Klaus Doldinger´s Passport – Back To Brazil (2003)

FrontCover1Klaus Doldinger, best-known for leading the excellent fusion group Passport in the 1970s and ’80s, has had a diverse and episodic career. He started out studying piano in 1947 and clarinet five years later, playing in Dixieland bands in the 1950s. By 1961, he had become a modern tenor saxophonist, working with such top visiting and expatriate Americans as Don Ellis, Johnny Griffin, Benny Bailey, Idrees Sulieman, Donald Byrd, and Kenny Clarke, recording as a leader for Philips, World Pacific, and Liberty. However, in 1970, he initiated a long series of fusion-oriented sessions for Atlantic that featured his tenor, soprano, flute, and occasional keyboards with an electric rhythm section. In addition to writing music for films (including Das Boot) and television in Europe, Doldinger has remained active as a player who occasionally explores his roots in hard bop into the late ’90s, but because he has always lived in Europe, he remains underrated in the U.S. (by Scott Yanow)

And this is another brilliant album by Klaus Dolinger & Passport:

“Back To Brazil” is a tribute to a country with many musical flavours. In the late Seventies Passport played a tremendously successful Brazilian tour and produced a legendary album called “Iguacu” renowned group. This year, the band went back to Brazil and were highly impressed by new trends and sounds.

Biboul Darouiche (percussion)
Klaus Doldinger (saxophone, piano)
Roberto Di Gioia (keyboards)
Peter O’Mara (guitar)
Christian Lettner (drums)
Patrick Stroer (percussion)
Beto Cazes (percussion)
Jovi Joviniano (percussion)
Carlos Negreiros (percussion)

01. Samba Cinema (Doldinger) 5.19
02. Airport (Doldinger) 4:56
03. Praia Do Flamengo (Doldinger) 5:20
04. Melancholia (Doldinger) 2:28
05. Moon Over Bahia (Doldinger) 5:26
06. After Hours (Doldinger)5:42
07. Aurora (Doldinger)4:50
08. Boogie (Doldinger) 5:36
09. Where Have You Been? (Doldinger) 5:25
10. Bellydance (Doldinger) 4:31
11. Jazzaloop (Doldinger) 4:04
12. Rio Jam (Doldinger) 4:35



Giora Feidman – Clarinetango (1990)

FrontCover1Giora Feidman (born March 26, 1936) is an Argentine-born Israeli clarinetist who specializes in klezmer music.

Giora Feidman was born in Buenos Aires, Argentina, where his Bessarabian Jewish parents immigrated to escape persecution. Feidman comes from a family of klezmer musicians. His father, grandfather and great-grandfather made music for weddings, bar mitzvahs, and holiday celebrations in the shtetls of Eastern Europe. Feidman married Ora Bat-Chaim, his personal manager, in 1975.

Feidman began his career in Buenos Aires as a member of the Teatro Colón Symphony Orchestra. Two years later he immigrated to Israel to become the youngest clarinetist ever to play with the Israel Philharmonic Orchestra. He was a member of the orchestra for over 20 years. In the early 1970s he began his solo career. He has performed with the Berliner Symphoniker, the Kronos Quartet, the Polish Chamber Philarmonic, the Munich Chamber Philarmonic Orchestra, and the Munich Radio Orchestra. In 1974 the Israeli Philharmonic Orchestra commissioned composer Misha Segal to write a concerto for clarinet and orchestra for Giora Feidman. The one movement piece, which was based on an original Nigun, premiered that same year.

Movie director Steven Spielberg invited him to play the clarinet solos for the soundtrack of Schindler’s List, which won seven Academy Awards.

Feidman founded the “Clarinet and Klezmer in the Galilee” seminar and master class program, which takes place every year in Safed, Israel. (by wikipedia)

This is very special album by Giora Feidman. It was recorded with only 2 microphones to get a very realistic sound in the Rutgers Presbyterian Church, New York (1989)

And on this album you can hear more or less tango music only … a real highlight in the career of Gioa Feidman !

