Nina Simone – Live At The Fabrik, Hamburg, Germany (1988)

FrontCover1Eunice Kathleen Waymon (February 21, 1933 – April 21, 2003), known professionally as Nina Simone was an American singer, songwriter, pianist, and civil rights activist. Her music spanned styles including classical, folk, gospel, blues, jazz, R&B, and pop.

The sixth of eight children born from a poor family in Tryon, North Carolina, Simone initially aspired to be a concert pianist. With the help of a few supporters in her hometown, she enrolled in the Juilliard School of Music in New York City. She then applied for a scholarship to study at the Curtis Institute of Music in Philadelphia, where, despite a well received audition, she was denied admission, which she attributed to racism. In 2003, just days before her death, the Institute awarded her an honorary degree.

To make a living, Simone started playing piano at a nightclub in Atlantic City. She changed her name to “Nina Simone” to disguise herself from family members, having chosen to play “the devil’s music” or so-called “cocktail piano”. She was told in the nightclub that she would have to sing to her own accompaniment, which effectively launched her career as a jazz vocalist. She went on to record more than 40 albums between 1958 and 1974, making her debut with Little Girl Blue. She had a hit single in the United States in 1958 with “I Loves You, Porgy”. Her piano playing was strongly influenced by baroque and classical music, especially Johann Sebastian Bach, and accompanied expressive, jazz-like singing in her contralto voice.

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In 1993, Simone settled near Aix-en-Provence in southern France (Bouches-du-Rhône).[52] In the same year, her final album, A Single Woman, was released. She variously contended that she married or had a love affair with a Tunisian around this time, but that their relationship ended because, “His family didn’t want him to move to France, and France didn’t want him because he’s a North African.” During a 1998 performance in Newark, she announced, “If you’re going to come see me again, you’ve got to come to France, because I am not coming back.” She suffered from breast cancer for several years before she died in her sleep at her home in Carry-le-Rouet (Bouches-du-Rhône), on April 21, 2003. Her Catholic funeral service at the local parish was attended by singers Miriam Makeba and Patti LaBelle, poet Sonia Sanchez, actors Ossie Davis and Ruby Dee, and hundreds of others. Simone’s ashes were scattered in several African countries. Her daughter Lisa Celeste Stroud is an actress and singer who took the stage name Simone, and who has appeared on Broadway in Aida.

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Simone’s consciousness on the racial and social discourse was prompted by her friendship with the playwright Lorraine Hansberry. Simone stated that during her conversations with Hansberry “we never talked about men or clothes. It was always Marx, Lenin and revolution – real girls’ talk”. The influence of Hansberry planted the seed for the provocative social commentary that became an expectation in Simone’s repertoire. One of Nina’s more hopeful activism anthems, “To Be Young, Gifted and Black”, was written with collaborator Weldon Irvine in the years following the playwright’s passing, acquiring the title of one of Hansberry’s unpublished plays. Simone’s social circles included notable black activists such as James Baldwin, Stokely Carmichael and Langston Hughes: the lyrics of her song “Backlash Blues” were written by Hughes.

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Simone’s social commentary was not limited to the civil rights movement; the song “Four Women” exposed the Eurocentric appearance standards imposed on Black women in America,[58] as it explored the internalized dilemma of beauty that is experienced between four Black women with skin tones ranging from light to dark. She explains in her autobiography I Put a Spell on You that the purpose of the song was to inspire Black women to define beauty and identity for themselves without the influence of societal impositions. Chardine Taylor-Stone has noted that, beyond the politics of beauty, the song also describes the stereotypical roles that many Black women have historically been restricted to: the mammy, the tragic mulatto, the sex worker, and the angry Black woman. (wikipedia)

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“The High Priestess of Soul,” Nina Simone was a singer, pianist, songwriter, and civil rights activist. Mostly known as a jazz singer, her music blended gospel, blues, folk, pop, and classical styles. No popular singer was more closely associated with the Civil Rights Movement than Simone.

Simone was billed as a jazz vocalist, but she often rejected the label, viewing it as a reflection of her race more than her musical style and training. She self-identified as a folk singer, with a style that also incorporated blues, gospel, and pop, among others. She was able to cross genres as both a singer and pianist, and her classical background remained an important part of her musical identity.

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She released the iconic protest song “Mississippi Goddam” in 1964, in reaction to the bombing of the Sixteenth Street Baptist Church in Birmingham, Alabama and the assassination of civil rights leader Medgar Evers, both in 1963. The song expressed her frustration with the slow pace of change in response to the efforts of the Civil Rights Movement. She famously performed “Mississippi Goddam” at a concert on April 7, 1968, three days after the assassination of Martin Luther King, Jr.

Simone continued to speak out forcefully about the African American freedom struggle and became associated with the Black Nationalism and Black Power movements. Her albums covered a wide range of styles and included both politically motivated songs and reimaginations of popular songs. “To Be Young, Gifted, and Black” (1969) aimed to make African American children feel good about themselves and “Four Women” (1966) expressed the suffering and resilience of African American women. At the same time, her covers of songs by Leonard Cohen, George Harrison, and the Bee Gees earned acclaim.

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In the 1970s, as public attention toward the Civil Rights Movement declined, Simone’s music faded in popularity. She left the United States, eventually settling in France. Simone attributed her move abroad to what she saw as the worsening racial situation in the US. She continued to release new albums and draw fans to her concert tours, but she performed less as the years went on.

Scholars have often overlooked Simone’s legacy because her music crossed genres and could not easily be categorized, but she left a profound mark on American music. Singers such as Aretha Franklin, Rufus Wainright, and Roberta Flack cite her as an important influence. In 2008, Rolling Stone named Simone to its list of the 100 Greatest Singers of All Time, and, in 2018, Simone was inducted into the Rock & Roll Hall of Fame.(She passed away in 2003 at the age of 70.) (Mariana Brandman,

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In 1988 Nina Simone gave a guest performance at the Hamburg Fabrik, Hamburg/Germany and here is the recording of this fantastic evening.

