Cassell Webb – Conversations At Dawn (1990)

FrontCover1Cassell Webb is a British-American musician.

Texas-born Cassell Webb has enjoyed a career that carried her from late 1960s psychedelia to country music and latter-day folk-rock to modern folk songwriting, classical music production and moved her across an ocean in the process. Her voice can sound ethereal or mournful and crosses genres as easily as Webb’s career has over more than 30 years.

Born in San Antonio, Texas, in the late 1940s, Webb began playing guitar at 14 and later gravitated to the psychedelic scenes in San Antonio and Houston. She became a member of the Children, a psychedelic outfit that was part of Lelan Rodgers’ stable of artists, appearing on their 1968 Rebirth album and several singles. She later joined Saddlesore, a Texas combo whose core members, Mayo Thompson and Rick Barthelme, were survivors from the Red Krayola (another Rodgers-managed act). They stayed together long enough to record one single (“Old Tom Clark”) on the Texas Revolution label before disappearing in the early 1970s.

Webb spent time in California and New York working as a session singer and acquiring some knowledge of production as well and then returned to Texas, where she spent the next few years working with such country artists as Jerry Jeff Walker, Willie Nelson, Guy Clark, and B.W. Stevenson. It was around the time she began writing songs that she also began her long association with songwriter/producer Craig Leon. Webb went to Europe CassellWebb01in the early ’80s, first to Holland and then to England, where she remained permanently and began her solo recording career. Initially signed to the Virgin owned independent label Statik Records, for which she recorded her debut album, Llano, she later joined the roster of Venture Records, an avant grade offshoot of Richard Branson’s Virgin Records label, through which she recorded Thief of Sadness in 1987. Webb’s most representative and popular album was her third, Songs of a Stranger, which was derived from her concert repertory of other writers’ music, including Jimmy Webb (“P.F. Sloan”), Nick Drake (“Time Has Told Me”), Townes Van Zandt (“If I Needed You”), and Phil Ochs (“Jim Dean of Indiana”).

Her subsequent two albums Conversations at Dawn and House of Dreams continued her development as a songwriter. The former was again recorded for Virgin Venture and the latter released on China Records.

Webb remains based in England, where her work on such radio programs as Saturday Sequence, coupled with periodic album releases and projects, such as the dance score Klub Anima (co-written with Leon), and singing and production work with artists such as Marillion’s Steve Hogarth and back ground vocal work on Blondie (band)’s “No Exit album have sustained her career in pop music.

She has worked consistently on the productions of Craig Leon, which since 1998 have been primarily in the classical field. Webb has also been a production assistant to Leon on television projects such as the 2009 documentary Orbit: Journey to the Moon, which aired on the U.S. Discovery Channel, and Bell’aria which aired in 2010 on U.S. PBS. Webb is also a producer on the 2012 PBS broadcast Quest Beyond the Stars as well as the creator of the story concept.

Her poetry has also been published by Pen & Ink of Ann Arbor, Michigan.

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Webb’s version of the Rolling Stones classic “Tell Me,” from her 1990 album Conversations at Dawn (which also included her covers of Bruce Springsteen’s “Reason to Believe” and, in a nod to her own Texas psychedelic roots, the 13th Floor Elevators’ “Splash One”), has been included on the Connoisseur Collection’s Jagger/Richard Songbook CD.

More recent work has been appearances on the new re recording of Nommos and Visiting along with live appearances of those pieces in New York; Moogfest (Asheville, North Carolina); Saint Petersburg, Russia; Berlin, Germany; and Kraków, Poland from 2014 to date.

