John Coltrane – Standard Coltrane (1962)

LPFrontCover1John William Coltrane (September 23, 1926 – July 17, 1967) was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes and was at the forefront of free jazz. He led at least fifty recording sessions and appeared on many albums by other musicians, including trumpeter Miles Davis and pianist Thelonious Monk. Over the course of his career, Coltrane’s music took on an increasingly spiritual dimension. He remains one of the most influential saxophonists in music history. He received many posthumous awards, including canonization by the African Orthodox Church and a Pulitzer Prize in 2007. His second wife was pianist and harpist Alice Coltrane. The couple had three children: John Jr. (1964–1982), a bassist; Ravi (born 1965), a saxophonist; and Oran (born 1967), also a saxophonist

Standard Coltrane is an album credited to jazz musician John Coltrane, released in 1962 on Prestige Records, catalogue 7243. It is assembled from unissued results of a single recording session at the studio of Rudy Van Gelder in Hackensack, New Jersey, in 1958. As Coltrane’s fame grew during the 1960s long after he had stopped recording for the label, Prestige used unissued recordings to create new marketable albums without Coltrane’s input or approval. This album was rereleased in 1970 as The Master (PR 7825) with that version rereleased on CD to include the other four tunes recorded at the same 11th July session. Those other tunes had previously been released on two other albums assembled from spare recording (Stardust and Bahia).

UK Labels A + B:
UK Label A+B1

John Coltrane had yet to move into his modal post-bop phase in 1958 when he recorded a session for Prestige Records on July 11 with trumpeter/flügelhornist Wilbur Harden, pianist Red Garland, bassist Paul Chambers, and drummer Jimmy Cobb, the results of which were issued in 1962 as Standard Coltrane. His groundbreaking modal work with Miles Davis on Kind of Blue was still a few months into the future, which makes this set more historical than vital or transitional, although it’s pleasant enough, featuring Coltrane on several standards, including a ten-plus-minute version of “Invitation.” Other Coltrane material from this 1958 Prestige era ended up on the albums Stardust (1963) and Bahia (1965), and all of it, including these four tracks, has been collected on The Stardust Session from Prestige Records, which is probably the way to go. (by Steve Leggett)


Paul Chambers (bass)
Jimmy Cobb (drums)
John Coltrane (saxophone)
Red Garland (piano)
Wilbur Harden (trumpet, flugelhorn)

01. Don’t Take Your Love From Me (Nemo) 9.17
02. I’ll Get By (Ahlert/Turk) 8.13
03. Spring Is Here (Hart/Rodgers) 6.57
04. Invitation (Kaper/Webster) 10-21


More from John Coltrane:


Harvey Mason – With All My Heart (2004)

FrontCover1Throughout his career, Harvey Mason has been a busy studio musician and a highly versatile drummer able to excel in many different situations. Mason attended Berklee and graduated from the New England Conservatory. Early gigs included four months with Erroll Garner in 1970 and a year with George Shearing from 1970-1971. Soon after leaving Shearing, Mason moved to Los Angeles and quickly became established in the studios, working in films and television. In addition to his anonymous work through the years, Mason has often been part of the jazz world. He played with Herbie Hancock’s Headhunters in 1973, Gerry Mulligan for a 1974 Carnegie Hall concert, Freddie Hubbard, Grover Washington, Jr. (appearing on Mister Magic), Lee Ritenour, Victor Feldman, George Benson (playing drums on “This Masquerade”), and Bob James, among many others. In 1998, Mason paid tribute to Art Blakey’s Jazz Messengers in some local Los Angeles club gigs. The early 2000s found Mason continuing with his steady session work, as well as releasing two solo albums with 2003’s Trios and 2004’s With All My Heart. In 2014, Mason revisited his ’70s Headhunters roots with Chameleon on Concord. (by Scott Yanow)


Because Harvey Mason has appeared so frequently as a sideman on lots of smooth jazz dates, one tends to think of him solely within that genre, even though his roots are in straight-ahead jazz. This rare date as a leader features the drummer leading a series of 11 different piano-bass-drums trios, primarily in post-bop, bop or hard bop settings. His arrangement of “Bernie’s Tune” is very refreshing, utilizing reoccurring displaced rhythm behind Kenny Barron and Ron Carter. The magic continues with Chick Corea and Dave Carpenter in their creative rendition of “If I Should Lose You.” Victor Feldman’s less familiar “So Near, So Far” features Fred Hersch and Eddie Gomez, though the expected influence of the late Bill Evans is minimal. But elder statesman Hank Jones steals the spotlight with his elegant interpretation of “Tess,” a tune that was brand new to him; Mason and Jones’ longtime bassist George Mraz joins him. Some of the other participating musicians for this project include Monty Alexander, Charlie Haden, Cedar Walton, Mulgrew Miller, Herbie Hancock, Brad Mehldau, Bob James and Dave Grusin. Mason’s informative liner notes not only describe how each take came together in the studio but add background about his relationship to each musician or what appealed to him about each individual’s playing. The only oversight on this terrific release is the inadvertent omission of track-by-track composer credits, though a few of them are included within Mason’s commentary. (by Ken Dryden)


Harvey Mason’s motto on With All My Heart seems to be “The one who plays drums in a jazz trio with the most bad-ass pianists and bassists wins. Arguably, that can be also stated of his entire career, as he has played and recorded with a mind-numbing amount of artists through various historical periods and musical styles. The lengthy and illustrious development of the quintessential small jazz group is definitely boosted by this recording.

The premise of the production was quite simple: Mason endeavoring to pair several of his favorite pianists and bassists to record material that is largely familiar to both musicians and the average jazz audience, as well as suited to the respective instrumentalists involved. With the exception of bassists Dave Carpenter, who performs on “If I Should Lose You and “Speak Like a Child, and Ron Carter, who executes on three compositions, the only common thread of the recording is the dexterous and versatile drumming of the leader. Blessedly, Mason also decided to write the liner notes—hence the prospect of knowing what he had in mind for each super-trio, their respective interpretations, and their raison d’être.

“If I Should Lose You, interpreted by Chick Corea, Carpenter, and Mason, is a first and only take. It’s emblematic of the best this project, the traditional jazz trio, and this type of music has to offer. Herein the devil isn’t only in the details, even though they tell a story by themselves. The cymbal ride, Carpenter’s in-and-out march (he seems to vanish while being ever more present), and Corea’s elegant and robust lyricism are some particulars worth mentioning. But those are minutiae within a dreamily tight and expressive cohesiveness that closes with an understated driven coda.