Giora Feidman (clarinet)
Jerr Israel (guitar)
Manny Katz (guitar)
Mark Minkler (bass)
Roberto Pansera (bandoneon)

01. La Cumparsita (Rodriguez) 2.43
02. Gracias a la Vida (Parra) 4.07
03. Lluvia de Estrellas (Maderna) 3.09
04. Mi Buenos Aires Querido (Gardel) 3.04
05. Don Ludwig (Pansera) 2.49
06. El Choclo (Villoldo) 2.51
07. Palomita Blanca (Aieta) 2.29
08. Fuga e Misterio (Piazzolla) 2.10
09. Uno (Mores) 3.09
10. Guitarra Romana ( 2:18 )
11. Clarinetango (Pansera) 3.37
12. Alfonsina y el Mar (Ramirez ) 4.17
13. Hernando´s Hideaway (Adler) 2.24
14. Es Dia que me Quieras (Gardel) 3.15
15. Adios Nonino (Piazzolla) 3.29
16. Hamabe-no Uta (Narita) 3.08
17. A Media Luz (Donato) 3.24
18. Chiquilin de Bach´in (Piazzolla) 4.34
19. Taquito Militar (Mores) 2.39


Ry Cooder – Crossroads (1986)

RyCooderCrossroadsFCRyland “Ry” Peter Cooder (born 15 March 1947, in Los Angeles, California) is an American guitarist, singer, and composer.
He is known for his slide guitar work, his interest in the American roots music, and, more recently, for his collaborations with traditional musicians from many countries. Cooder was ranked number 8 on Rolling Stone’s “The 100 Greatest Guitarists of All Time.”
This production of classic blues tunes remains one of my favorites today. The Karate Kid steps up to the plate but his performance is mediocore yet saleable. A great story, looking for Robert Johnson’s lost tracks, a rendeveouz with the devil, a young love affair and a quest for redempetion make this film very likeable. It is, however, the music that sets it apart. If you are a fan of R. Johnson a lover of the blues then it’s a must see/listen.
Note that this album does not include the legendary “Head-Cuttin’ Duel”. I will publish this track later in the first “Many Fantastic Colors” Anthology.


George Bohannon (baritone horn)
Jorge Calderon (bass)
Ry Cooder (guitar, vocals)
Miguel Cruz (percussion)
Jim Dickinson (piano, dolceola)
Nathan East (bass)
Terry Evans (background vocals)
Frank Frost (vocals, harmonica)
Richard Holmes (bass)
Willie Green (background vocals)
Jim Keltner (drums)
Bobby King (background vocals)
John Logan (harmonica)
Amy Madigan (vocals)
Van Dyke Parks (piano)
Alan Pasqua (synthesizer)
John Price (drums)
Joe Senaca (vocals)
Walter Sereth (saxophone)
William Smith (organ)
Otis Taylor (guitar)
Sonny Terry (harmonica)

01. Crossroads (Johnson) 4.23
02. Down In Mississippi(Lenoir) 4.26 (additional recording – not featured in the movie picture)
03. Cotton Needs Pickin’ (Frost/Holmes/Taylor/Price) 2.58
04. Viola Lee Blues (Lewis) 3.11
05. See You In Hell, Blind Boy (Cooder) 2.12
06. Nitty Gritty Mississippi (Burch/Hill) 2.57
07. He Made A Woman Out Of Me (Burch/Hill) 4.12
08. Feelin’ Bad Blues (Cooder) 4.17
09. Somebody’s Callin’ My Name (Traditional) 1.45
10. Willie Brown Blues (Cooder/Seneca) 3.46
11. Walkin’ Away Blues (Terry/Cooder) 3.40


Amsterdam Guitar Trio – Four Seasons (Antonio Vivaldi) (1984)

AmsterdamGuitarTrioVivaldiFCThere are people capable of playing this?!”
This is what I think whenever listening to this album. Two years ago, I heard the last allegro of Winter from this album on a classical radio station. I bought it immediately (after I caught my breath). It was and still is one of the most amazing things I have ever heard – The Four Seasons played pizzicato on guitars. The trio’s execution is flawless. The dynamic changes they somehow surprisingly master make this, I think, far more moving than the traditionally instrumented version we’ve all heard ten thousand times.

I have had this disc for two years, and I still catch my breath. I am grateful that such skilled artists had the idea to present this work to us.

