Various Artists – Shakin’ All Over – Rock & Roll Before The Beat-Boom (2013) (CD 1)

FrontCover1On the one hand this 10 CD box is a low budget product …

On the other hand is this 10 CD Box a real gem, because we can hear (mostly) the British way of Rock N Roll …

Ten CDs of excellent quality covering the rock and roll era when music was music!
Many of the tunes on this collection have been hard to find previously and several new performers can be found for the first time.
This collection is truly great value for money and will not disappoint those of us born in the 40s or 50s. (J.Barry)


Excellent in every way up lifting as you listen to this CD from one of the great performers Sit back and relax fully recommended in every way (Thbrookes)

Well, some of these tunes are the ones I listened to on the Swedish radio station Radio Nord in the beginning of the sixties. Even though I’ve already got some of the songs of this compilation, there are some thet I have been searching for for many years. And believe me: this compilation is worth to be waiting for!!! I reALLY ENJOYED IT! (Jan Szymczak)

In other wods: Hail, hail, hail, Rock N Roll deliver me from the days of old (Chuck Berry)


01. Johnny Kidd & The Pirates: Shakin’ All Over (Heath) (1960) 2.21
02. Cliff Richard: Move It (Samwell) (1958)  2.23
03. The Shadows: Quatermaster’s Store (Traditional) (1960) 2.22
04. Tommy Steele: Singing The Blues (Endsley) (1956) 2.24
05. Wee Willie Harris: Rockin’ At The 2I’s (Harris) (1957) 2.36
06. Johnny Duncan & His Blue Grass Boys: Rockabilly Baby (Duncan) (1957) 2.10
07. Billy Fury: Don’t Knock Upon My Door (Fury) (1959) 1.48
08. Mort Shuman: I’m A Man (Pomus/Shuman) (1958) 1.55
09. Marty Wilde And His Wildcats: Sea Of Love (Khoury/Baptiste) (1959) 2.26
10. Cliff Richard: A Voice In The Wilderness (Parmor/Lewis) (1960) 2.11
11. Adam Faith: Ah Poor Little Baby (Khoury//Falk) (1959) 2.08
12. Alma Cogan: Fabulous (Lowe/Mann) (1957) 2.07
13. Jimmy Miller & The Barbecues: Jelly Baby (Duke) (1959) 2.13
14. Joan Savage: Lula Rock-a-Hula (Roberts/Katz) (1957) 2.07
15. Petula Clark: Gonna Find Me A Bluebird (Rainwater) (1957) 2.33
16. Michael Cox: Too Hot To Handle (Pomus/Shuman/McDonald) (1959) 2.08
17. Vince Taylor And His Playboys: Brand New Cadillac (Taylor) (1959) 2.33
18. Cliff Richard: My Feet Hit The Ground (Samwell/Seener) 1.59
19. Marion Ryan: Ding-Dong Rockabilly Wedding (Shaw/Kerleen) (1957) 2.03
20. Terry Dene: Start Movin’ (Stevenson) (1957) 2.54




Front + backcover of the box:

Dickey Betts Band – The Great Southern Riff (1988)

FrontCover1Forrest Richard Betts (born December 12, 1943) is an American guitarist, singer, songwriter, and composer best known as a founding member of The Allman Brothers Band.

Early in his career, he collaborated with Duane Allman, introducing melodic twin guitar harmony and counterpoint which “rewrote the rules for how two rock guitarists can work together, completely scrapping the traditional rhythm/lead roles to stand toe to toe”. Following Allman’s death in 1971, Betts assumed sole lead guitar duties during the peak of the group’s commercial success in the mid-1970s.

Betts was the writer and singer on the Allmans’ hit single “Ramblin’ Man”. He also gained renown for composing instrumentals, with one appearing on most of the group’s albums, the most notable of these being “In Memory of Elizabeth Reed” and “Jessica” (the latter widely known as the theme to Top Gear).

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He was inducted with the band into the Rock and Roll Hall of Fame in 1995[3] and also won a best rock performance Grammy Award with the band for “Jessica” in 1996.[4] Betts was ranked No. 58 on Rolling Stone’s 100 Greatest Guitarists of All Time list in 2003, and No. 61 on the list published in 2011.

Betts departed the Allman Brothers Band in 2000 under acrimonious circumstances and continued with a solo career that had begun in the 1970s. (wikipedia)

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And here´s a real brilliant live recording, with a couple of songs from his great 1988 album “Pattern Disruptive”, a couple of classic songs by The Allman Brothers Band … and … some fine guest musicians like Rick Derringer, Mick Taylor and Jack Bruce …

… so this gig ended with a jam session …

All I can say: Enjoy this great bootleg !

Recorded live at the Lonestar Roadhouse, New York, November 01, 1988
(excellent broadcast recording)


Matt Abts (drums)
Dickey Betts (guitar, vocals)
Warren Haynes (guitar, vocals on 01.)
Johnny Neel (keyboards, harmonica)
Marty Privette (bass)
Jack Bruce (bass, vocals on 07.)
Rick Derringer (guitar, vocals on 04. + 06.)
Mick Taylor (guitar on 07.)

Alternative frontcover:

01. Time To Roll (Betts/Haynes/Neel) 6.28
02. Duane’s Tune (Betts) / The Blues Ain’t Nothin’  (Neel/Morrison) 11.03
03. Jessica (Betts) 15.05
04. Statesboro Blues (McTell) 6.49
05. One Way Out (Sehorn/James) 9.38
06. Rock’ n’ Roll Hoochie Coo (Derringer) 5.10
07. Spoonful (Dixon) 10.05
08. Southbound (Betts) 10.18



Dickey Betts01

And I’ve just discovered, that I have the complete show (2 CD´s !) in my archive … I will upload this item as an addition soon.

Gerry Mulligan With Jane Duboc – Paraiso Jazz Brazil (1993)

FrontCover1Gerald Joseph Mulligan (April 6, 1927 – January 20, 1996), also known as Jeru, was an American jazz saxophonist, clarinetist, composer and arranger.[2] Though primarily known as one of the leading jazz baritone saxophonists—playing the instrument with a light and airy tone in the era of cool jazz—Mulligan was also a significant arranger, working with Claude Thornhill, Miles Davis, Stan Kenton, and others. His pianoless quartet of the early 1950s with trumpeter Chet Baker is still regarded as one of the best cool jazz groups. Mulligan was also a skilled pianist and played several other reed instruments. Several of his compositions, such as “Walkin’ Shoes” and “Five Brothers”, have become standards

Gerry Mulligan01

Jane Duboc Vaquer (Belém, November 16, 1950) is a Brazilian singer, songwriter, sportswoman and writer. Jane, who appears at position 73 on the list of The 100 Greatest Voices of Brazilian Music by Rolling Stone Brazil, achieved success in the 1980s with romantic themes such as “Chama da passion”, “Sonhos” and “Besame”. According to Rolling Stone Brasil magazine, “his interpretation of “Besame”, by Flávio Venturini, included in the soundtrack of the soap opera Vale Tudo (1988), is one of the highlights of his trajectory”.

In 2006, her album Uma Voz… Uma Paixão was nominated for a Latin Grammy for “Best MPB Album”.

In addition to her solid solo career, Jane gained notoriety for having recorded, in 1983, as a vocalist, the album Além do Fim, by the Brazilian progressive rock band Bacamarte,[4] considered by the Prog Archives community as one of the 100 Best Rock Albums Progressive of All Time.

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Her fan club – “Minas em Mim” (the name of one of his albums, released in 1988) – has already managed to catalog more than one hundred albums with the participation of Jane Duboc. Records by Caetano Veloso, Gilberto Gil, Chico Buarque, Hermeto Pascoal, Roberto Sion, Sarah Vaughan, as well as children’s records and an English course. Her voice can be heard frequently in commercial jingles, which does not prevent him from boosting his solo career, which is successful even in Japan.

Jane is also known for being the mother of singer Jay Vaquer, born from her marriage to fellow musician Jay Anthony Vaquer, who was guitarist for Raul Seixas. (wikipedia)

Jane Duboc03

Although baritonist Gerry Mulligan is listed as the leader of this date, vocalist Jane Duboc is really the main star. The Brazilian-oriented set consists of eight Mulligan originals (including “Tema Pra Jobim,” which finds him switching to piano, and “Willow Tree”) and three other numbers, with “Wave” being the only standard. Duboc sings well, although her voice never sticks in one’s mind, and Mulligan has short solos and mostly sticks to the background; they are joined by a couple of Brazilian rhythm sections. Pleasant music that mostly stands out as a historical curiosity in Gerry Mulligan’s discography. (by Scott Yanow)


Valtinho Anastacio (percussion)
Jane Duboc (vocals)
Charlie Ernst (piano)
Duduka da Fonseca (drums)
Norberto Goldberg (percussion)
Peter Grant (drums)
Cliff Korman (piano)
Rogerio Botter Maio (bass)
Emanuel Moreira (guitar)
Gerry Mulligan (saxophone)
Leo Traversa (bass)

Jane Duboc01Tracklist:
01. Paraiso (Duboc/Mulligan) 5.37
02. No Rio (In Rio) (Duboc/Mulligan) 4.11
03. Sob a Estrela (Duboc/Mulligan) 5.40
04. O Bom Alvinho (Duboc/Mulligan) 5.06
05. Willow Tree (Duboc/Mulligan) 8.26
06. Bordado (Duboc/Mulligan) 6.16
07. Tarde en Itapoan (Duboc/Mulligan) 5.05
08. Amor en Paz (Jobim) 5.56
09. Wave (Jobim) 4.32
10. Tema Pra Jobim (Theme for Jobim) (Duboc/Mulligan) 4.32
11. North Atlantic Run (Mulligan) 4.36



More from Gerry Mulligan:

The Move – Message From The Country (1971)

OriginalFrontCover1The Move were a British rock band of the late 1960s and the early 1970s. They scored nine top 20 UK singles in five years, but were among the most popular British bands not to find any real success in the United States. For most of their career the Move was led by guitarist, singer and songwriter Roy Wood. He wrote all the group’s UK singles and, from 1968, also sang lead vocals on many songs. Initially, the band had four main vocalists (Wood, Carl Wayne, Trevor Burton and Chris “Ace” Kefford) who split the lead vocals on a number of their songs.

The Move evolved from several mid-1960s Birmingham-based groups, including Carl Wayne & the Vikings, the Nightriders and the Mayfair Set. Their name referred to the move various members of these bands made to form the group.


Besides Wood, the Move’s original five-piece roster in 1965 was drummer Bev Bevan, bassist Ace Kefford, vocalist Carl Wayne and guitarist Trevor Burton.[3] The final line-up of 1972 was the trio of Wood, Bevan and Jeff Lynne; together, they rode the group’s transition into the Electric Light Orchestra. Between 2007 and 2014, Burton and Bevan performed intermittently as “The Move featuring Bev Bevan and Trevor Burton.”


Message from the Country is the fourth and final studio album by the Move, as well as the group’s only album for EMI’s Harvest label. It was recorded simultaneously with the first Electric Light Orchestra album, Electric Light Orchestra (or No Answer as it was called in the United States). A contractual obligation, it was to signal the end of The Move and allow them to continue as the Electric Light Orchestra.

By the time of Message from the Country, the band members had long since lost interest in the Move, and had already joined a newly formed band, Electric Light Orchestra (ELO).[1] Recorded in 1970–71 at the same time that the Move was also laying down tracks for the first Electric Light Orchestra album, The Electric Light Orchestra (even during some of the same sessions), it inevitably has some similarities in style to the new band’s debut album, especially the heavy use of “tracking up” (overdubbing) to capture all of the instruments being played by Roy Wood and Jeff Lynne. Nevertheless, Wood and Lynne were determined to maintain some differentiation between the sound of their two groups (for example, by confining Wood’s saxophones to Message and the cellos to the ELO debut respectively).


During the sessions, the band recorded “10538 Overture,” a Lynne composition that was originally intended to be a Move B-side. Wood overdubbed a cello riff over the basic track 15 times over, and he and Lynne decided the song was better suited to The Electric Light Orchestra.

The lengthy sessions for this album mostly involved only Wood and Lynne, because of all the overdubbing. During these sessions, bassist Rick Price quit The Move after he realized he was no longer needed, reducing it to a trio.[citation needed] Instead of replacing him, Roy Wood added bass duties to his other roles, as well as erasing Price’s tracks on the existing songs and then re-recording the bass parts, but exactly why Wood re-tracked Price’s parts is unclear. (Wood has confirmed that Price also played on the original take of “10538 Overture”.[1]) Drummer Bev Bevan, in the liner notes for the 2005 reissue of Message from the Country, is quoted as saying that it is his least favorite Move album, while Wood has said “It was probably the best one we ever did.”


All previous Move singles had been solo Wood compositions, and recent singles had also featured Wood singing lead. For this album, Wood is credited to composing only four songs, with four songs from Lynne, one Lynne–Wood joint credit, and one Bevan song. Lead vocals on the album were ostensibly split between Wood and Lynne depending upon author, but according to Wood, many of The Move’s songs were written collaboratively by him and Lynne and credited to only one of them for publishing reasons.

The initial 1971 album on the Harvest label in the UK and Capitol in the US contained the same 10 tracks, but in different playing order and with a different cover, as did a later reissue on CD on Beat Goes On Records in the UK and One Way in the US. The bonus tracks on the 2005 reissue are alternative takes and A-sides or B-sides of singles. The US rights to the songs were transferred to United Artists shortly after the release of Message from the Country, and various compilation albums and CDs containing some combination of the album songs and five single tracks were released in the US by United Artists for years prior to the comprehensive reissue. One such album is Split Ends (1972); another is the album Great Move: The Best of The Move, released in 1995, by which time Capitol/EMI owned the rights to United Artists material in the US. The latter album, released only on CD contained a US radio ad for “Split Ends” as an unlisted track.


Wood’s “Ella James” was released as a single in 1971, but it was quickly withdrawn when Harvest and the group felt that Wood’s “Tonight” (not originally on Message) would be a more commercial choice for The Move’s first single on the Harvest label. No other song from the album was ever issued as a single, although The Move released two more hit singles (“Chinatown” and “California Man”, both written by Wood) before folding into ELO permanently. All three songs featured lead vocals from both Wood and Lynne. The cover painting was done by Wood, based on an idea by Lynne.

“Ella James” was later covered by The Nashville Teens. “No Time” was covered by Marshall Crenshaw in 2012.

In 2010, Rhapsody called it one of the best “longhaired” power-pop albums of the 1970s. (wikipedia)


By 1971, it was clear that changes were in the offing for the Move. Message from the Country shows them carrying their sound, within the context of who they were, about as far as they could. One can hear them hit the limits of what guitars, bass, drums, and keyboards, with lots of harmony overdubs and ornate singing, could do. Indeed, parts of this record sound almost like a dry run from the first Electric Light Orchestra album, which was in the planning stages at the time. The influence of the Beatles runs through most of the songs stylistically. Particularly in Jeff Lynne’s case, it was as though someone had programmed “Paperback Writer” and other chronologically related pop-psychedelic songs by the Beatles into the songwriting and arranging, but across its ten songs, the album also shot for a range of sound akin to the White Album, except that the members of the Move are obviously working much more closely together.

Liner Notes

Reduced to a trio and all but wiped out as a live act, they went ahead and generated what was, song for song, their most complex and challenging album. Heard today, it seems charmingly ornate in execution, yet also simple in the listening, very basic rock & roll dressed up in the finest raiment that affordable studio time could provide. Despite the obvious jump from the post-psychedelic “Message from the Country” to the driving, delightful “Ella James” and the leap into airy pop-psychedelia on “No Time,” not to mention the novelty interlude of “Don’t Mess Me Up,” there’s a sense of unity here, the entire album somehow holding together as something powerful, bracing, and visceral, yet cheerfully trippy. In that sense, it goes The White Album one better. Based on its musical merits, it all should have sold the way some ELO albums later did, instead of getting lost in the transition between the histories of the two groups. And 35 years on and counting, it’s still essential listening for fans of either the Move or ELO, as well as Roy Wood. (by Bruce Eder)


Bev Bevan (drums, percussion, vocals on 08., background vocals)
Jeff Lynne (guitar, piano, percussion, vocals on 01., 03., 07. 09. – 15.)
Roy Wood (guitar, pedel steel-guitar, bass, clarinet, bassoon, saxophone, vocals on 02. – 07., 09. – 12. 14. + 15.)

01. Message From The Country (Lynne) 4.52
02. Ella James (Wood) 3.18
03. No Time (Lynne) 3.45
04. Don’t Mess Me Up (Bevan) 3.15
05. Until Your Mama’s Gone (Wood) 5.09
06. It Wasn’t My Idea To Dance (Wood) 5.33
07. The Minister (Lynne) 4.33
08. Ben Crawley Steel Company (Wood) 3.07
09. The Words Of Aaron (Lynne) 5.32
10. My Marge (Wood/Lynne) 2.06
11. Tonight (Single A-side,1971) (Wood) 3.20
12. Chinatown (Single A-side,1971) (Wood) 3.11
13. Down On The Bay (Single B-side,1971) (Lynne) 4.17
14. Do Ya (Single B-side,1972) (Lynne) 4.06
15. California Man (Single A-side,1972) (Roy Wood) 3.39
16. Don’t Mess Me Up (Alternate session version) (Bev Bevan) 3.28
17. The Words Of Aaron (Alternate session version) (Jeff Lynne) 6.07
18. Do Ya (Alternate session version) (Lynne) 4.42
19. My Marge (Alternate session version, hidden track) (Wood/Lynne) 2.18


More from The Move:

Duke Ellington – Latin American Suite (1972)

FrontCover1Edward Kennedy “Duke” Ellington (April 29, 1899 – May 24, 1974) was an American composer, pianist, and leader of a jazz orchestra from 1923 through the rest of his life.

Born in Washington, D.C., Ellington was based in New York City from the mid-1920s and gained a national profile through his orchestra’s appearances at the Cotton Club in Harlem. In the 1930s, his orchestra toured Europe several times.

Some of the jazz musicians who were members of Ellington’s orchestra, such as saxophonist Johnny Hodges, are considered among the best players in the idiom. Ellington melded them into the best regarded orchestral unit in the history of jazz. Some members stayed with the orchestra for several decades. A master at writing miniatures for the three-minute 78 rpm recording format, Ellington wrote or collaborated on more than one thousand compositions; his extensive body of work is the largest recorded personal jazz legacy, and many of his pieces have become standards. He also recorded songs written by his bandsmen, such as Juan Tizol’s “Caravan”, which brought a Spanish tinge to big band jazz. At the end of the 1930s, Ellington began a nearly thirty-year collaboration with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion.

Duke Ellington02

With Strayhorn, he composed multiple extended compositions, or suites, as well as many short pieces. For a few years at the beginning of Strayhorn’s involvement, Ellington’s orchestra is considered to have been at its peak, with bassist Jimmy Blanton and tenor saxophonist Ben Webster briefly members. Following a low-profile period (Hodges temporarily left), an appearance by Ellington and his orchestra at the Newport Jazz Festival in July 1956 led to a major revival and regular world tours. Ellington recorded for most American record companies of his era, performed in and scored several films, and composed a handful of stage musicals.

Although a pivotal figure in the history of jazz, in the opinion of Gunther Schuller and Barry Kernfeld, “the most significant composer of the genre”, Ellington himself embraced the phrase “beyond category”, considering it a liberating principle, and referring to his music as part of the more general category of American Music. Ellington was known for his inventive use of the orchestra, or big band, as well as for his eloquence and charisma. He was awarded a posthumous Pulitzer Prize Special Award for music in 1999.

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Latin American Suite is a studio album by the American pianist, composer and bandleader Duke Ellington, mainly recorded in 1968, with one track completed in 1970, and released on the Fantasy label in 1972.(wikipedia)

When Duke Ellington and his musicians left New York for Rio de Janeiro on the first day of September, 1968, it was—rather surprisingly for such world-travelers —their first excursion to Latin America. “I’m giving up a lot of my virginity on this trip,”” Ellington observed as the Aerolineas Argentinas jet headed south. “I’ve never been to South America or below the equator before.”

They played in Brazil, Uruguay, Argentina, Chile and Mexico, and always they were welcomed in packed houses with an enthusiasm that moved the most experienced and blasé among them. At receptions in the different U. S. embassies, these unofficial ambassadors met and discussed affairs of the day with members of the diplomatic corps as though such occasions were routine to them. The main responsibility, however, fell on Ellington himself, his wit, charm and composure everywhere making a big impression. In addition to the concerts and the more-or-less obligatory social affairs attended by his men, he not only had to make television and radio appearances, but also field questions of all kinds at extensive press receptions in each new city visited.

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He did this with unfailing skill and tact, although often he was very short of sleep because of the infrequent air services between South American cities (infrequent, that is, as compared with what is normal in his own country and Europe). His patience, too, seemed inexhaustible, and everyone who wanted an autograph received one, no matter how much time it took. “l can’t let these people down,” he said once, refusing to escape by a back door from a theatre besieged by admirers. The affection between artist and audience reached a peak in Buenos Aires where, after his last performance, people waited crying, trying to touch him, and in many cases thrusting gifts upon him that did not even bear their names.

“The generosity and enthusiasm of the audiences,” he said on leaving, “‘were altogether the inspiration of a lifetime — a virtual ~summit in my career. Everything and everyone has been so completely and warmly attuned that I am truly overwhelmed, and at a loss to express my appreciation. Perhaps I can do so at a later date, in music.””

The music in this album is the expression of that appreciation, and much of it was actually written while the tour was in progress. He had agreed to present a new work, which he had tentatively titled Mexican Anticipacion, in Mexico City on September 28th, and he was writing this and trying out sections of it during the band’s performances en route. The warmth of the welcome in South America, however, soon caused him to decide that the Mexican sections would have to become part of a larger Latin American Suite.

Duke Ellington04

There were occasional opportunities for him to hear authentic native music, as in Sao Paolo, where an extremely talented group of folk musicians was specially gathered together in a small club for his entertainment. Moreover, authorities of regional music brought him books and records to supplement their discussions with him. But essentially The Latin American Suite is not an attempt to re-interpret the musical forms indigenous to the countries he visited; it reproduces musically the impressions made upon him by those countries and their people. Thus the rhythmic underlay is always oriented in a Latin American direction, but it is achieved by his regular rhythm section, without the addition of the congas, bongos and timbales most composer-arrangers would have felt necessary.

A striking difference between this and his other suites is in the much greater emphasis on the ensemble and the piano player’s role.

For once, most of the other soloists take second place. In this, perhaps, and in the unison voicing, Ellington echoes practices of those Latin American bands that were influenced in their instrumental devices by the big U.S. bands. (taken from the original liner notes by Stanley Dance)

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Duke Ellington always absorbed influences from the music he heard as he toured the world, and The Latin American Suite is no exception. Written during his first tour of Central and South America in 1968, Ellington premiered several of the pieces during concerts in the Southern hemisphere, though he didn’t record it until returning to the U.S., with one piece (“Tina”) being recorded separately over a year after the other tracks. “Oclupaca” is an exotic opener showcasing Paul Gonsalves’ robust tenor, while Ellington gets in an Oriental kick during his driving blues “Chico Cuadradino” (jointly written with his son Mercer). Ellington is in a jaunty mood in his bossa nova “Eque,” which spotlights both Johnny Hodges and Gonsalves. The infectious “Latin American Sunshine” is buoyed by Harry Carney’s sonorous baritone sax and trombonist Lawrence Brown’s solo. It’s a shame that Ellington chose not to keep any of these originals in his repertoire once work was completed on this album. (by Ken Dryden)


Jeff Castleman (bass)
Duke Ellington (piano)
Rufus Jones (drums)
Cat Anderson – Willie Cook – Mercer Ellington – Cootie Williams

Lawrence Brown – Buster Cooper – Chuck Connore

Chuck Connors – Johnny Hodges – Russell Procope – Paul Gonsalves – Harold Ashby – Harry Carney

Russell Procope – Harold Ashby
Paul Kondziela (bass on 04.)
Duke Ellington05Tracklist:
01. Oclupaca 4.26
02. Chico Cuadradino 5.11
03. Eque 3.32
04. Tina 4.40
05. The Sleeping Lady And The Giant Who Watches Over Her 7.31
06. Latin American Sunshine 7.05
07. Brasilliance 5.10

Music: Duke Ellington,
except 02.; Duke Ellington & Mercer Ellington



The suite opens with Oclupaca, a title that is a typical Ellington inversion. If you have ever been there, you will know that it is a delightful place for a vacation. The band spent a very relaxed day on its beaches, and played for an equally relaxed dance, at which Ava Gardner made a radiant appearance. The happiness of that occasion, even an impression of sunlit good health, are present in a performance that yet has an exotic, yearning undercurrent, as though the weathered inhabitants of the red hills beyond were remembered, too. Fittingly, the band’s champion swimmer is given the major solo responsibility, and Paul Gonsalves makes the most of it in a manner that may bring back fond memories of Ben Webster on Conga Brava.

Chico Cuadradino portrays “a little Spanish square doing his thang!” Humcrous and animated, it has a boisterous trombone solo by Buster Cooper and another sterling contribution from Gonsalves. Note the audible presence of the late Johnny Hodges in the reed section, and the handclapping of the maestro in the background. The inspiration was derived from another of those occasions when the band played for dancers.

Eque has to do with Ellington’s first crossing of the Equator, an event that would stir the imagination even without the presentation of a commemorative document in elegant, courtly Spanish. Johnny Hodges and Paul Gonsalves share solo honors with the piano player.

Tina is an affectionate diminutive for Argentina, whose people reacted so emotionally everywhere. Ellington noticed that the Brazilian response was stronger to the more rhythmic numbers, whereas the Argentinians showed more appreciation of his music’s melodic qualities. Played only by the rhythm section, here including two bassists, Tina has a pretty, fragrant theme, and appropriate references to the tango, a dance still popular in Argentina.

The Sleeping Lady and the Giant Who Watches Over Her are the two snow-capped mountains whose presence is always felt in Mexico City. Although it is the closest to the U.S., Mexico is yet in many respects one of the most “foreign” of the Latin American countries, and these brooding mountains are an unforgettable part of its singular landscape. Somehow, Ellington the composer has managed to convey, along with their serenity, something of the extraordinarily colorful history they have witnessed.

Latin American Sunshine is a catchy piece that grew on tour from a rhythmic work-out by piano and bass to an extremely exhilarating statement by the whole band. The reeds always contrived to make their entry with a special lift. Note the invaluable role of Harry Carney’s baritone saxophone in the counter-melody and Lawrence Brown’s jaunty interpolation. The sunshine in the title should not, of course, be taken too literally, for it embraces the warm smiles and warm hearts encountered throughout Latin America.

Brasilliance, surging with life and rhythmic power, can be regarded as a tribute to the huge nation to the south. A long way from the cool sophistication of the samba, it salutes both the industrial energy of Sao Paolo and the frontier spirit of those who are opening up the vast interior. Paul Gonsalves, again in marvelous form, is in his element, as he was in Brazil, where his knowledge of Portuguese made him the band’s official interpreter.

Ellington’s tremendous resources in thematic and orchestral invention are once again revealed in The Latin American Suite. Certainly, no one associated with jazz has succeeded in blending its emotional content so felicitously with the rhythmic impulses of Latin American idioms. (Stanley Dance)

More from Duke Ellington:

Duke Ellington05

Valery Rybine- Rybine Chorus – Great Slavonic Orthodox Liturgy (1997)

FrontCover1Church Slavonic (literally “Church-Slavonic language”), also known as Church Slavic, New Church Slavonic or New Church Slavic, is the conservative Slavic liturgical language used by the Orthodox Church in Bulgaria, Russia, Belarus, Serbia, Montenegro, Bosnia and Herzegovina, North Macedonia, Ukraine, Poland, the Czech Republic and Slovakia, Slovenia and Croatia. The language appears also in the services of the Russian Orthodox Church Outside of Russia, the American Carpatho-Russian Orthodox Diocese, and occasionally in the services of the Orthodox Church in America.

In addition, Church Slavonic is used by some churches which consider themselves Orthodox but are not in communion with the Orthodox Church, such as the Macedonian Orthodox Church, the Montenegrin Orthodox Church, the Russian True Orthodox Church, and others. The Russian Old Believers and the Co-Believers also use Church Slavonic.

Page from the Spiridon Psalter in Church Slavonic:
Page from the Spiridon Psalter

Church Slavonic is also used by Greek Catholic Churches in Slavic countries, for example the Croatian, Slovak and Ruthenian Greek Catholics, as well as by the Roman Catholic Church (Croatian and Czech recensions).

In the past, Church Slavonic was also used by the Orthodox Churches in the Romanian lands until the late 17th and early 18th centuries, as well as by Roman Catholic Croats in the Early Middle Ages. (wikipedia)

A page from the Gospel of Miroslav, serbian medieval manuscript, printed in 12th century Byzantine-Slavonic book:
Gospel of Miroslav

This is a selection of 18th-20th century liturgical compositions by various Russian composers. It reflects the captured glory of the Saint Petersburg imperial court, and a few decades after its fall in 1917, under and after the musical revolution brought about by the very productive Dimitri Bortnianski. His “Gloria”, given on this CD, is unique in its dirge interlaced to glorification, even joy into a texture that evokes both sadness and happiness, the sadness of being human with a fate set by God that is not a straight road to glory and the happiness of the certitude that at the end of the road there is salvation.

The hymn “Open Upon Me the Gates of Repentance” by Artemi Vedel is prodigious in the vastness of the sonic space the composer opens to our ears, so immense so limitless that our repentance can soar up and away into that limitlessness and become so thorough and endless that we seem to merge with that fathomless space in which all the voices of our soul, and they are multiple, reverberate and echo in multiple directions. Lvovsky’s “Song of the Cherubim” is an inner-oriented contemplation of the soul that gives birth to these Seraphim, that gets its life from them. Dual-carriage way of the music rising and descending to soar and land over and on the soil of our faith. Gavriil Lomakin is so sad, so deeply sad that we kind of die in his long lament.

Rybine Chorus01

Arkhangelsky wakes us up from that torpor even if the recovered power is nothing but the suffering of our flesh and soul in the torments of our sinful life but in spite of the title it does not “Appease the Afflictions”. It magnifies them to a titanic dimension. Gretchaninov brings some faith in a future of salvation into that music. But with him we really enter the century of the revolution and this music takes a refrained inner-centered dimension . Nikolai Kedrov and his “Pater Noster” uses the bass solo as the voice of God to which the choir answers in pacifying accents reclosing the door to anything outside the faithful heart. Nikolai Lyubimov works on the same contrast in his “Blessed is the Man”. But the bass is more the deep call of our human power, of the human vanity that may make him believe he can change the world, but the choir brings that voice back to earth to some realistic resignation.

Dobri Christov is the big name of this anthology. He adds to the previously identified inner-centered celebration of the Church and faith a vastness that is really symphonic. That makes it wider, all-involving and all-including, pervasive but not in any way different. It multiplies the number of eyes contemplating our indefectible faith. In the piece “In Thy Kingdom” the soprano voice is set in full contrast with all the other voices, and its evocation of the beauty of faith is like surrounded, besieged, maybe founded by the other voices like the multiple motivation modern life provides us with to believe and praise and desire the Lord’s kingdom. “Praise the Name of the Lord” contrasts in a very standard way the bass voice of the Lord and the choir, the voice of the faithful, that seems to roll like the water of some powerful river across the Russian plains.

Valery Rybine01

Same effect, same structure, for ” We Sing Unto Thee”. The choir is just more curbed, more reserved even and the various voices of this choir try to follow their independent and yet coordinated ways. The small piece to the Virgin is surprising because the bass voices have been put aside. But in fact isn’t that dictated by the Virgin herself? Tchesnokov is flamboyant, they say, but I feel the piece “God Save Thy People” is an immensely suffering lament, a dirge that does not aim at bringing the people to surge, rise, raise their voice.

It is there like to sublimate the suffering of the people into total resignation to a dominant never-ceasing bass that preaches the acceptance of fate by the choir of the people. Resign and submit to what man-made “history” has in store for you because God-made salvation will reward you. (Jacques Coulardeau).





Dimitri Bortnianski:
01. Il Est Digne De Te Louer = Dostoino Est 1.49
02. Gloria = Slava 5.20

Artemi Vedel:
03. Ouvre-Moi Les Portes Du Repentir = Pokayania 5.57

Grigori Lvovski:
04. Chant Des Chérubins = Herouvimska 5.56

Gavriil Lomakine:
05. Nous Te Chantons = Tebe Poem 2.18

Alexandre Arkhangelski:
06. Apaise Les Souffrances = Outoli Bolezni 3.56

Alexandre Gretchaninov:
07. Credo = Vieroiou 3.36
08. Gloire À La Consubstantielle Trinité = Slava Edinorodnii 2.22

Nikolaï Kedrov:
09. Pater Noster = Otche Nach 2.55

Nikolaï Lubimov:
10. Heureux L’Homme = Blajen Mouj 5.10

Dobri Christov:
11. Chant Des Chérubins = Herouvimska 8.33
12. Dans Ton Royaume = Vo Tzarstvii Tvoem 2.15
13. Louez Le Nom Du Seigneur = Hvalite Imia Gospodne 3.57
14. Nous Te Chantons = Tebe Poem 3.02
15. Il Est Digne De Te Louer = Dostoino Est 2.03

Pavel Tchesnokov:
16. Dieu, Sauve Ton Peuple = Spassi, Boje, Lioudi Tvoia 4.46



Alternate frontcovers:

Dave Kelly Band – Standing At The Crossroads (1987)

FrontCover1And here´s the biography of one of the findest British blues musicians over the last decades:

Dave Kelly (*13 March 1947):
Dave’s musical influences go back to the early fifties when as a child he was fascinated by his parents’ radio gram. The top lid opened to reveal the 78 player and Dave spent many happy hours, standing on a chair whilst ploughing through his parent ‘s eclectic collection of records. Then came the middle fifties and kids were hit by skiffle and rock n roll. Dave had two older sisters, one being the hugely talented and sadly missed Jo-Ann. Jo came home with these exciting new sounds by Elvis Presley, Buddy Holly, Gene Vincent The Everly Brothers and the wildest of them all Little Richard.
Dave was hooked and aged ten went to the local second hand shop in Streatham to swap his electric train set for a guitar. At his local ‘rec’ there was an older guy who had a skiffle group, he showed Dave the first three vital chords. Dave in turn showed these magic shapes to Jo Ann who also learned to play. Kelly holidays were always spent at various holiday camps around the south. Dave and Jo always went in for the talent contests with a wide repertoire, but they usually won the show when performing together – Everly Brothers harmonies.

The folk boom struck in 1960 and of course the first Bob Dylan album with a couple of blues songs on it. Dave and Jo Ann were already ploughing through the obscure and rare blues recordings available in the UK at that time. Growing up in Streatham they had the advantage of ‘The Swing Shop’ a jazz specialist record shop run by collector and one-time Humphrey Lyttleton drummer – Dave Carey. This shop became a magnet for Dave, Jo Ann, Groundhogs leader Tony McPhee, boogie pianist Bob Hall, Steve Rye and Simon Praeger, all of whom went on to a musical career of some standing. The Wandle Delta was born. It was McPhee who showed Dave how to re-tune the guitar to play slide. Dave picked up the technique in a day – of course not to the standard he is these days, but enough to fire his imagination and determination.

The John Dummer Blues Band at The Studio 51, London circa 1967/68
(l/r) Bob Hall (piano) Iain Thompson (bass), John O’Leary (harp), Dave Kelly (gtr):

In 1962 Jo came home to announce to their parents “I’ve given in my notice at work – I’m going to become a folk singer !” She got a residency at Bunjie’s coffee house, off Charing Cross Road on a Sunday night and kept that going for many years – it became an institution – with various guests just dropping down – among them Van Morrison, San Francisco’s Jesse Fuller etc. Dave would take the money on the door and occasionally the annoying little brother was allowed to play too.

Dave recalls his first floor spot was in about 1964 at the Half Moon Putney at a session run by Gerry Lockran, Cliff Aungier and Royd Rivers. Various other floor spots at various folk clubs followed and in 1966 Dave spent the summer in New York. He played a floor spot at the famous Gerde’s Folk City. The host was a bit loath to get him on, as a raw 19 year old, but Dave had paid his two dollars and was eventually introduced with the rather sarcastic announcement “Now we have and Englishman who’s going to play you some blues ? “. Gerde’s had a strict rule – floor singers are allowed two songs only and no encores. The crowd’s reception was ecstatic and they would not let Dave off, he played six songs in all, including what had then become his signature piece ‘Write Me A Few Short Lines’. After coming off stage Dave was asked to join three different bands. He now wonder’s who they were or became. On his return to England after the success of New York he determined not to get a job but to concentrate on becoming a professional musician.


Bob Hall who still plays piano with The Blues Band on occasions, was then piano player for Savoy Brown and when time allowed The John Dummer Blues Band. Dummer’s guitarist was leaving and Bob recommended Dave be his replacement. This was 1967 and Dave then only had his acoustic Harmony Sovereign guitar which he’d bought from McPhee. This was the same guitar which was later trodden on by Howlin Wolf. Dave had no pick-up for it, so Tony McPhee once again obliged by giving Dave a pick-up which fitted under the fingerboard – he now had an electric guitar !

The Dummer band played a few gigs with the line-up of Dave guitar & vocals, Dummer drums & vocals, Steve Rye harmonica & vocals, Bob Hall piano then the bass player had to leave and Iain ‘Thump’ Thomson was drafted in. Thump and Dummer went on years later to form the hit group ‘Darts’ Jo Ann’s then boyfriend suggested that they see about resurrecting the Sunday afternoon sessions at Ken Colyer’s Studio 51 Jazz Club. Dave and Jo had watched The Stones play there every Sunday afternoon in 1962, later to be followed by The Yardbirds and then The Downliners Sect. Pat and Vi the two ladies who ran the club were very pleased to open the Sunday afternoon sessions again. It became the habit of afternoon Colyer’s then around the corner for the evening session with Jo Ann at Bunjies.


Having this regular central London showcase was instrumental in the Dummer Band getting signed to Mercury (Phillips) Records. The young Mercury A&R man Brian Shepherd signed them after a couple of visits to check them out. Years later when Brian was head of EMI and Dave was seeing if he’d be interested in signing The Blues Band ( he declined –in 1979 said they were ‘too old !’) they were reminiscing about the Dummer Band. Brian told Dave that he was told by Mercury to go out and find a blues band. Fleetwood Mac, Chickenshack, John Mayall can’t fail etc were all happening just then. Brian said the Colyer’s gig was convenient, being central London and although he knew nothing about blues, he could see that they could all play and he liked Dave’s voice and persona as a front man.

The Dummer Band had reasonable success on the club circuit in the UK, and Europe, mostly in Scandinavia. They recorded two albums with dave and he recorded his first two solo albums with Mercury Records. During the late sixties blues boom, many American blues artists were brought over to tour the UK. The Dummer Band were the perfect backing group being knowledgeable about the music, competent and not expensive. In 1968 they toured as backing group for the great Howlin Wolf and two tours in ’68 and ’69 with John Lee Hooker. Later in ’69 they made a three week trip to Scandinavia, on returning it turned out that the managers had booked another tour with no break. Dave was going on holiday with his girlfriend and decided to quit the group if the tour wasn’t postponed. It wasn’t and he quit.
Going back to solo work as an acoustic artist, in 1970 he was asked to be support on tour for the legendary Son House. This ended up with him playing a few numbers with Son on most nights including recording with him for a live album at the 100 Club in London. As he was still under contract to Mercury Records, he used the old blues trick of a pseudonym – ‘Little Brother Dave’


Now married with a couple of kids and the blues scene fading a bit in the early 70’s Dave became a sometime van driver and sometime house-husband. He kept performing to some extent in the folk clubs and pub scene. Then in 1979 Tom McGuinness told a mutual friend – American banjo specialist and guitar/banjo/mandolin builder Keith Nelson, that he and Paul Jones were starting a blues band for fun. They had Hughie Flint lined up on drums, and possibly wanted a piano player and second singer. Keith said to Tom “Well you know who’s not doing much right now – Dave Kelly”. Tom mentioned it to Paul and they agreed slide guitar and an extra singer could work well. The rest as they say is history. 2018 will see The Blues Band entering it’s 40th year. They are currently (October 2017) completing their 18th album for release later this year on Repertoire Records Of Hamburg..


Dave continues to work with his own Dave Kelly Band when time permits. Also for about the last 20 years he and Paul Jones have made acoustic duo tours. He does similar tours with Scottish soul queen Maggie Bell. Next year he will work again with his old friend Christine Collister, they toured together with a six piece band in the early 2000’s. Dave’s professional career has scanned over 50 years and he has worked with many of his heros, as well as Hooker, House and Wolf he has played with Buddy Guy, Junior Wells, Freddie King, Lowell Fulson, The Allman Brothers Band, Bill Payne and James Burton. Now 70 years old he shows now sign of slowing down nor any intention of retiring – he says “Why should I retire? – I get paid for my hobby !” (

The Dave Kelly Band in 1987:

And here´s another rarity – a must for every Dave Kelly fan:

Although Dave Kelly has been on tour again with the Blues Band for some time now, the provisional dissolution in 1983 led to the foundation of the Dave Kelly Band, whose similar stylistic oprientation has been the ideal vehicle for Dave´s musical ideas up to now.

The idea was orn to work out a concept fo this production, live in the studio – no overdubs which presents the whole spectrum of the band and, above all, Dave´s special love for blues. (Werner Gabele, taken from the original liner notes)

This album was recorded and released in Germany and it´s much more then a solid album, it´s a pretty good album in the traditon of the British Blues boom, including reat blues tunes, but cover versions of “The Weight” and “To Love Somebody” (yes, from The Bee Gees !)

Enjoy this proud album !


Terry Comer (bass)
Ed Deane (guitar)
Peter Filleul (keyboards)
Dave Kelly (guitar, vocals)
Rob Townsend (drums)


01. One Way Out (Williamson II) 4.52
02. When I Itch (Kelly) 4.27
03. It Hurts Me Too (James/London) 5.18
04. Big River (Cash) 2.46
05. Okie From Miskogee (Burris/Haggard) 3.10
06. Smokestack Lightning (Burnett) 3.15
07. Worried Man (Traditional) 4.05
08. Crossroads (Johnson) 4.31
09. Leaving (Filleul/Kelly) 5.11
10. The Weight (Robertson) 5.10
11. Grits & Groceries I (Turner) 3.10
12. Back In The Blues (Fletcher) 4.05
13. Grits & Groceries II (Turner) 2.58
14. To Love Somebody (B.Gibb/M.Gibb/R.Gibb) 4.52
15. Poor Man (Guthrie) 6.15



More from Dave Kelly:

Yaqui – Same (1973)

LPFrontCover1Yaqui was a rock band of the 70s from East L.A. whose roots went deeply back into the golden age of the East L.A. music scene of the 60s, as did many other Eastside bands of the early 70s such as El Chicano, Tierra, Macondo, and my band of the same era, Tango. Yaqui recorded and released a self-titled album, “Yaqui,” on Hugh Hefner’s Playboy Records in 1972 that was extremely well played, well sung, with some very good songs.

Yaqui’s album was produced by Art Brambila and recorded at several different studios, including Capitol Studios in Hollywood and Ike and Tina Turner’s Bolic Studios in Inglewood, California. Remix production was done by Mario Panagua, who was a significant figure in the Eastside Sound of the 60s and 70s. Mario had been the leader and guitarist for the Jaguars with the Salas Brothers in the mid-60s and lead guitarist and composer on their classic instrumental “Where Lover’s Go.” Mario also did remix production of Tierra’s first album, “Tierra.” The Yaqui album consisted of songs written by members of Yaqui, with the exception of their covers of “Brown Baby,” which had previously been recorded by Little Willie G. on Eddie Davis’ Gordo Records and “She Caught the Katy (And Left Me a Mule To Ride),” written by Taj Mahal and Yank Rachel.


The latter song is my favorite cut on the album. It’s a mid-tempo blues song that has some great vocals by George Ochoa and Eddie Serrano that sounds as good as a young Righteous Brothers on a good day. That’s not a knock on the Righteous Brothers for whom I have the highest respect, but I think George and Eddie simply kicked it up a notch. Sometimes Eddie got into Robert Plant territory in terms of the intensity, high notes, and screaming in his vocals. The band’s arrangement and execution is also flawless. “It’s Time For a Change (Es Tiempo Para un Cambio),” written and sung by George Ochoa, is a high energy song, with La Bamba-style 1-4-5 chord changes and lyrics which cry out for a change in the status quo.


This song re-appeared on the 1998 compilation CD “Ay Califas! Raza Rock” on Rhino Records and again in 2009 on Tierra’s “On the Right Track” CD. Tierra recorded the song for a video in support of the election of Barak Obama. “Blue Harbor,” also written and sung by George Ochoa, is another excellent track obviously inspired by Crosby, Stills, and Nash, who were at their peak at the time. Keyboardist Larry Cronen wrote two fine songs for the album, “Street Fight” and “Rich Keep Getting Richer.” “Mitote,” written by Ronnie Reyes, Eddie Serrano, and Art Sanchez, is another high energy song that has George and Eddie testifying with everything they’ve got. This song is one of several that is sufficiently musically sophisticated to allow the players to exhibit their prowess on their instruments. The album’s opening and closing songs are instrumentals, “Sunrise” and “Sunset,” written by Ronnie Reyes and Art Sanchez. These tracks have a definite Led Zeppelin influence with excellent guitar work by Ronnie.


After recording their album, Yaqui did some live gigs, most memorably opening for Linda Ronstadt in Spokane, Washington. They also played at the famed Whiskey a Go Go in Hollywood, where they were complimented by Terry Kath and other members of the already hugely successful band, Chicago. Yaqui also played a lot at the Starwood Club, also in Hollywood, where they held their own on the bill with such diverse artists as Cheap Trick and George Clinton. According to Art Sanchez, some of the executive staff at Yaqui’s record label were replaced right after their album came out and the replacements didn’t promote the record. This is a very common and unfortunate occurrence in the business, which has happened to many artists I’ve known. The new executives want to bring in their own artists and would not want the artists signed by the previous administration to succeed. That would make the old staff look good. With the album not performing as they’d hoped, Yaqui played on for a time and then broke up. (Mark Guerrero)

Mark Guerrero with Yaqui (2005)
(left to right- Rudy Regalado, Art Sanchez, Mark Guerrero, George Ochoa, Ray Rodriguez, and Ron Reyes):

A real nice Latin-Rock album from the early Seventies …

… enjoy this rarity !


Larry Cronin keyboards, synthesizer, vocals)
George Ochoa (vocals, harmonica, piano, guitar)
Rudy Regalado (drums, percussion)
Ronnie Reyes (guitar, vocals)
Ray Rodriguez (drums, percussion)
Art Sanchez (bass, guitar, vocals)
Eddie Serrano (vocals, percussion)
Ken Roman (timbales on 02.)
horns on 02.:
David Torres – Rudy (Bub) Villa

01.  Sunrise (Sanchez/Reyes) 1.14
02. It’s Time For A Change (Es Tiempo para Un Cambio) (Ochoa) 2.45
03. Street Fight (Cronin) 3.12
04. She Caught The Katy (And Left Me A Mule To Ride) (Mahal/Rachell) 3.23
05. I Need A Woman (Ochoa) 5.24
06. Brown Baby (Wade) 2.42
07. Mitote (Sanchez/Serrano/Reyes) 4.12
08. Stop Wasting The Earth/Going Back To Mother Nature (Ochoa) 6.01
09. Blue Harbor (Ochoa) 4.17
10. Rich Keep Getting Richer (Cronin) 4.37
11. Sunset (Sanchez/Reyes) 1.44