Anne Briggs – The Time Has Come (1971)

FrontCover1The Time Has Come is a folk album released in 1971 by Anne Briggs. It is her second album, released by CBS, and, unlike her previous recordings, which featured a capella renditions of traditional songs, the album saw Briggs playing guitar on some of her own songs. The album also includes some instrumental songs on which Briggs plays Bouzouki, allowing for a more playful contrast to some of the heavier compositions, such as “The Time Has Come” and “Wishing Well” that “drip with pensive sadness”. (by wikipedia)

Anne Briggs’ second album appeared in 1971, but in sharp contrast to her debut, where she’d sung traditional music with scarcely any accompaniment, this was virtually all contemporary material, most of it self-penned, with Briggs playing guitar and bouzouki. Included was the title track, which had already been covered by former boyfriend Bert Jansch, and showed Briggs to be a writer of some power (although, to be fair, Jansch’s slower, more reflective version remains the better), and it’s also the standout among Briggs’ material, followed by “Wishing Well,” where Jansch gets the co-writing credit. “Ride Ride” is a pastiche railroad song (obviously British railways don’t have quite the same appeal), and the opening “Sandman’s Song” harks back to innocent childhood, albeit a rather strange one. The choice of covers is far from obvious, but very tasteful. Steve Ashley’s “Fire and Wine” could almost be a traditional piece, while the perkiness of Henry McCulloch’s “Step Right Up” works well with Briggs’ artless voice. Very much influenced by the folk revival which brought her into the public eye, her voice is untutored and unself-conscious, appealing in an offhand way. But it definitely quavers a little, even on her own work, and she seems most comfortable with the record’s only traditional piece, “Standing on the Shore.” To give credit, Briggs throws in a couple of bouzouki instrumentals, “Highlodge Hare” and “Clea Caught a Rabbit,” that show some command of the instrument. The whole here might be less than the sum of its parts — but the parts, in some intangible way, remain very appealing. (by Chris Nickson)


Anne Briggs (vocals, guitar, bouzouki)


01. Sandman’s Song (Briggs) 5.05
02. Highlodge Hare (Briggs) 2.15
03. Fire And Wine (Ashley) 3.30
04. Step Right Up (McCullough) 3.10
05. Ride, Ride (Briggs) 3.20
06. The Time Has Come (Briggs) 2.35
07. Clea Caught A Rabbit (Ellison) 1.50
08. Tangled Man (Briggs) 3.22
09. Wishing Well (Briggs/Jansch) 1.45
10. Standing On The Shore (Traditional) 4.33
11. Tidewave (Briggs) 3.23
12. Everytime (Briggs) 3.04
13. Fine Horseman (Knight) 3.02




Joe Diorio – Bonita (1980)

FrontCover1Joseph Louis Diorio (born August 6, 1936, Waterbury, Connecticut, USA) is an American jazz guitarist. He has performed with legends of jazz such as Sonny Stitt, Eddie Harris, Ira Sullivan, Stan Getz, Pat Metheny, Horace Silver, Anita O’Day, and Freddie Hubbard.[1] In recent years he also recorded albums with modern performers including Robben Ford, Gary Willis, David Becker and fellow guitar education legend Mick Goodrick.

Following in the footsteps of an uncle, Diorio took up the guitar, studying formally in the early 1950s at a local music school. He worked for a while with local bands, but in the early 1960s he ventured into New York City, where he played with several jazz musicians.

In April 2005 he struggled to regain the full use of his left hand following a stroke he suffered at his West Coast residence in San Clemente.

Diorio currently teaches at the University of Southern California. He was also one of the first instructors for the Guitar Institute of Technology. He has published several instructional books and videos, and has released 10 albums under his name. (by wikipedia)


The talented guitarist Joe Diorio has mostly recorded for obscure record companies throughout his career including this set for the completely forgotten Zdenek label. The early-’80s LP features Diorio (who has always had his own sound) in a trio/quartet with other Los Angeles-based musicians: keyboardist Carl Schroeder, bassist Bob Magnusson and drummer Jim Plank. Diorio stretches out on five standards (including Jobim’s “Bonita”) plus one of his originals, playing some fine post-bop guitar that is often strikingly original. (by Scott Yanow)

Listen to this more or less unknown jazz musicians … this is a superb album !


Joe Diorio (guitar)
Bob Magnusson (bass)
Jim Plank (drums, percussion)
Carl Schroeder (piano)

01. Bonita (Jobim) 5.00
02. If I Should Lose You (Robin/Rainger) 6.42
03. Spring Can Really Hang You Up The Most (Wolf/Landesman) 4.02
04. Talla Sunshine – Naima Rainbow, Dance For Their Father (Diorio/Berardi) 4.41
05. Bloomdido (Parker) 2.41
06. Hello Young Lovers (Hammerstein/Rodgers) 6.45
07. Send In The Clowns (Diorio) 3.10


Eric Clapton – 24 Nights (1991)

ECFrontCover124 Nights is a live album by Eric Clapton, recorded at the Royal Albert Hall in London, England, in 1990 and 1991. It was released on 8 October 1991.

The album is a “best of” from the 42 concerts Eric Clapton did at the Royal Albert Hall in those two years. Clapton set a record by playing a run of 24 nights at the London Royal Albert Hall between 5 February and 9 March 1991, following an 18-night run in 1990. Clapton reportedly was not satisfied with the 1990 concert recordings and delayed the release of a CD until after the “24 Nights” of the 1991 dates. These concerts were performed with 4 different instrumental formations, 4-piece, blues, 9-piece and orchestra nights, the last featuring the National Philharmonic Orchestra conducted by Michael Kamen. The cover illustration is by Peter Blake.

The 4-piece recordings “Running on Faith”, “White Room” and “Sunshine of Your Love” featured on the CD and DVD were recorded on 24 January 1990. The band featured bassist Nathan East, drummer Steve Ferrone and keyboardist Greg Phillinganes. The Blues Band titles “Worried Life Blues”, “Watch Yourself” and “Have You Ever Loved a Woman” Clapton recorded with Buddy Guy and Robert Cray were shot and recorded on 5 February in 1990. The last of the 1990 live recording session took place on 9 February 1990 recording the Orchestra Night. “Bell Bottom Blues”, “Hard Times” and “Edge of Darkness” were used on both the CD and video recording. On 10 February 1991, Clapton recorded “Badge” for the CD release. Eight days later the concert for “Pretending”, “Bad Love”, “Old Love” and “Wonderful Tonight” featuring the 9-piece band lineup took place. “No Alibis”, “I Shot The Sheriff” and “Cocaine” had been released on various CD singles of “Wonderful Tonight” since. The versions of “Old Love”, “Wonderful Tonight” and “Pretending” (2nd solo only) on the “24 Nights” video are different from their album counterparts, but they were not taken from the previous night’s show. They may even have been taken the year before. The song “Hoodoo Man” featuring Jimmie Vaughan was recorded on 28 February 1991. (by wikipedia)

Eric Clapton, who had not released a live album since 1980, had several good reasons to release one in the early ’90s. For one thing, his spare backup band of keyboardist Greg Phillinganes, bassist Nathan East, and drummer Steve Ferrone was his best live unit ever, and its powerful live versions of Cream classics like “White Room” and “Sunshine of Your Love” deserved to be documented. For another, since 1987 Clapton had been playing an annual series of concerts at the Royal Albert Hall in London, putting together various special shows (blues nights, orchestral nights, etc.). 24 Nights, a double album, was culled from two years of such shows, 1990 and 1991, and it demonstrated the breadth of Clapton’s work, from his hot regular band to assemblages of bluesmen like Buddy Guy and Robert Cray to examples of his soundtrack work with an orchestra led by Michael Kamen. The result was an album that came across as a lavishly constructed retrospective and a testament to Clapton’s musical stature. But it made little impact upon release (though it quickly went gold), perhaps because events overcame it — three months later, Clapton’s elegy for his baby son, “Tears in Heaven,” was all over the radio, and a few months after that he was redefining himself on MTV Unplugged — a live show as austere as 24 Nights was grand. Still, it would be hard to find a more thorough demonstration of Clapton’s abilities than the one presented here. (by William Ruhlmann)


Eric Clapton (guitar, vocals)
Nathan East (bass, vocals)
Steve Ferrone (drums)
Greg Phillinganes (keyboards, vocals)
Alan Clark (keyboards on 13. – 15.)
Phil Collins (tambourine on 04.)
Ray Cooper (percussion on 09.- 15.)
Robert Cray (guitar on 05. – 07.)
Richard Cousins (bass on 05. – 07.)
Buddy Guy (guitar on 05. – 07.)
Johnnie Johnson (piano on 05. – 08.)
Katie Kissoon (background vocals on 09. – 13.)
Chuck Leavell (keyboards on 08., 09.)
Tessa Niles (background vocals on 09. – 13.)
Jamie Oldaker (drums on 05. – 08.)
Phil Palmer (guitar on 09. – 13.)
Jerry Portnoy (harmonica on 08.)
Ed Shearmur (keyboards on 14. – 15.)
Joey Spampinato (bass on 08.)
Jimmie Vaughan (guitar on 08.)
National Philharmonic Orchestra conducted by Michael Kamen (14. – 15.)



