Lester Lanin – At The Country Club (1966)

FrontCover1Nathaniel Lester Lanin (August 26, 1907 – October 27, 2004) was an American jazz and pop music bandleader.

Lanin’s brothers, Sam and Howard, were also both bandleaders; they came from a family of ten (of which Lester was the youngest) born to a family of Russian Jewish immigrants. He originally attended South Philadelphia High School but quit at the age of 15 to play music with his brothers abandoning his plans to be an attorney. Beginning in 1927, he led ensembles that were paid to play at the houses of wealthy socialites in Philadelphia and New York, continuing after the 1929 stock market crash.

LesterLaninIn 1930, Lanin was hired to play at a gala for Barbara Hutton, and the event garnered so much press in New York newspapers that it made Lanin a star as well as the young heiress. Lanin became a major star of the dance music world, and was hired worldwide to play for kings and queens, in addition to a recurring invitation to play at White House inaugural balls from the Eisenhower administration to the Carter administration. Lanin was managed for much of his career by New York socialite music promoter Al Madison.

Famous for long, smooth medleys, Lanin’s popularity increased upon the advent of the LP era. Starting with Epic Records in the middle of the 1950s, he recorded a string of albums for several labels, many of which hit the US Billboard 200. He continued performing well into the 1990s. In 1999 Lester Lanin played himself in the black-and-white film comedy Man of the Century, where he was the favorite musician of lead character Johnny Twennies.

Lester Lanin died at age 97 in 2004.(by wikipedia)

LinerNotesThis is an excellent album … a great mix between Big Band Jazz and superb Easy Listening music with a lot of George Gershwin and Cole Porter. One of the funniest track is a very spcecial verion Dylan´s “Mr. Tambourine Man” !

Lester Lanin Orchestra


Love (Medley)  2.42
01.1. Love Is Sweeping The Country (Gershwin)
01.2. What Is This Thing Called Love (Porter)
01.3. The Man I Love (Gershwin)

Love Moods (Medley) 2.56
02.1. Body And Soul (Green/Sour/Heyman/Eyton)
02.2. Embraceable You (Gershwin)
02.3. As Time Goes By (Hupfeld)

Flirtation (Medley) 3.03
03.1  Love For Sale (Porter)
03.2. I’ve Got A Crush On You (Gershwin)
03.3. You Do Something To Me (Porter)

04. Quando, Quando, Quando (Testa/Renis) 2.13

Happy (Medley) 2.09
05.1. I Want To Be Happy (Caesar/Youmans)
05.2. Sometimes I`m Happy (Caesar/Youmans)
05.3. Get Happy (Arlen/Koehler)

06. Dancing Tambourine (Polla/Ponce) 2.05
07. La Bamba (Traditional) 2.17

Another Medley (Medley) 2.37
08.1. Anything Goes (Porter)
08.2. Mack The Knife (Weill)
08.3. Sweet Georgia Brown (Bernie/Pinkard/Casey)

You’re The Top (Medley)  2:49
09.1. I Like The Likes Of You (Harburg/Duke)
09.2. I Get A Kick Out Of You (Porter)
09.3. You’re The Top (Porter)

Film (Medley) 3.35
10.1. Tara’s Theme (Steiner)
10.2. Theme From “A Summer Place” (Discant/Steiner)
10.3. Al Di Là (Donida/Mogol/Drake)
10.4. Secret Love (Fain/Webster)

11. La Vie En Rose (Louiguy/Piaf) 2.09
12. In An 18th Century Drawing Room (Scott/Lawrence) 2.06

Love Lost (Medley) 2.40
13.1. Don’t Take Your Love From Me (Nemo)
13.2. It’s All In The Game (Sigman/Dawes)
13.3. But Not For Me (Gershwin)

14. Blues In The Night (Arlen/Gershwin) 2.27
15. Mr. Tambourine Man (Dylan) 2.34

Another Medley (Medley) 2.23
16.1. Oh Lay Be Good (Gershwin)
16.2. Blue Room (Rodgers/Hart)
16.3. Bei mir bist du schön (Secunda/Cahn/Chapöin/Jacobs)


GermanCoversFront + backcover from Germany

Johnny Cash – The Christmas Collection (2003)

FrontCover1No matter what genre or style he chose to tackle, everything Johnny Cash recorded in his long career came out sounding like, well, Johnny Cash. That’s a good thing. With Cash, you knew what you were getting. This 20-song anthology collects some of the holiday tracks he did for Columbia Records over the years, and not surprisingly, it sounds like Johnny Cash singing Christmas songs and reciting holiday-themed poems. Again, that’s a good thing. Highlights include a nice version of “Blue Christmas” and a wonderfully balanced and soothing take on “Silent Night,” although everything here has that Johnny Cash essence. That’s a good thing. ( by Steve Leggett)

01. Blue Christmas (Hayes/Johnson) 2.22
02. The Little Drummer Boy (Simone/Onorati/Davis) 2.32
03. The Christmas Spirit (Album Version) (Cash) 5-00
04. I Heard The Bells On Christmas Day (Longfellow/Marks) 2.28
05. Away In A Manger (Walker/J.Cash) 3.06
06. Joy To The World (Walker/Händel/Watts) 2.06
07. Silent Night (Album Version) (Gruber/Mohr) 3:26
08. Christmas As I Knew It (Howard/J.Cash) 3.39
09. Ringing The Bells For Jim (Album Version) (Howard/Carter) 2.45
10. Here Was A Man (Album Version) (Bond/Ritter) 2.40
11. The Gifts They Gave (Album Version) (Cash) 3.30
12. It Came Upon A Midnight Clear (Album Version) (Sears/Willis) 3.38
13. O Come All Ye Faithful  (Walker/Oakeley/Reading) 2.57
14. Little Gray Donkey (Tazewell/Wagner) 4.41
15. The Christmas Guest (Album Version) (Grandpa Jones/Walker) 4.37
16. Hark! The Herald Angels Sing (Walker/Wesley/Mendelssohn) 2.30
17. The Ballad Of The Harp Weaver (Album Version) (Millay) 4.21
18. Who Kept The Sheep (Album Version) (Carter/Cash 1.55
19. (There’ll Be) Peace In The Valley (For Me) (Album Version) (Dorsey) 2.47
20. That Christmasy Feeling (Peppers/Cash) 2.13


