Young & Moody – Same (1977)

LPFrontCover1 The Young & Moody Band was a UK blues rock band from the late 1970s to the early 1980s, headed by Status Quo co-writer Bob Young and Whitesnake guitarist Micky Moody.

The band started under the name “Young & Moody”, releasing a self-titled album on Magnet Records in 1977. Later they changed their name to “The Young & Moody Band”. Their 1981 single “Don’t Do That” also featured Lemmy from Motörhead, Cozy Powell and The Nolans and charted at #63 on the UK Singles Chart.

YoungMoodyTheir follow up single, ‘These Eyes’, was used in a U.K. jeans commercial (circa 1981). Graham Bonnet (ex Rainbow) did the vocals (but not on the single) and the lyrics ‘these eyes’ were replaced with the word ‘Levis’. It was written by Ed Hamilton, who also wrote “Night Games” from Bonnet’s third album Line-Up. Both tracks were available as singles on Bronze Records and featured on the compilation album A Quiet Night In. When released on that compilation album, it earned gold discs abroad. (by wikipedia)

And this is their fantastic debut-album from 1977, which was produced by Roger Glover from Deep Purple. The coverart was from the legendary Hipgnosis !

Although this is a low-budget project it´s more than pleasant and thoroughly enjoyable.

Micky Moody (guitar, mandolin)
Graham Preskett (violin, bass, keyboards)
Terry Stannard (drums, percussion)
Bob Young (vocals, harmonica)
Drums, Percussion – Terry Stannard

01. You Make It Roll (Young/Moody) 5.16
02. I’ll Be Back (Rossi/Young) 3.04
03. Chicago Blue (Young/Moody) 4.25
04. Four Until Late (Johnson) 4.46
05. Young & Moody (Young/Moody) 3.06
06. Too Young To Feel This Way (Young/Moody) 4.58
07. Just Close Your Eyes (Young/Moody) 2.55
08. Someone Else’s Door (Young/Moody) 3.44
09. I’m Going Away (Cotton/Traditional) 3.18
10.  I Thought I’d Seen It All (Young/Moody) 3.40
11. Chained To Love (Young/Moody) 4.48
12. Don’t You Tell Me To Go (Young/Moody/Markee) 3.07



SingleCoversSingle covers from Netherland and Germany

Baronics – Get Bach! (1998)

FrontCover1And now another classic record with compositions of Johann Sebastian Bach, Antonio Vivalidi, Wolfgang Amadeus Mozart, Johann Pachelbel and Ludwig van Beethoven … but in a very funny way …

VIVALDI, PACHELBEL GO POP… “In which Vivaldi meets The Ventures as Quebec based quartet The Baronics give some popular classics the surfing sound of clean, bright Fender guitars. Doubtless pursits of both stripes will disapprove of this disc, however for those prepared to loosen their muscal stays a little there is a lot of good clean fun to be had (not to mention the potential for confounding people’s expectations at parties – put this on and watch the cratched heads and baffled expressions). What particularly impressed me about his record is the fidelity with which the originals are approached: both the notes and the spirit are captured. Pachelbel’s famous Canon comes off particularly well, but then so does The Four Seasons. In fact so enjoyable did I find this fresh take on the work which is in danger of becoming hackneyed… Nigel Kennedy, eat your heart out! This is not the first time that the classics have been treated to a rock ‘n’ roll backbeat and I dare say it won’t be the last. Few, though, tend to be done with anything like the skill and affection evident here.”

Baronics01THE BARONICS performs on vintage Fenders and amplifiers and they’ve been around for the last ten years as a back up band for many singer/songwriters. But their career did really take a turn when they toured as Ralph and The Baronics with 5 videos played regularly on the Canadian TV. When Ralph did retire, The Baronics came back to their roots to perform surf music. But why not start at the very root of music: classical music…

Some of the best classical works revisited expertly by The Baronics – pure surf style. Exquisite arrangements, superb performance… “A splendid time is guaranteed for all!” to quote Sgt. Pepper. The perfect introduction to classical music or the perfect gift for the classical aficionados who thinks he/she already has the world best collection of classical music…

Baronics02And here´s the story of this more or less unknown, but great band:

In 1996, bassist Olivier Martin leaves surf rock band Les Jaguars. Shortly there after, he contacts the guitarist Patrick Kelly and form the Baronics.The name was taken from a group (their former band) that existed ten years earlier in the Montreal music scene. The name wasn’t the only thing they borrowed from the old band, they also incorporated their old look too. They have been developing their repertory and their interest in surf music, while at the same time work on traditional adaptations of classical pieces.This fusion would lead to the very particular style found on the album “Get Bach! ”, in 1997. They make a promotional round in Canada and also play in clubs and various demonstrations. The Baronics record standards, themes and surf rock instrumentals, part of their live act. Exposition, released in February of 1998, contains that assortment of various fun, theme and mood pieces

Recorded at Studio Peter Pan, Montreal, and Studio Digilog, Montreal
in October and November of 1996

Pascal Gingras (drums)
Olivier Martin (bass)
Patrick Kelly (guitar)
Christian Sylvestre (guitar)
Pierre Puesch (saxophone on 03.)
Peter Thompson (vocals on 10.)



Antonio Vivaldi- The Four Seasons:
01. Spring 3.57
02. Summer 2.40
03. Fall 2.46
04. Winter 2.52

Wolfgang Amadeus Mozart:
05. Rondo Alla Turca (Mozart) 3.58

Johann Sebastian Bach:
06. Invention 1 & 13 3.01

 Johann Pachelbel:
07. Kanon 3.25

Ludwig van Beethoven:
08. Moonlight Sonata 5.08

Wolfgang Amadeus Mozart:
09. Serenade No. 13 (Mozart)  4.01

Johann Sebastian Bach:
10. Bourree 4.51



Jiřina Pokorná – JS Bach (1993)

FrontCover1Jiřina Pokorná ranks alongside leading contemporary Czech organist. A native of Prague, she devolped her musical talent from early childhood. She obtained formal education in the class of the Prague Conservatory, under professor Kampelsheimer, and subsequently, under professor Milan Slechta at Praqgue´s Academy Of Music. She attracted of the musical public while still a student, and embarked on a full-time career as a concert artist in the 1960s.

Since then she has sucessfully represented the Czech organ school on concert tours, covering Germany, Austria, Belgium and Italy. Apart from that, she appeared in the former Soviet Union and Yugoslavia, and made a highly suscessful tour of Japan in 1991.

Miss Pokorná has combined her solo career with joints projects involving other prominent instrumentalists, including noteable trumpet player of the Czech Philharmonic Miroslav Kejmar and violinist Pavel Hula, as well as working with serveral leader chamber ensembles. Her art has been made available to record collectors on a number of titles released by various record labels. (taken from the original liner-notes)

Enjoy the beautiful organ music composed by one of the greatest compers in music history, Johann Sebastian Bach.

Jiřina Pokorná (organ)


Fantasia and Fugue in g minor, BWV 542:
01. Fantasia 7.27
02. Fugue 7.32

03. Partita “Sei Gegrüsset, Jeus gütig“ BWV 768 21.50

Fantasia and Fugue in c minor, BWV 537:
04. Fantasia 5.32
05. Fugue 4.49

06. Passacaglia in c minor, BWV 582 15.22

Composed by Johann Sebastian Bach


Cappelletti – Ottaviano Quartett – Samadhi (1989)

FrontCover1This is another fine Jazz-CD I bought during my vacation in Italy during august this year.

Arrigo Cappelletti is one of the most important jazz musicians in Italy:

He joined several jazz events – some are listed here: Como Jazz Meeting in 1976 and 1996, Rapallo Festival in 1984, Italy Jazz Festival Capolinea di Milano in 1986-1987-1989, 7th International Jazz Festival City of Milan in 1988, “I suoni del jazz” (Sounds of Jazz) Festival in Pavia in 1991, Jazz Review in Palazzo Butera – Palermo in 1991, Pori Festival in Finland in 1991, “Sanremo: l’altra musica” (The other music of Sanremo) in 1993, Jazzitalia Festival in Verona in 1994, Noto Jazz Festival in 1996, Portogallo EXPO 98, Festival Sete Sois Sete Luas in Portugal in 1999), Clusone jazz in 2000, Festival Jazz&Wine in Gorizia in 2000, “Le voci del jazz” (Voices of Jazz) in Milan Auditorium in 2003, Iseo jazz, Siena jazz, EcoJazz Festival in Reggio Calabria in 2004, Villa Celimontana Festival in Rome in 2005, Siena Jazz in 2005, Novara Jazz Festival (2007), Santannarresi Jazz Festival (2009) and Padova Jazz festival (2009). In 2004 the musical video On smoking by Francesco Leprino, based on Cappelletti’s music, participates in Not Still Art Festival (Brooklyn, NYC, U.S.A.).

Cappalletti1In Italy he played with several artists – among them: Gianni Cazzola, Sergio Fanni, Paolo Dalla Porta, Roberto Ottaviano, Gianni Coscia, Giulio Visibelli and Sandro Cerino. He worked with international musicians as well: Barre Phillips, Lew Soloff, Mike Mossmann, Daniel Schnyder, Bill Elgart, Olivier Manoury, Steve Swallow, Ralph Alessi, John Hebert, Jeff Hirshfield. He worked with the singer Mia Martini and with the Giorgio Gaslini Italian Jazz Orchestra. In 1988 the American magazine Cadence included his record Reflections in the best ten records of the year.

Inspired by John Lewis, Lennie Tristano, Bill Evans, Paul Bley, for several years he found the ideal dimension to express his free, intense, elegant jazz in a Trio with piano. At the end of ’80s he discovered Tango Jazz and so he anticipated what now in Italy is the trend: contamination between jazz and other genres. He lived in Portugal where, together with some of the most relevant Portuguese Fado artists as Custódio Castelo, Jorge Fernando, Alexandra, he carried out a personal musical project, Terras do risco, creating songs on lyrics of Portuguese poets of 20th Century (for more information: José Serra Cruz). He lived in Russia, as well, where he worked with vocalist Polina Runovskaya.

He produced a lot as writer and essayist: Il profumo del Jazz (The fragrance of Jazz) a Ottaviano1book on jazz improvisation (published by ESI – Naples), half didactic half autobiographic; Paul Bley, la logica del caso (Paul Bley, the logic of casualty), a biography and an essay on Paul Bley (published by LEPOS – Palermo). Besides, he taught Jazz by CDM and by Nuova Milano Musica in Milan, by Civic Musical Institute “Brera” in Novara, by Music Conservatory of Sassari and Reggio Calabria. He was teacher of Jazz Piano by Music Conservatory of Alessandria. Now he is teacher of jazz by Music Conservatory of Venice.

This a real great album recorded togehter with (another fine jazz musician from Italy). Their quartett was the “New Talents Winner – Musica Jazz” (Critic polls 1987) … Listen to this album and you´ll know why !

This album was recorded in Milano at Barigozzi Studios, April 4 + 5, 1986 and was original released as a Vinyl-Longplayer in 1986.

Arrigo Cappelletti (piano)
Piero Leveratto (bass)
Massimo Pintori (drums)
Roberto Ottaviano (saxophone)

01. Incipit (Cappelletti) 7.41
02. Canzone (Cappelletti) 9.11
03. Tango (Cappelletti) 8.18
04. Neve (Cappelletti) 6.02
05. Bella Di Giorno (Ottaviano) 6.01
06. I Giorni Di Kira (Ottaviano) 5.56
07. Windfall (Taylor) 6.48


Kevin Ayers – The Confessions Of Dr. Dream And Other Stories (1974)

FrontCover1Kevin Ayers, ex-bass player with the early psychedelic version of the Soft Machine and purveyor of whimsical, English, experimental, singer songwriter fare, is undoubtedly one of this nation’s lost treasures. His first four albums are near perfect examples of his art. By 1974 he’d had near miss after near miss and parted company with EMI’s underground wing, Harvest, signing to Chris Blackwell’s home of musicianly loucheness, Island. As if sensing the cultural shift in rock’s landscape Confessions…, with its mixture of both ‘straight’ and ‘far out’ modes, can be seen as a marker in the shifting sands of his career.

The album’s cast of talent draws together a swathe of his past collaborators, many who’d gone on to be pretty famous themselves: Mike Oldfield and Lol Coxhill (who were both in his band The Whole World); Mike Ratledge (of the Softs); Michael Giles (ex King Crimson); Nico and his multi-talented right hand man/guitarist who’d appeared on his last Harvest album, Bananamour – Ollie Halsall. The album contains both sides of Ayers easy-going CV. There’s the knockabout, slightly boozy, bluesy rock of Day By Day or Everybody’s Sometime And Some People’s All The Time Blues or Didn’t Feel Lonely Til I Thought Of You. And then there’s the second half’s four-part Doctor Dream suite which beautifully trots out some truly disturbing psychodramatic stuff, aided by the Teutonic iciness of Nico on the opening Irreversible Neural Damage.

In a way it’s a reprise of everything that came before. Note how Ratledge’s organ on The Last Chance Dance echoes the previous album’s Interview, and including a rather lame ‘rock’ version of The Soft Machine’s Why Are We Sleeping? (retitled as It Begins With A Blessing…) indicated that excesses were now blunting his creative faculties somewhat. By the following Sweet Deceiver album he’d surrendered to the wine and was featuring Elton John on his albums (they shared managers at the time). However engaging he remained, his days as one of Canterbury’s most florid offshoots were now at an end. (by Chris Jones)

Kevin Ayers (guitar, vocals)
Cal Batchelor (guitar)
Ray Cooper (percussion)
Lol Coxhill (saxophone)
Henry Crallan (piano)
The G’Deevy Ensemble (percussion)
Michael Giles (drums)
John Gustafson (bass)
Ollie Halsall (guitar)
Rosetta Hightower (vocals)
Rupert Hine (keyboards)
Hulloo Choir (vocals)
Trevor Jones (bass)
Sean Milligan (vocals)
Sam Mitchell (guitar)
Mike Moran (piano)
Nico (vocals on 07.)
Steve Nye (organ)
Mike Oldfield (guitar)
John Perry (bass)
Mike Ratledge (organ)
Geoff Richardson (viola)
Doris Troy (vocals)
Mark Warner (guitar)
Joanne Williams (vocals)

01. Day By Day
02. See You Later
03. Didn’t Feel Lonely Till I Thought Of You
04. Everybody’s Sometime And Some People’s All The Time Blues
05. It Begins With A Blessing / Once I Awakened / But It Ends With A Curse
06. Ballbearing Blues
07. The Confessions Of Doctor Dream: Irreversible Neural Damage
08. The Confessions Of Doctor Dream: Invitation
09. The Confessions Of Doctor Dream: The One Chance Dance
10. The Confessions Of Doctor Dream: Doctor Dream Theme
11. The Confessions Of Doctor Dream: Two Goes Into Four

All songs written by Kevin Ayers


JapaneseLabelJapanese label

Chicago – Amsterdam (1973)

FrontCover1Chicago is an American rock band formed in 1967 in Chicago, Illinois. The self-described “rock and roll band with horns” began as a politically charged, sometimes experimental, rock band and later moved to a predominantly softer sound, generating several hit ballads. The group had a steady stream of hits throughout the 1970s and 1980s. Second only to The Beach Boys in Billboard singles and albums chart success among American bands, Chicago is one of the longest-running and most successful rock groups, and one of the world’s best-selling groups of all time, having sold more than 100 million records.

According to Billboard, Chicago was the leading US singles charting group during the 1970s. They have sold over 40 million units in the US, with 23 gold, 18 platinum, and 8 multi-platinum albums. Over the course of their career they have had five number-one albums and 21 top-ten singles.

In 1972 the band released its first single-disc release, Chicago V, which reached number one on both the Billboard pop and jazz album charts. It features “Saturday in the Park”, which mixes everyday life and political yearning in a more subtle way. It peaked at No. 3 on the Billboard Hot 100 in early 1972. Chicago would long open their concerts with the hit song. Another Lamm-composed hit song therein was “Dialogue (Part I & II)”, which featured a musical “debate” between a political activist (sung by Kath) and a blasé college student (sung by Cetera).

Other albums and singles followed in each of the succeeding years. 1973’s Chicago VI was the first of several albums to include Brazilian jazz percussionist Laudir de Oliveira and saw Cetera emerge as the main lead singer. (by wikipedia)

And this is an excellent FM recording from this period of Chicago.. There were some artifacts introduced by various transfers over the years that needed to be removed or repaired. Amplifying the left channel to match the right enhanced the stereo separation. It also helped bring Terry’s guitar to the forefront, a huge bonus in my opinion.

Originally posted March 2006 by Abraxas2 and reseeded February 01, 2012 by TheCommish (many thanks!). Additional thanks to tinobek for the Dutch DJ translation which confirmed the date of the performance. (by squareofnone)

Thanks to squareofnone for the fixes and for sharing the show at Dime.

Thanks also to reinerarnold for the artwork.

Recorded live at the Concertgebouw, Amsterdam, The Netherlands; September 7, 1973. Very good to excellent FM broadcast.

Peter Cetera (bass, vocals)
Robert Lamm (keyboards, vocals)
Terry Kath (guitar, vocals)
Lee Loughnane (trumpet)
Laudir de Olivera (percussion)
James Pankow (trombone)
Walter Parazaider (woodwinds)
Danny Seraphine (drums)

01. Now That You’ve Gone 4.43
02. Something In This City Changes People (Lamm) 3-48
03. Hollywood (Lamm) 3.42
04. Just You ‘n’ Me (Pankow) 4.26
05. Dialogue (Part I & II) (Lamm) 6.57
06. Feelin’ Stronger Every Day (Cetera/Pankow) 4.47
07. Aire 4:05 (Seraphine/Parazaider/Pankow)
08. Ballet For A Girl In Buchannon (Pankow) (cut)/Radio Outro 11.38



NDR Big Band feat. Nils Landgren & Pat Metheny – At Jazz Baltica Salzau (2006)

FrontCover1NDR Bigband – The Hamburg Radio Jazz Orchestra is the premiere orchestra of German public radio in Hamburg. The prized group is considered to be one of the best European jazz big bands and has won great International acclaim because of its original and forward-looking music, including well-documented recordings and performance collaborations with a virtual “Who-Who” of jazz and other music legends.

Among those who have performed with the Hamburg Radio Jazz Orchestra are Dexter Gordon, Chet Barker, George Coleman, Dee Dee Bridgewater, Tomasz Stanko, Art Farmer, Don Cherry, McCoy Turner, Lionel Hampton, Benny Golson, Johnny Griffin, Carla Bley, and Wayne Shorter. The very first jazz concert of the Orchestra took place in May 1974 in the Hamburg “Fabrik”. Since that very moment, they have become steadily and increasingly well-known, appearing on stages in Copenhagen, Nuremberg, Chicago, New York, Paris, London, and even as far away as Beijing.

Hamburg’s NDR Bigband has also taken part in many exceptional artistic projects which often come out of the jazz music frames such as The Theatre of Kurt Weil, Aus der Kürze des Lebenswith the poems by Ernst Jandel – for this purpose written by Dieter Glawischnig, or the music of both Jimi Hendrix and Frank Zappa.

For many years, the Ensemble has successfully reached for the compositions of Polish jazzmen. One of such projects was the recording session for a radio broadcast of NDR together with Tomasz Stanko, entitled The Music of Krzysztof Komeda. Another example of such projects is the CD being recorded with Jan Wroblewski (nickname “Ptaszyn”) under the title Jazz from Poland.

Al Jarreau gave his opinion about the Hamburg Radio Jazz Orchestra with these words: “There aren’t too many big bands on this planet, but Hamburg has one of the best. I love it!” (by

And now it´s time to enjoy a rare and really beautiful concert with the NDR Big Band and some fine guests … and you´ll hear music from Stephen Still to John Coltrane … what a mix !

Recorded live at the Jazz Baltica Salzau on July 1, 2006

NDR Bigband conducted by Vince Mendoza
Peter Erskine (rums)
Fiete Felsch (saxophone)
Nils Landgren (trombone)
Pat Metheny (guitar on 07. + 08.)
Michael Wollny (piano)

01. Love The One You’re With (Stills) 8.25
02. Nasty (Mendoza) 9.04
03. Fragile (Sting) 6.26
04. Intro & Riffs #2 (unknown) 7.51
05. Rhumba Alias (unknown) 10.56
06. Ghost In This House (Prestwood) 6.37
07. The Moon’s A Harsh Mistress (Webb) 9.05
08. Impressions (Coltrane) 10.02


Django Reinhardt – Djangology (2010)

FrontCover1This session was the first post-war collaboration between Reinhardt and Grappelli. Recorded in Rome, Italy in January and February of 1949:

In 1949, guitarist Django Reinhardt and violinist Stephane Grappelli performed together for the first time since the outbreak of World War II put an end to the classic lineup of the Quintet of the Hot Club of France, with the pair reuniting in an Italian recording studio and laying down a number of tunes with a solid local rhythm section. In 1961, 12 songs from those sessions were released in the United States by RCA Victor under the name Djangology (and with Grappelli’s name misspelled on the cover); this expanded CD reissue features 23 tunes recorded during Reinhardt and Grappelli’s Rome sessions.

Stylistically, this material doesn’t represent a dramatic departure from the material Reinhardt recorded in the 1930s (while he’d been experimenting with an electric guitar at the time, these are fully acoustic sessions), though there are glimmers of new ideas the great guitarist had picked up along the way, most notably a few bop-influenced solos. But Reinhardt’s trademark gypsy swing is still as effortlessly enthusiastic as ever, and his by-play with Grappelli is simply wonderful; the intuitive symmetry of their performances is a marvel, and it’s hard to imagine that these musicians had spent ten years apart, given the ease and finesse with which they work together. (Bassist Carlo Pecori and drummer Aurelio de Carolis support the soloists well without imposing their personalities too strongly on the arrangements, and pianist Gianni Safred’s free-spirited bounce meshes well with Reinhardt and Grappelli’s more adventurous swing.)


Original frontcover from 1961

While the recording quality isn’t perfect, it’s noticeably better than the duo’s earlier sessions, and the remastering for this collection brings out the details without taking the edges out of the sound. Djangology is a lovely set of late-era performances from Django Reinhardt, and if it isn’t an ideal collection of his work, it’s certainly better (and better presented) than most Reinhardt CD’s currently on the market, and stands as further proof of the guitarist’s casual genius. (by Mark Deming)

Aurelio De Carolis (drums)
Stephane Grappelli (violin)
Carlo Pecori (bass)
Django Reinhardt (guitar)
Gianni Safred (piano)

01. I Saw Stars (Goodhart/Hoffman/Sigler) 3.30
02. After You’ve Gone (Creamer/Layton) 3.00
03. Heavy Artillery (Artillerie Lourde) (Reinhardt) 3.40
04. Beyond the Sea (La Mer) (Lawrence/Trenet) 4.16
05. Minor Swing (Grappelli/Reinhardt) 2.37
06. Menilmontant (Trenet) 3.03
07. Brick Top (Grappelli/Reinhardt) 3.44
08. Swing Guitars (Grappelli/Reinhardt) 2.54
09. All the Things You Are (Hammerstein/Kern) 2.54
10. Daphne (Grappelli/Reinhardt) 2.26
11. It’s Only A Paper Moon (Arlen/Harburg/Rose) 2.51
12. Improvisation on Pathetique (Andante) (Tchaikovsky) 3.44
13. The World Is Waiting For The Sunrise (Lockhart/Seitz) 2.52
14. Djangology (Grappelli/Reinhardt) 2.46
15. Ou Es-Tu, Mon Amour? (Where Are You, My Love?) (Stern) 3.22
16. Marie (Berlin) 2.54
17. I Surrender, Dear (Barris/Clifford) 3.45
18. Hallelujah (Grey/Robin/Youmans) 3.09
19. Swing ’42 (Reinhardt/Reisner) 2.26
20. I’ll Never Be the Same (Kahn/Malneck/Signorelli) 4.02
21. Honeysuckle Rose (Razaf/Waller) 3.59
22. Lover Man (Davis/Ramirez/Sherman) 3.11
23. I Got Rhythm (Gershwin) 2.44


Joss Stone – Mind Body & Soul (2004)

FrontCover1On the cover of her debut, The Soul Sessions, Joss Stone’s face is obscured by a vintage microphone, a deliberate move that emphasized the retro-soul vibe of the LP while hiding the youthful face that would have given away that Stone was a mere 16 years old at the time of the album’s release. The point was to put the music before the image and it worked, selling the album to an older audience that might have stayed away, thinking that the teenager sang teen pop. If the debut was designed to give Stone credibility, her second album, Mind, Body & Soul, delivered almost exactly a year after its predecessor, is designed to make her a superstar, broadening her appeal without losing sight of the smooth, funky, stylish soul at the core of Stone01her sound. There’s no radical revision here — she still works with many of the same musicians she did on The Soul Sessions, including Betty Wright and Little Beaver — but there are some subtle shifts in tone scattered throughout the record. Certain songs are a little brighter and a little more radio-ready than before, there’s a more pronounced hip-hop vibe to some beats, and she sounds a little more like a diva this time around — not enough to alienate older fans, but enough to win some new ones. The album has a seductive, sultry feel; there’s some genuine grit to the rhythms, yet it’s all wrapped up in a production that’s smooth as silk. By and large, the songs are good, too, sturdily written and hooky, growing in stature with each play. While Stone has developed a tendency to over-sing ever so slightly — she doesn’t grandstand like the post-Mariah divas, but she’ll fit more notes than necessary into the simplest phrases — she nevertheless possesses a rich, resonant voice that’s a joy to hear. She may not yet have the set of skills, or the experience, to give a nuanced, textured performance — one that feels truly lived-in, not just sung — but she’s a compelling singer and Mind, Body & Soul lives up to her promise. (Stephen Thomas Erlewine)

Raymond Angry (keyboards, synthesizer)
Bombshell (background vocals)
Steve Greenwell (programming, bass on 10.)
David “Jody” Hill (drums)
Mike Mangini (programming; bass on 05. + 14., keyboards on 05.)
AJ Nilo (guitar)
Joss Stone (vocals)
Betty Wright (background vocals)
Teodross Avery (saxophone on 06.)
Ruby Baker (background vocals on 07. 13.)
Cindy Blackman (drums on 01., 03., 07. +  11.)
Astor “Crusty” Campbell (drums on 06.)
Willburn “Squidley” Cole (additional drums on 06.)
Delroy “Chris” Cooper (bass on 06.)
Jack Daley bass on 01., 03. +  07.)
Clovette Danzy (background vocals on 07.)
Tanya Darby (trumpet on 06.)
Jeni Fujita (background vocals on 08.)
Van Gibbs (guitar on 08.)
Commissioner Gordon (percussion on 06.)
Willie “Little Beaver” Hale (guitar on 04., 12. + 13.)
Vincent Henry (clarinet, saxophone on 08.)
Stafford Hunter (trombone on 06.)
Pete Iannacone (bass on 02.)
Jonathan Joseph (drums on 02. +  05.)
Ellison Kendrick (background vocals on 07.)
Benny Latimore (piano 01., 04., 12. + 13, wurlitzer on 10.)
Tom Malone (trumpet, trombone, saxophone on 03., 05. + 13; flugelhorn on 01. + 07.)
Mercedes Martinez (background vocals on 02. + 07.)
Tracey Moore (background vocals on 02. +  07.)
Angelo Morris (bass on 04., 12. + 13.) (piano on 01. +03.); guitar on 07. + 10.)
Ignacio Nunez (percussion on 10.)
Danny P (bass on 11.) (piano on 11. + 14.), (guitar on 07. + 11.)
Bruce Purse (trumpet, flugelhorn on 08.)
Conner Reeves (background vocals on 06.)
Salaam Remi (bass, organ, strings, wurlitzer on 08.)
Margaret Reynolds (background vocals on 07. + 13.)
Nile Rodgers (guitar on 03.)
Veronica Sanchez (background vocals on 07.)
William “Kooly” Scott (background vocals on 07.)
Jonathan Shorten (keyboards on 02., 06., 09. + 14.) (programming on 02. + 09.)
Earl “Chinna” Smith (guitar on 06.)
Angie Stone (piano on 07.)
Timmy Thomas (organ on 04., 10, – 13.)
Ahmir “Questlove” Thompson (drums on 14.)
Carl Vandenbosche (percussion on 09.)
Alan Weekes (guitar on 09.)
Troy Auxilly-Wilson (drums on 08.)
Jeanette Wright (background vocals on 07. + 13.)
Nir Zidkyahu (percussion on 02.)

Brian Chen – viola
Carol Cook – viola
Elizabeth Dyson – cello
Dawn Hannay – viola
Vivek Kamath – viola
Lisa Kim – violin
Sarah Kim – violin
Tom Carney Myung-Hi Kim – violin
Krzysztof Kuznik – violin
Soo Hyun Kwon – violin
Jeanne LeBlan – cello
Jessica Lee – violin
Matt Lehmann – violin
Liz Lim – violin
Pat Milando – French horn
Matt Milewsky – violin
Kevin Mirkin – viola
Eileen Moon – cello
Phil Myers – French horn
Dan Panner – viola
Sandra Park – violin
Laura Seaton – violin
Sarah Seiver – cello
Fiona Simon – violin
Dave Smith – French horn
Sharon Yamada – violin
Jung Sun Yoo – violin

01. Right to Be Wrong (Child/Stone/Wright) 4.40
02. Jet Lag (Reeves/Stone/Shorten) 4.00
03. You Had Me (Stone/White/Stoker/Wright) 3.59
04. Spoiled (L.Dozier(B.Dozier/Stone) 4.03
05. Don’t Cha Wanna Ride (Stone/Child/Wright/Greenberg/Mangini/Record/Sanders) 3.31
06. Less Is More (Reeves/Stone/Shorten) 4.17
07. Security (Greenberg/Stone/Pierre) 4.30
08. Young At Heart (Stone/Remi) 4.10
09. Snakes And Ladders (Reeves/Stone/Shorten) 3.35
10. Understand (Stone/Wright/Morris/Mangini/Greenber) 3.46
11. Don’t Know How (Pierre/Richardson/Ruzumna/Gray) 4.01
12. Torn And Tattered (Howard/Wolf/Dean/Wright) 3.58
13. Killing Time (Gibbons/Stone/Wright) 5.11
14. Sleep Like A Child (Seymour) 15.27
(the actual duration of music on this track is 5:19; the rest is filled with silence)
15. Daniel (hidden track) (Stone) 2.46



Catherine Sauvage – Le fille de Londres + 3 (1954)

FrontCover1Catherine Sauvage (born Marcelle Jeanine Saunier, 26 May 1929 in Nancy, France – died 20 March 1998 in Bry-sur-Marne, Val-de-Marne) was a French singer and actress.

In 1940, Catherine Sauvage moved with her family into the Free Zone in Annecy. Since high school, she turned to the theater where she performed under her birth name, Janine Saulnier. After eight years of studying piano, singing and drama, she met in 1950 Léo Ferré and fell in love with his songs. From him she sang in 1952 Paris canaille, which became a hit. In 1954, she won the “Grand Prix du Disque”, a famous French reward, for the song L’Homme, from Ferré again. On tour in Canada, she made the acquaintance of Gilles Vigneault who wrote for her Mon Pays, Le Corbeau, la Manikoutai.

Arriving in Paris, she adopts the surname Sauvage, borrowed from a childhood friend, and, began studying drama:
I did my apprenticeship with Jean-Louis Barrault, with John Vilar, Roger Blin, Marcel Marceau. […] The chance of life allowed me to be presented to Moyses, who was the director of the cabaret Le Boeuf sur le Toit. I sang him some stuff like that, recited two or three poems. As a result, Moyses hired me the next day. I used a directory with songs including Marianne Oswald. I stayed two months at the Boeuf sur le Toit — afterwards, I sang at the Quod Libet, a nightclub on 3 rue des Prés-At-Clerics.

CatherineShe also performed at the cabarets L’Arlequin at 131 bis, boulevard Saint-Germain, then at L’Écluse at 15, Quai des Grands Augustins, in the sixième arrondissement.

She met Léo Ferré, whom she helped in bringing recognition to his music: “It was the meeting of my life. As a happiness never comes alone, they say, Jacques Canetti came to hear me a beautiful evening. He was always looking for artists for the record company of which he was the artistic director, as well as for [the concert hall] Les Trois Baudets that he had established. ”

Jacques Canetti hired her in 1953 and 1954 to work at Les Trois Baudets. “So I visited that cabaret on Rue Coustou for two years. Later I was featured at the Olympia, and received a grand prize for record L’Homme with Léo Ferré. ”
Performance style

She has always given preference to poetry set to music. Léo Ferré and Gilles Vigneault have said they considered Sauvage their best performer. Aragon, one of her favorite poets, wrote about her: “And suddenly with her voice, like a gift, every word makes complete sense.”

Attention: This is one of my own vinyl rip… please don´t forget, that this EP was published in 1954 … 60 years ago … and you will hear this six decades ….

Catherine Sauvage (vocals)
Michel Legrand et son Orchestre

01. La Fille De Londres (Orlan/Marceau) 2.33
02. Toi Qui Disais, Qui Disais, Qui Disais (Suesse/Darnal) 2.47
03. Paris-Canaille (Ferré) 3.16
04. Le Soudard (Darnal) 3.04