Hank Jones and George Mraz join the leader in “Tess. Jones opens by himself and takes immediate ownership of this number. Mason does quite a bit with it, without intruding one bit as Mraz lays it heavy yet unruffled before following Jones for a couple of bars. It is finger lickin’ good! (Javier Aq Ortiz)


Monty Alexander (piano on 04.
Kenny Barron (piano on 01.
Dave Carpenter (bass on 02., 10.
Ron Carter (bass on 01., 06., 08.
Chick Corea (piano on 02.
Eddie Gomez (bass on 03.
Larry Grenadier (bass on 07.
Dave Grusin (piano on 09.
Charlie Haden (bass on 05.
Herbie Hancock (piano on 10.
Fred Hersch (piano on 03.
Bob James (piano on 05.
Hank Jones (piano on 11.)
Harvey Mason (drums)
Brad Mehldau (piano on 07.
Mulgrew Miller (piano on 08.
Charnett Moffett (bass on 04.
George Mraz (bass on 11.)
Cedar Walton (piano on 06.
Mike Valerio (bass on 09.)

01. Bernie’s Tune (Barron/Leiber/Miller/Stoller) 3.41
02. If I Should Lose You (Carpenter/Corea/Rainger) 7.27
03. So Near, So Far (Gomez/Hersch) 4.42
04. Swamp Fire (Alexander/Moffett) 4.18
05. Smoke Gets in Your Eyes (Harbach/Kern) 6.13
06. Hindsight (Walton) 5.26
07. Dindi (Grenadier/Jobim/Mehldau) 7.48
08. Without A Song (Miller/Youmans) 6.40
09. One Morning In May (Grusin) 4.42
10. Speak Like A Child (Carpenter/Hancock) 5.18
11. Tess (Jones/Mraz/Surman) 4.50



Ahmad Jamal – Live In Paris (1971)

FrontCover1For five decades, American pianist, composer, bandleader, and educator Ahmad Jamal has been one of the most successful small-group leaders in jazz. In 1958, he released the live album, At the Pershing: But Not for Me, which stayed on the Ten Best-selling charts for 108 weeks. Ahmad’s recording of the well known song “Poinciana” was first released on this album. Clint Eastwood featured two recordings from Ahmad’s But Not For Me album – “Music, Music, Music” and “Poinciana” – in the 1995 movie The Bridges of Madison County. Ahmad is the main mentor of jazz piano virtuosa Hiromi Uehara. On June 25, 2019, The New York Times Magazine listed Ahmad Jamal among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire. (by wikipedia)

Joining him is Jamil Suliemann on bass and Frank Gant on drums in this 1971 Radio France studio concert, rebroadcast in 2014 by France Musique. One of the most eloquent practitioners of America’s Classical Music – which Jamal considers Jazz to be and a sentiment I agree 1000% with, Ahmad Jamal continues at 86, performing, recording and spreading the message throughout the world. And this 1971 concert gives some indication just how strong and luxuriant that message has always been.


If you’re just getting into Jazz, discovering bits and pieces here and there, either on your own or via samples, since Jazz has been a base-coat of sounds in contemporary Hip-Hop/Trip-Hop/Trance over the years; here’s the real deal – where some of it came from. With the vast spectrum of music out there, being a sponge soaking everything up is practically a requirement – and not being familiar with the work of Ahmad Jamal really deprives you of a great experience.

Check out this concert and go exploring – all you need are ears and an open mind. (

Recorded live at the Studio 104 de la Maison de la Radio, Paris, France; June 25, 1971. Very good satellite broadcast.


Frank Gant (drums)
Ahmad Jamal (piano)
Jamil Sulieman Nasser (bass)

01. Intro 0.26
02. Bogota (Evans) 15.25
03. Effendi (Tyner) 13.47
04. Manhattan Reflections (Jamal) 10.24
05. Extensions (Jamal) 23.51
06. Poinciana (Simon) 10:38



Alternate frontcover:

Keith Tippett Group – Dedicated To You, But You Weren’t Listening (1971)

FrontCover1Keith Tippett (born Keith Graham Tippetts; 25 August 1947 – 14 June 2020) was a British jazz pianist and composer. According to AllMusic, Tippett’s career “..spanned jazz-rock, progressive rock, improvised and contemporary music, as well as modern jazz for more than half-a-century”. He held ” an unparalleled place in British contemporary music,” and was known for “his unique approach to improvisation”. Tippett appeared and recorded in many settings, including a duet with Stan Tracey, duets with his wife Julie Tippetts (née Driscoll), solo performances, and as a bandleader, and appeared on King Crimson albums.

Born in Southmead, Bristol, Tippett was the son of an English father who was a policeman and an Irish mother named Kitty. He wrote music dedicated to her after she died. He was the oldest of three siblings and went to Greenway Secondary Modern school in Southmead. As a child he played piano, church organ, cornet, and tenor horn.
At fourteen he formed his first band, KT Trad Lads, with school friends Richard Murch, Mike Milton, Terry Pratt, and Bob Chard, performing traditional jazz. He formed a modern jazz trio in Bristol and played regularly at the Dugout Club in Park Row, Bristol.


In 1967 Tippett moved to London to pursue a career in music, taking menial jobs while performing in jazz clubs. With a scholarship he attended the Barry Summer School Jazz Course in Wales, where he met Elton Dean, Nick Evans, and Marc Charig and with them started a band.The Keith Tippett Sextet was hired for a residency at the 100 Club in Oxford, leading to a contract with Vertigo Records, which released their first two albums, You Are There… I Am Here (1970) and Dedicated to You, but You Weren’t Listening (1971). Robert Fripp hired Tippett to play piano on the King Crimson album In the Wake of Poseidon. Evans and Charig joined Tippett on the King Crimson album Lizard. Tippett performed on the single “Cat Food” and appeared with King Crimson on Top of the Pops.

Tippett declined the offer to join King Crimson in order to continue to lead his own group, but he and Charig played on the band’s album Islands. After leaving Vertigo, Tippett formed Centipede, a 50-piece band that included his wife Julie Driscoll as well as members of King Crimson and Soft Machine, and brought together much of a generation of young British jazz and rock musicians.[2] As well as performing some concerts (limited economically by the size of the band), they recorded one double-album, Septober Energy, a Tippett composition, which was released on the RCA label in 1971. Despite substantial publicity, the album failed to sell in sufficient numbers to justify the expense of maintaining the project.


