Jefferson Airplane – Takes Off (1966)

LPFrontCover1.jpgJefferson Airplane Takes Off is the debut album of American rock band Jefferson Airplane, released in August 1966 as RCA Victor LSP-3584 (stereo) and LPM-3584 (mono). The personnel differs from the later “classic” lineup: Signe Toly Anderson was the female vocalist and Skip Spence played drums. Both left the group shortly after the album’s release and were replaced by Grace Slick and Spencer Dryden, respectively

RCA executives found some of the lyrics too sexually suggestive. They had the band change the lyrics in “Let Me In” from “I gotta get in, you know where” to “You shut your door, now it ain’t fair”, and “Don’t tell me you want money” to “Don’t tell me it’s so funny”. In “Run Around” they had the line “Blinded by colors come flashing from flowers that sway as you lay under me” altered to “that sway as you stay here by me”. With “Runnin’ ‘Round This World” the executives insisted that “trips” in the line “The nights I’ve spent with you have been fantastic trips” referred to taking LSD, though the band insisted it was merely common slang. Even replacing the word “trips” with a guitar apreggio did not placate RCA’s concerns with the line’s sexual connotations and refused its inclusion on the album, and the recording remained unreleased for the next eight years.

The album’s release drew little press attention at a time when mainstream newspapers did not normally cover rock releases and the rock press was yet in its infancy. Crawdaddy! highlighted the album on the cover of its January 1967 issue, which included a three-page review by the magazine’s assistant editor Tim Jurgens, who called the album “faulted” yet “the most important album of American rock” of 1966. (by wikipedia)


The debut Jefferson Airplane album was dominated by singer Marty Balin, who wrote or co-wrote all the original material and sang most of the lead vocals in his heartbreaking tenor with Paul Kantner and Signe Anderson providing harmonies and backup. (Anderson’s lead vocal on “Chauffeur Blues” indicated she was at least the equal of her successor, Grace Slick, as a belter.) The music consisted mostly of folk-rock love songs, the most memorable of which were “It’s No Secret” and “Come up the Years.” (There was also a striking version of Dino Valente’s “Get Together” recorded years before the Youngbloods’ hit version.) Jorma Kaukonen already displayed a talent for mixing country, folk, and blues riffs in a rock context, and Jack Casady already had a distinctive bass sound. But the Airplane of Balin-Kantner-Kaukonen-Anderson-Casady-Spence is to be distinguished from the Balin-Kantner-Kaukonen-Casady-Slick-Dryden version of the band that would emerge on record five months later chiefly by Balin’s dominance. Later, Grace Slick would become the group’s vocal and visual focal point. On Jefferson Airplane Takes Off, the Airplane was still Balin’s group. (by William Ruhlmann)


Signe Toly Anderson (vocals, percussion)
Marty Balin (vocals, guitar)
Jack Casady (bass)
Paul Kantner (guitar, vocals)

Jorma Kaukonen (guitar)
Skip Spence – drums)
Spencer Dryden (drums on 15., 18. + 19.)


01. Blues From An Airplane (Balin/Spence) 2.13
02. Let Me In (Balin/Kantner) 2.59
03. Bringing Me Down (Balin/Kantner) 2.24
04. It’s No Secret (Balin) 2.39
05. Tobacco Road (Warnick[n) (*) 3.30
06. Come Up The Years (Balin/Kantner) 2.32
07. Run Around (Balin/Kantner) 2.40
08. Let’s Get Together (Kantner/Anderson/Balin/Powers) 3.35
09. Don’t Slip Away (Balin/Spence) 2.34
10. Chauffeur Blues (Melrose) 2.28
11. And I Like It (Balin/Kaukonen) 3.20
12. Runnin’ Round This World (from Early Flight) (Balin/Kantner) 2.25
13. High Flying Bird (from Early Flight) (Wheeler) 2.17
14. It’s Alright (from Early Flight) (Balin/Spence) 2:17
15. Go To Her” (from Jefferson Airplane Loves You) Kantner, Irving Estes 4:09
16. “Let Me In (from Jefferson Airplane Loves You) (Balin/Kantner) 3.31
17. Run Around (uncensored version) (Balin/Kantner) 2.35
18. Chauffeur Blues (alternate version) (Melrose) 2.49
19.1. And I Like It (alternate version) (Balin/Kaukonen) 8.16
19.2.. Blues From An Airplane (instrumental; hidden track) (Balin/Spence) 2.10


Sonny Clark – Cool Struttin’ (1958)

FrontCover1.jpgCool Struttin’ is a 1958 album by jazz pianist Sonny Clark. Described as an “enduring hard-bop classic” by The New York Times, the album features alto saxophonist Jackie McLean, trumpeter Art Farmer and two members of the Miles Davis Quintet, drummer Philly Joe Jones and bassist Paul Chambers. According to The Stereo Times, the album enjoys “a nearly cult status among hardcore jazz followers”, a reputation AllMusic asserts it deserves “for its soul appeal alone”.

