The Blues Band – Take Me Home + 3 (1982)

FrontCover1.JPGThe Blues Band is a British blues band formed in 1979 by Paul Jones, former lead vocalist and harmonica player with Manfred Mann, and guitarist Tom McGuinness also of Manfred Mann and The Roosters. The band’s first line-up also included bassist Gary Fletcher, slide-guitarist Dave Kelly who had previously played with The John Dummer Band, Howling Wolf and John Lee Hooker and drummer Hughie Flint, of John Mayall’s Blues Breakers and McGuinness Flint, the band he formed with Tom McGuinness. In 1982 Flint left and was replaced by former Family drummer Rob Townsend

Their first album The Official Blues Band Bootleg Album, a mixture of blues standards and original songs featured the Jones and McGuinness composition “Come On In” and their long-standing stage favourite “Flatfoot Sam”. This album initially attracted no interest from major record companies, so the band pressed a limited run of 3,000, hand-stamped their logo on the cardboard sleeve and signed them all. After unqualified endorsement from BBC Radio 1 presenter Simon Bates and others, media interest resulted in a recording contract with Arista Records, who re-released the album under the same title. After that they released Ready, Itchy Feet and Brand Loyalty albums and regularly toured through Europe.

They briefly disbanded after recording a live album Bye Bye Blues (1983), but reformed soon afterwards. In the new millennium they recorded albums such as Stepping Out (2002) and Thank You Brother Ray (2004), which paid tribute to Ray Charles. Now in their thirty-ninth year as a band, they still perform across Europe with the same line-up. (by wikipedia)

The Blues Band

And here´s a rare  “limited edition” single from 1982 including two live tracks from 1980.

“Take Me Home” and “So Bad” were more pop orientated songs… but the real Blues Band can be heard on the two live tracks from 1980.


Gary Fletcher (bass)
Hughie Flint (drums, percussion)
Paul Jones (vocals, harmonica)
Dave Kelly (guitar slide-guitar)
Tom McGuinness (guitar, vocals)


01. Take Me Home (McGuiness) 3.19
02. So Bad (Stonebridge/McGuiness) 3.52
03. Hey, Hey Little Girl (live at the Glasgow University, 10-10-80) (Stonebridge/McGuiness) 1.58
04. Sus Blues (live at the Golden Lion, Fulham/London, 09-09-80 (Kelly) 4.18



João Gilberto – Chega De Saudade (1959)


Influential Brazilian musician João Gilberto has died aged 88.

The singer and composer was known best as a pioneer of the bossa nova genre, which found international popularity in the 1960s.

Reports say Gilberto died at home in Rio de Janeiro after a period of illness. His son confirmed the news of his death in a Saturday Facebook post.

“His fight was noble, he tried to maintain dignity,” Marcelo Gilberto said. )BBC)

João Gilberto Prado Pereira de Oliveira, known as João Gilberto (Portuguese: [ʒuˈɐ̃w ʒiwˈbɛʁtu]; 10 June 1931 – 6 July 2019), was a Brazilian singer, songwriter, and guitarist. He pioneered the musical genre of bossa nova in the late 1950s.

João Gilberto was born in Juazeiro, Bahia, the son of Joviniano Domingos de Oliveira, a wealthy merchant, and Martinha do Prado Pereira de Oliveira. He lived in his native city until 1942, when he began to study in Aracaju, Sergipe, returning to Juazeiro in 1946. At the age of 14, he got his first guitar, given by his father. Still, in Juazeiro, he formed his first band, called “Enamorados do Ritmo”. He moved to Salvador, Bahia in 1947. During his three years in the city, he dropped out of his studies to dedicate himself exclusively to music and at the age of 18 began his artistic career as a crooner at the Rádio Sociedade da Bahia.


Gilberto’s first recordings were released in Brazil as two-song 78-rpm singles between 1951 and 1959. In the 1960s Brazilian singles evolved to the “double compact” format, and João would release some EPs in this new format, which carried four songs on a 45-rpm record.

Soon afterward, Gilberto’s father, upset by his son’s bizarre singing style and refusal to take ‘normal’ work, had him committed to a mental hospital. In a psychological interview there, Gilberto stared out of the window and remarked “Look at the wind depilating the trees.” The psychologist replied “but trees have no hair, João”, to which Gilberto responded: “and there are people who have no poetry.” He was released after a week. The next year (1956), he returned to Rio and struck up old acquaintances, most significantly with Antônio Carlos Jobim, who was by then working as a composer, producer, and arranger with Odeon Records. Jobim was impressed with Gilberto’s new style of guitar playing and set about finding a suitable song to pitch the style to Odeon management.


Gilberto was known for his demanding acoustic and noise-control standards. During a recording session of the song “Rosa Morena”, he insisted on 28 takes to get the pronunciation of the o in “Rosa” just right.[8] Nonetheless, despite his high acoustic standards, he skipped a contractually required sound check prior to a July 2003 performance at the Hollywood Bowl, in Los Angeles. This negligence (and the ensuing sound fiasco) prompted the audience to stream from the venue before the concert ended.

In 1997, Gilberto sued record label EMI over their reissue of several of his early works, which he contended had been poorly remastered. According to The New York Times, “A statement by his lawyer at the time declared that the reissues contained sound effects that ‘did not pertain to the original recordings, banalizing the work of a great artist.” Following the incident, EMI ceased production of the albums in question, and, as of 2008, the lawsuit was yet to reach a decision.


In 2000, Gilberto won the nomination for the Best World Music Album category in the 42nd Annual Grammy Awards for his work in the album João Voz E Violão.

In 2011, he was sued and evicted from an apartment in Leblon by his landlord, Countess Georgina Brandolini d’Adda.

On 17 May 2017, Gilberto received an honorary doctorate in music from Columbia University though he himself did not attend the commencement ceremony.[14]

It was reported in December 2017 that Bebel Gilberto (Isabel), João’s daughter through his marriage to Miúcha, was seeking control of his financial affairs because of his declining mental state and heavy indebtedness.

João Gilberto died on 6 July 2019, in Rio de Janeiro.


Chega de Saudade is the debut album by Brazilian musician João Gilberto and is often credited as the first bossa nova album. The title can be translated roughly as “enough longing”, though the Portuguese word saudade carries with it more complex meaning.

In 2001, the album was inducted into the Grammy Hall of Fame. In the same year, it was made an inaugural member of the Latin Grammy Hall of Fame. It was listed by Rolling Stone Brazil as the fourth best Brazilian album in history.

By the time of the album’s release, newspaper O Estado de S. Paulo stated that Gilberto “is one of the most musical of our popular singers, a certainty which broadly compensates for his lack of volume. In this regard, it is worth noting his interpretation of ‘Desafinado’. Besides, he reveals an unorthodox good taste for the choice of melodies recorded in this first LP and a sobriety in interpretation we have rarely observed”. (by wikipedia)


João Gilberto’s debut LP, 1959’s Chega de Saudade, was one of the most important bossa nova recordings, and credited by many as the album that, more than any other, launched bossa nova as a major popular music genre. The dozen songs add up to a surprisingly short playing time of about 23 minutes, but introduce several of bossa nova’s most beloved trademarks: breezy, soothing melodies and vocals; tight arrangements with seamless blends of clipped guitar strokes and light orchestration, and, of course, the bossa nova rhythm. The most popular of these songs (“Chega de Saudade” and “Desafinado”) had already been released as singles in 1958, but though they might be the most memorable tracks, the album maintains a consistently high standard (if a fairly similar mood throughout).  (by Richie Unterberger)


Milton Banana (drums)
Rubens Bassini (percussion)
Copinha (flute)
João Gilberto (guitar, vocals)
Antonio Carlos Jobim (piano)
Edmundo Maciel (trombone)
Garotos da Lua (background vocals on 04.)



01. Chega de Saudade (Jobim/de Moraes) 2.00
02. Lobo Bobo (Lyra/Bôscoli) 1.21
03. Brigas, Nunca Mais (Jobim/de Moraes 2.06
04. Hô-bá-lá-lá (Gilberto) 2.16
05. Saudade Fez um Samba (Lyra/Bôscoli) 1.48
06. Maria Ninguém (Lyra) 2.23
07. Desafinado (Mendonça/Jobim) 1.58
08. Rosa Morena (Caymmi) 2.05
09. Morena Boca de Ouro (Barroso) 1.58
10. Bim Bom (Gilberto) 1.16
11. Aos Pés da Cruz (Pinto/da Zilda) 1.34
12. É Luxo Só (Barroso/Peixoto) 1.58




Various Artists – Concerti Grossi – The Joy Of Baroque (1997)

FrontCover1.jpgA new kind of orchestral composition, the concerto, appeared in the last two decades of the 17th century, and became the most important type of Baroque orchestral music after 1700. The concerto was the synthesis in purely instrumental music of four fundamental Baroque practices: the concertato principle; the texture of a firm bass and florid treble; musical organization based on the major-minor key system; and the building of a long work out of separate autonomous movements.

The concerto grosso is probably the most important type of baroque concerto, characterized by the use of a small group of solo instruments, called “concertino” or “principale”, against the full orchestra, called “concerto”, “tutti” or “ripieni.” The concertino usually consists of two violins and continuo (the same ensemble that constitutes the Baroque trio sonatas). The ripieni are a small string orchestra, later occasionally including wind instruments (trumpets, oboes, flutes, horns).

“Concerto grosso” originally signified the “large consort,” that is, the orchestra, as opposed to the “concertino” or “little consort,” the group of solo instruments. Later, the term “concerto grosso” was applied to the composition which used these opposed groups.

Pietro Antonio Locatelli1

The practice of contrasting solo instruments against full orchestra had been introduced into Baroque music long before the concerto as such made its appearance. A predecessor of the concerto was the sinfonia or sonata for one or two solo trumpets with string orchestra, which was cultivated especially at Venice and Bologna. Various elements of the concerto also may be found in the Venetian opera overtures, which were occasionally played outside the opera house as independent instrumental sonatas.

The circumstances under which orchestral church music was presented were often such Giuseppe Sammartinias to encourage the concerto style. The church of San Petronio in Bologna, for instance, maintained a small orchestra of expert instrumentalists; when large numbers of extra players were brought in for special occasions, the contrast between the modest technique of the outsiders and the accomplished virtuosity of the regular performers strongly suggested writing that could take advantage of the situation by providing an appropriately different kind of music for each group within the framework of a single composition — easy parts for the ripieno, more difficult parts for the soloists when heard alone.

Concertos, like sonatas and sinfonias, were played in church as “overtures” before Mass or at certain moments in the ceremony.

Arcangelo Corelli.jpg

The earliest known examples of the concerto grosso principle occur in two “Sinfonie a piu instrumenti” by A. Stradella (1653-1713). Some concerti grossi by Corelli, although published much later, would seem to be of a date close to Stradella’s, because they show the patchwork structure of the earlier canzona with quick changes of a considerable number of short “movements.”

Georg Friedrich Händel

The typical Allegro movement of the concerto was established primarily by Torelli. Each begins with a complete exposition of the theme by the full orchestra; alternating with solo/concertino episodes, the material of the tutti exposition recurs once or twice, slightly modified and in different keys; the movement is rounded off and brought to a close with a final tonic tutti practically identical with the opening one.

Antonio Vivaldi.jpg

A tutti which recurs in this way in a concerto is called ritornello; this structure is typical for all first and last movements of late Baroque concertos. The form is something like that of the rondeau, with the important exception that in a concerto all the ritornellos except the first and last are in different keys. The concerto therefore combines the principle of recurrence with the equally important principle of key relationships.

Typical traits that mark the mature concerto form of the Baroque are: 1) the fast-slow-fast sequence of movements (allegro-adagio-allegro); 2) the ritornello form; and 3) virtuoso flights of the soloists. An occasional adagio introductory movement might precede the first Allegro movement. Generally, except in the case of Vivaldi, the fast movements are based on the fugal principle. A typical pattern of key-related cadences in an Allegro movement might be: tonic; dominant; tonic; relative minor or major or other related key; subdominant or dominant; and finally, tonic. (by

And here´s a real fine collection of classic Contero Grossi … enjoy this delightful music of the 17th century …


London Festival Orchestra conducted by Ross Pople (01. – 04. + 13. – 15.)
Hamburg Solist conducted by Emil Klein (05 . – 09.)
Cis Collegium Mozarteum Salzburg conducted by Jürgen Geise (16. – 22.)



Arcangelo Corelli: Concerto Grosso Op. 6 No.1.:
01. Largo – Allegro 2.33
02. Largo – Allegro 2.32
03. Largo – Allegro 4.54
04. Largo – Allegro 20.6

Georg Friedrich Händel: Concerto Grosso Op. 6 No. 1:
05. Tempo giusto 1.35
06. Allegro 2.24
07. Adagio 2.51
08. Allegro 3.09
09. Allegro 1.36

Antonio Vivaldi: Concerto Grosso in D minor Op. 3 No. 11:
10. Allegro – Adagio – Allegro 4.22
11. Largo 2.10
12. Allegro 2.46

Giuseppe Sammartini: Concert Grosso Op. 5 No. 6:
13. Spirituoso – Allegro – Spirituoso – Adagio 4.15
14. Rondo – Allegro moderato e graziosa 5.28
15. Pastorale – Andante sostenuto 5.14

Pietro Antonio Locatelli: Concero in F minor:
16. Largo 0.35
17. Grave 1.31
18. Vivace 1.24
19. Grave 2.02
20. Largo andante 3.49
21. Andante 2.29
22. Pastorale – andante 3.58