David Sanborn – Love & Happiness (live, 1985)

David William Sanborn (July 30, 1945 – May 12, 2024) was an American alto saxophonist. Though Sanborn worked in many genres, his solo recordings typically blended jazz with instrumental pop and R&B.

He released his first solo album Taking Off in 1975, but had been playing the saxophone since before he was in high school and was a session musician long before its release.

He was active as a session musician, playing on several albums by various artists.

One of the most commercially successful American saxophonists to earn prominence since the 1980s, Sanborn was described by critic Scott Yanow as “the most influential saxophonist on pop, R&B, and crossover players of the past 20 years.” He was often identified with radio-friendly smooth jazz, but expressed a disinclination for the genre and his association with it.

Sanborn died of complications from prostate cancer in Tarrytown, New York, on May 12, 2024, at the age of 78. He had been diagnosed with the disease in 2018. (wikipedia)

And here´s a fantastic live recording:

This classic David Sanborn’s Love and Happiness concert takes us back outdoors to some magic moments at the peak of the great jazz, pop and session man’s popularity with a star-studded supporting cast. Featured in this movie are the following:

Excellent in quality, this video is equally suited for streaming on your laptop or smart TV. So, pull up a seat or, better yet, spread the picnic blanket in your living room, open a bottle of your favorite beverage, light a Citronella candle, and let the festivities begin!

Cheers David Sanborn !

Perrsonnel:
Hiram Bullock (guitar)
Don Grolnick (keyboards)
Marcus Miller (bass)
David Sanborn (saxophone)
Buddy Williams (drums)
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Hamish Stuart (vocals on 01.)

Tracklist:
01. Love & Happiness (Green/Hodges) 6.29
02. Run For Cover (Miller) 6.56
03. Lisa (Sanborn) 5.38
04. Straight To The Heart (Miller) 5-06
05. Smile (Perkinson) 10.29

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More from David Sanborn in this blog:
The official website:

4 Big Guitars From Texas – Trash, Twang And Thunder (1985)

4 crazy people from Texas:

Ladies and gentlemen: 4 Big Guitars From Texas from Austin, was a Texas-based project based around four guitarists playing instrumental rock music

Trash Twang and Thunder features 12 sizzling instrumentals by six of Austin’s most renowned musicians: Denny Freeman, Evan Johns, Frankie Camaro, Don Leady, Mike Buck and Keith Ferguson. The Album received prestigious recognition and was widely recognized by the industry when in 1985 it was nominated for a Grammy Award. That same year N.A.I.R.D. presented the Big Guitars an Honorable Mention Award.

DENNY FREEMAN. One of Texas’ best-kept secrets, Denny Freeman is a veteran of some of Texas’ best, most trail-blaz­ing and popular bands. A Dallas native, he migrated to Austin the same week as fellow Dallasite Jimmie Vaughn, and a few days after they unpacked, Denny and the future Thunderbird were in a legendary band, The Storm, together. From there, he moved to Southern Feeling, which featured Angela Strehli and W. C. Clark, and then he went on to the Cobras, a band that was one of the first to serve notice to the nation that Texas had more than Willie and Waylon to offer. The Cobras, a solid blues band with a killer horn section, featured some of Texas’ best players and singers during its existence, including Stevie Ray Vaughan, Angela Strehli, and Paul Ray, and toured extensively, but the record deal they dreamed of eluded them. After they broke up, Denny went with Lou Ann Barton’s touring band, and then came back to Austin, where today he plays in Angela Strehli’s band. Even though he’s one of the best blues pickers in the state, Denny says that for this project ”I tried to keep the bluesiness out, although if there’s any on the record it must’ve crept onto it through my fingers.” A last-minute addition to the project, he played a reissue Stratocaster and considers himself honored to be playing in the company of three such eminent contemporaries.

EVAN JOHNS. Washington D.C. is another hotbed of legendary guitarists, contributing such masters as Roy Buchanan, Danny Gatton, and Nils Lofgren to the national scene. To those names we should add Evan Johns, who replaced Don Leady in the LeRoi Brothers, moving to Texas to do it. Having long covered similar ground as the LeRois with his D.C. band the H-Bombs, he was a natural for the job, and considering his reputation for maniacal behavior, he just had to wind up on this record, too. Although he’d been a fixture on the D.C./Baltimore club circuit, when the call came from the LeRois audition, he was all too ready to leave. When you play my kind of music in D.C., he has said, you wind up playing with some great guitarists, but I was getting sick of playing with people ten years my senior. And look at them! Good as they are, they’re still playing the same old clubs, and nobody’s ever heard of them. His insane songwriting and ebullient stage presence has transformed the LeRois, and he feels that the new alliance has given his career a new lease on life. For this record, he says, you’re not hearing my usual crash-and-burn trademark sound. My playing’s either real nasty or real swingin’, but Duane Eddy I’m not… In keeping with his wild-man image, for some of these songs he chose a Sears Silvertone guitar and a Telecaster.

FRANKIE CAMARO. The baby of the band, Frankie Camaro is no junior partner. Born in Virginia to Cuban parents, Frankie found fame in Bloomington, Indiana playing in such bands as QAX Pistols and Mars Needs Women. Naturally, since he was a good 1,000 miles from the nearest wave, he decided that he wanted to focus his considerable talents on surf-pop music, and thus was born his present band, Moto-X. Influenced by Link Wray and Jon and the Nightriders, they became very popular in Indiana, but Frankie, realizing that greener pastures (and closer beaches) existed in Texas, began moving the band to Austin a year ago. Until they all arrived, he was lead guitarist with Dino Lee’s White Trash Revue, one of the most shameless and unbelievable spectacles in the entire State of Texas. Thanks to his encyclopedic knowledge of guitar instrumentals, as well as his expertise at composing them, he was a natural for this record, and the sounds he squeezed out of his Gibson Les Paul Junior were just what the doctor ordered.

MIKE BUCK. Making his debut on chainsaw in addition to continuing his legend as one of the Lone Star State’s premier drummers, Mike Buck has been pounding the skins since early teenager hood, when he played various dives in his home town of Fort Worth. Strippers and stars, Buck’s backed both, but came to national prominence as a member of the Fabulous Thunderbirds. After leaving them, he went on to join the LeRoi Brothers, a position he still holds. No stranger to the outer limits of rock ‘n’ roll, he has also recorded with the Legendary Stardust Cowboy, and is an avid collector of horror film memorabilia.

KEITH FERGUSON. Another former Fabulous Thunderbird, Keith Ferguson is undoubtedly Texas’ best left-handed electric bassist. He’s won his Stripes over the past fifteen years playing with some of Texas• best-known musicians, including Doug Sahm, Johnny Winter, and the Storm, and his 1954 Fender Precision bass provides the bottom for this aggregation of virtuosos. Was a member, with Don Leady, of the Tailgators, Keith Ferguson collects tattoos and is an expert on Tex-Mex culture of all sorts. (www.jungletx.com)

Every possible guitar style, from blues to surf to rock to in-between, is displayed on the anthology Big Guitars From Texas. It’s weighted toward rockers, but also includes rockabilly, country, and Western swing, plus various jazz and R&B/soul inflections. The roster doesn’t boast any old-timers or newly discovered legends, but includes Evan Johns, Don Leady, Mike Buck and many other worthies. (by Ron Wynn)

A hell of a record … for crazy guys (like me) …

Personnel:
Mike Buck (drums)
Frankie Camaro (guitar)
Keith Ferguson (bass)
Denny Freeman (guitar)
Evan Johns (guitar)

Tracklist:
01. Boomerang (Johns) 2.20
02. Breaker (Camaro) 2.05
03. The Lost Incas (Freeman) 2.31
04. Shanghai Cobra (Camaro) 3.24
05. Guitar Army (Camaro) 2.55
06. Chainsaw (Leady/Johns/Camaro) 3.18
07. Ride Of The Ruthless (Leady) 2.21
08. Bulldoggin’ Boogie (Leady) 2,41
09. Strained (Johns) 2.10
10. Do The Dootz (Johns) 1.49
11. The Good, The Bad And The Ugly (Morricone) 2.32
12. Riot At Huntsville (Leady/Johns) 2.44

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Jeff Beck – Flash (1985)

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

Beck was ranked in the top five of Rolling Stone and other magazines’ lists rankings of the greatest guitarists. He was often called a “guitarist’s guitarist”. Rolling Stone described him as “one of the most influential lead guitarists in rock”. Although he recorded two successful albums (in 1975 and 1976) as a solo act, Beck did not establish or maintain commercial success like that of his contemporaries and bandmates. He recorded with many artists.

Beck earned wide critical praise and received the Grammy Award for Best Rock Instrumental Performance six times and Best Pop Instrumental Performance once. In 2014, he received the British Academy’s Ivor Novello Award for Outstanding Contribution to British Music.[11] He was inducted into the Rock and Roll Hall of Fame twice: first as a member of the Yardbirds (1992) and secondly as a solo artist (2009). Beck was named the 5th greatest guitarist of all time by Rolling Stone in 2023.

From 1963 to 1967, Beck was married to Patricia Brown. In 2005, he married Sandra Cash. He had no children. At the time of his death Beck lived in a Grade II-listed building called Riverhall in the civil parish of Wadhurst, East Sussex. [105][106][107] Beck became a vegetarian in 1969 and was a patron of the Folly Wildlife Rescue Trust.[108][109] He also had an interest in classic Ford hot rods, performing much of the work on the exteriors and engines of the cars by himself.

Beck died from a bacterial meningitis infection at a hospital near Riverhall on 10 January 2023, at the age of 78. Within minutes of his death announcement, musicians and friends began paying tribute; Jimmy Page wrote that “The six stringed Warrior is no longer here for us to admire the spell he could weave around our mortal emotions. Jeff could channel music from the ethereal. His technique unique. His imaginations apparently limitless. Jeff I will miss you along with your millions of fans”. Mick Jagger expressed his condolences, writing “With the death of Jeff Beck we have lost a wonderful man and one of the greatest guitar players in the world. We will all miss him so much.” Ronnie Wood, a former bandmate of Beck’s, stated “Now Jeff has gone, I feel like one of my band of brothers has left this world, and I’m going to dearly miss him.” Beck’s funeral took place at St. Mary’s Church in Beddington on 3 February. (wikipedia)

Flash is the fifth studio album by guitarist Jeff Beck, released in July 1985 by Epic/CBS Records. The album reached No. 39 on the U.S. Billboard 200 chart[6] as well as reaching the top 60 in four other countries.

Two singles also charted, the first being a reunion with singer Rod Stewart (from the Jeff Beck Group) for a cover of “People Get Ready” by Curtis Mayfield/The Impressions, which reached No. 5 on Billboard’s Mainstream Rock and No. 48 on the Hot 100, as well as the top 40 in four other countries. The second single, “Gets Us All in the End”, reached No. 20 on Mainstream Rock. The instrumental “Escape” went on to win the award for Best Rock Instrumental Performance at the 1986 Grammys, which was to be Beck’s first of many such awards.

Jeff Beck & Rod Stewart:
The album is unique for Beck in that it is composed mainly of songs with vocals, save for two instrumentals in the form of “Escape” and “You Know, We Know”, written by his longtime collaborators Jan Hammer and Tony Hymas respectively. Designed to be a foray into pop music in order to capitalise on that sound at the time, Flash was produced by Nile Rodgers for that reason. Such was the desire by the record company to score a hit album, Beck uncharacteristically found himself singing on “Get Workin'” and “Night After Night”, at the insistence of Rodgers. “Ambitious” and “People Get Ready” feature a rare instance of Beck playing a Jackson Soloist rather than his usual Fender Stratocaster. Despite its success, he has since expressed his disdain for the album, calling it a “record company goof” and “a very sad sort of time” for him.

“Ambitious” had a notable presence on MTV shortly after the album’s release, primed by a phenomenon of the era that saw a brief run of multiple cameo appearances within the same video. The opening gag in the video is Donny Osmond trying to land a major audition, followed by an odd assortment of celebrities of the time singing verses or playing an instrument, including TV stars Abby Dalton, Parker Stevenson, and Herve Villechaize, and musicians Dave Alvin, Gerry Beckley, Marilyn McCoo, Jimmy Hall, and Jon Butcher. In addition, Cheech Marin and Al Kooper reprise characters created for the earlier music video for Marin’s “Born in East L.A.” single, and Herb Alpert appears at the very end, too late to play trumpet.

The CD edition of Flash included two bonus tracks, “Nighthawks” and “Back on the Streets”, which were originally released as B-sides. Another track from the album’s recording sessions, “Wild Thing” (a cover of The Troggs), was released only as a promo single and never on the album, but would later be featured on Beck’s 1991 compilation album Beckology.

Unlike much of Beck’s work, Flash is regarded as a pop outing, and was dubbed a pop rock album by critic Glenn Astarita. (wikipedia)

Produced by Nile Rodgers and Arthur Baker, Flash is Jeff Beck’s surprisingly successful stab at a pop album, featuring a fine performance with Rod Stewart on “People Get Ready.” (by Stephen Thomas Erlewine)

I think there may be some really great guitar playing on this record, but it’s hard to say because everything is soaked in oceans of reverb, echo, and gated effects. The guitar–and vocals–are so far back in this mess that you can’t really tell what anyone is doing.

This whole period of record production and engineering fashion is, for me, the depths of musical hell and, in this case, a massive disservice to one our greatest musicians. The songs are, for the most part, disposable; mere product. People Get Ready is the thing that saves the album, and it’s notable that this is the one song produced by Jeff Beck himself. The guitar is not quite so buried in the mix, and Rod Stewart’s voice is farther forward, so you can hear his tremendous performance. These two performers are a match made in heaven, and I wish there was much more of their collaboration on record. (Mark Cherrington)

Even with Rod as guest vocalist, meh, pure 1980s techno polish tripe. (Rick Durham)

I was very disappointed with this album … it is one of the worst Jeff Beck album ever  … although of course the Beck/Stewart version of “People Get Ready” is great. But of course that’s too less for an album.

Personnel:
Carmine Appice (drums)
Jeff Beck (guitar, vocals on 06. + 08.)
Jimmy Bralower (drums)
Jay Burnett (percussion)
Jimmy Hall (vocals, background vocals)
Duane Hitchings (keyboards)
Robert Sabino (keyboards)
Tony “Thunder” Smith (drums)
Barry DeSouza (drums)
Doug Wimbish (bass)
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Jan Hammer (synthesizer on 03.)
Tony Hymas (keyboards on 09.)
Karen Lawrence (vocals on 11.)
Rod Stewart (vocals on 04.)
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background vocals:
Tina B – Curtis King – David Simms – Frank Simms – George Simms – David Spinner

Tracklist:
01. Ambitious (Rodgers) 4.37
02. Gets Us All In The End (Baker/Tina B) 6.05
03. Escape (Hammer) 4.39
04. People Get Ready (Mayfield) 4.41
05. Stop, Look And Listen (Rodgers) 4.28
06. Get Workin’ (Rodgers) 3.35
07. Ecstasy (Bendeth/Climie) 3.31
08. Night After Night (Rodgers) 3.41
09. You Know, We Know (Hymas) 5.36
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10. Nighthawks (Rodgers) 4.47
11. Back On The Streets (Hostetler/Beck/Lawrence) 3.42

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More from Jeff Beck in this blog:

The official website:

Carla Bley – Night-Glo (1985)

Carla Bley (born Lovella May Borg; May 11, 1936 – October 17, 2023) was an American jazz composer, pianist, organist, and bandleader. An important figure in the free jazz movement of the 1960s, she was perhaps best known for her jazz opera Escalator over the Hill (released as a triple LP set), as well as a book of compositions that have been performed by many other artists, including Gary Burton, Jimmy Giuffre, George Russell, Art Farmer, John Scofield, and her ex-husband Paul Bley.

Bley was born in Oakland, California in 1936, to Emil Borg, a piano teacher and church choirmaster, who encouraged her to sing and to learn to play the piano, and Arline Anderson, who died when Bley was eight years old.

After giving up the church to immerse herself in roller skating at the age of fourteen, she moved to New York at seventeen and became a cigarette girl at Birdland, where she met jazz pianist Paul Bley. She toured with him under the name Karen Borg, before she changed her name in 1957 to Carla Borg and married Paul Bley the same year adopting the Bley name. He encouraged her to start composing. The couple divorced in 1967,[6] but she kept his surname professionally.

A number of musicians began to record Bley’s compositions: George Russell recorded “Bent Eagle” for his album Stratusphunk in 1960; Jimmy Giuffre recorded “Ictus” on his album Thesis; and Paul Bley’s Barrage consisted entirely of her compositions. Throughout her career, Bley thought of herself as a writer first, describing herself as 99 percent composer and one percent pianist.

In 1964, she was involved in organizing the Jazz Composers Guild, which brought together the most innovative musicians in New York at the time. She then had a personal and professional relationship with Michael Mantler, with whom she had a daughter, Karen Mantler, who also became a musician. Bley and Mantler were married from 1965 to 1991. With Mantler, she co-led the Jazz Composers’ Orchestra and started the JCOA record label which issued a number of historic recordings by Clifford Thornton, Don Cherry and Roswell Rudd, as well as her own magnum opus Escalator Over The Hill and Mantler’s The Jazz Composer’s Orchestra LPs.[2] Bley and Mantler were pioneers in the development of independent artist-owned record labels and also started the now defunct New Music Distribution Service which specialized in small, independent labels that issued recordings of “creative improvised music”.

Bley arranged and composed music for bassist Charlie Haden’s Liberation Music Orchestra, and wrote A Genuine Tong Funeral for vibraphonist Gary Burton. Bley collaborated with a number of other artists, including Jack Bruce,[2] Robert Wyatt and Nick Mason, drummer for the rock group Pink Floyd. Mason’s solo debut album Nick Mason’s Fictitious Sports was entirely written by Bley and features, alongside Mason on drums, many of her regular band musicians, leading Brian Olewnick of AllMusic to consider it a Carla Bley album in all but name.

Bley continued to record frequently with her own big band, which included Blood, Sweat & Tears’ notable Lew Soloff, and a number of smaller ensembles, notably the Lost Chords.

After Bley’s marriage to Mantler ended, she began a relationship with bassist Steve Swallow.

In 2005, she arranged the music for and performed on Charlie Haden’s latest Liberation Music Orchestra tour and recording, Not in Our Name. Her last album, Life Goes On, was released in 2020.

Bley died from brain cancer at her home in Willow, New York, on October 17, 2023, at the age of 87.

Bley was awarded a Guggenheim Fellowship in 1972 for music composition.

In 2009, she was awarded the German Jazz Trophy “A Life for Jazz”.

Bley received the NEA Jazz Masters Award in 2015. (wikipedia)

Though Heavy Heart was supposedly the “mellow, sensual” album Carla Bley had in mind, Night-Glo is more like it — a relaxed, easygoing, easy-listening series of compositions that nearly spills over into fuzak. Writing for a basic sextet with an added five-man horn section, most effectively when one color melts gently into another, Bley permits the lazy pina-colada mood to amble undisturbed from track to track. Hiram Bullock’s guitar, whether in rock or jazz modes, almost defines the laid-back ambience all by itself; Steve Swallow’s bass underpins the relaxed groove and velvety horn textures (Randy Brecker is the trumpet voice there); and Paul McCandless can be heard on a variety of single- and double-reed wind instruments. It’s a pretty album, always intelligently made, but interminable at times — most noticeably on the aptly named “Rut.” (by Richard S. Ginell)

Harry Shearer did a piece for NPR around 1987 about the most-used TV sitcom plots. The musical bed under him was interesting and spooky and vaguely 70s-porno-sounding. I happened to cassette tape it, and recently listened to it again.

There wasn’t an easy way to ID it until the Shazam app came along. It proved to be the track “Rut” from Carla Bley’s “Night-Glo” album.

The whole album carries the warm, sensual mood. So glad I found it after all these years. (byMervyn ReLoy)

Personnel:
Manolo Badrena (percussion)
Carla Bley (organ, synthesizer)
Randy Brecker (trumpet, flugelhorn)
Hiram Bullock (guitar)
John Clark (french horn)
Victor Lewis (drums)
Tom Malone (trombone)
Paul McCandless (oboe, english horn, saxophone, clarinet)
Steve Swallow (bass)
Dave Taylor (trombone)
Larry Willis (piano)

Tracklist:
01. Pretend You’re In Love 4:30
02. Night-glo 6:44
03. Rut 7:32
04. Crazy With You 5:10
05. Wildlife 12.39
05.1. Horns
05.2. Pawns Without Claws
05.3. Sex With Birds

Music: Carla Bley

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More from Carla Bley in this blog:

Rao Kyao – Oásis (1985)

Rão Kyao (* August 23, 1947 in Lisbon; civil name: João Maria Centeno Gorjão Jorge) is a musician, composer and singer from Portugal. He is particularly known as a player of the Indian bamboo flute bansuri and as a saxophonist.

Rão Kyao spent part of his youth in Macau, China, an overseas Portuguese possession at the time, where his father was in military service. He was a student of a military school. His stage name Rão Kyao, which he adopted in 1975, comes from this period.

At the age of 19, he began his career as a tenor saxophonist and jazz musician. He lived in Paris until 1974 to avoid being drafted into military service in the colonies. After the Carnation Revolution on April 25, 1974 in Portugal, he had great success as a jazz musician. In 1980, for example, he performed at the Cascais Jazz Festival and had great success with the live LP that was released. Also in the late 1970s, he went to India for some time, where he tried to combine Indian and Portuguese music. As a result, in 1979 he released his album Goa, named after the former Portuguese possession of Goa in Portuguese India. The album shaped Kyao’s further musical career.

In 1983, his album Fado bailado (“danced fado”) was released, which was the first Portuguese album to go platinum. In this album he interpreted with the saxophone several pieces of the Fado legend Amália Rodrigues, in collaboration with António Chainho, a master of the Portuguese guitar.

Since then, the themes of fado, music of the Orient and northern Africa have been repeated. He made the bamboo flute his special instrument. In 2001 the CD Fado virado a nascente (engl.: Fado, directed after sunrise) was released, which dealt exclusively with the origin of Fado in the Orient and North Africa. For this recording he invited several well-known traditional Moroccan musicians. The theme of Macau appeared again on his 2008 CD Porto Interior. On this he involved the well-known Chinese singer Yanan.

On his 2009 album Em Cantado (pun from encantado, meaning delighted, and cantado, meaning sung), he collaborated with various young fado singers as guest vocalists, including Camané, Carminho and Ricardo Ribeiro. In 2012 he followed up with Coisas que a gente sente (Eng: Things we feel), another predominantly instrumental world music album, on which he dedicated a song to the Cape Verdean singer Cesária Évora, who had died shortly before (Ouvindo a Cesária, Eng: Listening to Cesária). (wikipedia)

Portuguese musician, saxophone and bamboo flute player. He mixes fado with oriental music from India, where he lived for some time.

He started in the Lisbon jazz circuit in the late 60s, traveling then to Denmark, Netherlands, Spain and France. His first solo albums were more jazz-oriented: “Malpertuis” (1976), “Bambu” (1977), “Goa” (1979), “Ritual” (1982) and “Macau O Amanhecer” (1984).

In the 80s he achieved some success with numerous gold and platinum albums: “Fado Bailado” (1983), “Estrada da Luz” (1984) and “Oásis” (1986). Gradually he entered Indian music and blended it with his traditional Portuguese roots. He also mixed fado, Indian music and flamenco. (cdgo.com)

Let’s all get on the train to Lisbon to hear the exciting music of Rão Kyao, experience … What a wonderful and exciting album !

Personnel:
Carlos Araújo (bass)
António Chainho (guitar)
Luís Pedro Fonseca (keyboards, cymbal, percussion)
Guilherme Inês (percussion)
Rui Júnior (percussion)
Alejandro Erlich-Oliva (bass)
Rão Kyao (bamboo flute)
Dr. Quim M’Jojo (percussion)
José Maria Nóbrega (guitar, bass)
Siegfried Sugg (accordion)
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cello:
Alberto Campos – Kenneth David Frazer – Maria Portugal Núncio – Marie Sue Pratler

viola:
Alexandra Mendes – António Vilaça Lé – Joaquim Lima – Maria Cecilia Pimentel

violin:
António Arias Miranda – António Lopes – Aníbal Lima – Maria Isabel Sorrilha – José Luis Artela – Luis Marques – Manuel Ferreira – Manuel Gomes – Maria Leonor

Tracklist:
01. Travessia 4.15
02. Caminho De Yaman 4.34
03. Voz De Tejo 2.52
04. Água De Côco 4.54
05. Sete Cidades 3.42
06. Dança Da Folia 3.44
07. Raghunath 3.42
08. Bagdad 6.08
09. Oásis 3.57

Music written by Rão Kyao

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Alternate labels:

Uli Jon Roth & Electric Sun – Milwaukee (1985)

Uli Jon Roth (born Ulrich Roth; 18 December 1954) is a German guitarist who became famous for his work with Scorpions and is one of the earliest contributors to the neoclassical metal genre. He is also the founder of Sky Academy and designer of the Sky Guitar. He is the older brother of fellow guitarist and artist Zeno Roth (1956–2018).

Roth formed a band called Dawn Road in the early 1970s, When guitarist Michael Schenker left the Scorpions to join UFO in 1973, causing the two remaining Scorpions members Rudolf Schenker and Klaus Meine to merge with four members of Dawn Road, they decided to use the name Scorpions rather than the less-well-known Dawn Road. Scorpions released four studio albums during his tenure as lead guitarist, main songwriter and occasional lead singer between 1974 and 1977.

Roth formed his own band named Electric Sun—releasing three albums: Earthquake (1979) dedicated to the spirit of Jimi Hendrix, Fire Wind (1981), dedicated to Anwar Sadat and featured a song called “Enola Gay (Hiroshima Today?)” about the atomic bombing of Japan by a Boeing B-29 Superfortress bomber of that name, and his third and final Electric Sun album Beyond the Astral Skies (1985), dedicated both to Martin Luther King Jr. and to Roth’s fans. This final album featured ex-Jethro Tull drummer Clive Bunker, on drums and timpani.
Solo career

Roth entered a new phase of creative work after Electric Sun, composing four symphonies and two concertos, and sometimes performing with symphony orchestras throughout Europe. Roth used the name “Uli Jon Roth” for all subsequent album releases and concert appearances.

The G3 European tour of 1998 featured Roth playing with Joe Satriani and Michael Schenker. The show at London Wembley Arena also featured a jam with Brian May.

Roth played at the outdoor rock festival at Castle Donington in 2001 (also featuring original Scorpions lead guitarist Michael Schenker on the bill). This was filmed and subsequently released on DVD.

Roth appeared in concert with the Scorpions onstage at the Wacken Open Air Festival in 2006 along with two other former members of the band. Billed as: “A Night To Remember ; A Journey Through Time” the Scorpions played four songs from the Roth Era, most of which they had not played live since Roth had left in 1978. This concert was also filmed and released on DVD.

Although this was meant to be a “one night only” special event, its success meant that the format was repeated on several tours afterwards.

At the Rock am Ring festival in Germany on 2 June 2007 Roth joined The Smashing Pumpkins on-stage for their epic closing song “Gossamer.” He made another appearance with the Pumpkins upon their return to Germany on 26 February 2008.

Roth had begun working on a new full-length studio album in 2007 which was to be released the following year. The title of the album would be: “Under A Dark Sky” and was going to be the first official release in the long-awaited series of Symphonic Legends (a cycle of music written by Uli for his all-encompassing Sky of Avalon project.)

Roth debuted songs from “Under A Dark Sky” on 18 July 2008 in his headline set at the G-TARanaki Guitar Festival in New Zealand. This was his first concert in the country. Roth also took his “Sky Academy” tuition classes to Taranaki, Waitara, Inglewood and Ōpunake. Guests musicians included Vernon Reid and Gilby Clarke.

“Under A Dark Sky” was released in Japan on 20 August 2008 via Marquee records. The European and USA releases followed a month later on 20 September 2008 on the SPV record label.

Uli Jon Roth released a 2-CD studio album entitled Scorpions Revisited, which was recorded in 2014 in Hannover in early 2015. Roth revisited his personal favourites from the early Scorpions period.

A tour called The Ultimate Guitar Experience with fellow guitarists Jennifer Batten and Andy Timmons followed. Uli soon thereafter embarked on another world tour: this time playing The Tokyo Tapes, songs from the Scorpions 1978 tour of Japan and ensuing live album.

A double CD and Blu-ray/DVD were released in December 2016 of a concert Uli and his band played in Japan in 2015 commemorating the anniversary of The Tokyo Tapes. Roth concluded a short North American tour in March 2017, highlighting songs from both Scorpions Revisited and Tokyo Tapes.

Roth participated a second time at the G3 European tour with Joe Satriani and John Petrucci in March 2017.

Roth contributed an afterword to the 2017 book Shredders!: The Oral History Of Speed Guitar (And More), by Greg Prato. (wikipedia)

And here´s a pretty good bootleg:

:Enjoy the magic of his very unique sound and of course … and of course the spirit of Jimi Hendrix is always present.

Recorded live at the Henry Maier Festival Park, Milwaukee, Wisconsin, USA
excellent FM broadcast recording

Personnel:
Clive Bunker (drums)
Larry Dawson (keyboards)
Dave Lloyd (vocals)
Uli Jon Roth (guitar)
Albert Stubs (bass)
Rollin Tollis (vocals) (this name might be incorrect)
Jon Young (keyboards)

Tracklist:
01. Intro 0.32
02. The Night The Master Comes (Roth) 4.19
03. What Is Love (Roth) 3.43
04. Firewind (Roth) 6.33
05. Hiroshima (Roth)
06. Virgin Killer (Roth)
07. On That Night (Roth/Bunker) / You’re Still So Many Lives Away (Roth/Dawson) 10.48
08. Beethoven’s Ninth (Beethoven) 8.29
09. Polar Nights (Roth) 7.23
10. Dark Lady (Roth) 8.38

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More fom Uli Jon Roth & Electric Sun:

The official website:

Pete Townshend ‘s Deep End – Live! (1986)

Peter Dennis Blandford Townshend (born 19 May 1945) is an English musician. He is the co-founder, leader, guitarist, second lead vocalist and principal songwriter of the Who, one of the most influential rock bands of the 1960s and 1970s. Due to his aggressive playing style and innovative songwriting techniques, Townshend’s works with the Who and in other projects have earned him critical acclaim.

Townshend has written more than 100 songs for 12 of the Who’s studio albums. These include concept albums, the rock operas Tommy (1969) and Quadrophenia (1973), plus popular rock radio staples such as Who’s Next (1971); as well as dozens more that appeared as non-album singles, bonus tracks on reissues, and tracks on rarities compilation albums such as Odds & Sods (1974).

He has also written more than 100 songs that have appeared on his solo albums, as well as radio jingles and television theme songs.

While known primarily as a guitarist, Townshend also plays keyboards, banjo, accordion, harmonica, ukulele, mandolin, violin, synthesiser, bass guitar, and drums; he is self-taught on all of these instruments and plays on his own solo albums, several Who albums, and as a guest contributor to an array of other artists’ recordings. Townshend has also contributed to and authored many newspaper and magazine articles, book reviews, essays, books, and scripts, and he has collaborated as a lyricist and composer for many other musical acts.

In 1983, Townshend received the Brit Award for Lifetime Achievement and in 1990 he was inducted into the Rock and Roll Hall of Fame as a member of the Who. Townshend was ranked No. 3 in Dave Marsh’s 1994 list of Best Guitarists in The New Book of Rock Lists. In 2001, he received a Grammy Lifetime Achievement Award as a member of the Who; and in 2008 he received Kennedy Center Honors. He was ranked No. 10 in Gibson.com’s 2011 list of the top 50 guitarists, and No. 10 in Rolling Stone’s updated 2011 list of the 100 greatest guitarists of all time. He and Roger Daltrey received The George and Ira Gershwin Award for Lifetime Musical Achievement at UCLA on 21 May 2016. (wikipedia)

Deep End Live! is an album containing excerpts of the live performance by Pete Townshend’s Deep End band, at the Brixton Academy in London, England on 1-2 November 1985. In addition to Townshend, the band included Pink Floyd guitarist David Gilmour, drummer Simon Phillips, keyboardist John “Rabbit” Bundrick, percussionist Jody Linscott, harmonica player Peter Hope Evans, the horn section Kick Horns and backing vocalists. The album was originally released in the U.S. in August 1986 by Atco Records.

Apart from The Who and Townshend’s solo repertoire, Townshend plays the covers “Barefootin'” by New Orleans singer Robert Parker, “I Put a Spell on You” by Screamin’ Jay Hawkins, “Save It for Later” by the Beat, and Sonny Boy Williamson’s “Eyesight to the Blind”, already recorded by the Who for Tommy, is played here with an arrangement close to the original version.

“After the Fire” is a song written by Townshend that originally appeared on Roger Daltrey’s solo album Under a Raging Moon , and later appearing on the Who’s live album Blues to the Bush.

The full concert was later released as Live: Brixton Academy ’85. (wikipedia)

Pete Townshend and the Deep End Band played live for two benefit outings — November 1 and 2, 1985 at the Brixton Academy — to help support Townshend’s own “Double O’ Charities. The performances are excerpted here and were used in a made-for-home-video, also called Pete Townshend’s Deep End Live!. Initially, a promotional 12” EP of the show was released to AOR radio stations in August of 1986. However, significant interest in the project would ultimately yield a 10-song LP which was issued to retail a few months later. Townshend (guitar and vocals) is backed by an ensemble that includes a core band of John “Rabbit” Bundrick (keyboards), Chucho Merchán (bass), and Simon Philips (drums) with Peter Hope-Evans (harmonica), Gina Foster (backing vocals), Billy Nicholls (backing vocals), and Jody Linscott (percussion) as well as an eight-piece brass section.

When compared to the Who, the extended instrumentation provides Townshend with a larger sonic pallet to work from. The artist takes full advantage on the stylish update of the R&B classic “Barefootin’,” and a suitably dramatic overhaul of “I Put a Spell on You.” Plus, perhaps just to demonstrate his top-shelf taste in modern music, the English Beat’s “Save It for Later” is a stone gem with the intimacy of an “unplugged” type of backing complete with sax — by either Tim Saunders or former Stiff Little Fingers member Simon Clarke. Even though it could be considered a Who tune, Sonny Boy Williamson’s “Eyesight to the Blind” is given a big city swing that presented the familiar melody in a fresh context. The Townshend originals serve up one offering from the ’80s solo albums Empty Glass (1980) (“A Little Is Enough”), All the Best Cowboys Have Chinese Eyes (1982) (“Stop Hurting People”) and the Who-related tunes “Behind Blue Eyes,” “I’m One,” and “Pinball Wizard.” (by Lindsay Planer)

Personnel:
John ‘Rabbit’ Bundrick (keyboards, background vocals)
Peter Hope-Evans (harmonica)
David Gilmour (guitar, vocals on 07.)
Jody Linscott (percussion)
Chucho Merchan (bass)
Simon Phillips (drums)
Pete Townshend (guitar, vocals)
+
The Kick Horns:
Simon C Clarke (saxophone)
Roddy Lorimer (trumpet, flugelhorn)
Dave Plews (trumpet)
Tim Sanders (saxophone)
+
background vocals:
Billy Nicholls – Chris Staines – Coral Gordon – Gina Foster – Ian Ellis

Tracklist:
01. Barefootin’ (Parker) 3.18
02. After The Fire (Townshend) 4.37
03. Behind Blue Eyes (Townshend) 3.47
04. Stop Hurting People (Townshend)  5.09
05. I’m One (Townshend) 2.46
06. I Put A Spell On You (Hawkins) 4.14
07. Save It For Later (Charlery/Cox/Morton/Steele/Wakeling) 4.14
08. Pinball Wizard (Townshend) 3.03
09. A Little Is Enough (Townshend) 5.30
10. Eyesight To The Blind (Williamson) 3.19
+
11. Magic Bus (Townshend) 3.58
12. Won’t Get Fooled Again (Townshend) 5.38
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More from Pete Townshend in this blog:

Lonnie Mack – Strike Like Lightning (1985)

Lonnie McIntosh (July 18, 1941 – April 21, 2016), known as Lonnie Mack, was an American singer-songwriter and guitarist. He was an influential trailblazer of blues rock music and rock guitar soloing.

Mack emerged in 1963 with his breakthrough LP, The Wham of that Memphis Man. It earned him lasting renown as both a blue-eyed soul singer and a lead guitar innovator. In the album’s instrumental tracks, Mack added “edgy, aggressive, loud, and fast” melodies and runs to the predominant chords-and-riffs pattern of early rock guitar. These tracks raised the bar for rock guitar proficiency and helped launch the electric guitar to the top of soloing instruments in rock. They also became prototypes for the lead guitar styles of blues rock and Southern rock.

Shortly after the album’s release, however, the massively popular “British Invasion” hit American shores, and Mack’s recording career “withered on the vine”.[9] He regularly toured small venues until 1968, when Rolling Stone magazine rediscovered him, and Elektra Records signed him to a three-album contract. He was soon performing in major venues, but his multi-genre Elektra albums downplayed his lead guitar and blues rock appeal and record sales were modest. Mack left Elektra in 1971. For the next fourteen years he was a low-profile multi-genre recording artist, roadhouse performer, sideman, and music-venue proprietor.

In 1985, Mack resurfaced with a successful blues rock LP, Strike Like Lightning, a promotional tour featuring celebrity guitarist sit-ins, and a Carnegie Hall concert with Roy Buchanan and Albert Collins. In 1986, he went on “The Great American Guitar Assault Tour” with Buchanan and Dickey Betts. In 1990, he released another well-received blues rock album, Lonnie Mack Live! Attack of the Killer V, then retired from recording. He continued to perform, mostly in small venues, until 2004.

Mack died from “natural causes” on April 21, 2016 (age 74) at a hospital near his log-cabin home in rural Tennessee. In the media, his death was overshadowed by that of rock superstar Prince, who died on the same day. Mack was buried in Aurora, Indiana.(wikipedia)

And here´s his legendary album feat. Stevie Ray Vaughan:

Co-produced by Stevie Ray Vaughn, this was Lonnie’s ticket back to the show after a few years on the sidelines. To say it was an inspired date would be putting it mildly. With his batteries recharged, Mack was in peak form, playing and singing better than ever. A major highlight is an inspired duet between Stevie and Lonnie on “Wham (Double Whammy),” going toe to toe for several exciting choruses. (by Cub Koda)

Originally released in 1985, this is the celebrated comeback of legendary blues-rock guitar pioneer Mack, made all the more special for featuring production and guest appearances from Lonnie’s #1 disciple, Stevie Ray Vaughan.

Loads of high-energy guitar and soul-deep singing. (propermusic.com)

I love joint albums! Strike Like Lightning features two giants in blues rock: Lonnie Mack and Stevie Ray Vaughan. Produced in 85, Stevie had yet to reach the height of his fame, but his guitar skills are certainly present. Lonnie or his band mates have a part in writing every song on this album and even Stevie coauthors “Strike Like Lightning.” Great album, very original and wonderful instrumentation. Stevie Ray does not appear on all of the songs, but rather five of the ten.

My favorite song on the album is the only song Stevie Ray has a vocal part in: “If You Have to Know.” What is bizarre about this song and track 2, “Satisfy Susie,” is the fact that they have very similar vocal lines. It is shocking how close they are. The guitars are drastically different as are the lyrics (obviously). I can’t say I really enjoy finding blatant similarities between songs on the same album. Apart from this, the album is great. “Double Whammy” is as it sounds, two blastin’ guitars. SRV fans will recognize this song as “Wham” as performed at El Mocambo or as an extra song to one of his CD releases. “Stop” is a pretty good slower blues song. I also enjoy “Strike Like Lightning” and “Long Way From Memphis.”

There are no real duds on this album. Great blues rock tracks that vary in scope and execution. Although I was not blown away by this album, it is a great addition to my blues collection. Lonnie Mack has a very smooth, southern, voice very similar to Gregg Allman. This is very apparent on “Long Way From Memphis.” Not a bad album to listen to if you enjoy SRV or Lonnie Mack. (by Rocky Sullivan)

This is an excellent album of blues/rock. Very fun and top notch playing.Oreo Cookie Blues is one of the best accoustic blues available. (by Mlicinio)

Personnel:
Tim Drummond (bass)
Lonnie Mack (guitar, vocals)
Dennis O’Neal (drums)
Stan Szelest (keyboards)
+
Gene Lawson (drums on 04. + 06.)
Bill McIntosh (guitar on 03., 04., slide guitar on 10.)
Stevie Ray Vaughan (guitar on 01., 02., 05., 08, national steel guitar on 10.)
+
The Croquettes (background vocals on 02.):
Lisa Gilkyson – Gwen Newsome – Karen Kraft

Tracklist:
01. Hound Dog Man (Drummond) 4.05
02. Satisfy Susie (Mack/Drummond) 4.31
03. Stop (Mack) 5.23
04. Long Way From Memphis (Mack/Drummond/Jennings) 3.21
05. Double Whammy (Mack) 3.36
06. Strike Like Lightning (Mack/Vaughan/Drummond/Jennings) 3.39
07. Falling Back In Love With You (Mack) 4.57
08. If You Have To Know (Mack/Drummond/Jennings) 4.30
09. You Ain’t Got Me (Mack) 2.39
10. Oreo Cookie Blues (Mack/Wilkerson) 4.52

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Dana Gillespie – Move Your Body Close To Me (1986)

Dana Gillespie (born Richenda Antoinette de Winterstein Gillespie, 30 March 1949) is an English actress, singer and songwriter. Originally performing and recording in her teens, over the years Gillespie has been involved in the recording of over 45 albums and appeared in stage productions, such as Jesus Christ Superstar, and several films. Her musical output has progressed from teen pop and folk in the early part of her career, to rock in the 1970s and, more latterly, the blues.

Gillespie was born in Woking, Surrey, the second daughter of Anne Francis Roden (née Buxton) Winterstein Gillespie (1920–2007) and Hans Henry Winterstein Gillespie (1910–1994), a London-based radiologist of Austrian nobility. Her older sister, Nicola Henrietta St. John Gillespie, was born in 1946. Dana Gillespie was the British Junior Water Skiing Champion in 1962.

She recorded initially in the folk genre in the mid-1960s. Some of her recordings as a teenager fell into the teen pop category, such as her 1965 single “Thank You Boy”, written by John Carter and Ken Lewis and produced by Jimmy Page. Page also played, uncredited, on Gillespie’s debut LP, Foolish Seasons. Her acting career got under way shortly afterwards, and it overshadowed her musical career in the late 1960s and 1970s.

The song “Andy Warhol” was originally written by David Bowie for Gillespie, who recorded it in 1971, but her version of the song was not released until 1973 on her album Weren’t Born a Man. Her version also featured Mick Ronson on guitar. After performing backing vocals on the track “It Ain’t Easy” from Bowie’s Ziggy Stardust and the Spiders from Mars, she recorded an album produced by Bowie and Mick Ronson in 1973, Weren’t Born a Man. Subsequent recordings have been in the blues genre, appearing with the London Blues Band. She is also notable for being the original Mary Magdalene in the first London production of Andrew Lloyd Webber and Tim Rice’s Jesus Christ Superstar, which opened at the Palace Theatre in 1972. She also appeared on the Original London Cast album. During the 1980s Gillespie was a member of the Austrian Mojo Blues Band.
Left to right: Dana Gillespie, Tony Defries and David Bowie at Andy Warhol’s Pork at London’s Roundhouse in 1971.

She is a follower of the late Indian spiritual guru Sri Sathya Sai Baba.[8] She performed at his Indian ashram on various occasions and has also recorded thirteen bhajan-based albums in Sanskrit.

Gillespie is the organiser of the annual Blues festival at Basil’s Bar on Mustique in the Caribbean, for fifteen days at the end of January and it is now in its eighteenth year. The house band is the London Blues Band, which consists of Dino Baptiste (piano), Jake Zaitz (guitar), Mike Paice (saxophone), Jeff Walker (bass), and Evan Jenkins (drums) but there are also many other acts. In 2005, Mick Jagger appeared as a guest and sang songs such as: “Honky Tonk Women”, “Dust My Broom” and “Goin’ Down” but also many other Blues artists have appeared there through the years, such as Big Joe Louis, Joe Louis Walker, Billy Branch, Ronnie Wood and Donald Fagen.

From March 2021 on, she had a successful Interview & Music Podcast series Globetrotting with Gillespie from TAM TV – Temple of Art & Music in London. (wikipedia)

And here´s their 11th solo album:

Dana Gillespie was also very active in Austria during this time and that’s why she released many singles there. Her biggest hit was in 1983 with the single Move Your Body Close to Me, which reached number three in the Austrian charts.

But her music at that time was much too pop oriented and that was not Dana Gillespie´s real strength.

That’s why this album is one of her weaker albums.

Their blues albums are much better … but her voice is also good on this album.

Personnel:
Dana Gillespie (vocals)
+
a bunch of unknown stidio musicians

Tracklist:
01. Move Your Body Close To Me (Gillespie) 5.05
02. The Good Thing (Byrne) 3.52
03. Don’t Touch Me There (Nagle/Doornacker) 4.45
04. In Danger Tonight (Gillespie) 4.40
05. Good And Direct (Gillespie) 3.08
06. Know My Love (Gillespie) 4.38
07. The Air That I Breathe (Hammond/Hazlewood) 3.50
08. Living In Reverse (Cross) 2.46
09. Haunted By You (Gillespie) 3.21

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**

And… she never had a problem to be photographed sexy …:

Taken from dailymail.co.uk:
More from Dana Gillespie:
The official website:

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

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

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

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

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

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

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

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

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

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

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

Enjoy this soundboard recording !

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

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

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The official website:

Ian Carr
(21 April 1933 – 25 February 2009)

Wolfgang Dauner
(30 December 1935 – 10 January 2020)

Jon Hiseman
(21 June 1944 – 12 June 2018)

Volker Kriegel
(24 December 1943 – 15 June 2003)

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

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

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

Barbara Thompson
(27 July 1944 – 9 July 2022)

Kenny Wheeler
(14 January 1930 – 18 September 2014)