Jordi Savall & Hespèrion XXI – Ostinato (2001)

FrontCover1Jordi Savall i Bernadet (born August 1, 1941) is a Spanish conductor and viol player. He has been one of the major figures in the field of Western early music since the 1970s, largely responsible for popularizing the viol family of instruments (notably the viola da gamba) in contemporary performance and recording. As a historian of early music his repertoire features everything from medieval, Renaissance and Baroque through to the Classical and Romantic periods. He has incorporated non-western musical traditions in his work; including African vernacular music in Les Routes De L’Eslavage or The Routes of Slavery (2017).

His musical training started at age six in the school choir of his native Igualada (1947–55). After graduating from the Barcelona’s Conservatory of Music (where he studied from 1959 to 1965) he specialized in early music, collaborating with Ars Musicae de Barcelona under Enric Gispert, studying with August Wenzinger at the Schola Cantorum Basiliensis in Basel, Switzerland (1968–70) and eventually succeeding Wenzinger in 1974 as professor of viola da gamba at the Schola Cantorum Basiliensis.

Jordi Savall & Hespèrion XXI_01
In 1974 he formed the ensemble Hespèrion XX (known since 2000 as Hespèrion XXI), together with his wife soprano Montserrat Figueras, Lorenzo Alpert and Hopkinson Smith. Hespèrion XX favored a style of interpretation characterized simultaneously by great musical vitality and maximum historical accuracy.

In 1987 he returned to Barcelona to found La Capella Reial de Catalunya, a vocal ensemble devoted to pre-eighteenth-century music.

In 1989 he founded Le Concert des Nations, an orchestra generally emphasizing Baroque period, but sometimes also Classical and even Romantic music such as, for example, Sinfonía [por] Grande Orquesta by Juan Crisóstomo Arriaga) (1806-1826).

More recently Savall has performed with family members. The family ensemble has included his wife Montserrat Figueras (who died in 2011) and their two children, Arianna and Ferran. Arianna plays the harp and sings, like her mother; Ferran plays the theorbo (bass lute) and sings, not only with his family but also in Barcelona jazz clubs.

Savall’s discography includes more than 100 recordings. Originally recording with EMI Classics, and then from 1975 on Michel Bernstein’s Astrée label, since 1998 he has recorded on his own label, Alia Vox. (by wikipedia)

Jordi Savall01

I’ve been a fan of Jordi Savall and Hesperion XXI for a while. However it must be said that occasionally albums of the ‘early music’ era can be somewhat austere and dry, simply because the compositions may tend that way. This is not one of those recordings. This is fresh, lively, and exquisite music making, absolutely beautifully recorded by masterful musicians.

There is space and air in the sound, a nicely varied palette of different instruments, and the ensembles are small and very well placed to hear each instrument. A lute is a very soft-voiced instrument and typically recorded so that it gets lost competing with a viola da gamba and a harpsichord, but the balance here is exceptional. For instance, on ‘Greensleeves to a Ground’, the two lutes of high and middle registers are clearly placed either side of the gamba with the harpsichord discreetly chiming in when called upon in the background. You can hear every note. Tracks with more bowed strings are likewise beautifully enunciated.

Jordi Savall & Hespèrion XXI_02

Numbers like the Canarios are sometimes familiar yet fresh. And we’ve all heard the Kanon & Gigue umpteen times and probably have our notions of what it ought to go like and tempos etc. Well there’s certainly no harm in a quick tempoed toss-off as lithely and freshly played as this one. Might even make you forget that plodding interminable version played by an out of tune string quartet at that last wedding you went to.

Much of this is sparkling brisk dance music, yet the graceful introspection of the Marini Passacaglio and the other few mild-tempo numbers are well posed and give the tapping toes a not unwelcome rest.

But this is mostly a vivacious collection that can take you back in time to when the original music makers were not only alive and talented, they were young. (Count Orloff)


Michael Behringer (organ)
Sergi Casademunt (violone)
Bruno Cocset (violoncello)
Xavier Díaz (guitar, theorbo, vihuela)
Pedro Estevan (percussion)
Luca Guglielmi (organ)
Manfredo Kraemer (violin)
Eliseo Parra (percussion)
David Plantier (violin)
Arianna Savall (harp)
Jordi Savall (viola da gamba)
Pablo Valetti (violin)

01. Gallarda Napolitana (Valente)
02. Passamezzo Antico: Zarabanda (Recercada V) (Ortiz)
03. Passacalle (Falconiero)
04. Passamezzo Moderno (Recercada II) (Ortiz)
05. Ciaccona (Falconiero)
06. Ruggiero (Quinta Pars IX) (Ortiz)
07. Romanesca (Recercada VII) (Ortiz)
08. Sopra L’Aria Di Ruggiero (Rossi)
09. Passacalio (Marini)
10. Canarios (unknown)
11. Ruggiero (Merula)
12. Tres Glosas Sobre Todo El Mundo En General (de Auroxo)
13. Ciaccona (Merula)
14. Sonata A 2 (Purcell)
15. 3 Parts Upon A Ground (Purcell)
16. Kanon und Gigue (Pachelbel)
17. Greensleeves To A Ground (Anonymous)



Pink Floyd – Pulse (1995)

FrontCover1Pulse (stylised as p·u·l·s·e) is a live album by the English rock band Pink Floyd. It was released on 29 May 1995 by EMI in the United Kingdom and on 6 June 1995 by Columbia in the United States. The album was recorded during the European leg of Pink Floyd’s Division Bell Tour in 1994.

The album is notable for including a complete live version of The Dark Side of the Moon. It also features “Astronomy Domine”, a Syd Barrett song not performed since the early 1970s. The track “Another Brick in the Wall, Part II” features small portions of the songs “Another Brick in the Wall, Part I”, “The Happiest Days of Our Lives” and “Another Brick in the Wall, Part III”. “Take It Back” was originally going to be on the album with the recording from 25 September 1994, Stade Olympique de la Pontaise, Lausanne but was cut due to length.

Unlike the previous live album Delicate Sound of Thunder, no parts of the songs were re-recorded in the studio. However, the band and Guthrie fixed songs that had bad notes (as heard on some bootlegs) by lifting solos and corrected vocal lines from other performances as the band recorded most of the European leg. The album was mixed in QSound, which produces a 3D audio effect even on a two channel stereo system.
Release history

In the United States, despite a price of $34.99 (which included flashing spine light and two AA batteries) Pulse debuted at number one on the Billboard 200 during the week of 24 June 1995 with 198,000 copies sold, it became the first multidisk album to top the Billboard 200 since the chart started using SoundScan data in May 1991. The next week it fell off to number three on the chart. It remained on the chart for twenty two weeks. It was certified two times platinum by the RIAA on 31 July 1995 for shipments of one million units.