John Dorrestein (guitar)
Helenus De Rijke (guitar)
Olga Franssen (guitar)

01. Spring: Concert No. 1 in E-major RV 269 (Vivaldi) 10.43
02. Summer: Concerto No. 2 in G-minor RV 315 (Vivaldi) 11.30
03. Autumn: Concerto No. 3 in F-major RV 293 (Vivaldi) 10.44
04. Winter: Concerto No. 4 in F-minor RV 297 (Vivaldi) 9.00


Hardin & York – Live (1994)

HardinYorkLiveFCOne of the first German bootlegs was the “Hardin & York” live recording at a youthclub in Hamburg-Altona in 1970. A real collector´s item and till 1994 really hard to find. But then Eddie Hardin & Pete York decided, to publish this bootleg as an “official bootleg”.

It´s really amazing to listen to the live sound of “the smallest big band”, which was then and now more than exciting.

A mixture between a jazzy version of The Beatles tunes “Lady Madonna” and “Norwegian Wood” (later called “Northern Medley”) sentimental ballads and of course their famous Rock N Roll Medley.

HardinYorkLiveBootlegFCOriginal Bootleg frontcover

Eddie Hardin (keyboards, vocals)
Pete York (drums)

01. Lady Madonna/Norwegian Wood (Lennon/McCartney) 24.17
02. Drinking My Wine (Hardin) 3.50
03. I´ll Drown In My Own Tears (Charles) 4.28
04. The Long Road (Hardin) 3.15
05. Driftin´ Blue (Hardin) 6.36
06. Jailhouse Rock/Mean Woman Blues (Leiber/Stoller/Demetrius) 5.04



Paul Rodgers – Live At The BBC (1971)

PaulRdogersBBC71FCAnyone into ’60s rock would consider Free together with Cream and Led Zeppelin among the key blues-influenced bands. Formed in 1968, Free’s original lineup included drummer Simon Kirke, bassist Andy Fraser, vocalist Paul Rodgers and guitarist Paul Kossoff.
When Free disbanded in 1973, it has been reported that Rodgers was offered the lead vocalist slot with Deep Purple which he turned down. He then joined Kirke, Boz Burrell (King Crimson) and guitarist Mick Ralphs (Mott The Hoople) to form Bad Company.
Before Bad Company and during a fallout from Free, Rodgers also fronted Peace, which featured Stewart McDonald and Mich Underwood.
Here are three tracks Peace performed live at the BBC in 1971. These tracks were later recorded by Free and Bad Company.

Stewart McDonald (bass)
Paul Rodgers (guitar, vocals)
Mick Underwood (drums)


01. Heartbreaker (Rodgers)
02. Like Water (Rodgers)
03. Seven Angels (Rodgers)


Sexteto Mayor – Vida, Pasion Y Tango (2011)

FrontCover1This ensemble is not only Sexteto Mayor by name (…), it achieves its greatness, class and outstanding musical identity by exploiting to the full all the possibilities its six instruments with their different characters have to offer – rhythm, vitality and melody spun delicately together. In this way, the inimitable impression of many sounds and tones blending together is created, as if six instruments were singing as one large choir – clear and pure.” (Jazzthetik 01/02/11)

“The Sexteto Mayor from Buenos Aires has never settled for the type of easily digestible tango that keeps the tourists happy. Even in difficult times, the sextet’s musicians have persisted in fathoming the depths of the musical soul of Argentinean Tango. And this ethos has brought them decades of international success and fame, in more recent years in their home country of Argentinia, too, where their album Vida, Pasión y Tango has been awarded the Gardel de Oro for Tango (…)” (JAZZthing Nov.2010 – Jan. 2011)

Listen ! Enjoy !

Mario Abramovich (violin)
Enrique Guerra (bass)
Fulvio Giraudo (piano)
Pablo Mainetti (bandonéon)
Horacio Romo (bandonéon)
Eduardo Walczak (violin)

01. Universo (Libertella) 3.35
02. Desde el Alma (Melo) 3.37
03. Pasión & Tango (Libertella) 3.47
04. Oblivión (Piazolla) 4.18
05. Sabor a Buenos Aires  (Libertella) 2.44
06. París Otoñal (Libertella) 4.11
07. Muerte del Ángel (Piazzolla) 3.08
08. Bajo Romántico (Libertella/Murtagh) 4.09
09. Invierno Porteño (Piazzolla) 3.45
10. De Azul y Barro (Libertella) 2.45
11. Gallo Ciego (Bardi) 3.03
12. Romance de Tango (Stampone) 3.00
13. El Marne (Arolas) 2.25
14. Tierra Querida (De Caro) 3.28
15. Romántico Bandoneón (Libertella) 3.28

