Nigel Kennedy + Berliner Philharmoniker – Vivaldi (2003)

Not content with having produced one wildly successful recording of Vivaldi’s Four Seasons in 1989, Nigel Kennedy, irrepressible enfant terrible of the violin world, apparently decided it was time for another version to display the new insights and ideas he had gained during those years. And indeed the differences are far-reaching and fundamental. The old version was relatively conventional, faithful to the score in text and spirit, with moderate tempi and no exaggerations. The new version’s motto might be “everything to excess”: tempi, tempo changes, dynamics. The sound effects are realistic to nature, but unnatural to string instruments, and there is a lot of scratching in the loud, vigorous sections. Perhaps in a nod to baroque practice, there are swells on the long notes, crescendos and decrescendos on ascending and descending lines, unvibrated passage, and long pauses before final notes.

This is the first of a multi-disc collaboration between Kennedy and the musicians of the Berlin Philharmonic, called “The Vivaldi Project,” and it is interesting that these famously tradition-conscious, staid players seem quite comfortable with his iconoclastic approach. Phrasing, articulation, and spirit are remarkably unanimous; the balance is fine with very strong cellos and basses. In the two double concertos–one famous, one unknown, both delightful–whose fast movements are taken at break-neck speed, the concertmaster matches Kennedy in verve and virtuosity, no mean feat. In spite of all his excesses, Kennedy’s playing is superb; his technique is brilliant, his tone has a beguiling, aching sweetness. He is in his element in the improvisations; indeed they sometimes take on a life of their own. The most convincing, satisfying parts are the slow movements: played with unspoiled simplicity, deep expressiveness, and repose, they speak straight to the heart. Here, one feels, is where the real Kennedy comes out. (by Edith Eisler)

Nigel Kennedy, if you didn’t know it already, has done more for Vivaldi than any other musician alive – according to these sleeve notes, that is. Here he continues his intrepid crusade by recording the Four Seasons for a second time, now with the Berlin Philharmonic, and issued on CD and DVD. Kennedy’s performance is perfectly decent and musical – all that designer stubble and estuary English can’t disguise the high-class violinist he is – but it is unremarkable, with only a few eccentric tempo changes to distinguish it from any one of a number of modern-instrument performances of the past 30 years. The two-violin concertos with which the Four Seasons are framed are marginally more interesting, seem more spontaneous, perhaps because Kennedy hasn’t been playing them ad nauseam for the past 10 years. (The Guardian)

Personnel:
Nigel Kennedy (violin)
+
Berliner Philharmoniker
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Bogumila Gizbert-Studnicka (harpsichord)
Olaf Maninger (cello)
Daniel Stabrawa (violin)
Taro Takeuchi (lute)

Tracklist:

Concerto For 2 Violins, Strings & Continuo In A Minor, Op.3 No.8, RV522     9.36
01. Allegro 2.54
02. Larghetto E Spirituoso 4.11
03. Allegro  2.31

Il Cimento Dell’Armonia E Dell’Inventione, Op.8 Nos.1-4: Le Quattro Stagioni La Primavera, RV269     9.36
04. Allegro  3.05
05. Largo 2.30
06. Allegro 4.01

L’Estate, RV315     10.21
07. Allegro Non Molto – Allegro – (Allegro Non Molto) 5.16
08. Adagio 2.26
09. Presto 2.39

L’Autunno, RV293     8.33
10. Allegro – Larghetto – Allegro Assai 2.08
11. Adagio Molto 2.52
12. Allegro 3.33

L’Inverno, RV297     8.06
13. Allegro Non Molto 3.02
14. Largo 1.39
15. Allegro – Lento – (Allegro) 3.25
–
Concerto For 2 Violins In D Major, RV511     12:07
16. Allegro Molto – Adagio – Allegro 4.37
17. Largo 3.52
18. Allegro 3.38

Composed by Antonio Vivaldi

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**

Unknown Author – Jimi Hendrix (Discography + lyrics) (1986)

This is a very item from my collection of music books.

I didn´t find any information about this book, written by an unknown author on the internet.

Jimi Hendrix was an exceptional musician and songwriter and justifiably considered as  one of the most outstanding artists of the twentieth century. The interpretation of him as simply a great or greatest guitarist has in a way overshadowed the sheer beauty of his music.
It is true that he transformed the whole approach to electric guitar playing with his audacious fusion of Chicago blues, R&B, rock and roll, free jazz, you name it. He had an enormous influence on so many musicians and not only in rock and blues circles. Even the great Miles Davis felt compelled to abandon traditionnal “Jazz” structures, even putting a wah-wah pedal on his trumpet, to get the “Hendrix sound” into his music. Hendrix’s influence reached out to soul artists such as The Temptations and subsequent Oscar winner Isaac Hayes who soon featured funky Hendrix-style “wakka wakka” or fuzzy guitars in their arrangements. Of course it was primarily in the field of rock and pop that his influence was so strongly felt and many artists and groups followed suit, featuring elaborate guitar playing in their music.

Jimi’s psychedelic image also launched a trend with many black artists adopting his look, from Sly Stone to James Brown to the young Michael Jackson and his brothers, who took the stage sporting psychedelic costumes and afros, looking like little Hendrix clones. Even Eric Clapton had an afro perm back in 1967, making him look like a white Hendrix fronting Cream !

The fact that he acheived so much in a short time, with such influence, is amazing. There again, what he did get down is frustratingly short of the real measure of his talents. His blossoming as a songwriter in 1967 and 1968 had established him as a major international artist. His three classic albums as The Jimi Hendrix Experience had perfectly suited and even defined their epoch. Two unbeleivable years of creativity and fun, like one long party, which couldn’t have lasted forever. (by hendrix.guide.pagesperso-orange.fr)

Here some scans from this book … And many thanks to the unknown person, who wrote this book ! This is a printed booklet *smile*

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The Ting Tings – We Started Nothing (2008)

In pop music, catchiness and obnoxiousness often go hand in hand, but on the Ting Tings’ debut album, We Started Nothing, they’re locked in a death grip. The duo’s new wave-worshiping mix of dance and indie pop — which grafts chugging guitar and bashed drums onto looping structures and proudly plastic keyboards — is polished, but far from polite. In fact, the way the Ting Tings repeat their cheap and cheerful hooks until their listeners’ ears are about to break often borders on annoying. Singer/guitarist Katie White’s snotty, singsong vocal delivery and flat rhymes are part cheerleader, part playground chant, and a tiny bit of punk snarl; “That’s Not My Name,” on which White sneers “Are you calling me darling? Are you calling me bird?,” even sounds a little like riot grrrl sloganeering filtered through a decade’s worth of pop. Even when White sings more melodically, as on “Traffic Light” and “We Walk,” the energy, attitude, and — above all — the repetition can still grate, even if you’re tapping your foot to the songs.

However, the Ting Tings manage to stay on the catchy side with “Fruit Machine,” a Lily Allen-ish bit of cheeky bordering on vindictive pop, and on “Keep Your Head” and “Be the One,” which tone down the Ting Tings’ energy to more manageable but still lively levels. “Great DJ” and “Shut Up and Let Me Go” (which sounds like a Yeah Yeah Yeahs parody/tribute) are also standouts, and it’s no surprise they’ve been used in commercials — they’re so short and memorable, they feel like jingles waiting for products to endorse. Since they’ve got a real knack for writing songs that stick in your head whether you want them to or not, the Ting Tings’ songs are fun in very small doses. They’re a singles band at heart, though, and they wear out their welcome all too quickly on We Started Nothing. (by Heather Phares)

Personnel:
Jules De Martino (vocals, drums, guitar, bass, keyboards)
Katie White (vocals, guitar, keyboards)

Tracklist:
01. Great DJ 3.23
02. That’s Not My Name 5.11
03. Fruit Machine 2.54
04. Traffic Light 2.59
05. Shut Up And Let Me Go 2.52
06. Keep Your Head 3.23
07. Be the One 2.58
08. We Walk 4.04
09. Impacilla Carpisung 3.41
10. We Started Nothing 6.22

All songs written and composed by Jules De Martino and Katie White

*
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Japanese frontcover

Art Bakley and The Jazz Messengers – Moanin’ (1958)

Moanin’ is a jazz album by Art Blakey and the Jazz Messengers recorded in 1958.