Originally released on LP in 1958 by Blue Note, the album has been re-released on CD many times by Blue Note and EMI, also featuring two bonus tracks. In 1991, Blue Note released a Christmas themed CD called Yule Struttin’ with a cover derived from the sleeve design for this album. (by wikipedia

Recorded in 1958, this legendary date with the still-undersung Sonny Clark in the leader’s chair also featured a young Jackie McLean on alto (playing with a smoother tone than he had before or ever did again), trumpeter Art Farmer, and the legendary rhythm section of bassist Paul Chambers and drummer Philly Joe Jones, both from the Miles Davis band. The set begins with one of the preeminent “swinging medium blues” pieces in jazz history: the title track with its leveraged fours and eights shoved smoothly up against the walking bass of Chambers and the backbeat shuffle of Jones. Clark’s solo, with its grouped fifths and sevenths, is a wonder of both understatement and groove, while Chambers’ arco solo turns the blues in on itself. While there isn’t a weak note on this record, there are some other tracks that stand out, most notably Miles’ “Sippin’ at Bells,” with its loping Latin rhythm.


When McLean takes his solo against a handful of Clark’s shaded minor chords, he sounds as if he may blow it — he comes out a little quick — but he recovers nicely and reaches for a handful of Broadway show tunes to counter the minor mood of the piece. He shifts to both Ben Webster and Lester Young before moving through Bird, and finally to McLean himself, riding the margin of the changes to slip just outside enough to add some depth in the middle register. The LP closes with Henderson and Vallée’s “Deep Night,” the only number in the batch not rooted in the blues. It’s a classic hard bop jamming tune and features wonderful solos by Farmer, who plays weird flatted notes all over the horn against the changes, and McLean, who thinks he’s playing a kind of snake charmer blues in swing tune. This set deserves its reputation for its soul appeal alone. [Some reissues include two bonus tracks: “Royal Flush” and “Lover.” (by Thom Jurek)

Sonny Clark.jpg

Paul Chambers (bass)
Sonny Clark (piano)
Art Farmer (trumpet)
Philly Joe Jones (drums)

Jackie McLean (Saxophone)


01. Cool Struttin’ (Clark) 9.23
02. Blue Minor (Clark) 10.19
03. Sippin’ At Bells (Davis) 8.18
04. Deep Night (Henderson/Vallée) 9.34
05. Royal Flush (Clark) 9.00
06. Lover (Hart/Rodgers) 7.01



Fender – Catalog 1968

FrontCoverFender Musical Instruments Corporation (FMIC), commonly referred to simply as Fender, is an American manufacturer of stringed instruments and amplifiers. It is famous for its solid-body electric guitars and bass guitars, such as the Stratocaster (also known as the “Strat”), Telecaster (also known as the “Tele”), Precision Bass (also known as the “P-Bass”), and the Jazz Bass (also known as the “J-Bass”). Its headquarters are in Scottsdale, Arizona. The company, previously named the Fender Electric Instrument Manufacturing Company, was founded in Fullerton, California, by Clarence Leonidas “Leo” Fender in 1946.

The company is a privately held corporation with Andy Mooney serving as the Chief Executive Officer. The company filed for an initial public offering in March 2012,[4] but this was withdrawn[5][6] five months later. In addition to its Scottsdale headquarters, Fender has manufacturing facilities in Corona, California (US) and Ensenada, Baja California (Mexico).[7]

The company also manufactures acoustic guitars, electric basses, mandolins, banjos, and electric violins, as well as guitar amplifiers, bass amplifiers, and PA (public address) equipment. Other Fender brands include Squier (entry level/budget), Jackson, Charvel, EVH guitars and amplifiers in collaboration with Eddie Van Halen, and the manufacture and distribution of Gretsch guitars under license.

Example10In 1950, Fender introduced the first mass-produced solid-body Spanish-style electric guitar, the Telecaster (originally named the Broadcaster for two-pickup models and Esquire for single-pickup).[8] Following its success, Fender created the first mass-produced electric bass, the Precision Bass (P-Bass). In 1954, Fender unveiled the Stratocaster (“Strat”) guitar. With the Telecaster and Precision Bass on the market for some time, Leo Fender was able to incorporate input from working musicians into the Stratocaster’s design. The Strat’s comfortable contoured edges and in-built vibrato system led to its soaring popularity.

While Fender was not the first to manufacture electric guitars — luthiers and larger musical instrument manufacturers had produced electric guitars since the late 1920s — the popularity of Fender’s instruments superseded what had come before. Furthermore, while nearly all other electric guitars featured hollow bodies — making them most similar to an acoustic guitar — or more specialized designs, such as Rickenbacker’s solid-body Hawaiian guitars, Fender’s instruments possessed an unprecedented level of versatility. The solid wood bodies of Fender’s instruments allowed for minimal feedback with high-gain amplification, an issue that plagued earlier guitars. The Fender guitars were popular with musicians in a variety of genres and are now revered for their build quality and tonal excellence.

The company began as Fender’s Radio Service in late 1938 in Fullerton, California. It got its name from the surname of its founder Leo Fender. As a qualified electronics technician, Leo Fender had been asked to repair not only radios, but also phonograph players, home audio amplifiers, public address systems and musical instrument amplifiers. (At the time, most of these were just variations on a few simple vacuum-tube circuits.) All designs were based on research developed and released to the public domain by Western Electric in the 1930s and used vacuum tubes for amplification. The business also sidelined in carrying records for sale and the in rental of company-designed PA systems. Leo became intrigued by design flaws in contemporary musical instrument amplifiers and began building amplifiers based on his own designs or modifications to designs.

By the early 1940s he had partnered with local electronics enthusiast Clayton Orr “Doc” Kauffman and together they formed the company K & F Manufacturing Corp to design, manufacture, and market electric instruments and amplifiers. Production began in 1945 with Hawaiian lap steel guitars (incorporating a patented pickup) and amplifiers sold as sets. By the end of the year Fender became convinced that manufacturing was more profitable than repair and he decided to concentrate on that business instead. Kauffman remained, however, unconvinced and he and Fender amicably parted ways by early 1946. At that point Leo renamed the company the Fender Electric Instrument Company. The service shop remained open until 1951, although Leo Fender did not personally supervise it after 1947.

A custom lap steel guitar made in 1946 for his friend Noel Boggs was probably the very first product of the new company, already sporting the familiar Big “F” logo.[9]

Example11In the late 1940s, Leo Fender began to experiment with more conventional guitar designs. As early as 1949, the familiar shape of the Telecaster can be made out in some of Fender’s prototypes. Early Telecasters were plagued with issues; Leo Fender boasted the strength of the Telecasters one-piece pine neck while early adopters lamented its tendency to bow in humid weather. Fender’s reluctant addition of a metal truss-rod into the necks of his guitars allowed for the much needed ability to fine-tune the instrument to the musician’s specific needs. With the design of the Telecaster finalized, mass-production began in 1950. The key to Fender’s ability to mass-produce an electric guitar was the modular design of the Telecaster. Its bolted-on neck allowed for the instrument’s body and neck to be milled and finished separately and for the final assembling to be done quickly and cheaply by unskilled workers.

Fender owed its early success not only to its founder and talented associates such as musician/product engineer Freddie Tavares but also to the efforts of sales chief, senior partner and marketing genius Don Randall. According to The Stratocaster Chronicles (a book by Tom Wheeler; Hal Leonard Pub., Milwaukee, WI; 2004, p. 108), Randall assembled what Fender’s original partner Doc Kauffman called “a sales distributorship like nobody had ever seen in the world.” Randall worked closely with the immensely talented photographer/designer, Bob Perine. Their catalogs and ads were innovative – such as the “You Won’t Part With Yours Either” campaign, which portrayed people surfing, skiing, skydiving, and climbing into jet planes, all while holding Jazzmasters and Stratocasters.

In Fender guitar literatures of the 1960s, attractive, guitar-toting teenagers were posed with surfboards and Perine’s classic Thunderbird convertible at local beachside settings, firmly integrating Fender into the surfin’/hot rod/sports car culture of Southern California celebrated by the Beach Boys, beach movies, and surf music. (The Stratocaster Chronicles, by Tom Wheeler; Hal Leonard Pub., Milwaukee, WI; 2004, p. 108). This early success is dramatically illustrated by the growth of Fender’s manufacturing capacity through the 1950s and 1960s.
Sale to CBS
In early 1965, Leo Fender sold his companies to the Columbia Broadcasting System (CBS) for $13 million. (by wikipedia)

And the rest is history …. as we all know …

And here´s the official Fender catalog from 1968 (48 pages) … a very important year in he history of Rock Music, as we all knoow;

Enjoy this trip in the past:
























The backcover of this catalog



Arvo Part – Cardiff (Adam’s Lament + Stabat Mater) (2015)

Front+BackCover1Arvo Pärt (Estonian pronunciation: [ˈɑrvo ˈpært]; born 11 September 1935) is an Estonian composer of classical and religious music. Since the late 1970s, Pärt has worked in a minimalist style that employs his self-invented compositional technique, tintinnabuli. Pärt’s music is in part inspired by Gregorian chant. His most performed works include Fratres (1977), Spiegel im Spiegel (1978), and Für Alina (1976). Since 2010 Pärt has been the most performed living composer in the world. (by wikipedia)

Unlike [Arvo Part’s] Magnificat, the tragic musical content [of Stabat Mater] is justified through the text that describes the grieving state of Mary at the cross. In this piece, the idea of the connection of time and timelessness is much clearer than in the Magnificat. The piece is filled with minimalist influences and also contains several unmistakable references to the Gothic period, that is, the use of rhythmic modes and strict adherence to the aeolian mode. These two works also are based almost completely on the tintinnabulation technique. (

Recorded live at the Vale of Glamorgan Festival, St David’s Hall, Cardiff, Wales; May 23, 2015. Very good BBC radio broadcast.