To remember this unique figure you’ll hear a recently unearthed concert recording made in Hamburg, Germany in 1988 recorded by German radio.

This hour long set captures the essence of why she was a legend and treats the audience to a wide array of songs so synonymous with her.

She covers a range of material from her own compositions to arrangements of standards and blues tunes in this performance at the Fabrick club where she was backed by a fine band.

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Here is this memorable concert at the Hamburg Fabrik, recorded by Norddeutscher Rundfunk on 6 May 1988.

Al Schackman on guitar and vibraphone, Tony Jones on double bass and Leopoldo Fleming, percussion, accompany the extraordinary singer and pianist through all the splendour and angry melancholy of her music. On this evening, Nina Simone performs moving original songs such as “To Be Young, Gifted and Black”, hits like Walter Donaldson’s “My Baby Just Cares for Me” and arranged traditionals like “In The Evening by the Moonlight”.

Thanks to unclewolfi for sharing the show at Dime.

Recorded live at Fabrik, Hamburg, Germany; May 6, 1988
Very good digital broadcast


Leopoldo Fleming (drums)
Tony Jones (bass)
Al Schackman (guitar, vibes)
Nina Simone (vocals, piano)

Alternate frontcover:

01. In The Evening By The Moonlight (Traditional) 4.37
02. To Be Young, Gifted And Black (Simone/Irving) 5.45
03. Color Is A Beautiful Thing (Simone) 4.45
04. Mississippi Goddamn (Simone) 5.20
05. See-Line Woman (Traditional/Simone) 4.17
06. Announcement 0.31
07. Fodder On Her Wings (Simone) 7.17
08. Announcement 0.51
09. I Want A Little Sugar In My Bowl (Williams/Brymn/Small) 4.21
10. Announcement 0.25
11. Do I Move You (Simone) 3.50
12. Sea Lion Woman (Simone) 1.32
13. Backlash Blues (Simone/Hughes) 3.01
14. Announcement 1.19
15. My Baby Just Cares For Me (Kahn/Donaldson) 5.43
16. Consumation (Simone) 4.55

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“I’m a real rebel with a cause.”
(Nina Simone)

More from Nina Simone:

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John Cipollina – Live At New George’s (1988)

FrontCover1John Cipollina (August 24, 1943 – May 29, 1989) was a guitarist best known for his role as a founder and the lead guitarist of the prominent San Francisco rock band Quicksilver Messenger Service. After leaving Quicksilver he formed the band Copperhead, was a member of the San Francisco All Stars and later played with numerous other bands.
Early years

John and his twin sister Manuela were born in Berkeley, California, on August 24, 1943. Cipollina attended Tamalpais High School, in Mill Valley, California, as did his brother, Mario (born 1954), and sister, Antonia (born 1952). Their father, Gino, was of Italian ancestry (Genovese and Piemontese origins). He was a realtor, and their mother, Evelyn, and godfather, José Iturbi, were concert pianists.

John showed great promise as a classical pianist in his youth, but his father gave him a guitar when he was 12 and this quickly became his primary instrument.

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Cipollina had a unique guitar sound, mixing solid state and valve amplifiers as early as 1965. He is considered one of the fathers of the San Francisco sound, a form of psychedelic rock.

I like the rapid punch of solid-state for the bottom, and the rodent-gnawing distortion of the tubes on top.

To create his distinctive guitar sound, Cipollina developed a one-of-a-kind amplifier stack. His Gibson SG guitars had two pickups, one for bass and one for treble. The bass pickup fed into two Standel bass amps on the bottom of the stack, each equipped with two 15-inch speakers. The treble pickups fed two Fender amps: a Fender Twin Reverb and a Fender Dual Showman that drove six Wurlitzer horns.

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After leaving Quicksilver in 1971, Cipollina formed the band Copperhead with early Quicksilver member Jim Murray (who was soon to leave for Maui, Hawaii), former Stained Glass member Jim McPherson, drummer David Weber, Gary Phillipet (AKA Gary Phillips (keyboardist), later a member of Bay Area bands Earthquake and The Greg Kihn Band), and Pete Sears. Sears was shortly thereafter replaced by current and longtime Bonnie Raitt bassist James “Hutch” Hutchinson who played on the Copperhead LP and stayed with the band for its duration. Copperhead disbanded in mid 1974 after becoming a staple in the SF Bay Area and touring the West Coast, Hawaii (Sunshine Crater Fest on New Years Day of 1973 with Santana), the South (opening dates for Steely Dan) and the Midwest.

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In May 1974 Cipollina and Link Wray, whose playing and style had influenced John as a young musician and who he had met through bassist Hutch Hutchinson, performed a series of shows together along the West Coast (with Copperhead rhythm section Hutchinson & Weber and keyboardist David Bloom) culminating at The Whiskey in LA where they performed for four nights (May 15–19) on a bill with Lighthouse (band). Cipollina continued to occasionally perform with Wray for the next couple of years.

During the 1980s, Cipollina performed with a number of bands, including Fish & Chips, Thunder and Lightning, the Dinosaurs and Problem Child. He was a founding member of Zero and its rhythm guitarist until his death. Most often these bands played club gigs in the San Francisco Bay Area, where Cipollina was well-known.

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In 1975, the Welsh psychedelic band Man toured the United States, towards the end of which, they played two gigs at the San Francisco Winterland (March 21 and 22), which were such a success that promoter Bill Graham paid them a bonus and rebooked them. While waiting for the additional gigs, the band met and rehearsed with Cipollina, who played with them at Winterland in April 1975. After this, Cipollina agreed to play a UK tour which took place in May 1975, during which their “Roundhouse gig” was recorded.

