Cat Stevens – Catch Bull At Four (1972)

FrontCover1.jpgCatch Bull at Four is the sixth studio album by Cat Stevens. In the United States it spent three weeks at number one on Billboard’s album chart. The title is taken from one of the Ten Bulls of Zen.

The song “Sitting” was released as a single in 1973, reaching 16 on the Hot 100 Charts. It’s a song about meditation, and the apprehensions that may result from the experiences involving self-realization.


Catch Bull at Four was well received both commercially and critically. Rolling Stone was satisfied with the “gorgeous melody and orchestration”, while simultaneously disappointed by the lack of a single track comparable to “Morning Has Broken” from Teaser and the Firecat. (by wikipedia)

Catch Bull at Four began with a statement of purpose, “Sitting,” in which Cat Stevens tried to talk himself into believing that he hadn’t stalled, beginning to worry that he might be falling behind schedule or even going in circles. It may be that Stevens’ recent experiences had contributed to his sense that he was running out of time. Though he was CatStevens01never a directly confessional writer, one got the sense that his disaffection with the life of a pop star was reasserting itself. And while he was touring unhappily around the world, the world was still going to hell in a handbasket. Yet Stevens was still motivated by his urge to help mankind mend its ways. Love provided some comfort, but for the most part, the singer who had seemed so excited on his last album now sounded apprehensive. Stevens set his reflections to a mixture of musical styles that included traces of old English folk songs, madrigals, and Greek folk music along with more typical rock stylings, all performed with the stop-and-start rhythms that added drama to his performances. Nevertheless, Catch Bull at Four was a more difficult listen than its three predecessors. Coming off the momentum of Teaser and the Firecat, it roared up the charts to number one, but stayed in the Top Ten fewer weeks than its predecessor. Fans who had been stirred by Stevens’ rhythmic tunes and charmed by his thoughtful lyrics were starting to lose interest in his quasi-religious yearnings, busy arrangements, and self-absorbed, melodramatic singing. His career still had a ways to go, but as of Catch Bull at Four, he had passed his peak. (by William Ruhlmann)


Gerry Conway (drums, percussion, background vocals)
Alun Davies (guitar, background vocals)
Alan James (bass, background vocals)
Jean Roussel (keyboards)
Cat Stevens (vocals, guitar, keyboards, mandolin, synthesizer, pennywhistle, drums, percussion)
C.S. Choir (background vocals on 06. + 07.)
Lauren Cooper (backgound vocals on 03.)
Linda Lewis (backgound vocals on 03.)
Jeremy Taylor (guitar on 07.)
Andreas Toumazis – bouzouki on 07.)


01. Sitting (Stevens) 3.16
02. Boy with A Moon & Star On His Head (Stevens) 5.58
03. Angelsea (Stevens) 4.31
04. Silent Sunlight (Stevens) 3.01
04. Can’t Keep It In (Stevens) 3.00
05. 18th Avenue (Kansas City Nightmare) (Stevens) 4.24
06. Freezing Steel (Stevens) 3.39
07. O Caritas (Toumazis/Taylor/Stevens)
08. Sweet Scarlet (Stevens) 3.47
09. Ruins (Stevens) 4.17



More Cat Stevens:


And here you´ll find a rare Cat Stevens songbook from 1971


Steely Dan – Toronto (2011)

FrontCover1.jpgSteely Dan is an American rock band founded by core members Walter Becker (guitars, bass, backing vocals) and Donald Fagen (keyboards, lead vocals) in 1972. Blending elements of jazz, traditional pop, R&B, and sophisticated studio production with cryptic and ironic lyrics, the band enjoyed critical and commercial success starting from the early 1970s until breaking up in 1981. Throughout their career, the duo recorded with a revolving cast of session musicians, and in 1974 retired from live performances to become a studio-only band. Rolling Stone has called them “the perfect musical antiheroes for the Seventies”.

After the group disbanded in 1981, Becker and Fagen were less active throughout most of the next decade, though a cult following remained devoted to the group. Since reuniting in 1993, Steely Dan has toured steadily and released two albums of new material, the first of which, Two Against Nature, earned a Grammy Award for Album of the Year. They have sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 listed Steely Dan at #82 as one of the 100 greatest musical artists of all time. Becker died on September 3, 2017, leaving Fagen as the only official member. (by wikipedia)

And here´s a pretty good bootleg:

And this is what Jane Stevenson commented at

Becker, who recalled Santa Claus with his beard, glasses and tummy and stationary stance, as he played guitar to the side of Fagen’s keyboards was also in unusually chatty form, rambling on and on a couple of times during the show and even took over on lead vocals at one point. Fagen, meanwhile, was in his typical Ray Charles mode, in sunglasses and with his head tilted to the side, as he sang song after song in his delightfully raspy but still strong voice while occasionally jumping to his feet with one or both arms in the air.

As they often do in a live setting, Fagen and Becker gave the songs plenty of breathing space as they delivered longer versions than their studio counterparts and the infusion of younger players like Carlock and Herington kept them on their toes and it suits them.

This show has just surfaced and it’s thanks to Joe Blotz Records & Lawn Care for sharing the tracks.

Recorded live at the Molson Amphitheatre, Toronto, Canada; July 22, 2011.
Excellent soundboard.


Walter Becker (guitar)
Donald Fagen (keyboards, vocals)
Jim Beard (keyboards)
Keith Carlock (drums)
Jon Herington (guitar)
Michael Leonhart (trumpet, keyboards)
Jim Pugh (trombone)
Roger Rosenberg (saxophone)
Freddie Washington (bass)
Walt Weiskopf (saxophone)
background vocals:
Carolyn Leonhart-Escoffery – Cindy Mizelle – Catherine Russell



CD 1:
01. Dizzy Intro (Adderley) 6.43
02. Aja (Becker/Fagen) 8.42
03. Black Friday (Becker/Fagen) 4.54
04. Hey Nineteen (Becker/Fagen) 9.23
05. Your Gold Teeth (Becker/Fagen) 8.53
06. Time Out Of Mind (Becker/Fagen) 6.04
07. Showbiz Kids (Becker/Fagen) 7.11
08. Bodhisattva (Becker/Fagen) 6.22
09. Dirty Work (Becker/Fagen)  5.18
10. Godwhacker (Becker/Fagen) 7.12

CD 2:
11. Neighbours Daughter (Toussaint) 8.46
12. Monkey In Your Soul (Becker/Fagen) 3.08
13. Josie (Becker/Fagen) 6.51
14. Peg (Becker/Fagen) 4.30
15. My Old School (Becker/Fagen) 6.27
16. Reelin’ In The Years (Becker/Fagen) 6.00
17. Pretzel Logic (Becker/Fagen) 7.05
18. Kid Charlemagne (Becker/Fagen) 6.03
19. Outro 1.56



Gheorghe Zamfir + Marcel Cellier – Flute de Pan et Orgue Vol. 3 (1977)

FrontCover1.JPGThanks to countless TV ads hawking collections of his music, Zamfir is almost universally recognized as the “Master of the Pan Flute.” While that title may be cause for smirking in some quarters — whether because of its overexposure or a general distaste for easy listening music — it’s true that Gheorghe Zamfir was single-handedly responsible for popularizing an ancient, traditional Eastern European instrument that was in danger of dying out for lack of interest. Made of bamboo, reeds, or wood, the pan flute (also known as the pan pipes or the nai) consists of a series of tubes, each of which sounds one individual note, and are fastened together side by side. It produces an ethereal, haunting sound, and since its construction makes the execution of up-tempo passages nearly impossible, it’s ideal for the sort of slow, tranquil mood music that constituted Zamfir’s stock in trade. At first focusing on Romanian folk melodies, classical material, and original compositions, Zamfir’s popularity in Europe and America led him to cover pop songs, soundtrack themes, and the like, all supported by soft, lush orchestral arrangements.

Gheorghe Zamfir was born in Gaiesti, Romania, on April 6, 1941. Interested in music from a young age, he learned to play gypsy songs on the accordion while tending his family’s goat pasture. At 14, his father enrolled him at the Bucharest Academy of Music, where he switched to the pan flute under the influence of instructor Fanica Luca.


He immediately displayed a gift for the nearly forgotten instrument, quickly learning to bend pitches and improvise (skills that were rarely associated with it). He went on to study at Conservatory of Bucharest, where he learned music theory, piano, and conducting. While a student in the ’60s, he toured and made some recordings in tandem with Luca; those recordings were discovered by Swiss musicologist Marcel Cellier, who broadcast a radio show devoted to Eastern European folk music. Cellier, who also played the organ, invited Zamfir to Switzerland in 1969, and the two began performing duo concerts together. In the meantime, Zamfir also took over conductorship of the Romanian folk ensemble Ciocirlia, and in 1970 formed his own ensemble. Cellier produced Zamfir’s earliest recordings in 1970-1971, and helped promote him around Europe, which led to several releases on the Philips label.


Zamfir caught his big break in the English-speaking world when the British religious television show The Light of Experience adopted his recording of “Doina De Jale” — a traditional Romanian funeral song — as its theme. Popular demand forced Epic Records to release “Doina De Jale” as a single in 1976, and it climbed all the way to number four on the U.K. charts. It would prove to be his only hit single, but it helped pave the way for a consistent stream of album sales in Britain, Australia, America, and continental Europe over the next few decades. The biggest of those albums included Solitude (1973), The Romance of the Panflute (1982), and The Lonely Shepherd (1984). Additionally, he scored several films — most notably 1975’s Picnic at Hanging Rock, directed by Australia’s Peter Weir — and had a European hit in 1979 with the theme from the Dutch film Der Verlaten Mijn, a collaboration with arranger James Last. He staged numerous world tours and performed at Carnegie Hall for the first time in 1981; by this time, classical adaptations were coming to dominate his repertoire, which separated him technique-wise from the raft of mostly European imitators that had sprung up during the late ’70s.


Many of Zamfir’s recordings aimed to create a sense of spiritual tranquility, and some of his compositions were religious in nature. That preoccupation resulted in his exile from Romania in 1982, when he violated official Communist doctrine by declaring at a concert that his music was dedicated to God. He emigrated to Montreal, where Western popular music crept ever more firmly into his choices of material. In the United States, ubiquitous TV commercials for his albums made Zamfir a household name. He played on much of Bill Conti’s score for The Karate Kid in 1984, and that year also performed the theme for Sergio Leone’s Once Upon a Time in America. Zamfir subsequently settled into a comfortable, consistent recording schedule, turning out new product on a regular basis for a variety of labels. (by Steve Huey)

And here´s the volume 3 of his very sucessful edition “Flute de Pan et Orgue” and if you love the sound of the pan flute, than you shild listen to this really magic sound !


Marcel Cellier (organ)
Georghe Zamfir (pan flute)


01. Balada Sarpelui 4.37
02. Doina: Mai La Deal De Resita 3.36
03. Doina De Jale 6.29
04. Doila De La Domasnea 5.09
05. Doina: Georghe Mina Boii Bine 3.49
06. Doina Lui Efta Botoca 5.05



Steve Winwood – Roll With It (1988)

FrontCover1Roll with It is the fifth solo studio album by English blue-eyed soul artist Steve Winwood, released on 21 June 1988. It topped the album charts in the United States, and has sold over three million copies. The title cut topped the pop and rock singles charts. The success led the subsequent songs to serve as singles, “Don’t You Know What the Night Can Do?” and “Holding On”.

“Don’t You Know What the Night Can Do?” had been written by Winwood to be featured in an ad campaign for Michelob which began running on American television on the day of the Roll with It album’s US release.

Two other tracks from Roll with It: “Hearts on Fire” and “Put on Your Dancing Shoes”, also achieved radio airplay. (by wikipedia)

This album is from 1988, which I had on vinyl, and felt the need to have on CD. The title track is a good example of whats to come later – Rock with a little R&B/Funk mixed in. It also has a ballad called “One More Morning” which starts with Vocal and Piano that shows the diversity of Steve Winwood. If you like Rock, you’ll like this. (by Paul)


Winwood manages to reintroduce some of the R&B elements of the Spencer Davis Group and some of the psychedelic effects of early Traffic here, though this is also an effective follow-up to the directions indicated on Back in the High Life. Contains the number one title track and “Don’t You Know What the Night Can Do?” (by William Ruhlmann)


Bashiri Johnson (percussion)
Mike Lawler (keyboards)
John “J.R.” Robinson (drums)
Steve Winwood (vocals, keyboards, guitar, synthesizer, drums, bass)
Tom Lord-Alge (tambourine)
Jimmy Bralower – percussion, drum machine on 04. + 08.)
Robbie Kilgore – keyboards on 02., 04, + 08.)
Paul Pesco – guitar on 03. + 06.)
The Memphis Horns:
Wayne Jackson (trombone, trumpet)
Andrew Love (saxophone)
background vocals:
Mark Williamson – Tessa Niles


01. Roll With It (Winwood/Jennings/Holland/Dozier/Holland) 5.21
02. Holding On (Winwood/Jennings) 6.16
03. The Morning Side (Winwood/Jennings) 5.14
04. Put On Your Dancing Shoes (Winwood/Jennings) 5.13
05. Don’t You Know What The Night Can Do? (Winwood/Jennings) 6.55
06. Hearts On Fire (Winwood/Capaldi) 5.17
07. One More Morning (Winwood/Jennings 5.00
08. Shining Song (Winwood/Jennings 5.29




The official video clip:

Blood, Sweat & Tears – Jazzwoche Burghausen, Germany (2018)

FrontCover1.jpgBlood Sweat & Tears has set the high water mark for the worlds greatest musicians which is still true in the latest version of BS&T. It has now been 50 years since founding member (drummer) Bobby Colomby with an amazing Jazz background had a vision of fusing Jazz, Rock and Blues into one band. Over the years more than 175 musicians have flowed through the ranks of the various iterations of the BS&T. The most commercially successful version of the band was in fact, our second line-up. The current line up with Bo Bice at the helm on vocals is the most popular in recent years. As many promoters have said “it’s a show not to me missed.”

Colomby maintains ownership of the “Blood, Sweat & Tears” band name and, although he no longer plays with the band, he still oversees the musical direction of the band.

“I think of this band like baseball’s Yankees. When you’re at a Yankee game you’re not going to see Babe Ruth, Mickey Mantle or Lou Gehrig. What you do come to expect is a team of top-notch players upholding a tradition of winning. That’s the Yankee legacy. It’s what people expect from BS&T as well… brilliant musicians, singers, songs and arrangements.” – Bobby Colomby


If you liked BS&T back in the day, whichever version, listen to these guys. Bo Bice and all the band members sound very legit. Fine job, Bobby Colomby! It doesn’t sound like anything but a true version of the band. (by ScarRad)

Thanks to propylaen for sharing the HDTV webcast at Dime.

And I will present the concert as a TV rip verson very soon !

Recorded live at the 49. Internationale Jazzwoche. Wackerhalle, Burghausen, Germany; March 7, 2018. Very good audio (ripped from HDTV webcast).


Bo Bice (vocals)
Dylan Elise (drums)
Ric Fierabracci (bass, vocals)
Dave Gellis (guitar)
Ken Gioffre (saxophone, flute)
Brad Mason (trumpet, flugelhorn)
Glen McClelland (keyboards)
Mark Miller (trombone)
Jonathan Powell (trumpet)


01. Footprints (unknown) 4:16
02. Lucretia Mac Evil (Clayton-Thomas) 7.16
03. Hi De Ho (Goffin/King) 5.32
04. Go Down Gamblin’ (Clayton-Thomas) 5.12
05. Surreptitious (unknown) 5:57
06. I Love You More Than You’ll Ever Know (Kooper) 7.37
07. Snow Queen (Goffin/King) / Maiden Voyage (Hancock) 17.57
08. I Can’t Quit Her (Kooper/Levine) 3.35
09. Sometimes In Winter (Katz) 3.41
10. More And More (Smith/Juan) 4.10
11. Variations On A Theme By Erik Satie (Satie) 1.44
12. God Bless The Child (Holiday/Herzog) 7.14
13. And When I Die (Nyro) 6.33
14. Spinning Wheel (Clayton-Thomas) 3.22
15. Midnight Rider 5:47
16. You’ve Made Me So Very Happy (Gordy Jr/B.Holloway/P.Holloway/Wilson) 6.55




Burghausen (near Munich/Germany)

Georges Jouvin – Sa trompette d´or et son orchestre (1973)

FrontCover1.JPG70 albums, 3000 songs, 25 million records sold, an Oscar from the Academy of the disc in 1981 … Georges Jouvin, nicknamed “the man with the golden trumpet” , was a huge international success, Japan to America.

Born June 19, 1923 in Rennes, in a family of musicians, he discovers his instrument with his father, and the saxophone with his brother. At 10 years old, he was offered his first piano. The following year, he entered the Breton conservatory, until he was 17 years. He wins many prizes, music theory but also harmony and trumpet. Then, the gifted continued his studies at the Paris Conservatory in 1942.

He soon develops a varied repertoire, from classical to jazz to popular music, with a virtuosity that made him famous. He made his first steps in symphony orchestras, including the arrangements of Albinoni’s Adagio, Carmen and The Magic Flute are among the most famous. At his side: Michel Legrand, Alix Combelle, Jerry Mengo …
Charlie Parker

Subsequently, he recorded albums of covers of fashion tubes for home Pathé-Marconi discs until early 1980. In particular reshuffles La paloma, Le Rififi, History of Love, The téléfon …

By November 1950, Georges Jouvin recorded in Paris in an orchestra led by Maurice Mouflard with Charlie Parker guest star. At the same time, it is part of the association of Rennes Trumpets.

Georges Jouvin01

Forty 45s quarterly fate until 1967, in the collection “Hits Jouvin”. Yet few invited on the days of television sets, it becomes a popular musician in France, and more generally in Europe.

After being Administrator and Vice President of the SACEM (Society of Authors, Composers and Music Publishers), he received the Legion of Honor July 13, 1994. (by

And here´s one of his Easy Listening albums …  I guess this is a sampler with recordings fromthe Sixties …

And it´s a nice sampler, if you love reat trumpet sounds in the Easy Lisening style … you should listen … Georges Jouvin knews how to play this game …

Georges Jouvin02

Georges Jouvin Orchestra


01. Johnny Guitare (Boléro, Thème Du Film “Johnny Guitar”) (Lee/Delanoë/Young) 2.57
02. Seize Tonnes (Médium Fox) (Larue/Travis) 2.46
03. Que Sera Sera (Valse Du Film “L’Homme Qui En Savait Trop”( (Marnay/Livingston/Evans) 2.44
04. Jerk For Trumpet (Jerk Monkiss) (Jouvin/Moutet) 1.56
05. Trompettissimo (Jouvin/Moutet) 2.39
06. La Plus Belle Chose Au Monde (Slow) (Love Is A Many Splendored Thing) Du Film “La Colline De L’Adieu”) (Rouzaud/Fain) 2.10
07. Le Temps Du Muguet (Soloviev-Sedoï) 2.24
08. Viens Au Creux De Mon Epaule (Slow) (Aznavour) 2.37
09. Un Jour Tu Verras (Valse Du Film “Secrets D’Alcove”) (v.Parys/Mouloudji) 1.48
10. Dans Les Rues D’Acapulco (Samba Marquina) (Jouvin/Moutet) 0.47
11. Lisboa Antiga (Boléro) (Vale – Salina/Galhardo/Portela) 1.56
12. Tele Boogie (Shuffle Boogie) (Jouvin) 3.44



Georges Jouvin03

Georges Jouvin (June 19, 1923 – October 24, 2016)

Erik Bosgraaf – Der Fluyten Lust-hof (Jacob van Eyck) (2007)

FrontCover1.jpgJonkheer Jacob van Eyck (c. 1590 – 26 March 1657) was a Dutch nobleman and musician. He was one of the best-known musicians in the Netherlands in the seventeenth century as a carillon player, organist, recorder virtuoso, and composer.

He was an expert in bell casting and tuning, and taught the Hemony brothers how to tune a carillon. He is credited in developing the modern carillon with them when they cast the first tuned carillon in 1644.

Van Eyck was born blind into a noble family in the small town of Heusden. In 1625 he left home and became carillon player of the Dom Tower of Utrecht, in 1628 he became the Director of the Carillons of Utrecht. René Descartes, Isaac Beeckman and other scientists praised his knowledge of acoustics, bell casting and tuning and bell players came to Utrecht to study with him. He died in Utrecht.

Jonkheer_J._van_EyckJacob van Eyck composed the Der Fluyten Lust-hof (The Flute’s Garden of Delights, or The Flute’s Pleasure Garden). Editions of this work appeared in 1644, 1646, 1649, 1654, and 1656. Der Fluyten Lust-hof is a very extensive collection of about 140 melodies, each with a number of diminutions or variations, for solo soprano recorder. The themes include folk songs, dance tunes, church works, Psalms, and songs of the day. Some of the variations are considered challenging even for an experienced recorder player. Der Fluyten Lust-hof remains the largest work for a solo wind instrument in European history; it is also the only work of this magnitude to have been dictated rather than written down by the composer.(by wikipedia)

A merely occasional recorder player, I have never attempted entry into Dutchman Jacob van Eyck’s Flute’s Garden of Delights. As Thiemo Wind has it in the introduction to his substantial booklet-notes, “this repertoire is both loved and feared by professional recorder players today”. Thank goodness, then, for the likes of Erik Bosgraaf, who has recorded a generous selection from this masterpiece for us mortals to stroll through in relative ease and comfort.

Blind at birth, van Eyck (c1590-1657) was not only a campanologist of international renown but also a virtuoso recorder player, entertaining his fellow citizens by playing in the Janskerkhof (St John’s churchyard) in Utrecht on summer evenings. Der Fluyten Lust-hof, a collection largely comprising variations for solo recorder on popular tunes and psalm melodies, was printed in Amsterdam between 1644 and 1649, and was a great success.

Bosgraaf’s virtuosity is stunning, as is his artistry. I particularly enjoyed the variations on tunes that I was most familiar with, like Dowland’s Lachrymae Pavan and Can She Excuse, or Caccini’s Amarilli mia bella, but many new friends were made along the way, like the wonderful Wat zalmen op den Avond doen or the Sarabande. Twelve different instruments are used in order to capture the different characteristics of each piece, ranging from sopranino to tenor; in three of the tracks, Bosgraaf is sympathetically accompanied by Izhar Elias. As a reference work this set should be considered indispensable; as one to be dipped in for pleasure, highly desirable. (by William Yeoman)

In other words: A masterpiece of early music !

Erik Bosgraaf (born May 9, 1980) is a Dutch recorder player and musicologist.[1]

ErikBosgraaf was born in Drachten, Netherlands. He received his Master of Arts in musicology from Utrecht University in 2006. In 2007 Bosgraaf, under the supervision of musicologist Thiemo Wind, released a 3-CD-box with compositions of the Dutch composer Jacob van Eyck (1589–1657), a collection which attained unexpected commercial success and sold more than 25,000 copies. In the 2011–12 season he was nominated by Concertgebouw Amsterdam and the Centre for Fine Arts, Brussels, on behalf of the German ECHO music award organisation, to take part in the Rising Stars series for a tour of the most important concert halls in Europe.

In 2005 Bosgraaf, guitarist Izhar Elias and Italian harpsichord player Alessandro Pianu founded the ensemble Cordevento. The trio at first focused mainly on 17th-century music, then, under the same name Cordevento, the ensemble from 2008 also works as a small baroque orchestra in single strength. In this broad formation the ensemble mainly aims at 18th-century repertoire. The first CD, featuring recorder concertos by Antonio Vivaldi, was released in 2009. A CD featuring recorder transcriptions of concertos by Johann Sebastian Bach was released in 2011, and an album title La Monarcha was released in 2012.

Beside his activities in chamber music Bosgraaf frequents the orchestral stage with symphony and chamber orchestras. He has worked with the Dallas Symphony Orchestra (Jaap van Zweden), Netherlands Kamerorkest (Gordan Nikolić), Residentie Orchestra (Reinbert de Leeuw), Holland Symfonia (Otto Tausk), The North-Netherlands Orchestra (Johannes Leertouwer), Dutch Radio Chamber Philharmonic, (Thierry Fischer Andreas Delfs) and Sinfonia Rotterdam (Alessandro Crudele). He often plays a mixture of early and more recent music with these orchestras. He has also performed with The Royal Wind Music. Bosgraaf made a transcription of Pierre Boulez’ Dialogues de l’ombre double which was authorized by the composer. It was released in 2015.

Eyck, Jacob van - Der Fluyten Lust-hof booklet 07A

In 2009 Bosgraaf received a Borletti-Buitoni Trust Award which enabled him amongst others to purchase a set of special recorders. In 2009 Erik and Izhar were awarded the Amsterdam Canal Festival Award. In 2011 Erik Bosgraaf received the most prestigious Dutch Music Prize, the highest national prize for music. He was also awarded the ‘Golden Violin’ Prize, a prize given triennially to a classical artist who has made outstanding contributions to the classical music scene of the northern Netherlands.

Recorded 27 & 28 October, 1, 2, 15 & 16 December 2006 at Kapel Mariënhaven, Warmond

Eyck, Jacob van - Der Fluyten Lust-hof booklet 11A.jpg

Erik Bosgraaf (recorder)
Izhar Elias (guitar)
Inmaculada Muñoz Jiménez (tambourine)

Eyck, Jacob van - Der Fluyten Lust-hof inlet 02A


CD 1:
01. Preludium Of Voorspel 0.43
02. Phantasia 2.25
03. Lavolette 2.22
04. Een Schots Lietjen 2.08
05. Comagain 5.14
06. Silvester In De Morgenstont 1:57
07. Lanterlu 1:39
08. Pavaen Lachrymæ 4:36
09. Rosemont 1:53
10 Balet, Of Vluchste Minphje Van De Jaght 2:45
11. Tweede Carileen 3:15
12. Stil, Stil Een Reys 0:50
13. Blydschap Van Mijn Vliedt 2:30
14. Derde Doen Daphne D’Over 4:53
15. De Eerste Licke-pot (I) 1:15
16. De Eerste Licke-pot (II) 1:12
17- Malle Symen (Malsimmes) 3:50
18 2. Courant, Of Harte Diefje Waerom Zoo Stil 2:10
19. Wat Zalmen Op Den Avond Doen 5:53
20. Almande Prime Roses 4:10
21. Bravade 2:51
22. Princes Roaeyle 3:16
23. Onder De Linde Groene 1:47
24. Lossy 2:03
25. Gabrielle Maditelle 1:56
26. D’Lof-zangh Marie 2:52
27. 3. Ballet 1:31
28. O Slaep, O Zoete Slaep 4.49

CD 2:
01. Præludium 0:24
02. Fantasia 1:32
03. Excusemoy 3:42
04. Prins Robberts Masco 3:04
05. Amarilli Mia Bella (I) 7:49
06. Amarilli Mia Bella (II) 3:35
07. Engels Nachtegaeltje 4:56
08. Ballette Bronckhorst 3:45
09. Ballette Gravesand / Laura 4:13
10. Eerste Carileen 4:20
11. Doen Daphne D’Over Schoone Maeght 3:04
12. Si Vous Me Voules Guerir 5:24
13. Psalm 118 7:42
14. Courante Mars 1:48
15. 4. Ballet 1:47
16. Onse Vader In Hemelryck 4:58
17. Psalm 9 5:47
18. Kits Almande 3:31

CD 3:
01. Vande Lombart (More Palatino) 0:46
02. Fantasia & Echo 1:51
03. De France Courant 2:37
04. Psalm 140, Ofte Tien Geboden 3:31
05. Courante 1 3:00
06. Courant, Of Ach Treurt Myn Bedroefde 2:12
07. L’Amie Cillæ 2:47
08. Boffons 1:43
09. Repicavan 1:54
10. Bocxvoetje 0:38
11. Wilhelmus Van Nassouwen 2:50
12. Noch Een Veranderingh Van Wilhelmus 1:44
13. Philis Schoone Harderinne 3.29
14. Orainge 2.16
15. Derde Carileen 4.10
16. Psalm 119 5.38
17. Questa Dolce Sirena 2.05
18. Sarabande 2.18
19. Tweede Lavignone 3.55
20. O Heyligh Zaligh Bethlehem 3.48
21. Vierde Carileen 4.35
22. Batali 4.53
23. Een Spaense Voys 1.31

Music composed by Jacob van Eyck

Eyck, Jacob van - Der Fluyten Lust-hof CD1A



The Sharp Five – The Sidewinder (1966)

FrontCover1.jpgIn 1962, The Ventures made the first of what would be many tours of Japan and the Far East. While the shows attracted very little media attention, many had already been exposed to this new reverb-drenched instrumental music through imported records and overseas radio broadcasts, and some of these fans formed their own bands that would become the genesis for a new trend in music. Progenitors of this new sound were tossing out their acoustic guitars in favor of more powerful electric ones, which prompted the name “eleki”, taken from the Japanese for “electric guitar”.

When The Ventures returned back to Japan in 1965, a far different scene awaited them. By this time “eleki” was all the rage. Many established groups had by this time given up playing rockabilly, country, and even jazz to switch over to “eleki”, and high school kids across the nation were rushing out to buy electric guitars and jump on the “eleki” bandwagon, demand for these guitars far outstripping domestic supply for several years running.

In addition to the radio and concerts, there were at least four television programs dedicated exclusively to “eleki” music including Eleki Tournament, Exciting Show, Eleki Tournament Show, and New Eleki Sounds Jumping into the World, and the establishment had begun to cast a wary eye on the “disturbing” trend. This had happened in the past with the rockabilly boom of the 50s, and would happen again with the Group Sounds bands later in the 60s, but regardless of the pressure, “eleki” continued to flourish. (by


One of these eleki gtoups from Japan was The Sharp Five:

“Sharp Five were an instrumental eleki / psychedelic garage combo from japan. Wicked guitar licks and Ventures-esque surf wah-wah fuzzed-out and psyched-up with an oriental sonic garage back bass. Overall a slightly trippier flavour of eleki . This is generally regarded as their best albums…” (by musicofsixties.blogspot)


Osamu Furuya (organ)
Munetaka Inoue (drums)
Nobuhiro Mine (lead guitar)
Akiyama Tsutomu (bass)
Hidemasa Yamauchi (guitar),


01. Paperback Writer (Lennon/McCartney) 2.22
02. What How My Love (Delanoe/Becaud) 2.19
03. Batman Theme (Hefti) 2.53
04. Secret Agentman (Sloan/Barri) 2.32
05. Theme From The “Man From U.N.C.L.E.” (Goldsmith) 1.48
06. Theme From “Our Man Flint” (Goldsmith) 4.23
07. Blue Eyes (Hashimoto/Inoue) 2.58
08. The Cat (Schifrin) 2.46
09. The “In” Crowd (Page) 3.36
10. The Sidewinder (Morgan) 3.14
11. Comin’ Home Baby (Tucher) 2.56
12. In Un Fiore (Mogol/Donida) 2.39
13. Paint It Black (Jagger/Richards) 3.30



Electric Flag – A Long Time Comin’ (1968)

LPFrontCover1A Long Time Comin’ is the first album by American rock band the Electric Flag, released in 1968. The album has a mix of musical styles, including soul along with blues and rock, with a horn section.

It opens with an updated take on the Howlin’ Wolf blues classic “Killing Floor” and includes an adaptation of Sticks McGhee’s “Drinkin’ Wine, Spo-Dee-O-Dee” titled “Wine”. The album also contains “Groovin’ Is Easy” and “Over-Lovin’ You”, which had been released as a single in 1967.


It is widely seen as an ambitious debut album by music critics. The album was somewhat of a failure in the charts, much to the disappointment of Bloomfield, who had worked hard on the album.[citation needed] His disappointment was worsened by the success of the Al Kooper directed Super Session, which, featuring Bloomfield, charted much higher than A Long Time Comin’ despite only being recorded over a period of two days.


Writer Jeff Tamarkin says “ex Butterfield Band guitarist Mike Bloomfield, drummer Buddy Miles, and others put this soul-rock band together in 1967. This debut is a testament to their ability to catch fire and keep on burnin’.” That The Electric Flag do so well — they appeared at the Monterey International Pop Festival with the Blues Project, Paul Butterfield, and Janis Joplin, and all these groups had some musical connection to each other beyond that pivotal festival. A Long Time Comin’ is the “new soul” described appropriately enough by the late critic Lillian Roxon, and tunes like “She Should Have Just” and “Over-Lovin’ You” lean more towards the soul side than the pop so many radio listeners were attuned to back then. Nick Gravenites was too much of a purist to ride his blues on the Top 40 the way Felix Cavaliere gave us “Groovin’,” so Janis Joplin’s eventual replacement in Big Brother & the Holding Company, Gravenites, and this crew pour out “Groovin’ Is Easy” on this disc. It’s a classy production, intellectual ideas with lots of musical changes, a subdued version of what Joplin herself would give us on I Got Dem Ole Kozmic Blues Again, Mama two years later, with some of that album written by vocalist Gravenites.


Though launched after Al Kooper’s the Blues Project, A Long Time Comin’ itself influenced bands who would go on to sell more records. In the traditional “Wine,” it is proclaimed “you know Janis Joplin, she’ll tell you all about that wine, baby.” As good as the album is, though, the material is pretty much composed by Mike Bloomfield and Barry Goldberg, when they’re not covering Howlin’ Wolf’s “Killing Floor” and adding spoken-word news broadcasts to the mix. More contributions by Buddy Miles and Gravenites in the songwriting department would have been welcome here. The extended CD version has four additional tracks, Bobby Hebb’s “Sunny” and “Mystery,” both which appear on the self-titled Electric Flag outing which followed this LP, as well as other material which shows up on Old Glory: The Best of Electric Flag, released in 2000. “Sittin’ in Circles” opens like the Doors’ “Riders on the Storm,” the keyboards as well as the sound effects, and a hook of “hey little girl” which would resurface as the title of a Nick Gravenites tune on the aforementioned follow-up disc, where Gravenites and Miles did pick up the songwriting slack, Bloomfield having wandered off to Super Session with the Blues Project’s Al Kooper. Amazing stuff all in all, which could eventually comprise a boxed set of experimental blues rock from the mid- to late sixties. Either version of this recording, original vinyl or extended CD, is fun listening and a revelation. (by Joe Viglione)


Mike Bloomfield (guitar, vocals)
Barry Goldberg (keyboards)
Harvey Brooks (bass)
Marcus Doubleday (trumpet)
Michael Fonfara (keyboards)
Stemsy Hunter (saxophone)
Nick Gravenites (vocals, guitar)

Buddy Miles (drums, vocals)
Herb Rich (organ, vocals, saxophone, guitar)
Peter Strazza (saxophone)
Paul Beaver (keyboards, synthesizer)
John Court (percussion, vocals)
Joe Church (Percussion)
Cass Elliot (vocals on 02.)
Richie Havens (percussion, sitar)
Sivuca – guitar, percussion
Leo Daruczek – Charles McCracken – Bobby Notkoff – Julius Held

01. Killing Floor (Burnett) 4.11
02. Groovin’ Is Easy (Gravenites) 3.06
03. Over-Lovin’ You (Bloomfield/Goldberg) 2.21
04. Should Have Just (Polte) 5.03
05. Wine (Traditional) 3.15
06. Texas (Bloomfield/Miles) 4.49
07. Sittin´ In Circles (Goldberg) 3.54
08. You Don’t Realize (Bloomfield) 4.56
09. Another Country (Polte) 8.47
10. Easy Rider (Bloomfield) 0.53
11. Sunny (Hebb) 4.02
12. Mystery (Miles) 2.56
13. Look Into My Eyes (Brooks/Miles) 3.07





Various Artists (Putumayo World Music) – Italian Cafe (2005)

FrontCover1Putumayo World Music is a New York City-based record label, now specializing in compilations of music from various nations, regions, or musical styles which may be classified as world music.

In 1991, on his way home from Bali, Dan Storper stopped in San Francisco, California. In Golden Gate Park, he heard the Nigerian band Kotoja. He was impressed by the music and the way it gathered many different people. He made a compilation of music he had gathered on his journeys and gathered a positive response. This led him to give out his first release in 1993. Storper took the name of his record label, Putumayo, from Colombia’s Putumayo Department where he travelled in 1974, which subsequently came from the name of Putumayo River. The word is said to be the name of a bird (heron).

Every release features the art of Nicola Heindl. Her art is both folky and modern, and, according to the Putumayo website, “represents one of Putumayo’s goals: to connect the traditional to the contemporary.”

Typically a Putumayo World Music compilation is presented as a theme under the title “Putumayo Presents:” The themes can be regional (South Africa, Caribbean, Asia), music types (reggae, folk, Latin, jazz) and other themes (lounge, groove, party).

The Putumayo Kids division was created in 2002. Since the release of the World Playground CD in 1999, Putumayo Kids has achieved honors from Parents’ Choice Awards and the National Parenting Publications Association, and has grown to be one of the more important children’s record labels.

Putumayo launched the Putumayo World Music Hour in 2000, a commercially-syndicated world music radio show. Rosalie Howarth of KFOG hosts the Music Hour. The weekly show is heard internationally on over 150 commercial and non-commercial stations.

Putumayo has ten offices worldwide. Their products are sold at a network of more than 3,000 book, gift, clothing, coffee and other specialty retailers in the US. The label claims to distribute their CDs in more than 80 countries around the world. (by wikipedia)


This is a charming, if ultimately fairly inconsequential, collection of recordings from 1950s and 1960s Italy, along with a handful of songs by a few modern artists whose stylistic roots go back to the postwar era as well. The overall sound may come across as a bit kitschy to American ears — there are lots of accordions and crooning, emotive vocals — but if you spend some time with these recordings most of them will grow on you. Highlights include the quirky Vinicio Capossela’s “Che Cossè l’Amor,” Quadro Nuevo’s jazzy instrumental “Tu Vuo’ Fa’ l’Americano,” and Quartetto Cetra’s slightly cute but really very engaging “Un Bacio a Mezzanotte.” On the slightly less compelling side are Gianmaria Testa’s contributions, the willfully goofy “Dentro al Cinema” and the self-consciously intense (and ultimately self-parodying) “La Traiettorie delle Mongolfiere,” but the high points outweigh the low ones on this ultimately charming collection. Recommended. (by Rick Anderson)

This review is not correct: Most of the recordings are NOT from the 50´s, … and in the reat booklet you can read, that Quadro Nuevo are from Austria … this is wrong .. Quadro Nueva are from Bavaria (Southern Germany) … but … much more important …

… more recordings from this great label will come !


01. Fred Buscaglione: Juke Box (1958) (Beretta/Malgoni) 2.23
02. Quartetto Cetra: Un Bacio A Mezzanotte (1952) (Kramer/Garinei) 2.14
03. Giorgio Conte: Cannelloni (2003) (Conte) 2.55
04. Vinicio Capossela: Che Cossè L’Amor (1994) (Capossela) 4.14
05. Maria Pierantoni Giua: Petali e Mirto (2004) (Martinell/Giua) 3.25
06. Giorgio Conte: Gnè Gnè (2003) (Conte) 3.28
07. Renato Carosone: Piccolissima Serenata (2001) (Carosone/Nisa) 3.23
08. Gianmaria Testa: Dentro Al Cinema (2003) (Testa) 3.43
09. Daniele Silvestri: Le Cose In Camune (1995) (Micelli/Silvestri) 4.16
10. Quadro Nuevo: Tu Vuo’ Fa’ L’Americano (2002) (Carosone) 3.57
11. Gianmaria Testa: La Traiettorie Delle Mongolfiere (1995) (Testa/Bertone) 3.29
12. Nicola Arigliano: Carina (2001) (Testa/Poes) 3.17