Lynyrd Skynyrd – Winterland (1976)

LynyrdSkynrdWinterland1976FCAfter years of life on the road and with their role models, the Allman Brothers Band, struggling to survive the deaths of two of its most distinctively talented members, today Lynyrd Skynyrd has become the quintessential Southern Rock band. Under the leadership of frontman and primary songwriter Ronnie Van Zant, the group’s melodic lyric driven ballads and power driven hard rockers would catapult the group into one of the most popular touring bands in the world. The group’s distinctive guitar attack, combined with an overtly defiant and rebellious attitude, gave them a cultural identity that would help make songs like “Sweet Home Alabama” and “Free Bird” into anthems of American rock music and staples of FM radio right up to the present day.

Headlining a bill that also featured the Outlaws, this Winterland recording captures Lynyrd Skynyrd following the release of their fourth album, Gimme Back My Bullets. This was during a transitional phase for the band, following the departure of guitarist Ed King, but prior to his replacement, Steve Gaines, coming on board. The band was carrying on as a six-piece unit, augmented by the Honkettes on backing vocals.

This is an interesting time to hear the band live, as their trademark three-guitar attack was reduced by one guitar, leaving more room for keyboardist Billy Powell. On the ballads, like “Tuesdays Gone” and the pre-jam verses of “Freebird,” Powell displays great creativity and expands the keyboard’s role in these songs.

Otherwise, the band rocks as hard as ever, with a good selection of their most popular songs, sampling a bit from all four of their studio albums. The group’s defiant Southern swagger, combined with an infectious guitar and piano driven groove, creates an irresistible combination that resonated far beyond the Southern states. Two of the standouts on this show are both well chosen covers, which the band redefines as their own; J.J. Cale’s “Call Me The Breeze” and Jimmy Rogers’ “T For Texas.” Both of these are rearranged in classic Skynyrd style, with the latter closing the set and clearly displaying the root sound of the band at its best.

The audience demands an encore and the band obliges with a monumental “Free Bird.” It begins as a plaintive slow ballad, with Van Zant’s distinctively sad vocals over the melodic keyboard playing of Powell and delicate slide guitar ornamentation from Rossington. However, it is the second section, which becomes an up-tempo guitar boogie, that really hits home. Here the guitarists cut loose to create one of the most distinctive solos of all time. Rossington and Collins turn this section into a soaring jam that also features impressive melodic bass playing from Wilkeson and furious keyboards from Powell. Following a brief reprise of the song, they turn on a dime back into the groove of the jam before bringing it to a climactic close.

“Free Bird,” more often than not, sarcastically, would become the most requested song of all time. For musicians, this inevitable request has become so tiresome, that the act of requesting it has become universally known as “the mantra of the moron.” Still, this only goes to prove just how deeply this song has permeated American culture and is a testament to its enduring popularity, making it one of the true landmark rock songs of twentieth century music.

Allen Collins ( guitar)
Billy Powell (keyboards)
Artimus Pyle (drums)
Gary Rossington (guitar)
Leon Wilkinson (bass)
Ronnie Van Zant (vocals)
JoJo Billingsley (background vocals)
Cassie Gaines (background vocals)
Leslie Hawkins (background vocals)

LynyrdSkynrdWinterland1976AlternateFCAlternate frontcover

01. Cry For The Bad Man (Rossington/Collins/v.Zant) 5.36
02. Saturday Night Special (King/v.Zant) 5.35
03. Searchin´ (Collins/v.Zant9 3.53
04. I Got The Same Old Blues (Cale) 4.28
05. Gimme Back My Bullets (Rossington/v.Zant) 4.22
06. Tuesday´s Gone (Rossington/Collins/v.Zant) 7.46
07. The Needle And The Spoon (Collins/v.Zant) 4.49
08. Gimme Three Steps/Call Me The Breeze (Collins/v.Zant/Cale) 10.07
09. Sweet Home Alabama (King/Rossington/v.Zant) 6.27
10. T. For Texas (Rodgers) 11.23
11. Free Bird (Collins/v.Zant) 12.58


Jacques Brel – Ne Me Quitte Pas (1972)

FrontCover1Jacques Brel (; 8 April 1929 – 9 October 1978) was a Belgian singer-songwriter who composed and performed literate, thoughtful, and theatrical songs that generated a large, devoted following in Belgium and France initially, and later throughout the world. He was widely considered a master of the modern chanson. Although he recorded most of his songs in French, he became a major influence on English-speaking songwriters and performers such as David Bowie, Leonard Cohen, Marc Almond and Rod McKuen. English translations of his songs were recorded by many top performers in the United States, including Ray Charles, Judy Collins, John Denver, the Kingston Trio, Nina Simone, Frank Sinatra, Scott Walker, and Andy Williams. In French-speaking countries, Brel was also a successful actor, appearing in ten films. He also directed two films, one of which, Le Far West, was nominated for the Palme d’Or at the Cannes Film Festival in 1973. Jacques Brel has sold over 25 million records worldwide, and is the third best-selling Belgian recording artist of all time.

Ne Me Quitte Pas (English: Don’t leave me) is Jacques Brel’s twelfth studio album. Released in 1972 by Barclay (80145), the album features re-recordings of many of Brel’s best-known songs. The album was reissued on 23 September 2003 as part of the 16-CD box set Boîte à Bonbons.

AlternateFrontCoversAlternate frontcovers

The title song has been translated into numerous languages, and has been widely covered by French and English-speaking artists, including Isabelle Aubret (2001), Shirley Bassey (1972), Sam Cooke (1960), Céline Dion (1994), Olivia Newton-John (1972), Nina Simone (1965), and Dionne Warwick (1972).

Jacques Brel (vocals)
Gérard Jouannest (piano)
Orchestra conducted by François Rauber

01. Ne me quitte pas (Don’t leave me) (Brel)
02. Marieke (Brel/Jouannest)
03. On n’oublie rien (One forgets nothing) (Brel/Jouannest)
04. Les Flamandes (The Flemish) (Brel)
05. Les prénoms de Paris (The names of Paris) (Brel/Jouannest)
06. Quand on n’a que l’amour (When you only have love) (Brel)
07. Les biches (The does) (Brel/Jouannest)
08. Le prochain amour (The next love) (Brel/Jouannest)
09. Le Moribond (The dying man) (Brel)
10. La valse à mille temps (The waltz a thousand times as fast) (Brel)
11. Je ne sais pas (I don’t know) (Brel)


Various Artists – The Art Of Belly Dance (1999)

FrontCover1Belly dance or bellydance is a Western-coined name for “solo, improvised dances based on torso articulation” originating from the Middle East, especially raqs sharqi . Other names which are sometimes used for the dance in English speaking countries include Oriental Dance, Egyptian Dance, Arabic dance or Middle Eastern dance.

Belly dance takes many different forms depending on the country and region, both in costume and dance style, and new styles have evolved in the West as its popularity has spread globally.

The term “belly dance” is a translation of the French term “danse du ventre”, which was applied to the dance in the Victorian era, and originally referred to the Ouled Nail dancers of Algeria, whose dance used more abdominal movements than the dances described today as “belly dance”. It is something of a misnomer, as every part of the body is involved in the dance; the most featured body part is usually the hips. (by wikipedia)

And if you are interested to hear the music of belly dance … check it out!


01. Ashraf Zakaria: Darb Al Habaib (Zakaria) 9.27
02. Brian Keane & Omar Faruk Tekbilek: A Passage East (Tekbilek) 3.08
03. Muhammad Sultan: Nabila (Sultan) 6.07
04. Mezdeke: Amar Amar (Mezdeke) 3.57
05. Anne Dudley & Jaz Coleman: Endless Festival (Dudley/Coleman) 3.58
06. Ashraf Zakaria: Tammerhenna Tabla Solo (Zakaria) 7.23
07. Muhammad Sultan: Dina (Sultan) 12.33
08. Brian Keane & Omar Faruk Tekbilek: Fire Dance (Tekbilek) 5.30
09. Anne Dudley & Jaz Coleman: Minerats And Memories (Dudley/Coleman) 3.24