… in four days … In the meantime I´ll fly to Wroclaw (Poland)
After this trip I will continue with this blog.
Have a nice time !
… in four days … In the meantime I´ll fly to Wroclaw (Poland)
After this trip I will continue with this blog.
Have a nice time !
This album was recorded by the British Blues-Rock vocalist Chris Farlowe in the early 1990s, following a five years long period of inactivity in the recording studio. The songs on this album were recorded during several studio sessions, featuring different lineups. As a result no less that six guitar players are featured: Micky Moody (Juicy Lucy), Alvin Lee (Ten Years After), Albert Lee (everybody), Clem Clempson (Colosseum), Geoff Whitehorn (Procol Harum), Phil Palmer (a great session player) and Tony Crooks (The Kick with bassist Leo Lyons, ex-Ten Years After, who also plays here).
Despite the stellar team of musicians and a very solid collection on songs, the album was rejected by the Major record labels and was finally released on a tiny Spanish label Barsa Records (originally titled simply “Farlowe”) and than on Freestyle Records in UK (with a different mixes of two songs), but disappeared from the market almost immediately.
Obviously produced for the US market, this album has a much more Rock oriented sound and luster, taking Farlowe away from his Blues-Rock roots. Nevertheless it is still a very solid album as far as Farlowe’s vocal delivery is concerned and for his many fans this album deserves a proud place in their collection. Sadly it will take another five years for Farlowe to record another studio album. (by Jazzis)
A real great album with a real great line-up … listen !
Boz Burrell (bass)
Clem Clempson (guitar)
Tony Crooks (guitar)
Chris Farlowe (vocals)
Kuma Harada (bass)
Tim Hinkley (keyboards)
Albert Lee (guitar)
Alvin Lee (guitar)
Leo Lyons (bass)
Mickey Moody (guitar)
Charlie Morgan (drums)
Andy Nye (keyboards)
Phil Palmer (guitar)
Jeff Seopadie (percussion)
Geoff Whitehorn (guitar)
Doreen Chanter – Irene Chanter – Sam Brown – Vicki Brown
01. Try Me (Palmer/Colton) 5.22
02. Rock ‘N’ Roll Soldier (Seals) 4.28
03. Some Mothers Son (Farlowe/Moody) 3.10
04. Hold On (Jennings/Sample) 4.00
05. Working In A Parking Lot (Lyons/Nye/Crooks) 4.20
06. On The Beach (Lyons/Nye/Crooks) 4.45
07. Too Late To Run For Cover (Lee/Hinkley) 4.32
08. Function To Function (Jupp) 4.25
09. Make It Fly (Jupp)3.12
10. Livin´ It Up (Lyons/Nye/Crooks) 3.36
11. Don´t Walk Away (Hill Sinfield) 3.38
12. Blues Anthem (Page/Farlowe) 4.59
13. Waiting In The Wings (Hill Sinfield) 3.44
Baden Powell is a Brazilian musician with a solid international reputation. A gifted instrumentalist and composer, he bridges the gap between classical artistry and popular warmth and was a key figure in the bossa nova movement. Born in the Varre e Sai district, he was baptized after his grandfather, a musician and conductor himself, whose father was an admirer of the Boy Scouts founder. When he was four months old, his family moved to the hill of São Cristóvão in the city of Rio. His father, the violonista Lino de Aquino, promoted regular get-togethers (rodas) of chorões at his home, at which famous names of Rio’s music used to play, such as Pixinguinha, his brother China, the sambista Donga, and so many others. At eight, his father took him to Rádio Nacional where Powell met Meira (Jaime Florence), a famous violonista at the time a member of Benedicto Lacerda’s regional. Powell would study violão with him for five years. Through Meira, a broad-minded musician, he discovered classics such as Segovia and Tarrega, along with Brazilian masters such as Garoto and Dilermando Reis. At nine, he presented himself at Renato Murce’s show Papel Carbono on Rádio Nacional, winning first place as a guitar soloist. At 13, he used to run from school, earning his first cachets at the neighborhood parties. After finishing high school, he joined the cast of Rádio Nacional as an accompanist. In that time, he traveled through Brazil with the radio’s singers. In 1955, he joined Ed Lincoln’s trio, playing jazz at the Plaza nightclub. The place was a focal point for musicians, journalists, and aficionados interested in jazz. It should be regarded as the second place where bossa nova was being generated (the first being Cantina do César, after Johnny Alf’s first appearances), contrary to the common notion of bossa being born at Zona Sul (South side’s) apartments. At that time, Powell began to compose “Deve Ser Amor,” “Encontro Com a Saudade,” “Não é Bem Assim,” and his first big hit, 1956’s “Samba Triste,” with lyrics by Billy Blanco and which would be recorded by Lúcio Alves in 1960.