She has also co produced the album “George Martin: The Film Scores and Original Compositions” released in 2018 on Atlas Realisations/PIAS. (by wikipedia)

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Texas-born Cassell Webb has enjoyed a career that carried her from late-’60s psychedelia to country music and latter-day folk-rock to progressive rock/pop, and moved her across an ocean in the process. Her voice, which can sound ethereal or mournful and crosses genres as easily as Webb’s career has over more than 30 years. Born in Llano, TX, in the late ’40s, Webb began playing guitar at 14 and later gravitated to the psychedelic scene in San Antonio. She became a member of the Children, a psychedelic outfit that was part of Lelan Rodgers’ stable of artists, appearing on their 1968 Rebirth album and several singles. She later joined Saddlesore, a Texas combo whose core members, Mayo Thompson and Rick Barthelme, were survivors from the Red Krayola (another Rodgers-managed act). They stayed together long enough to record one single (“Old Tom Clark”) on the Texas Revolution label before disappearing in the early ’70s. Webb spent time in California and New York working as a session singer and acquiring some knowledge of production as well and then returned to Texas, where she spent the next few years working with such country artists as Jerry Jeff Walker, Guy Clark, and B.W. Stevenson. It was around the time she began writing songs that she also began her long association with songwriter/producer Craig Leon.

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Webb went to Europe in the early ’80s, first to Holland and then to England, where she remained permanently and began her solo recording career. Initially signed to the tiny independent label Statick Records, for which she recorded her debut album, Llano, she later joined the roster of Venture Records, an off-shoot of Richard Branson’s Virgin Records label, through which she recorded Thief of Sadness in 1987. Webb’s most representative and popular album was her third, Songs of a Stranger, which was derived from her concert repertory of other writers’ music, including Jimmy Webb (“P.F. Sloan”), Nick Drake (“Time Has Told Me”), Townes Van Zandt (“If I Needed You”), and Phil Ochs (“Jim Dean of Indiana”). Webb remains based in England, where her work on such radio programs as Saturday Sequence, coupled with periodic album releases and projects, such as the dance score “Klub Anima” (co-written with Leon), and singing and production work with artists such as Marillion’s Steve Hogarth have sustained her career in music. Her poetry has also been published by Pen & Ink of Ann Arbor, MI. Webb’s hauntingly lyrical version of the Rolling Stones classic “Tell Me,” from her 1990 album Conversations at Dawn (which also included her covers of Bruce Springsteen’s “Reason to Believe” and — in a nod to her own Texas psychedelic roots — the 13th Floor Elevators’ “Splash One”), has been included on the Connoisseur Collection’s Jagger/Richard Songbook CD, alongside recordings by the Flamin’ Groovies, the Who, Mary Coughlan, Naked Prey, Melanie, Marianne Faithfull, and Ike & Tina Turner. (by Bruce Eder)

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And here´s her fourth album …. and it´s a real beautiful one:

This album has the aura of a great musical landscape (like Loreena McKennitt but without the Irish bells & whistles (thank god for that).
The centerpiece is “Darkness, Darkness” (one of many covers…) (Lillebol)
Cassell Webb has an amazing country voice, yet made a few albums on Venture that nudged psychedelia (not surprisingly given her 13th Floor Elevators past) and Americana before the term was contrived by the music press. One of the most under-rated singers ever, in my opinion – check this album ! (pkrpmusic)

This woman can enchant you … believe me ! And another highlight is of course her soft and gentle version of The Rolling Stones classic “Tell Me” from the Sixties.

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Personnel:
Andy Duncan (drums, percussion)
Craig Leon (guitar, keyboards, bass)
Cassell Webb (vocals)
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B.J. Cole (pedal steel-guitar on 03.)

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Tracklist:
01. Tell Me (Jagger/Richards) 3.51
02. A Song For Sophie Jane (Webb/Leon) 4.34
03. River Run (Webb/Leon) 6.26
04. Freedom’s Legacy (Smotherman) 4.09
05. Darkness, Darkness (Young) 5.12
06. You Take A Heart (Kaz) 3.30
07. Splash One (Hall/Erickson) 4.01
08. I Love The Wind (Vandiver) 3.40
09. In The Light (Webb/Leon) 4.33
10. Reason To Believe (Springsteen) 5.00
11. Bones And The Lady (Webb/Leon) 2.24

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Roger Chapman – Hybrid And Lowdown (1990 – 2007)

FrontCover1.jpgIn 1979 Chapman began a solo career and recorded his first solo album Chappo. His backing band became known as The Shortlist at this time and he toured Europe extensively. Mike Oldfield’s song “Shadow on the Wall” from the album Crises (1983) featured Chapman on vocals and became a big hit. He appeared as a guest artist on the second Box of Frogs album Strange Land (1986) singing lead vocals on two songs. Chapman went on to record Walking the Cat (1989) and Hybrid and Low Down (1990). (by wikipedia)

And here´s is a more or less forgotten album by Roger Chapman … an maybe criminally underrated album, not only because all these very fine compositions, not only because this great gang of musicians in the studio (including Micky Moody on slide-guitar), but because of the wonderful voice of Roger Chapman.

At the end of the studios album you can hear a very unique version of the Everly Brothers Hit “Bye, Bye Love”

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On the bonus album we hear another hot live appearance by Roger Chapman and his band (recorded in Germany in November 1990) … oh yes this place was hot ! And you another chance to listen to Micky Moody and his magic slide guitar  on a tune called “Big River” (written by Johny Cash !)

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Personnel:
Roger Chapman (vocals, harmonica)
Dave Courtney (drums on 08.)
Simon Edwards (accordion on 03.)
Chris Fletcher (percussion on 01., 04., 06.
Ian Gibbons (keyboards on 06.
John Lingwood (drums on 01., 02., 06., 07., 08.. 09., 10.
Mick Moody (guitar on 01., 04., 08. -10. mandolin, background vocals on 01., slide guitar on 02., 06.
Nick Pentelow (saxophone on 06.
Steve Simpson (guitar on 03., 06., 07.
Philip Spalding (bass on 04., 10.
Henry Spinetti (drums on 04.
Peter Stroud (bass on 01., 02., 06., 08.
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background vocals:
Steve Simpson – Bob Tench – Zeitia Massieh – Sonny Spider

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Tracklist:
01. Hot Night To Rhumba (Simpson/Hinkley) 5.25
02. Holding On (Chapman) 4.31
03. Hideaway (Chapman/Simpson) 3.54
04. Beautifully Indecent (Chapman) 4.42
05. Sushi Roll (Chapman) 4.22
06. Someone Else’s Clothes (Chapman) 4.17
07. Chicken Fingers (Chapman/Simpson) 2.55
08. House Behind The Sun (Chapman/Simpson) 5.06
09. Sushi Rock (Chapman) 2.34
10. Is There Anybody Out Here ? (Chapman/Tench) 4.56
11. Cops In Shades (Chapman/Tench) 3.55
12. Bye Bye Love (F.Bryant/B.Bryant) 5.02
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13. Beautifully Indecent (Chapman) 5.53
14. Sushi Roll / Sushi Rock (Chapman) 8.44
15. Someone Else’s Clothes (Chapman) 6.22
16. Moody’s Jump (Moody) / Big River (Cash) 7.04
15. Chicken Fingers (Chapman/Simpson) 8.44

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Maria Muldaur – Don’t You Feel My Leg (2018)

FrontCover1.jpgThis album is a tribute to popular vocalist and songwriter Blue Lu Barker, who made her mark in the late 30s and early 40s, and whom Billie Holiday once cited as her biggest influence. Featuring a stellar band of NOLA musicians including New Orleans A-listers David Torkanowsky on piano (Neville Brothers, Irma Thomas, Solomon Burke), Roland Guerin on bass (Allen Toussaint, Steve Earle, Chris Thomas King), and Herlin Riley on drums (Dr. John, Wynton Marsalis, Cassandra Wilson), among others, DON’T YOU FEEL MY LEG brings Muldaur full circle from the 1973 album sessions that spawned Muldaur’s million-selling hit, “Midnight At The Oasis,” and which also featured a sassy take of Barker’s “Don’t You Feel My Leg,” a cult favorite that remains Muldaur’s most requested song to this day at her performances.