For his next album, Blueprint (1972), he used a smaller group comprising himself and Julie Tippetts with bassist Roy Babbington and drummer Frank Perry. The band then expanded slightly to become Ovary Lodge, who recorded two albums, one for RCA (produced by Robert Fripp of King Crimson) and a second for the Ogun label. Tippett and his band also recorded in the 1970s for Giorgio Gomelsky’s label, Utopia, releasing the Julie Tippetts album Sunset Glow. Tippett continued to play with various combinations of musicians through the 1970s, playing improvisational jazz and jazz-rock with such musicians as Stan Tracey, Robert Wyatt, Dudu Pukwana, Harry Miller, Elton Dean, Hugh Hopper, and Louis Moholo. From 1979, he also started to release many live albums of solo piano performances, beginning with The Unlonely Raindancer.

Keith+Julie Tippett

In the late 1980s, he, along with Paul Dunmall saxes, Paul Rogers bass, and Tony Levin drums, formed the quartet Mujician, playing purely improvised jazz. Mujician released 6 albums from 1990-2002. He also formed a trio with Julie Tippetts and Willi Kellers, and wrote film and television scores. He also wrote music for string quartets and piano, and taught at summer schools. Tippett also continued to record and to tour in Britain and Europe with various ensembles. He also worked with musicians Andy Sheppard, as well as with his frequent collaborators Elton Dean, Louis Moholo, and Howard Riley.

He married singer Julie Driscoll in 1970.

In 2018, he had a heart attack and pneumonia but returned to performing in 2019.

He died on 14 June 2020 at the age of 72. (by wikipedia)

4 stars With an arresting artwork, depicting a brainchild, on its cover, the KTG managed to climb up from the Phillips generalist label to the Vertigo Swirl prestigious and progressive label, and I can’t think of a better promotion. Line-up wise, Jeff Clyne shares the bass with Roy Babbington and the drums are shared between Wyatt, Brian springs and Phil Howard (who would go on to replace Wyatt in Soft Machine), but on the horns, the Dean/Charig/Evans trio remained. Please note the pun title is from Soft Machine’s “Dedicated To Hugh…”

The album opens on a conga-driven groovy track that gets its inspiration between the three horn players, but in the background, Keith’s piano is the one thing that makes this piece so rollicking. Followed up by the tough to grasp Thoughts To Geoff, a 10-mins corker that often veers dissonant and improvisational, which strangely enough becomes more fluid and melodic as it unravels. Even young Gary Boyle (out of auger’s trinity) manages to follow this difficult track, which had to faded out to be stopped. In Green & Orange Night Park, McCoy Typpett then shows with all three horns holding the Trane in the station, until Elton pulls his best solo (I would almost add ever in such a fanboy moment) while the other two are providing a descending line behind him that slowly morphs into another lead line, which had to be terminated again by a fade-out. Absolutely flabbergasting and jaw-dropping piece.

Keith Tippett Group

The flipside starts on the most difficult Gridal Suite, an Elton Dean improvised piece that he shares well with Phil Howard (just think of side 1 of Soft Machine’s 5 album), this track probably being the low point of the album. Five After Dawn might appear at first to be just as difficult, but it’s not quite the same nature, this one is written and impressionist track, evoking early life movement after the dead of night. After your stupor segued into surprise, it should normally give into joy and eventually glee. The short but sweet reprise of SM’s theme is only a wink, leading us to Black Horse, which is a bit the book- ending of the opening track (both tracks are written by trombonist Nick Evans, a very rhythmic groove with plenty of enthralling horn-section arrangements (a bit ala brass-rock), and it comes complete with a superb guitar solo from future Isotope Gary Boyle.

Not that this second album is that much better than their debut, but it grabbed all of the sunshine, shadowing all of the debut album, which consistently remains more difficult to find. Both are much worth the discovery and are excellent early UK jazz-rock. (by Sean Trane)


Marc Charig (cornet)
Elton Dean (saxophone, saxello)
Nick Evans (trombone)
Keith Tippett (piano)
Roy Babbington (bass)
Gary Boyle (guitar)
Phil Howard (drums)
Bryan Spring (drums)
Tony Uta (percussion)
Neville Whitehead (bass)
Robert Wyatt (drums)


01. This Is What Happens (Evans) 4.58
02. Thoughts To Geoff (Tippett)
03.Green And Orange Night Park (Tippett)
04. Gridal Suite (Dean)
05. Five After Dawn (Tippett)
06. Dedicated To You, But You Weren’t Listening (Dean/Hopper/Charig)
07. Black Horse (Dean)



KeithTippett04Keith Tippett (25 August 1947 – 14 June 2020)

Jan Garbarek – I Took Up The Runes (1990)

FrontCover1Jan Garbarek (born 4 March 1947) is a Norwegian jazz saxophonist, who is also active in classical music and world music.

Garbarek was born in Mysen, Norway, the only child of a former Polish prisoner of war, Czesław Garbarek, and a Norwegian farmer’s daughter. He grew up in Oslo, stateless until the age of seven, as there was no automatic grant of citizenship in Norway at the time. When he was 21, he married Vigdis. He is the father of musician and composer Anja Garbarek.

Garbarek’s sound is one of the hallmarks of the ECM Records label, which has released virtually all of his recordings. His style incorporates a sharp-edged tone, long, keening, sustained notes, and generous use of silence. He began his recording career in the late 1960s, notably featuring on recordings by the American jazz composer George Russell (such as Electronic Sonata for Souls Loved by Nature). By 1973 he had turned his back on the harsh dissonances of avant-garde jazz, retaining only his tone from his previous approach. Garbarek gained wider recognition through his work with pianist Keith Jarrett’s European Quartet which released the albums Belonging (1974), My Song (1977) and the live recordings Personal Mountains (1979), and Nude Ants (1979). He was also a featured soloist on Jarrett’s orchestral works Luminessence (1974) and Arbour Zena (1975).