Baden Powell, Vinicius de Moraes e Milène Demongeaut, Paris, 1964
In 1962, he met his future partner, Vinícius de Moraes, a composer, poet, singer, and diplomat. Their first song was “Canção de Ninar Meu Bem,” a great success from the beginning. Following that, they came up with “Samba em Prelúdio” (recorded still in 1962 by Geraldo Vandré/Ana Lúcia), “Consolação” (recorded by Nara Leão), “Samba da Bênção,” “Tem Dó,” “Só por Amor,” “Bom Dia, Amigo,” “Labareda,” and “Samba do Astronauta” (recorded by Powell in 1964). At this point, Powell was already a renowned musician and composer, with good connections on the artistic scene and wide exposure in the media. In that year, he accompanied Sílvia Telles at her famous show at the Jirau nightclub. In 1963, he recorded his first LP, Um Violão na Madrugada (Philips). In that year, he traveled to Paris where he presented himself at the Olympia theater with great success, using a repertoire of classical music and his own compositions. He also played regularly in a season at the Bilboquet nightclub and composed the soundtrack to the movie Le Grabuje.(by Alvaro Neder)
This first record for Barclay in 1964 is one of Baden´s most famous records in Europe, even the sound of the original record was never the best.
“Brazilian music is, as its country which is 16 times as big as France, diverse, varied, surprising, subtle and simple all at the same time. This music only asks, as Brazil, for regognition and love. With this album, which is the first he releases in Europe, the guitarist & composer BP presents us a complete palette of his musical world. From African rythms to his personal perceiving of classical european composers, and through delicate reminiscence of melodies from the Antilles, to negro american jazz accents: BP reminds all these influences on his guitar.
He’s 27 years old. Born in Rio. He played since 8 y.o. After having studied in Rio academy, where he improved his style and learned composition, he started like many other, in clubs with little rythmic entities. He eventually showed up in several Tv & radio broadcasts, and his compositions became very popular. He teamed with Tom Jobim, Carlos Lyra, Roberto Menescal for work and tours in several big cities in Brazil. He recorded with Herbie Mann and Jimmy Pratt just before his departure to the US. After some concerts in the Village Vanguard, his friend and poet Vinicius de Moraes made him come to Paris in the late of 63. He gave recitals and tv shows: Living room, musicorama etc… Asked for his guitaristic influences he answers: Segovia, Van Eps, Django are people that are part of the musical world i love. With this record you’ll be able to discover samples from this musical universe.
Original front + backcover from 1964
Here are the themes: DEVE SER AMOR: was recorded using play back device. Baden first recorded the rythmic part with the bass & drums. Afterwards he recorded the melody. The same process was involved with BACHIANA.
CHORO PARA METRONOME is quite a challenge. The choro which was originally an improvisation over folkoric patterns, turns here into a guitar piece. The metronome replaces the whole rythm section. Fitting perfectly with this souless rythm, BP shows here its astounding technique.
The Albinoni ADAGIO and the Bach PRELUDE so seduced the guitarist, that he did want to give a respectful homage to these composers by playing these two pieces.
BERIMBAU is the name of a musical instrument looking like an arc, which is used in the Capoeira. This is a dance which partly look like wrestle, and is done by Nordeste youth, especially in the Bahia area. It is undoubtly of African inspiration.
SAMBA EM PRELUDIO is made of two distincts melodies. Baden plays the first which is in turn played by the orchestra. Then the guitar plays the second theme, and then the two parts are played together, and taken by cello and Francoise Waleh’s voice. CHANSON D’HIVER is the first song that Baden wrote when he came to Paris in December 63.