Lester Young with The Oscar Peterson Trio – Same (1952)

FrontCover1Lester Young with the Oscar Peterson Trio is a 1954 studio album by Lester Young, accompanied by the Oscar Peterson Quartet, although the title incorrectly states the band is a trio. The music on this album was originally released as three separate albums: Lester Young with the Oscar Peterson Trio #1 and Lester Young with the Oscar Peterson Trio #2, both released in June 1954 (MGN 5-6), and The President Plays with Oscar Peterson (April 1956, MGN 1054). It was collated for this 1997 reissue by Verve Records. (by wikipedia)
Defying what has become conventional wisdom, tenor saxophonist Lester Young cut some of his greatest recordings in the 1950s — that is, when he was reasonably healthy. On this wonderful effort with pianist Oscar Peterson, guitarist Barney Kessel, bassist Ray Brown, and drummer J.C. Heard, Prez performs definitive versions of “Just You, Just Me” and “Tea for Two,” and plays a string of concise but memorable ballad renditions: “On the Sunny Side of the Street,” “Almost Like Being in Love,” “I Can’t Give You Anything But Love,” “There Will Never Be Another You,” and “I’m Confessin’.” This is essential music from a jazz legend. [Some reissues augment the original dozen songs with a version of the good-humored “It Takes Two to Tango,” which features Young’s only recorded vocals, plus a rather unnecessary false start (on “I Can’t Get Started,” ironically), along with some studio chatter.] (by Scott Yanow)

Lester YoungPersonnel:
Ray Brown (bass)
J. C. Heard (drums)
Barney Kessel (guitar)
Oscar Peterson (piano)
Lester Young (saxophone, vocals on 13.)

Front + backcover of the first EP (1952)

Front + backcover of the first EP (1952)

01. Ad Lib Blues (Peterson/Young) 5.54
02. I Can’t Get Started (Duke/I.Gershwin) 3.41
03. Just You, Just Me (Greer/Klages) 7.40
04. Almost Like Being In Love (Lerner/Loewe) 3.34
05. Tea For Two (Caesar/Youmans) 7.45
06. There Will Never Be Another You (/Gordon/Warren) 3.28
07. (Back Home Again In) Indiana (Hanley/MacDonald) 7.04
08. On The Sunny Side Of The Street (Fields/McHugh) 3.27
09. Stardust (Carmichael/Parish) 3.35
10. (I’m) Confessin’ (That I Love You) (Daugherty/Neiburg/Reynolds) 3.41
11. I Can’t Give You Anything But Love (Fields/McHugh) 3.22
12. These Foolish Things (Link/Marvell/Strachey) 3.27
13. (It Takes) Two To Tango” (Rehearsal, False Start and Chatter (Al Hoffman, Dick Manning) 6.06
14. I Can’t Get Started (false start) 0.53


Boston – Same (1976)

FrontCover1Boston is an American rock band from Boston, Massachussetts, that achieved their most notable successes during the 1970s and 1980s. Centered on guitarist, keyboardist, songwriter, and producer Tom Scholz, the band is a staple of classic rock radio playlists. Boston’s best-known works include the songs “More Than a Feeling”, “Peace of Mind”, “Foreplay/Long Time”, “Rock and Roll Band”, “Smokin'”, “Don’t Look Back”, and “Amanda”. They have sold over 31 million albums in the United States, of which 17 million were from their self-titled debut album and seven million were for its second album, Don’t Look Back. Altogether, the band has released six studio albums.

Tom Scholz first started writing music in 1969 while he was attending MIT, where he wrote an instrumental, titled “Foreplay”. While attending MIT, Scholz joined the band “Freehold”, where he met guitarist Barry Goudreau and drummer Jim Masdea, who would later become members of Boston. Vocalist Brad Delp was added to the collective in 1970. After graduating with a master’s degree, Scholz worked for Polaroid, where he used his salary to build a recording studio in his basement, and to finance demo tapes recorded in professional recording studios.

Boston01These early demo tapes were recorded with (at various times) Brad Delp on vocals, Barry Goudreau on guitar, Jim Masdea on drums, and Scholz on guitar, bass and keyboards. The demo tapes were sent to record companies, but received consistent rejections. In 1973 Scholz formed the band Mother’s Milk with Delp, Goudreau, and Masdea. That group disbanded by 1974, but Scholz subsequently worked with Masdea and Delp to produce six new demos, including “More Than a Feeling”, “Peace of Mind”, “Rock and Roll Band”, “Something About You” (then entitled “Life Isn’t Easy”), “Hitch a Ride” (then entitled “San Francisco Day”), and “Don’t Be Afraid”. Scholz stated they finished four of the six by the end of 1974, and they finished “More Than a Feeling” and “Something About You” in 1975. Scholz played all the instruments on the demos, except for the drums, which were played by Masdea, and used self-designed pedals to create the desired guitar sound. The violin-like sound of the guitars was created in the early 1970s by Scholz, and it was a truly distinctive innovation in American music.

Boston02This final demo tape attracted the attention of promoters Paul Ahern and Charlie McKenzie. Masdea left the band around this time. According to Scholz, the managers insisted that Masdea had to be replaced before the band could get a recording deal.[4] Years later, Delp told journalist Chuck Miller: “[Jim] actually told me he was losing interest in playing drums. I know Tom felt very bad when the whole thing happened. And then, of course, we started getting some interest.” Scholz and Delp signed a deal with Epic Records after Masdea’s departure, thanks to Ahern & McKenzie. Before the deal could be finalized, the band had to do a live audition for the record company executives. The duo quickly recruited Goudreau on guitar, bassist Fran Sheehan and drummer Sib Hashian to create a performing unit which could replicate Scholz’s richly layered recordings on stage. The showcase was a success and the band agreed to put out 10 albums over the next six years.

