger, and composer. He helped define the sound of alto saxophone, but he also performed and recorded on soprano saxophone, tenor saxophone, trumpet, trombone, clarinet, and piano. He helped establish a foundation for arranging as far back as 1930 when he arranged “Keep a Song in Your Soul” for Fletcher Henderson’s big band. His compositions include the novelty hit “Cow-Cow Boogie” recorded by Ella Mae Morse, and the expansive Central City Sketches, written when he was 80 years old and recorded with the American Jazz Orchestra.

Carter died at the age of 95 in Los Angeles at Cedars-Sinai Medical Center on July 12, 2003 from complications of bronchitis.

On June 25, 2019, The New York Times Magazine listed Benny Carter among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.


He was inducted into the Down Beat Jazz Hall of Fame in 1977. In 1978, he was inducted into the Black Filmmakers Hall of Fame. In 1980 he received the Golden Score award of the American Society of Music Arrangers and Composers. His 75th birthday was commemorated by a radio station in New York that played his music nonstop for over a week. The National Endowment for the Arts gave him the NEA Jazz Masters Award for 1986.

He was given a Grammy Lifetime Achievement Award in 1987. In 1994 he won a Grammy Award for his solo on “Prelude to a Kiss” and received a star on the Hollywood Walk of Fame.

In 1989 Lincoln Center celebrated Carter’s 82nd birthday with a set of his songs sung by Ernestine Anderson and Sylvia Syms. In 1990, he was named Jazz Artist of the Year in the Down Beat and JazzTimes polls. He was a Kennedy Center Honoree in 1996 and received honorary doctorates from Princeton (1974), Rutgers (1991), Harvard (1994), and the New England Conservatory of Music (1998). In 2016 the National Museum of American History made Carter the subject of its Jazz Appreciation Month poster.

In 2000, he was given the National Medal of Arts by President Bill Clinton. (wikipedia)


And here´s one of his really great recording:

Billboard in 1955 wrote: “This is mainly ‘mood music’ in the jazz idiom, and highly effective.”

In other words: A masterpiece !

Recorded September 14 and June 23, 1954


Don Abney (piano)
Louis Bellson (drums)
Benny Carter (saxophone)
George Duvivier (bass)
Ray Brown (bass on 06)
Herb Ellis (guitar on 06.)
Bill Harris (trombone on 06.)
Buddy Rich (drums on 06.)
Oscar Peterson (piano on 06.)

Alternate front+backcover from Brazil:

01. Moon Glow (Hudson/Mills/DeLange) 2.47
02. My One And Only Love (Wood/Mellin) 3.55
03. Our Love Is Here To Stay (Gershwin) 3.38
04. Laura (Mercer/Raksin) 7.41
05. Tenderly (Lawrence/Gross) 3.41
06. Unforgettable (Gordon) 3.24
07. Ruby (Parish/Rosenheld) 4.36
08. Moon Song (Coslow/Johnston) 4.01
09. This Can´t Be Love (Hart/Rodgers) 3.26




Roger Chapman – Mailorder Magic (1980)

FrontCover1Mail Order Magic is the second solo album by singer Roger Chapman and his then band The Shortlist, released in 1980.

Roger Chapman’s second studio album, Mail Order Magic, was recorded under some tough conditions for the singer. Punk and new wave were sweeping England of any “oldies” acts, and Chapman was having trouble taking root in his own country. In addition, the label to which he had signed was folding, giving him a deadline to finish and release the album. Meanwhile Chapman, still high from the success of continental tours, tried to up the ante by recording with better players, including old Family-mate John Wetton. But lack of finances bumped the sessions from studio to studio, and Terry Barham and Paul Smykle (notable for reggae production) were brought in to stitch together the recordings into a pressable album. Considering all of this, the results were fantastic. The hard-edged rock, especially “Unknown Soldier,” suited Chapman’s edgy voice best. The Shortlist also served up R&B and even a little experimental music (“Ground Floor” sounds like an early demo of “Higher Ground”). Chapman would find a more comfortable career down the road, but the material would rarely be as convincing and as powerful as this. (by Patrick Little)

Inlet02AIt’s hard to keep reviews of obscure 41-year-old recordings in context. In some ways, this CD has not aged as well as others in Roger Chapman’s extensive solo discography, yet one has to recall the dreadful state of corporate-run FM radio back then (and now).
This recording is one of the better ones from Chappo’s collaborations with guitarist Geoff Whitehorn. Standouts include Unknown Soldier (Can’t Get To Heaven), Mail Order Magic, Making The Same Mistake, Barman, Higher Ground, and Ground Floor. Poli Palmer, another Family alum, co-wrote Barman, Higher Ground, and Ground Floor, and John Wetton kicks in some nice bass chops on a couple of tracks.


Whitehorn delivers consistent, solid lead guitar, showing some flashes of brilliance (but ultimately making me miss Charlie Whitney’s lead all the more).
Chappo is the main attraction, of course, and he delivers the goods, really shining on the title cut, Unknown Soldier, and He Said, She Said. (by Loce_The_Wizard)


Les Binks (drums)
Roger Chapman (vocals, harmonica)
John Halsey (drums)
Tim Hinkley (keyboards)
Mitch Mitchell (drums)
Poli Palmer (synthesizer)
Jerome Rimson (bass, background vocals)
John Wetton (bass)
Geoff Whitehorn (guitar)

01. Unknown Soldier (Chapman) 3.47
02. He Was, She Was (Chapman/Whitehorn) 4.48
03. Barman (Chapman/Palmer) 5.28
04. Right To Go (Chapman) 4.06
05. Ducking Down (Chapman/Whitehorn) 3.56
06. Making The Same Mistake (Chapman/Whitehorn) 5.00
07. Another Little Hurt (Chapman/Hinkley) 3.54
08. Mail Order Magic (Chapman) 4.30
09. Higher Ground (Chapman) 4.16
10. Ground Floor (Chapman/Palmer) 1.58
11. Fortune Teller (unreleased studio track) (Neville) 3.09
12. Higher Ground (demo version) (Chapman) 3.21
13. Unknown Soldier (live) (Chapman) 4.49
14. Ducking Down (live) (Chapman/Whitehorn) 5.23
15. He Was, She Was (live) (Chapman/Whitehorn) 7.28


More from Roger Chapman:

Claude Bolling Trio – Jazz á la francaise (1984)

LPFrontCover1Pianist, composer, producer, and bandleader Claude Bolling enjoyed his first successes as a kingpin in the mainland European trad jazz movement of the 1950s and ’60s. A skilled pianist who was heavily influenced by Duke Ellington, Teddy Wilson, Earl Hines, and Art Tatum, he also persisted in performing ragtime and old-style jazz during the years when U.S. and European pop culture was dominated by Elvis Presley and the Beatles. Beginning in 1975, Bolling created his own personal micro-genre of classical crossover chamber jazz, composing and recording entire suites that featured several of the world’s most highly acclaimed virtuosi. While decades of devotion to ragtime, blues, New Orleans jazz, boogie-woogie and swing have earned him a faithful following throughout much of Europe, Bolling is best known in North America for his numerous albums of accessibly presented suites written and arranged specifically for classical soloists and a mainstream jazz rhythm section.

ClaudeBolling1959Claude Bolling was born in Cannes, France on April 10, 1930. A child piano prodigy, his primary jazz influence was Duke Ellington. The small band he assembled in 1945 drew inspiration from old time New Orleans jazz legends like Jelly Roll Morton, King Oliver, Louis Armstrong, and Sidney Bechet as well as the groups led by Ellington sidemen Johnny Hodges, Rex Stewart, Barney Bigard, and Cootie Williams. This blend of interests would soon place him on common ground with his almost exact contemporary, Britain’s premier trad jazz bandleader, Chris Barber. In 1948 Bolling accompanied legendary blues vocalist Bertha Chippie Hill and subsequently gigged with trumpeters Roy Eldridge and Cat Anderson, cornetist Rex Stewart, saxophonist Paul Gonsalves, and vibraphonist Lionel Hampton. He formed and began leading his own orchestra in 1955, eventually naming it the Show Bizz Band.

During the 1960s Bolling demonstrated a keen business sense by supplementing his jazz oriented recording and bandleading activities with hectic and, one hopes, lucrative service as creator, producer, and manager of Les Parisiennes, a female pop vocal quartet who specialized in rapid-fire novelty numbers, synchronized movement, and brightly patterned mod-a-go-go outfits. He also composed quite a lot of incidental and theme music for films and television (including “Borsalino,” “Netchaiev Est de Retour,” and “Les Brigandes du Tigre”), while expanding his knowledge and interpretive range to include early modern jazz pianists like Erroll Garner, Thelonious Monk, Oscar Peterson, George Shearing, and Horace Silver in addition to swing and stride favorites Fats Waller, Count Basie, and Willie “The Lion” Smith.

ClaudeBolling4When the cheery opening bars of “Baroque and Blue” began emanating from radios and stereo phonographs throughout the U.S. in 1975, both Bolling and flutist Jean-Pierre Rampal quickly became household names among listeners who enjoyed both jazz and European chamber music as some of the melodies seemed to reflect the sunny influence of Jacques Ibert. The mingling of these currents worked nicely on the album Suite for Flute and Jazz Piano Trio, and the record sold well, not least for its clever cover illustration depicting an anthropomorphized piano and a substantially upsized flute relaxing together in a hotel bed. The fact that the flute was blowing smoke rings gave the entire picture a humorously post-coital twist.

Bolling returned to the jazz/classical format many times, teaming up with a series of star soloists including guitarist Alexander Lagoya, violinist Pinchas Zukerman, trumpeter Maurice Andre, cellist Yo-Yo Ma, flautist Elana Duran. and pianists Emanuel Ax and Jean-Bernard Pommier. Bolling’s two-piano inventions were composed in sonata form, and a “Suite for Piano and Chamber Orchestra” also emerged from his fertile imagination. In later years Bolling collaborated with jazz violinist Stéphane Grappelli and vocalist Guy Marchand, hosted numerous tributes to Duke Ellington and led a successful big band. His perseverance and longevity were rewarded with renewed interest in his many accomplishments, including of course Les Parisiennes, whose complete works were reissued shortly after the turn of the millennium in several eye-catching retrospective collections. Claude Bolling died on December 29, 2020 in Garches, France; he was 90 years old. (by Arwulf)


Known more for his “suites” than jazz sessions Claude seems right at home in a trio setting. His French companions hold their own as he swings his way across the keyboard and leads them into the night. The music touches on the roots of jazz as seen through the eyes of one who has played all around the edges and has now made the decision to sit right down in the middle of the music and play. The cover art captures some of this feeling with its sense of motion and tension. Claude should step out more often.(

This is good. You will not come away from it thinking it was a life-changing experience– but you should be entertained and amused for the duration. “Blue Kiss From Brazil” might be the place to start? (John Swinney)


Claude Bolling (piano)
Jean-Luc Dayan (drums)
Jean François Rougé (bass)
Steve La Spina (bass on 04. + 05.)

01. À La Française 9.36
02. Garnerama 5.27
03. Bach To Swing 5.00
04. Etude In Blue 5.19
05. Not This Time 5.44
06. Blue Kiss From Brazil 7.15
07. Fiancées En Folie 3.22

Music composed by Claude Bolling




Eric Clapton – Pilgrim (1998)

SpecialEditionBookletFrontCover1Pilgrim is the thirteenth solo studio album by the British rock musician Eric Clapton, released on 10 March 1998 for Reprise Records. The album features all-new studio-recorded material, the first to do so since Clapton’s 1989 hit album Journeyman and was nominated for several music awards. Although most of the critics responded negatively to the 1998 studio effort, it was one of Clapton’s most commercially successful albums, reaching the Top 10 in twenty-two countries.

The album was recorded during 1997 in both Ocean Way and the Olympic Studios. The release of Pilgrim marked Clapton’s first album of all-new original studio material since 1989’s Journeyman album. When being interviewed by Larry King in February 1998, Clapton explained how the album title came to be: “Well, it’s kind of – I suppose – there’s a track on the album called ‘Pilgrim’ which came first. And when I came to title the album I used that track as a key point to go from, because I thought it was a good way of actually following the thread from Journeyman which was the same kind of meaning, really. Just looking at my life as a musician and a lot of other respects. It is autobiographical. And I see myself as kind of being like a lone guy on a quest”. The album cover and packaging for Pilgrim was originally conceived by Eric Clapton himself. However, when Japanese manga and anime artist Yoshiyuki Sadamoto, who is best known as the character designer for Neon Genesis Evangelion, got to see the work, he executed Clapton’s idea and designed the cover and packaging, which was approved by Clapton and used for the final release.

In his 2007 autobiography, Clapton noted that he asked his drummer, Steve Gadd, how he would feel about making the saddest record of all time. Gadd said he could work on Clapton’s idea and the British recording artist chose to start working on the new project, although Clapton felt it could be a worrying time recording the saddest record that has ever been made. Because “My Father’s Eyes” and “Circus” were the only finished tunes Clapton had when going into the studio, he wrote several new songs stating he worked nearly a whole year every day and night to record good songs with perfect detail. Clapton calls Pilgrim one of his favourite albums because he put so much passion and hard work into making it. During that time, Clapton parted with his long-time manager Roger Forrester, mainly because Clapton took so long recording the album and paying too much money on the album, renting several studios for nearly a whole year.

According to the music website AllMusic, the 1998 studio release belongs to the musical genres of both pop and rock music, in styles of album rock, contemporary pop and rock as well as adult contemporary music. Pilgrim brings, so the music website says, a slick, smooth, detached, laid-back, mellow, refined, reflective, stylish, sentimental and reserved mood with it. The Billboard magazine, however, thinks, the album definitely belongs to the music genre of pop music. The album experiments with drum machines and certain sounds like synthesizers, guitars, strings reminiscent of R&B music. The album features a lot of synth-keyboard sounds and a twenty-piece orchestra on some of the tunes. The music website CD Shakedown thinks the album is not rock and not blues, but full-on contemporary pop music.[8] Rolling Stone calls the album’s material a “loosely themed soul-song cycle in the tradition of Marvin Gaye [with] effective modern contexts”. Pilgrim features 14 tracks of a total 75 minutes and 33 seconds duration. Twelve of the album’s tracks were either written completely alone by Clapton, or at least co-written by the British rock musician. The songs “Circus” and “My Father’s Eyes” were written originally for Clapton’s 1992 Unplugged live album. Although Clapton recorded both of the songs in the acoustic situation, he never officially released the recordings until the deluxe edition of the live album was released in 2013. In his autobiography, Clapton noted, the reason for the delayed release was because he felt the songs were not quite finished. The titles on Pilgrim are wide open musically, as the album includes acoustic-style tracks such as “Fall Like Rain”, ballads like “Needs His Woman” and rock tracks like “She’s Gone”. “Broken Hearted”, a song Clapton wrote with Greg Phillinganes, features synthesizers; it was performed as a live acoustic version during the Montserrat charity concert at the Royal Albert Hall in 1997. Clapton resurrected the song with John Mayer for the CNN Hurricane Relief in 3 September 2005. The album features only two cover versions of songs: “Born in Time”, which was written by Bob Dylan and sent to Clapton by Dylan, as well as “Going Down Slow”, a blues standard, written and recorded by St. Louis Jimmy Oden.

The album was released on 10 March 1998 under Reprise Records, a sublabel of Warner Bros. Records for worldwide territories on compact disc, grammophone record and music cassette. Over the years, Pilgrim was re-released in order to meet the ordering quantity. For example, in 2011 and 2013, the record was re-released on 12″ vinyl with better quality pressings, and was in 2014 re-released by Audio Fidelity Records as a Super Audio CD. The album was also released alongside “Change the World” as a so-called extended play on 2 February 1999 for WEA International. On 4 August 2008, Welt & Placket released the 1998 record along with 2001’s Reptile as a double album.[16] To help both the album and single sales, Clapton toured the United States and Europe between March and December 1998 on his Pilgrim World Tour, followed by the Japan leg of the tour in November 1999. In Germany, the tour was promoted by Volkswagen.


The first single off the Pilgrim album was “My Father’s Eyes”, which was released along with the B-side of the instrumental of “Inside of Me” as both a compact disc single and maxi compact disc single on 9 February 1998. The second single to be released was the rock title “She’s Gone”. Although the track was not released on either compact disc, digital, cassette or grammophone record formats, it was made available in April 1998 for radio stations as an airplay single. Two months later and three months after the album’s official release, the third single, titled “Circus” was released as a compact disc release. The single was followed by “Born in Time”, released on 10 July 1998, also on compact disc format. The album’s last single, “Pilgrim”, was released in November 1998.

AllMusic critic Stephen Thomas Erlewine awards the release two out of five possible stars, noting the album “tries to reach a middle ground between the two extremes ‘Tears in Heaven’ and ‘Change the World’, balancing tortured lyrics with smooth sonic surfaces”. Erlewine goes on in his review, criticising both Eric Clapton’s and Simon Climie’s production: “The problem lies in the production, which relies entirely on stiff mechanical drumbeats, gauzy synthesizers, and meandering instrumental interludes. These ingredients could result in a good record, as ‘Change the World’ demonstrated, but not here, due to [the album’s] monotonous production”. The music critic also notes Clapton’s singing and playing is weird on Pilgrim, noting “Clapton doesn’t want to shake things up – his singing is startlingly mannered, even on emotionally turbulent numbers like ‘My Father’s Eyes’ or ‘Circus’. Even worse, he’s content to take a back seat instrumentally, playing slight solos and fills as colorless as the electronic backdrops”. Comparing the album to the hit releases Journeyman, From the Cradle and Unplugged, Erlewine finishes his review for AllMusic, calling the 1998 studio effort full of “blandness” and “disappointing”.


Critics from the music website CD Shakedown positively note, the album “may put off some of Clapton’s fans. But the gems are here, including the leadoff single, ‘My Father’s Eyes’ and ‘Circus’ as [Pilgrim] delivers your money’s worth [and has] high points”. However, the reviewers criticize the album’s plus 70 minutes length, finding it “more manageable if Clapton had released it as a double-disc package”.[8] Rolling Stone journalist David Wild recalls: “Pilgrim will not thrill those looking for From the Cradle II – most of this state-of-the-charts album sounds absolutely nothing like any record Muddy Waters ever made. But it’s still a blues album in the sense that it captures the sound of a man trying to tame hellhounds from within and without. In the end, Pilgrim is not purely anything, except purely moving”. He awarded the release four out of five possible stars. Natalie Nichols from the Los Angeles Times rates Pilgrim with two out of four possible stars, reviewing it with the predicate “fair” and thinks the majority of tracks on the release were not that thought through, however, two songs were: “‘My Father’s Eyes’, Clapton’s rumination on maturity, hold their own against the wall of sound. While his guitar playing is kept on its usual leash here, he lets loose occasional bursts of staccato blues licks, as on the funky ‘She’s Gone’, which musters up some sass to offset all the heartbreak”. Nichols disliked the album’s “schmaltzy ballads” the most. Robert Christgau rated Pilgrim with a “C+”.


Critic Harry Sumrall from MTV thinks the album “proclaimes” Clapton’s “Clapton is God” reputation. Billboard magazine’s Paul Verna thinks, nearly all the material on Pilgrim falls short of what Clapton’s fans expect. He goes on in his review, stating Pilgrim sounds like a demo recording, however, Verna also likes some of the album’s tracks, but calls Pilgrim a release, which does not live up to Clapton’s giant legacy. Critics from the music website Sputnikmusic awarded the release with only two points, rating it “poor” by saying: “Pilgrim is a massive chore to listen to. It’s half-hearted, boring, it doesn’t rock, the lyrics are bad, and both the music and vocals are so professional they’re bland”. For their review, the critics explained the bad remarks of the album, starting with Clapton’s vocals, which are “bad”, because “Clapton sings every song in a very smooth, flat manner”. Going on in their review, Sputnikmusic notes the lyrics of every song are “horrendous, torturously clichéd, that sound machine-generated”. By finishing the review, the critics note the material on the album “does not rock in any way whatsoever.


In fact, it’s more adult contemporary/bad R&B than anything approaching rock”.[27] Music journalists from the People magazine think the album occasionally offers “moments of surpassing beauty”, but note “at 75 minutes, Pilgrim is one long, slow slog, interrupted by only two or three uptempo tunes. Listening is like sitting through a film you much admire but fervently wish would hurry up and end”. Critics from Entertainment Weekly recall: “It’s impossible to fault [Clapton] for any ongoing numbness from his loss. But the truly sad thing about Pilgrim – for Clapton and maybe all of us – is that not even music may have the power to heal certain types of pain”. The website rated the release with a “B-“. New York Times’ critic Stephen Holden notes: “The best songs on this bleakly eloquent album of orchestrated blues meditations express a choked-up grief and despair that slices to the bone. The year’s most underrated album. Killer cuts: ‘Pilgrim’ and ‘Inside of Me'”.(wikipedia)

Original frontcover:

And “She´s Gone” is a real killer – and “Theme from A Movie That Never Happened” is a nice acoustic tune (with orchestra)

And I can offer you the Special Edition by Volkswagen (1998 German limited edition 14-track promotional only CD box set housed in a superb 12″ x 12″ deluxe slipcase box, ring bound with a booklet of photos, biography & discography information. This item was originally only available from Volkswagen and never commercially released – stunning!).


Paul Brady (tin whistle, background vocals on 04.)
Dave Bronze (bass on 13.)
Paul Carrack (organ on 03., 05., 07., 10. + 12., piano on 07.)
Eric Clapton (guitar, vocals)
Simon Climie (keyboards  on 01., 02., 05. – 10., 12. + 14., synthesizer bass on 02., background vocals on 02., 03., 13.,  (2), drum programming on 03., 04., 10., 13., keyboard programming on 04.)
Nathan East (bass on 01., 04., 06., 08. + 11.)
Kenneth “Babyface” Edmonds (background vocals on 09.)
Andy Fairweather Low (guitar on 01.)
Steve Gadd (drums on 01., 04., 12. + 13.)
Luís Jardim (bass on 02., percussion on 02. + 09.)
Pino Palladino (bass on 05., 07., 09. + 12.)
Greg Phillinganes (keyboards on 04. + 11.)
Tony Rich  (background vocals on 11.)
Joe Sample (piano on 01. + 13.)
Chris Stainton (organ on 01. + 13)
Paul Waller (drum programming on 01., 02., 04. – 09., 11., 12. + 14.)
Chyna Whyne (background vocals on 01. – 06., 12. – 14.)
The London Session Orchestra (string arrangments by Nick Ingman)
Ruth Kelly-Clapton (spoken verse on 14.)
01. My Father’s Eyes (Clapton) 5.24
02. River Of Tears (Clapton/Climie) 7.22
03. Pilgrim (Clapton/Climie) 5.50
04. Broken Hearted (Clapton/Phillinganes) 7.52
05. One Chance (Clapton/Climie) 5.56
06. Circus (Clapton) 4.12
07. Going Down Slow (Oden) 5.20
08. Fall Like Rain (Clapton) 3.50
09. Born In Time (Dylan) 4.42
10. Sick And Tired (Clapton/Climie) 5.44
11. Needs His Woman (Clapton) 3.46
12. She’s Gone (Clapton/Climie) 4.46
13. You Were There (Clapton) 5.32
14. Inside Of Me (Clapton/Climie) 5.26
(take from the Japanes edition)
15. Theme from A Movie That Never Happened (Clapton) 3.35
(taken from the Japanes edition)



More from Eric Clapton:

Van Morrison – Stadtpark Hamburg (1989)

FrontCover1Sir George Ivan Morrison OBE (born 31 August 1945)[1] is a Northern Irish singer-songwriter, instrumentalist and record producer. His professional career began as a teenager in the late 1950s, playing a variety of instruments including guitar, harmonica, keyboards and saxophone for various Irish showbands, covering the popular hits of that time. Van Morrison rose to prominence in the mid-1960s as the lead singer of the Northern Irish R&B and rock band, Them, with whom he recorded the garage band classic “Gloria”. His solo career began in 1967, under the pop-hit orientated guidance of Bert Berns with the release of the hit single “Brown Eyed Girl”. After Berns’s death, Warner Bros. Records bought out his contract and allowed him three sessions to record Astral Weeks (1968). Though this album gradually garnered high praise, it was initially a poor seller.

Morrison has a reputation for being at once stubborn, idiosyncratic, and sublime. His live performances at their best are seen as transcendental and inspired, while some of his recordings, such as the studio albums Astral Weeks and Moondance, and the live album It’s Too Late to Stop Now, are highly acclaimed. His albums have – with few exceptions – performed well in Ireland and the UK, with more than forty hitting the UK top forty. He has scored eighteen top 40 albums in the US, twelve of them between 1997 and 2017.


Moondance (1970) established Morrison as a major artist, and he built on his reputation throughout the 1970s with a series of acclaimed albums and live performances. He continues to record and tour, producing albums and live performances that sell well and are generally warmly received, sometimes collaborating with other artists, such as Georgie Fame and The Chieftains.

Much of Morrison’s music is structured around the conventions of soul music and R&B. An equal part of his catalogue consists of lengthy, spiritually inspired musical journeys that show the influence of Celtic tradition, jazz and stream-of-consciousness narrative, such as the album Astral Weeks. The two strains together are sometimes referred to as “Celtic soul”. He has received two Grammy Awards, the 1994 Brit Award for Outstanding Contribution to Music, the 2017 Americana Music Lifetime Achievement Award for Songwriting and has been inducted into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. In 2016, he was knighted for services to the music industry and to tourism in Northern Ireland. He is known by the nickname Van the Man to his fans. (wikipedia)


And if you love the music from Van Morrison, then is this brilliant live recording: This is the complete concert as broadcasted by the German radio staztion NDR 3.

The first two songs were without Van Morrison, but with a real fine Georgie Fame. All announcments are in German, of course.

This is an absolute hightlight in the history of Van Morrison bootlegs ! Listen and enjoy !

Recorded live at the Stadtpark, Hamburg, Germany, June 4, 1989


Richie Buckley (saxophone)
Neil Drinkwater (keyboards)
Dave Early (drums)
Georgie Fame (organ, vocals)
Steve Gregory (saxophone)
Van Morrison (vocals, guitar, harmonica, saxophone)
Ronnie Johnson (guitar)
Brian Odgers (bass)

Alternate frontcovers:

01. Yeah Yeah (Hendricks/Patrick/Grant) 5.35
02. Funny How Time Slips Away (Nelson) 5.03
03. Whenever God Shines His Light (Morrison) 4.50
04. Tore Down A La Rimbaud (Morrison) 3.47
05. Vanlose Stairway (Morrison) 4.01
06. It’s All In The Game (Dawes/Sigman) 4.53
07. Orangefield (Morrison) 3.26
08. When Will I Ever Learn To Live In God (Morrison) 4.38
09. Help Me (Williamson II/Bass/Dixon) 5.12
10. Northern Muse (Solid Ground) (Morrison) 5.26
11. These Are The Days (Morrison) 4.08 
12. Summertime In England (Morrison) 8.39
13. I’d Love To Write Another Song (Morrison) 2.41
14. Caravan (Morrison) 5.59
15. Moondance (Morrison) 9.16



More from Van Morrison:

Various Artists – Greek Folk Music Volume II (1976)

FrontCover1Greek folk music (Greek: παραδοσιακή μουσική, “traditional music”; also δημοτικά τραγούδια, “folk songs”) includes a variety of Greek styles played by ethnic Greeks in Greece, Cyprus, Australia, the United States and elsewhere. Apart from the common music found all-around Greece, there are distinct types of folk music, sometimes related to the history or simply the taste of the specific places.

This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2018) (Learn how and when to remove this template message)
A Greek of the 18th century playing tambouras.

The Greek folk music, in Greek Demotiko or Paradosiako, refers to the traditional Greek Flutespopular songs and music of mainland Greece and islands dated to the Byzantine times. It was the sole popular musical genre of the Greek people until the spread of rebetiko and laiko in the early 20th century, spread by the Greek refugees from Asia Minor. This kind of music evolved from the ancient and the medieval Greek era and was established until the present day.

The lyrics are based on Demotiki (folk) poetry (usually by anonymous lyricist) and popular themes are love, marriage, humor, death, nature, water, sea, religious, about klephts, armatoloi, various war fighters or battles etc

The songs are played mainly in the following tempos: Syrtos (various versions), Kalamatianos, Tsamiko, Ballos, Sousta and Pentozali (Crete).

Some notable folk songs include “Itia”, “Milo mou kokkino”, “Kontoula lemonia”, “Mou parigile to aidoni”, “Enas aetos”, “Kira Vangelio”, “Gerakina”, “Saranta palikaria” and from nisiotika “Ikariotikos”, “Samiotisa”, “Thalassaki”, “Armenaki”, “Amorgos Sousta”, “Dirlada”, “Lygaria”, “Psaropoula”, such as “Tilirkiotissa” and “Psintri Vasilitsia mou” (Cyprus). (wikipedia)

Ioanna Papantoniou (b. 1936) created the Peloponnesian Folklore Foundation in 1974 to collect and preserve artifacts from Greece’s disappearing traditional and folk cultures, including costumes, embroideries, jewelry, tools, etc., which where exhibited in the museum she opened in Nafplio in 1981. The Foundation also published four outstanding LPs of Greek village music between 1975 and 1979. (


And here´s Volume II of this editionand we can hear music from Macedonia – Thrace – Epirus – Peloponnesus – Dodecanese and Asia Minor.


Listen and enjoy this music … sometimes strange, but most of the time fascinating … and sometimes the music sounds like Irish Folk (listen to “Spoon Dance”)


Many musicians from Greece (check the booklet)



Ήπειρος (Epirus)
01. Σκάρος (Skaros) 1.43
02. Μέσα-Έξω (Méssa-exó) 3.42

Δωδεκάνησα – Κάρπαθος (Dodecanese – Karpathos)
03. Ζιμπούλι (Zimbouli) 3.07
04. Πάνω Χορός (Pano Chorós) 3.25

Θράκη – Κύμη (Thrace-Kimi Rhodope):
05. Σκοπός (Sheperd’s Tune) 1.48

Μακεδονία – Πρόμαχοι Και Νάουσα (Macedonia-Promachi And Naoussa) 
06. Σαράντα Πέντε Ή Τρίπατι (Saranda Pénde Or Tripati) 2.14

Μακεδονία – Προσωτσάνη Δράμας (Macedonia-Prossotsani Drama)
07. Στον Ίσβορο Ανέβαιναν (Stón Isvoro Anévenan) 2.03
08. Κάτω Στην Άσπρη Πέτρα (Kato Stin Aspri Petra) 2.17

Μακεδονία – Ξηροπόταμος Δράμας (Macedonia-Xiropotamos Drama)
09. Καρσί (Ελαφρύ Και Βαρύ) (Karsi (Light And Heavy)) 3.23
10. Παρδαλά Τσουράπια (Pardala Tsourapia) 2.11
11. Χασάπικος Ή Χασαπιά (Chassapicos Or Chassapia) 1.58

Πελοπόννησος – Ν. Επίδαυρος (Peloponnesus-N.Epidaurus)
12. Ποιμενικό (Sheperd’s Tune) 1.40

Μικρά Ασία – Σίλλη Ικονίου (Asia Minor-Iconion Silli)
13. Χορός Κουταλιών (Spoon Dance) 3.17





A pic from my last trip to Greece (Crete):

Beck, Bogert & Appice – Kennington Oval (Live In London) (1972)

FrontCover1John Voorhis “Tim” Bogert III (August 27, 1944 – January 13, 2021) was an American musician. He graduated from Ridgefield Memorial High School in his hometown of Ridgefield, New Jersey in 1963. As a bass guitarist and vocalist he was best known for his powerful vocal ability and his fast runs, fluid agility and ground-breaking sound on his Fender Precision bass. He was one of the pioneers of using distortion with his bass to help it cut through the mix with the low-powered amps of his time which also imparted a very sharp-edged sound to it. He was a frequent collaborator with drummer Carmine Appice; the duo performed in such bands as Vanilla Fudge, Cactus and the power trio Beck, Bogert & Appice.

Tim had one son, his only child, John Voorhis Bogert IV known as Freddy, who lives in Honolulu with his wife Kerri and daughter, Lylah.

Vanilla Fudge was formed by Tim Bogert along with Mark Stein, Vince Martell, and Carmine Appice. They recorded five albums during the years 1967–69, before disbanding in 1970. The band has reunited in various configurations over the years.


In 1970 Bogert formed the rock band Cactus with drummer Carmine Appice, guitarist Jim McCarty and lead vocalist Rusty Day. He then played with guitarist Jeff Beck, after the second Jeff Beck Group had disbanded in 1972 and eventually became a member of the power trio Beck, Bogert & Appice, late in 1972. As a member of the post-second Jeff Beck Group, also known as Jeff Beck Group, he toured Europe, Japan and the U.S. from January 1972 until January 1974. In late 1975, he played bass guitar on Bo Diddley’s The 20th Anniversary of Rock ‘n’ Roll all-star album.


Bogert then joined up with Bobby and the Midnites, a musical side project assembled by guitarist and vocalist Bob Weir of The Grateful Dead. Despite touring with the group, Bogert left before their eponymous album was released and was replaced by Alphonso Johnson. He then joined UK group Boxer and played on their final album “Absolutely” in 1977 – he had co-writing credits on three tracks on this album. The album and subsequent tour met with an indifferent response and the band had folded by 1978. During 1981 Bogert toured with guitarist Rick Derringer and released an album Progressions. He recorded his second album Master’s Brew in 1983 and recorded Mystery with Vanilla Fudge in 1984. In 1981 Bogert became a faculty member at the Musicians Institute in Hollywood. In 1993 he worked with the Japanese guitarist Pata, recording the album Pata.


In early 1999 The Hollywood Rock Walk of Fame recognised Tim Bogert’s contribution to rock history. That year, he teamed up with Appice and Char to tour Japan in a unit called CB&A, with a live album released the following year.[5] Later in 1999 Bogert worked with Triality, and Shelter Me. In 2000 Bogert and Carmine Appice formed the power trio DBA with Rick Derringer and toured with Vanilla Fudge.

During 2009 Bogert joined blues rock trio Blues Mobile Band and recorded “Blues Without Borders” (2009) in Los Angeles.[citation needed]

In 2010 Bogert, with Mike Onesko on guitar and vocals and Emery Ceo on drums (both from the Blindside Blues Band), recorded Big Electric Cream Jam, a 10-track live tribute to Cream Live at The Beachland Ballroom Euclid Ohio.


In early 2014 Bogert joined hard rock band Hollywood Monsters where he played on the album Big Trouble (on three tracks) which was released in 2014 on Mausoleum Records. The album features Steph Honde on vocals and guitars, Vinny Appice on drums, Don Airey on keyboards and Paul Di’Anno on lead vocals on the bonus track.[6]
In 2010, Bogert “reluctantly” retired from touring due to a motorcycle accident. He died on January 13, 2021, from cancer. (wikipedia)


“I loved Tim like a brother. He will be missed very much in my life. I will miss calling him, cracking jokes together, talking music, and remembering the great times we had together, and how we created kick-ass music together,” Appice wrote Wednesday. “Perhaps the only good thing about knowing someone close to you is suffering a serious illness, is you have an opportunity to tell them that you love them, and why you love them. I did that, a lot. I was touched to hear it said back to me. Nothing was left unsaid between us and I’m grateful for that. I highly recommend it. Rest in peace, my partner. I love you. See you on the other side.”

And here´s as a tribute a very good soundboard recording with Beck, Bogert & Appice …

Thanks to the original uploader; and to kmr_78 for keeping the show alive at Dime.

Enjoy the power of this wonderful trio !

Recorded live at the Kennington Oval, London, UK; October 9, 1972
Very good soundboard.


Carmine Appice (drums, vocals)
Tim Bogert (bass, vocals)
Jeff Beck (guitar)

Alternate front + backcover:

01. Superstition (Wonder) 5.49
02. Livin’ Alone (Appice/Beck/Bogert) 10.02
03. People Get Ready (Mayfield) 2.56
04. Lady (Appice/Hitchings/Beck/French/Bogert) 7.14
05. Morning Dew (Dobson) 9:43
06. Plynth (Hopkins/StewartWood) / Shotgun (Dewalt) / Bass Solo (Bogert) (incomplete) 10.37




Les Dudek – Ghost Town Parade (1978)

FrontCover1Les Dudek (born August 2, 1952, at Naval Air Station, Quonset Point, Rhode Island, United States) is an American guitarist, singer and songwriter.

In addition to his solo material, Dudek has played guitar with Steve Miller Band, The Dudek-Finnigan-Krueger Band, Stevie Nicks, Cher, Boz Scaggs, The Allman Brothers Band, as well as Maria Muldaur, Bobby Whitlock, Mike Finnigan, Jim Krueger and Dave Mason.

Dudek’s father, Harold, was born in Campbell, Nebraska, and was a World War II veteran in the United States Navy. His mother, Alma, born in Brooklyn, was a former Radio City Music Hall Rockette. Les has one older sister, Sandy, who was born in Brooklyn. The family is of Czech, German, Italian, and Russian descent. Six years after Les was born, his father retired from the Navy and the family moved to Florida where he grew up.

The Beatles caught Dudek’s ear at an early age. In 1962, at the age of ten, Les asked his parents for a guitar for Christmas. They bought him an acoustic guitar from Sears & Roebuck. His musical influences, along with The Beatles, were Cream, Jimi Hendrix, and The Ventures. He had built quite a reputation around the Florida area as a proficient guitar player, having started playing in local bands as a teenager. Those bands were “The United Sounds”, “Blue Truth” and “Power”. That reputation would place him in the studio with the Allman Brothers Band for the recording of the Brothers & Sisters album.


He played guitar harmonies with Dickey Betts on the well-known song “Ramblin’ Man” and acoustic guitar on “Jessica”. In Alan Paul’s book, One Way Out: The Inside History of the Allman Brothers Band, Dudek claimed to have written the part in “Jessica” from when it modulated into G then eventually back to A.

His next stops were as a guitarist for Boz Scaggs and The Steve Miller Band. Dudek was invited to play with Journey,[citation needed] but he had received an offer to record for Columbia Records as a solo artist. He recorded four solo albums for Columbia Records, Les Dudek, Say No More, Ghost Town Parade and Gypsy Ride. He had two minor hits with “City Magic” and “Old Judge Jones” which were played frequently on local radio stations in the Los Angeles, California area, where he lived at the time, having moved to West Hollywood in the mid-1970s.


He later collaborated with Cher, Stevie Nicks, and with two other Columbia artists, Mike Finnigan and Jim Krueger, with whom he formed The Dudek Finnigan Krueger Band in 1978. A DFKB album was released by Columbia Records a year later.

Between the years 1979 and 1982, Les and Cher had a personal as well as professional relationship.[6][7] Dudek wrote and performed some of the music for the 1984 movie Mask starring Cher, Sam Elliott, Eric Stoltz, and Laura Dern. He had a small part in the film as “Boner”, a biker.[8] Dudek also appeared in the TV movie, Streets of Justice (1985). He has worked for NBC, ABC, ESPN, Fox Sports, and E! Entertainment Television. He can be heard on many television series including Friends.

In 1985, Dudek played guitar with Stevie Nicks on her album, Rock a Little, and undertook her subsequent tour.


In 1989, he did a brief stint with Canadian rock group John Kay & Steppenwolf as their guitarist. But problems developed between Dudek and Kay which led to him leave the band after a month of touring.

Two more solo albums later, Deeper Shades Of Blues (1994) and Freestyle, Dudek hit the road again with his own band, and has been performing songs from all his records, plus a few hits he has recorded with other artists.[citation needed]

In 2013, he released another solo album, Delta Breeze. (wikipedia)

LesDudek05Les Dudek is one of the guys you hear and think, why have I not heard this? How could I have missed this?!
Ghost Town Parade starts off with “Central Park”, a tune that grabs you and never let’s go, a great beginning to a CD that delivers even 35 years later.
Nearly all of this album sounds just as good now as it did in the late 70’s, blistering guitar with Les’s vocals and guest stars to help out.
This was the best of Les, the other albums were good, but this one brought it all together, it deserved much more attention than it received upon release… a true classic that never got it’s due. (by W. R. Jones)


A Timeless Classic:
One of the most memorable recordings of the era with so many guitarists working in the genera but this record outshines most of them. It still baffles me that Dudek did not achieve wider fame, despite the spell he cast over live audiences and critics alike. He seemed ahead of his time then just as his body work seems to defy classification now. (by Gary Morrison)


Carmine Appice (drums)
Les Dudek (guitar; vocals)
Mike Finnigan (keyboards, background vocals)
Max Gronenthal (keyboards, background vocals)
Gary Mallaber (drums)
Patrick Murphy (percussion)
Jeffrey Porcaro (drums on 02. + 04.)
Robert Powell (bass)
Jack Bruce (background vocals 01., 05. + 06.)
Gerald Johnson (bass on 02. + 04.)
Jim Keltner (drums 02. + 04.)
Jim Krueger (guitar on 02. + 04.)


01. Central Park (Dudek) 5.18
02. Bound To Be A Change (Dudek/Brown) 3.17
03. Gonna Move (Pena) 4.15
04. Friend Of Mine (Dudek) 6.17
05. Does Anybody Care (Dudek) 4.04
06. Down To Nothin (Dudek) 5.14
07. Tears Turn Into Diamonds (Dudek/Gronenthal) 3.00
08. Falling Out (Dudek/Gronenthal) 3.40
09. Ghost Town Parade (Dudek) 5.02



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