Jan Garbarek 1969

As a composer, Garbarek tends to draw heavily from Scandinavian folk melodies, a legacy of his Ayler influence. He is also a pioneer of ambient jazz composition, most notably on his 1976 album Dis a collaboration with guitarist Ralph Towner, that featured the distinctive sound of a wind harp on several tracks. This textural approach, which rejects traditional notions of thematic improvisation (best exemplified by Sonny Rollins) in favour of a style described by critics Richard Cook and Brian Morton as “sculptural in its impact”, has been critically divisive. Garbarek’s more meandering recordings are often labeled as new-age music, or spiritual ancestors thereof. Other experiments have included setting a collection of poems of Olav H. Hauge to music, with a single saxophone complementing a full mixed choir; this has led to notable performances with Grex Vocalis. In the 1980s, Garbarek’s music began to incorporate synthesizers and elements of world music. He has collaborated with Indian and Pakistani musicians such as Trilok Gurtu, Zakir Hussain, Hariprasad Chaurasia, and Bade Fateh Ali Khan. Garbarek is credited for composing original music for the 2000 film Kippur.


In 1994, during heightened popularity of Gregorian chant, his album Officium, a collaboration with early music vocal performers the Hilliard Ensemble, became one of ECM’s biggest-selling albums of all time, reaching the pop charts in several European countries and was followed by a sequel, Mnemosyne, in 1999. Officium Novum, another sequel album, was released in September 2010. In 2005, his album In Praise of Dreams was nominated for a Grammy Award. Garbarek’s first live album Dresden was released in 2009.

I Took Up the Runes is an album by Norwegian saxophonist Jan Garbarek released on the ECM label and performed by Garbarek, Rainer Brüninghaus, Eberhard Weber, Nana Vasconcelos, Manu Katché, and Bugge Wesseltoft with Ingor Ánte Áilo Gaup contributing vocals.


In a contemporaneous review, Jim Aikin described the album as a “hauntingly evocative Euro-jazz session” and identified the “Gula Gula” track as “especially memorable”. (wikipedia)


A more eclectic release than his preceding releases, Jan Garbarek’s I Took Up the Runes satisfies listeners who had been more or less impatient for something with some meat and some muscle. Opening with a jazzy cover of Mari Persen’s “Gula Gula,” made fuller with bass guitar accompaniment that modifies the chord structure of the whole tune, the album next features the five-part “Molde Canticle,” which spans from a dreamy esoteric sound to African folk music. Garbarek really wails in places, and it is a welcome surprise — he should wail more than he does. Synthesizer sounds are starting to become less prominent as well. There is excellent piano work by Rainer Brüninghaus and excellent vocalizing by guest artist Ingor Ántte Áilu Gaup. A sign of good things to come. (by Mark Allender)


Rainer Brüninghaus (piano)
Jan Garbarek (saxophone)
Ingor Ánte Áilo Gaup (voice)
Manu Katché (drums)
Nana Vasconcelos (percussion)
Eberhard Weber (bass)
Bugge Wesseltoft (synthesizer)


01. Gula Gula (Mari Persen) (Garbarek) 5.56
02. Molde Canticle: Part 1 (Garbarek) 5.12
03. Molde Canticle: Part 2 (Garbarek) 5.44
04. Molde Canticle: Part 3 (Garbarek) 9.54
05. Molde Canticle: Part 4 (Garbarek) 5.11
06. Molde Canticle: part 5 (Garbarek) 6.08
07. His Eyes Were Suns (Traditional) 6.05
08. I Took Up The Runes (Garbarek) 5.25
09. Buena Hora, Buenos Vientos (Garbarek) 9.01
10. Rahkki Sruvvis (Gaup) 2.23



More Jan Garbarek:


Ben Sidran Hammond Quartet – Cien Noches (2008)

FrontCover1Ben Sidran (* August 14, 1943) , a master of many trades in music and media, makes your average Renaissance man look like a slacker. Jazz pianist of international renown, lyricist of a rock classic, award-winning national broadcaster, record and video producer, scholar, author, journalist, and father to a second generation musical prodigy, Sidran has been a major player in modern jazz, rock and pop for over forty years. Ben Sidran is more widely recognized as the host of National Public Radio’s landmark jazz series “Jazz Alive”, which received a Peabody Award, and as the host of VH-1 television’s “New Visions” series, which received the Ace Award for best music series.

Born in Chicago in 1943”his father was a friend of Saul Bellow’s”Sidran was raised in the industrial lakeshore city of Racine, Wisconsin, going up to Madison to play keyboards at frat houses parties while still a teenager in 1960. The next year he was enrolled at the university, playing dates on campus and around town. He soon joined the Ardells, a Southern comfort party band led by frat boy singer Steve Miller and his friend Boz Scaggs. But when Miller and Scaggs went west to become stars, Sidran stayed to complete his degree in English lit.


After graduating from the UW in 1966 (with honors), Sidran moved to England to pursue a Master’s Degree in American Studies at the University of Sussex. But when the Steve Miller Band came to England the following year to record with the legendary British engineer Glyn Johns, Sidran found himself back on the two-track life of academia and music.

It started with his haunting harpsichord break on Scaggs’ “Baby’s Calling Me Home” for the Miller band’s debut album, “Children of the Future.” A little later on, Ben would pen the lyrics for Miller’s “Space Cowboy,” earning a place in rock history (and enough royalties to pay

for his graduate degrees). While still pursuing his studies, Sidran also developed a relationship with Johns, often doing session work at Olympic Studios with musicians like Eric Clapton and the Rolling Stones. In 1969, Johns produced Sidran’s demo tape, featuring Charlie Watts, Peter Frampton and others.


Upon receiving his doctorate in American Studies at the height of the war-induced grad school glut, Sidran faced bleak prospects in academia. Then he realized his time for studying the information was over; it was time to become the information. So in the fall of 1970, after dropping his dissertation with some publishers, he moved to Los Angeles to go into the record business. Things started to break in a hurry. First came competing bids to publish his thesis; Ben bypassed the low-key offer from Oxford University Press to take a lucrative (to him, at the time) offer from Holt, Rinehart & Winston to publish the dissertation as Black Talk, or How the Music of Black America Created a Radical Alternative to the Values of Western Literary Tradition. Then, thanks to an introduction from Johns, Sidran soon had his own record deal on Capitol Records. Feel Your Groove, a jazz/rock hybrid, featured Blue Mitchell on trumpet (the first of five such engagements), guitarists Scaggs and Ed Davis and Jim Keltner on drums.