Eesti Filharmoonia Kammerkoor
Tallinna Kammerorkester

Conductor: Kristjan Järvi

Kristjan Järvi01.jpg

01. Adam’s Lament – Part A 14.16
02. Adam’s Lament – Part B 12.24
03. Announcer 0.07
04. Stabat Mater – Part A 8.42
05. Stabat Mater – Part B 10.17
06. Stabat Mater – Part C 10.19

Music composed by Arvo Part

Tallinna Kammerorkester.jpg

The Tallinna Kammerorkester (Estonia)




The Mick Clarke Band – Live At The Splendid (1989)

FrontCover1Mick began his solo career in the early 80s and has become an established name on the European scene, touring regularly in every country from Finland down to Italy. Praised for his fiery “straight from the wood” guitar sound, he has appeared on numerous festivals with artists such as Robert Cray, Johnny Winter and Rory Gallagher. Mick has released fifteen solo albums so far.

Mick began his career with KILLING FLOOR part of the British blues boom of the late 60s. The band backed Texas blues guitar star Freddie King and toured with legends such as Howlin’ Wolf and Otis Spann. Killing Floor has recently reformed for recording and tour projects, and recent live work included a performance at Sweden Rock Festival 2012.

MickClarke01In the mid 70s Mick co-formed SALT a powerful blues-rock act who were a big hit on the London scene in the 70s playing regularly at the Marquee and other top venues. The band played at the Reading Festival and also opened for Muddy Waters at two major London concerts. SALT has also reformed for occasional re-union tours.

THE MICK CLARKE BAND originally started working around the London area in the early 80s, but quickly received offers of work from mainland Europe and the United States. Early festival appearances such as the Belgium R&B Festival in Peer confirmed their appeal for continental audiences, while the US tours established a world wide reputation for the band. (by

And here´s a very rare and superb soundboard recording, taken from my old live tape collection … (guess I got this tape from my old friend Markus Gygax from Switzerland  … he died to early !)

And if you like this fucking good old way of British Blues … you should listen … because Mick Clarke is one of the finest musicians from the second generation of this Music … and … he´s still alive and well … still touring, still recording … WOW !


Chris Lloyd Baron (harmonica)
Mick Clarke (guitar, vocals)
Mike Hirsh (drums)
Mick Phillips (bass)
Peter Terry (keyboards)


01. Intro 0.53
02. All These Blues (Parker) 5.07
03. Looking For Trouble (Clarke) 3.49
04. Careless Love (Handy) 4.29
05. Night Time Is The Right Time (Hooker) 7.03
06. Walkin´ Blues (House) 4.47
07. Walkin´ By Myself (Rogers) 4.45
08. It Hurts Me Too (Red) 6.52
09. You Need Love (Dixon) 5.13
10. Tore Down (King/Thompson) 6.05
11. TV Blues (Clarke) + Madison Blues (James) 9.04
12. Mona (McDaniels) 5.31
13. Full Moon Boogie (Clarke) 5.21
14. Nineteen Years Old (Morganfield) 9.44
15. Nothing But A Fool + Shake That Boogie (Clarke) 9.30




Mike Harrison – Same (1971)

FrontCover1.jpgOne of the best blues singers… soul singers… hard rock singers… Mike Harrison, who passed away today, March 25th, at the age of 72, was as impossible to pigeonhole as SPOOKY TOOTH, the band he used to front, were. But when Mike delivered the likes of “Better By You, Better Than Me” nobody cared for categorization – being carried away with the sheer emotionality of Harrison’s voice. Either stood at the microphone or sat at the piano, he seemed to symbolize any group, though, despite the presence of great instrumentalists such as Keith Emerson, a fellow member of THE V.I.P.s in the ’60s, and “Supernatural Fairy Tales” – which he recorded when that ensemble became ART – is a minor psychedelic classic. Still, it’s the TOOTH that the vocalist found fame with.

From 1966 to 1970 and in 1972-1973, Mike shone in the vast variety of SPOOKY styles, on both covers like Dylan’s “The Weight” and originals, mostly written by keyboard player Gary Wright. The collective got resurrected, with some of the musicians absent, in 1998 and 2004, the latest – last ever – reunion resulting in “Nomad Poets” which would serve as their epitaph now that the singer and drummer Mike Kellie died. There were also less celebrated records with Harrison on: “Ceremony”, the band’s collaboration with Pierre Henry, who recently checked out from this mortal coil, too, a document of his stint with HAMBURG BLUES BAND, and Mike’s solo albums. The brilliant likes of “Rainbow Rider” featured stellar line-ups, including Mick Jones and Morgan Fisher, and were covers-heavy – and there could have been much more if the vocalist didn’t disappear from public view for long periods of time, as he did between 1975 and 1997 and from 2006 until now. (by

And here´s his debut Album as a solo act:

MikeHarrison2.jpgFollowing the release of 1970’s aptly titled “The Last Puff”, Spooky Tooth called it quits with singer Mike Harrison striking out in pursuit of a solo career. Signed by Chris Blackwell’s Island Records (which had been Spooky Tooth’s label), Harrison made his solo debut with the release of 1971’s cleverly-titled “Mike Harrison”. Self-produced, the album found Harrison teamed with the band Junkyard Angel (who were from his hometown of Carlisle), showcasing the talents of bassist Peter Batey, guitarist/keyboard player Ian Herbert, drummer Kevin Iverson, and lead guitarist Frank Kenyon.

Anyone expecting to hear a pseudo-Spooky Tooth album was probably going to be disappointed by the collection. Mind you, Harrison’s voice was enough to ensure there were some comparisons to Spooky Tooth (check out the ballad ‘Damian’), but the very fact Harrison kept things low keyed and somewhat un-commercial had a lot to do with making the album such a pleasure to hear. None of the eight tracks was particularly flashy; the majority firmly in the mid-tempo folk-rock, blues-rock realm, but the performances were all energetic – you got the distinctive impression that Harrison and company were having a blast recording music for themselves. (by Bad-Cats)


Peter Batey (bass, percussion)
Mike Harrison (vocals, keyboards, harmonica)
Lan Herbert (guitar, Keyboards vibraphone, vocals)

Kevin Iverson (drums, percussion, vocals)
Frank Kenyon (guitar, vocals)
Arthur Belcher (saxophone on 07.)


01. Mother Nature (Batey) 2.06
02. Call It A Day (Batey/Harrison/Herbert/Iverson) 6.19
03. Damian (Harrison/Herbert) 3.19
04. Pain (Herbert/Iverson/Kenyon) 3.48
05. Wait Until The Morning (Griffin/Harrison) 4.26
06. Lonely People (Batey) 2.30
07. Hard Headed Woman (Stevens) 6.30
08. Here Comes The Queen (Grosvenor) 2.32



Mike Harrison (born 3 September 1945 – March 25, 2018)

Thanks a lot for all the Music you gave to us


Kathleen Ferrier – St Matthew Passion (J.S. Bach) – Arias & Choruses (1992; rec. 1947 +1948)


Kathleen Mary Ferrier, CBE (22 April 1912 – 8 October 1953) was an English contralto singer who achieved an international reputation as a stage, concert and recording artist, with a repertoire extending from folksong and popular ballads to the classical works of Bach, Brahms, Mahler and Elgar. Her death from cancer, at the height of her fame, was a shock to the musical world and particularly to the general public, which was kept in ignorance of the nature of her illness until after her death.

The daughter of a Lancashire village schoolmaster, Ferrier showed early talent as a pianist, and won numerous amateur piano competitions while working as a telephonist with the General Post Office. She did not take up singing seriously until 1937, when after winning a prestigious singing competition at the Carlisle Festival she began to receive offers of professional engagements as a vocalist. Thereafter she took singing lessons, first with J.E. Hutchinson and later with Roy Henderson. After the outbreak of the Second World War Ferrier was recruited by the Council for the Encouragement of Music and the Arts (CEMA), and in the following years sang at concerts and recitals throughout the UK. In 1942 her career was boosted when she met the conductor Malcolm Sargent, who recommended her to the influential Ibbs and Tillett concert management agency. She became a regular performer at leading London and provincial venues, and made numerous BBC radio broadcasts.

Kathleen Ferrier

In 1946, Ferrier made her stage debut, in the Glyndebourne Festival premiere of Benjamin Britten’s opera The Rape of Lucretia. A year later she made her first appearance as Orfeo in Gluck’s Orfeo ed Euridice, a work with which she became particularly associated. By her own choice, these were her only two operatic roles. As her reputation grew, Ferrier formed close working relationships with major musical figures, including Britten, Sir John Barbirolli, Bruno Walter and the accompanist Gerald Moore. She became known internationally through her three tours to the United States between 1948 and 1950 and her many visits to continental Europe.

Ferrier was diagnosed with breast cancer in March 1951. In between periods of hospitalisation and convalescence she continued to perform and record; her final public appearance was as Orfeo, at the Royal Opera House in February 1953, eight months before her death. Among her many memorials, the Kathleen Ferrier Cancer Research Fund was launched in May 1954. The Kathleen Ferrier Scholarship Fund, administered by the Royal Philharmonic Society, has since 1956 made annual awards to aspiring young professional singers. (by wikipedia)


Bach, in this time, was performed slowly, and I most certainly do not see that as a problem. As far as I’m concerned, the music was very probably written to be performed at tempos slower than that at which they’re taken today (2013), and most significantly slower than they were taken a decade or two ago. The slower tempo enables some listeners such as myself to hear the counterpoint much better –that is, the intertwining inner melodies, for anyone unfamiliar with the term.

The recitatives, however (the narrative interspersed between the choruses and arias) do need to be taken at a brisk pace, and should be more spoken than sung. The tenor Evangelist, does do a good job of singing with a close to spoken style, and with good pace.

I’m listening to the first few numbers, and I’m waiting for the first big alto aria by Kathleen Ferrier, which is a major part of the value of the recording… Oh man, it is gorgeous. To those of us who were a little in love with this wonderful woman, this purchase is a definite must. I gave 4 stars only because of the technical deficits, which are totally forgivable for recordings of the period. The orchestra is more than good.