On 1 July 1995 the video version of Pulse debuted at number one on the Billboard’s Top Music Videos chart with 16,500 units sold. The video was certified eight times platinum by the RIAA on 31 July 2006 for shipments of 800,000 units.

The video version (on VHS and Laserdisc) also featured the song “Take It Back,” and an almost complete performance from their 20 October show at Earl’s Court, London. The Pulse DVD was released on 10 July 2006.

The vinyl version was released as a four-LP box set and included “One of These Days” (also heard on the cassette release) as well as a large version of the photo booklet.

Photo 2A

The original CD cover features an “eye-like” machine that has clock pieces inside, there is a planet in its centre, and on the outside it shows evolution as it moves backwards. It starts in the sea, moves to the bacteria which evolve into fishes, then into egg type creatures, then into eggs that hatch birds, and birds follow the trail of an aeroplane. There are six pyramids in the desert, and in the bottom of the sea, one can observe a city in the shore.

The debut of the album was highlighted by a light show from the top of the Empire State Building in New York City with music simulcasted on a New York City radio station.

Early CD versions came with a flashing red LED on the side of the case. This was designed by EMI contractor Jon Kempner, who was awarded the platinum disc, using the now discontinued LM3909 LED flasher IC. The circuit was powered by a single AA battery; the battery life was stated to be over six months. Some versions were also made with two AA batteries and later editions of the CD set did not feature the blinking LED.


“Essentially, it’s a device which we thought was entertaining. It’s an idea of Storm Thorgerson’s which related to Dark Side and the pulse, and it’s a live album so the box is “alive”. After that, in terms of seriously deep meanings, one might be struggling a bit.”
— Nick Mason,  (by wikipedia)


Pink Floyd claim they had no intention of recording another live album when they began the Division Bell tour, but performing Theley Dark Side of the Moon in its entirety convinced the group to release another double-live set, called Pulse. There’s no question that the group is comprised of talented musicians, including the number of studio professionals that augmented the trio on tour. Whether they’re inspired musicians is up to debate. A large part of Pink Floyd’s live show is based on the always impressive visuals; on the Division Bell tour, they closed each show with an unprecedented laser extravaganza. In order for the visuals and the music to coincide, the group needed to play the sets as tightly as possible, with little improvisation. Consequently, an audio version of this concert, separated from the visuals, is disappointing. Pink Floyd play the greatest hits and the new songs professionally, yet the versions differ only slightly from the original recordings, making Pulse a tepid experience. (by Stephen Thomas Erlewine)


I was somewhat surprised to see that All Music gave this live album such a low rating. Two things on this double live album warrant a higher rating by themselves. Of course you have the usual excellent guitar/vocal work of David Gilmour playing live with the extended guitar solos on disc one as well as the keyboard playing of Richard Wright, once again a full member of the band, and the excellent drumming skills of Nick Mason. The other musicians and backing vocalists along with the excellent mix makes for a wonderful listening experience if you are a Pink Floyd fan. But for me, what sets this set apart is disc two.


On the second disc, you have the entire Dark Side Of The Moon, played live, track by track, in it’s entirety. And then the encore…Wish You Were Here which goes into Comfortably Numb. This version of Comfortably Numb, with it’s extended guitar solo at the end, is arguably considered one of the great guitar solos in rock history. The disc ends with a wonderful version of Run Like Hell. If you are a true fan of Pink Floyd, this live two disc set, which went to number 1 on both sides of the Atlantic, proved once and for all, that Pink Floyd was more than just “Roger Waters”, just as they were more than just “Syd Barrett” and also proved more than ever that Richard Wright deserved to be back in this band. (by Michael Scott)


David Gilmour (vocals, guitar)
Nick Mason (drums)
Richard Wright (keyboards, vocals on CD 1 – 02., CD 2 – 04., 07. + 12,  background vocals)
Sam Brown (vocals on CD 2 – 05.,  – background vocals)
Jon Carin (keyboards, vocals on CD 1 – 07.,  background vocals)
Claudia Fontaine (vocals on CD 2 – 05., background vocals)
Durga McBroom (vocals on CD 2 – 05., background vocals)
Dick Parry (saxophone)
Guy Pratt (bass, vocals on CD 2 – 13., background vocals)
Tim Renwick (guitar, background vocals)
Gary Wallis (percussion)



CD 1:
01. Shine On You Crazy Diamond, Parts I–V, VII (Gilmour/Waters/Wright) 13.35
02. Astronomy Domine (Barrett) 4.21
03. What Do You Want From Me (Gilmour/Wright/Samson) 5.09
04. Learning To Fly (Gilmour/Moore/Ezrin/Carin) 5.16
05. Keep Talking (Gilmour/Wright/Samson) 6.53
06. Coming Back To Life (Gilmour) 6.56
07. Hey You (Waters) 4.39
08. A Great Day For Freedom (Gilmour/Samson) 4.30
09. Sorrow (Gilmour) 10.49
10. High Hopes (Gilmour/Samson) 7.52
11. Another Brick In The Wall, Part II (Waters) 7.07

CD 2:
01. Speak To Me (Mason) 2.30
02. Breathe (In the Air) (Gilmour/Waters/Wright) 2.34
03. On The Run (Gilmour/Waters) 3.48
04. Time / Breathe (Reprise) (Gilmour/Waters/Wright/Mason) 6.47
05. The Great Gig In The Sky (Wright/Torry) 5.52
06. Money (Waters) 8.54
07. Us And Them (Waters/Wright) 6.58
08. Any Colour You Like (Gilmour/Wright/Mason) 3.21
09. Brain Damage (Waters) 3.46
10. Eclipse (Waters) 2.38
11. Wish You Were Here (Gilmour/Waters) 6.35
12. Comfortably Numb (Gilmour/Waters) 9.29
13. Run Like Hell (Gilmour/Waters) 8.37
14. One Of These Days (Gilmour/Waters/Wright/Mason) 6.31



John Cale – Slow Dazzle (1975)

FrontCover1John Davies Cale, OBE (born 9 March 1942) is a Welsh musician, composer, singer, songwriter and record producer who was a founding member of the American rock band the Velvet Underground. Over his five-decade career, Cale has worked in various styles across rock, drone, classical, avant-garde and electronic music.

