On the road again …

This time I’m going to Nuremberg for a few days.


Nuremberg (in the local East Franconian dialect: Nämberch  is the second-largest city of the German state of Bavaria after its capital Munich, and its 518,370 (2019) inhabitants make it the 14th-largest city in Germany. On the Pegnitz River (from its confluence with the Rednitz in Fürth onwards: Regnitz, a tributary of the River Main) and the Rhine–Main–Danube Canal, it lies in the Bavarian administrative region of Middle Franconia, and is the largest city and the unofficial capital of Franconia. Nuremberg forms with the neighbouring cities of Fürth, Erlangen and Schwabach a continuous conurbation with a total population of 800,376 (2019), which is the heart of the urban area region with around 1.4 million inhabitants, while the larger Nuremberg Metropolitan Region has approximately 3.6 million inhabitants. The city lies about 170 kilometres (110 mi) north of Munich. It is the largest city in the East Franconian dialect area (colloquially: “Franconian”; German: Fränkisch).


There are many institutions of higher education in the city, including the University of Erlangen-Nuremberg (Friedrich-Alexander-Universität Erlangen-Nürnberg). With 39,780 students in 2017, it is Bavaria’s third-largest and Germany’s 11th-largest university, with campuses in Erlangen and Nuremberg and a university hospital in Erlangen (Universitätsklinikum Erlangen). Technische Hochschule Nürnberg Georg Simon Ohm and Hochschule für Musik Nürnberg are also located within the city. The Nuremberg exhibition centre (Messe Nürnberg) is one of the biggest convention center companies in Germany and operates worldwide. Nuremberg Airport (Flughafen Nürnberg “Albrecht Dürer”) is the second-busiest airport in Bavaria after Munich Airport, and the tenth-busiest airport of the country. (wikipedia)


I will be back on Sunday June 4th

And as always, I wish all readers of this blog a good time !

The Doors – L.A. Woman (1971)

FrontCover1The Doors were an American rock band formed in Los Angeles in 1965, with vocalist Jim Morrison, keyboardist Ray Manzarek, guitarist Robby Krieger, and drummer John Densmore. They were among the most influential and controversial rock acts of the 1960s, partly due to Morrison’s lyrics and voice, along with his erratic stage persona. The group is widely regarded as an important figure of the era’s counterculture.

The band took its name from the title of Aldous Huxley’s book The Doors of Perception, itself a reference to a quote by William Blake. After signing with Elektra Records in 1966, the Doors with Morrison recorded and released six studio albums in five years, some of which are generally considered among the greatest of all time, including their self-titled debut (1967), Strange Days (1967), and L.A. Woman (1971). Dubbed the “Kings of Acid Rock”, they were one of the most successful bands during that time and by 1972 the Doors had sold over 4 million albums domestically and nearly 8 million singles.

The Doors01 (1968)

Morrison died in uncertain circumstances in 1971. The band continued as a trio until disbanding in 1973. They released three more albums in the 1970s, one of which featured earlier recordings by Morrison, and over the decades reunited on stage in various configurations. In 2002, Manzarek, Krieger, and Ian Astbury of the Cult on vocals started performing as “The Doors of the 21st Century”. Densmore and the Morrison estate successfully sued them over the use of the band’s name. After a short time as Riders on the Storm, they settled on the name Manzarek–Krieger and toured until Manzarek’s death in 2013.

The Doors were the first American band to accumulate eight consecutive gold LPs. According to the RIAA, they have sold 34 million albums in the United States and over 100 million records worldwide, making them one of the best-selling bands of all time. The Doors have been listed as one of the greatest artists of all time by magazines including Rolling Stone, which ranked them 41st on its list of the “100 Greatest Artists of All Time”. In 1993, they were inducted into the Rock and Roll Hall of Fame. (wikipedia)

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L.A. Woman is the sixth studio album by the American rock band the Doors, released on April 19, 1971, by Elektra Records. It is the last to feature lead singer Jim Morrison during his lifetime due to his death three months after the album’s release, though he would posthumously appear on the 1978 album An American Prayer. Even more so than its predecessors, the album is heavily influenced by blues. It was recorded without record producer Paul A. Rothchild after he fell out with the group over the perceived lack of quality of their studio performances. Subsequently, the band co-produced the album with longtime sound engineer Bruce Botnick.


“Love Her Madly” was released as a single in March 1971, preceding the album’s release, and reached the Top 20 in the Billboard Hot 100. Upon release, the album peaked at number nine on the Billboard 200 and reached number 28 on the UK Albums Charts.[3] The track “Riders on the Storm” also achieved chart success.

Critics including Richie Unterberger and David Quantick have called L.A. Woman one of the Doors’ best albums, citing Morrison’s vocal performance and the band’s stripped-down return to their blues-rock roots.