“Because of my friendship with Blue Lu and Danny, and my longtime association with that song, I was invited to New Orleans in 2016 to put on a concert paying tribute to Blue Lu in New Orleans. I started doing some in-depth research of all their past recordings, and to my surprise and delight I discovered that they had written and recorded dozens of songs equally naughty, bawdy, witty, and clever as ‘Don’t You Feel My Leg’. Besides the wonderfully funny, suggestive lyrics, I was really struck and quite charmed by Blue Lu’s delivery of these tunes… droll, sly, full of sass and attitude, yet understated…a bit girlish and coy. Her cool nonchalance and crisp ladylike diction in contrast to the naughty, risqué lyrics made them smolder with innuendo all the more. These were songs by hipsters, for hipsters,” says Muldaur.

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Muldaur adds, “as we sit here in 2018, you might well ask why a vintage gal like me feels it is important to present these vintage tunes at this point in time. Well for one thing, in an era when so many aspects of sexuality are dealt with and discussed with such deadly seriousness, I find the lighthearted playful expressions of sexuality in these songs a pleasant and welcome respite from the fraught discourse prevailing today…and for another…these are all basically hip, fun happy songs, and I think we could all use a big dose of HAPPY right about now.” (broadwayworld.com)

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Personnel:
Christopher Adkins (guitar)
Roland Guerin (bass)
Maria Muldaur (vocals)
Herlin Riley (drums, vocals)
Piano – Dave Torkanowsky
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Duke Heitger (trumpet on 01., 04., 05., 09. + 12.)
Tom Fischer (saxophone, calinet on 01., 04., 05., 09. + 12.)
Charlie Halloran (trombone on 01., 04., 05., 09. + 12.)
Kevin Louis (trumpet on 02., 03., 05. 08., 10. – 12.)
Roderick Paulin (saxophone, clarinet on 02., 03., 05. –  08, 10. – 12.),
Rick Trolsen (trombone on 02., 03., 05. – 08., 10. – 12.)

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Tracklist:
01. Georgia Grind (Allen/Williams) 4.50
02. Leave My Man Alone (White) 3.43
03. Loan Me Your Husband (Barker) 4.12
04. Scat Skunk (Barker) 3.48
05. Now You’re Down In The Alley (Barker) 3.39
06. Here’s A Little Girl From Jacksonville (Barker) 4.24
07. Nix On Those Lush Heads (Barker/Glen) 3.42
08. Bow Legged Daddy (Barker) 2.55
09. Trombone Man Blues (Black/Barker/Gayle) 3.28
10. A Little Bird Told Me (Brooks) 2.20
11. Handy Andy (Razaf) 4.27
12. Don’t You Feel My Leg (L.Barker/D.Barker/Mayo) 3.59
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13. Never Brag About Your Man (Razaf) 3.47

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Johnny Winter – Texas Pop Festival 1969

FrontCover1It was 1969 when Lewisville, a small farm town of approximately 9,000 residents, became the site of a music festival that attracted 150,000 hippies, bikers and music lovers. As a result of that momentous event, the Texas Historical Commission (THC) has recognized the Texas International Pop Festival as a significant part of Denton County history by awarding it an Official Texas Historical Marker.

The Texas festival featured 25 musical acts. In Hayner’s historical narrative submitted to THC, he wrote: “The festival opened with an unknown band named Grand Funk Railroad. The line-up included rock and roll and rhythm and blues. B.B. King played all three days. Other blues acts were present such as Johnny Winter, The James Cotton Blues Band, Canned Heat, Delaney & Bonnie & Friends, and Freddie King. Rhythm and blues was represented by Sam & Dave and Sly & The Family Stone. Rock and blues crossover acts Rotary Connection, Ten Years After and Janis Joplin tied the genre together. Jazz was represented by flutist Herbie Mann, and even a bit of Cajun sound was made by Tony Joe White. Mainstream rock music was represented by Chicago Transit Authority, Spirit, Santana, Nazz, Sweetwater and an up-and-coming blockbuster band from England named Led Zeppelin.”

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In addition, a free stage was constructed at a public campground at Lewisville Lake, which was five-and-one-half miles north of the festival grounds at the motor speedway. Each evening the campground attracted thousands of festival campers. Local bands performed on the free stage along with some of the big name acts after playing the main stage. Famous icon of the 60s, Wavy Gravy, acquired his moniker at the free stage. (blogs.dallasobserver.com)

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And here´s the show of the very young Johnny Winter … and if you listen to thsi high quality recording, you will understand, why he became in 1969 a super star in Rock & Blues … He´s exploding more than one time … his guitar playing was and is unbelieveable ! And we hear some songs from his pre-Columbia period … very early Johnny Winter songs !

This is disc 9 of a 13-disc set. Maybe more recordings from this set will come.

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Personnel:
Tommy Shannon (bass)
John Red Turner (drums)
Johnny Winter (guitar, vocals)

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Tracklist:
01. Introduction + Mean Town Blues (Winter) 9.42
02. Black Cat Bone (Winter) 4.40
03. Mean Mistreater (Gordon) 12.53
04. Talk To Your Daughter (Lenoir/Atkins) 4.25
05. Look Up (Suprane/Derringer) 4.29
06. I Can Love You Baby (Winter) 2.48
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07. Johnny Winter – Texas Pop Festival (uncut edition) 41.02

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Claire Diterzi – Rosa la Rouge (2010)

FrontCover1.jpgHere´s a very special artist:

Goth-tinged singer and songwriter Claire Diterzi was born Claire Touzi dit Terzi in Tours, France, in 1971, and released her first solo album, Boucle, in 2006. Although she would earn critical and popular plaudits for her own compositions and performance, her career got off to a more group-oriented start, as part of the groups Forguette Mi Not and Dit Terzi. As those groups faded into memory, Diterzi moved to the stage, performing in the 2001 Philippe Decoufle work Iris. After a few years in Japan and further stage work, Diterzi got the music itch again, only this time deciding to focus on her solo career. The aforementioned Boucle (which, it should be noted, was awarded the Grand Prix du Disque in 2006 by L’Academie Charles-Cros) was recorded by Diterzi herself, and the critical response it drew led to an opportunity to write and compose music for the score to the 2007 Anne Feinsilber film Requiem for Billy the Kid. In 2008, Diterzi returned to the public consciousness with her follow-up solo release, Tableau de Chasse, on Naive Records. (by Chris True)

This album was the soundtrack of a musical show under the direction of Marcial Di Fonzo Bo:

Marcial Di Fonzo Bo (born 19 December 1968) is an Argentine actor and theatre director. He appeared in more than twenty films since 1997. Di Fonzo Bo directed several plays in France and was nominated for the Molière Award for Best Director in 2011. (by wikipedia)

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And this show was a hommage to Rosa Luxemburg:

Rosa Luxemburg (German: [ˈʁoːza ˈlʊksəmbʊʁk] (About this soundlisten); Polish: Róża Luksemburg; also Rozalia Luxenburg; 5 March 1871 – 15 January 1919) was a Polish Marxist theorist, philosopher, economist, anti-war activist and revolutionary socialist who became a naturalized German citizen at the age of 28. Successively, she was a member of the Social Democracy of the Kingdom of Poland and Lithuania (SDKPiL), the Social Democratic Party of Germany (SPD), the Independent Social Democratic Party (USPD) and the Communist Party of Germany (KPD).

After the SPD supported German involvement in World War I in 1915, Luxemburg and Karl Liebknecht co-founded the anti-war Spartacus League (Spartakusbund) which eventually became the KPD. During the November Revolution, she co-founded the newspaper Die Rote Fahne (The Red Flag), the central organ of the Spartacist movement. Luxemburg considered the Spartacist uprising of January 1919 a blunder,[1] but supported the attempted overthrow of the government and rejected any attempt at a negotiated solution. Friedrich Ebert’s majority SPD government crushed the revolt and the Spartakusbund by sending in the Freikorps, government-sponsored paramilitary groups consisting mostly of World War I veterans. Freikorps troops captured and summarily executed Luxemburg and Liebknecht during the rebellion. Luxemburg’s body was thrown in the Landwehr Canal in Berlin.

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Due to her pointed criticism of both the Leninist and the more moderate social democratic schools of socialism, Luxemburg has had a somewhat ambivalent reception among scholars and theorists of the political left. Nonetheless, Luxemburg and Liebknecht were extensively idolized as communist martyrs by the East German communist regime. The German Federal Office for the Protection of the Constitution notes that idolization of Luxemburg and Liebknecht is an important tradition of German far-left extremism. (by wikipedia)

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And we here not only a real beutiful voice, but many  different musical ideas … sometimes very strange, sometimes in a very magic way. Sometimes very soft, sometimes very disturbing … but always very intersting sounds.

This is a sort of concept album by a woman, that we should discover.

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Personnel:
Étienne Bonhomme (drums, percussion, sound machine, background vocals)
Cédric Chatelain (clrinet, oboe, flute, bombarde, background vocals)
Claire Diterzi (vocals, guitar, zither)
Baptiste Germser (bass, background vocals)
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Jack Lahana (percussion on 02., 03. + 07.)
Lambert Wilson (vocals)

Under the direction of  Marcial Di Fonzo Bo

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Tracklist:
01. 1 L’Eglise 4.43
02 Je Touche La Masse 3.44
03. J’Etais, Je Suis, Je Serai 3.08
04. Rosa La Rouge 3.32
05. L’Arme A Gauche 4.17
06. Aux Marches Du Palais 3:23
07 Ce Que J’Ai Sur Le Coeur Je L’Ai Sur Les Lèvres 3.26
08. Cellule 45 4.54
09. Berceuse 2.32
10. A Cor Et A Cri 3.07
11. Le Monde Est Là 2.38
12. Casta Diva 2.26

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Bill Bruford & Michiel Borstlap – Every Step A Dance Every Word A Song (2004)

FrontCover1.jpgDrummer Bill Bruford has certainly come a long way since his emergence with Yes in the early ’70s. While his interest in jazz was evident in the improvisational aspect of his 25-year association with King Crimson, his mathematical sense of precision and disposition towards mind-boggling subdivisions of rhythm often precluded the kind of elasticity required to approach the looser demands of jazz. As early as ’83, however, Bruford was experimenting with the intimate conversational nature of the duo on recordings with Swiss pianist Patrick Moraz, a strong precursor of what was to follow with the formation of his Earthworks Mark I group featuring Iain Ballamy and Django Bates. Still, as wildly exploratory as that group was, and as comfortable as Bruford was at creating natural-feeling grooves in challenging meters, it would take a dozen more years and the creation of his all-acoustic Earthworks Mark II group before he would truly reconcile his predilection for challenging compositional form with a looser, more elastic playing style.

Since the release of Earthworks Mark II’s début, A Part, and Yet Apart (Summerfold, ’99), Bruford’s playing style has loosened up to the point where he is now a far more in-the-moment player, responsive to his musical surroundings. So when he met Dutch pianist Michiel Borstlap in ’02 and began playing duo shows that were less about the confines of structure and more about what Bruford terms “performance-based” music—music of the moment where spontaneity and interaction were the predominant factors—it seemed as though Bruford had made yet another leap forward. With the release of Every Step a Dance, Every Word a Song , an album of live performances culled from dates performed in Europe during ’03 and ’04, Bruford’s evolution is confirmed.

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While Bruford and Borstlap are still more concerned with form than, say, Italian pianist Enrico Pieranunzi—whose recent album with Paul Motian, Doorways , is another beast entirely—the reciprocation between the two jumps out from the first notes of the more structured “The 16 Kingdoms of the 5 Barbarians.” Bruford’s liner notes allude to the fact that the performance space impacts the nature of the musical dialogue—smaller rooms having “the intimacy of a dinner table conversation between old friends,’? while larger venues “naturally become a bit more muscular and assertive.” Still, on more introspective pieces including the title track, the anthem-like “Inhaling Shade,” and an abstract, yet faithful reading of Monk’s “Round Midnight,” Bruford may gently assert the forward motion, but he’s also become a masterful colourist. And while Borstlap’s supplementing of his piano with electronic keyboards sometimes gives the duo a broader complexion, the subtleties of their exchange are never overshadowed by sheer demonstrativeness.

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Every Step a Dance, Every Word a Song may not be as great a step forward for Borstlap, already a well-established jazz figure, but it represents one more advance in the pursuit of a more instinctive and natural approach for Bruford, an artist who has, for all intents and purposes, left his rock roots completely behind him. (by John Kelman)

Recorded live in Europe, 2003-4

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Personnel:
Michiel Borstlap (keyboards)
Bill Bruford (drums, percussion)

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Tracklist:
01. The 16 Kingdoms Of The 5 Barbarians (Bruford/Borstlap) 8.46
02. Bemsha Swing (Best/Monk) 6.07
03. Inhaling Shade (Bruford/Borstlap) 5.34
04. One Big Vamp (Bruford/Borstlap) 6.05
05. Round Midnight (Hanighen/Williams/Monk) 5.40
06. Announcement 0.53
07 Every Step A Dance, Every Word A Song (Bruford/Borstlap) 5.22
08. Stand On Zanzibar (Bruford/Borstlap) 7.55
09. Swansong (Bruford/Borstlap) 6.58

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Passport – Running In Real Time (1985)

FrontCover1.jpgIt’s quite impressive knowing Passport as they were very productive in generating albums and this “Running in Real Time” was their 14th studio album since their first inception in 1971. Many have considered this Germany-based band in comparison with its American counterpart Weather Report eventhough the music is not quite the same. This release is quite surprise to me as it features two kind of music: the original root of Passport with its jazz-rock fusion style with many saxophone work and those with vocals where the music tend to be R&B instead of jazz.

The opening track “At Large” demonstrates the original root of Passport in jazz-rock fusion style featuring sax solo combined nicely with guitar work laid over jazzy rhythm section. The next track “Auyrin” is a slow speed jazzy tunes with sax as main melody backed with solid basslines. There is also nice guitar solo right after sax. These two opening tracks resembles the original style of Passport music. “Talisman” is explorative in nature, demonstrating bamboo flute played by the band leader Klaus Doldinger cmbined nicely with vocals as well as excellent percussion by the band’s long serving drummer: Curt Cress. Starting with “Help Me” Passport made an effort to do differently, introducing vocal by Victoria Miles. The music has the kind of R&B style. But of course it’s not a typical R&B you can hear easily at radio station. It’s in fact quite enjoyable.

Overall, I consider this album is a good one especially for those who love jazz-rock fusion but don’t get surprises if you find some kind of R&B music as the vocal enters. Keep on proggin’ ..! (by Gatot)

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Personnel:
Curt Cress (drums, percussion)
Klaus Doldinger (saxophone, bamboo flute, keyboards)
Victoria Miles (vocals)
Kevin Mulligan (guitar)
Dieter Petereit (bass)
Hermann Weindorf (keyboards)
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Bill Lang (guitar 0n 01., 03. – 06.)
Claus Reichstaller (trumpet on 08.)
Franz Weyerer (trumpet on 08.)
Roykey Wydh (guitar on 07. + 08.)

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Tracklist:
01. At Large 4.48
02. Auryn 5.37
03. Talisman 7.32
04. Help Me 4.14
05. Joy Riding 6.40
06. Slap Shot 5.47
07. Mr. Mystery 4.16
08. Running In Real Time 3.43

Music composed by Klaus Doldinger

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More Passport:

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