Boston03In addition to the firing of Masdea, the record label also insisted that Scholz re-record the demo tapes in a professional studio. However, Scholz wanted the record to be recorded in his basement studio so that he could work at his own pace. The label agreed, and offered to split the producer’s royalty with Scholz. Upon request of Tom Scholz, Masdea played drums on the track “Rock and Roll Band”, and the instrumentation was recorded in Scholz’s studio. The multitrack tapes were then brought to Los Angeles, where Brad Delp added vocals and the album was mixed by John Boylan. It was then that the band was named “Boston”, by suggestion of Boylan and engineer Warren Dewey.
Boston (1976)
Brad Delp, the original lead singer. Along with Scholz, Delp was the only other person signed to Epic Records as Boston.

SinglesThe debut album, Boston, released on August 8, 1976, was an enormous success. The record ranks as one of the best-selling debut albums in U.S. history with over 17 million copies sold.

During the late summer and early fall of 1976, Boston attracted much publicity due to the unprecedented record sales by an unknown act, its unique sound, and singer Brad Delp’s vocal abilities. However, there was “a conscious effort to de-emphasize Scholz as the total mastermind behind Boston”. After opening for Black Sabbath, Blue Öyster Cult, Foghat and others in the autumn, the band embarked on a headlining tour in the winter and spring of 1976-1977 to support the album. This helped establish Boston as one of rock’s top acts within a short time, being nominated for a Grammy award as a “Best New Artist”.Boston was the first band in history to make their New York City debut at Madison Square Garden.

The album spawned three singles, “More Than a Feeling”, “Long Time”, and “Peace of Mind”, all of which made the national charts. Additionally, the album peaked at No. 3 on the Billboard 200 and remained on the charts for 132 weeks. (by wikipedia)

Boston is one of the best-selling albums of all time, and deservedly so. Because of the rise of disco and punk, FM rock radio seemed all but dead until the rise of acts like Boston, Tom Petty, and Bruce Springsteen. Nearly every song on Boston’s debut album could still be heard on classic rock radio decades later due to the strong vocals of Brad Delp and unique guitar sound of Tom Scholz. Tom Scholz, who wrote most of the songs, was a studio wizard and used self-designed equipment such as 12-track recording devices to come up with an anthemic “arena rock” sound before the term was even coined. The sound was hard rock, but the layered melodies and harmonics reveal the work of a master craftsman. While much has been written about the sound of the album, the lyrics are often overlooked. There are songs about their rise from a bar band (“Rock and Roll Band”) as well as fond remembrances of summers gone by (“More Than a Feeling”). Boston is essential for any fan of classic rock, and the album marks the re-emergence of the genre in the 1970s.(by Vik Iyengar)

Brad Delp (vocals, guitar)
Barry Goudreau (guitar)
Sib Hashian (drums)
Fran Sheehan (bass on 03. + 08.)
Tom Scholz (guitar, bass, keyboards)
Jim Masdea (drums on 04.)

01. More Than A Feeling (Scholz) 4.46
02. Peace Of Mind (Scholz) 5.02
03. Foreplay/Long Time (Scholz) 7.47
04. Rock & Roll Band (Scholz) 3.00
05. Smokin’ (Delp/Scholz) 4.22
06. Hitch A Ride (Scholz) 4.12
07. Something About You (Scholz) 3.48
08. Let Me Take You Home Tonight (Delp) 4.45


Brad Delp committed suicide sometime between 11:00 pm on March 8 and 1:20 pm on March 9, 2007. The local police discovered his body after a 911 call from Pamela Sullivan. They found him lying on a pillow on his master bathroom floor of his home on Academy Avenue in Atkinson, New Hampshire. Two charcoal grills were found to have been lit inside the bathtub causing the room to fill with smoke. A suicide note was paper-clipped to the neck of his T-shirt, which read: “Mr. Brad Delp. ‘J’ai une âme solitaire’. I am a lonely soul.” Delp left four sealed envelopes in his office addressed to his children, his former wife Micki, his fiancee, and another unnamed couple. He was 55 years old.

The official cause of death was listed as suicide by carbon monoxide poisoning

Burkhard Dallwitz – The Truman Show (OST) (1998)

FrontCover1The Truman Show is a 1998 American science fiction comedy-drama film directed by Peter Weir and written by Andrew Niccol. The film stars Jim Carrey as Truman Burbank, Laura Linney, Noah Emmerich, Ed Harris and Natascha McElhone. The film chronicles the life of a man who is initially unaware that he is living in a constructed reality television show, broadcast around the clock to billions of people around the globe. Truman becomes suspicious of his perceived reality and embarks on a quest to discover the truth about his life.

The genesis of The Truman Show was a spec script by Niccol, inspired by an episode of The Twilight Zone called “Special Service”. The original draft was more in tone of a science fiction thriller, with the story set in New York City. Scott Rudin purchased the script, and immediately set the project up at Paramount Pictures. Brian De Palma was in contention to direct before Weir took over and managed to make the film for $60 million against the estimated $80 million budget. Niccol rewrote the script simultaneously as the filmmakers were waiting for Carrey’s schedule to open up for filming. The majority of filming took place at Seaside, Florida, a master-planned community located in the Florida Panhandle.

TrumanShow04The film was a financial and critical success, and earned numerous nominations at the 71st Academy Awards, 56th Golden Globe Awards, 52nd British Academy Film Awards and The Saturn Awards. The Truman Show has been analyzed as a thesis on Christianity, metaphilosophy, simulated reality, existentialism and reality television.

Truman Burbank is the unsuspecting star of The Truman Show, a reality television program in which his entire life, since before birth, is filmed by thousands of hidden cameras, 24 hours a day, 7 days a week, and is broadcast live around the world. The show’s creator and executive producer Christof is able to capture Truman’s real emotion and human behavior when put in certain situations. Truman’s coastal hometown of Seahaven is a giant set built under a giant arcological dome in the Los Angeles area. Truman’s family and friends are all played by actors, allowing Christof to control every aspect of Truman’s life.

TrumanShow02During the 30th year of the show, Truman notices certain aspects of his near-perfect world that seem out of place. A theatrical light (labeled Sirius) falls from the artificial morning sky, nearly hitting him (quickly passed off by local radio as an aircraft in trouble that began “shedding parts”) and Truman’s car radio picks up a conversation between the show’s crew tracking his movements. Truman also becomes aware of more subtle abnormalities within his regular day-to-day life, such as the way in which the same people appear in the same places at certain times each day and his wife Meryl’s tendency to blatantly advertise the various products she buys.

To prevent Truman from discovering his false reality, Christof has invented means of dissuading his sense of exploration, the most drastic of which was “killing” his father in a storm while on a fishing trip to instill in him a fear of the water. Christof also floods the channels with news reports and commercials about the dangers of traveling, and television shows about how good it is to stay at home. The actor that played Truman’s deceased father sneaks back onto the set as a homeless man, but is whisked away as soon as Truman notices him. Despite Christof’s control, Truman has managed to behave in unexpected ways, in particular by falling in love with an extra, Sylvia, known to Truman as Lauren, instead of Meryl, the character intended to be his wife. Though Sylvia is quickly removed from the set and Truman marries Meryl, he continues to secretly pine for ‘Lauren’. Sylvia becomes part of a “Free Truman” campaign that fights to free him from the show and to reveal his identity.

TrumanShow03Despite the best efforts of his family and his best friend Marlon to reassure him, all these events cause Truman to start wondering about his life, realizing how the world seems to revolve and shape around him, with complete strangers to him knowing his name. Truman attempts to leave Seahaven but is blocked by fabricated emergency situations, further aggravating him. Meryl grows increasingly stressed by the pressure of perpetuating the deception, and their marriage unravels in the face of Truman’s increasing skepticism and attendant hostility towards her. This causes her to snap and partially reveal Truman’s identity and life in front of Marlon, making Truman confused.

As a result, Meryl is pulled off the show, and Christof officially brings back Truman’s father, hoping his presence will keep Truman from trying to leave. However, he only provides a temporary respite: Truman soon becomes isolated and begins staying alone in his basement. One night, Truman fools the cameras and escapes the basement undetected via a secret tunnel, forcing Christof to temporarily suspend broadcasting of the show for the first time in its history. This causes a surge in viewership, with many viewers, including Sylvia, cheering on Truman’s escape attempt.

TrumanShow05Christof orders every actor and crew member to search the town, even breaking the town’s daylight cycle to help in the search. They find that Truman has overcome his fear of the water and has sailed away from the town in a small boat. After restoring the broadcast, Christof orders the show’s crew to create a large storm to try to capsize the boat, prompting a heated debate with his superiors over the morality and legality of murdering a human being in front of a live audience. Truman almost drowns, but his determination eventually leads Christof to terminate the storm.

As Truman recovers, the boat reaches the edge of the dome, its bow piercing through the dome’s painted sky. Truman then breaks down crying and continuously punches the wall. An awe-struck Truman then discovers a flight of stairs nearby, leading to a door marked “EXIT”. As he contemplates leaving his world, Christof finally turns to his last resort by speaking directly to Truman via a powerful sound system, trying to persuade him to stay. Truman, after a moment’s thought, delivers his catchphrase (“In case I don’t see you… good afternoon, good evening, and good night”), bows to his audience and steps through the door and into the real world.

The assembled television viewers excitedly celebrate Truman’s escape, and Sylvia quickly leaves her L.A. apartment and departs to the edges of Seaheaven so she can meet up with him. A network executive orders the crew to cease transmission of the show, as viewers look for something else to watch.

TrumanShow06The Truman Show: Music from the Motion Picture is a soundtrack to the film of the same name, and it was composed by Burkhard Dallwitz. Dallwitz was hired after Peter Weir received a tape of his work while in Australia for the post-production. Some parts of the soundtrack were composed by Philip Glass, including four pieces which appeared in his previous works (Powaqqatsi, Anima Mundi, and Mishima, the opening movement from the latter of which appears over the end credits in The Truman Show). Glass also appears very briefly in the film as one of the in-studio composer/performers. Glass and Dallwitz won a Golden Globe for Best Original Score.

Burkhard DallwitzAlso featured in the film are Frédéric Chopin’s “Romance-Larghetto” from his first piano concerto, performed by Arthur Rubinstein, Wolfgang Amadeus Mozart’s “Rondo Alla Turca” from his Piano Sonata No. 11 in A Major, performed by Wilhelm Kempff, Wojciech Kilar’s “Father Kolbe’s Preaching” performed by the Orchestra Philharmonique National de Pologne and “20th Century Boy” performed by rockabilly band The Big Six. (by wikipedia)

The soundtrack to Peter Weir’s Jim Carrey makeover The Truman Show largely consists of Burkhard Dallwitz’s appropriately eerie, comical and sentimental score, yet its also features music from Philip Glass, Chopin, and Wojciech Kilar. The entire collection is remarkably ambitious for an event movie and the music makes for one of the more intriguing soundtracks of 1998. (by Stephen Thomas Erlewine)

Burkhard von Dallwitz (born 1959) is a German-born composer based in Melbourne, Australia. He was born near Frankfurt and began ten years of classical piano training at the age of eight. By thirteen he was writing songs and music, and from fifteen, Burkhard wrote, arranged and performed for various musical groups.