The final album with Jim Morrison in the lineup is by far their most blues-oriented, and the singer’s poetic ardor is undiminished, though his voice sounds increasingly worn and craggy on some numbers. Actually, some of the straight blues items sound kind of turgid, but that’s more than made up for by several cuts that rate among their finest and most disturbing work. The seven-minute title track was a car-cruising classic that celebrated both the glamour and seediness of Los Angeles; the other long cut, the brooding, jazzy “Riders on the Storm,” was the group at its most melodic and ominous. It and the far bouncier “Love Her Madly” were hit singles, and “The Changeling” and “L’America” count as some of their better little-heeded album tracks. An uneven but worthy finale from the original quartet. (by Richie Unterberger)


John Densmore (drums)
Robby Krieger (guitar)
Ray Manzarek (keyboards, guitar on 03.)
Jim Morrison (vocals)
Marc Benno guitar on 03. – 05. + 08.)
Jerry Scheff (bass)


01. Changeling 4.18
02. Love Her Madly 3.18
03. Been Down So Long 4.41
04. Cars Hiss By My Window 4.12
05. L.A. Woman 7.46
06. L’America 4.34
07. Hyacinth House 3.11
08. Crawling King Snake 4.59
09. The WASP (Texas Radio & The Big Beat) 4.17
10. Riders On The Storm 6.54
11. (You Need Meat) Don’t Look No Further

All songs written by:
John Densmore – Robby Krieger – Ray Manzarek – Jim Morrison
except Nr. 08, written by John Lee Hooker
and 11. written by Willie Dixon



More from The Doors:More

The official website:

Spooky Tooth – Shine The Light On Me (1973)

FrontCover1Spooky Tooth were an English rock band originally formed in Carlisle in 1967. Principally active between 1967 and 1974, the band re-formed several times in later years.

Prior to Spooky Tooth, four of the band’s five founding members had performed in the band Art (formerly known as the V.I.P.’s). Following the dissolution of Art, the members of that band’s final line-up (guitarist Luther Grosvenor, vocalist Mike Harrison, drummer Mike Kellie and bassist Greg Ridley) joined forces with American keyboardist/vocalist Gary Wright in October 1967 and formed Spooky Tooth. Wright was introduced to the members of Art by Chris Blackwell, founder of Island Records.

Their debut, It’s All About, was released in June 1968 on Island Records and was produced by Jimmy Miller, who was also behind the boards for Spencer Davis Group, Traffic, the Rolling Stones and Blind Faith.

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The second album, Spooky Two (March 1969), also produced by Miller, gained some attention in the rock press but, like the debut, failed to sell. It was the last album release by the original lineup and included their now classic version of the Larry Weiss penned “Evil Woman” and “Better by You, Better than Me”, which was covered by Judas Priest on their release Stained Class (1978).

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Ridley joined Humble Pie in 1969 and was replaced by Andy Leigh for the album Ceremony (December 1969). The experimental nature of Ceremony received mixed reviews and despite the project being instigated by Gary Wright, the album is considered by him to have ended the band’s career. The record is described by another as being “one of the great screw-ups in rock history”. As Wright describes it, “…We did a project that wasn’t our album. It was with this French electronic music composer named Pierre Henry. We just told the label, ‘You know this is his album, not our album. We’ll play on it just like musicians.’ And then when the album was finished, they said, ‘Oh no no — it’s great. We’re gonna release this as your next album.’ We said, ‘You can’t do that. It doesn’t have anything to do with the direction of Spooky Two and it will ruin our career.’ And that’s exactly what happened.”

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Wright left the band following the release of the album. Harrison, Grosvenor and Kellie remained and recorded The Last Puff (July 1970) with members of Joe Cocker’s Grease Band (guitarist Henry McCullough, keyboardist Chris Stainton and bassist Alan Spenner).

In the autumn of 1970 the band embarked on a European tour that was undertaken with a line-up of Harrison, Grosvenor, Kellie, keyboardist John Hawken (ex-Nashville Teens) and bassist Steve Thompson. After this, the group disbanded, though Harrison and Wright reformed Spooky Tooth in September 1972 with a different line-up.

You Broke My Heart So I Busted Your Jaw was the first album by the reunited band, released in May 1973 on Island Records. Founding guitarist Grosvenor did not rejoin the band, as he had teamed up with Mott the Hoople, adopting the stage name of Ariel Bender. Grosvenor was succeeded by Mick Jones, while founding drummer Kellie was replaced by Bryson Graham. The bassist was Ian Herbert, then Chris Stewart.

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For their next album, Witness (November 1973), original drummer Mike Kellie returned in place of Graham. Wright remained the dominant songwriter at this stage of the band’s history. But co-lead singer Harrison left following the album’s release and Mike Patto was the new vocalist, alongside Wright, when they recorded The Mirror (October 1974), which also included new bass player Val Burke and Bryson Graham back on drums. But the album’s failure led to Wright leaving once again for a solo career and the group disbanding in November 1974.

Jon Milward summarized the band in The Rolling Stone Record Guide in 1979: “If ever there was a heavy band, Spooky Tooth had to be it. Featuring two vocalists prone to blues-wrenching extremes, and an instrumental attack comprising awesomely loud keyboards and guitars, Spooky Tooth came on like an overwhelming vat of premedicated goo.” Noting their lack of commercial success, Milward concluded that the group “would remain the right band at the wrong time.” (wikipedia)

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And here is one of the really rare bootlegs (limited edition: 175 copies on multicolour vinyl) from Spooky Tooth, a nice addition to any Spooky Tooth collection.

Alternate front+backcover:

But to be honest … The band had already passed their zenith in 1973.
Songs like “Old As I Was Born” and “Sunlight Of My Mind” were meaningless and the version of “Evil Woman” is just lousy.

Recored live at State Fair Coliseum, Syracuse, NY, USA 15.5.1973


Mike Harrison (vocals, percussion)
Mick Jones (guitar, background vocals)
Mike Kellie (drums)
Chris Stewart (bass)
Gary Wright (organ, vocals)


01. Intro 1.05
02. Waiting For The Wind (Grosvenor/Harrison/Wright) 4.34
03. Cotton Growing Man (Wright) 4.40
04. Old As I Was Born (Wright) 13.48
05. Better By You Better Than Me (Wright) 4.32
06. Sunlight Of My Mind (Wright) 5.35
07. I Am The Walrus (Lennon(McCartney) 6.04
08. Evil Woman (Weiss) 3.50
09. Shine The Light On Me (uncut edition) 44.15



Alternate frontcover:

More from Spooky Tooth:

Mike Harrison

Cat Stevens – Matthew And Son (1967)

FrontCover1Yusuf Islam (born Steven Demetre Georgiou; 21 July 1948), commonly known by his stage names Cat Stevens, Yusuf, and Yusuf / Cat Stevens, is a British singer-songwriter and multi-instrumentalist. His musical style consists of folk, pop, rock, and, later in his career, Islamic music. Following two decades in which he only performed music which met strict religious standards, he returned to making secular music in 2006.He was inducted into the Rock and Roll Hall of Fame in 2014

After making a successful run at the British charts in the late ’60s, Cat Stevens left behind the pop-oriented style of his early days and became one of the most celebrated folk-rock singer/songwriters of the era. It was all thanks to landmark albums like 1970’s Tea for the Tillerman and its 1971 follow-up, Teaser and the Firecat.

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His earthy voice, introspective lyrics, and themes of spirituality struck a chord with audiences around the world, turning songs like “Wild World,” “Father and Son,” and “Peace Train” into anthems for a generation seeking comfort from the turbulent 1960s. As his popularity peaked in the front half of the ’70s, Stevens began to chafe at the effects of his stardom, and after a near-death experience in 1976, he began a religious conversion to Islam. By 1978, he had formally changed his name to Yusuf Islam and retired from popular music. Over the next several decades, he remained focused on his family and devoted himself to humanitarian aid, charitable causes, and educational efforts.

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His musical pursuits eventually began to re-emerge in the 1990s with a series of Muslim children’s albums, and in 2006 he returned to Western pop with the album An Other Cup, released under the name Yusuf. Still a devout Muslim, he found a balance between his faith and honoring the work he’d previously made as Cat Stevens. The ensuing decade was marked by continued charitable work, a return to touring, and the release of more pop-oriented Yusuf albums like 2014’s bluesy Tell ‘Em I’m Gone and 2017’s Grammy-nominated The Laughing Apple. (by William Ruhland)

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Matthew and Son is the debut studio album by English singer-songwriter Cat Stevens, released in March 1967.

Stevens began writing songs during his early teenage years. His earliest influences included the sound of early British bands, such as the Beatles and the Rolling Stones, influenced by popular American rhythm and blues. At the same time, folk influences from artists such as Bob Dylan and Simon & Garfunkel left a strong mark on him, along with some of the musicals being performed so close to his childhood home in Soho that he could often hear them drifting through his room.

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Stevens’s older brother, David Gordon, attracted the attention of music producer Mike Hurst, formerly of the Springfields, in the hope of finding a producer interested in his younger brother’s music. After a demo was recorded, a deal was struck between the two. The album was not released until 1967; however, recording began on 10 July 1966, with a few advance singles appearing around that time.

Although the album was not released until 1967, the first advance single, “I Love My Dog”, was released in 1966. It was initially recorded only by Stevens’ guitars, piano and vocals. Hurst, however, encouraged Stevens to add a staccato and tympani–and–viola arrangement. Session bassist John Paul Jones played on the first singles two years before becoming a member of Led Zeppelin. The lyrics for the B-side of the first single, “Portobello Road”, were written by Kim Fowley, who encouraged Stevens to compose a melody for the song. The single initially reached No. 28 on the UK charts, followed by “Matthew and Son”, the next single and title track, which went to No. 2 on the UK charts, making Stevens into a popular and clean-cut teenage crooner.


Matthew and Son was released in 1967, eventually reaching No. 7 in the UK. The album track “Here Comes My Baby” was initially recorded and released by the Tremeloes, and was a hit, reaching No. 4 in the UK. “I’ve Found a Love” was covered by British singer David Garrick but failed to chart, while Stevens’s own “I’m Gonna Get Me a Gun” reached No. 6.

“Here Comes My Baby” was used in the Wes Anderson film Rushmore.

Music critic Robert Christgau of The Village Voice later called Matthew and Son “a rarity: a forgotten record that shouldn’t be”, and said that both its title track and “I Love My Dog” were “two rock songs we should have heard more of in 1967”.

Different worlds: Engelbert Humperdinck with Jimi Hendrix, Cat Stevens, and Gary Walker at the backstage of Finsbury Park Astoria in London:Cat Stevens05

Cat Stevens’ Matthew & Son was among the handful of releases that introduced Decca Records’ “offbeat”-oriented (but ultimately largely psychedelic/progressive) Deram label in England. Actually, Stevens’ “I Love My Dog” launched the label in fine style by climbing to number 27 on the U.K. charts, and its follow-up, “Matthew & Son,” hit number two, resulting in the release of the original album of the same name. The latter was not only a fine account of Stevens’ early folk-influenced pop/rock sound, but was also a beautiful, candid audio “snapshot” of one side of Swinging London’s musical ambience in late 1966 and early 1967. It melds tinkling harpsichords (“Matthew & Son”) and moderately ambitious orchestrations (mostly horns and strings) on some songs (“I Love My Dog”) with folky acoustic guitar on others (“Portabello Road”), a lot of it carrying highly expressive, weirdly personal lyrics.

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Though it was like pulling teeth to get some of those early records out from Decca, this album sounds today like the record that should have accompanied the American version of the Beatles’ Rubber Soul onto millions of turntables. It’s very distant from the sound that Stevens was ultimately known for, and in many ways, it’s more dated than what he did for Island/A&M, but it’s much more self-consciously accessible, arranged in different styles, ranging from vaudeville-style band accompaniment (“I See a Road”) to trippy Donovan-esque ballads (“Baby Get Your Head Screwed On,” “When I Speak to the Flowers,” “Hummingbird”). Some of it, such as the sax-driven “Come on and Dance,” is a little awkward as efforts at a soul sound, but all of it is fun, even the slightly too Engelbert Humperdinck-esque “Lady.” (by Bruce Eder)


Cat Stevens (vocals, guitar, keyboards)
Nicky Hopkins (keyboards on 01.)
John Paul Jones (bass guitar on 01.)
a bunch of unknown studio musicians

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01. Matthew and Son 2.40
02. I Love My Dog 2.18
03. Here Comes My Baby 2.55
04. Bring Another Bottle Baby 2.42
05. Portobello Road 2.27
06. I’ve Found A Love 2.28
07. I See A Road 2.07
08. Baby Get Your Head Screwed On 2.20
09. Granny 3.10
10. When I Speak To The Flowers 2.22
11. The Tramp 2.07
12. Come On And Dance 2.07
13. Hummingbird 2.34
14. Lady 3.01
15. School Is Out 2.58
16. I´’m Gonna Get Me A Gun 2.13

All songs written by Cat Stevens



More from Cat Stevens:

The official website:

Certain Lions & Tigers – Soul Condor (1970)

FrontCover1The man behind this LP is called Peter Herbolzheimer:

Peter 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.

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.

Quincy Jones, Paul Kuhn & Peter Herbolzheimer:

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)


Bossa Nova sound meets Big Band Jazz. Here you will find some ultimate classics like Lee Hazelwood´s “These Boots Are Made For Walking”, “Wade In The Water”, “Scarborough Fair” and many other songs. But on “Soul Condor” it sounds like the waves down on the Copacabana. (press release)

And here is another example of this great musical world of Peter Herbolzheimer, which makes your mouth water (like mine) already with the line-up list.

Even if this album has been completely forgotten … it shows the young Peter Herbolzheimer, who already in this early phase of his musical work knew how to produce top-quality big band music from German lands … and you can still enjoy this album today !


Karl Barthelmes (trumpet, flugelhorn)
Art Farmer (trumpet, flugelhorn)
Rudi Füsers (trombone)
Jörg Gebhardt (drums)
Herb Geller (saxophone, flute)
Dusko Goykovich (trumpet, flugelhorn)
Peter Herbolzheimer (trombone)
Tony Inzalaco (drums)
Heinz Kitschenberg (guitar, bass)
Gerd Lachmann (trombone)
Hermann Mutscheler (timbales)
Horst Mühlbradt (percussion)
Dieter Reith (keyboards)
Ack van Rooyen (flugelhorn)

The BASF records edition:

01. El Soul Condor (Traditional/Pratt/Varron) 4.51
02. Little Joe (Pratt) 2.28
03. Como No Cachita (Muhlbradt) 2.55
04. Scarborough Fair (Traditional) 2.46
05. Aquarius (MacDermot/Ragni/Rado) 3.53
06. These Boots Are Made For Walking (Hazlewood) 3.35
07. Wade In The Water (Traditional) 3.19
08. Fever (Davenport/Cooley) 3.03
09. Sao Felix (Neven/Bristol) 2.59
10. Bossandy (Hartmann) 2.34
11. La Marcha (Pink) 2.55


Another Polydor edition:
Another Polydor editionPeter Herbolzheimer01

Count Basie – On My Way & Shoutin’ Again! (1962)

FrontCover1William James “Count” Basie (August 21, 1904 – April 26, 1984) was an American jazz pianist, organist, bandleader, and composer. In 1935, he formed the Count Basie Orchestra, and in 1936 took them to Chicago for a long engagement and their first recording. He led the group for almost 50 years, creating innovations like the use of two “split” tenor saxophones, emphasizing the rhythm section, riffing with a big band, using arrangers to broaden their sound, and others. Many musicians came to prominence under his direction, including the tenor saxophonists Lester Young and Herschel Evans, the guitarist Freddie Green, trumpeters Buck Clayton and Harry “Sweets” Edison, plunger trombonist Al Grey, and singers Jimmy Rushing, Helen Humes, Thelma Carpenter, and Joe Williams.

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On My Way & Shoutin’ Again! is an album released by pianist, composer and bandleader Count Basie featuring compositions by Neal Hefti recorded in 1962 and originally released on the Verve label.

Down Beat critic Harvey Pekar commented in his February 28, 1963 review: “… generally fine solo work and several admirable Hefti scores plus Basie’s inevitably strong rhythm section – all of which adds up to a very good album.” (wikipedia)

Neal Hefti

When Count Basie returned to Verve Records in 1962, Neal Hefti was contracted to write the tunes and arrangements, a revival of their partnership from the 1958 Roulette LP Basie Plays Hefti. While none of these selections is as famous as his songs like “Cute,” “Little Pony,” “Splanky,” “Li’l Darlin’,” and “Repetition,” the substantial originality of this music is hard to deny, not to mention that the expert musicians playing his music bring these tracks fully to life in a livelier fashion than most laid-back Basie studio sessions. In fact, it has the feeling of a concert date that trumps the more clean, controlled environment of a session that was recorded on a three-track reel-to-reel. There’s also plenty of room for exceptional solos from most of the participants, as Hefti is mindful of who is in the band and how each musician might sound when given his head.