SAMBA TRISTE opens on a very dark climate and dramatic first part, then the repetitive rythm takes over and leads to the conclusive chords. BERCEUSE A JUSSARA is a delicate composition, dedicated to his little niece “Sobrinha” Jussara. EURIDICE is a Vinicius de Moraes composition, which illustrates the Orphee myth. BACHIANA is a piece written with, once again, Johann S. Bach in mind. GAROTA is a new composition from Tom Jobim and Vinicius. Baden takes it as a basis for a free improvisation, with a complete command on the instrument” (original liner notes by Jacques Lubin)
My copy is a rare German pressing (released in 1966 – with liner notes written in German …. )
Alphonse Masselier (bass)
Arthur Motta (drums)
Baden Powell (guitar)
Silvio Silveira (percussion)
Francoise Waleh (vocals on 05.)
Paul Mauriat and his orchestra
01. Deve Ser Amore (Powell/De Moraes) 3.44
02. Choro Para Metronome (Powell) 2.48
03. Adagio (Albinoni) 3.03
04. Berimbau (De Moraes) 2.58
05. Samba En Preludio (Powell/De Moraes) 3.26
06. Chanson D’Hiver (Powell) 2.22
07. Samba Triste (Powell/Blanco) 3.29
08. Bercauses A Jussara (Powell) 2.33
09. Prelude (Bach) 2.49
10. Euridice (De Moraes) 3.00
11. Chaiana (Powell/De Moraes) 4.06
12. Garota De Ipanema (Jobim/Gimbel/De Moraes) 2.58
Addeo was one of RCA’s key house arrangers for most of the 1950s and 1960s. An Italian American from Brooklyn, Addeo’s specialty was Hawaiian music. He studied violin as a child, but switched to clarinet and saxophone in his teens when he noticed these instruments were in greater demand for local dance bands. He gradually moved from performing to arranging, working with Gene Krupa, Larry Clinton, and Frankie Carle.
Hugo Winterhalter hired Addeo as an orchestrator and brought him along when he moved to RCA in the early 1950s. Addeo was a steady producer for RCA, backing vocalists such as Vaughan Monroe and Don Cherry, arranging and conducting on numerous credited and uncredited instrumentals, and writing an occasional song. Addeo held down the marimba band corner for RCA’s “Living” series, producing a respectable knock-off of Julius Wechter’s Baja Marimba Band. (by spaceagepop.com)
“The best sound around…the excitement of sound in motion” is what the album promises. It’s half a decade after the RCA Stereo Action series, and Leo Addeo is still going strong. With only ten tunes, A Sound Spectacular in Total Dynamics is a little light, but Addeo fans will not be disappointed. All tracks are at least good, and “Ain’t We Got Fun” is remarkable. While it must have been hopelessly square in 1968, there is a timelessness to these old standards. Freshness in the arrangements must be entirely the product of Addeo’s “space-age” enthusiasm. The barrels roll in “Beer Barrel Polka,” and “The Old Gray Mare” makes horsey sounds. Unnecessary as it may be to return to the Stereo Action experience, A Sound Spectacular in Total Dynamics is passable, at least if you like Leo Addeo. (by Tony Wilds)
Leo Addeo & His Orchestra
01. Beer Barrel Polka (Brown/Vejvoda) 2.12
02. Doodle Doo Doo (Kassel/Stitzel) 2.33
03. Gimme A Little Kiss (Will Ya, Huh?) (Smith/Turk/Pinkard) 2.34
04. Ain’t We Got Fun (Kahn/Egan/Whiting) 2.26
05. Side By Side (Woods) 3.10
06. (Put Another Nickel In) Music! Music! Music! (Weiss/Baum) 2.19
07. Makin’ Whoopee! (Kahn/Donaldson) 3.12
08. Action Speaks Louder Than Words (Addeo) 2.34
09. The Old Gray Mare (Traditional) 2.55
10. Show Me tha Way To Go Home (King) 2.27
Passport was a German jazz/fusion group formed in 1971. Founded by Ace Saxeman, composer and arranger Klaus Doldinger along with Curt Cress (percussion), Kristian Schultze (keyboards), and Wolfgang Schmid (bass & guitar). This was the classic lineup that started with their 4th album “Looking Thru” in 1973, their first US release. I’m not familiar with their first 3 albums, but outside Klaus, the lineup was pretty different. This classic lineup continued through the next 5 albums. Utilizing spacey electronic jazz with rock and classical styles, this group was very groundbreaking. Klaus has a knack for coming up with some of the most beautiful saxe melodies you ever heard. Curt Cress was probably one of the first drummers to experiment with electronic drums. Bassist Wolfgang Schmid’s classical guitar adds a nice demension. And Kristian Schultze’s use of synth and mellotron gives them an expansive orchestral sound. After their 8th album, PASSPORT went through many different incarnations with only Klaus as the common denominator in all of them. In the 80’s, Klaus did other projects like motion picture soundtracks, most notably “Das Boot”. But PASSPORT still to this day records and performs (mostly in Europe, they came to the US only once) with various personnel. But it was the classic lineup that expanded their audience and gave them critical acclaim. (by progarchives)
This is the 22th album (!) of Klaus Doldinger & Passport and it´s another fine example of his high energy jazz-rock … with “Down To Eart” he won the Gold Jazz Award in Germany.
Klaus Doldinger is today 80 years old and … believe it or not … he´s still touring through Germany and Europe … A master of his own !
Klaus Doldinger (saxophone, flute)
Roberto Di Gioia (keyboards)
Wolfgang Haffner (drums)
Peter O’Mara (guitar)
Jochen Schmidt (bass)
Allen C. Cuffey (rap vocals on 07.)
01. Wise Up 5.25
02. Lowdown And Flyin’ High 6.55
03. Korako 6.32
04. Allemande Deux 6.32
05. Nighttime In The City 5.03
06. Esperanto 5.24
07. Passport’s In The House 5.01
08. Missing You 5.00
09. Ridin’ On A Rainbow 5.19
10. Never Ending Blues 6.55
All compositions by Klaus Doldinger
This energetic show was recorded on New Year’s Eve 1983 in Glasgow, Scotland, near Big Country’s hometown. The show opens with the sounds of rain, thunder and lightning. After an earsplitting crash, the effects slowly fade, and the band breaks into “One Thousand Stars.” Big Country’s trademark guitars in their “bagpipe” mode cut through the song’s intro, leading into Adamson’s passionate vocals. The rest of the show is propelled by the band’s powerful rhythm section and the interplay between the twin guitar action of Adamson and Watson.
“We recorded that show at a venue called Barrowlands in Scotland,” said Mark Brzezicki. “When we tour, the gig we always look forward to is the gig on our home turf. The response at that gig is always exceptional.” “I was aware that I had to play me arse off during that period,” Brzezicki adds, “because we were coming off an important tour for us. Everything kept getting moved during that gig. There was a surge of people from the front of the stage. Complete mayhem, and the hottest gig I have done ever.” “Angle Park,” “Lost Patrol,” “Fields Of Fire” and the signature “In A Big Country” are all here, making this recording a true testament to the quintessential Big Country live show of that era.
“The excitement going on in the room that night was really a Scottish thing,” says Watson. “We tried to make it a huge party, as much as possible. We had just gotten back after three months in America. We loved America but we were missing home. And this show was a homecoming.” The performance was held in a hired ballroom, or dance hall, similar to the legendary Roseland dance hall in New York City.
Steve Lillywhite (the platinum producer best known for his work with The Rolling Stones and U2) was the engineer on recording of the show. Lilywhite had produced the band’s first two albums, and wanted to be part of this historic performance. “We knew that the show was going to be taped and shot on video and it was going to be broadcast live around the world, and in the States on the King Biscuit Flower Hour,” says Stuart Adamson.(by concertvault.com)
Stuart Adamson (vocals, guitar, piano)
Mark Brzezicki (drums)
Tony Butler (bass; background vocals)
Bruce Watson (guitar, vocals)
Dundonald & Dysart Pipe Band
01. One Thousand Stars (Adamson/Brzezicki/Butler/Watson) 4.25
02. Angle Park (Adamson/Watson) 4.32
03. Close Action (Adamson/Brzezicki/Butler/Watson) 4.13
04. Lost Patrol (Adamson/Brzezicki/Butler/Watson) 4.48
05. Wonderland (Adamson/Brzezicki/Butler/Watson) 4.10
06. The Storm (Adamson/Brzezicki/Butler/Watson) 5.16
07. Dundonald & Dysart Pipe Band Sequence (Traditional) 3.40
08. Porroh Man (Adamson/Brzezicki/Butler/Watson) 7.51
09. Chance (Adamson/Brzezicki/Butler/Watson) 5.56
10. Inwards (Adamson/Brzezicki/Butler/Watson) 05:54
11. Fields Of Fire (Adamson/Brzezicki/Butler/Watson) 6.38
12. Harvest Home (Adamson/Brzezicki/Butler/Watson) 4.38
13. Tracks Of My Tears (Robinson/Moore/Tarplin) 3.15
14. In A Big Country / Auld Lang Syne (Adamson/Brzezicki/Butler/Watson/Traditional) 8.13
Fire and Water is the third studio album released by English rock group Free. The album became the band’s breakthrough hit, reaching #2 in the UK charts and #17 in the US, making it the most successful Free album. The album contained the hit single “All Right Now” which they later played to a crowd of over 600,000 people at the 1970 Isle of Wight Festival, generating great popularity (by wikipedia).
If Fleetwood Mac, Humble Pie, and Foghat were never formed, Free would be considered one of the greatest post-Beatles blues-rock bands to date, and Fire and Water shows why. Conceptually fresh, with a great, roots-oriented, Band-like feel, Free distinguished itself with the public like Black Sabbath and Deep Purple did (in terms of impact, only) in 1970. Free presented itself to the world as a complete band, in every sense of the word. From Paul Kossoff’s exquisite and tasteful guitar work, to Paul Rodgers’ soulful vocals, this was a group that was easily worthy of the mantle worn by Cream, Blind Faith, or Derek & the Dominos . ( by Matthew Greenwald)
Free was nothing if not the proof that less is more; what distinguished them from their bloozerocking peers was the point that they didn’t need to shove themselves into overdrive to make their point. Minimalists in the best sense of the word, they set a legitimately funky rhythm section behind the strikingly simple but gripping guitar playing of the late Paul Kossoff and the thrusting vocals of Paul Rodgers and delivered as singular a hard bloozerock attack as could be found during their brief but bristling existence.
“Fire and Water” was their best selling album and still the album on which their reputation rests (though the predecessor, “Free,” was no less effective). The title track impressed Wilson Pickett enough to make a striking soul hit out of it. And “All Right Now” remains a masterpiece of pure rocking R and B fire; never mind Rodgers’s only too classic lyric of predatory obsession-compulsion (so he doesn’t get the girl in the sack, she’s too smart to fall for his jive, but you know damn well it isn’t going to stop him from hunting fresh prey and probably landing one less gullible), the chunky verse playing is relentless, and that classic midsection, piano and bass nudging Kossoff to his most memorably melodious solo (that’s saying something considering his consistency), is impossible to resist. The album cut has long since buried the hit single version (which contained a different rhythm guitar sound, shortened up that midsection a little bit, and eliminated the second verse coda entirely; it’s available on the new anthology of the band, and it’s worthy in its own right), and you probably know a few dozen “classic rock” bar bands who give it a whirl at least once a night and get a guaranteed round of applause with it after they’ve cranked out a little Bad Company to whet the appetite a bit. (by BluesDuke)
Andy Fraser (bass, piano)
Simon Kirke (drums, percussion)
Paul Kossoff (guitar)
Paul Rodgers (vocals)
01. Fire and Water (Fraser/Rodgers) 4.03
02. Oh I Wept (Rodgers/Kossoff) 4.29
03. Remember (Fraser/Rodgers) 4.29
04. Heavy Load (Fraser/Rodgers) 5:23
05. Mr. Big (Fraser/Rodgers/Kirke/Kossoff) 5.58
06. Don’t Say You Love Me (Fraser/Rodgers) 6.07
07. All Right Now (Fraser/Rodgers) 5:42
08. Oh I Wept (alternate vocal take) (Rodgers/Kossoff) 4.25
09. Fire And Water (new stereo mix (Fraser/Rodgers) 4.27
08. Fire And Water (live BBC session) (Fraser/Rodgers) 3.12
09. All Right Now (live BBC Session) (Fraser/Rodgers) 5.33
10. All Right Now (Single version) (Fraser/Rodgers) 4.18
11. All Right Now (first version) (Fraser/Rodgers) 3.31
I would like dedicate the song “Fire And Water” to a very special lady !