Mick Taylor – Live At The Zeche, Bochum/Germany (1989)


Michael Kevin Taylor (born 17 January 1949) is an English musician, best known as a former member of John Mayall’s Bluesbreakers (1967–69) and the Rolling Stones (1969–74). He has appeared on some of the Stones’ classic albums, including Let It Bleed (1969), Get Yer Ya-Ya’s Out! The Rolling Stones in Concert (1970), Sticky Fingers (1971) and Exile on Main St. (1972).

Since leaving the Rolling Stones in December 1974, Taylor has worked with numerous other artists and released several solo albums. From November 2012 onwards he participated in the Stones’ 50th-Anniversary shows in London and Newark, and in the band’s 50 & Counting tour, which included North America, Glastonbury Festival and Hyde Park in 2013. The band decided to continue in 2014 with concerts in the UAE, Far East & Australia and Europe for the 14 On Fire tour. He was ranked 37th in Rolling Stone magazine’s 2011 list of the 100 greatest guitarists of all time. Guns N’ Roses guitarist Slash states that Taylor had the biggest influence on him.


Mick Taylor performed the lead guitar solo on the 1988 Joan Jett & the Blackhearts top-10 single, “I Hate Myself for Loving You.” Taylor guested with the Grateful Dead on 24 September 1988 at the last show of that year’s Madison Square Garden run in New York. Taylor lived in New York throughout the 1980s. He battled with addiction problems before getting back on track in the second half of the 1980s and moving to Los Angeles in 1990.[citation needed] During this time Taylor did session work and toured in Europe, America and Japan with a band including; [29] either Eric Parker or Bernard Purdie on drums Wilbur Bascomb on bass and Max Middleton (formerly of the Jeff Beck Group), Shane Fontayne, and Blondie Chaplin. In 1990, his CD Stranger in This Town was released by Maze Records, backed up by a mini-tour including the record release party at the Hard Rock Cafe as well as gigs at the Paradise Theater. (by wikipedia)

And here´s a superb and excellent audience tape from this period, another item from my audience tapes collection.

And we hear a great Mick Taylor with his beautiful blues guitar and a real good band … they set the place on fire .. includig a cover version of the ZZ Top song “Goin´ Down To Mexico” and a pretty good version of “Red House ”

And the last encore was a killer version of “Jumpin´ Jack Flash” …


Wilbur Bascomb (bass)
Shayne Fontane (guitar)
Max Middleton
Eric Parker (drums)
Mick Taylor (leadguitar, vocals)


01. I Wonder Why (You´re So Mean To Me) (Lyons) 5.51
02. Announcement 0.18
03. Laundromat Blues (King) 5.31
04. Leather Jacket (Taylor) 6.09
05. Goin´ Down To Mexico (Gibbons/Hill/Ham) 7.18
06. Redhouse (Hendrix) 10.18
07. Goin´South (Part 1) (Oden) 11.30
08. Goin´South (Part 2) (Oden) 6.19
09. Announcement 0.20
10. Blues In The Morning (King) 8.47
11. Little Red Rooster (Dixon) 5.52
12. Announcement 0.13
13. Boogie Man (King) 7.38
14. Stranger In Town (Taylor) 5.55
15. Jumpin´ Jack Flash (Jagger/Richards) 6.12
16. Live at the Zeche (uncut edition, Part 1) 47.20
17. Live at the Zeche (uncut edition, Part 2) 43.45



Modern Jazz Quartet – Blues On Bach (1974)

FrontCover1Blues on Bach is an album by American jazz group the Modern Jazz Quartet recorded in 1973 and released on the Atlantic label. The album includes five John Lewis arrangements of pieces by Johann Sebastian Bach, interspersed with four original blues pieces “on” [the name] “Bach” — in keys (and with titles) that spell out in order the name B-A-C-H.

The five pieces arranged from Bach originals are: “Regret?” from “The Old Year Has Now Passed Away”; “Rise Up in the Morning” from “Sleepers Wake”; “Precious Joy” from “Jesu, Joy of Man’s Desiring”; “Don’t Stop This Train” from a selection in “Klavierbüchlein für Wilhelm Friedemann Bach”; and “Tears from the Children” from the Prelude 8 in E-flat minor from Book I of the “The Well-Tempered Clavier”).

For the four blues pieces, the “spelling” of the titles follows the system Bach and his German contemporaries used, in which the letter B indicates B-flat, and the letter H is B-natural. So, the four blues pieces that spell the name B-A-C-H are in the keys of B-flat (major), A (minor), C (minor) and B (major). (by wikipedia)


This album has an interesting concept, alternating four original blues with five adaptations of melodies from classical works by Bach. The Modern Jazz Quartet had long been quite adept in both areas, and despite a certain lack of variety on this set (alternating back and forth between the two styles somewhat predictably), the music is largely enjoyable. Vibraphonist Milt Jackson, pianist John Lewis (doubling here on harpsichord), bassist Percy Heath, and drummer Connie Kay were still all very much in their musical prime during the 21st year of the MJQ’s existence. (by Scott Yanow)


Do not neglect hearing this recording especially “Blues in H” as one of the better performances by this group. Creativity in composition by John Lewis is what makes the recording so good for me. Compare this with their recording in Sweden in 1960’s for a live performance. You had to see and hear this group rather than merely listen to it. I was privileged to have had that chance in 1990. “Blues on Bach” will change your mind about the relevance of this group’s contribution to jazz – it was much more lasting than many others say. Interplay with the double bass and piano with Mr. Milt Jackson was worth the time. Read the obituary for Mr. Jackson in the New York Times. This group made an introduction to world music if you want to say something profound about it. (by Freddie Frumko)


Percy Heath (bass)
Milt Jackson (vibraphone)
Connie Kay (drums)
John Lewis (piano, harpsichord)

Alternate frontcovers:

01. Regret? (Lewis) 2.07
02. Blues In B Flat (Lewis) 4.58
03. Rise Up In The Morning (Lewis) 3.25
04. Blues In A Minor (Lewis) 7.54
05. Precious Joy (Lewis) 3.15
06. Blues In C Minor (Jackson) 8.00
07. Don’t Stop This Train (Lewis) 1.48
08. Blues in H (B) (Jackson) 5.47
09. Tears From The Children (Lewis) 4.25

Music inspired by Johann Sebastian Bach




More from the Modern Jazz Quartet:

Accordions Go Crazy – Overboard (1988)

LPFrontCover1Accordions Go Crazy was a six piece band formed in 1985 by the accordionist, pianist and performance artist Mike Adcock including Clive Bell, Dean Speedwell Brodrick, Nicola Hadley, Sylvia Hallet and Stuart Jones. The group featured the accordion as the lively, fresh and fun-loving instrument it was always meant to be. On occasion every member played an accordion, but usually the group presented two or three accordions complemented by combinations of bass guitar, drums, voices, violin, flute, piano, trumpet and trombone.

The music ranged from dance to folk to pop to experimental. As a dance band,
Accordions Go Crazy presented Cajun two-steps, French waltzes, Norwegian folk dances, rock’n’roIl and original material. For a Concert situation a wider range of pieces were available, maybe a Romanian birdsong scherzo compete with a forest full of larks, or an aching Roy Orbison baIIad. The band’s experimental side was much less predictable, venturing boldly into the uncharted territory of the avantgarde accordion.

They recorded three albums on the Trikont label: Overboard in 1988, Zombie Dancer in 1989 (with Nicola Hadley replaced by drummer Ann Day), and The art of paper folding in 1991, with Stuart Jones replaced by Ruth Bitelli on bass guitar. Gradually people got more involved in other projects, and Accordions Go Crazy last played on a short tour of Italy in 1991, with Dan Brown replacing Ruth on bass. (last.fm)

Accordions Go Crazy01

An offshoot from the London Musicians’ Collective, Accordions Go Crazy, formed 1985, included musicians then playing with Kahondo Style, the English Gamelan Orchestra or British Summer Time Ends, as well as other British performance groups. They released 3 LPs on the German Trikont label between 1988 and 1991, this one being the first. Members Sylvia Hallett and Clive Bell also included one of the band’s compositions on their 1988 Golden Apples compilation, posted here.

All members (Mike Adcock, Clive Bell, Dean Speedwell Brodrick, Nicola Hadley, Sylvia Hallett and Stuart Jones) play accordion alternatively, in addition to various instruments. Overboard is a joyous celebration of the accordion’s ebulient potentialities through evocative, festive and multi-colored dancing numbers sourced from Cajun, Bulgarian, Romanian and Klezmer traditions. In line with the accordion’s generosity and profuse output, the arrangements favor musicians’ virtuosity and interplay, a trait further enhanced by live-in-the-studio recording conditions. Of course, the title of the band doesn’t imply the instruments are crazy but rather that the accordions will drive you crazy. You’ve been warned. (continuo.wordpress.com)

What a great and funny album !


Mike Adcock (accordion, piano, vocals)
Clive Bell (accordion, flute, khene, vocals)
Dean Brodrick (accordion, percussion, bassoon, vocals)
Nicola Hadley (accordion, percussion, vocals)
Sylvia Hallett (accordion, violin, trombone, vocals)
Stuart Jones (accordion, bass, trumpet)

Mike Adcock

01. Symphony For Massed Bands No. 1 (Hallett) 4.02
02. Cotswold Twostep (Adcock) 2.48
03. Tango René (Adcock) 2.20
04. Halinka’s Fall (Brodrick) 4.06
05. Violin Solo “The Red Shred” / Imalamayka (Hallett/Traditional) 4.31
06. See My Baby Jive (Wood) 4.33
07. The Falcon Waltz (Adcock) 3.24
08. Ciocirlia “The Lark” (Traditional) 3.11
09. Lebedik un Freilach (Traditional) 2.18
10. Colinda (Traditional) 3.05
11. The Delta (Adcock) 2.18
12. Sea Cruise (Smith) 2.25
13. Diamond Tongued (Bell) 1.34
14. The Third Coming (Adcock) 5.16