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This is tried and true swing-oriented modern big-band music that actually sounds advanced for its time frame, and is solid as anything Basie has done post-“April in Paris.” The band is atypically bold and brazen on the opener, “I’m Shoutin’ Again,” with Frank Wess on alto (not tenor) sax for his spirited solo. The great chart of “Jump for Johnny” is a hard bopper for Johnny Carson, basic Basie with tenor saxophonist Frank Foster and trumpeter Sonny Cohn trading licks. Hefti’s best work is showcased during “Together Again,” as the hopping brass and singing horns take tuneful twists and turns. This set also includes the classic track “The Long Night,” a famous blues featuring the sly flute of Wess in front of the horn section and a masterful muted solo by trumpeter Thad Jones. There are other tunes that are derivative, as you can clearly hear the borrowed phrases of “C Jam Blues”/”Duke’s Place” in the low-key then blasted-out “Eee Dee,” “Shiny Stockings” sprinkled about during the more typical laid-back “Rose Bud,” and “Groove Merchant” or “Hallelujah, I Just Love Him So” in the easy-swinging soul groove of “Ain’t That Right.” Hefti’s movie soundtrack experience comes to the fore on “Shanghaied,” definite spy music with Cohn’s muted trumpet masking phobias and paranoia. There are two cute tunes: “Skippin’ with Skitch,” led by three flutes (Wess, Eric Dixon, and Charlie Fowlkes); and the lightly strutting “Ducky Bumps,” featuring Henry Coker’s trombone, with brief solos from Basie’s piano and bassist Buddy Catlett. A solid and worthwhile album that has been out of print for far too long, this will be a welcome addition to any Basie lover’s collection, and comes highly recommended to anyone even mildly interested in excellent large-ensemble mainstream jazz. (by Michael G. Nastos)


Count Basie (piano)
Buddy Catlett (bass)
Frank Foster (saxophone)
Freddie Green (guitar)
Sonny Payne (drums)
Marshal Royal (saxophone, clarinet)
Al Aarons – Sonny Cohn – Thad Jones – Fip Ricard – Ernie Royal

Henry Coker – Grover Mitchell – Benny Powell

saxophone, flute:
Charlie Fowlkes  – Eric Dixon – Frank Wess

Count Basie04Tracklist:
01.I’m Shoutin’ Again 3.29
02. Ducky Bumps 3.36
03. The Long Night 3.45
04. Jump For Johnny 3.18
05. Ain’t That Right 2:50
06. Together Again 2.47
07. Shanghaied 2.47
08. Skippin’ With Skitch 4.03
09. Eee Dee 3.07
10. Rose Bud 3.42

Music: Neal Hefti




More from Count Basie:
Count Basie01

Walter Gerwig – The Baroque Lute (1969)

FrontCover1Walter Gerwig (26 November 1899 – 9 July 1966) was an influential German lutenist, choral conductor and composer. He was one of the pioneers in the revival of early music revival and historical performance practice. He was also a choral conductor. Through his concerts and recordings Gerwig made a significant contribution to the revival of the lute and its repertoire in Europe and America.

Together with Fritz Jöde, he was one of the co-founders of the first folk music school in Berlin, the Berliner Volksmusikschule. From 1928 he was the lute teacher at the Berlin’s Akademie für Kirchen- und Schulmusik. During the Nazi era he did not join the NSDAP and avoided appearing at Nazi-sponsored events. From 1952 he headed the lute course at the State Academy of Music in Köln.


Gerwig made numerous LP recordings of Baroque and Renaissance lute repertoire. He received the prize of the Deutschen Schallplattenkritik in 1965, for the recording of J.S. Bach’s Suite in G minor (BWV 995) a year before his death. In addition, Gerwig also composed several works for lute, guitar and other stringed instruments. (wikipedia)


And here you can read more about him.

And also on this album he dedicates himself to baroque lute music … and I can’t help myself, the sounds enchant me …

… and of course beguiling damsels also appear in my mind’s eye … graceful and supple … sigh !

The music is so virtuosic, graceful … such a pleasure !


Walter Gerwig (lute)

The German edition:
German edition


Johann Sebastian Bach: Suite In G Minor, BWV 995: (23.42)
01. Prelude 6.13
02. Allemande 4.57
03. Courante 2.34
04. Sarabande 3.01
05. Gavotte I – Gavotte II En Rondeau – Gavotte I 4.47
06. Gigue 2.22

Dieterich Buxtehude: Suite In C Minor: (9:45)
07. Allemande 2.52
08. Courante 1.59
09. Sarabande 2.48
10. Gigue 2.05

Johann Pachelbel: Suite In F-Sharp Minor: (10:31)
11. Allemande 3.04
12. Courante 2.36
13. Sarabande 3.07
18. Gigue 1.49


Liner Notes

More from Walter Gerwig:

The Snakes – Live In Europe (1998)

FrontCover1The Snakes were a British-Norwegian hard rock band, formed by former Whitesnake members Bernie Marsden and Micky Moody in 1997. The line-up consisted of guitarists Marsden and Moody with Norwegian musicians, vocalist Jørn Lande, bassist Sid Ringsby, who later joined the Norwegian band TNT, and drummer Willy Bendiksen. The band released one live album, one studio album and broke up in 1999.

The Snakes were formed by Whitesnake guitarists Bernie Marsden and Micky Moody, exclusively performing Whitesnake songs. Initially, the project was called ‘Saints and Sinners’ and was to feature other former Whitesnake band mates including, bassist Neil Murray and drummer Cozy Powell plus American vocalist John West but this never materialised. In August 1998, the Once Bitten album was released in Japan on the Pony Canyon label. Former Vagabond vocalist Jørn Lande was drafted in and TNT guitarist Ronni Le Tekrø produced the band. TNT’s touring keyboard player Dag Stokke engineered the album. A live album Live in Europe was released in December 1998, with recordings of live performances of Whitesnake songs.

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In 1991, Micky Moody and Bernie Marsden began to revive their Whitesnake heritage together. With their Moody Marsden Band (featuring Zak Starkey, son of Ringo Starr, among others), they represented the blues part that made up a large part of the Whitesnake sound until 1984.

In 1998 Moody and Marsden formed the band “The Snakes”, with whom they played the songs of the classic line-up live. Additional members of this band were Jørn Lande (vocals), Sid Ringsby (bass) and Willy Bendiksen (drums). The Snakes released the albums “Once Bitten”(The Snakes Album) and “Live in Europe” in 1989.

Johnny Lande

In 2000, the band was renamed “The Company of Snakes” and Whitesnake founding member Neil Murray was brought in. Songs from the classic line-up are also played live. Don Airey also took part in this project at times. Later, the group traded under the name M3 Classic Whitesnake, supplemented by Stefan Berggren (vocals), Doogie White (vocals, ex-Rainbow), Jimmy Copley (drums, ex-Upp) and Mark Stanway (keyboard, Magnum). (wikipedia)

Sid Ringsby

Okay, this of course a “Whitesnake Tribute Band”, but a real good one, because Micky Moody and Bernie Marsden co-wrote the most of all hese classic tunes from the first period of Whitesnake, before David Coverdale is ripped off with his eogtrips

Moody & Mardsen take you together won a rollercoaster true the good old Whitesnake songs.

Bernie Marsden & Micky Moody

Both musicians are grossly underrated !

And Johnny Lande sounds like a younger Coverdale …


Don Airey (keyboards)
Willy Bendiksen (drums)
Johnny Lande (vocals)
Bernie Marsden (guitar, vocals)
Micky Moody (guitar, vocals)
Sid Ringsby (bass)


01. Walking In The Shadow Of The Blues (Coverdale/Marsden) 5.16
02. Sweet Talker (Coverdale/Marsden) 4.49
03. Trouble (Coverdale/Marsden) 5.51
04. Slow An’ Easy (Coverdale/Moody) 6.04
05. Don’t Break My Heart Again (Coverdale) 5.41
06. Ready An’ Willing (Coverdale/Moody/Murray/Paice) 6.19
07. Ain’t No Love In The Heart Of The City (Price/Walsh) 8.20
08. Rough An’ Ready (Coverdale/Marsden) 3.25
09 Fool For Your Loving (Coverdale/Moody/Marsden) 5.30
10. Wine Woman An’ Song (Coverdale/Lord/Paice/Marsden/Murray/Moody) 5.52
11. Here I Go Again (Coverdale/Marsden) 6.17




Delaney Bramlett – A New Kind Of Blues (2007)

DelaneyBramlettFrontCover1Delaine Alvin “Delaney” Bramlett (July 1, 1939 – December 27, 2008) was an American singer and guitarist. He was best known for his musical partnership with his wife Bonnie Bramlett in the band Delaney & Bonnie and Friends, which included a wide variety of other musicians, many of whom were successful in other contexts.

Bramlett was born in Pontotoc, Mississippi. He began playing guitar when he was eight years old, but didn’t get serious about the instrument until he was a teenager. He started singing in school and at twelve he had a quartet. Bramlett joined the United States Navy before he was 17, serving for two and half to three years. He took boot camp at Naval Station Great Lakes, spending over half his hitch there.

After his discharge, he moved to Los Angeles in the early 1960s, where he worked as a bartender before he started performing in clubs.

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Bramlett was performing at the Palomino Club in North Hollywood when he was asked to appear in a pilot for a new television show, Shindig!. By 1965, Bramlett was a regular member of the Shindogs, the show’s house band. He collaborated as a songwriter with fellow musicians Joey Cooper, Mac Davis, and Jackie DeShannon.[2] During this time, he worked with J.J. Cale and Leon Russell and released some unsuccessful solo singles. Bramlett was the first artist signed to Independence Records, headed by Phil Skaff.[3] His debut single “Guess I Must be Dreamin” was produced by Russell,[3] entering the Cashbox “Looking Ahead” survey on May 14, 1967.

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In the late 1960s British guitar icon Eric Clapton joined Delaney & Bonnie & Friends on tour, after which Bramlett produced and co-wrote songs for Clapton’s debut solo album, Eric Clapton. Clapton has credited Bramlett for pushing him to sing and teaching him the art of rock vocals. Bramlett produced King Curtis’s last album, which produced two hit singles, “Teasin'” and “Lonesome Long Way from Home”.

Bramlett taught Beatles lead guitarist George Harrison to play slide guitar, prominently featured in Harrison’s hit “My Sweet Lord”. Bramlett wrote, recorded, or appeared on stage with many notable performers, including Joe Cocker, Jimi Hendrix, Janis Joplin, Billy Preston, John Lennon, the Everly Brothers, Duane Allman, Spooner Oldham, Steve Cropper, and Billy Burnette.

Members of the Friends appearing in concert or recording with Bramlett on Friends albums include Clapton, Harrison, Leon Russell, Curtis, Duane Allman, Gregg Allman, Dave Mason, Rita Coolidge, Carl Radle, Jim Gordon, Bobby Whitlock, Jim Keltner, Bobby Keys, and Gram Parsons.

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Their album Delaney & Bonnie & Friends On Tour With Eric Clapton (1970) reached No. 29 on the Billboard 200. Between 1970 and 1972, the duo had seven songs chart on the Billboard Hot 100, including their best-known single, the poignant “Never Ending Song of Love”, which peaked at No. 13 and a cover of Dave Mason’s “Only You Know and I Know”, which peaked at No. 20. Delaney & Bonnie ended their professional and personal relationship in 1972.

In 2006, Bramlett was one of the duet artists on the Jerry Lee Lewis album Last Man Standing, singing and playing guitar on “Lost Highway”. In 2008, Bramlett released his first CD in six years, A New Kind of Blues. He died later that year.

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Bramlett was married to Bonnie Lynn O’Farrell. The couple had a daughter Bekka Bramlett, who was briefly a member of Fleetwood Mac in the mid 1990s and has had a long career as a vocalist, backing various country and pop artists and releasing several solo albums. Their marriage was marred by violence due to their cocaine addictions. They divorced in 1972, ending their musical partnership as well.

Bramlett married Kim Carmel Bramlett in 1992. They were together for 13 years, the longest relationship of Delaney’s by far. Kim, a versatile musician/singer as well as chief engineer at the studio, recorded the last several albums during the period of 1989–2000. They divorced in 2001.

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Bramlett died from complications of gallbladder surgery at UCLA Ronald Reagan Medical Center in Los Angeles on December 27, 2008. Surviving were his widow Susan Lanier-Bramlett; a brother, John Wayne Bramlett; three daughters, Michele Bramlett, Suzanne Bramlett, and Bekka Bramlett; and two grandchildren. He was buried at Forest Lawn, Hollywood Hills Cemetery in Los Angeles.

Described in an obituary as a “Southern Legend”, Bramlett’s song “Never Ending Song of Love” has been covered by others and was used on the soundtrack of the films RV and A Good Year. Bramlett co-wrote Clapton’s hit song “Let It Rain”.

Bramlett was inducted into the Mississippi Musicians Hall of Fame on January 18, 2011. (wikipedia)

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And here´s his last album:

Delaney Bramlett is nothing less than a musical treasure. Now into his fifth decade as a musician, writer, producer and all around music mogul, Delaney sounds just as good as ever. A New Kind of Blues is his latest masterpiece, a collection of eleven smoking tracks, ten of which were written by Bramlett himself.

Delaney’s smokey soul vocals never sounded better, kicking the set off with “What Do You Do About the Blues,” an amazingly soulful, horn backed track. The sound of a cool Southern rain leads us into a Dobro blues called “Mighty Mighty Mississippi.” Swampy? You bet. So very good.

“Ol’ Moanin’ Blues” finds Delaney at his best, a modern day Robert Johnson, writing what he feels and feeling what he plays, and the title track, “A New Kind of Blues” gets so down and dirty, I felt like I was in a Mississippi juke joint. Great horns and keys only serve to enhance Delaney’s amazing guitar work.

“P.O. Box 32789” is a great blues about a bar fight, featuring Stan “The Man” Ruffeo on harp, and in his sole cover tune (“soul cover tune”) Delaney blows the roof off the joint with Sam Cooke’s “Change Gonna Come.” Have mercy!


Something about “I Got the Time” reminds me of Delaney’s old friend Leon Russell. What a killer track. But then again, I have nothing but good to say about every track on the record. It’s all good. It’s a star studded family affair of an album, with Delaney’s daughter Bekka Bramlett and his mother Iva “Mamo” Bramlett on backing vocals, and friends Greg Martin (Kentucky Headhunters), Jerry McGee, Mark Karan, Hank Barrio, and Chad Watson adding some guitar work. There’s a bushel of other great players featured on the album too, but us guitar players stick together.

The CD ends with a rave up gospel number, “I’m Gonna Be Ready,” showcasing Delaney smack dab in the middle of his element. One of my favorite albums ever was Delaney & Bonnie’s Motel Shot, because to me, Delaney is one of the finest gospel singers on the planet. Amazing. Can I get a “hallelujah?”

A New Kind of Blues is not to be missed. It is to be cherished. A new classic, from a living legend. (Michael Buffalo Smith)


Hank Barrio (guitar)
Delaney Bramlett (vocals, guitar, sitar)
Kim Carmel (horn, background vocals)
Claude (horn)
David Scott Cohen (keyboards)
Mike Faul (percussion)
John Fumo (horns)
Bob Gross (bass)
Mark Karan (guitar)
Darrell Leonard (horns)
Al Lichtenstein (drums)
Al di Marco (keyboards)
Jerry McGee (guitar)
John Molo (drums)
Felix Ramos (horns)
Don Randi (keyboards)
David Raven (drums)
Stan “the Man” Ruffeo (harmonica)
Joe Sublett (horns)
Chad Watson (bass, guitar, horns)
background vocals:
Bekka Bramlett – Iva Lazone “Mamo” Bramlett – Dawn Feusi – Janny Murphy


01. What Do You Do About The Blues (Bramlett/Morgan) 3.58
02. Cold & Hard Times (Bramlett) 4.42
03. Mighty Mighty Mississippi (Bramlett) 6.02
04. Ol’ Moanin’ Blues (Bramlett) 6.18
05. A New Kind Of Blues (Bramlett/Sharp) 4.56
06. Pontotoc (Bramlett/Morgan) 4.12
07. Ain’t Got Nothin’ To Lose (Bramlett/Gilmore/Sharp) 4.11
08. P.O. Box 32789 (Bramlett/Sharp) 4.45
09. Change Gonna Come (Cooke) 4.13
10. I Got The Time (Bramlett) 4.45
11. I’m Gonna Be Ready (Bramlett) 6.16



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The official website:

Zbigniew Seifert – We’ll Remember Zbiggy (1979)

FrontCover1Zbigniew Seifert (7 June 1946 – 15 February 1979) was a Polish jazz violinist.

Seifert was born in Kraków, Poland. He played alto saxophone early in his career and was influenced by John Coltrane. He devoted himself to jazz violin when he began performing with the Tomasz Stańko Quintet in 1970, and became one of the leading modern jazz violinists. Seifert relocated to Germany in 1973, and worked with Hans Koller’s Free Sound between 1974 and 1975. The following year, he performed alongside John Lewis at the Montreux Jazz Festival. Seifert later recorded with Oregon.

He died of cancer at the age of 32, and is buried at Rakowicki Cemetery in Krakow. (wikipedia)

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A masterful improviser who could have ranked at the top with Adam Makowicz and Michal Urbaniak, Zbigniew Seifert’s early death robbed Poland of one of its top jazz artists. Seifert started on the violin when he was six, and ten years later started doubling on alto sax. He studied violin at the University of Krakow, but when he started leading his own band in 1964, he mostly played alto, showing off the influence of John Coltrane. When he was a member of Tomasz Stanko’s very advanced quintet (1969-1973), Seifert switched back to violin and largely gave up playing sax. He moved to Germany in 1973, was with Hans Koller’s Free Sound from 1974-1975, and freelanced (including with Joachim Kuhn). Seifert played at the Monterey Jazz Festival with John Lewis in 1976, and the following year recorded with Oregon. As a leader, Seifert (who was affectionately known as “Zbiggy”) performed music that ranged from free jazz to fusion. Seifert recorded for Muza in 1969, Mood from 1974-1976, MPS in 1976, and Capitol from 1977-1978. He died of cancer at the age of 32. (by Scott Yanow)

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The Coltrane of the jazz violin:

Zbigniew Seifert, known only as Zbiggy, was only 32 years old. He lost his heroic battle against cancer in 1979. The jazz world lost the most modern violinist on the scene at the time. Zbiggy had taken the sensational style of Frenchman Jean-Luc Ponty even further into the sound world of John Coltrane’s saxophone, which was supreme at the time. Seifert had started as an alto saxophonist and played for several years in the leading band in Poland of his compatriot Tomasz Stanko. He was already a seasoned professional when he switched to violin.

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In 1973 he moved to Germany and quickly made a name for himself as “one of the most impressive and creative European jazz musicians of his time” (Reclams Jazzlexikon). He played here with all the greats of jazz, such as Volker Kriegel, Hans Koller, Albert Mangelsdorff or Joachim Kühn, recorded with them or performed with the jazz ensembles of the West German radio stations. After his death, the “Jazz Pope” Joachim-Ernst Berendt compiled a record under the title “We’ll Remember Zbiggy” documenting such meetings. (geesejazz.de)

There was no better way to say goodbye to this great musician.


Richie Beirach (piano on 07.)
Philip Catherine (guitar on 06.)
David Darling (cello bei 03.)
Wolfgang Dauner (piano on 01.)
Ursula. Dudziak (vocals on 05.)
Isla. Eckinger (bass on 05.)
Joe Haider (piano on 05.)
Jan Hammer (drums on 03.)
Hans Koller (saxophone on 08.)
Joachim Kühn (piano on 04.)
Albert Mangelsdorff (trombone bei 02.)
Charlie Mariano (saxophone)
Glen Moore (bass on 03.)
Joe Nay (drums on 05.)
Adelhard Roidinger (bass on 01. + 08.)
Zbigniew Seifert (violin)
Janusz Stefański (drums on  08.)
Leszek Zadlo (saxophone on 05.)
NDR Studio Band Hamburg/Germany conducted by Ranz Thon (on 08.)

Zbigniew Seifert05Tracklist:
01. Spring On The Farm (Seifert) 8.07
02. Rubato (Seifert) 7.59
03. Chromatic Blues (Moore) 3.27
04. Laverne (Kühn) 5.46
05. Love In The Garden (Seifert) 5.10
06. Air Power (Catherine) 3.42
07. Zal (Beirach) 7.30
08. McCoy’s Nightmare (Seifert) 10.35

01 recorded in Stuttgart/W.-Germany, March 1976
02 recorded live at Donaueschingen Music Festival, October 1976
03 recorded in New York City, December 1978
04 recorded live at Jazzclub Ostertor, Bremen, April 1976
05 recorded at NDR Jazzworkshop, Hamburg, March 1977
06 recorded live in Brussels, December 1977
07 recorded in New York City, December 1976
08 recorded at NDR, Hamburg, March 1974



Liner Notes

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