Oh dear; I just heard a hiccup in the recording: an entire phrase cut out. Luckily I have a CD of this aria, and can repair the file if I really want to…Highly recommended. (by Archimedes)


Kathleen Ferrier (alto)
Eric Greene (tenor)

Elsie Suddaby (soprano)
Williams Parsons (bass)
Thornton Lofthouse (continuo)
Osborne Peasgood (organ)
The Jacques Orchestra + The Bach Choir conducted by Reginald Jacques 


01. Arias & Choruses: No.01: Come, Ya Daughters
02. Arias & Choruses: No.09: My Master And My Lord…/No.10: Grief For Sin –
03. Arias & Choruses: No.33: Behold, My Savior Now Is Taken
04. Arias & Choruses: No.36: Ah! Now Is My Saviour Gone
05. Arias & Choruses: No.47: Have Mercy, Lord, On Me…/No.48: Lamb Of God, I Fall Before Thee
06. Arias & Choruses: No.60: Gracious God!…/No.61: If My Tears Be Availing
07. Arias & Choruses: No.63: O Sacred Head Surrounded
08. Arias & Choruses: No.69: Ah, Golgotha!…/No.70: See Ye! See The Saviour’s Outstretched Hands
09. Arias & Choruses: No.72: Be Near Me, Lord, When Dying
10. Arias & Choruses: No.77: And Now The Lord To Rest Is Laid…/No.78: In Tears Of Grie



Kathleen Mary Ferrier, (22 April 1912 – 8 October 1953)

Fabrizio Paterlini – The Art Of The Piano (2014)

FrontCover1.jpgTwo years ago, Fabrizio Paterlini asked his friends to describe their impressions of the word melancholy. Their responses inspired him to write the track, “If music were melancholy”. But it didn’t end there. In his free time, he wrote piano miniatures and posted them on his Soundcloud page. After 250,000 hits, he knew he was onto something. Now these tiny tracks are collected in the form of an album (on white vinyl!). A follow-up to the wintry Now (which was selected as one of our Best Winter Albums of 2013), The Art of the Piano encapsulates a sense of forlorn nature, stillness in the midst of white, peace in the middle of a swirling world. It’s a perfect panacea to wintry woes. Even before playing these tracks, one intuits the theme. With titles such as “Empty room”, “Conversation with myself” and “Broken”, the album seems to address seasonal affective disorder with an empathetic ear. Yet while The Art of the Piano may be melancholic, it’s not sad. A certain dignity can be found in these grooves, the dignity of discovering beauty when color has faded all around. It’s a sweet irony that the vinyl is white, while the cover includes brighter hues, like a cardinal seen in snow.


The set also includes one summer track (“Midsummer tiny song”), and concludes with the relatively upbeat “Wind Song”, the last piece to be recorded. In this piece, Paterlini seems to be saying, hold on, the brighter days are coming. The song ends in mid-thought, challenging listeners to respond by returning to melancholy, or venturing forth in hope. One advantage of this album is that it allows us to hear the artist unadorned. As much as we love additional orchestration, the solo piano provides nowhere to hide, and the performance seems more intimate as a result. There is, as the title implies, an art to the piano ~ it’s not enough to play the right notes in the right sequence. Paterlini is a tender performer, comfortable with silences, capable of turning a tender phrase with the high keys while sublimating the low. This artist’s love for the instrument, combined with the fact that these pieces were initially meant as gifts, makes the listening experience feel personal, rather than commercial. The white vinyl is the added touch that bridges the gap between performer and listener. (Richard Allen)


Fabrizio Paterlini (piano)


01. Somehow Familiar 3.39
02. Midsummer Tiny Song 3.42
03. My Piano, The Clouds 2.46
04. Empty Room 3.17
05. Conversation With Myself 3.41
06. Broken 3.47
07. If Melancholy Were Music 2.49
08. Wind Song 2.28

Music composed by Fabrizio Paterlini



Grateful Dead – Kongressaal Munich/Germany (1972)

FrontCover1.jpgGrateful Dead slipped the shores of America and crossed the pond for its first-ever major European tour in April 1972. The legendary 22- show run spawned Europe ’72, a live triple album that remains one of the band’s best-selling and most beloved releases. A tour this momentous deserves a boxed set of historic proportions and has stamped your passport to relive every note from the European tour with Europe ’72: The Complete Recordings, an individually numbered, limited edition collection that includes more than 60 discs with over 70 hours of music featuring every show from what is arguably the Grateful Dead’s greatest tour.

The tour offers a snapshot of a band at the top of its game, still ascending in the wake of three straight hit albums— Workingman’s Dead, American Beauty, and the live Grateful Dead (“Skull & Roses”). It had been a year since the lineup had gone to its single-drummer configuration, six months since Keith Godchaux had been broken in as the group’s exceptional pianist, and this marked the first tour to feature Donna Godchaux as a member of the touring band.


And here´s the complete show from their gig in Munich … recorded at the Kongressaal on May 18, 1972

Total time: 186:30 (3:06:30) !!!

Enjoy this trip ! Maybe this trip tells a story about the time, when we were young !


Jerry Garcia (guitar, pedal steel-guitar, organ on 14.)
Donna Jean Godchaux (vocals)
Keith Godchaux (piano)
Bill Kreutzmann (rums)
Phil Lesh (bass, vocals)
Ron “Pigpen” McKernan (organ, harmonica, percussion, vocals)
Bob Weir (guitar, vocals)


01. Truckin’ (Garcia/Lesh/Weir/Hunter) 10.34
02. Sugaree (Garcia/Hunter) 7.19
03. Mr. Charlie (McKernan/Hunter) 4.01
04. Jack Straw (Weir/Hunter) 4.51
05. Tennessee Jed (Garcia/Hunter) 7.46
06. Chinatown Shuffle (McKernan) 3.16
07. Black-Throated Wind (Weir/Barlow) 6.57
08. China Cat Sunflower (Garcia/Hunter) 5.29
09. I Know You Rider (Traditional) 6.54
10. El Paso (Robbins) 4.43
11. Hurts Me Too (James/Sehorn) 8.19
12. You Win Again (Williams) 4.55
13. Playing In The Band (Weir/Hart/Hunter) 10.59
14. Good Lovin’ (Clark/Resnick) 12.37
15. Casey Jones (Garcia/Hunter) 6.52
16. Sitting on Top of the World (Carter/Jacobs) 3.33
17. Me And My Uncle (Phillips) 3.33
18. Ramble On Rose (Garcia/Hunter) 6.44
19. Beat It On Down the Line (Fuller) 2.48
20. Dark Star (Garcia/Hart/Kreutzmann/Lesh/McKernan/Weir/Hunter) 28.20
21. Morning Dew (Dobson/Rose) 11.11
22. Drums (Kreutzmann) 1.08
23. Sugar Magnolia (Weir/Hunter) 7.04
24. Sing Me Back Home (Haggard) 11.35
25. One More Saturday Night (Weir) 5.00




Agneta Baumann – A Time For Love (1996)

FrontCover1.jpgAfter an absence of nearly ten years from the scene, singer Agneta Baumann makes a welcome come-back. This is a musical self-portrait of artistic stature which is at the same time an open personal statement, as revealing as though the words were spoken in confidence. She presents such standards as “More Than You Know”, “The Party’s Over” and “The Best is Yet To Come”

This is singer Agneta Baumann’s come-back after an absence of nearly ten years from the scene; a musical self-portrait of artistic stature which is at the same time an open personal statement, as revealing as though the words were spoken in confidence.

Up until the middle of the 80’s Agneta Baumann had become established not purely as a jazz singer but more as a jazz-influenced artist-entertainer had in the glamorous environment of late-night dinner/dance restaurants. She was born in the town of Kalmar in south-eastern Sweden where as a youngster she sang in the school choir and as a teenager in the school jazz band, as she happened to prefer Anita O’Day to Elvis Presley. Later in life she also came to appreciate the artistry of Sarah Vaughan, Carmen McRae and Billie Holiday.

AgnetaBaumann02.jpgBut it was not until after some years spent in other working activities that music took a central role in her life. During a period in the travel-agent business in Copenhagen 1965 she began to sing with The Golden Girls, a popular group in the style of The Supremes, and after an engagement in Stockholm 1968 she decided to stay and branch out on her own. During the following years she toured throughout the country and abroad with her own constellation “Agneta Baumanns Orkester”. From the later part of the 70’s she also often sang together with the jazz pianist Knud Jörgensen, who taught her what is perhaps the most important thing of all, that the space between phrases is also music, and that you have to mean what you sing.

In 1986 Agneta’s husband tragically died and in her bereavement a dark shadow of silence fell over her singing career. It wasn’t until the autumn of 1995 that she broke the long silence and began to build up her own forum once again in Stockholm. She established regular late-night sessions under her leadership in restaurant environments, and since March 1996 has been presenting her own “Jazz Corner” every Monday.

And now her genuine feeling for jazz – her original first love, has been given the freedom and opportunity to flourish in the company of select musicians who also join her on this recording.

In some numbers, amongst them “A Time For Love”, the sensitive flute of Staffan Hallgren, known from Pan Trio, can be heard in the form of solos and obligatos. More solo space is given to tenor saxophonist Anders Lindskog, whose CD “Cry Me A River” was issued by Touché Music in 1995. His rich flow of ideas and total concentration lends new dimensions to standards such as “More than You Know”, “Everything Happens To Me” and “The Party’s Over”.

AgnetaBaumann03.jpgPianist Carl-Fredrik Orrje, bass player Per-Ola Gadd and drummer Bengt Stark are all born in the 1960’s. As a rhythm section they distinguish themselves as one of the most vital in Swedish jazz of the 90’s. Carl-Fredrik and Per-Ola are heard as soloists in “That’s All” while each make personal contributions to “I Fall In Love Too Easily” and “Everything Happens To Me”, respectively. Each number receives the finishing touch by way of the subtle embellishment, which characterises Bengt’s sensitive brushwork.

Agneta has a natural way of treating ballads and consequently this is primarily a ballad album. To give her best and most honest interpretations she has chosen only songs for which she feels a personal affinity both with their music and lyrics. She has a special relationship with each song and there is also some thought behind the order in which they are performed.

Agneta’s voice has a greater depth of quality, another timbre than earlier, more experienced, mature and expressive, rich in nuances and emotional levels. Behind the unobtrusive, controlled approach one can sense strong undercurrents of passion and drama. Another distinguishing quality is her natural conception of timing, her personal way of using space between phrases thereby giving weight and meaning to the lyrics and rhythmic buoyancy to the notes.

Absent for far too long, we now at last have the pleasure of experiencing her singing anew. Why wait any longer even if Agneta assures us that “the best is yet to come”?

The repertoire consists mainly of songs from shows, musicals and films although some were written independently.

“A Time For Love” by Johnny Mandel with lyrics by Paul Francis Webster was written for the film “An American Dream” in 1966. In 1939 Hoagy Carmichael composed the melody to a poem by Jane Brown Thompson – “I Get Along Without You Very Well” – but it was not introduced until 1952 in the film “Las Vegas Story”. Richard Rogers’ “He Was Too Good To Me” with words by Lorenz Hart was featured in the show “Simple Simon” from 1930, while Jimmy van Heusen’s “Here’s That Rainy Day” with Johnny Burke’s lyrics was written for the show “Carnival In Flanders” in 1953. “More Than You Know”, the oldest song here, was written by Vincent Youmans in 1929 together with lyric writers Billy Rose and Edward Eliscu for the show “Great Day”.


Three songs are of French origin. “If You Love Me” by Marguerite Monnot and Geoffrey Parsons from 1949 was originally “Hymne à L’Amour” when Edith Piaf introduced it. “The Good Life” by the French-born guitarist Sacha Distel with words by Jack Reardon was the leitmotif of the film “The Seven Capital Sins” from 1962. The waltz “When The World Was Young” from 1950 was composed by M. Philippe-Gerard with words by Angela Varnier, but it was Johnny Mercer who wrote the English lyrics.

Jules Styne’s “I Fall In Love Too Easily” with lyrics by Sammy Cahn comes from the film “Anchors Away” 1945. “I’m Afraid The Masquerade Is Over” was written in 1939 by Allie Wrubel with words by Herb Magidson, while “The Party’s Over” another of Styne’s tunes received lyrics by Betty Comdon for the show “Bells Are Ringing” from 1956. Matt Dennis together with lyric-writer Tom Adair composed “Everything Happens To Me” in 1941. Another of Jimmy van Heusen’s collaborations, this time with Sammy Cahn, produced “All My Tomorrows” for the film “Hole In The Head” in 1959. The two final selections are Cy Coleman’s “The Best Is Yet To Come” from 1959 with words by Carolyn Leigh, and Bob Haymes’ “That’s All” from 1952 with lyrics by Alan Brandt. (Albrekt von Konow/Dave Castle)

Cadence, January 1998:
“Agneta Baumann ….has a husky voice and slow phrasing not unlike Shirly Horn’s way with a ballad. She also knows how to sing with drama, doing some of the most poignant songs in the American and French pop canons with clear, melancholy dignity. There are also a couple of slyly effective uptempo numbers like a finger-snapping ‘The Party’s Over’ with a barrel-cheated tenor solo and Matt Dennis’ sad sack classic ‘Everything Happens To Me’ which is done with understated humor. Saxophonist Anders Lindskog and pianist Carl Orrje set up Baumann superbly throughout, showing as much assurance as she does.”

“This is a lovely recital.”


Jazz Journal, February 1998:
“There’s plenty of talent around.”

“Fredrik Orrje plays sparkling and sympathetic piano and Staff Hallgren an appealing flute on ‘A Time For Love’ and ‘He Was Too Good To Me’.”

“Lindskog has an attractive, sometimes Lester-like tenor well displayed on ‘Good Life’ and ‘The Party is over’….”

“Baumann moves into Ella mode on ‘The Party is over’, there’s a touch of Billie on ‘Every-thing Happens To Me’ and of Cleo Laine in ‘The Best Is Yet To Come’.”

“Why did we have to wait so long to hear these different aspects of the lady’s talent? The pianist stretches out boppilly on the last track too, as if let of the leash.”


Agneta Baumann (vocals)
Per-Ola Gadd (bass)
Staffan Hallgren (flute)
Anders Lindskog (saxophone)
Carl Fredrik Orrje (piano)
Bengt Stark (drums)

01. A Time For Love (Mandel / Webster) 5.30
02. I Get Along Without You Very Well (Carmichael / Thompson) 2.50
03. He Was Too Good to Me (Rodgers / Hart) 5.11
04. Here’s That Rainy Day (van Heusen / Burke) 4.37
05. More Than You Know (Youmans / Rose / Eliscu) 6.55
06. If You Love Me (Monnot / Parsons) 3.53
07. The Good Life (Distel / Reardon) 4.26
08. When the World Was Young (Philippe-Gerard / Mercer) 3.18
09. I Fall In Love Too Easily (Styne / Cahn) 5.28
10. I’m Afraid the Masquerade is Over (Wrubel / Magidson) 3.55
11. The Party’s Over (Styne / Comden / Green) 3.26
12. Everything Happens to Me (Dennis / Adair) 5.51
13. All My Tomorrows (van Heusen / Cahn) 5.08
14. The Best is Yet to Come (Coleman / Leigh) 2.38
15. That’s All (Haymes / Brandt) 4.58