Stan Getz – Tribute To Zoot Sims (1985)

FrontCover1.jpgOver the last seven years the Chicago Jazz Festival clearly has become the best-programmed, most consistently exciting jazz event in the country – one that attracts Chicagoans of all races, ages and income levels and knits them together into a big swinging family.

What may not be so obvious, though, is what the Fest does for the image of the city of Chicago.

On any given night, a good percentage of the audience consists of visitors from all across the country, most of whom have come here especially for the Fest. And this year there also was a large foreign contingent, including fans from China, Japan, France, Austria, Great Britain, Australia, Germany and Finland. To modify an old saying: Build a better jazz fest and the world will beat a path to your door.

Sunday`s concert, which concluded this year’s Fest, was attended by a crowd estimated at 62,000 – an estimate that, as on most nights, seemed rather conservative by the standards used in previous years. Be that as it may, there could be no quarrel about the quality of most of the music.

Choosing highlights is difficult, but the final tribute of this year’s tribute-rich Fest would have to be one, a salute to the late Zoot Sims that featured four of his distinguished partners, Stan Getz, Gerry Mulligan, Jimmy Giuffre and Herbie Steward.


Of course, this group amounts to half of the sax section that recorded ”Four Brothers” with Woody Herman, plus Giuffre, the piece’s composer-arranger. So a performance of ”Four Brothers” was both obligatory and handsomely done, as was Getz’s famous Herman feature, ”Early Autumn.”

Before that, Getz had been typically dazzling, while Mulligan, the closest friend of Sims on the bill, had made that bond clear in his playing. The only regret was that the all-star lineup left too little space to Giuffre and Steward. (Larry Kart, Chicago Tribune; September 2, 1985)

What a line-up !

Recorded live at the Jazz Festival Chicago, Chicago, IL; August 31, 1985
Very good FM broadcast.

AlternateFrontCoverAlternate front cover

Kenny Barron (piano)
Al Foster (drums)
Stan Getz (saxophone)
Jimmy Giuffre (saxophone)
George Mraz (bass)
Gerry Mulligan (saxophone)
Herbie Steward – tenor saxophone

01. Introduction / Let Me Count The Ways 13:20
02. If You Cared For Me Like I Cared For You Then You Wouldn’t Cared All (Feldmman) 5.13
03. Falling In Love (Rogers) 14.32
04. Blues For Zoot (Mulligan) 6.17
05. Georgia On My Mind (Carmichael) 4.23
06. Satin Doll (Ellington/Strayhorn) 5.03
07. The Red Door (Sims) 6.14
08. Zoot (Giuffre) 5.48
09. Four Brothers (Giuffre) 5.16
10. Early Autumn (Burns) 3.50



Chris Farlowe – Bursting Over Bremen (2014)

FrontCover1.jpgChris Farlowe (born John Henry Deighton, 13 October 1940)[1] is an English rock, blues and soul singer. He is best known for his hit single “Out of Time”, which rose to #1 in the UK Singles Chart in 1966, and his association with Colosseum and the Thunderbirds. Outside his music career, Farlowe collects war memorabilia.

Farlowe was born in Islington, North London. His musical career began with a skiffle group, the John Henry Skiffle Group, in 1957, before he joined the Johnny Burns Rhythm and Blues Quartet, in 1958. He met guitarist Bob Taylor in 1959 and, through Taylor, joined the Thunderbirds, who went on to record five singles for the Columbia label. On Island’s Sue label, he released a version of “Stormy Monday Blues” under the pseudonym Little Joe Cook, which perpetuated the myth that he was a black singer.

Farlowe moved to Andrew Loog Oldham’s Immediate label and recorded eleven singles, five of which were cover versions of Rolling Stones songs including “Paint It, Black”, “Think”, “Ride On, Baby”, “(I Can’t Get No) Satisfaction”, and “Out of Time”, which reached no. 1 (1966) in the UK Singles Chart. He recorded four more singles, the best known of which is Mike d’Abo’s “Handbags and Gladrags”. and “My Way Of Giving”, a cover of a Small Faces album track written by Steve Marriott and Ronnie Lane.

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He began an association with the jazz rock group Colosseum in September 1970, recording a live album and two studio albums including, Daughter of Time (1970). Later from Colosseum reunion in 1994 he appeared on all Colosseum albums released.

In February 1972 he joined Atomic Rooster, and is featured on the albums Made in England (1972) and Nice ‘n’ Greasy (1973).

He sang vocals for the theme music written by Greenslade for the BBC Television series Gangsters. In 1978 he had a part in a play produced by BBC Birmingham, Curriculee Curricula, first shown on BBC Two and shot in its entirety on video at the University of Birmingham campus, with Magnus Magnusson as the narrator.[6] Farlowe and Greenslade provided the music. He also sang on two tracks from Jimmy Page’s Death Wish II soundtrack (1982), as well as the tracks “Hummingbird”, “Prison Blues” and “Blues Anthem” on Page’s album Outrider (1988).

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Chris Farlowe toured for a long time with Hamburg Blues Band, mainly in Germany.

In 2009, Farlowe toured as a featured artist with Maggie Bell and Bobby Tench as part of the “Maximum Rhythm and Blues” tour of 32 UK theatres.

On 30 July 2016, Farlowe appeared at Wembley Arena, performing his 1966 hit “Out of Time” as part of a show marking the 50th anniversary of the England football team’s victory in the 1966 FIFA World Cup Final.

Since 1999 Farlowe has appeared on stage a number of times alongside Van Morrison. (by wikipedia)

And here´s a damn good live album, recorded in 1985:

No, Chris Farlowe can no longer remember Schauburg in Bremen. But when he heard the recording from the 7 October 1985 concert, the brain of the “Thunderbirds” was astonished and impressed: “I didn’t know how good we were!” Not only was the 5-piece band in peak form, but so was the singer. Due to its sharp quality the Radio Bremen recording was just as impressing. The Repertoire was a magnificent mix of blues, rock, and rock ‘n roll, given how enthusiastic the audience’s resonance was.

For the first time an entire Thunderbirds show will be released as an impressive double album. Chris Farlowe’s Thunderbirds consisted at the time of keyboarder Tim Hinkley, guitarist Mo Witham, bassist Tex Corner, drummer John “The Figure” Palmer, and saxophonist Martin Winner. Aside from the instrumental “Time is Tight” by Booker T., the repertoire consists of vocal performances honoring his voice acrobatics. His a capella version of Randy Newman’s “I Think it’s Going to Rain” sounds just as impressing as the interpretations of the classic “Ain’t No Love in the Heart of the City,” “Watch Your Step” or “Shakey Ground.” After an hour and a half of the Thunderbirds one can only say: “The thrill is not gone, Mr. Farlowe!”


The M.i.G. (Made in Germany) label expand their Chris Farlowe catalogue further by issuing a superb 1985 concert recording on CD for the first time. “Bursting Over Bremen” captures Chris and a line-up of The Thunderbirds live in Schauburg, Bremen on October 7th 1985 (this was the first time that Chris had played in Germany with this group of musicians). The show was broadcast by Radio Bremen, and the recording quality is first class!

According to the sleeve notes, Chris himself doesn’t recall the show but when he heard the recording he remarked “I didn’t know how good we were!” The Thunderbirds line-up at the time consisted of Tim Hinkley (keyboards), Mo Witham (guitar), Tex Comer (bass), one-time Dr Feelgood drummer John `The Big Figure’ Martin, and Martin Winning (saxophone). The band is in sparkling form throughout, with the set a diverse mixture of blues / R&B standards (but strangely no `Out of Time’!).

Four of the tracks had previously been recorded for Chris’s 1985 album “Out Of The Blue”, while `I’ve Been Born Again’ would appear on the following year’s “Born Again” (these albums have recently been issued as a twofer by M.i.G. – Out Of The Blue / Born Again ).


The show kicks off with Bob Dylan’s `Watching The River Flow’, followed by what Chris considers his favourite from this recording – Delbert McClinton’s `Jealous Kind’. The band really hit their stride with a funky take on the Charlie Feathers number `Satisfy Susie’, notable for some terrific sax from Martin Winning. There’s a sizzling and lengthy bluesy workout of the classic `Stormy Monday Blues’ and then a fiery version of Bobby Parker’s `Watch Your Step’ (which features some wonderful lead guitar work by Mo Witham).

Chris demonstrates why he’s known as “The Voice” with a magnificent a cappella solo rendition of Randy Newman’s `I Think It’s Going To Rain Today’, before he takes a well deserved break and leaves the band to showcase an instrumental classic – Booker T & The MG’s `Time Is Tight’.


CD2 opens with the Ray Charles number `I Haven’t Found Nothing Yet’ and the band then demonstrate their funkiness again with `Shakey Ground’ (co-written by Funkadelic’s Eddie Hazel, and originally a hit for The Temptations). Next up is `I’ve Been Born Again’, and then one of the great R&B / blues songs, `The Thrill is Gone’ (written in 1951 by Roy Hawkins and Rick Darnell and recorded by, amongst others, BB King).

A classic double dose of rock’n’roll follows in the guise of Little Richard’s `Lucille’ and Chuck Berry’s `Sweet Little Sixteen’. There’s an atmospheric take on `Ain’t No Love In The Heart Of The City’ (first recorded by Bobby “Blue” Bland), before the set concludes with `I Believe In You’ (no writer credit for this one) and a lively `Going Back To Louisiana’ (another song made famous by Delbert McClinton).


The two CDs are housed in an attractive foldout digipak. There are a mixture of vintage and more contemporary photographs, and 4 pages of notes about Chris’s career written by Uli Kniep. Overall, this is an excellent release – sound quality is superb, and Chris and the band are on top form! (Jimbo Starr)


Tex Corner (bass)
Chris Farlowe (vocals)
Tim Hinkley (keyboards)
John “The Figure” Palmer (drums)
Martin Winner (saxophone)
Mo Witham (guitar)



CD 1:
01. Watching The River Flow (Dylan) 6.24
02. Jealous Kind (McClinton) 6.44
03. Satisfy Susie (Feathers) 7.01
04. Stormy Monday Blues (Walker) 13.43
05. Watch Your Step (Parker) 4.06
06. I Think It’s Going To Rain Today (Newman) 4.08
07. Time Is Tight (Jones/Cropper/Dunn/Jackson) 3.49

CD 2:
01. I Haven’t Found Nothing Yet (Charles) 3.47
02. Shakey Ground (Bowen/Hazel/Boyd) 5.49
03. I’ve Been Born Again (Davis/Dean) 5.52
04. The Thrill Is Gone (Hawkins/Darnell) 8.40
05. Lucille (Penniman/Collins) 6.24
06. Sweet Little Sixteen (Berry) 5.29
07. Ain’t No Love In The Heart Of The City (Price/Walsh) 5.47
08. I Believe In You (unknown) 4.01
09. Going Back To Louisiana (Osborn) 3.26





Hooters – Nervous Night (1985)

FrontCover1.JPGNervous Night is the second studio album by American rock band the Hooters, released in May 1985 by Columbia Records and on CBS Records in Europe. The album features two of the band’s biggest and best-known hits, “And We Danced” and “Day by Day”, as well as the minor hit, “All You Zombies”, which was a rerecorded version of a single that had first been released in 1982.

In the summer of 1983, guitarist Eric Bazilian and keyboard player Rob Hyman were invited by their old college friend and bandmate from Baby Grand, Rick Chertoff, to work on the debut album for a newly signed singer to Columbia Records named Cyndi Lauper. This resulted in The Hooters reforming after having broken up several months earlier. Eventually executives at Columbia Records, who were impressed by the over 100,000 copies that the band’s independent album Amore had sold, as well as the local Philadelphia fan support (26 million entries in radio station WMMR’s contest to win a Hooters show at a local high school) decided on July 26, 1984 at the Four Seasons Hotel in Philadelphia, to sign The Hooters to a multi-album contract to the company.

On July 13, 1985, The Hooters opened the Philadelphia segment of Live Aid, a concert event to raise funds to benefit Africa. This internationally televised event introduced the band to a global audience that subsequently translated to major commercial success. Their first major overseas tour came later that year when they played throughout Australia.


Different versions of three songs on Nervous Night — “All You Zombies”, “Hanging on a Heartbeat” and “Blood from a Stone” — were originally released on The Hooters’ independent album release Amore in 1983. “Blood From a Stone” had also been recently covered by Red Rockers and released as a single.

Eric Bazilian told Songfacts that “Day by Day” “was a song that started as an experiment with Rick Chertoff.” He added that it took them “2 years whipping it into shape.”

An award-winning film starring The Hooters and directed by John Jopson, Nervous Night, was produced by Bell One Productions. Nervous Night was shot on 35mm film and intercuts two separate elements: a concert filmed at the Tower Theater in Philadelphia, and a series of short films, each one starring a different band member.

Nervous Night achieved platinum certification status around the world, selling in excess of 2 million copies in the United States.

On September 5, 1986, The Hooters appeared on the 1986 MTV Video Music Awards, where they were nominated in the category of Best New Artist in a Video for “And We Danced”. They performed two songs on the show, “And We Danced” and “Nervous Night”.

Rolling Stone named The Hooters the Best New Band of the Year for 1986. (by wikipedia)


Often overlooked, the Hooters’ Nervous Night was a defining record not only for the band, but for 1985 itself. Filled to the brim with fun, danceable new wave-ish rock, the album is a wonderful representation of a lighthearted era. The peppy vocals of keyboardist Rob Hyman and guitarist Eric Bazilian give the band an assured, happy energy, while the sporadic use of the mandolin and melodica (a combination harmonica/keyboard) gives the group its distinctive sound. “And We Danced” and “Day by Day” became instant pop hits, but the remainder of Nervous Night is almost as strong. “All You Zombies,” which refers to stories in the Bible, is the band’s most powerful moment; along with “Where Do the Children Go,” the track showed that the Hooters could be serious and dramatic as well as upbeat. Although the band wasn’t able to maintain its momentum with subsequent records, Nervous Night remains a noteworthy contribution to mid-’80s rock and doesn’t sound quite as dated as the work of some of the band’s contemporaries. (by Kenyon Hopkin)


Eric Bazilian (vocals, guitar, bass, mandolin, saxophone)
Rob Hyman (vocals, keyboards, melodica)
Andy King (bass, vocals)
John Lilley (guitar)
David Uosikkinen (drums)
Patty Smyth (vocals on 07.)


01. And We Danced (Hyman/Bazilian) 3.48
02. Day By Day (Hyman/Bazilian/Chertoff) 3.23
03. All You Zombies (Hyman/Bazilian) 5.58
04. Don’t Take My Car Out Tonight (Hyman/Bazilian/Chertoff) 3.51
05. Nervous Night (Hyman/Bazilian/Chertoff) 3.58
06. Hanging On A Heartbeat (Hyman/Bazilian/Goss/Ziv) 4.21
07. Where Do The Children Go (Hyman/Bazilian) 5.27
“South Ferry Road” (Hyman, Bazilian, Chertoff) – 3:43
“She Comes in Colors” (Arthur Lee) – 4:12
“Blood from a Stone” (Hyman, Bazilian) – 4:13




Richard Manuel – Whispering Pines (Live At The Getaway) (2002)

FrontCover1.jpgRichard George Manuel (April 3, 1943 – March 4, 1986) was a Canadian composer, singer, and multi-instrumentalist, best known as a pianist and lead singer of the Band. He was a member of the original band from 1967 to 1976 and the re-formed band from 1986 until his death.

Manuel’s singing alternated between a soul-influenced baritone that drew frequent comparisons to Ray Charles and a delicate falsetto. Though The Band had three vocalists sharing lead and harmony parts, Manuel was often seen as the group’s primary vocalist.

On March 4, 1986, after a gig at the Cheek to Cheek Lounge in Winter Park, Florida (a suburb of Orlando, Florida), Manuel died by suicide. He had appeared to be in relatively good spirits at the concert but ominously “thanked [Hudson] profusely for twenty-five years of good music and appreciation” as the latter musician packed his keyboards and synthesizers to be shipped to the next venue after the show. Danko (who also struggled with substance abuse) confronted Manuel about his alcohol use after the show. The Band eventually returned to the Langford Hotel, down the block from the Cheek to Cheek Lounge, and Manuel talked with Helm about music, people and film in Helm’s room. According to Helm, at around 2:30 in the morning, Manuel said he needed to get something from his room. Upon returning to his room, he awoke his wife, Arlie, who observed that “he was all pissed off about something”; Manuel claimed that his frustration stemmed from the quality of the piano at the venue. When Arlie enjoined him to come to bed, he lay down with his clothes on. After she resumed sleeping, it is believed that he finished one last bottle of Grand Marnier before hanging himself in the bathroom sometime before 3:30. Arlie Manuel discovered her husband’s body along with the depleted bottle of liqueur and a small amount of cocaine the following morning. He was buried a week later in his hometown of Stratford, Ontario.


At the end of March, Danko declared, “I can’t believe in a million years that he meant for that to happen. There was just no sign … I have to think this was just a goddamned silly accident.” A blood toxicology report indicated that Manuel was drunk and had ingested cocaine within 12 to 24 hours of his death. (by wikipedia)

And this album is alive document, chronicling two intimate live shows Manuel performed at The Getaway, a nightclub in Saugerties, New York on 12 October 1985.

Whispering Pines: Live at the Getaway is a live recording by Canadian singer Richard Manuel, chronicling two intimate live shows Manuel performed at The Getaway, a nightclub in Saugerties, New York on October 12, 1985. Released in Japan in March 2002, it is the first solo release from Manuel, who, unlike his former mates from The Band never recorded a proper solo album.


Japanese promo material

Leaning on Ray Charles numbers alongside songs he sang with The Band, songs he had known for upwards of twenty years, the performance is laid-back, like a concert for friends and wellwishers. Joining Manuel are Rick Danko and Jim Weider, both fellow members of The Band, and harmonica player Sredni Vollmer.

The album was re-released in 2005 on the Canadian Other People’s Music label, with an additional four tracks, though this version lacks the alternate version of “Georgia On My Mind” that had ended the original release. Among the bonus tracks is a loose jam that features Manuel’s dog, Mitzi, screeching out a vocal line while The Band plays a blues line behind. (by wikipedia)


Alternate frontcovers

Singer/songwriter/pianist Richard Manuel never actually made any formal solo recordings apart from his membership in the Band, but this posthumously released album presents a club date he played in Saugerties, NY, less than five months before he committed suicide on March 4, 1986. Manuel accompanies himself on piano, singing songs from the Band repertoire (“Across the Great Divide,” “King Harvest [Has Surely Come],” “I Shall Be Released,” “The Shape I’m In,” “Chest Fever”), including a couple (“Whispering Pines,” “Tears of Rage”) on which he has co-songwriting credits. He also demonstrates his major influences by performing music by and associated with Fats Domino (“Grow Too Old”) and Ray Charles (“Georgia on My Mind,” “You Don’t Know Me,” “Hard Times”).


And he plays a couple of piano instrumentals. He has friends in the audience who sometimes come up and join him, notably fellow Band member Rick Danko, who provides vocal and guitar support on several tracks, and guitarist Jim Weider, who was a member of later configurations of the Band. Manuel’s contributions to the Band tended to be overshadowed by other group members, but here, even shortly before his death, he makes a strong impression with his barrelhouse piano work and expressive vocals, emphasizing the loss to music that was soon to come. (by William Ruhlmann)


Richard Manuel (piano, vocals, harmonica)
Rick Danko (guitar, vocals on 07., 11., 16. + 17.)
Sredni Vollmer ( harmonica on 11., 14. + 17.)
Jim Weider (guitar on 04. – 06., 11. + 14.)
Rick Danko (bass on 21.)
Levon Helm (drums on 21.)
Garth Hudson (piano on 21.)
Mitzi, the dog (vocals on 21.)


01. Grow Too Old (Charles/Bartholomew/Domino) 3.08
02. Georgia On My Mind (Carmichael/Gorrell) 2.35
03. Instrumental #1 “Jazz” (Manuel) 3.26
04. Across The Great Divide (Robertson) 3.24
05. You Don’t Know Me (Walker/Arnold) 3.06
06. King Harvest (Has Surely Come) (Robertson) 4.11
07. I Shall Be Released (Dylan) 3.52
08. The Shape I’m In (Robertson) 4.20
09. Instrumental #2 “Piano” (Manuel) 1.51
10. Miss Otis Regrets (Porter) 4.27
11. Crazy Mama (Cale) 6.19
12. She Knows (Griffin/Royer) 3.38
13. Hard Times (Charles) 2.57
14. Chest Fever (Robertson) 5.56
15. Whispering Pines (Manuel/Robertson) 4.29
16. Tears Of Rage (Dylan/Manuel) 4.14
17. Across The Great Divide (Alternative Version) (Robertson) 3.27
18. Piano Quickies #1 (Manuel) 2.25
19. Piano Quickies #2 (Manuel) 1.19
20. Piano Quickies #3 (Richard Manuel) 2.25
21. Mitzi’s Blues (Manuel) 3.17

5 tribute songs:
22. Fallen Angel (Robbie Robertson) 5.51
23. If I Could Give All My Love (Richard Manuel Is Dead) (Counting Crows) 3.52
24. Holy Mother (Eric Clapton) 4.54
25. Song For Richard Manuel (Head Of Femur) 3.27
26. Danko Manuel (Drive By Truckers) 5.41




Richard George Manuel (April 3, 1943 – March 4, 1986)

Gergley Sarközy – Bach Suites For Lute & Harpsichord (1985)

LPFrontCover1.jpgGergely Sárközy is a Hungarian musician who plays guitar, lute, lute-harpsichord, viola bastarda, and organ. He has produced numerous recordings and has helped in the creation of animated film soundtracks including that of A nyár szemei (“The Eyes of Summer”) for which he won an Award for Best Sound Engineering together with Nikolai Ivanov Neikov at the 4th Kecskemét Animation Film Festival (by wikipedia)

Gergely Sárközy is a master of several instruments and an amateur instrument maker. He studied composition at a specialized secondary school of music and graduated from the Cello Department of the Academy of Music with a diploma for viola da gamba and cello.

Gergely Sárközy has featured on several recordings, playing medieval troubadour music with his ensemble “Fraternitas Musicorum”, Baroque chamber music, and as a member of “Camerata Hungarica”, Renaissance music. He also contributed to the records of the Bálint Bakfark Lute Trio and the Kalaka Ensemble, and performed four of Bach’s lute works on his first performer’s record, released in 1981.

His main instruments are the harpsichord, organ, cello, viola da gamba, rebec, various types of lute, koboz, classical and flamenco guitar, psaltery, bagpipe, gemshorn, Jew’s harp, xylophone and other percussion instruments. He considers that a complex variety of activities, styles and instruments results in useful cross-fertilizations that assist him in his work.

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This isn’t your average Bach recording. The lute harpsichord uses gut strings rather than wire, it has a 16 ft 2×8 and 1×4. You might thus find the sound “dull” in comparison to standard stringing. The playing is exquisite.  It is beautifully played although some might say that the embellishment obscures the lines of the lute suites. Not me. (Joseph Alfano)

Johann Sebastian Bach (31 March, 1685 – 28 July 1750) was a German composer, organist, harpsichordist, violist, and violinist of the Baroque Period. His music is revered for its intellectual depth, technical command, and artistic beauty.

The lautenwerck (also spelled lautenwerk), or lute-harpsichord (lute-clavier), was a European keyboard instrument of the Baroque period. It was similar to a harpsichord, but with gut rather than metal strings, producing a mellow tone; one of Bach’s favorite keyboard instruments, which is now almost impossible to hear on record. It’s truly wonderful, with a deep, rich and resonant sound. No wonder Bach had one custom-built to his own specifications. He owned two of the instruments at the time of his death, but no specimens have survived to the present day. It was revived in the 20th century and two of its most prominent performers are the early music specialists Gergely Sárközy and Robert Hill.

This is indeed a very unique piece of music … Enjoy it !

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Gergley Sarközy (harpsichord, lute, lute-harpsichord)



Suite In E Minor:
01. Praeludio – Passagio – Presto 2.37
02. Allemande 2.54
03. Courante 3.02
04. Sarabande 5.19
05. Bourree 1.51
06. Gigue] 2.45

Choral Preludes From The Kirnberg Collection. ” Wer nur den lieben Gott lasst walten”:
07. BWV 690 (B) 2.03
08. BWV 691 1.51
09. BWV 690 (A) 2.07

Suite In C Minor:
10. Prelude 3.34
11. Fuga 10.55
12. Sarabande 4.27
13. Gigue 3.45
14. Double 2.10

Music composed by Johann Sebastian Bach






The Lute-Harpsichord was  one of Bach’s favourite keyboard instruments
which is now almost impossible to hear on record.
It’s a truly wonderful instrument with a deep, rich and resonant sound.
No wonder Bach had one custom-built to his own specifications.

Morissey Mullen – This Must Be The Place (1985)

FrontCover1.jpgMorrissey–Mullen was a British jazz-funk/fusion group of the 1970s and 1980s.

Considered one of the most popular jazz groups in London, the band was led by Dick Morrissey on tenor and soprano saxes and flute, and Jim Mullen on guitar, who joined forces in 1975, playing together for sixteen years, during which they came to be known as “Mr Sax and Captain Axe” because of their hallmark call and response style between guitar and saxophone.

The band began in New York City where Dick Morrissey and Jim Mullen were recording and touring with their mutual friends in the Average White Band and Herbie Mann.[4]

Up (Atlantic, 1977) included Average White Band as a rhythm section, Luther Vandross and Cissy Houston on vocals, and New York session musicians. A six-week residency at Mikell’s in New York City attracted Boz Scaggs, David Sanborn, Steve Gadd, Steve Ferrone, Richard Tee, George Benson, Ray Barretto, Michael Brecker, and Randy Brecker.

On their return to the United Kingdom, Morrissey-Mullen concentrated on the small-club/pub circuit, including a residency at The Half Moon, Putney for many years.[6] In 1979, EMI commissioned them to enter the Abbey Road Studios to make “Britain’s first digitally-recorded single record”, a cover version of the hit “Love Don’t Live Here Anymore” by Rose Royce. Their album Badness (1981) reached number one in the UK disco chart.[citation needed] The band performed in the live sessions of Night Owls, a BBC Radio 2 programme presented by jazz writer and tenor saxophonist Dave Gelly.


Morrissey-Mullen’s backing band included British jazz musicians such as Martin Drew, David Sheen, Chris Ainsworth, Tony Beard, Neil Wilkinson, John Mole, Clive Chaman, John McKenzie, Joe Hubbard, Trevor Barry, and Pete Jacobsen, John Critchinson, Martin Blackwell, Geoff Castle, and John Burch (with whom Dick Morrissey would formed an octet in 1984). Although members of the band had included two session musicians from New Zealand, Frank Gibson, Jr. on drums and Bruce Lynch on bass, the band was also a springboard for a generation of young British musicians, including Chris Fletcher on percussion, Gary Husband on drums, Rob Burns on bass, Claire Hamill and Carol Kenyon on vocals (both on whom appeared with Dick Morrissey on the 1981 Jon & Vangelis album The Friends of Mr Cairo), Tessa Niles, Linda Taylor, and Noel McCalla.

Morrissey’s failing health required too many visits to hospital for the band to be viable. When the band dissolved in 1988, Mullen and Morrissey continued meeting for jam sessions with what they called,”Our Band”, usually with the same musicians that had accompanied them in the past. They appeared at the 1991 Cork Jazz Festival in the Metropole Hotel in Cork, Ireland.

It’s About time is the sixth album released by British jazz fusion duo Morrissey–Mullen.

The album was produced by Richard Niles, who also wrote some of the songs.

The title track is in tribute to the US saxophonist Teddy Edwards who had recently had a “duel” with Dick Morrissey at London’s 100 Club. (by wikipedia)

“This was the first album that we did when Pete Jacobsen joined the band on keyboards. ‘Southend Pierre’ was one of Pete’s compositions. We also did Pete’s arrangement of Steve Wonder’s ‘Visions’.

There are a couple of vocals on the album from Noel McCalla, which were the only two songs he recorded with us, even though he was actually in the band for some years in its final incarnation. Noel wrote “All I Want To Do” with guitarist John Mizzarolli. “With You” was written by the son of a friend of mine and I thought this would be a good vehicle for Noel.

I was not really satisfied with this album – we were in a transitional stage from a ‘disco’ band to a more creative, jazzier musical style and this fell between the two styles.” (Jim Mullen)

But even this album is a real good one .. and if you like The Average White Band (like I do), then you should listen to this forgotten album !


Tevor Barry (bass)
Chris Fletcher (percussion)
Pete Jacobson (keyboards)
Dick Morrissey (saxophone)
Jim Mullen (guitar)
Neil Wilkinson (drums)
Noel McCalla (vocals on 04. + 07.)


01. A Tear For Crystal (Sanbor/Miller) 4.37
02. Mean Time (Mullen) 5.45
03. This Must Be The Place (Mullen) 4.47
04. With You (Gould) 4.59
05. Southend Pierre (Jacobson) 7.34
06. Visions (Wonder) 5.38
07. All I Want To Do (McCalla/Mizarolli) 5.01



Level 42 – A Physical Presence (1985)

FrontCover1.JPGA Physical Presence is a two-disc live album by the British jazz-funk pop group Level 42, released in June 1985 and recorded in England during March 1985 at The Coronet Woolwich, The Hexagon, Reading and Goldiggers, Chippenham, Wiltshire. This album is notable for being the first live album by Level 42, and for containing a previously unreleased song (“Follow Me”, which was later remixed and issued as part of an E.P.) and a live recording of a non-LP track (“Foundation & Empire”, originally B-side of “Starchild”, available on the 2000 CD reissue of “Level 42)”. “Love Games” is preceded by an extended bass intro, which contains also part of “Dune Tune”. Also, the first track (“Almost There”) starts with a taped intro which quotes “Hot Water”. Originally issued in the UK as a two-album set and long-play cassette, the version issued on CD consisted of a single disc, omitting three tracks (“Turn it On”, “Mr Pink” and “88”). Those tracks were restored when the remastered version of the album was issued in a two-CD set in 2000.
Contents (by wikipedia)

Mark King01

A Physical Presence, released in 1985, is the first live album from the British quartet Level 42. Recorded at various small European club venues, A Physical Presence is an impressive document of the band’s dynamic live performances, and the live renditions of many of the songs improve on the original studio recordings.

Much of the material on A Physical Presence comes from the band’s first four studio albums, and several of Level 42’s minor British hits (“Hot Water,” “The Chinese Way”) are included. Physical’s highlights, however, are the blistering live takes on lesser-known non-single releases. For example, “Kansas City Milkman,” which originally appeared in a somewhat lackluster version on the 1984 release True Colours, is given new life in concert; the version here is slightly faster and more energetic than the original.


“Eyes Waterfalling” (originally from the 1982 album The Pursuit of Accidents) is given the same treatment and features Mark King’s mind-boggling thumb-slapping bass-playing technique, which is all the more impressive considering his simultaneous role as lead vocalist. King is an amazing musician, but his fellow bandmates are no less capable; vocalist and keyboardist Mike Lindup, drummer Phil Gould, and guitarist Boon Gould give first-rate performances. Level 42’s studio efforts (particularly on the early albums) tend to suffer from over-production, barely giving the musicians room to breathe. That certainly isn’t the case here; on A Physical Presence, Level 42 truly shines, combining TShirtenergy, talent, and songcraft to breathtaking effect.

Although the sound quality isn’t exactly stellar, A Physical Presence is still far better than Level 42’s 1996 effort Live at Wembley. That album was recorded while the band was touring in support of its worst studio effort, Staring at the Sun, and contains entirely too much material from that anemic 1988 release. Live at Wembley also suffers from the absence of the Gould brothers and from the obviously less intimate arena setting; by the time Live at Wembley was recorded, Level 42 had become a major U.K. success. Mark King also became more of a show-off than a musician, and his half-hearted performance on Live at Wembley makes the album virtually unlistenable. A Physical Presence is a MUCH better indication of Level 42’s capabilities in a live setting, capturing the band at the top of its form. (by William Cooper)


Rowland “Boon” Gould (guitar)
Phil Gould (drums/background vocals)
Mark King (bass, vocals)
Mike Lindup (keyboards, vocals)
Krys Mach (saxophone)



CD 1:
01. Almost There (King/P.Gould/R.Gould) 6.44
02. Turn It On (Badarou/P. Gould/R. Gould/King) 5.47
03. Mr. Pink (Badarou/King) 6.16
04. Eyes Waterfalling (King/P. Gould/Lindup/R. Gould) 5.22
05. Kansas City Milkman (Badarou/King/Lindup/P. Gould) 7.36
06. Follow Me (King/R. Gould) 4.46
07. Foundation & Empire (King) 8.38

CD 2:
01. The Chant Has Begun (King/P. Gould) 6.25
02. The Chinese Way (King/P. Gould/Badarou) 4.48
03. The Sun Goes Down (Living It Up) (Badarou/King/Lindup/P. Gould) 5.00
04. Hot Water (King/P. Gould/Lindup/Badarou) 6.22
05. Bass solo + Love Games (King/P. Gould) 9.44
06. 88 (King) 12.54




This is another item from the great greygoose collection … thanks a lot !