Brendan Croker And The 5 O´Clock Shadows – Same (1989)

FrontCover1Born. 15 August 1953, Bradford, Yorkshire, England. Croker studied sculpture at art school before becoming a British Rail guard, a refuse collector, and a theatre set designer. It was while toiling away at the last job that he met fellow guitarist Steve Phillips, with whom he formed the duo Nev And Norris. During the early 80s, when Phillips temporarily retired from music to concentrate on his own art career, Croker set about assembling his own band, the 5 O’Clock Shadows, comprising Croker, Marcus Cliffe (bass), and Mark Cresswell (guitar). Cresswell also played alongside Tanita Tikaram. The 5 O’Clock Shadow’s debut, A Close Shave, emerged on the Leeds independent label Unamerican Activities, and was promoted with the single ‘That’s The Way All My Money Goes’ in 1986. They moved to Red Rhino but released an album and single before that company ceased trading. Croker gained a high profile for his work with Mark Knopfler, Guy Fletcher and Steve Phillips as the Notting Hillbillies and was signed to Andrew Lauder’s Silvertone label. In 1989, the Notting Hillbillies released a self-titled album, with guest appearances by Tikaram, Eric Clapton, Steve Goulding and Katie Kissoon (of Mac And Katie Kissoon) amongst others. Croker and Cresswell also guested on Tikaram’s Ancient Heart. Croker enjoyed some success in Nashville as a songwriter during the 90s, writing ‘What It Takes’ for Wynonna’s debut album. His solo career, meanwhile, has continued to follow an eccentric path.


For his major-label debut, Silvertone Records threw a lot of resources at Brendan Croker, including a hefty production budget that allowed Brendan Croker & the Five O’Clock Shadows to feature a gaggle of session musicians. This turns out to be a bit of a mixed blessing — the opening number, “No Money at All,” is so dominated by the guitar of Mark Knopfler that it sounds like a lost Dire Straits track rather than the work of a new artist. Fortunately, after that Croker is allowed to bring more of his own sound to the fore, and while the gentle picking of Dire Straits is certainly one reference point to that sound, there are many others throughout this album. Obvious influences range from Woody BrendanCroker02Guthrie to John Hartford or Pete Seeger in terms of lyrical content, and from Northern soul to American country to Yorkshire folk in terms of music. Being a Brit who writes largely about social injustice has also earned Croker a number of comparisons to Billy Bragg, although musically Croker has a much wider-ranging palette. He gets to show this off to good effect on Brendan Croker & the Five O’Clock Shadows, jumping between bluesy numbers (“This Kind of Life,” “That’s Why I’m Leaving Here”) and mellow country tunes (“Just an Old Waltz”), as well as rearranging a traditional folk song (“All Mixed Up”) into a smoldering soul workout. While the production by John Porter may be a little too slick for longtime Croker fans who are used to a rawer mix, this well-written, eclectic album will serve as an excellent introduction for anyone who has heard Croker as a member of the Notting Hillbillies and wants to further explore the genesis of that band’s polished-but-rootsy sound. (by K.A. Scott)


Mark Cresswell (guitar)
Brendan Croker (guitar, vocals, banjo on 12., slide-guitar)
Marcus Cliffe (bass)
Eric Clapton (vocals on 08.)
Alan Clark (organ)
Martin Drover (trumpet)
Molly Duncan (saxophone)
Guy Fletcher (piano on 05., bass on 01., keyboards, bass on 01., drums on 11., strings on 06., 10. + 11.)
Steve Goulding (drums)
Preston Heyman (percussion)
Mark Knopfler (guitar on 01.)
Rob Mason (harmonica on 07.)
Steve Phillips (vocals on 11.)
John Porter (guitar on 09., slide guitar on 03., programming on 07. + 12., drums on 13.)
Neil Sidwell (trombone)
Tanita Tikaram (harmony vocals on 06.)
background vocals on 03.:
Katie Kissoon – Tessa Niles

01. No Money At All 3.37
02. You Don’t Need Me Here 3.25
03. Shine On 4.25
04. This Man 3.10
05. Wrong Decision 3.56
06. That’s Why I’m Leaving Here 2.23
07. All Mixed Up 3.36
08. This Kind Of Life 3.17
09. My Government 3.10
10. Ain’t Gonna Smile 3.10
11. Just An Old Waltz 2.57
12. Mister 4.15

All songs written by Brendan Croker except 07, which was a Traditional




I got this wonderful from album from the greygoose … Thank you very much !

Sinéad O’Connor – I Do Not Want What I Haven’t Got (1990)

FrontCover1.jpgI Do Not Want What I Haven’t Got is the second album by Irish singer Sinéad O’Connor, released in March 1990 on Ensign/Chrysalis Records. It contains O’Connor’s version of the Prince song “Nothing Compares 2 U”, which was released as a single and reached number one in multiple countries. The album was nominated for four Grammy Awards in 1991, including Record of the Year, Best Female Pop Vocal Performance, and Best Music Video, Short Form for “Nothing Compares 2 U”, winning the award for Best Alternative Music Performance. However, O’Connor refused to accept the nominations and award.

The critically acclaimed album contains O’Connor’s most famous single, “Nothing Compares 2 U”, which was one of the best selling singles in the world in 1990, topping the charts in many countries including the United States, United Kingdom and Canada. This rendition of the Prince song reflected on O’Connor’s mother who lost her life in an auto accident five years earlier.[5][6] The single “Emperor’s New Clothes” found more moderate success, although it did top the Modern Rock Tracks chart in the US.

The album includes O’Connor’s rendition of “I Am Stretched on Your Grave”, an anonymous 17th century poem, originally written in Irish and translated into English by Frank O’Connor and composed by musician Philip King in 1979.[7][8] The first song on the album, “Feel So Different”, starts with The Serenity Prayer by Reinhold Niebuhr.


The inner sleeve notes acknowledge Kabbalah teacher, Warren Kenton: “Special thanks to Selina Marshall + Warren Kenton for showing me that all I’d need was inside me.”

I Do Not Want What I Haven’t Got received critical acclaim. In 2003, the album was ranked number 406 on Rolling Stone magazine’s list of The 500 Greatest Albums of All Time.(by wikipedia)

I Do Not Want What I Haven’t Got became Sinéad O’Connor’s popular breakthrough on the strength of the stunning Prince cover “Nothing Compares 2 U,” which topped the pop charts for a month. But even its remarkable intimacy wasn’t adequate preparation for the harrowing confessionals that composed the majority of the album. Informed by her stormy relationship with drummer John Reynolds, who fathered O’Connor’s first child before the couple broke up, I Do Not Want What I Haven’t Got lays the singer’s psyche startlingly and sometimes uncomfortably bare.


The songs mostly address relationships with parents, children, and (especially) lovers, through which O’Connor weaves a stubborn refusal to be defined by anyone but herself. In fact, the album is almost too personal and cathartic to draw the listener in close, since O’Connor projects such turmoil and offers such specific detail. Her confrontational openness makes it easy to overlook O’Connor’s musical versatility. Granted, not all of the music is as brilliantly audacious as “I Am Stretched on Your Grave,” which marries a Frank O’Connor poem to eerie Celtic melodies and a James Brown “Funky Drummer” sample. But the album plays like a tour de force in its demonstration of everything O’Connor can do: dramatic orchestral ballads, intimate confessionals, catchy pop/rock, driving guitar rock, and protest folk, not to mention the nearly six-minute a cappella title track. What’s consistent throughout is the frighteningly strong emotion O’Connor brings to bear on the material, while remaining sensitive to each piece’s individual demands. Aside from being a brilliant album in its own right, I Do Not Want What I Haven’t Got foreshadowed the rise of deeply introspective female singer/songwriters like Tori Amos and Sarah McLachlan, who were more traditionally feminine and connected with a wider audience. Which takes nothing away from anyone; if anything, it’s evidence that, when on top of her game, O’Connor was a singular talent. (by Steve Huey)


David Munday (guitar, piano)
Philip King (background vocals)
Sinéad O’Connor (vocals, guitar, keyboards, percussion, programming)
Marco Pirroni (guitar)
John Reynolds (drums)
Andy Rourke (guitar, bass)
Steve Wickham (fiddle)
Jah Wobble (bass)
unknown orchestra conducted by Nick Ingman


01. Feel So Different (O’Connor) 6.48
02. I Am Stretched On Your Grave (Anonymous/King) 5.33
03. Three Babies (O’Connor) 4.47
04. The Emperor’s New Clothes (O’Connor) 5.16
05. Black Boys On Mopeds (O’Connor) 3.53
06. Nothing Compares 2 U (Prince) 5.11
07. Jump In The River (O’Connor/Pirroni) 4.13
08. You Cause As Much Sorrow (O’Connor) 5.05
09. The Last Day Of Our Acquaintance (O’Connor) 4.40
10. I Do Not Want What I Haven’t Got (O’Connor) 5.47



Cliff Richard – Stronger (1989)

FrontCover1.jpgStronger is the twenty-sixth studio album by British singer Cliff Richard, released in October 1989. The album was produced by Alan Tarney and includes the singles “The Best of Me”(UK #2), “I Just Don’t Have the Heart” (UK #3), “Lean On You” (UK #17) and “Stronger Than That” (UK #14). The album reached Platinum,[3] peaking at number 7 in the UK Albums Chart. (by wikipedia)

The 30th anniversary of Cliff Richard’s entry into the music industry was marked in 1988, and the year fittingly found him experiencing one of his most successful spells ever. “Mistletoe and Ivory” became the biggest-selling single of the year, while the follow-up, the number two hit “The Best of Me,” established him as the first British artist to release 100 singles. The Private Collection 1979-1988, a compilation of a decade’s worth of hits, topped the chart, and Stronger, the first new album of his fourth decade, was to spin off no less than four hit singles, including “Just Don’t Have the Heart,” a dynamic collaboration with producers Stock, Aitken & Waterman. The album itself represents one of the most eclectic of Richard’s entire career, a fact signposted by his union with British reggae band Aswad for the wonderful “Share a Dream.”


The aforementioned “The Best of Me” stands as one of the loveliest ballads he’d cut in years, and if Stronger has any serious shortcomings, it’s the reliance on machines, not men, for the drum sounds. Even at his weakest, Richard’s records had rarely lacked for emotion, but the robotic percussion saps the soul from far too much of the music. Indeed, if the selection of songs had been any weaker, Stronger might well have collapsed altogether. Instead, the likes of “Everybody Knows,” “Better Day,” and “Lean on You” conspire to raise it so high that many fans regard Stronger as one of the strongest of all Richard’s post-Shadows albums. (Dave Thompson)

Okay … But now … I need something that really rocks !


John Clark (guitar)
Mark Griffiths (bass)
Paul Moessl (synthesizer on 17., drum programming)
Cliff Richard (vocals)
Alan Tarney (guitar, keyboards, drums)
Keith Bessey (drum programming on 03., 08. + 13.)
Dave Bishop (saxophone)
Steve Laurie (guitar on 17.)
Alan Park (piano on 17.)
Henry Spinetti (drums on 17.)
Mike Stock (keyboards, drum programming on 07. + 14.)
background vocals:
Keith Murrell – Mae McKenna – Mick Mullins – Miriam Stockley – Peter Howarth – Sonia Morgan
Aswas (all instruments on 12.)


01. Stronger Than That (Tarney) 4.42
02. Who’s In Love (Tarney) 4.32
03. The Best Of Me (Foster/Lubbock/Marx) 4.11
04. Clear Blue Skies (Cooke/Turner) 2.54
05. Lean On You (Tarney) 5.00
06. Keep Me Warm (Tarney) 4.26
07. I Just Don’t Have The Heart (Stock/Aitken/Waterman) 3.27
08. Joanna (Eaton) 3.53
09. Everybody Knows (Tarney) 3.47
10. Forever You Will Be Mine (Tarney) 4.22
11. Better Day (Tarney) 4.50
12. Share A Dream (Trott/Sweet/Osborne) 4.30
13. Wide Open Space (Walmesley/Abbot) 4.38
14. I Just Don’t Have the Heart (instrumental version) (Stock/Aitken/Waterman) 4.01
15. Hey Mister (Tarney) 3.56
16. Lindsay Jane (Richard) 4.44
17. Marmaduke (Spencer/Tarney) 5.28



Pentangle – So Early In The Spring (1989)

FrontCover1.jpgSo Early in the Spring is the ninth album by Pentangle.

Pentangle had become a bit like Steeleye Span by the 1990s, a legacy from which the key members, however high they might fly in their solo careers, would never entirely escape. Hence, Bert Jansch and Jacqui McShee cut this record with a new lineup featuring ex-Lindisfarne co-founder Rod Clements (electric guitar, mandolin), ex-Fairport Convention Gerry Conway (drums), and Nigel Portman-Smith (bass, keyboards). McShee’s voice has the purity, if not the power and range, that she displayed on the band’s classic sides, and Jansch and company can play as well as ever. And they still have an original approach to the folk repertory — “So Early In the Spring” is offered in a tempo that makes it lope along while McShee’s singing soars above it. The only drawback on the harder-rocking sides is Conway’s drumming, which is too prominent. McShee’s performance on “The Blacksmith” is laced with poignancy as well as virtuosity, and Jansch sings superbly on “Reynardine” — and when their voices join together on the last verse, the listener’s spine may tingle in pleasure.