CD 1:
01. Badge (Clapton/Harrison) 6.51
02. Running On Faith (Williams) 6.49
03. White Room (Jack Bruce/Pete Brown) – 6:10
04. Sunshine Of Your Love (Bruce/Brown/Clapton) 9.11
05. Watch Yourself (Guy) 5.39
06. Have You Ever Loved A Woman (Myles) 6.52
07. Worried Life Blues (Merriweather) 5.28
08. Hoodoo Man (Wells) 5.41

CD 2:
09. Pretending (Williams) 7.08
10. Bad Love (Clapton/Jones) 6.25
11. Old Love (Clapton/Cray) 13.01
12. Wonderful Tonight (Clapton) 9.11
13. Bell Bottom Blues (Clapton) 6.39
14. Hard Times (Charles) 3.45
15. Edge Of Darkness (Clapton/Kamen) 6.30





Steppenwolf – Same (1968)

FrontCover1.jpgSteppenwolf is the first studio album by American rock band Steppenwolf, released in January 1968 on ABC Dunhill Records.

The album was a successful debut for the band, featuring the songs “Born to Be Wild”, as well as “The Pusher”, both of which were used in the 1969 film Easy Rider. “Berry Rides Again” is a tribute to guitarist Chuck Berry. The spelling of track #4 on the vinyl is “Hootchie Kootchie Man”. The album credits say it was recorded at American Recording Company in Studio City, California; however, the actual name of the studio was American Recorders.

The background color of the original ABC LP cover was a silver “foil”, in contrast to later (MCA Records) LP issues and the modern CD sleeve in which it is replaced by off white. It is the only album by the band to have been released in both stereo and mono configurations. Although the latter is simply a ‘fold down’ of the stereo mix it is sought after as a collector’s item.

Early editions of the “silver foil background” version credit “Mars Bondfire” with writing “Born to be Wild” on both the LP label and the back of the LP cover.

The earliest 1968 versions of the album did not have the black box with the wording: “Contains The Hit “Born To Be Wild”. (by wikipedia)

Steppenwolf entered the studio for their recording debut with a lot of confidence — based on a heavy rehearsal schedule before they ever got signed — and it shows on this album, a surprisingly strong debut album from a tight hard rock outfit who was obviously searching for a hook to hang their sound on. The playing is about as loud and powerful as anything being put out by a major record label in 1968, though John Kay’s songwriting needed some development before their in-house repertory would catch up with their sound and musicianship. On this album, the best material came from outside the ranks of the active bandmembers: “Born to Be Wild” by ex-member Mars Bonfire, which became not only a chart-topping high-energy anthem for the counterculture (a status solidified by its use in Dennis Hopper’s movie Easy Rider the following year), but coined the phrase heavy metal, thus giving a genre-specific name to the brand of music that the band played (and which was already manifesting itself in the work of bands like Vanilla Fudge and the just-emerging Led Zeppelin); the Don Covay soul cover “Sookie, Sookie,” which, as a single by the new group, actually got played on some soul stations until they found out that Steppenwolf was white; two superb homages to Chess Records, in the guise of “Berry Rides Again,” written (though “adapted” might be a better word) by Kay based on the work of Chuck Berry, and the Willie Dixon cover “Hoochie Coochie Man”; and Hoyt Axton’s “The Pusher,” an anti-drug song turned into a pounding six-minute tour de force by the band. The rest, apart from the surprisingly lyrical rock ballad “A Girl I Knew,” is by-the-numbers hard rock that lacked much except a framework for their playing; only “The Ostrich” ever comes fully to life among the other originals, but the songs would catch up with the musicianship the next time out. (by Bruce Eder)


Jerry Edmonton (drums, percussion, background vocals)
John Kay (guitar, harmonica, vocals)
Goldy McJohn (keyboards)
Michael Monarch (guitar, background vocals)
Rushton Moreve (bass, background vocals)