Recognizing Ben’s skills on both sides of the studio, Capitol also offered him a job as staff producer. But because his wife Judy was unhappy in the isolated haze of the Hollywood hills, Sidran did the unthinkable and walked away from LA in the summer of ’71, returning to Madison just as Feel Your Groove was released and Black Talk was published (a set of circumstances which did not provoke the label into excessive promotional activity). Taking up the Hammond B3 residency at a local club, Sidran soon found another life- long musical partner when James Brown played in town and his drummer, Clyde Stubblefield, stayed behind. It wasn’t long before another national label came calling – Blue Thumb Records, which released Ben’s “I Lead a Life” in 1972, quickly followed by “Puttin’ In Time on Planet Earth”(1972) and “Don’t Let Go,” (1973).


Sidran showcased his many talents in varied fields the year he turned 30 – leading a national tour, producing Tony Williams and Paul Pena, creating and hosting a weekly television series, even returning to academia to teach the social aesthetics of record production at the UW. His pace hasn’t slackened since.

After the demise of Blue Thumb, Sidran joined the Arista Records roster, releasing “Free in America” (1976), “The Doctor is In” (1977), “A Little Kiss in the Night” (1978), “Live at Montreaux,” (1979) and “The Cat in the Hat,” (1980). Although Ben developed a significant career in radio and television work during the eighties (see sidebar), he kept his hands on the keyboard, recording “Get to the Point”(PolyStar, 1981), “Old Songs for the New Depression,” (Antilles, 1982), “Bop City,” (Antilles, 1983), “On the Cool Side,” (Windham Hill, 1984), “Have You Met … Barcelona”(Orange Blue Productions, 1986), “On the Live Side,”(Windham Hill, 1986) and “Too Hot to Touch,” (Windham Hill 1987). His production credits that decade included “Ever Since the World Ended” and “My Backyard” for Mose Allison and “Born 2B Blue” for Steve Miller, with whom he and son Leo also toured.


Sidran continued to click on many levels throughout the 1990s, even expanded his efforts to include starting his own label, Go Jazz records. Early Sidran-produced Go Jazz releases included Georgie Fame’s “Cool Car Blues,” and “The Blues and Me,” Ricky Peterson’s “Smile Blue,” and Phil Upchurch’s “Whatever Happened to the Blues.”

In 1993, Sidran combined his art with his soul on “Life’s a Lesson,” a jazz-infused collection of Jewish liturgical and folk songs. In a five-decade career (so far), this Go Jazz release is one of the crowning personal and artistic achievements.

The end of the century brought another emotional highlight – the release of “Concert for Garcia Lorca,” a tribute to the martyred Spanish poet, Federico Garcia Lorca. Recorded in the courtyard of Garcia Lorca’s home, the album earned Ben another Grammy nomination (he lost to Madonna).


Ben has maintained his steady output of high-quality work, both on his own (“Mr. P’s Shuffle,” and “Live From the Celebrity Lounge,”) and with such artists as Van Morrison and David Sanborn. In 2001 he produced two more Grammy-nominated albums, “Mose Chronicles” (Mose Allison) and “It’s Like This” (Rickie Lee Jones).

Building on the Spanish influence that infused the Garcia Lorca release, in 2002 Ben wrote and produced (along with son Leo) the bi-lingual children’s CD, “El Elefante,” winner of the Parents’ Choice Award. That year, Ben somehow found time to return to the UW as artist-in-residence, and release his critically acclaimed memoir, A Life in the Music (Taylor).

In 2003, Ben and Leo joined with Liquid 8 Records & Entertainment to create Nardis Music, a full-service label featuring enhanced CD’s of all original releases. Among its first releases was Ben’s own “Nick’s Bump” (2004). Ben and Judy Sidran continued to reside in Madison, Wisconsin. Most Monday nights, you’ll find him behind the Hammond B3 at the Café Montmarte just off the Capitol Square, joined by Leo on drums and guitar.

A life in the music, indeed. (by Stuart Levitan)


And here´s is one ofhis exciting live albums;

Be ready for a great groove time….

It’s rare that modern jazz crooners govern so many types of keyboard instruments to the best of its ability like Ben Sidran, whether they govern an instrument beyond their voice at all. Although Sidran’s voice is his trademark: a timeless tenor storyteller with wonderful fun and insightful lyrics, which almost has the stand up comedians ability to communicate details in situations, it is Sidran’s pianistic qualities which have been extensive documented and praised, as a leader and sideman. When decided to release a live album where he just plays the Hammond B-3 organ, and with no bass player like the jazz organ masters, it is with some excitement, admiration and concerns that arises when the music starts. “Cien Noches” is the first album in his own name where Sidran plays the organ himself on all the tracks, even though that he 40 years ago played in a organ duo with organist Mevin Rhyne’s brother on drums, Ron Rhyne, in a local jazz club!


“Cien Noches” starts with Sidrans’ scatting intro supported by funky organ licks, before he welcomes us to Madrid’s famous Cafe Central backed by a band of experienced musicians from previous albums; saxophonist Bob Rockwell, brother and drummer Leo Sidran, and for me the unknown guitarist Louka Patenaude. The album contains a number of original songs – the album continues with “Get It Yourself, a bittersweet commentary on rock and roll industry, then” Cave Dancing, an extended parable about jazz and the roots of religion. Bob Dylan classics “Gotta Serve Somebody” and “Subterranean Homesick Blues” is performed better than the original (?) Saxophonist Bob Rockwell’s “Drinkin ‘and Thinkin’ is an obvious party favorite before groove time is announced where guest singer JJ Telesso folds out into jazz scatting ala Eddie Jefferson on “Straight No Chaser”.


Ben Sidran is the complete musician which the quality of “Cien Noches” album proves. Those who expect an organ jazz record in the “Jimmy Smith and Joey DeFrancesco” tradition, must look elsewhere. I am charmed by Sidran’s daring approach to use a Hammond B-3 organ enormous capabilities WITH bass pedals, which piano-to-organ converts should learn of, and as he states: “Anybody who is a fan of Jimmy Smith or Groove Holmes or Larry Young or Jack McDuff knows that the bass line is everything. Not just the notes which are important too but how one uses the position of the notes within the groove to drive the music. Unlike playing in a normal trio or quartet, when you play organ you have the opportunity to set up and support the solos with complete authority using the bass groove”.

A great album for lovers of the modern crooner tradition….and the Hammond organ. (by Terje Biringvad)

Recorded live in the week of November 21, 2007 at the Café Central, Madrid(Spain)


Hector Coulon (percussion)
José Luis Crespo Technical Assistance
Louka Patenaude (guitar, percussion)
Bob Rockwell (saxophone, percussion)
José Ma Rosillo Engineer, Technical Assistance
Amanda Sidran Back Cover Photo, Inside Photo
Ben Sidran (keyboards, percussion, vocals)
Leo Sidran (drums, percussion, vocals)
Gegé Telesforo (vocals on 06.


01. Welcome To The Central (Sidran) 1.36
02. Gotta Serve Somebody (Dylan) 5.14
03. Take Me To The River (Rockwell/Sidran) 7.40
04. Drinkin’ N Thinkin’ (Rockwell) 5.04
05. A Room In The Desert (Sidran) 6.29
06. Straight No Chaser (Monk) 5.51
07. Something For You To Do (Sidran) 0.23
08. See That Rock (Sidran) 7.14
09. Subterranean Homesick Blues (Dylan)
10. Folio (Sidran) 8.58
11. Cave Dancing (Sidran) 10.37



What a great frontcover:
FrontCover (Detail)

Filmed during the live recording in Madrid of Sidran’s 2008 “Cien Noches” record at the Cafe Central in Madrid, this video captures the environment and feeling in the club, and most of the first set of the final night of the two week club residency. The band features Ben Sidran on Hammond B3 and vocals, Leo Sidran on drums, Louka Patenaude on guitar and Bob Rockwell on saxophone. Inter-cut with interviews with the Sidrans about the experience. The sound is distorted at first and then improves. (Ben Sidan)

Charlie Byrd Trio – Travellin’ Man (1965)

FrontCover1Charlie Lee Byrd (September 16, 1925 – December 2, 1999) was an American jazz guitarist. Byrd was best known for his association with Brazilian music, especially bossa nova. In 1962, he collaborated with Stan Getz on the album Jazz Samba, a recording which brought bossa nova into the mainstream of North American music.

Byrd played fingerstyle on a classical guitar. (by wikipedia)

Travellin’ Man (issued in 1965) is a live gig at the Showboat in Washington D.C., a club he was playing in — and owned — 36 weeks out of the year. He is featured with his bass playing brother Joe, and the rather astonishing drummer Bill Reichenbach. The program consists of everything from originals like the title cut and the country and bluegrass tinged opener “Mama I’ll Be Home Someday” to Michel Legrand’s “I Will Wait for You.” With tunes like the Richard Rodgers and Stephen Sondheim standard “Do I Hear a CharlieByrd02Waltz,” Billy Strayhorn’s “U.M.M.G.,” and Django Reinhardt’s “Nuages” sandwiched in between. It’ is a hard swinging date where Byrd, a great melodic improviser, turns original arrangements inside out and pours his love for bossa and blues into everything he plays. The latter album, A Touch of Gold, was recorded and released in 1966 and was thought to be a great departure for the hard swinging jazzman.

The set featured a full backing band with horns and strings and a backing vocal chorus arranged by Charlie Callello. The tunes were regarded derogatorily in many quarters as “pop songs” — and that may be exactly why Byrd loved them. The opening bars of “In My Room, (El Amor)” by Lee Pockriss borrows its opening statement from George Gershwin’s “Summertime,” Byrd, of course moves through its beautiful Latin modes and harmonies effortlessly, allowing the rhythms full free range play inside it. Likewise, his bossa version of “The Shadow of Your Smile,” where samba rhythms permeate the arrangements and Byrd’s solo plays counterpoint to the melody in places only enhances the lyric of the tune, rather than take away from it. (by Thom Jurek)

Recorded live at The Showboat / Washington, D.C.


Charlie Byrd (guitar)
Joe Byrd (bass)
Billy Reichenbach (drums)


01. Mama I’ll Be Home Someday (Byrd) 4.19
02. The Folks Who Live on the Hill/Yesterdays (Harbach/Hammerstein II/Kern) 6.02
03. Blues For Felix (Byrd) 3.59
04. U.M.M.G. (Strayhorn) 3.32
05. I Hear A Rhapsody (Baker/Fragos/Gasparre) 4.44
06. In The Name Of Love (Levitt/Rankin) 3.59
07. I Will Wait For You (Legrand) 2.07
08. Do I Hear A Waltz? (Rodgers) 2.15
09. Travellin’ Man (Byrd) 3.05
10. Nuages (Reinhardt) 3.58
11. Just Squeeze Me (But Don’t Tease Me) (Ellington/Gaines) 3.14




CharlieByrd03Charlie Lee Byrd (September 16, 1925 – December 2, 1999)

Quincy Jones – In The Heat Of The Night (OST) (1967)

FrontCover1In the Heat of the Night is a 1967 American mystery drama film directed by Norman Jewison. It is based on John Ball’s 1965 novel of the same name and tells the story of Virgil Tibbs, a black police detective from Philadelphia, who becomes involved in a murder investigation in a small town in Mississippi. It stars Sidney Poitier and Rod Steiger, and was produced by Walter Mirisch. The screenplay was by Stirling Silliphant.

The film won five Academy Awards, including the 1967 awards for Best Picture and Rod Steiger for Best Actor.

The quote “They call me Mister Tibbs!” was listed as number 16 on the American Film Institute’s 100 Years…100 Movie Quotes, a list of top film quotes. In 2002, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”.

In 1966, a wealthy industrialist named Phillip Colbert has moved from Chicago to Sparta, Mississippi, to build a factory there. Late one night, police officer Sam Wood discovers Colbert’s murdered body lying in the street.


Chief Gillespie leads the investigation. A doctor estimates that Colbert had been dead for a few hours. At the train station, Wood finds a black man, Virgil Tibbs, and arrests him. Gillespie accuses Tibbs of the murder, and is embarrassed to learn Tibbs is a police officer from Philadelphia. Gillespie phones Tibbs’s chief, who informs Gillespie that Tibbs is a top homicide detective and recommends that he should assist the investigation. The idea does not appeal to either Gillespie or Tibbs, but for reasons of their own they reluctantly agree. Tibbs examines Colbert’s body and concludes the murder happened earlier than the doctor had estimated, that the killer was right-handed, and that the victim had been killed elsewhere and then moved to where the body was found.

Gillespie arrests another suspect, who protests his innocence. The police are planning to MoviePosterbeat him into confessing, but Tibbs reveals he is left-handed and has an alibi backed up by witnesses. Colbert’s widow is frustrated by the ineptitude of the police and impressed by Tibbs. She threatens to halt construction of the factory unless Tibbs leads the investigation, and the town’s leading citizens are forced to go along with her wish. The two policemen begin to respect each other as they are forced to work together.

Tibbs initially suspects plantation owner Endicott, a genteel racist and one of the most powerful individuals in town, who publicly opposed the new factory. When Tibbs interrogates Endicott, Endicott slaps him in the face and Tibbs slaps him back. Endicott sends a gang of thugs after Tibbs. Gillespie rescues Tibbs and tells him to leave town for his safety, but Tibbs is convinced he can solve the case.

Tibbs asks Wood to re-trace his car patrol route on the night of the murder, and Gillespie joins them. Tibbs reveals that Wood has changed the route of his patrol. Gillespie discovers that Wood made a sizable deposit into his bank account the day after the murder. He starts to suspect Wood and arrests him, despite Tibbs’s protests. Purdy, a hostile local, brings his 16-year-old sister Delores to the police station and files charges against Wood for getting her pregnant. Tibbs insists on being present when Delores is questioned. Purdy is offended that a black man was present at his sister’s questioning, and gathers a mob to attack Tibbs. Meanwhile, Tibbs tells Gillespie that the murder was committed at the site of the planned factory, which clears Wood of the murder charge, because he couldn’t have driven both his and Colbert’s cars back into town. Tibbs adds that he knows why Wood changed his route: at night Delores likes to display her naked body to whoever is outside, and Wood, who watches her while on duty, did not want Tibbs to see a white woman in the nude.


Tibbs visits a backstreet abortionist, who under pressure reveals that she is about to perform an abortion on Delores. Delores arrives, sees Tibbs, and runs away. Tibbs follows her and comes face to face with her armed boyfriend, Ralph, a cook from a local roadside diner. At that moment Purdy’s mob arrives on the scene and holds Tibbs at gunpoint. Tibbs shouts at Purdy to check Delores’ purse, that it contains money Ralph gave her for an abortion, which he got when he robbed and killed Colbert. Purdy grabs the purse and looks inside, and realizes Tibbs is right. Purdy confronts Ralph for getting his sister pregnant, and a startled Ralph shoots Purdy dead. Tibbs grabs Ralph’s gun, and just then Gillespie arrives on the scene. Ralph is arrested and confesses to Colbert’s murder: he had gone to ask Colbert for a job at the new factory, but ended up attacking him and taking his money. “That’s all. I didn’t mean to kill him,” are the final words of Ralph’s taped confession.

The final scene shows Tibbs boarding a train bound for Philadelphia, as Gillespie, having carried his suitcase, respectfully bids him farewell.


The film score was composed, arranged and conducted by Quincy Jones, and the soundtrack album was released on the United Artists label in 1967. The title song performed by Ray Charles, composed by Quincy Jones, with lyrics by Alan and Marilyn Bergman was released as a single by ABC Records and reached #33 on the Billboard Hot 100 chart and #21 on the Hot Rhythm & Blues Singles chart.

Quincy Jones01

AllMusic’s Steven McDonald said the soundtrack had “a tone of righteous fury woven throughout” and that “the intent behind In the Heat of the Night was to get a Southern, blues-inflected atmosphere to support the angry, anti-racist approach of the picture … although the cues from In the Heat of the Night show their age”. The Vinyl Factory said “this soundtrack to a film about racism in the South has a cool, decidedly Southern-fried sound with funk-bottomed bluesy touches, like on the strutting ‘Cotton Curtain’, the down ‘n’ dirty ‘Whipping Boy’ or the fat ‘n’ sassy ‘Chief’s Drive to Mayor'”.

What a great movie, what  great soundtrack !


The Quincy Jones Orchestra
Gil Bernal (vocals on 08.)
Clarke Boomer (vocals on 16.)
Ray Brown (bass)
Glen Campbell (vocals, banjo on 09.)
Ray Charles (vocals on 01., piano on 15.)
Don Elliott (human instrument)
Roland Kirk (flute)
Billy Preston (organ on 01.)
The Raelettes (background vocals on 01.)
Bobby Scott (tack piano)
Travis Lewis (vocals on 16.)

French frontcover:

01.In The Heat Of The Night 2.32
02. Peep-Freak Patrol Car 1.35
03. Cotton Curtain 2.41
04. Where Whitey Ain’t Around 1.28
05. Whipping Boy 1.30
06. No You Won’t 1.35
07. Nitty Gritty Time 2.07
08. It Sure Is Groovy! 2.34
09. Bowlegged Polly 2.03
10. Shag Bag, Hounds & Harvey 3.47
11. Chief’s Drive To Mayor 1.07
12. Give Me Until Morning 1.12
13. On Your Feet, Boy! 2.03
14. Blood & Roots 1.11
15. Mama Caleba’s Blues 5.33
16. Foul Owl 2.32

Music: Quincy Jones
Lyrics: Alan Bergman and Marilyn Bergman




Van Morrison – Live With The Danish Radio Big Band (Barbican Center London) (1990)

FrontCover1Sir George Ivan “Van” Morrison OBE (born 31 August 1945) is a Northern Irish singer-songwriter, instrumentalist and record producer. His professional career began as a teenager in the late 1950s, playing a variety of instruments including guitar, harmonica, keyboards and saxophone for various Irish showbands, covering the popular hits of that time. Van Morrison rose to prominence in the mid-1960s as the lead singer of the Northern Irish R&B band, Them, with whom he recorded the garage band classic “Gloria”. His solo career began in 1967, under the pop-hit orientated guidance of Bert Berns with the release of the hit single “Brown Eyed Girl”. After Berns’s death, Warner Bros. Records bought out his contract and allowed him three sessions to record Astral Weeks (1968). Though this album gradually garnered high praise, it was initially a poor seller.

Morrison has a reputation for being at once stubborn, idiosyncratic, and sublime. His live performances at their best are seen as transcendental and inspired; while some of his recordings, such as the studio albums Astral Weeks and Moondance, and the live album It’s Too Late to Stop Now, are highly acclaimed.

Moondance (1970) established Morrison as a major artist, and he built on his reputation throughout the 1970s with a series of acclaimed albums and live performances. He continues to record and tour, producing albums and live performances that sell well and are generally warmly received, sometimes collaborating with other artists, such as Georgie Fame and The Chieftains.

Much of Morrison’s music is structured around the conventions of soul music and R&B, such as the popular singles “Brown Eyed Girl”, “Jackie Wilson Said (I’m in Heaven When You Smile)”, “Domino” and “Wild Night”. An equal part of his catalogue consists of lengthy, loosely connected, spiritually inspired musical journeys that show the influence of Celtic tradition, jazz and stream-of-consciousness narrative, such as the album Astral Weeks and the lesser known Veedon Fleece and Common One.


The two strains together are sometimes referred to as “Celtic soul”. He has received two Grammy Awards, the 1994 Brit Award for Outstanding Contribution to Music, the 2017 Americana Music Lifetime Achievement Award for Songwriting and has been inducted into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. In 2016, he was knighted for services to the music industry and to tourism in Northern Ireland. He is known by the nickname Van the Man to his fans. (by wikipedia)

And Van Morrison worked many times with The Danish Radio Big Band (see here)

And here´s another fine example, a nearly perfect bootleg (excellent broandcast reording) … what a wonderful night … what a brilliant combination !

… what a great addition to every Van Morrison collection … it´s a must to have !

Bit: This is the worst cover art for a Van Morrison I have ever seen !!!


Van Morrison (vocals, guitar on 05. – 15.)
The Danish Radio Big Band:
Jørgen Emborg (keybords)
Lennart Gruvstedt (drums)
Bjarne Roupé (guitar)
Mads Vinding (bass)
Ethan Weisgard (percussion)
saxophone, flute, clarinet:
Jesper Thilo – Jan zum Vohrde – Uffe Kraskov – Bent Jædig
trumpet, flugelhorn:
Benny Rosenfeldt – Jens Winther – Lars Togeby – Palle Bolvig – Perry Knudsen
Jens Engel – Axel Windfeld – Steen Hansen – Ture Larsen – Vincent Nilsson
Georgie Fame (organ on 11. – 14.)



The Danish Radio Big Band:
01. Basically Yours (Jones) 2.56
02. Introduction + Aura (Holdman) 6.01
03. Tiptoe (Jones) 7.44
04. Wild Bill (Pitts) 6.49

Van Morrison & The Danish Radio Big Band:
05. I Will Be There (Morrison) 2.51
06. Here Comes The Knight (Morrison) 3.26
07. Haunts Of Ancient Peace (Morrison) 4.12
08. Celtic Swing (Morrison) 5.00
09. Got To Go Back (Morrison) 5.07
10. A New Kind Of Man (Morrison) 3.15
11. Listen To The Lion (Morrison) 5.04
12. Vanlose Stairway (Morrison) 4.25
13. I`d Love To Write Another Song (Morrison) 2.44
14. Orangefield (Morrison) 4.00
15. Whenever God Shines His Light (Morrison) 4.09

The Danish Radio Big Band:
16. To You (Jones) 4.27
17. Van Morrison Live With The Danish Radio Big Band (Barbican Center London) (uncut edition) 1.17.45

I got this concert many, many years ago as a tape:




More Van Morrison:

Gabor Szabo – Macho (1975)

FrontCover1Macho is an album by Hungarian guitarist Gábor Szabó featuring performances recorded in 1975 and released on the Salvation label.

Macho is right. This 1975 album is one of the headiest in the Hungarian-born guitarist Gabor Szabo’s entire catalog. Produced by Bob James, the album is deep in fretless Fender basslines courtesy of Louis Johnson, funky Rhodes pianos and synthesizers from James and former Mother of Invention Ian Underwood, guitar savvy from Szabo with Eric Gale on rhythm, and a horn section that features no less than George Bohanon, Jon Faddis, and Tom Scott, with the venerable Harvey Mason Sr. on drums. This is a tough, in-your-face, funky soul-jazz band. Szabo’s sense of camp was eternal as he covers, disco-style, Franz Liszt’s “Hungarian Rhapsody #2,” but slips into the souled-out groove-jazz of his own “Time,” without a seam. Szabo’s playing, with its mysterious, liquid runs and razor sharp melodic sensibilities, is centered here by James, who attempts to make Szabo’s six strings be at the absolute dead-center of the mix. Tracks like James’ own “Transylvania Boogie,” (the long title track), and Phoebe Snow’s “Poetry Man,” offer a glimpse of Szabo as the consummate melodist: with teeth. Harmonically, this band was as disciplined as the charts would allow, giving nothing away in the ensemble sections. This is a tough, streetwise, commercial jazz album that has plenty to offer to anyone with an open mind. In the pocket, groove-soaked, and flawlessly executed. (by Thom Jurek)


Although this didn’t knock me out quite as much as his classic “The Sorcerer” album, this CD is still a great listen. There is also less emphasis on Szabo’s stellar guitar playing and more of a cooperative band approach to the compositions on this album. And that’s not a bad thing, especially considering the talent on offer here: Eric Gale on rhythm guitar, Bob James (who also produced this album for CTI) on piano, Louis Johnson (yes, one of the Brothers Johnson) on bass, Harvey Mason on drums, Tom Scott on sax, Jon Faddis on trumpet, and a percussion duo of Ralph MacDonald and Idris Muhammad. Can you say: Jamming! Yes, this album works the rhythms and grooves, but Gabor and crew also handle the downtempo stuff with grace and precision. I love, for example, their take on Phoebe Snow’s “Poetry Man.” Marvelous stuff. (Donald E. Gilliland)

Recorded at Kendun Recorders in Burbank, California on April 3, 4, 5, 7 & 8, 1975


George Bohanon (trombone)
Scott Edwards (bass)
John Faddis (trumpet)
Eric Gale (guitar)
Bobbye Hall (percussion)
Bob James (keyboards)
Louis Johnson (bass)
Ralph MacDonald (percussion)
Harvey Mason (drums)
Idris Muhammad (percussion)
Tom Scott (saxophone, lyricon)
Gábor Szabó (guitar)
Ian Underwood (synthesizer)


01. Hungarian Rhapsody No. 2 (Liszt) 6.46
02. Time (Szabó) 5.31
03. Transylvania Boogie (James) 5.27
04. Ziggidy Zog (Mason) 5.57
05. Macho (Szabó) 9-09
06. Poetry Man (Snow) 4.25



Gábor István Szabó (March 8, 1936 – February 26, 1982)

More from Gábor Szabó: