Peter Herbolzheimer Rhythm Combination & Brass – Wide Open (1973)

FrontCover1Peter Alexandru Herbolzheimer (31 December 1935 – 27 March 2010) was a Romanian-German jazz trombonist and bandleader.

Herbolzheimer was born to a Romanian mother and a German father in Bucharest, Romania. His family emigrated in 1951 from Communist Romania to West Germany. In 1953, he moved to the United States, where he enrolled in Highland Park high school in Michigan, graduating in 1954. He was a member of choral groups and orchestra and played guitar in bands in Detroit. In 1957, he returned to Germany and began playing valve trombone in “open mike” groups. He returned to Michigan, but his visa was denied.


For one year he studied at the Nuremberg Conservatory. In the 1960s, he played with the Nuremberg radio dance orchestra and with Bert Kämpfert’s orchestra. In 1968, he became a member of the pit orchestra of Hamburg theater (Deutsches Schauspielhaus) directed by Hans Koller. In 1969, he formed the Rhythm Combination and Brass big band for which he wrote most of the arrangements. In the late 1970s, the band toured successfully with a “jazz gala” program with guest stars such as Esther Phillips, Stan Getz, Nat Adderley, Gerry Mulligan, Toots Thielemans, Clark Terry, and Albert Mangelsdorff. In later years, the band played concert tours, television shows, and jazz festivals.


In 1972, Herbolzheimer wrote music for the Edelhagen Band’s opening of the Olympic Games in Munich. In 1974, Herbolzheimer’s band entered an annual television competition in the Belgian seaside resort Knokke, winning the Golden Swan Award. He also won the International Jazz Composers Competition 1974 in Monaco. Herbolzheimer’s arrangements combine swing, Latin music, and rock music.

Quincy Jones, Paul Kuhn & Peter Herbolzheimer:

In the 1970s and 1980s, Herbolzheimer led his orchestra for German television networks with guest musicians such as Ella Fitzgerald, Benny Goodman, Sammy Davis Jr., Dizzy Gillespie, and Al Jarreau. Between 1987 and 2006, Herbolzheimer was the musical director of Germany’s national youth jazz orchestra, the Bundes Jazz Orchester. He conducted regular workshops and clinics for big band jazz. In 2007, he was chosen music director, arranger, and conductor of the European Jazz Band, which toured throughout Europe until 2009.

Herbolzheimer died at the age of 74 in his hometown of Cologne, Germany on 27 March 2010. (wikipedia)


This is the 3d album with his “Rhythm Combination and Brass Big band:

German writer/music critic Siegried Schmidt-Joos described RC&B founder Peter Herbolzheimer’s jazz-feel as “a sackful of soul”. The band offers up a full bag of brassy tricks on their second MPS recording of 1973 (see WAITAMINUTE). The amphibian in Frog Dance was definitely Latin, as the piece gets a jolt with an electrifying solo by trumpeter Mikkelborg. With a bold and brassy arrangement and soulful solos, That Old Bus Smell reeks of funk, whereas Babo takes the fusion trail with trombonist Jiggs Whigham going electric. There’s the Horace Silver classic Nica’s Dream, the warm Latin of Like a Soft Breeze with jazz giant Art Farmer’s breathless solo, as well as the hard-driving pulse of Blue Dervish swirling around powerful piano and soprano solos. The Dolphyesque melody of Cats stretches into swinging jazz punctuated by Van Rooyen’s and Reith’s hip solos, whereas Philip Catherine’s overpowering guitar solo steals the spotlight on Hi-Jack. Peter once commented that he made music for the stomach as well as the head. Wide Open offers up a full course with all the trimmings – luscious arrangements, a vibrant rhythmic foundation, and heady solos. RC&B at its brassy best. (


Philip Catherine (guitar)
Rudi Füsers (trombone)
Herb Geller (saxophone. flute)
Peter Herbolzheimer (trombone)
Tony Inzalaco (drums)
Rick Kiefer (trumpet)
Sabu Martinez (precussion)
Palle Mikkelborg (trumpet)
Horst Mühlbradt (piano, percussion)
Niels-Henning Ørsted Pedersen (bass)
Åke Persson (trombone)
Dieter Reith (keyboards)
Ack van Rooyen (trumpet)
Jiggs Whigham (trombone)


01. Frog Dance (Herbolzheimer) 5.16
02. That Ol‘ Bus Smell (Reith) 6.00
03. Babo (Herbolzheimer) 4.17
04. Nica’s Dream (Silver) 5.29
05. Like A Soft Breeze (Herbolzheimer) 5.33
06. Blue Dervish (Mühlbradt) 6.00
07. Cats (v. Rooyen) 4.51
08. Hi-Jack (Reith) 6.12



This album was released in Japan as CD in 1999:
Japan Edition

Peter Herbolzheimer1

UK – Cleveland (1978) + Long Beach (1979)

FrontCover1Featuring members of Yes, King Crimson, Roxy Music, and Soft Machine, U.K. was one of the most prominent progressive rock supergroups of the late ’70s. Various members of U.K. — guitarist Allan Holdsworth, keyboardist/violinist Eddie Jobson, bassist/vocalist John Wetton, and drummer Bill Bruford — had all played together in their previous bands, but when the group formed in 1977, it was the first time all of the musicians had played together. Although the lineup was unstable — Holdsworth and Bruford left after one album, with former Frank Zappa drummer Terry Bozzio replacing Bruford — and the group was short-lived, the band maintained a dedicated cult following years after their early-’80s breakup.


Prior to the formation of U.K., Bruford and Wetton had recently played together in King Crimson, and Holdsworth had played guitar on Bruford’s debut album, 1978’s Feels Good to Me. Shortly after the recording of Feels Good to Me, Bruford, Holdsworth, and Wetton formed U.K., adding former Roxy Music member Eddie Jobson to the lineup.


U.K. released their eponymous debut in 1978 and the album captured the attention of progressive rock and jazz fusion fans, as did the record’s supporting tour. At the conclusion of the tour, Holdsworth and Bruford left the group to form Bruford, leaving keyboardist Jobson as the band’s leader. U.K. didn’t hire another guitarist, but they did have Terry Bozzio replace Bruford. The new lineup of U.K. released Danger Money in 1979 and followed the album with a tour. Once the tour was completed, the group broke up. The posthumous live album Night After Night was released shortly afterward. Following the disbandment of U.K., Eddie Jobson became a member of Jethro Tull, Terry Bozzio formed Missing Persons, and John Wetton formed Asia with fellow progressive rock stars Steve Howe, Carl Palmer, and Geoffrey Downes. (by Stephen Thomas Erlewine)


And here´s an excellent broadcast recording.

Throughout their brief existence, U.K.’s music was characterised by skilled musicianship, jazzy harmonies, close harmony vocals, mixed meters, electric violin solos, and unusually varied synthesiser (Yamaha CS-80) sonorities. Relative to specific styles, the band spans various genres ranging from progressive rock to jazz fusion. (wikipedia)


So … listen and enjoy !

Recorded live at Agora Ballroom, Cleveland, Ohio, USA on 9th November 1978 (stereo soundboard)


Bill Bruford (drums, percussion)
Allan Holdsworth (guitar)
Eddie Jobson (keyboards, violin)John Wetton (bass, vocals)
Live Long Beach:
Terry Bozzio (drums)
Eddie Jobson (keyboards, violin)
John Wetton (bass, vocals)

The official BBC Transcription Services record:

01. Introduction 0.28
02. Alaska (Jobson) 4.28
03. Time To Kill (Jobson/Wetton/Bruford) 5.53
04. The Only Thing She Needs (Jobson/Wetton)
05. Carrying No Cross (Jobson/Wetton)
06. Forever Until Sunday (Brudford)
07. Thirty Years (Jobson/Wetton/Bruford)
08. By The Light Of Day (Jobson/Wetton)
09. Presto Vivace And Reprise (Jobson/Wetton)
10 In The Dead Of Night (Jobson/Wetton) 7.35
11. Caesar’s Palace Blues (Jobson/Wetton)
Live at the Long Beach Arena, Long Beach, CA; November 14, 1979:
12. Nostalgia (Jobson) 4.20
13. Rendezvous (Jobson/Wetton) 6:02
14. Night After Night (Jobson/Wetton) 4.38
15. The Only Thing She Needs (Jobson/Wetton) 9.43
16. Waiting For You (Jobson/Wetton) 5.46


John Wetton

Alan Holdsworth

Weather Report – Same (1971)

FrontCover1Weather Report was an American jazz fusion band active from 1970 to 1986. The band was founded in 1970 by Austrian keyboardist Joe Zawinul, American saxophonist Wayne Shorter, Czech bassist Miroslav Vitouš, American drummer and vocalist Alphonse Mouzon as well as American percussionists Don Alias and Barbara Burton. The band was initially co-led by co-frontmen Joe Zawinul and Wayne Shorter but, subsequently as the 1970s progressed, Joe Zawinul largely became the sole musical leader of the group. Other prominent members at various points in the band’s lifespan included Jaco Pastorius, Alphonso Johnson, Victor Bailey, Chester Thompson, Peter Erskine, Airto Moreira, and Alex Acuña. Throughout most of its existence, the band was a quintet consisting of Zawinul, Shorter, a bass guitarist, a drummer, and a percussionist.

Weather Report01

The band started as a free improvising jazz group with avant-garde and experimental electronic leanings (pioneered by Zawinul); when Vitouš left Weather Report (due mostly to creative disagreements), Zawinul increasingly steered the band towards a funky, edgy sound incorporating elements of R&B and native musics from around the world. Zawinul used the latest developments in synthesizer technology, and he took advantage of a large variety of sounds and tone colors to make the band stand out. During the first half of their career, Weather Report were seen as one of the defining acts in modern jazz, winning the DownBeat “best album award” five times in a row.

Weather Report02

Alongside bands such as Mahavishnu Orchestra, Return to Forever, Herbie Hancock’s Headhunters (all with members inspired by and partially responsible for the fusion-era work of Miles Davis), Weather Report is widely considered one of the defining bands of the jazz fusion genre. (wikipedia)

Weather Report03

Weather Report is the debut studio album by American jazz fusion band Weather Report, released on May 12, 1971 by Columbia Records. The album was reissued by Sony and digitally remastered by Vic Anesini in November 1991 at Sony Music Studios in New York City.

Writing on the back sleeve of the album, Clive Davis, the then president of Columbia Records, opines: “There have always been two kinds of musicians-those who create and those who imitate. Weather Report creates. It is that rare thing in music, an original […] Together these gifted young musicians have created Weather Report, a soundtrack for the mind, the imagination, for opening up heads and hearts.”

Weather Report05

Reviewing in Christgau’s Record Guide: Rock Albums of the Seventies (1981), Robert Christgau called the album “In a Silent Way played mostly for atmosphere”, and went on to write: “The Milesian demi-jazz of side two sounds pretty finky (no misprint intended), but the tone-poem impressionism of side one does its mysterious work. Highlight: the opening mood piece, ‘Milky Way,’ in which two Silent Way vets, soprano saxophonist Wayne Shorter and pianist Joe Zawinul, make sounds that suggest a carillon approaching a time warp.” (wikipedia)

Weather Report04

Here we have the free-floating, abstract beginnings of Weather Report, which would define the state of the electronic jazz/rock art from its first note almost to its last. Their first album is a direct extension of the Miles Davis In a Silent Way/Bitches Brew period, more fluid in sound and more volatile in interplay. Joe Zawinul ruminates in a delicate, liquid manner on Rhodes electric piano; at this early stage, he used a ring modulator to create weird synthesizer-like effects. Wayne Shorter’s soprano sax shines like a beacon amidst the swirling ensemble work of co-founding bassist Miroslav Vitous, percussionist Airto Moreira, and drummer Alphonse Mouzon. Zawinul’s most memorable theme is “Orange Lady” (previously recorded, though uncredited, by Davis on Big Fun), while Shorter scores on “Tears” and “Eurydice.” One of the most impressive debuts of all time by a jazz group. (by Richard S. Ginell)


Airto Moreira (percussion)
Alphonse Mouzon (drums, vocals)
Wayne Shorter (saxophone)
Miroslav Vitouš (bass)
Joe Zawinul (piano)
Don Alias (percussion)
Barbara Burton (percussion)

Weather Report06Tracklist:
01. Milky Way (Shorter/Zawinul) 2:33
02. “Umbrellas” Shorter, Zawinul, Miroslav Vitouš 3:27
03. “Seventh Arrow” Vitouš 5:23
04. “Orange Lady” Zawinul 8:44
Side twoNo. Title Writer(s) Length
05. “Morning Lake” Vitouš 4:26
06. “Waterfall” Zawinul 6:20
07. “Tears” Shorter 3:25
08. “Eurydice” Shorter 5:45




Neil Larsen – High Gear (1979)

FrontCover1Neil Larsen (born August 7, 1948) is an American jazz keyboardist, musical arranger and composer. He was born in Cleveland, Ohio and grew up in Sarasota, Florida before relocating to New York and then, in 1977, Los Angeles.

Larsen was born in Cleveland, Ohio and grew up in Sarasota, Florida. He learned piano, drawing inspiration from jazz artists John Coltrane, Miles Davis and the Modern Jazz Quartet, and from contemporary rock acts.

In 1969, he was drafted to serve in the Vietnam War. During his time in Vietnam, he worked as a band director, co-ordinating musical entertainment for US armed forces personnel. After his discharge, he moved to New York to work as a musician.

Neil Larsen02

While in New York in the early 1970s, Larsen wrote television jingles and played on sessions for various recording artists. He formed the band Full Moon with jazz guitarist Buzz Feiten, and their self-titled debut album was released in 1972. Larsen was briefly a member of the Soul Survivors. He contributed as keyboardist, writer and arranger on their 1974 self-titled album on the TSOP label. He began touring as a member of Gregg Allman’s band in 1975.

In 1977, Larsen relocated to Los Angeles, where he played on sessions by producers such as Tommy LiPuma, Russ Titelman and Herb Alpert. These projects led to Larsen signing with Alpert’s record company, A&M Records, for which he recorded on the Horizon label. Larsen’s debut studio album, Jungle Fever, was released in September 1978. Larsen toured the US in support of the release with a band that included Feiten.

Neil Larsen01

The title track from his second studio album, High Gear, was nominated for the 1980 Grammy Award for Best Rock Instrumental Performance. The album peaked at number 153 on the Billboard Top LPs & Tape chart in the US and included musical contributions from Feiten, Michael Brecker, Steve Gadd and Paulinho da Costa.

Larsen collaborated further with Feiten in the jazz–rock fusion group the Larsen-Feiten Band. A self-titled album The Larsen-Feiten Band was released in 1980 on Warner Bros. Records. He has also recorded and toured with guitarist Robben Ford, who contributed to Larsen’s 2007 album Orbit.

Neil Larsen04

His compositions have also been recorded by George Benson and Gregg Allman, among others. Larsen took part in Miles Davis’s Rubberband sessions in 1985–86, which were later released in 2019. His song “Carnival” was later adapted by Davis into the piece “Carnival Time”.

Larsen has worked as a session musician for many rock artists, including Rickie Lee Jones, George Harrison, Kenny Loggins and Don McLean. He was the pianist and musical arranger for the 20th Century Fox Television show Boston Legal, and musical director for jazz singer Al Jarreau.

From 2008, he toured and recorded as a member of Leonard Cohen’s band. Larsen performed on Cohen’s Old Ideas (2012) album and on the singer’s final world tour, in 2012–13. Cohen regularly introduced him on stage as “today’s foremost exponent of the Hammond B-3 organ”. (wikipedia)

Neil Larsen03

And here´s is his second solo album:

This is just great rock/ fusion album, I’ll be fumbling thru my vinyl albums and see this and I will always pull it and give a spin. You play the first side and flip and side two is equally incredible. It’s a throwback style but highly recommended! (Christopher Ohlsen)

However, the album would have deserved a better cover !


Michael Brecker (saxophone)
Steve Gadd (drums)
Buzzy Feiten (guitar)
Abraham Laboriel (bass)
Neil Larsen (keyboards)

Neil Larsen02Tracklist:
01. High Gear 5.03
02. Demonette 5.06
03. Futurama 5.15
04. This Time Tomorrow 4.43
05. Nile Crescent 6.15
06. Rio Este 3.58
07. Night Letter 3.49


More from Neil Larsen:

Jeff Beck with Stanley Clarke – Nippon Budokan (1978)

FrontCover1Two giants together:

Geoffrey Arnold Beck (24 June 1944 – 10 January 2023) was an English guitarist. He rose to prominence as a member of the rock band the Yardbirds, and afterwards founded and fronted the Jeff Beck Group and Beck, Bogert & Appice. In 1975, he switched to an instrumental style with focus on an innovative sound, and his releases spanned genres and styles ranging from blues rock, hard rock, jazz fusion and a blend of guitar-rock and electronica.

Beck was ranked in the top five of Rolling Stone and other magazines’ lists rankings of the greatest guitarists. He was often called a “guitarist’s guitarist”. Rolling Stone described him as “one of the most influential lead guitarists in rock”.

Jeff Beck02

Although he recorded two successful albums (in 1975 and 1976) as a solo act, Beck did not establish or maintain commercial success like that of his contemporaries and bandmates. He recorded with many artists.


Beck earned wide critical praise and received the Grammy Award for Best Rock Instrumental Performance six times and Best Pop Instrumental Performance once. In 2014, he received the British Academy’s Ivor Novello Award for Outstanding Contribution to British Music. He was inducted into the Rock and Roll Hall of Fame twice: first as a member of the Yardbirds (1992) and secondly as a solo artist (2009). (wikipedia)

Jeff Beck03

Stanley Clarke (born June 30, 1951) is an American bassist, film composer and founding member of Return to Forever, one of the first jazz fusion bands. Clarke gave the bass guitar a prominence it lacked in jazz-related music. He is the first jazz-fusion bassist to headline tours, sell out shows worldwide and have recordings reach gold status.


Clarke is a 5-time Grammy winner, with 15 nominations, 3 as a solo artist, 1 with the Stanley Clarke Band, and 1 with Return to Forever.[4][5] Clarke was selected to become a 2022 recipient of the National Endowment for the Arts Jazz Masters Fellowship.

A Stanley Clarke electric bass is permanently on display at the National Museum of African American History and Culture in Washington, D.C. (wikipedia)


Jeff Beck’s notable temperament is the source for much of his creativity onstage. It’s also the cause for his desire to expand his musical vocabulary and expression with other artists. The Jeff Beck Group is one such project, which was followed by works with Tim Bogart, Carmine Appice, and most notably with Jan Hammer.

But the project with Stanley Clarke stands out. According to the Jeff Beck Fanzine, when Beck was recording Blow By Blow he “was really into Stanley Clarke’s music. When he toured to promote Blow By Blow, he performed Clarke’s song Power in concert. Clarke heard about this and was knocked out by it. When Beck was around the area he dropped by his Long Island home and introduced himself. The two immediately began a friendship and Beck ended up playing on a few of his records.”

This tour of Japan and a tour of Europe in 1979 would be their only live appearances.


Clarke’s reputation among bass players is similar to Becks among guitarists. He’s known for his creativity, innovation and expanding the instrument’s use in musical composition and performance attaining star status as a solo artist. He was the first bass player to tour solo and each provides a fascinating foil for the other.

Some suggest that Clarke’s efforts live were obscured by Beck, but that’s not exactly true. Most of the set is dominated by Beck’s numbers, but there are a fair number of Clarke’s songs which allow him to display his talent. Hearing them compliment (not dueling against) one another is a treat as well since Beck had never had such a lyrical bassist before. (

So … listen and enjoy this very rare recordings …

Recorded live at the Budokan, Tokyo, Japan 30th November 1978.
excellent audience recording


Jeff Beck (guitar)
Stanly Clarke(bass, vocals on 07.)
Tony Hymas (keyboards)
Simon Phillips (drums)

Alternate backcover:

01. Darkness / Earth In Search Of A Sun  (Hammer) 2.31
02. Star Cycle (Hammer) 4.35
03. Freeway Jam (Middelton) 6.49
04..Cat Moves (Hammer) 5.21
05. Goodbye Pork Pie Hat (Mingus) 4.56
06. Bass Solo/ School Days (Clarke) 10.38
07. Journey To Love + Lopsy Lu (Clarke) 11.32
08. Diamond Dust (Holland) 6.14
10. Scatterbrain (Beck) / Drum Solo (Phillips) 8.56
11. Rock ‘n’ Roll Jelly (Clarke) 7.21
12. Announcement
13. Cause We’ve Ended As Lovers (Wonder) 4.23
13. Blue Wind (Hammer) 6.02
14. Superstition (Wonder) 4.56



More from Jeff Beck:

More from Stanley Clarke:

Jeff Beck01

Exmagma – Goldball (1974)

FrontCover1The EXMAGMA LPs usually get filed under Krautrock, but there’s nothing typically German in the way they develop their freeform experiments, that turn out to be well structured on the third hearing. No AMON DÜÜL freakouts, no metric rhythms à la CAN, and two albums that – though mostly instrumental – sound totally different. They’ve been often described as Jazz Rock, Fusion, or even Electronic Avant-Garde, but none of these pigeonholes could ever do them justice. Bored with YES, GENESIS, SUPERTRAMP and all the crap they nowadays try to sell you under “Symphonic-Prog”, they dropped some acid and set sail for new shores, weaponed only with sticks, strings and keys.

The two German members of the group were Thomas BALLUFF from MULI & THE MISFITS (a ’60s Mod-Soul band that depended on his Hammond B-3 grooves rather than on brass) and guitar and bass player Andy GOLDNER, who came from FIVE FOLD SHADE, Stuttgart’s premier R&B band in the PRETTY THINGS / YARDBIRDS category. Fred BRACEFUL, the late drummer, was born in Detroit and came to Germany with the US Army in the late ’50s. He was a well-paid free-lancer in the early ’60s, but never quite your standard jazz drummer who’d be content to build the backbone of a rhythm section. With like-minded keyboarder Wolgang DAUNER, he formed ET CETERA in 1970, a group that released one of the few real necessary and satisfying albums of a genre that we now know as Krautrock. (Back then we didn’t call it Kraut, and Rock without Roll is a four letter word anyway.) When DAUNER started flirting with the eight letter word (jazzrock, dummy!), BRACEFUL joined MAGMA, the band that changed to EXMAGMA after finding out about the French outfit of the same name. (The fact that EXMAGMA’s second LP was only released in France caused a lot of “who’s who” guessing among collectors, especially as the French MAGMA sound a lot more Teutonic than EXMAGMA.)


Right on, what about the music? The eponymous first LP, recorded in 72, reminds me a lot of the late ’60s SOFT MACHINE, taking a direction that probably wouldn’t have caused Robert WYATT to quit. There’s no sign of bombastic or pathetic ingredients, which makes comparisons with PINK FLOYD misleading (unless you saw them after “Ummagumma” but before “Atom Heart Mother”). One side live, one side studio, EXMAGMA are pouring it all out and leave it up to you. Recommended to open minded explorers or acid eaters. Budweisers won’t do the trick.
In early ’73 EXMAGMA toured France, where their sound experiments were well received (though they always devided an audience to pro and contra factions) and stayed there for about two years. “Goldball” was recorded in Conny PLANK’s sudio near Cologne, but only released on the tiny French label Urus.

While the debut was floating like a raft on sometimes stormy sea, this one grooves like HENDRIX jamming with Miles DAVIS, teaching each other “Dolly Dagger” and “Bitches Brew”. (If you’ve ever heard Miles DAVIS play the organ instead of the trumpet, you’ll know what I mean.) The second LP definitely is the more accessible record, but still a well deserved shock to those who associate groove with jazzrock. The spirit is Rock’n’Roll, the approach is improvisation. If you expect fusion, prepare for confusion. It’s the kind of record that makes me curse myself for not arranging my collection alphabetically, I don’t know where to put it thematically.


It’s yet another bundle of joy with lots of good vocals and weird as they are, songs that sometimes rock like hell. This, their most aggressive and mature epic, stayed in the can because their record company insisted on stripping the double album concept to a single LP. The band refused back then, but the two remaining members found a keen little company (sic!) 26 years later and “Exmagma3” will be out on Daily Records in the near future. Till then, have a whiff of their drug rock fusion, if you dare. If you need a taster, go to the CD compilation of German underground bands, “Obscured By Krauts”. (Werner Voran, Ugly Things Magazine; liner notes taken from the 2003 CD release of “Exmagma & Goldball”)

Why this artist must be listed in :
With a sound somewhere between the SOFT MACHINE and, say, AMON DÜÜL II, EXMAGMA provide us with a slightly psychedelic form of Jazzrock, including hints of Krautrock. Their experimental compositions, ranging from lengthy improvised pieces to short, quirky tracks, leave me with no doubt to conclude that this is indeed a progressive rock band, worthy of inclusion.


And here´s their second album:
If you love krautrock dementia and jazz rock fusion eccentries this album is for you. Exmagma is a captivating german rock collective that published only two albums in their entire career but believe me all their compositions are highly inspired, catchy, playful and cearly accomplished in term of technical skills. This second album is as brilliant as their first, delivering an impressive free form jazzy rock with lot of energy and an immense feeling for improvisation. Marylin f Kennedy starts with a trippy, stoned jazz rockin’ epic ballad. An atmospheric acid piece that combines a perfectly achieved sense of improvisation with a solid rhythmical background. Adventures With Long S.tea & 25 Two Seconds Before Sunrise are moving jazzy rockin’ improvisation plenty of Hammond organs, moving hallucinatory harmonies and efficient rythms. Some tracks as Groove Tango Wolperaiso and Greetings To The Maroccan Farmers feature rock in opposition sense of derision and a particular taste for avant garde. Compositions as Jam Factory For People Insane or Last But One Train To Amsterdam represent the band at their most progressive moments, with incredibly technical improvisations and constant changing moods. This band almost beat Embryo, Kraan and others kraut-jazz fusion at their own game. Supreme stuff! My favourite kraut-jazz-psych band with Xhol and Annexus Quam. (by Philippe Blache)


Thomas Balluff (keyboards, effects, trumpet, flute, voice)
Fred Braceful (drums, percussion, trumpet)
Andy Goldner (bass, guitar, saxophone, tape recorder, voice)


01. Marilyn F. Kennedy (Braceful/Goldner/Balluff) 2.29
02. Dada (Goldner) 3.36
03. Adventures With Long S.Tea (Goldner) 2.51
04. 25 Two Seconds Before Sunrise (Goldner) – 4:50
05. Groove (Braceful/Goldner/Balluff) 4.51
06. Tango Wolperaiso (Braceful/Goldner/Balluff) 2.35
06. Jam Factory (For People Insane) (Andy Goldner) 4.03
07. Habits (Goldner) 5.57
08. Dance Of The Crabs (Goldner) 0.52
09. Greetings To The Maroccan Farmers (Braceful/Goldner/Balluff) 6.38
10. Last But One Train To Amsterdam (Andy Goldner) 0.57



Fred Braceful (2 May 1938 in Detroit, USA, – 6 March 1995 in Munich, Germany):
Fred Braceful

The official website:

Cincinnato – Same (1974)

FrontCover1The odd story of Cincinnato was not unusual in the confusion of the early 70’s Italian musical scene: signed to a major label, PDU, this group of unknown and little experienced musicians had the chance of releasing an album and then disappeared.

The group was from near Varese, and had previously played since 1970 as Eros Natura, but the record company suggested a change of name, and Cincinnato came out in 1972.
Their label PDU is remembered by Italian collectors because of their distribution of German cosmic classics like the ones on Ohr and Kosmische Kuriere labels, and this was (along with Logan Dwight’s sole album) one of their very limited ventures into prog territory.

The album was recorded in just three days, in a single take; side A includes three Booklet1instrumental tracks that can easily described as jazz-rock or in some cases simply jazz (as in Esperanto), built on piano and with good guitar playing by Gianni Fantuzzi. Side B contains a long track, L’ebete, more than 20 minutes long, with a good vocal beginning (vocals are uncredited on the cover, the voice was by keyboardist Urbanelli), that evolves in a jazz-influenced instrumental part but doesn’t lose its prog influences.

A disjointed album that contains good playing and that nice long track, but unfortunately unknown to many fans, being very difficult to find before the recent CD reissue.

The group split in 1973 when Urbanelli and Vanetti quit; the only member having had some success is drummer Donato Scolese, who played with Franco Battiato in the 80’s and then returned to the jazz club circuit.

Since 2010 two of the original members, Giacomo Urbanelli and Gianni Fantuzzi, along with Franco Erenti (keyboards) and Paolo Burattin (bass), which had already collaborated with the band in the 70’s, started the Thauma Cincinnato project and issued in 2016 a self-produced CD, L’essere e l’auriga, mixing modern sounds with some old-styled progressive atmospheres. (

As Thauma Cincinnato in 2016:
Giacomo Urbanelli (keyboards, vocals), Gianni Fantuzzi (guitar),
Franco Erenti (bass) and Donato Scolese (drums)

A rare album by the Varesini Cincinnato, who before this album were called Eros Natura. An album recorded in three days, almost live, despite this it is a truly enjoyable album, Italian progressive with a jazz vein, three very good songs on side A and a long Suite (L’ebete) that occupies the entire side B of the original album.

There is also a CD version of this album from 2006 (if I’m not mistaken) containing 3 bonus tracks ! (

The 2006 CD reissue includes an unreleased live recording from an Eros Natura concert (“Eros Natura”) along with two new tracks recorded by the original band members (“Tramonto D’Ottobre 2006″ and ”


“Cincinnato” (released in 1974) is the name of the only album produced by the Italian band, Cincinnato. Musically the style of the group is located within the coordinates of jazz rock structured in guitar and piano with sound ingredients very close to Soft Machine.


Incredible italian avant/free progressive album from the historic early Seventies finally rediscovered and dusted off the vaults !!! One of the rarest italian progressive albums of all time: Cincinnato, a masterwork recorded in 1974. Featuring some great progressive and jazz-rock tracks and an incredible 20-minutes long suite. This is a superb release and the ultimate collector’s item of the italian prog scene of the Seventies. (


Gianni Fantuzzi (guitar, vocals)
Donato Scolese (drums)
Giacomo Urbanelli (keyboards)
Annibale Vanetti (bass)
Franco Erenti (bass on 07.)
Piero Orsini (bass on 05. + 06.)


01. Il Ribelle Ubriaco (Urbanelli) 9.59
02. Tramonto D’Ottobre (Urbanelli) 2.40
03. Esperanto (Urbanelli) 6.51
04. L’Ebete (Urbanelli/Fantuzzi) 20.40
05. Tramonto D’Ottobre 2006 (Urbanelli/Scolese) 5.07
06. Tangasco (Urbanelli/Scolese) 5.34
07. Eros Natura (live 1972) (Urbanelli/Scolese/Fantuzzi ) 11.55

05. + 06. recorded in 2006
07. recorded as Eros Natura in 1972



United Jazz + Rock Ensemble – Live At The Musee d’Art Moderne, Paris (1985)

FrontCover1The United Jazz + Rock Ensemble (abbr. “United” or “UJRE”) developed from a group of jazz musicians that was formed for a 1974 to 1975 television show of Süddeutscher Rundfunk (South German Broadcasting). Almost all future members of “United” were present from the beginning.

The group played mostly original compositions ranging from jazz to rock. Charlie Mariano’s experience with Indian music occasionally brought in ethnic elements. Because all band members extensively played in their own bands before and after UJRE was formed, the ensemble was often called the ‘Band of Band Leaders’. Some of the members hold teaching positions with various musical colleges.

During the 27 years of its existence, the band produced fourteen albums, all of them on Mood Records.


In 2002, the group went on their “Farewell Tour 2002”. Among the reasons was Barbara Thompson’s suffering from Parkinson’s disease.

The final cast of 2002 was Wolfgang Dauner (piano), Barbara Thompson (saxophone), Jon Hiseman (drums), Dave King (bass), Ian Carr (trumpet), Volker Kriegel (guitar), Rüdiger Baldauf (trumpet), Ack van Rooyen (trumpet, fluegelhorn), Albert Mangelsdorff (trombone), Christof Lauer (saxophone)

Former members include Eberhard Weber, bass, Kenny Wheeler, trumpet, Johannes Faber, trumpet, Charlie Mariano, saxophone and ethnic instruments, Thorsten Benkenstein, trumpet, Peter O’Mara, guitar. (wikipedia)


Featuring some of the finest avant-garde jazz players from Germany and beyond, the United Jazz + Rock Ensemble began life as a loose studio aggregation assembled for a youth-oriented German television show in 1975. Hoping for a contemporary balance between rock and jazz, producer Werner Schretzmeier called upon pianist Wolfgang Dauner, the former leader of Et Cetera, an avant-garde jazz group Schretzmeier had managed until their breakup in 1972. Initially recruiting musicians from his home base of Stuttgart (then a hotbed of avant-garde jazz), Dauner put together a rotating cast of musicians that were at first dubbed the Eleven and a Half Ensemble (after the program’s airtime); this group featured guitarist Volker Kriegel (who shared writing and arranging duties with Dauner), drummer Jon Hiseman, trumpeter Ack Van Rooyen, and trombonist Albert Mangelsdorff.


As demand for recordings and public performances grew, Dauner solidified the lineup with saxophonist Charlie Mariano, saxophonist/flutist Barbara Thompson, trumpeter Ian Carr, and bassist Eberhard Weber. This nine-piece aggregation recorded the first album under the United Jazz + Rock Ensemble name, Live im Schutzenhaus, in 1977; released on the group’s own Mood Records label, the album was a hit, eventually becoming the best-selling German jazz record of all time.


The Ensemble recorded and toured fairly regularly after the success of Live im Schutzenhaus; 1978’s Teamwork and 1979’s The Break Even Point placed the group in a studio setting, with the latter featuring trumpeter Kenny Wheeler. 1981’s double-LP Live in Berlin was another success, and was followed by United Live Opus Sechs in 1984, with Wheeler back in tow. On 1987’s studio album Round Seven, trumpeter Johannes Faber filled in for Wheeler; Wheeler returned once again for the 1992 studio set Na Endlich!, which also featured new bassist Dave King. Mariano was subsequently replaced by tenor saxophonist Christof Lauer, who made his recorded debut on the 1996 concert album Die Neunte von United. In 2002, after well over two decades together, the group announced that it was embarking on a farewell tour, after which its members would move on to other projects (possibly collaborative). (by Steve Huey)


And here is an excellent live recording, which once again shows the high level at which this ensemble played.
Jazz-Rock at its best!

Enjoy this soundboard recording !


Ian Carr (trumpet)
Wolfgang Dauner (keyboards)
Jon Hiseman (drums)
Volker Kriegel (guitar)
Albert Mangelsdorff (trombone)
Charlie Mariano (saxophone)
Ack van Rooyen (trumpet)
Barbara Thompson (saxophone, flute)
Eberhard Weber (bass)
Kenny Wheeler (trumpet)

01. Intro 1.31
02. Ausgeschlafen (Dauner) 8.03
03. Announcement 0.47
04. Die Wiederkehr (Thompson) 7.57
05. Announcement 0.22
06. Randy  (Mariano) 7.08
07. Garberville (Kriegel/Bettermann) 6.37
08. Announcement 0.31
09. Ripp Off (Mangelsdorff) 8.39
10. Lady Bountiful (Carr) 12.34
11. Sometime In Silence (Weber) 6.28
12. Ganz schön heiß, Man (Mangelsdorff/Hiseman) 9.40
13. Circus Gambet (Kriegel) 6.57
14. Live At The Musee d’Art Moderne, Paris (uncut edition) 1.21.24



The official website:

Ian Carr
(21 April 1933 – 25 February 2009)

Wolfgang Dauner
(30 December 1935 – 10 January 2020)

Jon Hiseman
(21 June 1944 – 12 June 2018)

Volker Kriegel
(24 December 1943 – 15 June 2003)

Albert Mangelsdorff
(September 5, 1928 – July 25, 2005)

Charlie Mariano
(November 12, 1923 – June 16, 2009)

Ack van Rooyen
(1 January 1930 – 18 November 2021)

Barbara Thompson
(27 July 1944 – 9 July 2022)

Kenny Wheeler
(14 January 1930 – 18 September 2014)

Passport – Cross Collateral (1975)

FrontCover1Passport was a German jazz/fusion group formed in 1971. Founded by Ace Saxeman, composer and arranger Klaus Doldinger along with Curt Cress (percussion), Kristian Schultze (keyboards), and Wolfgang Schmid (bass & guitar). This was the classic lineup that started with their 4th album “Looking Thru” in 1973, their first US release. I’m not familiar with their first 3 albums, but outside Klaus, the lineup was pretty different. This classic lineup continued through the next 5 albums. Utilizing spacey electronic jazz with rock and classical styles, this group was very groundbreaking. Klaus has a knack for coming up with some of the most beautiful saxe melodies you ever heard.


Curt Cress was probably one of the first drummers to experiment with electronic drums. Bassist Wolfgang Schmid’s classical guitar adds a nice demension. And Kristian Schultze’s use of synth and mellotron gives them an expansive orchestral sound. After their 8th album, PASSPORT went through many different incarnations with only Klaus as the common denominator in all of them. In the 80’s, Klaus did other projects like motion picture soundtracks, most notably “Das Boot”. But PASSPORT still to this day records and performs (mostly in Europe, they came to the US only once) with various personnel. But it was the classic lineup that expanded their audience and gave them critical acclaim. (by progarchives)


And here´s the 6th album:

Along with “Infinity Machine”, this is probably the best of the German Jazz-Rock (actually more Rock-Jazz) combo’s run of classic albums in the 1970s, all of them distinguished by the colorful surrealism of their cover art. PASSPORT was never in the same league as the MAHAVISHNU ORCHESTRA or WEATHER REPORT (the latter in particular an obvious influence), but the group nevertheless managed to carve their own distinctive niche in an overcrowded market: no small accomplishment at the time.

I love the way that jittery opening sequencer pattern (in what sounds like a hellishly complex time signature) suddenly gels into the easy Space-Jazz swing of “Homunculus”, with Klaus Doldinger’s saxophone dancing gracefully around a sparkling electric piano solo. And the 13+ minute title track covers a lot of territory, working almost like a Beginner’s Guide medley to the music of PASSPORT.

Wolfgang Schmid & Klaus Doldinger:

In quick succession it moves from a kinetic start/stop introduction (featuring some primitive electronic percussion triggers) to a brief but lively drum solo by the incomparable Curt Cress, and from there into a relentless mid-tempo rocking section. A blast of rare high-amp electric guitar signals another change of pace, matching equal parts power and finesse before another saxophone freak-out reprise of the opening jam ends the track as it began: stopping on a dime.

Flipping the album over to Side Two (not recommended with a compact disc) doesn’t offer any immediate relief, throwing the unwary listener headlong into the full-throttle punch of “Jadoo”: three minutes of pure adrenalin guaranteed to raise your blood pressure a few notches. Kristian Schultze’s distorted electric piano solo is totally haywire, and the whole thing is propelled by the monster beat of Cress, again proving (and not for the first time) that he was one of the most dynamic and creative drummers of the decade…at least until he later briefly joined TRIUMVIRAT in their declining years.


The rest of the album is almost a let-down after “Jadoo”: three tracks of pleasant instrumental music, played with Doldinger’s trademark melodic funk and flair, but still sounding tame after all the preceding fireworks. In retrospect, maybe the running order could have been rearranged to better effect.

PASSPORT was a band that was never about to change the world, but they did make it a more pleasant place to live for a while. This album would be an ideal introduction for newcomers, as easy as anywhere else in their long discography, but why not start at the top? (by Neumann)


Curt Cress (drums, percussion)
Klaus Doldinger (saxophone, synthesizer, piano, mellotron)
Wolfgang Schmid (bass, guitar)
Kristian Schultze (keyboards)
Curt Cress01Tracklist:
01.Homunculus 6.18
02. Cross-Collateral 13.33
03. Jadoo 3.09
04. Will-O‘-The Wisp 6.20
05. Albatros Song 5.22
06. Damals 4.50

Music composed by Klaus Doldinger



Kristian Schultze02

More from Passport:

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Manfred Mann – Soul Of Mann (1967)

LPFrontCover1Manfred Sepse Lubowitz (born 21 October 1940), known professionally as Manfred Mann, is a South African–English keyboardist, arranger, singer and songwriter. He is best known as a founding member and eponym of the bands Manfred Mann, Manfred Mann Chapter Three and Manfred Mann’s Earth Band.

Manfred Mann were an English rock band, formed in London and active between 1962 and 1969. The group were named after their keyboardist Manfred Mann, who later led the successful 1970s group Manfred Mann’s Earth Band. The band had two different lead vocalists, Paul Jones from 1962 to 1966 and Mike d’Abo from 1966 to 1969.


Prominent in the Swinging London scene of the 1960s, the group regularly appeared in the UK Singles Chart. Three of their most successful singles, “Do Wah Diddy Diddy”, “Pretty Flamingo”, and “Mighty Quinn”, topped the UK charts. The band’s 1964 hit “5-4-3-2-1” was the theme tune for the ITV pop music show Ready Steady Go!. They were also the first southern-England-based group to top the US Billboard Hot 100 during the British Invasion.

The Mann–Hugg Blues Brothers were formed in London by keyboard player Manfred Mann and drummer/vibes/piano player Mike Hugg, who formed a house band in Clacton-on-Sea that also featured Graham Bond. Bringing a shared love of Jazz to the British Blues boom then sweeping London’s clubs, the band was completed by Mike Vickers on guitar, alto saxophone and flute, bassist Dave Richmond and Paul Jones as lead vocalist and harmonicist. By this time they had changed their name to Manfred Mann & the Manfreds. Gigging throughout late 1962 and early 1963, they soon attracted attention for their distinctive sound.


After changing their name to Manfred Mann at the behest of their label’s producer John Burgess, the group signed with His Master’s Voice in March 1963 and began their recorded output that July with the slow, blues instrumental single “Why Should We Not?”, which they performed on their first appearance on television on a New Year’s Eve show. It failed to chart, as did its follow-up (with vocals), “Cock-a-Hoop”. The overdubbed instrumental soloing on woodwinds, vibes, harmonica and second keyboard lent considerable weight to the group’s sound, and demonstrated the jazz-inspired technical prowess in which they took pride.

In 1964, the group were asked to provide a new theme tune for the ITV pop music television programme Ready Steady Go! They responded with “5-4-3-2-1” which, with the help of weekly television exposure, rose to No. 5 in the UK Singles Chart. Shortly after “5-4-3-2-1” was recorded, Richmond left the band, though he would record with them occasionally later. He was replaced by Jones’ friend Tom McGuinness—the first of many changes. After a further self-penned hit, “Hubble Bubble (Toil And Trouble)”, the band struck gold with “Do Wah Diddy Diddy”, a cover version of the Exciters’ No. 78 Hot 100 hit earlier that year. The track reached the top of the UK, Canadian, and US charts.

Manfred Mann01

With the success of “Do Wah Diddy Diddy” the sound of the group’s singles moved away from the jazzy, blues-based music of their early years to a pop hybrid that continued to make hit singles from cover material. They hit No. 3 in the UK with another girl-group cover, “Sha La La”[3] (originally by the Shirelles), which also reached No. 12 in the US and Canada, and followed it with the sentimental “Come Tomorrow” (originally by Marie Knight) but both were of a noticeably lighter texture than their earliest output. Meanwhile, “B” sides and four-song EPs showcased original material and instrumental solos. The group also returned to jazz and R&B themes on their albums: their first, 1964’s The Five Faces of Manfred Mann, included standards such as “Smokestack Lightning” while the second and last with this line-up, Mann Made, offered several self-composed instrumentals and a version of “Stormy Monday Blues” alongside novelties and pop ballads. With a cover of Maxine Brown’s “Oh No Not My Baby” began a phase of new depth and sophistication in the arrangements of their singles. The group began its string of successes with Bob Dylan songs with a track on the best-selling EP The One in the Middle, “With God on Our Side”, next reaching No. 2 in the UK with “If You Gotta Go, Go Now”. The EP’s title track reached the British top ten singles, the last self-written song (by Jones) and the band’s last R’n’B workout to do so. The run climaxed with a second UK No. 1 single, “Pretty Flamingo”, produced by John Burgess.

Manfred Mann03

The group had managed an initial jazz/rhythm-and-blues fusion, and then had taken chart music in their stride—but could not hope to cope with Paul Jones’ projected solo career as singer and actor, and with Mike Vickers’ orchestral and instrumental ambitions. Jones intended to go solo once a replacement could be found, but stayed with the band for another year, during which Vickers left. McGuinness moved to guitar, his original instrument, contributing the distinctive National Steel Guitar to “If You Gotta Go, Go Now” and “Pretty Flamingo”, and was replaced on bass by Jack Bruce, who had been playing for the Graham Bond Organisation for some time before a recent brief stint with John Mayall’s Bluesbreakers. In his brief tenure before leaving to form Cream, Bruce played on “Pretty Flamingo” and on the EP Instrumental Asylum (for which he and wind instrumentalists Henry Lowther and Lyn Dobson were included in the sleeve photo of the group), which began the group’s experiments with instrumental versions of chart songs. Bruce was replaced by Klaus Voormann. The band changed record companies just afterward, although EMI quickly released an EP of earlier unissued 1963–66 era songs titled As Was (a play on the title of their then new 1966 album, As Is), a hits compilation; Mann Made Hits (1966), an instrumental compilation LP that included one unissued instrumental track; Soul of Mann (1967); and, most controversially, used session players to complete the unfinished track “You Gave Me Somebody To Love” (c/w ‘Poison Ivy”—both sung by Paul Jones) which made No. 36 in the UK singles chart, upsetting the group—hence McGuinness’s wry comment “Manfreds disown new single” on the sleeve of their next studio album for their new record label. (wikipedia)

Manfred Mann02

Soul of Mann is a 1967 compilation album of mostly instrumental recordings by Manfred Mann, released by HMV Records shortly after the company dropped the group from its roster. It was not well publicised and did not sell strongly.

The album brought together:

Both sides of the group’s debut single, “Why Should We Not” and “Brother Jack” (1963)
“Sack O’ Woe” (Cannonball Adderley) and “Mr.Anello”, released on the group’s first album The Five Faces of Manfred Mann (1964)
“Bare Hugg”, “The Abominable Snowmann” and “L.S.D.”, from the group’s second album Mann Made (1965)
“Still I’m Sad” (Samwell-Smith), “My Generation” (Townshend), “(I Can’t Get No) Satisfaction” (Jagger-Richards) and “I Got You Babe” (Bono) from the 1966 EP Instrumental Asylum, with Jack Bruce, Henry Lowther and Lyn Dobson
“Spirit Feel” (Milt Jackson), previously released on the compilation Mann Made Hits, and two previously unreleased recordings, “God Rest Ye Merry Gentlemen” and “Tengo Tango”.

CD releases contain extra tracks, mostly with vocals and from the group’s series of HMV EPs. (wikipedia)


5.0 out of 5 stars Great instrumentals
Reviewed in Germany 🇩🇪 on 3 December 2016
If you have problems identifying the jazz influence in Manfred Mann’s works, this compilation is for you. With the exception of one track, everything here is instrumental. Manfred shows that he is a great arranger with sometimes really bizarre versions of then current hits like “My Generation” or “(I Can’t Get No) Satisfaction” – the latter with a brute version of the famous guitar riff and some crazy jazzy breaks. “Still I’m Sad” with layered melodies and “I Got You Babe” changed beyond recognition are not bad either. These four songs were also available on the EP “Instrumental Asylum”, which is a fitting attribute. Only “Why Should We Not”, a rather gloomy melody, comes from Manfred himself. Except for Paul Jones (who can only be heard here from time to time with his blues harp), the other band members have also contributed one track each.

EP (with Jack Bruce)

“The Abominable Snowman” was written by Mike Vickers, who not only plays the guitar but also the saxophone very well. On Mike Hugg’s “Bare Hugg” (another pun) he plays the flute, while drummer Hugg enchants on the vibraphone. In addition, with Milt Jackson’s “Spirit Feel” and the two Cannonball Adderley numbers “Tengo, Tango” and “Sack O’ Woe”, there are three real jazz tracks that hardly sound like a British R&B band from the early sixties. None of the songs exceed the four-minute limit, which means that much here is fast, lively and entertaining (no hour-long solos!). Somewhat superfluous, however, are perhaps the two traditionals “God Rest Ye Merry Gentlemenn” and “Brother Jack” (aka “Brother Jacob” aka “Frère Jacques”). And what the sung “LSD” is doing here, I don’t understand at all.

The whole album is in mono; apart from that, the versions of “Snowmann”, “Bare Hugg”, “Spirit Feel”, “LSD” and “Sack O’ Woe” are no different from the versions on “Five Faces”, “Mann Made” and “Mann Made Hits” respectively. However, “Mr Anello” is a longer version with intro and different guitar solo compared to the Five Faces version. (by Perfectionist)

In other words; excellent early Jazz-Rock from Britain !

And … “Brother Jack” is a is a French children’s song (“Frère Jacques”) from the 18th century.


Mike Hugg (drums, vibraphone)
Manfred Mann (keboards)
Tom McGuinness (guitar, bass)
Mike Vickers (guitar, saxophone, flute)
horn section:
Henry Lowther – Lyn Dobson
Jack Bruce bass and arrangment  on 02., 07., 09. + 12.)

 The re-issue on See For Miles Records (1985):
Re-Issue Edition

01. The Abominable Snowman (Vickers) 2.48
02. I Got You Babe (Bono) 2.2
03. Bare Hugg (Hugg) 3.53
04. Spirit Feel (Jackson) 2.42
05. Why Should We Not (take 5) (Mann) 2.24
06. L.S.D. (McGuinness) 3.51
07. (I Can’t Get No) Satisfaction (Jagger/Richards)
08. God Rest Ye Merry Gentlemen (Traditional) 1.57
09. My Generation (Townshend) 2.28
10. Mr. Anello (version 2) (Mann/Hugg/Vickers/Jones/McGuinness) 2.19
11. Still I’m Sad (McCarty/Samwell-Smith) 2.43
12. Tengo Tango (Adderley) – 3:34- Bass- Jack Bruce
13. Brother Jack (Mann) 2.29
14. Sack O’ Woe (Adderley) 2.16



More from Manfred Mann:

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