01. Sookie Sookie (Covay/Cropper) 3.12
02. Everybody’s Next One (Kay/Mekler) 2.53
03. Berry Rides Again (Kay) 2.45
04. Hoochie Coochie Man (Dixon) 5.07
05. Born To Be Wild (Bonfire) 3.28
06. Your Wall’s Too High (Kay) 5.40
07. Desperation (Kay) 5.45
08. The Pusher (Axton) 5.43
09. A Girl I Knew (Cavett/Kay) 2.39
10. Take What You Need (Kay/Mekler) 3-28
11. The Ostrich (Kay) 5.43



A must:

Dick Hyman – Provocative Piano (1960)

FrontCover1Richard “Dick” Hyman (born March 8, 1927) is an American jazz pianist/keyboardist and composer, best known for his versatility with jazz piano styles. Over a 60-year career, he has functioned as a pianist, organist, arranger, music director, and, increasingly, as a composer.

Hyman was born in New York City. He trained classically by his mother’s brother, the concert pianist Anton Rovinsky, a fixture of the pre-war art scene in New York, noted for having premiered some of Charles Ives’s works, such as The Celestial Railroad in 1928. Hyman said of Rovinsky, “He was my most important teacher. I learned touch from him and a certain amount of repertoire, especially Beethoven. On my own I pursued Chopin. I loved his ability to take a melody and embellish it in different arbitrary ways, which is exactly what we do in jazz. Chopin would have been a terrific jazz pianist. His waltzes are in my improvising to this day.” Dick’s older brother, Arthur, introduced him to the music of Bix Beiderbecke, Louis Armstrong, Teddy Wilson, and others. By high school, he was playing in dance bands throughout Westchester County.

Hyman completed his freshman year at Columbia University, and in June 1945, he enlisted DickHyman01in the Army, transferred to the Navy, and began playing in the band department. When he returned to Columbia, he won an on-air piano competition, earning him 12 free lessons with Teddy Wilson, the Swing Era pianist who a decade earlier had broken the race barrier as a member of the Benny Goodman Trio. A few years later, Hyman himself became Goodman’s pianist.

While developing a facility for improvisation in his own piano style, Hyman has also investigated ragtime and the earliest periods of jazz and has researched and recorded the piano music of Scott Joplin, Jelly Roll Morton, James P. Johnson, Zez Confrey, Eubie Blake and Fats Waller which he often features in his frequent recitals. Hyman recorded two highly regarded ragtime albums under the pseudonym “Knuckles O’Toole”, and included two original compositions.[citation needed] In 1952, he played with Charlie Parker on the only television appearance Parker ever made; the band included Dizzy Gillespie and played Hot House.

In the 1960s, he was regularly seen on NBC-TV’s weekly musical series Sing Along with Mitch. Other solo recordings include the music of Irving Berlin, Harold Arlen, Cole Porter, George Gershwin, and Duke Ellington. He recorded as a member of the Dick Hyman Trio, including a 78 rpm hit called ‘Baubles Bangles and Beads.’ During the 1970s, he was also member of Soprano Summit.

Hyman served as artistic director for the Jazz in July series at New York’s 92nd Street Y for twenty years, a post from which he stepped down in 2004. (He was succeeded in that post by his cousin, Bill Charlap, a jazz pianist.) He continues his Jazz Piano at the Y series as well as his post as jazz advisor to The Shedd Institute’s Oregon Festival of American Music. In 1995, he was inducted into the Jazz Hall of Fame of the Rutgers Institute of Jazz Studies and the New Jersey Jazz Society.

Hyman has had an extensive career in New York as a studio musician and won seven Most DickHyman02Valuable Player Awards from the National Academy of Recording Arts and Sciences. He acted as music director for such television programs as Benny Goodman’s final appearance (on PBS) and for In Performance at the White House. For five years (1969–1974), he was the in-studio organist for the stunt game show Beat the Clock. He received an Emmy Award for his original score for Sunshine’s on the Way, a daytime drama, and another for musical direction of a PBS Special on Eubie Blake. He continues to be a frequent guest performer with The Jim Cullum Jazz Band on the long-running public radio series Riverwalk Jazz, and has been heard on Terry Gross’ Fresh Air. He has also collaborated with Ruby Braff extensively on recordings at Arbors Records.

Dick Hyman’s Century of Jazz Piano, an encyclopedic series of solo performances, has been released on Arbors Records. Other new recordings include Thinking About Bix and E Pluribus Duo with Ken Peplowski.

Hyman has served as composer/arranger/conductor/pianist for the Woody Allen films Zelig, The Purple Rose of Cairo, Broadway Danny Rose, Stardust Memories, Hannah and Her Sisters, Radio Days, Bullets Over Broadway, Everyone Says I Love You, Sweet and Lowdown, The Curse of the Jade Scorpion and Melinda and Melinda. He was also the music coordinator, arranger, and conductor for Allen’s multi-Oscar-winning Mighty Aphrodite, which featured the Dick Hyman Orchestra and Chorus.[citation needed]

His other film scores include Moonstruck, Scott Joplin, The Lemon Sisters and Alan and Naomi. His music has also been heard in Mask, Billy Bathgate, Two Weeks Notice, and other films. He was music director of The Movie Music of Woody Allen, which premiered at the Hollywood Bowl.


Hyman composed and performed the score for the Cleveland/San Jose Ballet Company’s Piano Man, and Twyla Tharp’s The Bum’s Rush for the American Ballet Theatre. He was the pianist/conductor/arranger in Tharp’s Eight Jelly Rolls, Baker’s Dozen, and The Bix Pieces and similarly arranged and performed for Miles Davis: Porgy and Bess, a choreographed production of the Dance Theater of Dallas. In 2007, his Adventures of Tom Sawyer, which had been commissioned by the John G. Shedd Institute for the Arts, and set by Toni Pimble of the Eugene Ballet, premiered in Eugene, Oregon.

In the 1960s, Hyman recorded several innovative pop albums on Enoch Light’s Command Records. At first, he used the Lowrey organ, on the albums Electrodynamics, Fabulous, Keyboard Kaleidoscope and The Man From O.R.G.A.N. He later recorded several albums on the Moog synthesizer which mixed original compositions and cover versions, including Moog: The Electric Eclectics of Dick Hyman, and The Age of Electronicus. The former has now been reissued on CD by Varese Sarabande with some, but not all, of the tracks from The Age of Electronicus.

The track “The Minotaur” from The Electric Eclectics charted in the US top-40,[5] (#20 Canada) becoming the first Moog single hit (although, as originally released on 45, it was labeled as the B-side to the shorter “Topless Dancers of Corfu”). Some elements from the track “The Moog And Me” (most notably the whistle that serves as the song’s lead-in) on the same album were sampled by Beck for the track “Sissyneck” on his 1996 album Odelay. (by wikipedia)


Dick Hyman and His Orchestra pretty much stick to jazz-flavored, though often upbeat, easy listening arrangements on this studio session. No matter how flashy his piano is, the musical backgrounds are rather monotonous and the amount of actual improvising at the keyboard is minimal. The music includes reworkings of Chopin’s “Polonaise” and his “Nocturne in E Flat,” an excerpt from the first movement of Tchaikovsky’s “Piano Concerto No. 1,” as well as pretty if hardly memorable treatments of “Autumn Leaves,” “Canadian Sunset,” and Claude Thornhill’s “Autumn Nocturne.” Although Dick Hyman is a first-rate musician who is always dependable in a true jazz setting, this long unavailable LP will be of little interest to jazz fans. (by Ken Dryden)

But it´s a high class “easy listening” album !


The inlets

Dick Hyman (piano)
unknown orchestra


01. Cumana (Spino/Hillman/Allen) 3.12
02. Near You (Craig/Goell) 2.51
03. Polonaise (Traditional) 2.17
04. Autumn Leaves (Kosmo/Mercer/Prevert) 3.13
05. Piano Concerto (Tschaikowsky) 2.19
06. Canadian Sunset (Heywood) 3.19
07. Warsaw Concerto (Addinsell) 3.25
08. Sunrise Serenade (Carle/Lawrence) 3.00
09. Miserlou (Wise/Leeds/Roubanis/Arkuss) 3.04
10. Nocturne (Chopin) 3.14
11. Nola (Arndt/Skylar) 2.55
12. Autumn Nocturne (Myrow/Gannon) 3.15



Zoot Money – Mr. Money (1980)

FrontCover1It´s about time to celebrate the one and only Mr. Zoot Money !

And this is the stroy behind this rare album (never re-release as a CD  – as far as I know !) from 1980:

As is well known, Zoot Money and the Big Roll Band went on to become a major part of the British rhythm and blues scene, reaching the Top Thirty singles charts in 1966 with “Big Time Operator”. For some years Zoot also combined music with acting. Though too modest to say so, he is thought to be the only person ever to have taken a phone call from Paul McCartney while in prison. (He was filming the movie of “Porridge” with Ronnie Barker on location in Chelmsford Prison in 1979 when one of the warders asked him “is your name Money? There’s some bloke named McCartney on the phone for you”. The result was the 1980 album “Mr. Money”, issued on Paul McCartney’s MPL label.) (by


The UK lables

And so you can hear now another crazy album by the unique Zoot Money (produced by Jim Diamond) … another rare  collector´s on ths blog.

Enjoy the sentimental journey !


A rare pic from the 80´s: Bournemouth Town Hall (ca 1985):
Rog Collis, Dick Ashby, Zoot Money (on guitar !), Al Kirtley

Les Davidson (guitar)
Martin Drover (trumpet)
Zoot Money (keyboards, vocals)
Francis Monkman (synthesizer)
Dick Morrissey (saxophone)
Jim Mullen (guitar)
Paul Robinson (drums)
Nick South (bass)
background vocals:
Derek James – Kasim Sultan – Vicki Brown


01. Your Feets Too Big (Benson/Fisher) + Two Of Us (Allen/Money) 7.37
02. Ac-Cent-Tchu-Ate The Positive (Arlen/Mercer) 3,32
03. Hello (Allen/Money) 2.47
04. Riders In The Sky (Jones) 3.51
05. Can I Get Closer To You (Allen/Money) 3.34
06. It’s Too Soon To Know (Chessler) 3.11
07. Careless Hands (Hilliard/Sigman) 3.44
08. Ain’t Nothin’ Shakin’ But The Balcon (Money) 3.01
09. Sentimental Journey (Homer/Green/Brown) 4.50




Still alive and well:
Zoot Money live in 2016
at the Bull´s Head, London

Martin Hegel – Viaje Espanol (2009)

FrontCover1Martin  Hegel grew up in a family of musisicans and first started playing at the age of 14.  Only two years later he was awarded first price in the Germany national music contest “Jugend musiziert”.

In 1994 he begann his studies under Prof. Ulrich Müller at the State Conservatory in Osnabrück. Subsequently he studied music at the Cologne College Of Music in the guitar class of Prof. Ansgar Krause, before attending the University of Fine Arts  in Berlin, where he studied under Prof. Martin Rennert. He was also awarded a scholarship with Prof. Konrad Ragnossig at the University of of Music and Fine Arts in Vienna and was invited to join Prof. Eliot Fisk´s class at the Mozarteum in Salzburg.

He graduaded in 2004 and passed his final concert with honors in 2008.

For his debut solo CD “viaje español”, the classical guitarist from Osnabrück has chosen the apt subtitle “four centuries of Spanish guitar music”. On it he takes the listener on a fascinating journey filled with the sounds of Spanish guitar music, from the Renaissance to the modern era. From the early days of the great composer Alonso Mudarra he moves on to the heyday with Dionisio Aguado. The journey ends with Joaquin Turina, a custodian of the original flamenco tradition. Martin Hegel successfully completed numerous masterclasses, among others with Manuel Barrueco and David Russel. This laid the basis for his sophisticated playing and cultivated tone and allows him to lend the works of these various composers a remarkable authenticity and fill them with radiant life. With “viaje español” he succeeds in communicating the fascination of classical guitar music to the listener.


Martin Hegel (guitar)



Alonso Mudarra:
01. Gallarda  1.17
02. Romanesca 1.49
03. Fantasía 1.44

Dionisio Aguado:
04. Fandango Con Variaciones Op. 16 7,11
05. Mazurca 2.20

Francisco Tárrega:
06. Gran Vals 2.56
07. Capricho Árabe 4.47
08. Rosita 1.21

Federico Moreno Torroba:
09. Torrija 3.04
10. Nocturno 3.31
11. Burgalesa 2.37
12. Madroños 2.54

Antonio Ruiz-Pipó:
13. Canción Y Danza 3.55

Joaquín Turina:
14. Rafaga Op. 53 2.40
15. Fandanguillo Op. 36 4.48
16. Sevillana Op. 29 (fantasie) 5.40