Bob Dylan – In The Summertime – Live In Drammen, Norway (1981)

FrontCover1.jpgThe Bob Dylan World Tour 1981 was a concert tour by American singer-songwriter Bob Dylan. The tour lasted from June 10, 1981 to November 21, 1981 and consisted of 54 concerts in three legs: 31 in North America and 23 in Europe. The tour promoted the release of Dylan’s 1981 album Shot of Love.

The tour started on June 10, 1981 in Chicago, Illinois. Dylan performed a further three concerts in the United States before travelling to Europe.[5] The European leg of the tour started on June 21 in Toulouse in France and consisted of twenty three concerts, the largest number of concerts taking place in England where eight shows were performed. All shows from July 1 onwards were recorded by members of Dylan’s crew.

Tourposter1981.jpgThe European tour ended in tragedy in Avignon, France where a member of the crowd fell into the electric cables before the first song and caused total power loss. Dylan and the band improvised an unplugged instrumental until the power was restored and ‘Saved’ was started from the beginning. In the accident two people were killed, but the show went ahead despite the incident.

Dylan returned to the United States in October to perform twenty three concerts there. Dylan also performed four concerts in Canada. The tour came to an end in Lakeland, Florida on November 21 after fifty-four concerts. (by wikipedia)

And here´s a pretty good soundboard recording from his concert at the at the Drammenshallen, Drammen, Norway; July 10, 1981 (Concert # 13 of The Europe Summer Tour 1981. 1981 concert #17.)

This 2 CD package is an absolute ‘must have’ for fans of the gospel period. Both shows are smooth, full, warm, and well mixed in a fantastic quality; right from the soundboard.

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Personnel:
Tim Drummond (bass)
Bob Dylan (vocals, guitar)
Jim Keltner (drums)
Steve Ripley (guitar)
Willie Smith (keyboards)
Fred Tackett (guitar)
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background vocals:
Clydie King – Carolyn Dennis – Regina McCrary – Madelyn Quebec

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Tracklist:
01. The Times They Are A-Changin’ 5.11
02. Gotta Serve Somebody 4.12
03. I Believe In You 5.04
04. Like A Rolling Stone 6.44
05. Till I Get It Right  3.46
06. Man Gave Names To All The Animals 4.54
07. Maggie’s Farm 1.09
08. Girl From The North Country 5.50
09. Ballad Of A Thin Man 3.28
10. In The Summertime 3.41
11. Slow Train 5.37
12. Let’s Begin  3.38
13. Lenny Bruce 4.38
14. Mr. Tambourine Man 5.44
15. Just Like A Woman 4.22
16. Forever Young 4.37
17. Jesus Is The One 3.55
18. Heart Of Mine 5.11
19. When You Gonna Wake Up 5.31
20. In The Garden (with band introduction) 9.29
21. Blowin’ In The Wind 5.55
22. It Ain’t Me, Babe 5.59
23. Knockin’ On Heaven’s Door 5.44

All songs written by Bob Dylan
except “Till I Get It Right” which was written by Red Lane & Larry Henley and Let’s Begin, which was written by  Jim Webb

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Blackfoot – Dry Country + Too Hard To Handle + 2 (1981)

FrontCover1.JPGBlackfoot is an American Southern rock band from Jacksonville, Florida formed during 1969. Though they primarily play with a Southern rock style, they are also known as a hard rock act. The band’s classic lineup consisted of guitarist and vocalist Rickey Medlocke, guitarist Charlie Hargrett, bassist Greg T. Walker, and drummer Jakson Spires.

They had a number of successful albums during the 1970s and early 1980s, including Strikes (1979), Tomcattin’ (1980) and Marauder (1981).

By late 1975, the group was living back in Gainesville, Florida. During 1977 they communicated with Black Oak Arkansas’ manager, Butch Stone, who hired them as the backing group for one of his clients, Ruby Starr, who had been a backup singer for Black Oak but was now becoming self-employed. After the stint with Ruby ended during 1978, they met Brownsville Station manager Al Nalli and his partner Jay Frey, who got them a contract with the company Atco Records.

Blackfoot Strikes, produced by Al Nalli and engineered by Brownsville Station drummer Henry Weck, was recorded in Nalli’s basement studio in Ann Arbor, Michigan and was completed by January 1979. It was destined to be the band’s most commercially successful effort. The song “Train, Train”, written by Rickey’s grandfather, “Shorty” Medlocke, became their first success and best known song. “Highway Song” proved to be another success for them later that year.

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The group toured frequently during 1979; late during the year they opened for the band The Who at the Silverdome in Pontiac, Michigan while developing their next album, Tomcattin, which was released during 1980. They went on to release the album Marauder during 1981 and Highway Song Live during 1982. (by wikipedia)

And here´s a rare single including as a bonus a “free live single”, recorded at the Castle Donnington Festival, including their legendary “Train Train” written by Shorty Medlocke (the grandpa auf Ricky Melock).

The two sutio tracks were taken from their “Marauder” album.

Enjoy the power of one of the finest Southern Hard Rock groups ever … !

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Personnel:
Charlie Hargrett (guitar)
Rickey Medlocke (vocals, guitar)
Greg T. Walker (bass, background vocals)
Jakson Spires (drums, background vocals)

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Tracklist:
01. Dry Country (R.Medlocke/Spires) 3.42
02. Too Hard To Handel (R.Medlocke/Spires) 4.04
03. On The Run (live Donington 1981) (R.Medlocke/Spires) 4.37
04. Train Train (live Donington 1981) (S.Medlocke) 7.01

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Jakson Spires

Jakson Spires April 12th 1951 – March 16th 2005

Larry Coryell – Bolero & Scheherazade (1982)

LPFrontCoverA1Much of Larry Coryell’s work is as difficult to find as it is to categorize — the man seemed to have spent the late ’70s and early ’80s making albums for anyone who could come up with a microphone and a tape recorder. That said, it’s surprising how high the quality level is on most of these releases. Bolero/Scheherazade is one of the most difficult, as it seems to have been released only in Germany and Japan. The album’s obscurity may have something to do with the fact that it is confusingly named; Larry Coryell released an album two years before called Bolero, which has nothing to do with this CD. The “Bolero” on that album was a short, improvised piece composed by Coryell, while the one featured here is a reworking of the classic by Maurice Ravel. In fact all the material here is classical, all written for a full orchestra, and all performed by Larry Coryell in two sessions, alone with one acoustic guitar. In truth he’s up to the material, his playing spanning the full dynamic, from delicate flamenco-like picking to forceful, furiously strummed chords. “Ravel’s Bolero” was designed as a showpiece for slowly building intensity, and even though any listener who has heard the piece knows what is going to happen, Coryell still surprises and delights with the version here. The lesser-known pieces by de Sarasate and de Falla are similarly excellent and may introduce new listeners to the delights of those Spanish composers. Bolero/Scheherazade is an excellent album, an overlooked gem that ranks with Larry Coryell’s best classically inspired work. (by Richard Foss)

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Personnel:
Larry Coryell (guitar)

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Tracklist:

Scheherazade:
01. The Sea And Sindbad’s Ship (Rimsky-Korsakov/Coryell) 6.51
02. The Story Of The Kalendar Prince (Rimsky-Korsakov/Coryell) 4.34
03. The Young Prince And The Young Princess (Rimsky-Korsakov/Coryell) 4.46
04. Festival At Bagdad – The Sea – The Shipwreck (Rimsky-Korsakov/Coryell) 6.10

05. Bolero (Ravel/Coryell) 10.26
06. Noches En Los Jardines De Espana (d.Falla/Coryell) 9.53
07. Zapateado, Op. 23 No.2 (Sarasate/Coryell) 3.19

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Larry Coryell (April 2, 1943 – February 19, 2017)

Rolling Stones – Seattle Supersonic (1981)

FrontCover1.jpgThe Rolling Stones’ American Tour 1981 was a concert tour of stadiums and arenas in the United States to promote the album Tattoo You. It was the largest grossing tour of 1981 with $50 million in ticket sales. Roughly three million concert goers attended the concerts, setting various ticket sales records.[2] The 5 December show in New Orleans set an indoor concert attendance record which stood for 33 years.

Initially, singer Mick Jagger was not interested in another tour, but guitarists Keith Richards and Ronnie Wood were, as were elements of the press and public. Jagger eventually relented. As with previous tours, the American Tour 1981 was promoted by Bill Graham.

The band rehearsed at Long View Farm, North Brookfield, Massachusetts, from August 14 to September 25, 1981. and played a warm-up show at the Sir Morgan’s Cove club in Worcester, Massachusetts on 14 September. Although they were billed as Little Boy Blue & The Cockroaches, word got out and some 11,000 fans pushed and shoved outside the 300-capacity venue. The Mayor of Boston Kevin H. White stopped the notion of further public rehearsals, saying, “The appearance here of Mr. Jagger is not necessarily in the public interest.”

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The tour’s elaborate and colorful stage was the work of Japanese designer Kazuhide Yamazaki. “Most concerts that took place outdoors at the time were played during the day,” recalled Jagger, “probably because it was cheaper, I don’t know. So we had the bright, bright primary colors… and we had these enormous images of a guitar, a car and a record—an Americana idea—which worked very well for afternoon shows.”

Most shows later in the tour featured a cherry picker and the release of hundreds of balloons at the show’s end. During the Los Angeles Memorial Coliseum stops on the tour, the band played a Friday and Sunday show and USC had a football game in between on Saturday. As a televised football game, viewers could see the full stage set-up and often field goals would land on stage at the East end zone. Two of the three opening bands, George Thorogood, and The J Geils Band were received well, but the third – a still somewhat unknown Prince – barely got through three songs before being booed off.

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The tour was the largest-grossing tour of 1981, but for several years to come. It grossed $50 million in ticket sales when the average ticket price was $16. Roughly three million attended the concerts. The Stones set many records that remain unbroken. The JFK Stadium shows in Philadelphia prompted nearly 4 million requests via post cards for tickets (a method used at the time to prevent scalping); requests for the five arena shows in the New York metropolitan area were in the millions. The New York Times stated, “The tour is expected to be the most profitable in the history of rock & roll; its sheer size has been staggering…ticket requests for these shows ran into the millions…” The tour indeed did turn out to be profitable: the Stones were estimated to have reaped about $22 million after expenses.

The tour also was an early milestone for the rock industry by selling advertising rights to Jōvan Musk. Jōvan paid $1 million to put their name on Stones tickets. This attracted considerable attention in the business media, as Jōvan’s image of a pleasant fragrance was at odds with the Stones’ bad boys image. But the Stones behaved well on tour, and rock tour corporate sponsorships soon became the norm.

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In another marketing first, the 18 December performance at Virginia’s Hampton Coliseum was broadcast as “The World’s Greatest Rock’n’Roll Party”, on pay-per-view and in closed circuit cinemas. It was the first such use of pay-per-view for a music event. Keith Richards hit a fan who ran onstage with his guitar.

Also of note was the 14 December performance at Kansas City’s Kemper Arena. Former Stones guitarist Mick Taylor joined the band for a large part of the performance. Ronnie Wood was not happy with Taylor, however: “[He was] bulldozing through parts of songs that should have been subtle, ignoring breaks and taking uninvited solos.” Other guests during the tour were Tina Turner (who would sing “Honky Tonk Women”), Chuck Leavell, Tower of Power and Sugar Blue. Turner, People reported, had toured with the Stones in 1966, and Jagger admitted he had “learned a lot of things” from her.

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In general, there was less backstage madness on the tour than on many previous outings. This was largely due to Richards having largely overcome his well-known drugs and alcohol problems; The New York Times wrote of Richards, “He looks healthy, he is playing brilliantly and his backup vocals are often so lusty that they drown out Mr. Jagger, who is working harder to hold up his end of things as result.” However, this and the 1982 tour were the last tours on which Richards contributed the majority of backup vocals; for future tours, additional singers were enlisted.

Several of the concerts were recorded and selected songs were released on 1982’s live Still Life. The Hal Ashby-directed concert film Let’s Spend the Night Together grossed $50 million. Possibly due to the film, most of the shows on this tour were professionally recorded. Bootleg evidence suggests that for 35 of the regular 50 shows from this tour, more than half of each concert is directly from the soundboard.

This was the Stones’ last tour of the United States until 1989. (by wikipedia)

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1981 is an embarassment of riches for any Stones fan due to the large number of great-sounding soundboards available from the US tour. This is a typical performance and setlist from the tour; I’ve always found Mick’s vocals to be fairly sloppy during this era, but overall the performance is good and the sound quality is great. (by ax179 at Dime, 2013)

Recorded live at the Kingdome, Seattle, WA; October 15, 1981
Very good soundboard.

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Personnel:
Mick Jagger (vocals, guitar, harmonica)
Keith Richards (guitar, vocals)
Ron Wood (guitar, vocals)
Charlie Watts (drums)
Bill Wyman (bass)
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Ian McLagan (keyboards, background vocals)
Ian Stewart (piano)
Ernie Watts (saxophone)

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Tracklist:
01. (Intro) Take The A-Train 1.51
02. Under My Thumb 3.49
03. When The Whip Comes Down 4.53
04. Let’s Spend The Night Together 4.09
05. Shattered 4.51
06. Neighbors 4.30
07. Black Limousine 3.48
08. Just My Imagination 6.37
09. Twenty Flight Rock 2.22
10. Let Me Go 4.07
11. Time is on My Side 3.47
12. Beast Of Burden 6.07
13. Waiting On aA Friend 5.22
14. Let It Bleed 7.20
15. You Can’t Always Get What You Want 8.04
16. Little T&A 3:34
17. Tumbling Dice 4.04
18. Band intros 0.52
19. She’s So Cold 3.52
20. All Down The Line 4.09
21. Hang Fire 2.55
22. Star Star 4.16
23. Miss You 6.16
24. Start Me Up 4.15
25. Honkey Tonk Women 3.21
26. Brown Sugar 3:37
27. Jumping Jack Flash 9.15
28. Satisfaction 6.47
29. (Outro) Star Spangled Banner (Jimi Hendrix Woodstock version, 1969) 4.04

All songs written by Mick Jagger & Keith Richards
except:
“Take The A-Train” written by Billy Strahorn
“Star Spangled Banner” written by John Stafford Smith
“Twenty Flight Rock” written by   Eddie Cochran + Ned Fairchild

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The Dutch Swing College Band – Digital Dixie (1981)

FrontCover1.jpgThe Dutch Swing College Band “DSCB” is a traditional dixieland band founded on 5 May 1945 by bandleader and clarinettist/saxophonist Peter Schilperoort.

Highly successful in their native home of The Netherlands, the band quickly found an international following. It has featured such musicians as Huub Janssen (drums), Henk Bosch van Drakestein (double bass), Kees van Dorser (trumpet), Dim Kesber (saxes), Jan Morks (clarinet), Wout Steenhuis (guitar), Arie Ligthart (banjo/guitar), Jaap van Kempen (banjo/guitar), Oscar Klein (trumpet), Dick Kaart (trombone), Ray Kaart (trumpet), Bert de Kort (cornet), Bert Boeren (trombone), Rod Mason, Rob Agerbeek (piano) – among many others.

The band continues to tour extensively, mainly in Europe & Scandinavia, and record directed by Bob Kaper, himself a member since 1967, following the former leader, Peter Schilperoort’s death on 17 November 1990. Schilperoort had led the band for more than 45 years, albeit with a five-year sabbatical from 13 September 1955, when he left to pursue an engineering career before returning to lead the band again officially on 1 January 1960. (by wikipedia)

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The Dutch Swing College Band has endured numerous personnel changes in its more than fifty-year history as one of the Netherlands’ top jazz ensembles. Although no members remain from the original group, the latest lineup continues to honor the tradition-rooted approach of the founders.

Bob Kaper (1939- ) replaced clarinet player Peter Schilperoort during an illness in 1966, and remained with the band; he has led the Dutch Swing College Band since Schilperoort’s death in 1990. The fourth leader in the group’s history, Kaper succeeds Frans Vink, Jr. (1945-46), Joop Schrier (1955-60), and Schilperoort (1946-55; 1960-1990). Kaper previously led the Beale Street Seven, a group he founded in 1957.

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An amateur group from 1945 until turning professional in 1960, the Dutch Swing College Band reached their early peak in the late ’40s, when they were tapped to accompany such jazz musicians as Sidney Bechet, Joe Venuti, and Teddy Wilson.

The New Melbourne Jazz Band recorded an album, A Tribute to the Dutch Swing College Band, featuring music associated with the Holland-based group. (by Craig Harris)

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The labels from the vinyl edition

And here´s a pretty good digital recording (recorded live at the Northsee Jazz Festival, July 12, 1981; featuring Rod Mason and Huub Janssen)

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Enjoy this beautful romantic trip in the early days of Jazz …  transmitted in the digital era.

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Personnel:
Henk Bosch van Drakestein (bass)
Huub Janssen (drums)
Dick Kaart (trombone, euphonium on  04. + 10.)
Bob Kaper (saxophone, clarinet)
Rod Mason (trumpet, sousaphone on 04.)
Fred Murray (piano)
Peter Schilperoort (saxophone, clarinet)

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Tracklist:
01. Way Down Yonder In New Orleans (Creamer/Layton) 1.40
02. Knee Drops (Hardin) 4.48
03. West End Blues (Williams/Oliver) 4:.20
04. At A Georiga Camp Meeting (Mills) 4.42
05. I Want A Little Girl (Mall/Mencher) 5.25
06. China Boy (Winfree/Boutelje) 4.04
07. Creole Belles (Traditional) 4.48
08. Sugar (Alexander/Pinkard/Mitchell) 3.28
09. The Kazoos (Kaper) 5.57
10. Down Home Rag (Brown/Sweatman) 3.30
11. On Green Dolphin Street (Bronislau/Kaper/Washington) 5.11
12. Everybody Loves My Baby (Palmer/Williams) 3.49

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Ronnie Hawkins – A Legend In His Spare Time (1981)

FrontCover1.JPGRonnie Hawkins was born on Jan 10,1935 in Huntsville Arkansas,making him 81 this year.He went to the University of Arkansas,,unlike most C & W legends, who didn’t attend university.He started his career in 1956 and continues today,He released his first album in 1959 at the age of 24.He left Arkansas and came to Toronto,and has remained here ever since,and was a key artist in the 60 ‘s. .Hawkins is the first artist to come to mind when one thinks of Rockabilly music in Canada. He has been known as Dynamo, Rompin’ Ronnie and The Hawk.He is particularly well known for wearing a black T-Shirt with a white hawk,which is also popular with his many fans.His favorite music is R & R,Rockabilly,Rythm and Blues, Country and Bluegrass.
Although this album does not include his best known songs,it still has some real good ones.
Always a great performer,he had to cut back his hectic schedule when he contacted pancreatic cancer.with little expectations for beating it.However he beat the odds and survived. (by Jerry Guild)

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This is a real worthwile album, including 2 songs of Chuck Berry and John Fogerty (both were one the greatest Rock N Roll songwiter of all time !)

And he had a great band in the studio (listen to the solo in “Travelling Band” or the  opening of “Louisiana Backroad”, written by Lonnie Mack).

Unfortunaley we hear not enough solos … what a shame ! Buit we hear one of the great shouters of Rock n Roll and C & W !

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Personnel:
Ronnie Hawkins (vocals)
Dave Lewis (drums)
John Lewis (guitar, slide-guitar)
Lonnie Mack (guitar)
Fred Mollin (guitar, percussion, synthesizer, background vocals)
Richard Page (background vocals)
Gerry Penfound (saxophone)
Tom Szczesniak (bass)
Stan Szelest (keyboards, synthesizer)
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Terry Bush (guitar on 09.)
Ken King (bass on 09.)

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Tracklist:
01. Only The Lucky (Egan) 2.49
02. Back On The Road Again (Mack/Labunski) 2.47
03. (Stuck In) Lodi (Fogerty) 2.53
04. Brown Eyed Handsome Man (Berry) 2.29
05. 300 Pounds Of Heavenly Joy (Dixon) 3.32
06. Travelling Band (Fogerty) 2.07
07. Eighteen Wheels (Stewart) 2.35
08. Louisiana Backroad (Mack/De Barnes) 4.00
09. Down The Line (Orbison) 3.12
10. Havana Moon (Berry) 3.35

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Ronnie Hawkins receives Order of Canada in 2014

Ernie Watts – Chariot Of Fire (1981)

FrontCover1Ernest James Watts (born October 23, 1945) is an American jazz and rhythm and blues saxophonist who plays soprano, alto, and tenor saxophone. He has worked with Charlie Haden’s Quartet West and toured with the Rolling Stones. On Frank Zappa’s album The Grand Wazoo he played the “Mystery Horn”, a straight-necked C melody saxophone. He played the notable saxophone riff on The One You Love by Glenn Frey.

Watts was born in Norfolk, Virginia, and began playing saxophone at thirteen. After a brief period at West Chester University, he attended the Berklee College of Music on a Down Beat magazine scholarship. He toured with Buddy Rich in the mid-1960s, occupying one of the alto saxophone chairs, with Lou Marini occupying the other. He visited Africa on a U.S. State Department tour with Oliver Nelson’s group. For twenty years he played tenor saxophone with The Tonight Show Band under Doc Severinsen. He was a featured soloist on many of Marvin Gaye’s albums on Motown during the 1970s, as well as on many other pop and R&B sessions during his twenty-five years as a studio musician in Los Angeles. He has won two Grammy Awards as an instrumentalist.

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In the mid-1980s Watts decided to rededicate himself to jazz. He recorded and toured with German guitarist and composer Torsten de Winkel, drummer Steve Smith, and keyboardist Tom Coster. He was invited to join Charlie Haden’s Quartet West. They met backstage one night after Haden heard Watts play “Nightbird” by Michel Colombier. Watts played on soundtracks for the movies Grease and The Color Purple and on the theme song for the TV show Night Court.

He was featured in the Windows XP edition Jazz preview. The song he was featured in was “Highway Blues”.

In 2008, his album Analog Man won the Independent Music Award for Best Jazz Album. He played on Kurt Elling’s album Dedicated to You, which won the Grammy Award for Best Jazz Vocal Album in 2011 (by wikipedia)

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Source: Jet Magazine,  21 March 1983

And here´s his colloboration with Qunicy Jones …

What a Great album. Ernie’s proficiency comes through on Chariots of Fire followed by other funk-jazz infused tracks, obviously with Quincy’s production influence. A delightful listen overall! (by Üa Colin)

Listen to this album with this very special and fascinating sound of Funk and Smooth Jazz from the early Eighties.

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Personnel:
Paulinho Da Costa (percussion)
Michael Omartian (piano)
Carlos Rios (guitar)
John Robinson (drums)
Neil Stubbenhaus (bass)
Richard Tee (piano)
Ian Underwood (synthesizer)
Ernie Watts (saxophone)

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Tracklist:
01. Chariots Of Fire (Theme) (Dance Version) (Vangelis) 5.56
02. Hold On (Ingram-Jones) 4.25
03. Lady (Richie) 3.50
04. Gigolo (Jones/Ross) 4.37
05. Valdez In The Country (Hathaway) 5.15
06. Abraham’s Theme (Vangelis) 3.46
07. Five Circles (Vangelis) 3.41
08. Chariots of Fire (Theme) (Slow Version) (Vangelis) 4.30

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