He studied music at Goldsmiths College, University of London, before relocating in 1963 to New York City’s downtown music scene, where he performed as part of the Theatre of Eternal Music and formed the Velvet Underground. Since leaving the band in 1968, Cale has released 16 solo studio albums, including the widely acclaimed Music for a New Society. Cale has also acquired a reputation as an adventurous producer, working on the debut albums of several innovative artists, including the Stooges and Patti Smith.

Slow Dazzle is the fifth solo studio album by Welsh musician John Cale, released on 25 March 1975, his second album for record label Island.

“Mr. Wilson” is about seminal American musician Brian Wilson; the Beach Boys founding member has been a strong influence on Cale’s work over the years. The song reflects the strong, divisive personal struggles in Wilson’s life. The music’s tone fluctuates from paranoid and unhappy to warm and pleasant moment by moment.


“Heartbreak Hotel” is a cover of the Elvis Presley song (written by Mae Boren Axton and Tommy Durden) with fundamental elements of the track changed such the singing taking in “chilling” screams and dark synthesizer elements added to the background.

The track “Guts” opens with the line “The bugger in the short sleeves fucked my wife”. This refers to rock musician Kevin Ayers sleeping with Cale’s wife before the concert that’s captured on the June 1, 1974 album; John Cale related the details in his autobiography, with Victor Bockris, What’s Welsh for Zen, that was published in 1998.


“The Jeweler” is a spoken word piece under an instrumental backdrop that recalls, at least in its poetic and freeform structure, the track “The Gift” from the Velvet Underground’s album White Light/White Heat. While Cale speaks in a calm, monotone voice, “The Jeweler” features a drone-like set of unsettling sounds that appear to build and build without reaching a conclusion. The non-vocal side of the track is somewhat reminiscent of contemporary 1970s-era horror film scoring.

The cover photography was by Keith Morris. It is also the second consecutive album to feature both Brian Eno and Phil Manzanera of Roxy Music.

Slow Dazzle was released on 25 March 1975. No singles were released off the album, although there was a promotional-only single of “Dirtyass Rock ‘n’ Roll” b/w “Heartbreak Hotel”. (by wikipedia)


Recording again with Phil Manzanera, along with noted journeyman guitarist Chris Spedding, Cale kept up the focus and amazing music on Slow Dazzle, easily the equal of Fear in terms of overall quality. With Brian Eno again helping out on synth work, Slow Dazzle comes across as a little more fried and unsettling than earlier work. Even the warm, epic lift of the chorus of “Mr. Wilson,” very much a tribute to the Beach Boys’ main man and one of the best he’s ever received, is surrounded by strings and piano both lovely and paranoid. The more accurate tone of the record can be found in such numbers as “Dirty Ass Rock ‘n’ Roll,” an intelligent, sly demolition of the lifestyle done to a glam-touched chug topped off with brass and backing singers, and even more dramatically with “Heartbreak Hotel.”


One of the most amazing cover versions ever, and arguably the best Elvis Presley revamp in existence, the slower pace, freaked-out Eno synth arrangement, and above all else Cale’s chilling delivery make it a masterpiece. Then there’s “Guts,” which deserves notice for its low-key but still sharp feedback snarl and steady, cool rhythm, but perhaps has its best moment with Cale’s gasped, killer starting lyric: “The bugger in the short sleeves f*cked my wife.” For all of the stronger rock power, Cale’s obviously not out to be pigeonholed, thus the calmer swing of many other numbers, like the great ’50s rock tribute “Darling I Need You,” featuring great guest sax from Andy Mackay, and the quick, almost sprightly “Ski Patrol.” In terms of his own performance, Cale’s voice again sounds marvelous, balanced perfectly between roughness and trained control, while his piano skills similarly find the connection between straightforward melodies and technical skill. (by Ned Raggett)


John Cale (guitar, keyboards, clavinet, vocals)
Gerry Conway (drums)
Timi Donald (drums)
Pat Donaldson (bass)
Brian Eno (synthesizer)
Phil Manzanera (guitar)
Chris Spedding (guitar)
Chris Thomas (violin, piano)
Geoff Muldaur (background vocals on harmony vocals on “Guts” and “Darling I Need You”


01. Mr. Wilson 3.17
02. Taking It All Away 3.00
03. Dirty-Ass Rock ‘n’ Roll 4.45
04. Darling I Need You 3.39
05. Rollaroll 3.59
06. Heartbreak Hotel 3.14
07. Ski Patrol 2.13
08. I’m Not The Loving Kind 3.12
09. Guts 3.27
10. The Jeweller 5-07

All tracks composed by John Cale,
except 06. which was written by Mae Boren Axton, Tommy Durden & Elvis Presley



Rare Promo-Single:

Wishbone Ash – Wishbone Four (1974)

SignedFrontCover1Wishbone Four is the fourth studio album by British rock band Wishbone Ash, released in 1973. It was a departure from their previous album, Argus, in that it lacked that recording’s overall cohesion and atmosphere and the loose conceptual framework of a stately, pastoral and warring medieval England. Containing only hints of the extended twin-lead guitar harmonies, Wishbone Four’s stylistic variety found its footing in acoustic folk elements in half of the eight-song set (“Ballad of the Beacon”, “Everybody Needs a Friend”, “Sorrel” and “Sing Out the Song”), two aggressive and melodic starters on each side of the vinyl release (Side 1: So Many Things to Say” and Side 2: “Doctor”), and the band’s first use of horns on the semi-autobiographical “rave-up” touring song “No Easy Road”.

Although the sombre, sensitive and rather more fragile acoustic songs contained the wistful intro elements that featured on the previous album, the lead guitars lacked the slow climb of the band’s trademark duelling crescendos and energetic fretwork expected from the band at the time, tending to a more subtle and subdued interplay on the longer tracks. Wishbone Four was popular among fans upon its release as it implied musical growth and a willingness to experiment in the band’s divergence of a successful formula (similar at the time to the effect of Led Zeppelin III’s contrast to that band’s previous efforts).


Wishbone Four was also the first release not produced by Derek Lawrence but by the band themselves. There’s the Rub, the band’s next and fifth studio album’ was the first album to feature guitarist-vocalist Laurie Wisefield, who would be a major part of the band’s creative direction for the next 11 years, as founding member Ted Turner left the band after the subsequent Wishbone Four tour. (by wikipedia)

WishboneAsh 1974

The progressive aspirations were put aside for Wishbone Four, the group’s most solid-rocking album, though the folk-based element is still there, more solid than ever. “Ballad of the Beacon” is a genuinely beautiful song, and might have come from any number of electric folk-rock bands — the fact that it came from Wishbone Ash indicates just how serious they were in wanting to explore some of these sounds. Their most mature and successful album. (by Bruce Eder)

This album contains one of the best Wishbone Ash songs, Rock & Roll Widow. But before you get to this last song, you get such gems as Ballad Of The Beacon, So Many Things To Say, and No Easy Road. After Argus, this is the Wishbone Ash album to own. (Bryan Adkins)


Andy Powell (guitar, vocals)
Martin Turner (bass, vocals)
Ted Turner (guitar, lap-steel-guitar, vocals)
Steve Upton (drums, percussion)
Graham Maitland – piano on 03.)
George Nash (keyboards on 04.)
horn section on 03.:
Phil Kenzie – Dave Coxhill – Bud Parks


01. So Many Things To Say 5.06
02. Ballad Of The Beacon 5.05
03. No Easy Road 3.49
04. Everybody Needs A Friend 8.25
05. Doctor 5.54
06. Sorrel 5.04
07. Sing Out The Song 4.25
08. Rock ‘N Roll Widow 5.53

Music by Wishbone Ash;
Lyrics by Martin Turner, except “Rock ‘n Roll Widow” by Steve Upton



More Wishbone Ash:

Rosemary Clooney & Perez Prado – A Touch Of Tabasco (1960)

FrontCover1Rosemary Clooney (May 23, 1928 – June 29, 2002) was an American singer and actress. She came to prominence in the early 1950s with the song “Come On-a My House”, which was followed by other pop numbers such as “Botch-a-Me”, “Mambo Italiano”, “Tenderly”, “Half as Much”, “Hey There” and “This Ole House”. She also had success as a jazz vocalist. Clooney’s career languished in the 1960s, partly due to problems related to depression and drug addiction, but revived in 1977, when her White Christmas co-star Bing Crosby asked her to appear with him at a show marking his 50th anniversary in show business. She continued recording until her death in 2002.

Dámaso Pérez Prado (December 11, 1916 – September 14, 1989) Rosemary Clooney01was a Cuban bandleader, pianist and composer who popularized the mambo in the 1950s. He frequently made brief appearances in films, primarily of the rumberas genre. The success of his orchestra and hits such as “Mambo No. 5” earned him the nickname “King of the Mambo”. His stage name was simply Pérez Prado, although his brother Pantaleón also used the same name in the 1970s, which led to confusion.

Pérez Prado became a naturalized citizen of Mexico in 1980, where he died in 1989. His son, Pérez Jr., continues to direct the Pérez Prado Orchestra in Mexico City to this day.

A Touch of Tabasco is a 1959 studio album released by RCA Victor featuring the American jazz singer Rosemary Clooney and the Cuban band leader Perez Prado.

This was the only album that Clooney and Prado recorded together; the album was promoted with free bottles of Tabasco sauce.

The liner notes were contributed by Clooney’s husband, the actor José Ferrer.(by wikipedia)

Pérez Prado01

On paper, this unlikely pairing of American popular vocalist Rosemary Clooney (who nearly defined the 1950s as a stylist) and Cuban percussionist and bandleader Pérez Prado seemed to be a disaster in the making. The end result is quite the opposite. Recorded during two sessions in July and August of 1959, this is simply one of the loveliest albums in either artist’s catalog. The music is lively and colorful but retains Clooney’s smooth and mellow character, and Prado’s trademark arrangements and experiments with percussion, texture, and harmony.

Rosemary Clooney02

Apparently, Clooney had some trouble with pronunciation initially, but was coached by her husband, Puerto Rican actor Jose Ferrer (who wrote the original album’s liner notes) and became a quick study. This merging of Latin and American standards is a tour de force that features some of the hottest session players in the biz including drummers Leo Acosta and Earl Palmer, as well as horn players Paul Horn and Ollie Mitchell. Highlights of the set include “Mack the Knife,” “Sway,” a pair of Cole Porter tunes — “Bali Hai,” and “You Do Something to Me” — as well as highly original readings of “Corazon de Melon,” “Cu-Cu-Rru-Cu-Cu Paloma,” and “Adios.” (by Thom Jurek)


Rosemary Clooney (vocals)
Orchestra counducted by Perez Prado

Rosemary Clooney & Perez Prado

Rosemary Clooney & Perez Prado

01. Corazon de Melon (Rigual/Traditional) 2.07
02. Like A Woman (Loesser) 2.07
03. I Only Have Eyes For You (Dubin/Warren) 2.12
04. Magic Is The Moonlight (Grever/Pasquale) 2.40
05. In A Little Spanish Town (Lewis/Wayne/Young) 2.08
06. Sway” (Norman Gimbel, Luiz Ruiz) – 2:42
07. Mack The Knife (Blitzstein/Brecht/Weill) 2.03
08. Bali Ha’i (Hammerstein II/Rodgers) 2.30
09. You Do Something To Me (Porter) 1.36
10. Cucurrucucu Paloma (Mendez) 2.36
11. I Got Plenty o’ Nuttin’ (G.Gershwin/I.Gershwin/Heyward) 2.16
12. Adiós (Madriguera/Woods) 2.14
13. Amor (A rare glimpse into a recording session) 2.48
14. Summertime Love (A rare glimpse into a recording session) 2.03





John Abercrombie – Characters (1977)

FrontCover1John Laird Abercrombie (December 16, 1944 – August 22, 2017) was an American jazz guitarist. His work explored jazz fusion, free jazz, and avant-garde jazz. Abercrombie studied at Berklee College of Music in Boston, Massachusetts. He was known for his understated style and his work with organ trios- (by wikipedia)

Characters is a solo album by guitarist John Abercrombie that was recorded in 1977 and released by ECM in 1978.

Just four months after the historic Gateway 2 session, John Abercrombie stepped into Oslo’s Talent Studio to record Characters, his first and only solo album for ECM. While the guitarist’s trademark electric lurks here and there, a modified mandolin takes the strongest lead. The album also features about as much acoustic as one is likely to hear from Abercrombie in one sitting. All of this makes for sonic perfection.

At nearly 11 minutes, “Parable” is the longest cut on the album. A plaintive mandolin seems to stretch its strings as Abercrombie adds almost sitar-like cadences until, about halfway through, we realize this is but the stem of an overarching flower, which reveals its full bloom in an acoustic umbrella. With peerless thematic acuity, Abercrombie reconfigures his melodic matrix in “Memoir,” a nostalgic acoustic duet, each channel part of a spontaneous conversation. It is the most fleeting track on the album, but also the most intuitive. Next, Abercrombie transmits a “Telegram” straight into our souls. Like the message of its title, it is formless during transmission, but arrives in tangible form through the advent of technology, of which performance is Abercrombie’s medium of choice. His involuntary humming harmonizes with itself in a subconscious overdubbed chamber choir. “Backward Glance” recalls the title of Steve Kuhn’s classic tune.


Dense acoustic chording spins powerful thermals upon which Abercrombie spreads his electric wings, drawing a feathered curtain over our eyes in the final strum. The spindly diversions of “Ghost Dance” percolate like anesthesia through the bloodstream before “Paramour” makes its debut as another acoustic duet (Abercrombie would soon resurrect it at the heart of his first quartet album, Arcade). More of the same awaits us in “After Thoughts,” where every pause feels like a deep breath that is at last exhaled in a luxurious chord. Lastly, through the liquid sheen of “Evensong” we catch visions of ourselves at different ages. After a silence, an acoustic hand opens its fingers wide as one electric swells in accompaniment and the other glides like a stingray for a sublime finish.

The album’s title is a prescient one. In addition to glyphs on a writing surface, “characters” are people, animals, or any other living creature whose desires animate a story. They might also be the traits of those creatures, or even the morals that define their personalities. Here, we encounter all of these and more, threaded ever so genuinely by one musician’s unique sense of space-time. For anyone wishing to peer into the soul behind the sound, let this be your window. (pree release)

John Abercrombie

Always unique and uncompromising, John Abercrombie gained a good deal of his popularity from his solo playing. Not the virtuoso of his primary influences — Django Reinhardt, Tal Farlow and Jim Hall — Abercrombie is much more the introvert. He often bypasses traditional techniques to pursue experimental sounds and rhythms. Along with Ralph Towner, whom he has recorded with before (see Sargasso Sea), Abercrombie makes excellent use of space within both his compositions and solos. Upon the first listen there may not appear to be very much here; however, this music needs to be absorbed over several listens to appreciate Abercrombie’s brilliance. (by Robert Taylor)


John Abercrombie (guitar, mandolin)


01. Parable 10.40
02. Memoir 3.14
03. Telegram 4.36
04. Backward Glance 4.37
05. Ghost Dance 7.02
06. Paramour 3.52
07. After Thoughts 3.22
08. Evensong 7.35

Composed by John Abercrombie



John Laird Abercrombie (December 16, 1944 – August 22, 2017)

Stills & Collins – Everybody Knows (2017)

FrontCover1Everybody Knows is an album by Stephen Stills and Judy Collins, credited to “Stills & Collins”. It marks the first collaboration between the former lovers and longtime friends. It was financed through a crowdfunding campaign on PledgeMusic.

From 1968 to 1969, Stills and Collins were romantically involved. Stills wrote several songs about Judy, most notably “Suite: Judy Blue Eyes” and “Judy”. But despite Stills playing on several of Collins’ recordings, they never recorded as a duo or performed on stage together.[2] Stills said that he and Collins “…talked over the years and muddled through conversations about if we did make a record together…”, ultimately releasing Everybody Knows and going on tour. (by wikipedia)

50 years ago, singer-songwriter Stephen Stills met singer-songwriter Judy Collins, known for her piercing ocean blue eyes. Their tumultuous love affair would later be immortalized by Stills with his composition “Suite: Judy Blue Eyes,” performed by Crosby, Stills & Nash on their landmark debut. Both artists would go gone to shape modern music with visionary approaches, but Stills and Collins’ short fiery union remains a transformative era for the two artists.


This summer, the two icons of folk will celebrate the golden anniversary of their formative time together. Their joint summer tour marks the first time ever Stills and Collins have been onstage together. For this once in a lifetime experience, the two music legends will pull from their rich catalogs, debut songs from their upcoming album, due out Summer of 2017, and share warm and intimate stories from their journeys and the1960s folk and Laurel Canyon scenes they helped build.

Stills and Collins met in 1967 and dated for two years. Stills wrote and demoed his legendary love song to Collins right after he left Buffalo Springfield, before he joined CSN. “Suite: Judy Blue Eyes” is a five-section romantic epic brimming with heartfelt sincerity. The song has been ranked #418 in Rolling Stone’s 500 Greatest Songs Of All Time Poll.


​                                                                                                                                                                     Stills is known for his work with Buffalo Springfield, Crosby, Stills & Nash, and his solo work. In addition to “Suite: Judy Blue Eyes,” Stills is best known for the hits “ For What It’s Worth” by Buffalo Springfield and “Love The One You’re With” from his solo debut, Stephen Stills. He’s a multi-instrumentalist, composer, and ranked #28 in Rolling Stone Magazine’s “The 100 Greatest Guitarists Of All Time.” He also has the added distinction of being the first artist to be inducted into the Rock N’ Roll Hall of Fame twice in one night (for his work with CSN and Buffalo Springfield). He recently released a sophomore album with The Rides, the blues-rock supergroup he formed in 2013 with Kenny Wayne Shepherd and Barry Goldberg, and is currently putting the finishing touches on his long-awaited, much-anticipated autobiography.


‘Stills & Collins’ will be released on the heels of a very busy period for Collins, who released an album in 2015 and 2016. 2015’s ‘Strangers Again’ earned Judy her highest Billboard 200 debut in almost 30 years, and 2016’s ‘Silver Skies Blue’ duets album with Ari Hest earned a GRAMMY nomination for Best Folk Album. She’s recently been described by the NY Times as the “ageless wild angel of pop,” appeared in HBO’s Girls, and released the book ‘Cravings: How I Conquered Food’ earlier this year. (press release)


Judy Collins provided Stephen Stills with the inspiration for “Suite: Judy Blue Eyes,” a song he composed in 1969 as their relationship was coming to an end. Lovers no more, the two remained friends over the years and decided to strike up a musical partnership nearly 50 years later, releasing Everybody Knows in September of 2017. The album deliberately plays off their past, with the duo reviving songs from their individual albums — “Who Knows Where the Time Goes” from Collins; “So Begins the Task” from Stills — and selecting covers from their peers, including the Traveling Wilburys’ “Handle with Care,” Tim Hardin’s “Reason to Believe,” Bob Dylan’s “Girl from the North Country,” and Leonard Cohen’s “Everybody Knows,” which also lends its name to the album title. It’s a clean and crisp production, so much so that its transparency reveals the disparity between Collins’ sweet voice and Stills’ scraggly singing, a pairing that can sound as smooth as sandpaper. Nevertheless, there’s an inherent warmth to Everybody Knows. Stills and Collins have a gentle, easy chemistry and the studio-slick supporting performances provide a nice bed for a project that is less nostalgia than a reassuring reminder of the comfort of growing old together. (by Stephen Thomas Erlewine)


Tony Beard (drums)
Judy Collins (vocals, guitar)
Kevin McCormick (bass)
Stephen Stills (vocals, guitar)
Russell Walden (keyboards)
Marvin Etzioni (mandolin, mandocello on 05.)

01. Handle With Care (Dylan/Lynne/Petty/Harrison/Orbison) 3.43
02. So Begins The Task (Stills) 3.36
03. River Of Gold (Collins) 3.37
04. Judy (Stills) 4.03
05. Everybody Knows (Cohen/Robinson) 5.27
06. Houses (Collins) 4.37
07. Reason To Believe (Hardin) 2.57
08. Girl From The North Country (Dylan) 3.26
09. Who Knows Where The Time Goes (Denny) 5.41
10. Questions (Stills) 3.45





The Kinks – Live At Kelvin Hall (1967)

FrontCover1Live at Kelvin Hall is a 1967/68 live album by British rock group the Kinks. It was recorded at Kelvin Hall in Glasgow, Scotland, in early 1967. The album was released in August 1967 in the US (as The Live Kinks), and January 1968 in the UK. Live at Kelvin Hall received mixed reviews upon release, and sold poorly.

The album was first re-released on CD in 1987. In 1998, the album was reissued with both the mono and stereo mixes present. Unlike many albums in the Kinks catalogue which have received Deluxe Edition formats, Live At Kelvin Hall was passed on by Andrew Sandoval, who, at one point, attempted to remix the album. The mono mix was absent from the 2011 box set The Kinks In Mono, but was present in the 2005 box set The Pye Album Collection.

The Kinks played two sets in the Scene ’67 Theatre inside Kelvin Hall on 1 April 1967; one at 6:30 and the other at 9:30 pm, with the bands Sounds Incorporated and the Fortunes opening. The entire concert was recorded on a 4-track Pye Mobile Recording Unit owned by the group’s label, Pye Records. The Kinks’ set was the finale of a ten-day teen music-festival, sponsored by a local discotheque club and The Daily Record, a Glasgow newspaper.


On 3 April, post-production was underway for the scheduled live album. The group also took part in sessions to “enhance” the recordings—writer Andy Miller notes that …Kelvin Hall “is perhaps not as live as all that. Sessions were undertaken to ‘sweeten’ the original tapes. Close listening seems to reveal that the audience hysteria is an extended, repeating tape loop.” It is also notable that an entire fourth of the 4-track mix was devoted to the crowd’s screams and yells. Doug Hinman, in his 2004 book All Day And All Of The Night, also states that “it appears that overdubs [were] made (noticeable … on the released album’s guitar solo on ‘Till The End Of The Day’, and the differing guitar solos between the mono and stereo mixes of ‘You Really Got Me’).” A press release followed on the same day, announcing that a live album was scheduled for future release.

Live at Kelvin Hall was released in the US as The Live Kinks on 16 August 1967, where it went virtually unnoticed. It stalled at number 162 in the Billboard charts, during a four-week[4] run.[5] The album fared no better in the UK; upon release in January 1968 as Live at Kelvin Hall, it received only moderate advertising and mixed reviews. New Musical Express: “… at Glasgow the Kinks had every encouragement to give a good show and what you can hear above the audience noise is good. I don’t know if I like a backing of whistles and screams.” Live at Kelvin Hall failed to chart. (by wikipedia)


Recorded in Glasgow, Scotland, while the Kinks were on tour in 1967, Live at Kelvin Hall (aka The Live Kinks) has the distinction of being the only undoctored concert recording of a British Invasion band at the peak of its popularity. Like the Stones and the Beatles, the Kinks faced audiences filled with screaming, shrieking teenagers. Often, the noise was so loud that it drowned out the amps on-stage, and since the band couldn’t hear each other, its performances were ragged and rough. The Kinks held together in Glasgow better than their peers, but Live at Kelvin Hall is still rough going. True, it does offer an audio document of the band in concert, but the crowd is so damn noisy, it’s hard to hear anything besides screaming. The band is buried under this cacophony, and while they turn out some energetic performances — not only of hits like “Till the End of the Day,” “You Really Got Me,” and the sing-along “Sunny Afternoon” — they’re just sloppy enough to be a little tiring when combined with the roaring crowd. Live at Kelvin Hall may be interesting as an historical piece to some collectors, but it falls short of being pleasurable listening. (by Stephen Thomas Erlewine)


Mick Avory (drums)
Dave Davies (guitar, backgroundvocals, vocals  on 04., 07. + 09.)
Ray Davies (vocals, guitar)
Pete Quaife (bass, background vocals)

Alternate fromntcovedrs:

01. Till The End Of The Day (R.Davies) 3.32
02. A Well Respected Man (R.Davies) 3.09
03. You’re Lookin’ Fine (R.Davies) 3.36
04. Sunny Afternoon (R.Davies) 4.54
05. Dandy (R.Davies) 2.11
06. I’m On An Island (R.Davies) 2.53
07. Come On Now (R.Davies) 3.58
08. You Really Got Me (R.Davies) 2.16
09. Medley 8.47
09.1. Milk Cow Blues (Estes)
09.2. Batman Theme (Hefti)
09.3. Tired Of Waiting For You (R.Davies)




Lola Albright – Dreamsville (1959)

OLYMPUS DIGITAL CAMERALola Jean Albright (July 20, 1924 – March 23, 2017) was an American singer and actress, best known for playing the sultry singer Edie Hart, the girlfriend of private eye Peter Gunn, on all three seasons of the TV series Peter Gunn.