This was Blakey’s first album for Blue Note in several years, after a period of recording for a miscellany of labels, and marked both a homecoming and a fresh start. Originally the LP was self-titled, but the instant popularity of the bluesy opening track “Moanin'” (by pianist Bobby Timmons) led to its becoming known by that title.
Music

The rest of the originals are by saxophonist Benny Golson (who was not with the Jazz Messengers for long; this being the only American album on which he is featured). “Are You Real?” is a propulsive thirty-two-bar piece with a four-bar tag, featuring two-part writing for Golson and trumpeter Lee Morgan. “Along Came Betty” is a more lyrical, long-lined piece, almost serving as the album’s ballad. “The Drum Thunder Suite” is a feature for Blakey, in three movements: “Drum Thunder”; “Cry a Blue Tear”; and “Harlem’s Disciples”. “Blues March” calls on the feeling of the New Orleans marching bands, and the album finishes on its only standard, an unusually brisk reading of “Come Rain or Come Shine”. Of the originals on the album, all but the “Drum Thunder Suite” became staples of the Messengers book, even after Timmons and Golson were gone. Recorded by Rudy Van Gelder in his meticulous Hackensack studios, this recording reflects the hallmark precision associated with that engineer, (on the reissue there is a brief conversation between Lee Morgan and Rudy Van Gelder going over Morgan’s solo.)

The album stands as one of the archetypal hard bop albums of the era, for the intensity of Blakey’s drumming and the work of Morgan, Golson and Timmons, and for its combination of old-fashioned gospel and blues influences with a sophisticated modern jazz sensibility.

A vocalese version of “Moanin'” was later written by Jon Hendricks, and recorded by Lambert, Hendricks and Ross, as well as jazz vocalists Bill Henderson and Karrin Allyson. (by wikipedia)

Moanin’ includes some of the greatest music Blakey produced in the studio with arguably his very best band. There are three tracks that are immortal and will always stand the test of time. The title selection is a pure tuneful melody stewed in a bluesy shuffle penned by pianist Bobby Timmons, while tenor saxophonist Benny Golson’s classy, slowed “Along Came Betty” and the static, militaristic “Blues March” will always have a home in the repertoire of every student or professional jazz band. “Are You Real?” has the most subtle of melody lines, and “Drum Thunder Suite” has Blakey’s quick blasting tom-tom-based rudiments reigning on high as the horns sigh, leading to hard bop. “Come Rain or Come Shine” is the piece that commands the most attention, a highly modified, lilting arrangement where the accompanying staggered, staccato rhythms contrast the light-hearted refrains. Certainly a complete and wholly satisfying album, Moanin’ ranks with the very best of Blakey and what modern jazz offered in the late ’50s and beyond. (by Michael G. Nastos)

Personnel:
Art Blakey (drums)
Benny Golson (saxophone)
Jymie Merritt (bass)
Lee Morgan (trumpet)
Bobby Timmons (piano)

Tracklist:
01. Moanin’ (Timmons) 9.35
02. Are You Real (Golson) 4.50
03. Along Came Betty (Golson) 6.12
04. The Drum Thunder Suite (Golson) 7.33
05. Blues March (Golson) 6.17
06. Come Rain Or Come Shine (Arlen/Mercer) 5.49
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07. So Tired (from “A Night In Tunisia, 1960) (Timmons) 6.33
08. Yama (from “A Night In Tunisia, 1960) (Morgan) 6.21

*
**

Big Country – Eclectic (1996)

Big Country’s 1995 comeback with their album Why the Long Face included an accompanying tour. This CD is a representative package of that tour and it is also a terrific album. Culled from two stripped down, acoustic performances, this particular live recording is interesting due to the choice of songs. None of the hits are here, with the exception of “King of Emotion,” but rather favorite album cuts, as well as cover versions. Quite honestly, the cover versions, while remaining faithful to the originals, become Big Country songs. Although this is an acoustic set, this is not an “unplugged show.” Their trademark guitar sound is there, accompanied by Mark Brzezicki’s heavy beat. “The Night They Drove Old Dixie Down” is a prime example. The basic song structures remains somewhat the same, however Adamson’s tone and the tight playing of the band make it their own.

The same can be said for all the covers, and what interesting choices they are: “Eleanor Rigby,” “Summertime,” “Big Yellow Taxi” (featuring stunning vocals from Carol Laula), “I’m on Fire,” and Steve Harley’s “Sling It,” featuring Steve Harley on vocals. It is a strong CD full of great songs, played very well. While fans of Big Country will love this collection, it has a wide appeal to music fans in general. (by Aaron Badgley)

Recorded live at Dingwalls, London, March 20-21, 1996

Personnel:
Stuart Adamson (vocals, guitar)
Mark Brzezicki (drums, background vocals)
Tony Butler (bass, background vocals)
Bruce Watson (guitar, mandolin)
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Aaron Emerson (keyboards on 02., 04. – 06., 08., 12. + 13.)
Steve Harley (vocals on 09.)
Carol Laula (vocals on 03.)
Kym Mazelle (vocals on 02., 05.)
Hossam Ramzy (percussion on 01., 03., 07., 09., 11. + 12.)
Mohammed Toufiq (percussion on 01., 03., 07., 09., 11. + 12.)
Bobby Valentino (violin)

Tracklist:
01. River Of Hope (Adamson) 4.06
02. King Of Emotion (Adamson) 4.10
03. Big Yellow Taxi (Mitchell) 3.50
04. The Buffalo Skinners (Watson/Adamson) 5.58
05. Summertime (G.Gershwin/Heyward/I.Gershwin) 3.57
06. The Night They Drove Old Dixie Down (Robertson) 3.44
07. Eleanor Rigby (Lennon/McCartney) 3.47
08. Winter Sky (Watson/Adamson) 4.06
09. Sling It (Harley) 3.04
10. I’m On Fire (Springsteen) 2.39
11. Where The Rose Is Sown (Watson/Brzezicki/Adamson/Butler) 4.10
12. Come Back To Me (Watson/Brzezicki/Adamson/Butler) 4.43
13. Ruby Tuesday (Jagger/Richards) 4.14

*
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Barbara Thompson´s Paraphernalia – Nightwatch (Pure Fantasy) (1984 + 1996)

Seeing the heart-rending documentary on BBC4 about Barbara’s Parkinsons disease and how it (almost!) stopped her playing entirely and her subsequent ever-so gallant effort to play live again, certainly reminded me what a superb musician she was – and still is.

Indeed, I still have many vinyl albums of her and her ‘Paraphanalia’, which, admittedly do not get played any more. Setting about purchasing something much more modern and in the digital age and in some way to help pay for her really costly but potentially life-changing therapy that I learned about in the programme, ‘Nightwatch’ seemed the obvious and appropriate choice.

Barbara was always one to compose and bend technology to her way of thinking, to produce a modern sort of chunky, sometimes funky jazz, yet light and delicate as a dew-laden morning. Alongside Barbara’s own saxes and flutes, she has weaving and fusing in an amazing sounding fretless bass, imaginative keyboards, electric violin and the incredible dexterity of long-standing Paraphanalia drummer Jon Hiseman. The tracks here are all tightly played, dazzling in their musical technique and skill and my overall impression is that the album is too short, suggesting that I’m enjoying it a lot and want more! (By Tim Kidner)

Pure Fantasy front+back cover (1984)

This is a wonderful album, recorded in January 1984 (although it says 1983 at one point on the cover sleeve) and is as vibrant today thirty years on as the day that it was recorded. There are two excellent reviews already on this site and my thunder has been stolen somewhat. This is an early Paraphernalia album, and unlike many that follow it is more “ethnic” less outright rock than some later albums. Many of the tunes have a Sri Lankan background, but at its heart this is a typical Paraphernalia jazz/ rock fusion album.

The line up is typical of Paraphernalia. Apart from Barbara Thompson and her husband Jon Hiseman (drums), other musicians have come and gone (and returned!). Barbara is a top saxophonist and plays tenor and soprano with great fluency. She also plays a mean flute, and on this album two sizes or recorder, instruments often associated with rock, or jazz for that matter. On this album there is Dave Ball (bass guitar), Rod Dorothy (violin) and Bill Worall (keyboards).

The sound of Paraphernalia is unique and cannot be described in words. On this album the tempos are very varied and the interplay between the musicians, and some electronic effects, is most exhilarating. Mostly the adjective is “beautiful”.
Originally released as “Pure Fantasy” the re-engineered release has been renamed “Nightwatch” (itself a very beautiful tune).

If you do not know the music of Paraphernalia then listen to this album. Just because it is now more than thirty years old is no reason not to. But beware! You may choose to buy more! Paraphernalia’s music can be addictive. (R. Bawden)
Personnel:
Dave Ball (bass)
Rod Dorothy (violin)
Jon Hiseman (drums, percussion)
Barbara Thompson (saxophone, flute, recorder)
Bill Worrall (keyboards)

Tracklist:
01. Fields Of Flowers 4.38
02. The Coconut Hurling Game 5.17
03. Dusk 2.49
04. Nightwatch 4.22
05. Kafferinya 3.28
06. Chapter And Verse 6.16
07. To Ceres 1.59
08. Listen To The Plants 4.29
09. Pure Fantasy 3.18
10. Firefly 4.27

Music composed by Barbara Thompson

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**

Stevie Ray Vaughan – Live In Tokyo (1985)

This is another rare item from my bootleg collection:

Live In Tokyo is an electric blues album of a live performance by Stevie Ray Vaughan and Double Trouble at Shiba Yubinchokin Hall, Tokyo, on January 24, 1985. The concert was part of a 5 day tour of Japan to support their recently released album, Couldn’t Stand the Weather.

Multiple video recordings of the January 24th concert of the tour have been released.,[1] but the official DVD was released on January 27, 2007 by Quantum Leap Studios. The concert was originally released in 1985 on a Pioneer Laser Disc by Black Box, Inc. It included the encore “Testify/Third Stone From the Sun” and was 86 minutes long. (by wikipedia)

And this bootleg is from this show … excellent soundboard recording. A must for every Stevie Ray Vaughan fan !

Personnel:
Chris Layton (drums)
Tommy Shannon (bass)
Stevie Ray Vaughan (guitar, vocals)

Tracklist:
01. Scuttle Buttin’ + Say What! (Vaughan) 8.01
02. Voodoo Child (Slight Return) (Hendrix) 15.08
03. Cold Shot (Kindred/Clark) + Couldn’t Stand The Weather (Vaughan) 10.34
04. Tin Pan Alley (Geddins) 13.07
05. Mary Had A Little Lamb (Guy) + Love Struck Baby (Vaughan) 6.56
06. Texas Flood (Davis/Scott) 11.14
07. Lenny (Vaughan) 12.31
08. Testify (Vaughan) 7.18

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Alternate frontcovers

Klaus Weiss Orchestra – I Just Want To Celebrate (1972)

German drummer Klaus Weiss appeared in groups with many American expatriates as well as leading his own bands in trio, quintet, sextet, and big-band settings from the ’60s through the ’90s. Influenced by such drummers as Big Sid Catlett and Buddy Rich, Weiss began playing professionally at age 16. His first gigs, with a group called the Jazzopators, provided accompaniment roles for trumpeter Nelson Williams and vocalist Inez Cavanaugh. Weiss also worked with the Klaus Doldinger Quartet, and played at the Blue Note in Paris with Bud Powell, Kenny Drew, and Johnny Griffin. He led a trio beginning in 1965, with pianist Rob Franken and bassist Rob Langereis, that played with Booker Ervin, recorded his first LP as a leader (Greensleeves), and won the International Jazz Competition in Vienna in 1966, and would go on to win several Twen Jazz Polls as well. During the late ’60s, he also played with the Erwin Lehn Big Band, the Bayerischer Rundfunk Jazz Ensemble, and Friedrich Gulda.

Weiss recorded half a dozen LPs during the early ’70s, several with a quintet or sextet including work by trumpeter Cecil Bridgewater, bassist George Mraz, and pianist Walter Norris. He also led an international all-star big band (with Slide Hampton, Herb Geller, Philip Catherine, and Don Menza, among others) for the live 1971 album I Just Want to Celebrate. During the late ’70s and early ’80s, Weiss worked mostly with his quintet, but also toured with Eddie “Lockjaw” Davis, Clifford Jordan, and Horace Parlan while making frequent quintet albums as a leader. He recorded two albums during the ’90s, including the trio outing L.A. Calling and the Christmas album A Message from Santa Klaus (with the NDR Bigband). Later in his career, as his extensive discography continued to grow, Weiss also began composing music for movies and television. He died unexpectedly, reportedly of heart failure, on December 10, 2008 in Pfaffenhofen an der Ilm, Germany. (by John Bush)

And this is his wonderful doubel-album from 1972 … Big Band music meets Jazz-Rock, a brilliant live recording with one of the finest musicians (look to the list of musician) from the jazz-scene in this period !

Recorded live at the (legendary) Domicile Jazz Club, Munich, November 20, 1971

Personnel:
Philip Catherine (guitar)
Chuck Findley (trumpet)
Herb Geller (saxophone, flute)
Slide Hampton (trombone)
Günther Kronberg (saxophone)
Bob Lanese (trumpet)
Lucas Lindholm (bass)
Don Menza (saxophone, flute)
Palle Mikkelborg (trumpet)
Charles Orieux (trombone)
Fritz Pauer (piano)
Ferdinand Povel (saxophone)
Barry Ross (trombone)
Ack van Rooyen (trumpet)
Dick Vennik (saxophone)
Klaus Weiss (drums)

Liner notes by Friedrich Gulda

Tracklist:
01. Superstar (Webber/Rice) 5.42
02. The Cage (John) 5.57
03. Imagine (Lennon) 4.51
04. Get It On (Chase/Richards) 2.53
05. Love Is Blue (L’Amour Est Bleu) (Popp) 4.56
06. You’re All I Need To Get By (Asford/Simpson) 6.31
07. Eleanor Rigby (Lennon/McCartney) 5.37
08. I Just Want To Celebrate (Fekaris/Zesses) 9.34
09. Flowers (Pauer) 4.51
10. Spunkwater (Holman) 5.30
11. Sail On (Piestrup) 3.20
12. Little Big Horns (Menza) 11.06

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Manitas de Plata – Et ses guitares Gitanes (1972)

Manitas de Plata (born Ricardo Baliardo; 7 August 1921 – 5 November 2014) was a French flamenco guitarist. Despite achieving worldwide fame, he was known for disrespecting certain rhythmic rules (compás) that are traditional in flamenco.

Ricardo Baliardo was born in a gypsy caravan in Sète in southern France. He became famous by playing each year at the Saintes-Maries-de-la-Mer gypsy pilgrimage in Camargue, where he was recorded live by Deben Bhattacharya.

Manitas de Plata (“Little Hands of Silver”) only agreed to play in public ten years after the death of Django Reinhardt, unanimously considered the king of gypsy guitarists. One of his recordings earned him a letter from Jean Cocteau acclaiming him as a creator.

Upon hearing him play at Arles in 1964, Pablo Picasso is said to have exclaimed “that man is of greater worth than I am!” and proceeded to draw on the guitar.

Manitas de Plata garnered fame in the United States only after a photography exhibition in New York, organized by his friend Lucien Clergue. He had recorded his first official album in the chapel of Arles in France, in 1963, for the Phillips label. It was later re-released, in 1967, by the Connoisseur Society label and sold through the Book of the Month Club. This was a popular LP that brought him to the attention of an American audience. An American manager obtained a booking for him to play a concert in Carnegie Hall in New York on November 24, 1965.

He toured the world from 1967, and recorded discs. He played with the dancer Nina Corti. In 1968 he played at the Royal Variety Performance in London.

Manitas de Plata was the father of Jacques, Maurice, and Tonino Baliardo and uncle to Paul, François (Canut), Patchaï, Nicolas and André Reyes (the sons of his cousin, flamenco artist José Reyes (1928-1979) ), all members of the rumba flamenca band Gipsy Kings. Australian multi-instrumentalist Chris Freeman, his student in 1971, acknowledged de Plata’s influence and teachings.

Manitas de Plata died in a retirement home in Montpellier on 6 November 2014. The cause of death was not disclosed, but de Plata had been in poor health since suffering a severe heart attack in April 2013.

Many members of his own family were also well known flamenco musicians, including his younger brother Hippolyte Baliardo (1928-2009), and his eldest son Manero Baliardo (1940-2012). Another son, Bambo Baliardo, is still an active musician and performer as of 2015. (by wikipedia)

This is one of his countles albums and this album was a very sucessful one.

Manitas de Plata inspired Pablo Picasso to exclaim: “That man is of greater worth than I am!”.

On the cover you can see the guitar, which was autographed by the Painter Pablo Picasso:

It´s time to disover the music of Manitas de Plata again … it´s flamenco time !

Personnel:
Maurice Balliardo (guitar)
Hipolito Balliardo (vocals)
Ricardo “Manitas de Plata” Balliardo (guitar, vocals)

Tracklist:
01. Campanitas 2.15
02, Gitano De Quatro Costados 7.03
03. Alegria Del Castillo 2.05
04. Guitarras Morescas 7.19
05. Guitarras Y Tumba 5.00
06. Improvisation 7.00
07. Dos Hermanos 4.00
08. Malaguenita 2.50

Music composed by Ricardo “Manitas de Plata” Balliardo

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**

Sting – …Nothing Like The Sun (1987)

If Dream of the Blue Turtles was an unabashedly pretentious affair, it looks positively lighthearted in comparison to Sting’s sophomore effort, Nothing Like the Sun, one of the most doggedly serious pop albums ever recorded. This is an album where the only up-tempo track, the only trifle — the cheerfully stiff white-funk “We’ll Be Together” — was added at the insistence of the label because they believed there wasn’t a cut on the record that could be pulled as a single, one that would break down the doors to mainstream radio. And they were right, since everything else here is too measured, calm, and deliberately subtle to be immediate (including the intentional throwaway, “Rock Steady”). So, why is it a better album than its predecessor? Because Sting doesn’t seem to be trying so hard. It flows naturally, largely because this isn’t trying to explicitly be a jazz-rock record (thank the presence of a new rhythm section of Sting and drummer Manu Katche for that) and because the melodies are insinuating, slowly working their way into memory, while the entire record plays like a mood piece — playing equally well as background music or as intensive, serious listening.

Sting’s words can still grate — the stifling pompousness of “History Will Teach Us Nothing” the clearest example, yet calls of “Hey Mr. Pinochet” also strike an uneasy chord — but his lyricism shines on “The Lazarus Heart,” “Be Still My Beating Heart,” “They Dance Alone,” and “Fragile,” a quartet of his very finest songs. If Nothing Like the Sun runs a little too long, with only his Gil Evans-assisted cover of “Little Wing” standing out in the final quarter, it still maintains its tone until the end and, since it’s buoyed by those previously mentioned stunners, it’s one of his better albums. (by Stephen Thomas Erlewine)

And his version of “Little Wing” is one of the best versions of this Jimi Hendrix song ever recorded !

Personnel:
Mino Cinelu (percussion, vocoder)
Manu Katché (drums)
Kenny Kirkland (keyboards)
Branford Marsalis (saxophone)
Sting (vocals, bass, guitar on 04. + 06.)
+
Rubén Blades (spoken Spanish on 05.)
Hiram Bullock (guitar on 11.)
Eric Clapton (guitar on 05.)
Kenwood Dennard (drums on 11.)
Mark Egan (bass on 11.)
Fareed Haque (guitar on 05.)
Ken Helman (piano on 12.)
Mark Knopfler (guitar on 05.)
Andy Newmark (additional drums)
Andy Summers (guitar on 01. + 02.)
+
Gil Evans & His Orchestra (on 11.)
+
background vocals:
Renée Geyer – Dollette McDonald – Janice Pendarvis – Vesta Williams

Tracklist:
01.The Lazarus Heart (Sting) 4,34
02. Be Still My Beating Heart (Sting) 5.32
03. Englishman In New York (Sting) 4.25
04. History Will Teach Us Nothing (Sting) 4.58
05. They Dance Alone (Sting) 7.16
06. Fragile (Sting) 3.54
07. We’ll Be Together (Sting) 4.52
08. Straight To My Heart (Sting) 3.55
09. Rock Steady (Sting) 4.27
10. Sister Moon (Sting) 3.46
11. Little Wing (Hendrix) 5.04
12. The Secret Marriage (Eisler/Sting) 2.03

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