In 1979 Burkhard fulfilled his dream of travelling to Australia. There he studied music at Melbourne’s Latrobe University. He majored with Honours in Composition, and studied Advanced Composition under the tutelage of Professor Keith Humble. Since 1984, Burkhard has worked as a composer for feature films, television and commercials.

Burkhard Dallwitz2In 1996 he released his first CD recording of original instrumental works called Worlds Apart.
He won two Screen Music Awards from the Australian Guild of Screen Composers (1993 & 1996), and was also nominated in 1998 & 2000.

In 1999, Burkhard and Philip Glass were awarded the Golden Globe for Best Original Score in a Motion Picture for The Truman Show. The score also won The Chicago Film Critics’ Award and the ASCAP Film and Television Award, and the soundtrack reached number two on the Billboard chart.

In 2001 he won the APRA award for Best Television Theme for the Sydney Olympics in 2000. The world renowned 385 voice Mormon Tabernacle Choir performed and recorded his 2002 theme for the Salt Lake Winter Olympics. In 2004 he won the APRA-AGSC (Australian Guild of Screen Composers) Screen Music Award ‘Best Music for a Television Series’ for CrashBurn. Burkhard has several soundtrack albums out in general release.
Personal life

Burkhard lives in Elsternwick with his wife Rebecca, son Felix and daughter Carlotta. He works on Australian, European and U.S. film and television productions.
Underbelly theme and Olympics theme

Most recently Burkhard has worked on the Nine Network Australia television series Underbelly and the UK.TV mini-series False Witness where he wrote the theme and the original musical score. He also composed the theme for the Seven Network’s coverage of the Beijing 2008 Olympics (in addition to the 2000, 2002, 2004 and 2006 compositions) and more recently the soundtrack for the 2011 movie The Way Back.


Arthur Rubinstein (piano on 08.)
Orchestra Philharmonique National de Pologne (on 18.)
The Big Six (on 21.)

01. Trutalk (Dallwitz) 1.18
02. It’s A Life (Dallwitz) 1.29
03. Aquaphobia (Dallwitz) 0.40
04. Dreaming Of Fiji (Glass) 1.54
05. Flashback (Dallwitz) 1.19
06. Anthem – Part 2 (Glass) 3.50
07. The Beginning (Glass) 4.06
08. Romance-Larghetto (Chopin) 10.42
09. Drive (Dallwitz) 3.34
10. Underground (Dallwitz) 0.56
11. Do Something! (Dallwitz) 0.44
12. Living Waters (Glass) 3.48
13. Reunion (Dallwitz) 2.26
14. Truman Sleeps (Glass) 1.51
15. Truman Sets Sail (Dallwitz) 1.55
16. Underground/Storm (Dallwitz) 3.37
17. Raising The Sail (Glass) 2.13
18. Father Kolbe’s Preaching (Kilar) 2.26
19. Opening (Glass) 2.14
20. A New Life (Dallwitz) 1.58
21. 20th Century Boy (Bolan)  3.07


TrumanShow01The most important scene in this movie

 A funny, tender, and thought-provoking film, The Truman Show is all the more noteworthy for its remarkably prescient vision of runaway celebrity culture and a nation with an insatiable thirst for the private details of ordinary lives.
Jim Carrey gives a remarkable performance as a man learning that his entire life in a storybook coastal village has been the subject of a live, 24-hour-a-day womb-to-tomb television drama.

Santana – Inner Secrets (1978)

FrontCover1Inner Secrets is the ninth studio album by Santana. It marks the start of the phase of Santana’s career where he moved away from the fusion of Latin, jazz, rock and blues that marked his previous records and began to move towards an album-oriented rock direction.

Some of the album’s tracks are covers. For example, the “Dealer” portion of “Dealer/Spanish Rose” is a cover of “Dealer” by Traffic. “One Chain (Don’t Make No Prison)” is a cover of a Four Tops song by the same name. “Well All Right” is a cover of the Buddy Holly song of the same name.

Oddly enough, the only two tracks on the album that were not released on a single are “Dealer/Spanish Rose” and “The Facts Of Love”. (by wikipedia)

SinglesSince he had joined Santana in 1972, keyboard player Tom Coster had been Carlos Santana’s right-hand man, playing, co-writing, co-producing, and generally taking the place of founding member Greg Rolie. But Coster left the band in the spring of 1978, to be replaced by keyboardist/guitarist Chris Solberg and keyboardist Chris Rhyme. Despite the change, the band soldiered on, and with Inner Secrets, they scored three chart singles: the disco-ish “One Chain (Don’t Make No Prison)” (#59), “Stormy” (#32), and a cover of Buddy Holly’s “Well All Right” (#69), done in the Blind Faith arrangement. (There seems to be a Steve Winwood fixation here. The album also featured a cover of Traffic’s “Dealer.”) The singles kept the album on the charts longer than any Santana LP since 1971, but it was still a minor disappointment after Moonflower, and in retrospect seems like one of the band’s more compromised efforts. (by William Ruhlmann)

And I said … that´s wrong …. this is a brilliant album and songs like “Dealer/Spanish Rose”, “Well… All Right” and “Open Invitation” are one of the finest songs, Santana ever recorded !

Pete Escovedo (percussion)
Graham Lear (drums)
David Margen (bass)
Armando Peraza (percussion, background vocals)
Raul Rekow (percussion, background vocals)
Chris Rhyne (keyboards)
Carlos Santana (guitar, background vocals)
Chris Solberg (guitar, background vocals)
Greg Walker (vocals)

01. Dealer/Spanish Rose (Capaldi/C, Santana) 5.50
02. Move On (C.Santana/Rhyne) 4.27
03. One Chain (Don’t Make No Prison) (Lambert/Potter) 7.13
04. Stormy (Buie/Cobb) 4.45
05. Well… All Right (Petty/Holly/Allison/Mauldin) 4.09
06. Open Invitation (C.Santana/Lambert/Potter/Walker/Margen) 4.45
07. Life Is A Lady/Holiday (Lambert/C.Santana) 3.47
08. The Facts Of Love (Lambert/Potter) 5.28
09. Wham! (C.Santana/Lear/Peraza/Rekow/Escovedo) 3.24

LabelA1* (coming soon)

Led Zeppelin – How The West Was Won (2003)

FrontCover1How the West Was Won is a triple live album by the English rock group Led Zeppelin, released by Atlantic Records on compact disc on 27 May 2003, and DVD-Audio on 7 October 2003. These original performances are from the band’s 1972 concert tour of the United States, recorded at the L.A. Forum on 25 June 1972 and Long Beach Arena on 27 June 1972.

Guitarist Jimmy Page considers Led Zeppelin at this point to have been at their artistic peak, as is mentioned in the album’s liner notes. In an interview he gave to The Times newspaper in 2010, when asked which performances from Led Zeppelin’s career stand out to him now, he made reference to these gigs:

I think what we did on … How the West was Won – that 1972 gig – is pretty much a testament of how good it was. It would have been nice to have had a little more visual recordings, but there you go. That’s the conundrum of Led Zeppelin!

For many years, live recordings of these two shows only circulated in the form of bootlegs, and even then only certain audience recordings were available to fans and collectors (for example, Burn Like a Candle). Though several soundboard recordings of Led Zeppelin concerts were circulated amongst fans after having been stolen from Page’s personal archive some time in the mid–1980s, no soundboards of the 1972 Long Beach or LA Forum shows were taken, meaning the release of How the West Was Won was the first chance fans had of hearing the soundboard versions of these concerts.

LedZeppelin01AThe songs from the two shows underwent some extensive editing and audio engineering by Page at Sarm West Studios in London before being released on the album. Some songs which were played at the concerts, such as “Communication Breakdown”, “Tangerine”, “Thank You” and a rare version of “Louie Louie” from the 25 June show, were left off How the West Was Won.

LedZeppelin02For years, Led Zeppelin fans complained that there was one missing item in the group’s catalog: a good live album. It’s not that there weren’t live albums to be had. The Song Remains the Same, of course, was a soundtrack of a live performance, but it was a choppy, uneven performance, lacking the majesty of the group at its peak. BBC Sessions was an excellent, comprehensive double-disc set of their live radio sessions, necessary for any Zeppelin collection (particularly because it contained three songs, all covers, never recorded anywhere else), but some carped that the music suffered from not being taped in front of a large audience, which is how they built their legacy — or, in the parlance of this triple-disc collection of previously unreleased live recordings compiled by Jimmy Page, How the West Was Won. The West in this case is the West Coast of California, since this contains selections from two 1972 concerts in Los Angeles: a show at the LA Forum on June 25, and one two days later at Long Beach Arena. This is the first archival release of live recordings of Zeppelin at their peak and while the wait has been nigh on interminable, the end result is certainly worth the wait. Both of these shows have been heavily bootlegged for years and while those same bootleggers may be frustrated by the sequencing that swaps the two shows interchangeably (they always prefer full shows wherever possible), by picking the best of the two nights, Page has assembled a killer live album that captures the full, majestic sweep of Zeppelin at their glorious peak.

LedZeppelin03And, make no mistake, he tries to shove everything into these three discs — tight, furious blasts of energy; gonzo freak-outs; blues; and rock, a sparkling acoustic set. Like always, the very long numbers — the 25-minute “Dazed and Confused,” the 23-minute “Whole Lotta Love,” the 19-minute “Moby Dick” — are alternately fascinating and indulgent, yet even when they meander, there is a real sense of grandeur, achieving a cinematic scale attempted by few of their peers (certainly no other hard rock or metal band could be this grand; only Queen or David Bowie truly attempted this). But the real power of the band comes through on the shorter songs, where their sound is distilled to its essence. In the studio, Zeppelin was all about subtle colors, textures, and shifts in the arrangement. On-stage, they were similarly epic, but they were looser, wilder, and hit harder; witness how “Black Dog” goes straight for the gut here, while the studio version escalates into a veritable guitar army — it’s the same song, but the song has not remained the same. That’s the case throughout How the West Was Won, where songs that have grown overly familiar through years of play seem fresh and new because of these vigorous, muscular performances. For those who never got to see Zeppelin live, this — or its accompanying two-DVD video set — is as close as they’ll ever get. For those who did see them live, this is a priceless souvenir. For either group, this is absolutely essential, as it is for anybody who really loves hard rock & roll. It doesn’t get much better than this. (by by Stephen Thomas Erlewine)

John Bonham – drums, percussion, background vocals, co-lead vocals on 10.)
John Paul Jones (bass, keyboards, mandolin, background vocals)
Jimmy Page (guitar, mandolin, background vocals)
Robert Plant (vocals, harmonica)


CD 1:
01. LA Drone (Jones/Page) 0.15
02. Immigrant Song  (Page/Plant) 3.41
03. Heartbreaker (Bonham/Jones/Page/Plant) 7.23
04. Black Dog (Jones/Page/Plant)  5.40
05. Over The Hills And Far Away (Page/Plant) 5.07
06. Since I’ve Been Loving You (Jones/Page/Plant) 8.01
07. Stairway To Heaven (Page/Plant) 9.36
08. Going To California  (Page/Plant) 5.36
09. That’s The Way (Page/Plant) 5.53
10. Bron-Yr-Aur Stomp (Jones/Page/Plant) 4.52

CD 2:
11.1. Dazed And Confused (Page)
11.2. Walter’s Walk (Page/Plant)
11.3. The Crunge (Page/Plant/Bohnham/Jones) 25.25
12. What Is And What Should Never Be (Page/Plant) 4.41
13. Dancing Days (Page/Plant) 3.42
14. Moby Dick (Bonham/Jones/Page) 19.20

CD 3:
15.1. Whole Lotta Love (Page/Plant/Bohnham/Jones/Dixon)
15.2. Boogie Chillun (Besman/Hooker)
15.3. Let’s Have A Party (Robinson)
15.4. Hello Marylou (Mangiaracina/Pitney)
15.5. Going Down Slow (Oden) 23.08
16. Rock And Roll (Bonham/Jones/Page/Plant) 3.56
17. The Ocean (Bonham/Jones/Page/Plant) 4.21
18.1. Bring It On Home (Dixon)
18.2. Bring It On Back (Bonham/Jones/Page/Plant) 9.30


Various Artists – Romantic Harp Concertos (2001)

FrontCover1The harp is a stringed musical instrument which has a number of individual strings running at an angle to its soundboard, which are plucked with the fingers. Harps have been known since antiquity in Asia, Africa, and Europe, dating back at least as early as 3500 BC. The instrument had great popularity in Europe during the Middle Ages and Renaissance, where it evolved into a wide variety of variants with new technologies, and was disseminated to Europe’s colonies, finding particular popularity in Latin America. While some ancient members of the harp family died out in the Near East and South Asia, descendants of early harps are still played in Burma and in Sub-Saharan Africa, while other defunct variants in Europe and Asia have been revived by musicians in the modern era.

Harp01Harps vary globally in many ways. In terms of size, many smaller harps can be played on the lap, while larger harps are quite heavy and rest on the floor. Different harps may use strings of catgut or nylon, or of metal, or some combination. While all harps have a neck, resonator, and strings, “frame harps” have a pillar at their long end to support the strings, while “open harps”, such as arch or bow harps, do not. Modern harps also vary in techniques used to extend the range and chromaticity of the strings, such as adjusting a string’s note mid-performance with levers or pedals which modify the pitch. (by wikipedia)

And her you can hear this beautiful instrument in classical concerts from famous composers like George Frederick Händel, Wolfgang Amadeus Mozart. and from more or less unknown composers like Karl Ditters von Dittersdorf, Johann Georg Albrechtsberger and Georg Christoph Wagenseil.

Enjoy the magic sound of a harp !


George Frederick Händel: Harp Concerto in B flat major:
Maria Grafova (harp)
Janáčkova filharmonie Ostrava conducted by Hartmut Haenchen

Wolfgang Amadeus Mozart: Concerto in C major, for flute, harp & orchestra, K. 299
Beata Kaminska (harp)
Joanna Kontowicz (flute)
Łódzka Orkiestra Kameralna conducted by Zdzisław Szostak

Johann Karl Krumpholz: Harp Concerto in B flat major:
Klara Novakova (harp)
Slovak Radio Symphony Orchestra conducted by Oliver von Dohnányi

Karl Ditters von Dittersdorf: Harp Concerto in A major:
Johann Georg Albrechtsberger: Harp Concerto in C major:
Johann Georg Albrechtsberger: Partita in F major:
Georg Christoph Wagenseil: Concerto in G major, for harp, 2 violins, cello & orchestra:
Jana Boušková (harp)
Südwestdeutsches Kammerorchester Pforzheim conducted by Vladislav Czarneck



CD 1:

George Frederick Händel: Harp Concerto in B flat major:
01. Allegro moderato 6.02
02. Larghetto 5.08
03. Allegro moderato 2.47

Wolfgang Amadeus Mozart: Concerto in C major, for flute, harp & orchestra, K. 299: 04. Allegro 10.33
05. Andantino 7.44
06. Rondeau 10.12

Johann Karl Krumpholz: Harp Concerto in B flat major:
07. Allegro moderato 12.29
08. Andante con variazioni 5.41
09. Rondo, allegro 5:57

CD 2:

Karl Ditters von Dittersdorf: Harp Concerto in A major:
01. Allegro molto 6.37
02. Adagio 9.10
03. Rondeau, larghetto 3.33

Johann Georg Albrechtsberger: Harp Concerto in C major:
04. Allegro moderato 6.28
05. Adagio 9.45
06. Allegro 3.15

Johann Georg Albrechtsberger: Partita in F major:
07. Presto 3.49
08. Adagio 7.02
09. Menuetto 2.43
10. Finale, allegro 4.05

Georg Christoph Wagenseil: Concerto in G major, for harp, 2 violins, cello & orchestra:
11. Allegro 3.50
12. Andante 4.37
13, Vivace 5.11


Sam Rivers & James Newton – Flutes (1976)

FrontCover1Samuel Carthorne Rivers (September 25, 1923 – December 26, 2011) was an American jazz musician and composer. He performed on soprano and tenor saxophones, bass clarinet, flute, harmonica and piano.

Active in jazz since the early 1950s, he earned wider attention during the mid-1960s spread of free jazz.

With a thorough command of music theory, orchestration and composition, Rivers was an influential and prominent artist in jazz music. (by wikipedia)

Sam Rivers and Joe Daley NYC - July, 1976

Sam Rivers and Joe Daley NYC – July, 1976

James W. Newton (born May 1, 1953, Los Angeles, California, United States) is an American jazz and classical flautist, composer, and conductor.

From his earliest years, James Newton grew up immersed in the sounds of African-American music, including urban blues, rhythm and blues, and gospel. In his early teens he played electric bass guitar, alto saxophone, and clarinet. In high school he took up the flute, influenced by Eric Dolphy.[2] In addition to taking lessons in classical music on flute, he also studied jazz with Buddy Collette. He completed his formal musical training at California State University, Los Angeles.

JamesNewtonFrom 1972 to 1975, together with David Murray, Bobby Bradford, and Arthur Blythe, Newton was a member of drummer (and later critic) Stanley Crouch’s band Black Music Infinity. From 1978 to 1981 he lived in New York, leading a trio with pianist and composer Anthony Davis and cellist Abdul Wadud. These three played extended chamber jazz and Third Stream compositions by Newton and Davis. With Davis, Newton founded a quartet and toured successfully in Europe in the early 1980s. Afterwards, he performed with a wide variety of musicians, including projects by John Carter and the Mingus Dynasty. Newton has released four recordings of his solo improvisations for flute. Since the 1990s Newton has often worked with musicians from other cultural spheres, including Jon Jang, Gao Hong, Kadri Gopalnath, and Shubhendra Rao, and has taken part in many cross-cultural projects.

Newton has performed with the New York Philharmonic, Brooklyn Philharmonic, L’Orchestre du Conservatoire de Paris, Vladimir Spivakov and the Moscow Virtuosi the Los Angeles Master Chorale, Southwest Chamber Music, California EAR Unit, New York New Music Ensemble, and the San Francisco Ballet.

He served for five years as Musical Director/Conductor of the Luckman Jazz Orchestra and has held professorships at the University of California, Irvine, the California Institute of the Arts, and California State University, Los Angeles. In 1989 he wrote and published a method book entitled The Improvising Flute. In 2007 he published Daily Focus For The Flute.

He has also composed classical works for chamber ensemble and orchestra, as well as electronic music. In 1997 he wrote an opera, The Songs of Freedom. Based on the knowledge of the deep tradition of “extended” jazz compositions and European contemporary music, Newton uses post-serial methods in composing.[vague] His compositions may be judged as specifically African-American not solely because of the presence of crucial idiomatic elements such as rhythm, pronunciation, and transformation of sound, but also because of their dialoguing between different cultures. In his compositional output, he specializes in chamber music and writing for unconventional instrumentations. He has also written a symphony and composed for ballet and modern dance. In 2006 he composed a Latin Mass which premiered in Prato, Italy, in February 2007.

This is a very rare album, released on Circle Records,  a German jazz record label established in 1976. Most albums have not been reissued.

And yes … this is free jazz …. if you know what I mean !

FreeJazz01Essence Part XI recorded live September 2, 1976 at the Bim Huis, Amsterdam
The Dean + Choir recorded live May 21, 1977 from Studio A Pacifica Radio, KPFK, Cahuenga Bl, N. Hollywood
Woman recorded live January 16, 1977 at the Smudge Pot, Claremont, California


On “Essence – Part XI”:
Joe Daley (french horn, tuba)
Sam Rivers (flute)
James Newton (flute on 02. – 04.)

01. Essence – Part XI (Rivers) 13.22
02. Woman (Bradford) 6.08
03. The Dean (alternate take) (Newton) 7.40
04. Choir (Newton) 4.29



John Fogerty – Live USA (1991)

FrontCover1This is John’s already legendary concert for the Vietnam vets at the Capital Center, Washington D.C. Storming versions of old CCR classics, not played for 15 years.

John Fogerty was backed by an unknown LA Band called “The Bonebreakers”.

Fogerty played Creedence material again at a concert in Washington, D.C., for Vietnam veterans that took place on July 4, 1987. The show was aired on HBO. Aside from a guest appearance at the Palomino and performance at the 1986 Rock and Roll Hall of Fame Induction Ceremony, this was the first time Fogerty had performed any Creedence Clearwater Revival songs for a large audience since 1972.

And this is the story about John Fogerty and Fantasy Records:

What makes the story authentically tragic is that CCR planted the seeds of its own destruction, signing a disastrous contract with Fantasy Records just as they were about to hit it big. Fogerty lost control of his own compositions. All of his hits for Creedence were owned by Fantasy, and he was on the hook to deliver hundreds more songs in the coming years — but he refused to do it. Fogerty says he reaped only a fraction of the money that was rolling in. The band got caught up in an offshore tax scheme that he says was engineered by Fantasy, snaring them in a federal investigation that ate up his savings in legal fees. Creedence songs kept cropping up in commercials, and Fogerty had no authority to prevent them from being used. The predicament gave him an ulcer by age 24 and bottled him up for decades — he quit music for long periods and took refuge in booze. Being sued for plagiarizing your own work — which he eventually was — must rank high on life’s frustration meter.

AlternateFrontCoversAlternate frontcovers

For all that, it was in many ways Fogerty’s stubbornness that deprived the world of years and years of his music and performances. He simply refused to play ball by rules he felt were unfair. An emotional high point of the book comes in 1987, when he plays a show in Washington for Vietnam veterans. For the first time in years, he performs the old Creedence tunes — “Born on the Bayou,” “Who’ll Stop the Rain” — and the vets go wild. Afterward, one of the vets gives Fogerty his service medal. Overwhelmed, Fogerty pins it to his guitar strap.

What a great concert …  a triumph about Saul “Mr. Greed” Zaentz.

This is a German bootleg; the last three tracks are bonus tracks rom the Oakland Coliseum, Oakland, California, December 7, 1986. The concert for the Vietnam vets at the Capital Center, Washington D.C is a broadcast recording … excellent quality !

John Fogerty (guitar, vocals)
The Bonebreakers:
Charlie Harrison (keyboards)
Gerald Johnson (bass)
Donald Lindley (drums)
Jack Wargo (guitar)
Bobby King.(background vocals)

01. The Old Man Down The Road / Born In The Bayou (Fogerty) 4.50
02. Down In The Corner (Fogerty) 2.33
03. Who`ll Stop The Rain (Fogerty) 2.26
04. Up Around The Bend (Fogerty) 2.45
05. The Midnight Special     3:44
06. Bad Moon Rising (Fogerty) 2.10
07. Fortunate Son (Fogerty) 3.11
08. Proud Mary (Fogerty) 5.05
09. Headlines (Fogerty)     4:15
10. I Found A Love (Pickett/Schofield/West) 3.57
11. Change In The Weather (Fogerty) 11.57