Clements takes a fine, rippling solo on “Bramble Briar”; the group shows off its acoustic side on the cautionary folk number “Lassie Gathering Nuts”; and “Gaea” presents a more modern, pop-jazz sound, which was very much a part of the original group’s orientation. It would be nice to report that the epic “The Baron of Brackley” ended the album well, but it lacks enough invention to sustain its eight-minute length. Tony Roberts guests on flute and whistle for several tracks, adding another sound to this welcome mix of folk-rock. (by Bruce Eder)

Rod Clements (mandolin, guitar)
Gerry Conway (drums, percussion)
Bert Jansch (guitar, vocals(
Jacqui McShee (vocals)
Nigel Portman Smith (keyboards, bass)


01. So Early In The Spring (Traditional) 5.40
02. The Blacksmith (Traditional) 3.23
03. Reynardine (Traditional) 4.21
04. Eminstra (Clements/Conway/Jansch/McShee/Portman-Smith) 3.58
05. Lucky Black Cat (Clements/Conway/Jansch/McShee/Portman-Smith) 3.17
06. Bramble Briar (Traditional) 5.54
07. Lassie Gathering Nuts (Traditional) 5.03
08. Gaea (Traditional) 4.47
09. The Baron O’ Brackley (Traditional) 7.45




Pascal Rogé – After The Rain – The Soft Sound Of Eric Satie (1995)

FrontCover1.jpgPascal Rogé (born 6 April 1951) is a French pianist.

His playing includes the works of compatriot composers Saint-Saëns, Fauré, Debussy, Ravel, Satie, and Poulenc, among others. However, his repertoire also covers the German and Austrian masters Haydn, Mozart, Brahms, and Beethoven.

Rogé first appearance in public was in 1960 with a performance of Claude Debussy’s Préludes. He won the piano prize at the Paris Conservatory and worked for several years with Julius Katchen. At seventeen, he gave his first recitals in major European cities, landing an exclusive contract with Decca in the process. He has a particular affinity with French composers such as Claude Debussy, Gabriel Fauré, Maurice Ravel and Francis Poulenc. He also performs chamber works, with the Pasquier Trio, and with musicians such as Pierre Amoyal or Michel Portal, with whom he recorded Poulenc and Tchaikovsky. He gives recitals worldwide, in all the major centres. A friend of conductor Charles Dutoit, he was regularly invited to Canada to work with the Montreal Symphony Orchestra while Dutoit was conductor there.

Pascal Roge01

In 2011 he and his wife Ami premiered the Concerto for Two Pianos by the Australian composer Matthew Hindson, which was commissioned to celebrate their recent wedding. (by wikipedia)

If you think the title After the Rain is silly, wait until you get to the subtitle: “The Soft Sounds of Erik Satie.” Oh, well, never mind titles and subtitles: it is ultimately the music and performance that make or break the disc and, in this case, the music and performances are both superb. Satie was, of course, the utterly unclassifiable composer who wrote pieces that are easy and hard, cold and hot, ironic and sentimental, ancient and modern, sublime and mundane. Pascal Rogé is, of course, the French pianist with a virtuoso technique (which, in a French pianist, is rare), a beautiful tone (which, in a French pianist, is typical), and superb taste (which, in a French pianist, is inevitable). In this set of Gymnopedies, Gnossiennnes, Nocturnes, and other short and improbably named works, Rogé shows that tone and taste triumph over technique, that is, that Rogé plays with precisely voluptuous tone and objectively subjective taste, but wholly without drawing attention to himself. The result is one of the best Satie recordings ever made. Decca’s ’90s digital sound was as warm and cool as the music itself. (by James Leonard)

Pascal Roge02.jpgIf you do not like instrumental, piano, slow, acoustic, older-than-you, or non-beat driven music then you may not like this disc; but then you might (but probably not). Hidden in Satie’s “classical” music are hints of jazz, new age, and ambient. I am prejudiced toward ambient jazz and Satie may have been the first to give us a glimpse of its future almost a century before. This recording is consistently smoothe, well engineered, and flawlessly performed. Each note is given its own space and invites you to savor each individual tone. Some of the pieces have melody lines; others seem to be random, sometimes progressive, series of notes/tones (sonorous, in any event). On the easy listening scale between ponderable/contemplative and zoned-out/trance-inducing at the extremes this disc falls in the middle of the spectrum and roams freely over the relaxation and meditation spheres. I placed this disc within my top ten favorite listens, right up there with with Pachelbel’s Canon (Kolbialka’s extended version), Twin Peaks, Scheherezade, Leonard Cohen (More Best of), Chet Atkins (Master and his Music), Nightingale’s Light Dance, Windham Hill’s Impressionists sampler, Oystein Sevag’s Visual, and another take on Satie’s Gymnopedies (Kolbialka’s extended version). (byLarry Deemer)

Eric Satie
Eric Satie’s [1866-1926] music is all over the map regarding quality and appeal – from gregarious, borderline-annoying, player-piano-like music to his more famous, luminescent, nocturnal slow masterpieces featured on this CD (without the former). Personally, I have little ear for the burlesque-inspired music on other Satie collections, so this compilation has found a nice niche in my collection for frequent playing when quiet, meditative music is in order (yes, often to help get to sleep assisted by the soothing Gymnopedies).

The sound quality of this CD is very rich and vivid as is Pascal Roge’s playing, with beautiful, bell-like sustained notes from Roge’s Steinway. What I most appreciated is his well-conceived tempos of these pieces – which for some reason suffer from too-slow, dirge-like tempos in other recordinds that strip the music of much of its life and enriching effects (as I find in fellow Frenchman, Jean Yves Thibaudet’s Decca recording – fitting for a funeral – why so slow?!)

In contrast, Roge to me finds the sweet-spot tempo and infuses these works with a subtle vibrancy in his tempos and colorations that allow the pieces to maintain constant interest to the listener and effect their simple magic. The highest Satie collection recommendation. (by Alan Lekan)

Music for the quiet moments in life …


Pascal Rogé (piano)


01. Gymnopédie No. 1 3.08
02. Gymnopédie No. 2 2.30
03. Gymnopédie No. 3 2.31
04. Gnossienne No. 1 3.41
05. Gnossienne No. 2 2.30
06. Gnossienne No. 3 3.08
07. Gnossienne No. 4 3.29
08. Gnossienne No. 5 4.02
09. Gnossienne No. 6 1.51
10. Nocturne I 3.17
11. Nocturne II 2.04
12. Nocturne III 3.03
13. Nocturne IV 2.55
14. Nocturne V 1.54
15. Avant-Dernieres Pensées 3.42
15.1 I Idylle, À Debussy
15.2 II Aubade, À Paul Dukas
15.3 III Meditation, À Albert Roussel
16. Pieces Froides – Trois Airs À Fuir 8.58
17. Pieces Froides – Trois Danses De Travers 6.26
18. Deux Reveries Nocturnes 3.20
19. Prélude De La Porte Héroïque Du Ciel 4.30

Music composed by Eric Satie

Tracks 1-9, 13 recorded in 1984.
Tracks 10-12, 14-19 recorded in 1989



The Pasadena Roof Orchestra – Live – Steppin’ Out (1989)

FrontCover1.jpgThe Pasadena Roof Orchestra was formed in Nov. 1969 by Johnny Arthy, a lover of 1920’s jazz who sought to lead a dance-oriented jazz-influenced big band specializing in music from the 1923-37 period. The British band gained its name because Arthy liked the obscure song “Pasadena.” The orchestra had its first gig in April 1970 and soon Arthy came across a windfall, 1, 500 original arrangements from the 1920’s practically given away by an elderly lady whose father had been musical director of a dance band in the twenties. The P.R.O. started out playing once a week but, after the success of their first album in 1974, they turned professional and began working much more often. A European tour in 1975 added to the group’s momentum and since then they have worked constantly and recorded fairly regularly (in the early days for Transatlantic and later on mostly for their own P.R.O. label). No famous soloists are among their alumni since the Pasadena Roof Orchestra is very much a dance band, but the group has long featured colorful ensembles, period vocals and brief individual spots, very much in the early pre-swing style which they treat with great respect. (by Scott Yanow)

Somehow, there’s an added buzz to a live concert which is rarely captured in the recording studio, and so it is here. Recorded 30 years ago, and playing numbers from over 60 years earlier, this CD sounds more fresh and up-to-date than some of yesterday’s pop songs. The songs recall such artists as Al Bowlly, Don Redman, Duke Ellington, Billy Cotton, Frankie Trumbauer, Bunny Berigan, Bix Beiderbecke and Cab Calloway. Sound quality is excellent, and this is a great memento. (Barry McCanna)


John Arthy (bass, sousaphone)
Robert Fowler (clarinet, saxophone)
Duncan Galloway (vocals)
Keith Gemmell (clarinet, saxophone, vocals)
Michael Henry (trumpet)
Michael Holmes (piano, vocals)
Andrew Pummell (clarinet, saxophone)
Stephen Shaw (trombone)
John Sutton (drums)
Enrico Tomasso (trumpet, vocals)
Peter Warren (banjo, guitar)


01. Who Walks in When I Walk Out? (Goodhart/Hoffman) 3.13
02. My Melancholy Baby (Burnett/Norton) 3.25
03. How’m I Doin’? (Hey, Hey!) (Fowler/Redman) 2.44
04. Creole Love Call (Ellington) 4.25
05. Sahara (Frederick) 3.31
06. Skirts (Roberts) 2.58
07. Pennies From Heaven (Burke/Johnston) 4.03
08. Latin From Manhattan (Dubin/Warren) 3.35
09. Business in F (Bleyer) 4.08
10. I Can’t Get Started (Duke/Gershwin) 5.04
11. Louisiana (Johnson/Razaf/Schafer) 3.42
12. Golden Wedding (Marie) 5.22
13. I Only Have Eyes for You (Dubin/Warren) 5.08
14. Minnie The Moocher (Calloway/Gaskill/Mills) 5.00
15. Steppin’ Out With My Baby (Berlin) 3.09
16. Pasadena (Clarke/Leslie/Warren) 1.54



Lennie Niehaus – Plays The Blues (1989)

FrontCover1.jpgLenny Niehaus (born June 1, 1929) is an excellent altoist and jazz arranger in the 1950s (most notably for Stan Kenton), Lennie Niehaus in more recent times won fame for his work scoring the music for Clint Eastwood films. After graduating from college, Niehaus played alto and occasionally wrote for Kenton (1951-1952) before being drafted for the Army (1952-1954). Upon his discharge, Kenton welcomed Niehaus back and he worked for the bandleader on and off for the rest of the decade. Niehaus, who led and played alto on six albums between 1954-1957 (five for Contemporary), had a cool tone a bit reminiscent of Lee Konitz. By the 1960s, his playing had gone by the wayside as Niehaus concentrated on writing for films. Although he largely left jazz at that time, his work on Play Misty for Me, and particularly Bird for Clint Eastwood, allowed one to once again admire his jazz writing. (by Scott Yanow)

And here´s a very rare and very speical album by Lennie Niehaus:

These hip, swinging etudes in the swing/bop style are a great source for blues and bebop licks and fun to play! Lennie wrote these specifically to be played with the tracks from Jamey’s Vol.42 “”Blues In All Keys.”” There is one complete solo (etude) for each of the 12 keys and 12 tracks.


This book of solos is also great jazz sight reading material, since it contains all of the most-used jazz rhythms and syncopation you’ll ever encounter. Perfect for Learning your way around The Blues – even in the tough keys! Students and teachers alike will enjoy playing these musical, lyrical jazz solos with or without the exhilarating accompaniment of the Vol. 42 Play-A-Long. The CD incudes complete performances of each solo by Lennie with a piano, bass, drum rhythm section (from the Volume 42 “”Blues In All Keys”” Play-a-long)so that you can absorb and internalize proper jazz sound and feel. (by

Unfortunately I don´t have the book … but the CD … and if you like the bluesy sound of a saxophone (like I do) … you´ll find on this album excellent music, recorded by a master of his own !

Lennie Niehaus

Bob Cranshaw (bass)
Lennie Niehaus (saxophone)
Mickey Roker (drums)
James Williams (piano)


01. Tuning notes 0.55
02. B♭ blues : Blues ‘n Bossa 3.52
03. B blues : Blue funk 4.27
04. C blues : By The Book 4.18
05. D♭ blues : Blue blood 3.35
06. D blues : Head Over Heels 4.09
07. E♭ blues : True Blue 3.53
08. E blues : Sixth Sense 4.46
09. F blues : The Time Of Your Life 3.59
10. F♯ blues : Nouveau nova 3.51
11. G blues : Well And Good 4.07
12. A♭ blues : Easy Come, Easy Go 3.55
13. A blues : Slow But Sure 3.28

Music composed by Lennie Niehaus