Albright was born in Akron, Ohio, to Marion A. (née Harvey) and John Paul Albright, both of whom were gospel music singers. The family lived at 552 Fairfield Avenue in the city, but the federal census of 1930 records that Lola, her parents, and her widowed maternal grandmother, Lelia D. Harvey, were all living that year in Akron in the home of Alma L. Barton, Lola’s great-aunt, also a widow. That census further documents that Lola’s mother also was born in Ohio but her father was a native of North Dakota, who in 1930 supported the family by working as an inspector in a local insulating business.

Albright attended King Grammar School and graduated from West High School in Akron in 1942. She sang in public at a young age and studied piano for 20 years. Beginning when she was 15 years old, she worked after school as a receptionist at radio station WAKR in Akron. She left WAKR at the age of 18 and moved to Cleveland, taking a job as a stenographer at WTAM radio. Her first radio performance came on WJW in Cleveland. Moving to Chicago, she worked as a photographer’s model and was discovered by a talent scout, which led to her moving to Hollywood at the age of 23.


Albright made her motion picture debut with a small singing role in the 1947 musical comedy The Unfinished Dance and then appeared the following year in two Judy Garland movies: The Pirate and Easter Parade. She first gained studio and public notice in the 1949 film noir production Champion with her portrayal of the wife of a manipulative boxing manager; she falls for a prizefighter played by Kirk Douglas. For the next several years, she appeared in secondary roles in over 20 films, including several B westerns. Among them was a co-starring role in the slapstick comedy The Good Humor Man in 1950 with future husband Jack Carson.

Some of the films in which Albright appeared were Tulsa (1949), starring Susan Hayward; The Silver Whip (1953), in which she played the love interest of Dale LolaAlbright03Robertson; and The Tender Trap (1955), in which she was one of several women trying to trap a bachelor, played by Frank Sinatra, into marriage.

In the early 1950s, Albright was also a frequent model for pinup painter Gil Elvgren.

In 1961, she starred in Alexander Singer’s A Cold Wind in August – a low-budget, black-and-white, independent film – as a divorced burlesque show stripper in her 30s who becomes involved in a torrid romance with a 17-year-old boy. Critic Pauline Kael offered high praise for Albright’s performance. In 1985, The New York Times also lauded Albright’s acting in the film. With respect to her personal assessment of her role in A Cold Wind in August, Albright said in 1961, “Some people come up to me and say, ‘Lola, you shouldn’t play that kind of part. It isn’t you.’ Well, I count to 10, bite my tongue and then tell them that I’m an actress: I don’t want to play myself.”

Her performance in A Cold Wind in August gave fresh impetus to her film career, leading to roles in Elvis Presley’s musical Kid Galahad in 1962, in which she played the hard-boiled, long-time girlfriend of a cynical boxing manager played by Gig Young; and in French director René Clément’s Joy House as a wealthy widow with a passion for handing out meals to the poor (albeit with an ulterior motive). In Lord Love a Duck (1966) she portrayed a cocktail waitress who turns suicidal when she thinks she has ruined her daughter Tuesday Weld’s life. The next year she was in the Western epic The Way West.

She gave up her feature-film career in 1968 after completing her work in The Impossible Years, a generation-gap farce in which she performed as Alice Kingsley, the despairing wife of a professor of psychiatry played by (David Niven) and the mother of two teenage daughters.


Unlike other film actors who were slow to begin acting in television, Albright was actively working in the medium from 1951. She appeared on the anthology series Lux Video Theatre in the episode “Inside Story”. Later she had a recurring role on The Bob Cummings Show in the 1950s and made guest appearances on television series such as Alfred Hitchcock Presents, The Thin Man, Gunsmoke, Rawhide, ” Larado” S01E17, Burke’s Law, The Dick Van Dyke Show, My Three Sons, The Beverly Hillbillies, Bonanza (two episodes), The Man from U.N.C.L.E., Medical Center, Kojak, Columbo, McMillan & Wife, Quincy, M.E., Starsky & Hutch, The Incredible Hulk and Branded.

In 1958, Albright was cast in Peter Gunn, the television detective series produced by Blake Edwards and scored by Henry Mancini. She played sultry Edie Hart, a nightclub singer and the romantic interest of Peter Gunn (Craig Stevens). “She was perfect casting for that role because she had an off-the-cuff kind of jazz delivery that was very hard to find,” Mancini said in 1992. “Just enough to believe that she’d be singing in that club and that she shouldn’t be on Broadway or doing movies.” Over the course of 114 episodes produced for Peter Gunn, Albright sang in 38 of them, covering jazz classics such as “How High the Moon”, “A Good Man Is Hard to Find”, “Easy Street”, and “Day In, Day Out”.

LolaAlbright05When actress Dorothy Malone had to undergo emergency surgery, Albright filled in for her as the character Constance Mackenzie on the prime-time soap opera Peyton Place. At the time, Albright called the role “one of the biggest challenges of my theatrical career.” She continued to perform in films and to make guest appearances on television until her retirement in 1984.

Columbia Records signed Albright as a vocalist, leading to the release of her album Lola Wants You in 1957. Albright’s subsequent role on Peter Gunn and her performances singing on that series led directly to her second album Dreamsville (1959), which was arranged by Henry Mancini and featured his orchestra. Albright is one of the few non movie-soundtrack singers for whom Mancini arranged.

In 1959, Albright was nominated for the Emmy Award for Best Supporting Actress (Continuing Character) in a Dramatic Series for her work on Peter Gunn. In 1966, she won the Silver Bear for Best Actress award at the 16th Berlin International Film Festival for her role in Lord Love a Duck.

Albright married and divorced three times, having no children of her own. Her first marriage, to Cleveland radio announcer Warren Dean, occurred in 1944. They divorced in 1949. Her second husband was actor Jack Carson (1951 to 1958). (Another source says that they married August 1, 1952, and divorced November 10, 1958.) Her third marriage was to Bill Chadney (1961 to 1975), who played Emmett, the piano player on Peter Gunn. They married on May 19, 1961 and divorced in 1975.


Following her retirement from acting, Albright spent her remaining years living in Toluca Lake, California. In 2014, she fell and fractured her spine, an injury that contributed to a general decline in her health over the next three years.

On March 23, 2017, Albright died at her home of natural causes at the age of 92. (by wikipedia)


By watching old “Peter Gunn” episodes I began to appreciate the sultry Jazz voice of Lola Albright. She sings great Jazz numbers in the show so I looked to see if she had any vinyl Jazz albums. This is the album that is affordable for most listeners and has Lola’s smooth voice to listen too. If you love Jazz, get this album. (by Oz)

This takes me back to the sixties! Never missed an episode of Peter Gunn, and Lola, and the great music were the highlight. This is very good album and an example of the best of that era. (by Robert L. Gaskill)

The only vocal album arranged by Mancini during this period that remains truly remarkable is Lola Albright’s Dreamsville (1959). Albright, of course, starred on the TV detective series Peter Gunn as the Gunn character’s girlfriend. Albright has a husky, relaxed vocal timbre on the album, and Mancini’s arrangements are sterling and beautiful. And according to arranger and Mancini expert Roy Phillips, that’s John Towner Williams on the album playing piano in Mancini’s style. Mancini’s music has long been likened to a dry martini. If that description is apropos, the songs on this album are the olives. (


Lola Albright  (vocals)
The Henry Mancini Orchestra


01. Two Sleepy People (Loesser/Carmichael) 3.10
02. Dreamsville (Mancini/Evans/Livingston) 3.22
03. We Kiss In A Shadow (Hammerstein II/Rodgers) 3.09
04. Brief And Breezy (Mancini/Cahn) 3.19
05. You’re Driving Me Crazy (What Did I Do?) (Donaldson) 2.45
06. They Didn’t Believe Me (Reynolds/Kern) 2.42
07. Soft Sounds (Mancini/Cahn) 2.39
08. Slow And Easy (Mancini/Cahn) 2.31
09. It’s Always You (Burke/Van Heusen) 3.54
10. Straight To Baby (Mancini/Livingston/Evans) 2.51
11. Just You Just Me (Greer/Klages) 3.05
12. Sorta Blue (Mancini/Cahn) 2.57




Tim Rose – Haunted (1997)

FrontCover1A nearly forgotten singer/songwriter of the ’60s, Tim Rose’s early work bore a strong resemblance to another Tim working in Greenwich Village around 1966-1967 — Tim Hardin. Rose also favored a throaty blues folk-rock style with pop production flourishes, though he looked to outside material more, wasn’t quite in Hardin’s league as a singer or songwriter, and had a much harsher, even gravelly vocal tone. Before beginning a solo career, Rose had sung with Cass Elliott in the folk trio the Big Three a few years before she joined the Mamas and the Papas. Signed by Columbia in 1966, his 1967 debut album (which actually included a few previously released singles) is considered by far his most significant work. Two of the tracks were particularly noteworthy: his slow arrangement of “Hey Joe” inspired Jimi Hendrix’s version and “Morning Dew,” Rose’s best original composition, became something of a standard, covered by the Jeff Beck Group, the Grateful Dead, Clannad, and others. Years later, though, it was debated as to whether Rose wrote the song, or whether folksinger Bonnie Dobson penned the original version. Some non-LP singles he recorded around this time have unfortunately never been reissued, and although he made several other albums up through the mid-’70s, none matched the acclaim of the first one. An influence on Nick Cave and others, Rose died on September 24, 2002. A posthumous album called Snowed In, which contains material Rose was working on in the last year of his life, was released in 2003 by Cherry Red Records. (by Richie Unterberger)


This is a part-studio, part-live album. The live tracks were recorded at The Garage and the Royal Albert Hall, London (where Tim was appearing on the bill with Nick Cave) in 1997

Excellent studio versions of new songs and outstanding live performances of his classic songs,
“Morning Dew”, “Hey Joe”, and “Come Away, Melinda”. His best album since his debut album on Columbia Records. To this day, I prefer his versions of “Hey Joe” and “Morning Dew” from his first album and this wonderful semi-live album! (Gary Cornelius)

After Tim Rose released his classic debut album in 1967, and several not-so-good records in the following years, he almost disappeared in the late seventies. His 1977 album The Gambler was left unreleased untill 1991. Throughout the eighties he worked as a construction laborer, recorded TV jingles, studied history at college, became a stockbroker on Wall Street and struggled with alcoholism.


Things started picking up for him in the nineties, though. His big fan Nick Cave lobbied him, did some guest appearances at concerts, and let Rose open up for him at the Royal Albert Hall in May ’97. Six songs from that performance are featured here on this album.

According to some online biographies, Cave produced the studio tracks presented here, though the CD only lists Rose himself as producer (except “Natural Thing”; co-produced by one Trevor Cummins). I can’t imagine that Cave had anything to do with these studio tracks; his good taste would surely have opposed the cheesy production with programmed drums and similar atrocities.

The eight live tracks are preferable. They feature Rose solo with acoustic guitar (on two tracks accompanied by Michael Winn on electric guitar). He’s in good voice, and does fine versions of his three most famous songs; “(Hey Joe) Cold Steel ’44”, “I Ain’t Had No Lovin'” (a. k. a. “Long Time Man”) and “Morning Dew”, sounding like an old blues man.

Too bad they didn’t go for an all-live album, or got a better producer and band for the studio sessions. (by Einar Stenseng)

And I include many entries in the condolence book, published shortly after his death.


Tim Rose (vocals, guitar)
Alan Seidler (piano)
Pierre Tubbs (keyboards)
Mickey Wynne (guitar)
Darius Ditullio, David Zinno, Eric Sample, Shawn Bight, B.Wilson, David Clarke


01. (Hey Joe) Blu Steel ’44 (Roberts) 5.12
02. Give Your Lovin To The Livin’ (Rose) 3.35
03. He Never Was A Hero (Rose/Ditullio) 3.12
04. Natural Thing (Cummins) 4.26
05. A Mite Confused (Rose) 4.41
06. I Ain’t Had No Lovin’ (Rose) 4.02
07. Because You’re Rich (Ditullio/Rose) 3.37
08. The Dealer (Rose) 5.19
09. Come Away, Melinda (Minkoff/Hellerman) 4.40
10. Haunted (Rose) 3.39
11. Four Dancing Queens Rose/Gold) 3.19
12. Hanging Tree (Rose/Gold) 4.22
13. I Sold It With My Car ((Goin’ Down In Hollywood) (Rose) 6.50
14. Morning Dew (Dobson/Rose) 6.09

All live tracks: Royal Albert Hall, London, 1997



Timothy Alan Patrick Rose (September 23, 1940 – September 24, 2002)