The album eventually reached #25 in the UK album charts.

Cipollina died on May 29, 1989 at age 45. His cause of death was alpha-1 antitrypsin deficiency, which he suffered from most of his life and which is exacerbated by smoking.

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Quicksilver Messenger Service fans paid tribute to him the following month in San Francisco at an all-star concert at the Fillmore Auditorium which featured Nicky Hopkins, Pete Sears, David Freiberg, and John’s brother Mario, an original member of Huey Lewis and the News. Cipollina’s one of a kind massive amplifier stack was donated, along with one of his customized Gibson SG guitars, and effects pedals, for display in the Rock and Roll Hall of Fame and Museum in 1995.[2]

In 2003, Rolling Stone Magazine ranked Cipollina 32nd on their list of the 100 greatest guitarists of all time. (wikipedia)

John Cipollina autographed guitar:
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John Cipollina’s guitar sounded like no other. His unique resonance touched people in places they didn’t know existed. His signature sound will stand alone for all time as a part of the musical thread the San Francisco Bay Area has wrapped around the world.

John passed away from a lifelong respiratory ailment on May 29, 1989. He left behind a great musical contribution for his worldwide audience to enjoy. For those of us who knew him, we share the memory of a truly wonderful person, whose being so perfectly reflected the magic in his music.(

To know why he was so good … you could listen to this magnificent live album, for example … simply excellent !

Recorded live at New George’s, San Rafael, CA, 24 February 1988
(excellent broadcast recording)

Chris Cole

Chris Cole (vocals)
John Cipollina (guitar, background vocals)
Greg Douglass (guitar, background vocals)
Greg Elmore (drums)
Rob Wullenjohn (bass)


01. Intro / It’s Your Monkey Now (Cipollina) 6.13
02. Prayers (Douglass/Kilcourse) 3.44
03. Moonlight Traveler (Cipollina) 5.48
04. Hired Hand (unknown) 4.32
05. All Worth The Price You Pay (Douglass/Cipollina) 11.20
06. I Put A Spell On You (Hawkins) 5.53
07. Band intro 1.50
08. Jungle Love (Turner/Douglass) 4.42
09. Move Over (Cipollina) 4.09
10. Follow Her Around (Hayes) 5.28
11. Blind Love (Douglass/Sendyt) 7.12

Greg Elmore


The concert poster:
Concert Poster

More from John Cipollina:

Unofficial website:

John Cipollina (August 24, 1943 – May 29, 1989):

Octophoros (Paul Dombrecht) – Music For Harmonie And Janissary Band (1990)

MCFrontCover1First of all, I had to inform myself, because the terms “Harmonie” and “Janissary Music” didn’t mean anything to me.

The complex relationship between the wind instruments (Harmonie music) and the Viennese symphony in the early 19th century

Ah! If we had only two clarinets too! You cannot imagine the splendid effect of a symphony with flutes, hautboys, and clarinets.” (Mozart, letter of 3 December 1778). This famous quote, rich in meaning, demonstrates the desire of many composers to use in the orchestra the new technical and expressive possibilities of wind instruments. It is surely no coincidence that the emergences of symphonism and great orchestras during the 19th century go hand to hand with the history of the wind repertoire and the musical instrument-building. But what was the relationship between the winds instruments and the symphony? Were they closely and necessarily related? While there is simple question, the answers are not always obvious.

To understand the importance of wind instruments in the symphonic repertoire, one must first appreciate the historical background of the wind music in Vienna. The 19th century was one of innovation and change in the development and manufacture of musical instruments. Numerous treaties and literatures about the winds also trained a whole generation of new composers and musicians. Next, some interactions between the wind instruments and the repertoire will be surveyed. Selected scores will be analyse to examine this topic more closely. Finally, the function and symbolism of wind instruments will be treated, which often remains an unexpected aspect. Its influence has resulted in the significant changes in the musical creation and the musical performance during the 19th century. (taken from facbook)

Janissary music, also called Turkish music, in a narrow sense, the music of the Turkish military establishment, particularly of the Janissaries, an elite corps of royal bodyguards (disbanded 1826); in a broad sense, a particular repertory of European music the military aspect of which derives from conscious imitation of the music of the Janissaries.

Characteristic of Janissary music is its use of a great variety of drums and bells and the combination of bass drum, triangle, and cymbals. Janissary music probably appeared in Europe for the first time in 1720, when it was adopted by the army of the Polish ruler Augustus II. The novel clangour of its colourful instruments led to their wide use throughout Europe, where they became an integral part of the thrilling military spectacle. Throughout the 18th century they were occasionally used in opera scores—for example, Christoph Gluck’s Le Recontre imprévue (1764; “The Unexpected Encounter”) and W.A. Mozart’s The Abduction from the Seraglio (1782) – because of their exotic colour.

In the late 18th and early 19th centuries, compositions in naive imitation of the Turkish military style enjoyed a certain short-lived vogue. Well-known examples of the “alla turca” genre are the final movement of Joseph Haydn’s “Military” Symphony No. 100 in G Major (1794); the final movement of Mozart’s Piano Sonata in A Major, K 331; the “Turkish March” from Ludwig van Beethoven’s incidental music to The Ruins of Athens; and the tenor solo, “Froh, wie Seine Sonnen fliegen” (“Joyful, as Flies the Sun”), from the finale of Beethoven’s Symphony No. 9 in D Minor. So great was the popularity of the Turkish style that many pianos and harpsichords of the time were provided with a Janissary stop, which produced a percussive accompaniment of indefinite pitch. It is perhaps a manifestation of the same phenomenon that the pianist Daniel Steibelt (1765–1823) often played recitals to the accompaniment of a tambourine played by his wife. (

Here is a fine example of those – nowadays not so well known – sounds of the 18th century:

Throughout the Renaissance, and even into the Enlightenment, there were a number of skirmishes and a few instances of out and out war between the Habsburg and Ottoman Empires. The defeat of Ottoman forces in 1683 set the stage for the slow decline of the Empire, although it did not officially dissolve until 1923. Among the most successful infantry units in the Ottoman army were the Janissaries, who also maintained bands that marched along with the corps. Noisy and loud, the sound of Janissary Bands originally struck terror into the hearts of the Viennese and Hungarians who had suffered under the periodic Ottoman sieges of their cities and lands. However, Janissary bands eventually made an impression in several ways; the European-style military band came about in the eighteenth century by way of a direct response, and captured Janissary percussion instruments were adopted into European music-making. Mahmud II abolished the Janissaries in 1826; modern Janissary bands that perform in Turkey are a purely twentieth century phenomenon. Unfortunately, so far as is known historic Janissary bands did not write down their music, and what remains are traces of such music that can be found in European compositions, mostly dating from the late eighteenth century; there was sort of a fad for pseudo-Turkish music in Europe at the time. Mozart’s “Turkish March” from the Piano Sonata No. 11 in A, K. 311, was perhaps the most famous example of this, both then and henceforward; some pianos were fitted with a Janissary Pedal that banged a strip of copper against the lower strings of the soundboard. Alongside the evolution of European military bands came the Harmonie, a wind band suitable for light entertainment and mostly used for outdoor occasions, usually numbering eight to nine instruments. This Accent release, Harmonie und Janitscharenmusik by Octophoros under Paul Dombrecht, contains three works from between 1785 and 1816 that address different aspects of both kinds of ensembles.

The Parthia in F by Bohemian composer Antonín Rösler (aka, Antonio Rosetti), is included to illustrate the Harmonie and contains some typical horn signatures associated with the hunt; the horn parts are particularly tough and are played here on Courtois Frères, natural horns manufactured in the 1820s. The most boisterous, and in many ways most successful, work on this disc is the Notturno in C, Op. 34, by Louis Spohr; it is expressly composed for Harmonie und Janitscharenmusik, hence providing the disc’s title. Spohr’s Notturno is immediate, exciting, and a good deal more substantive musically than such a popularly oriented piece needs to be. Beethoven’s familiar Wellington’s Victory is heard in one of its eight historical alternative versions, this one for “Harmonie and Turkish music”; Beethoven approved, but probably did not prepare, this arrangement. Wellington’s Victory is certainly one of Beethoven’s most maligned works; however, Octophoros’ recording of this arrangement is respectful, engaging, and makes a bit more musical sense of the work than in the standard orchestral version, which in itself is not original. Those who routinely refer to Wellington’s Victory as “a piece of crap” should refer to this recording as it might well be the best case made for this work. Accent’s Harmonie und Janitscharenmusik is a fun listen and sheds considerable light on this earliest of “East meets West” musical genres, the result of political friction between Europe and Asia Minor. (TiVo)

These recordings were made by the wind ensemble “Octophoros”, founded by Paul Dombrecht:

Paul Dombrecht (* 1948 in Oostende) is a Belgian oboist and conductor of historical performance practice.

Paul Dombrecht, son of the composer and organist Stefaan Dombrecht (1920-2007), came into contact with music at an early age. In 1989 he founded the baroque orchestra and choir “Il Fondamento”, of which he is conductor and artistic director. He is also the founder of the wind ensembles “Octophoros” and “Paul Dombrecht Consort”.

He is a virtuoso on the baroque oboe – here he is considered one of the early pioneers – as well as on the modern oboe. He is at home in the entire repertoire for his instrument, from the end of the 17th century to the 20th century.

He has recorded his extensive discography for the Seon, Harmonia mundi, Astrée, Opus 111, Accent Records, Vanguard Records and Fuga Libera labels.

Paul Dombrecht was professor of baroque and modern oboe at the Dutch-speaking department of the Brussels Conservatoire until 2013. At the end of 2015 it became known that he would like to concentrate primarily on conducting his ensemble.

I have attached the booklet etc. for more information on the European CD version.

Recorded in November 1988 at the Concert Hall of the Belgian Radio
(BRTN Radio 3) in Brussels.

The European front + backcover:

Octophoros conducted by Paul Dombrecht


Antonio Rosetti: Parthia In F (1785):
01. Grave – Allegro Molto 6.01
02. Andante Scherzante 5.23
03. Menuet Fresco Ma Allegretto – Trio 3.14
04. Allegro Finale A La Chasse 4.02

Louis Spohr: Notturno Für Harmonie Und Janitscharenmusik In C-Major Op. 34:
05. Marcia – Moderato 3.38
06. Menuetto – Allegro 5.11
07. Andante Con Variazioni 10.03
08. Polacca 3.32
09. Adagio 5.04
10. Finale – Vivace 4.22

Ludwig van Beethoven: Wellingtons Sieg oder die Schlacht Bey Vittoria Op. 91 Eingerichtet für vollständige türkische Musik:
11. Erster Theil: Die Schlacht 8.10
12. Zweyte Abtheilung: Sieges Sinfonie 6.19



Mannheim Steamroller – A Fresh Aire Christmas (1988)

FrontCover1Mannheim Steamroller is an American neoclassical new-age music group founded by percussionist/composer Chip Davis that is known primarily for its Fresh Aire series of albums, which blend classical music with elements of new age and rock, and for its modern recordings of Christmas music. The group has sold 28 million albums in the U.S. alone.

Mannheim Steamroller began as an alias for record producer and composer Chip Davis. The name “Mannheim Steamroller” comes from an 18th-century German musical technique, Mannheim roller (German: Mannheimer Walze), a crescendo passage having a rising melodic line over an ostinato bass line, popularized by the Mannheim school of composition.

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Before the fame of Steamroller, Davis had been best known for collaborating with his friend Bill Fries on the songs of the country music character “C. W. McCall” (of “Convoy” fame). The song was based on the character created by Fries and music composed by Davis for a series of Clio winning ads for Metz Baking Company for their Old Home Bread product.[3] Davis was named Country Music Writer of the Year in 1976, a genre he is not fond of.[4]

Even before the height of McCall’s popularity, Davis produced an unusual album of classical music performed entirely by Davis and musical collaborator and keyboardist Jackson Berkey, using electric bass (played by Eric Hansen) and synthesizers.

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Steamroller found its greatest fame beginning in 1984 when Davis released his first holiday album, Mannheim Steamroller Christmas, featuring modern contemporary interpretations of Yuletide favorites. This was followed by A Fresh Aire Christmas (1988) and Christmas in the Aire (1995), which showcased creative approaches to old carols, as well as some new carol-like compositions. Steamroller had now become one of the most requested Christmas music artists of all time,[citation needed] in part by adopting a very radio-friendly approach. At the end of 1997, they released a live album of Christmas music, Mannheim Steamroller Christmas Live. Their fourth all-new Christmas album, Christmas Extraordinaire, was released in 2001. However, sales of Steamroller’s third and fourth Christmas releases fell far short of the sales of Christmas and A Fresh Aire Christmas. Christmas Celebration, a compilation of favorite tracks from the previous studio albums (with one new song), was released in 2004. The studio album Christmas Song was released in late 2007 and features guest vocals by Johnny Mathis and Olivia Newton-John, but co-founder Jackson Berkey is absent from the lineup. The CD Christmasville was released in 2008. Their next release was a 25th anniversary Christmas box set consisting of previously released material, and in 2011 they released Mannheim Steamroller Christmas Symphony with members of the Czech Philharmonic Orchestra. (wikipedia)

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And here´s thier second Christmas album:

A Fresh Aire Christmas takes you back to the roots of a selection of beloved Christmas carols and exposes you to the origins of others, as they were composed and enjoyed around the world. Discover new favorites in the 19th century Ukrainian Carol of the Bells, the 15th century German carol Lo How a Rose E’er Blooming and the Austrian carol Still, Still, Still. Make A Fresh Aire Christmas part of your holiday soundtrack today and bring a little classical Christmas into your home!

12 beautifully performed and meticulously arranged Christmas carols
Delight friends and family with this classical Christmas album that explores the roots of many beloved carols. (press release)

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To the outstanding ensemble sound of Mannheim Steamroller, Davis adds the majestic fanfare of a brass choir in this second seasonal recording gem. “Hark! The Herald Angels Sing” resounds with vibrant glory that only brass instruments can evoke, while the enchanting “Little Drummer Boy” brings us the magic of Santa’s workshop… (by allnusic)

Recorded at Sound Recorder, Omaha; St. Michaels Cathedral, Chicago; Universal Studios, Chicago; The Great Hall Of University College School, London; and The University Of Downstairs.


Jackson Berkey (keyboards)
Ron Cooley (guitar)
Chip Davis (winds, percussion, vocals)
Eric Hansen (lute, trumpet)
Bob Jenkins (oboe)
David Low (cello)
Willis Ann Ross (flute)
John Sharpe (cello)
Mary Walter (harp)
Liz Westphalen (vocals)
Barbara Butler (trumpet)
Charles Geyer (trumpet)
Russ Knutson (percussion)
George Vosburgh (trumpet)
Doug Waddell (percussion)
Charlie Schuchat – Rex Martin
Arnie Roth – Steven Shipps 
Charles Vernon – Ed Kocher
french horn:
Dan Gingrich – David (H.D.) Kappy – Jonathon Boen – Norman Schweikert 
Greg Sarchet – Joseph Di Bello – Joseph Guastafeste – Paul Dallas – Stephen Lester
The Cambridge Singers:
Caroline Ashton – Clare Wallace – Donna Deam – Jo Maggs – Mary Mure – Mary Seers –  Nancy-Jane Thompson – Simone Chambers


01. Hark! The Herald Trumpets Sing 1.27
02. Hark! The Herald Angels Sing 3.28
03. Veni Veni (O Come O Come Emanuel) 4.13
04. The Holly And The Ivy 2.59
05. Little Drummer Boy 4.06
06. Still, still, still 3.39
07. Lo How A Rose E’er Blooming 2.24
08. In Dulci Jubilo 2.45
09. Greensleeves 3.25
10. Carol Of The Bells 3.50
11. Traditions Of Christmas 3.32
12. Cantique De Noel (O Holy Night) 5.18

All songs: Traditional
except 11. written by Chip Davis



“This album was recorded in 5 places on Earth, including and highlighting some of Earth’s finest performers”

The official website:




The Global Vision Project – Essential Elements – Cathedral Echoes (1998)

FrontCover1And here´s an voyage into the special atmosphere of a cathedral:

The mighty and ancient fruits of heruclean labour in the days of old. the great cathedrals were conceived to stimulate, awe snd inspire. Within their precints is a unique kind of quiet.

Visitors speak in hushed tones. Footfalls are soft despite the stone floors. And the music is rich and magnificent. Immerse yourself in the sounds of a magnificent cathedral, draw inspiration from its soaring architecture. grand scale and glorous histcory.

Basilica of St. Patrick's Old Cathedral, New York

Imagine to the bright emerald green of the grass around its walls, the imagine of its spire soaring up into the heavens and the mighty stones that are its very fabric.

Absorb the very special atmosphere in and around a cathedral, and hear its echo in the music. (liner notes)


unknown studio musicians & choir


01. Convocation 18:47
02. The Ancient Order 13:48
03. The Sun Through The Stained Glass 17:54
04. Celibacy 9:10




Keith Clark + CSR Symphony Orchestra – Spanish Festival (1988)

FrontCover1Spain excersised a curious fascination over the nationalist composers of the ninenteenth century, with a particular appeal, in Russia, a country that was finding again it´s ohn identity in literature and music, after the Westerninisation initiated by Peter the Great. (taken orm the original liner notes).

And here is a really fine example of such compositions … all had the aim of approaching Spanish music, taking into account the folklore music there.

This album was recorded by the Slovak Radio Symphony Orchestra (CSR), conducted by Keith Clark:

Keith Clark studied at the Vienna Academy of Music and Tanglewood, was awarded diplomas and the conducting prize from the Chigiana Academy in Italy, and received his PhD degree with honors in composition from the University of California Los Angeles. From Vienna’s Musikverein to the Royal Philharmonic Hall and from Lucerne to Los Angeles, Keith Clark has appeared widely as conductor of orchestras and opera.

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He has participated in the Vienna, Bucharest and Siena Festivals as both conductor and composer, conducted on BBC, Austrian, Hungarian and Netherlands radio and television, and performed and recorded as conductor of the Vienna Chamber Orchestra. Following nearly ten years abroad, he returned to California as founding music director of the Pacific Symphony Orchestra, and in five years has brought the orchestra to national prominence. (Press release)

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The Slovak Radio Symphony Orchestra (Slovak: Symfonický orchester Slovenského rozhlasu), previously known as Czecho-Slovak Radio Symphony Orchestra and CSR Symphony Orchestra, is a symphony radio orchestra based in Bratislava, Slovakia.

Founded in 1929 to serve Slovak Radio, the orchestra became particularly associated with the music of Slovak composers, notably Alexander Moyzes, Eugen Suchoň and Ján Cikker.

Chief conductors of the orchestra have included Krešimir Baranović, Ľudovít Rajter, Ladislav Slovák, Václav Jiráček, Otakar Trhlík, Bystrík Režucha, Ondrej Lenárd (1977–90), Róbert Stankovský (1990–2001), Charles Olivieri-Munroe (2001–03), Oliver von Dohnányi (2006–07), and Mario Kosik. in 2019, Ondrej Lenárd was installed as the chief conductor.

Slovak Radio Symphony Orchestra

The orchestra has become well known abroad through its broadcasts and recordings, particularly for the Naxos Records label. (wikipedia)

Liten to this wonderful compositions and enjoy it !


The Slovak Radio Symphony Orchestra conducted by Keith Clark



Alexis Emmanuel Chabrier (1841–94):
01. España 6.00

Jules Emile Frederic Massenet (1842-1912): Le Cid (Balet Music):
02. Castillane 2.56
03. Andalouse 2.48
04. Aragonaise 1.42
05. Aubade 1.10
06. Catalane 2.59
07. Madrilene 4.14
08. Navarraise 3.07

Jules Emile Frederic Massenet (1842-1912): Don César de Bazan:
09. Sévillana 2.14

Edward William Elgar (1857–1934):
10. Sévillana 4.28

Rimsky Korsakov (1844–1908): Capriccio espagnol, Op. 34:
11. Alborada 1.10
12. Variations 7.17
13. Alborada  1.04
14. Scena E Canto Gitano 4.49
15. Fandango Asturiano 3.17

Mikhail Ivanovich Glinka (1804–1857):
16. Summer Night In Madrid 9.16
17. Capriccio brillante on the Jota Aragonese 8.53



Chris Isaak – Speak Of The Devil (1988)

FrontCover1Christopher Joseph Isaak (born June 26, 1956) is an American musician and occasional actor. He is widely known for his hit “Wicked Game”, as well as the songs “Baby Did a Bad Bad Thing” and “Somebody’s Crying”. He is known for his signature 1950s rock & roll style and crooner sound, as well as his falsetto and reverb-laden music. He is closely associated with film director David Lynch, who has used his music in numerous films and gave him a role in the film Twin Peaks: Fire Walk with Me. His songs generally focus on the themes of love, loss, and heartbreak. With a career spanning four decades, he has released a total of 12 studio albums, toured, and received numerous award nominations. He has been called the Roy Orbison of the 1990s and is also often compared to Elvis Presley, Ricky Nelson, and Duane Eddy.

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Speak of the Devil is the seventh studio album by the American rock musician Chris Isaak, released in 1998. (wikipedia)

Speak of the Devil explores the same moody terrain as Chris Isaak’s previous records, though the songs are fleshed out with more contemporary touches. The leadoff track, “Please,” is unusually hard-hitting, with its acoustic/electric/soft/crash structure, Mellotron, and soundbite lyrics. “I’m Not Sleepy” is a roots rock rave-up (wherein Isaak lyrically quotes Lennon’s “Oh Yoko”: “In the middle of the night I cry your name”); the title cut is an eerie celebration of love lost and found; “Talkin’ ‘Bout a Home” is the album’s tour de force.


Yet, some of the loungy vocal touches in “Flying” and the final instrumental track, “Super Magic 2000,” would be right at home on an indie rock record. And of course there’s plenty of that thing Isaak does best: quintessential love’s-gone-wrong-‘n’-let’s-make-it-right songs, as on the loping, country-tinged “This Time” and the teary “Walk Slow.” (by Denise Sullivan)


Chris Isaak (vocals, guitar)
Kenney Dale Johnson (drums, vocals)
Rowland Salley (bass, vocals)
Hershel Yatovitz (guitar, vocals)
Rob Cavallo (guitar on 01. + 03.)
additional musicians
Curt Bisquera – Cynthia Corra – Dave Palmer – Frank Martin – Jamie Muhoberac – Jimmy Pugh – John Pierce – Julie Lorch – Mark Needham – Mary Dunaway – Matt Chamberlain, Patrick Warren – Steve Ferrone – Terry Wood – Weddy Waller


01. Please 3.33
02. Flying 3.08
03. Walk Slow 3.01
04. Breaking Apart 3.45
05. This Time 3.12
06. Speak Of The Devil 3.30
07. Like The Way She Moves 2.49
08. Wanderin’ 2.42
09. Don’t Get So Down On Yourself 3.11
10. Black Flowers 2.43
11. I’m Not Sleepy 2.36
12. 7 Lonely Nights 2.09
13. Talkin’ ‘Bout A Home 4.44
14. Super Magic 2000 3.45

All songs written by Chris Isaak
except 04.:written by Chris Isaak & Diane Warren




More from Chris Isaak:

The official website:

Ladysmith Black Mambazo – Journey Of Dreams (1988)

FrontCover1Founded by Joseph Shabalala during the 1960s, Ladysmith Black Mambazo is a Grammy-winning choral group from South Africa. Specializing in isicathamiya, a harmony-focused Zulu style of a cappella and offshoot of mbube, they became known to pop audiences around the world when Paul Simon featured them on his 1986 album Graceland. After joining Simon on his 1987 Graceland tour, they became regular headliners on the international touring circuit.

Born in 1941, Shabalala was one of eight children in a family that lived on a farm near the town of Ladysmith, South Africa. As the oldest boy, it was Joseph’s duty to take care of the family after his father died, and he eventually took up factory work.

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His first musical experience, save for a bit of fooling around on the guitar, came with a choral group called the Blacks. Shabalala eventually took over leadership of the group and became its main composer. The Blacks won the majority of the local vocal competitions and became the most popular Zulu vocal group, but Shabalala felt that something was missing. “I had been hearing a voice inside me,” he said. “I didn’t know it, but it was the voice of God.” Shortly thereafter he became a Christian. Blending the choral music he heard in the Christian church with multiple elements of the Zulu tradition not typically combined, he forged his own style.

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When the Blacks refused to take part in Shabalala’s experiments, he formed Ladysmith Black Mambazo. The group consisted of seven bass voices, an alto, a tenor, and Shabalala singing lead. After signing with Gallo Record Company, their recording debut, Amabutho, arrived in 1973. The combo began releasing albums at a staggering rate, creating a massive catalog of vocal music.

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After Ladysmith Black Mambazo contributed to the eclectic mix of styles on Simon’s international hit Graceland and joined him on the subsequent tour, Simon produced a trilogy of Warner Bros. releases for the group. Shaka Zulu, released in 1987, won a Grammy for Best Traditional Folk Recording. It was followed by 1988’s Journey of Dreams and 1990’s Two Worlds One Heart. Among continued releases for other labels, including Gallo, a pair of best-of samplers appeared on Shanachie, including 1992’s Best of Ladysmith Black Mambazo. The 2000 compilation In Harmony was issued by Wrasse. The group won another Grammy for 2004’s Raise Your Spirit Higher, this time for Best Traditional World Music Album, and No Boundaries, which featured the English Chamber Orchestra, arrived on Headsup Records in 2005. In 2007, Ilembe: Honoring Shaka Zulu was released in South Africa with an American edition following in 2008. It took home the Grammy for Best Traditional World Music Album, and Live: Singing for Peace Around the World won the Best World Music Album Grammy in 2013.

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With a lineup featuring four of Joseph Shabalala’s sons, who by that point had sung with the group for over 20 years, Ladysmith Black Mambazo released Songs of Peace & Love for Kids & Parents Around the World in 2017. Joseph Shabalala died in Pretoria, South Africa on February 11, 2020. (by by Marcy Donelson)

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Amazing sounds of Africa, melodies that one has heard allover the world at one point or another, melodies that have touched your heart.
Their ability to sing these traditional songs in an expressive manner, even if you don’t understand the lyrics, you will feel the emotions.
It makes me very melancholic to think of the love expressed, for a country so beautiful yet dangerous. A country so rich yet robbed misused and exploited.
It touches my heart to listen to the songs and feel the love for their beloved south Africa. (Carmelina)

The labels from South Africa:
Labels(South Africa)

I love the complex harmonies of this a capella ensemble …  They blend their voices so well.

A great additon to ever World Music collection !


Jockey Shabalala – Jabulani Dubazana – Inos Phungula – Ben Shabalala – Geophrey Mdletshe – Headman Shabalala – Milton Mazibuko – Funokwakhe Mazibuko – Joseph Shabalala Walter Malinga – Russel Mthembu


01. Umusa Kankulunkulu 3.26
02. Lindelani 3.55
03. Ukhalangami 3.15
04. Bavimb’indlela 3.18
05. Bhasobha 3.18
06. Nomakanjani 3.23
07. Hamba Dompasi 3.39
08. Ungayoni into Enhle 4.11
09. Amaphiko Okundiza 5.06
10. Wayibambezela 5.37
11. Ungakhohlwa 3.23
12. Ibhubesi 3.35
13. Amazing Grace 3.09

All songs written by Joseph Shabalala
except 13.: Traditional




Jockey Shabalala

The official website:

Little River Band – Get Lucky (1990)

LPFrontCover1Little River Band (LRB) is a rock band originally formed in Melbourne, Australia in March 1975. The band achieved commercial success in both Australia and the United States. They have sold more than 30 million records; six studio albums reached the top 10 on the Australian Kent Music Report albums chart including Diamantina Cocktail (May 1977) and First Under the Wire (July 1979), which both peaked at No. 2. Nine singles appeared in the top 20 on the related singles chart, with “Help Is on Its Way” (1977) as their only number-one hit. Ten singles reached the top 20 on the Billboard Hot 100 with “Reminiscing” their highest, peaking at No. 3.

Little River Band have received many music awards in Australia. The 1976 line-up of Beeb Birtles, David Briggs, Graeham Goble, Glenn Shorrock, George McArdle and Derek Pellicci, were inducted into the Australian Recording Industry Association (ARIA) Hall of Fame at the 18th Annual ARIA Music Awards of 2004. Most of the group’s 1970s and 1980s material was written by Goble and/or Shorrock, Birtles and Briggs. In May 2001 the Australasian Performing Right Association (APRA), as part of its 75th anniversary celebrations, named “Cool Change”, written by Shorrock, as one of the Top 30 Australian songs of all time. “Reminiscing”, written by Goble, received a 5-Million Broadcast Citation from BMI in 2020.

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The group have undergone numerous personnel changes, with over 30 members since their formation, including John Farnham as lead singer after Shorrock first departed in 1982. None of the musicians now performing as Little River Band are original members, nor members in the 1970s. In the 1980s, members included Farnham, Wayne Nelson, Stephen Housden, David Hirschfelder and Steve Prestwich. As from October 2020 the line-up is Nelson, Rich Herring, Chris Marion, Ryan Ricks and Colin Whinnery – none of whom are Australian. Various legal disputes over the band’s name occurred in the 2000s, with Housden filing suit against Birtles, Goble and Shorrock.

Get Lucky is the eleventh studio album by Australian group, Little River Band, released in April 1990, the album peaked at number 54 on the Australian ARIA Charts.(wikipedia)

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This album was recorded in 1990 and features three of the original and best members of a band with many lineup changes over the years.They now tour and record with no original members and their lead vocalist is Wayne Nelson who joined in 1980 at the tail end of their most successful period.The rights to the name `Little River Band’ belong to guitarist `Steve Housden’ who joined in 1981 and hasn’t toured with them since 2006 and he forbids the original singers and writers to use the name when they tour.Shame they can’t come to some amicable arrangement.

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This is a good but not essential LRB album.Apart from a couple of not so great ballads at the end the songs are catchy and the trademark harmonies are there.The production is very glossy which I found off-putting in some songs making the band sound like another version of Foreigner and the like.

All up a worthwhile purchase and the last time you’ll hear original lead vocalist `Glen Shorrock’ sing on a `Little River Band’ album. (R.Angel)


Graham Goble (guitar, background vocals)
Stephen Housden (lead guitar)
Wayne Nelson (bass, background vocals, vocals on 07. + 09.)
Derek Pellicci (drums)
Glenn Shorrock (vocals)
Claude Gaudette (keyboards, programming)
Dennis Lambert (keyboards, programming)
Jamie Paddle (keyboards, programming)
John Robinson (drums)


01. If I Get Lucky (Chapman) 4.15
02. There’s Not Another You (Goble) 3.50
03. Second Wind (Lambert/Reswick/Werfel) 4.15
04. Every Time I Turn Around (Beckett/Lambert) 4.38
05. I Dream Alone (Pellicci/Shorrock) 4.51
06. Time And Eternity (Goble) 4.09
07. Two Emotions (Goble) 4.29
08. As Long As I’m Alive (Goble/M.Nelson/G.Nelson) 4.36
09. The One That Got Away (Lambert/W.Nelson/Gaudette) 3.57
10. Listen To Your Heart (Kelly/Steinberg) 4.52



A road sign to Little River, on a trip by the fledgling band from Melbourne to Geelong, inspired Glenn Shorrock to suggest the band name:
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The official website:

Mo Foster – Bel Assis (1988)

FrontCover1Mo Foster (born Michael Ralph Foster, 22 December 1944) is an English multi-instrumentalist, record producer, composer, solo artist, author, and public speaker. Through a career spanning over half a century, Foster has toured, recorded, and performed with dozens of artists, including Jeff Beck, Gil Evans, Phil Collins, Ringo Starr, Joan Armatrading, Gerry Rafferty, Brian May, Scott Walker, Frida of ABBA, Cliff Richard, George Martin, Van Morrison, Dr John, Hank Marvin, and the London Symphony Orchestra. He has released several albums under his own name, authored a humorous book on the history of British rock guitar, written numerous articles for music publications, continued to compose production music, and established himself as a public speaker. Foster is an assessor for JAMES, an industry organisation that gives accreditation to music colleges throughout the UK. In 2014, Foster was a recipient of a BASCA Gold Badge Award to honour his lifelong contribution to the British songwriting and composing community. (wikipedia)

You´ll find more informations about Mo Foster here.


And here´s his first solo-album and … it´s a masterpiece !

Bel Assis was originally released on Pete Van Hooke’s fledgling MMC record label in 1988 and was subsequently remastered and re-released in 2003 by Angel Air Records.

This album is really for those out there who are familiar with Mo Foter’s wonderful sessions work over the past decades, and I quite frankly think this album is great.

From the 1st track with has Gary Moore guesting on it, to the final track it showcases Mo’s ability as a great bassist and as a songwriter. Maybe you should take another listen to this album and enjoy it for what it is. Great music from a great musician. (Phillby01)

Such soft and gentle compositions, perfectly played by wonderful musicians from UK (check the line up of this album)


Rod Argent (keyboards)
Dave Dufries (trumpet)
Mo Foster (bass, keyboards)
Sal Galina (electronic woodwind)
Peter van Hooke (percussion)
Gary Moore (guitar)
Simon Phillips (drums)
Frank Ricotti (vibraphone)
Ray Russell (guitar)
Stan Sulzman (saxophone)


01.The Light In Your Eyes (Foster) 5.42
02. A Walk In The Country (Foster) 4.32
03. Gaia (Foster) 6.27
04. Crete Revisited (Foster) 4.45
05. So Far Away (Foster/Russell) 3.48
06. Analytical Engine (Foster) 5.01
07. Pump II (Foster) 6.05
08. Jaco (Foster) 6.12
09. Bel Assis (Foster) 3.44
10. And Then There Were Ten (Foster/Russell) 5.01
11 Nomad (Foster) 8.10




More from Mo Foster: