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 abebooks.co.uk)

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



Billy Joel – Storm Front (1989)

FrontCover1.jpgStorm Front is the eleventh studio album by American singer-songwriter Billy Joel, released on October 17, 1989. It features one of Joel’s three No. 1 hits, “We Didn’t Start the Fire”, a fast-paced song that cataloged a list of historical events, trends, and cultural icons from after World War II (when Joel was born) until 1989, and “Leningrad”, a story-song about a friendship between an American and a Russian during the final years of the Cold War.

“I Go to Extremes”, a song describing the ups and downs of his emotional life, placed at No. 6. Other songs that placed in the top 100 were “And So It Goes” (No. 37), “The Downeaster ‘Alexa” (No. 57), and “That’s Not Her Style” (No. 77). The cover depicts the maritime storm warning flag indicating wind forces 10-12, the highest intensity on the Beaufort scale.

Storm Front marked a radical change in Joel’s backing band. Since his last studio album (The Bridge), both Russell Javors and Doug Stegmeyer, long-time members of Joel’s band, were discharged from their respective duties as rhythm guitarist and bass guitarist. Javors was replaced with Joey Hunting for the record and by Tommy Byrnes on tour while Stegmeyer was replaced by Schuyler Deale. Band regulars Liberty DeVitto, David Brown and Mark Rivera were retained. Joel also hired the percussionist and multi-instrumentalist Crystal Taliefero beginning with this album.


In 1991, Garth Brooks recorded “Shameless” on his album Ropin’ the Wind. Brooks’ cover version was also released as a single and reached the top of the US country charts, and also entered the UK Singles Chart.
Paul Anka covered “I Go to Extremes” on his 2007 album Classic Songs, My Way.
Jennifer Warnes covered “And So It Goes” for her 2001 album The Well. (by wikipedia)


When he went for a masterpiece on The Nylon Curtain, Billy Joel worked with his band and producer Phil Ramone, crafting a Beatlesque song suite that was perfectly in step with Turnstiles. For Storm Front, he decided it was time to change things. He fired Ramone. He fired everyone in his band, save longtime drummer Liberty DeVito. He hired Mick Jones, the architect behind Foreigner’s big AOR sound, to man the boards. He wrote a set of sober, somber songs, save “That’s Not Her Style,” a weirdly defensive song about his model wife, Christie Brinkley. He was left with an album that is singularly joyless. Joel makes no bones about his ambitions for Storm Front — when you lead with a history lesson as your first single (the monotonous chant “We Didn’t Start the Fire”), it’s clear that you’re not interested in fun. That wouldn’t have been a problem if his melodic skills weren’t in decline. Joel packed all the strongest numbers into the first half of Storm Front, from the rocking “That’s Not Her Style” and “I Go to Extremes” to the fisherman’s plight “The Downeaster ‘Alexa'” and the power ballad “Shameless,” which Garth Brooks later made a standard. Compared to the murky second side, which perks up only mildly with “Leningrad” and “And So It Goes,” it’s upbeat, varied, melodic, and effective, but when it’s compared to his catalog — not only such high-water marks as The Stranger or Glass Houses, but with a record as uneven as The Bridge — it pales musically and lyrically. The five singles (“Fire,” “Style,” “Extremes,” “‘Alexa’,” “Goes”) were catchy enough on the radio to propel the album to multi-platinum status, but in retrospect, Storm Front sounds like the beginning of the end. (by Stephen Thomas Erlewine)


David Brown (lead guitar)
Schuyler Deale (bass)
Joey Hunting (guitar)
Jeff Jacobs (synthesizer, background vocals)
Billy Joel (vocals, keyboards, harpsichord, synthesizer, guitar, percussion)
Crystal Taliefero (percussion, background vocals)
Liberty DeVitto (drums, percussion)
Don Brooks (harmonica on 01.)
Dominic Cortese (accordion on 07.)
Kevin Jones (keyboard programming on 02.)
Mick Jones (guitar on 06. + 08. background vocals on 01., 04., + 08.)
John Mahoney (keyboards on 02., keyboard programming on 07.)
Sammy Merendino (percussion on 02.)
Itzhak Perlman (violin on 03.)
Lenny Pickett (saxophone on 06. + 09.)
background vocals:
Curtis King – Brenda White King – Ian Lloyd – Joe Lynn Turner – Brian Ruggles – Frank Floyd – Patricia Darcy-Jones – Richard Marx
Hicksville High School Chorus conducted by Chuck Arnold
The Memphis Horns on 06.:
Andrew Love – Wayne Jackson


01. That’s Not Her Style 5.10
02. We Didn’t Start The Fire 4.50
03. The Downeaster ‘Alexa’ 3.44
04. I Go To Extremes 4.23
05. Shameless 4.26
06. Storm Front 5.17
07. Leningrad 4.06
08. State Of Grace 4.30
09. When In Rome 4.44
10. And So It Goes 3.38

All songs written by Billy Joel




Hank Jones – Lazy Afternoon (1989)

FrontCover1.jpgHenry Jones Jr. (July 31, 1918 – May 16, 2010), best known as Hank Jones, was an American jazz pianist, bandleader, arranger, and composer. Critics and musicians described Jones as eloquent, lyrical, and impeccable. In 1989, The National Endowment for the Arts honored him with the NEA Jazz Masters Award. He was also honored in 2003 with the American Society of Composers, Authors, and Publishers (ASCAP) Jazz Living Legend Award. In 2008, he was awarded the National Medal of Arts. On April 13, 2009, the University of Hartford presented Jones with an honorary Doctorate of Music for his musical accomplishments.

Jones recorded more than 60 albums under his own name, and countless others as a sideman,[6] including Cannonball Adderley’s celebrated album Somethin’ Else. On May 19, 1962, he played piano as actress Marilyn Monroe sang her famous “Happy Birthday, Mr. President” song to then U.S. president John F. Kennedy.

Born in Vicksburg, Mississippi, Henry “Hank” Jones moved to Pontiac, Michigan, where his father, Henry Jones Sr. a Baptist deacon and lumber inspector, bought a three-story brick home. One of seven children, Jones was raised in a musical family. His mother Olivia Jones sang; his two older sisters studied piano; and his two younger brothers—Thad, a trumpeter, and Elvin, a drummer—also became prominent jazz musicians.[8] He studied piano at an early age and came under the influence of Earl Hines, Fats Waller, Teddy Wilson, and Art Tatum. By the age of 13 Jones was performing locally in Michigan and Ohio. While playing with territory bands in Grand Rapids and Lansing in 1944 he met Lucky Thompson, who invited Jones to work in New York City at the Onyx Club with Hot Lips Page.


In New York City, Jones regularly listened to leading bop musicians, and was inspired to master the new style. While practicing and studying the music he worked with John Kirby, Howard McGhee, Coleman Hawkins, Andy Kirk, and Billy Eckstine.[10] In autumn 1947, he began touring in Norman Granz’s Jazz at the Philharmonic package,[10] and from 1948 to 1953 he was accompanist for Ella Fitzgerald, and accompanying her in England in the Fall of 1948, developed a harmonic facility of extraordinary taste and sophistication. During this period he also made several historically important recordings with Charlie Parker, which included “The Song Is You”, from the Now’s the Time album, recorded in December 1952, with Teddy Kotick on bass and Max Roach on drums.

Engagements with Artie Shaw and Benny Goodman followed, and recordings with artists HankJones01such as Lester Young, Cannonball Adderley, and Wes Montgomery, in addition to being for a time, ‘house pianist’ on the Savoy label. From 1959 through 1975 Jones was staff pianist for CBS studios. This included backing guests such as Frank Sinatra on The Ed Sullivan Show. He played the piano accompaniment to Marilyn Monroe as she sang “Happy Birthday Mr. President” to John F. Kennedy on May 19, 1962.[1] By the late 1970s, his involvement as pianist and conductor with the Broadway musical Ain’t Misbehavin’ (based on the music of Fats Waller) had informed a wider audience of his unique qualities as a musician.

During the late 1970s and the 1980s, Jones continued to record prolifically, as an unaccompanied soloist, in duos with other pianists (including John Lewis and Tommy Flanagan), and with various small ensembles, most notably the Great Jazz Trio. The group took this name in 1976, by which time Jones had already begun working at the Village Vanguard with its original members, Ron Carter and Tony Williams (it was Buster Williams rather than Carter, however, who took part in the trio’s first recording session in 1976); by 1980 Jones’ sidemen were Eddie Gómez and Al Foster, and in 1982 Jimmy Cobb replaced Foster. The trio also recorded with other all-star personnel, such as Art Farmer, Benny Golson, and Nancy Wilson. In the early 1980s Jones held a residency as a solo pianist at the Cafe Ziegfeld and made a tour of Japan, where he performed and recorded with George Duvivier and Sonny Stitt. Jones’ versatility was more in evidence with the passage of time. He collaborated on recordings of Afro-pop with an ensemble from Mali and on an album of spirituals, hymns and folksongs with Charlie Haden called Steal Away (1995).

American pianist Hank Jones

Some of his later recordings are For My Father (2005) with bassist George Mraz and drummer Dennis Mackrel, a solo piano recording issued in Japan under the title Round Midnight (2006), and as a side man on Joe Lovano’s Joyous Encounter (2005). Jones made his debut on Lineage Records, recording with Frank Wess and with the guitarist Eddie Diehl, but also appeared on West of 5th (2006) with Jimmy Cobb and Christian McBride on Chesky Records. He also accompanied Diana Krall for “Dream a Little Dream of Me” on the album compilation, We all Love Ella (Verve 2007). He is one of the musicians who test and talk about the piano in the documentary Note by Note: The Making of Steinway L1037, released in November 2007.

In early 2000, the Hank Jones Quartet accompanied jazz singer Salena Jones at the Lionel Hampton Jazz Festival in Idaho, and in 2006 at the Monterey Jazz Festival with both jazz singer Roberta Gambarini and the Oscar Peterson Trio.

In June 2005, Jones was awarded an Honorary Doctorate of Music from Berklee College of Music at 20th anniversary of jazz education at the Umbria Jazz Festival, in Perugia, Italy.

Hank Jones lived in Cresskill NJ, upstate New York and in Manhattan. He died at a Calvary Hospital Hospice in The Bronx, New York, on May 16, 2010, survived by his wife Theodosia (by wikipedia)


And here´s one of his countless solo albums:

Hank Jones, the father of Detroit’s piano legacy (preceding Tommy Flanagan, Barry Harris and Roland Hanna) is teamed on this Concord CD with the typically superb bass of Dave Holland, the supportive drumming of Keith Copeland and (on half the songs) Ken Peplowski’s alto (with just a touch of his clarinet). Jones performs a diverse yet unified set of standards and originals. His use of celeste on a moody “Lazy Afternoon,” his Monkish “Intimidation” and a trio romp on “Speak Low” are among the highpoints of the excellent release by an ageless master. (by Scott Yanow)

In other words: Another superb album by one of the greatest piano player in the world of Jazz … and he was accompanied by three wonderful musicians !


Keith Copeland (drums)
Dave Holland (bass)
Hank Jones (piano)
Ken Peplowski (saxophone, clarinet)


01. Speak Low (Weill/Nash) 4.13
02. Peedlum (Jones) 5.05
03. Lazy Afternoon (Moross/Latouche) 7.45
04. Work Song (Adderley/Brown Jr.) 4.20
05. Intimidation (Jones) 4.46
06. Lament (Johnson) 6.09
07. Comin’ Home Baby (Tucker/Dorough) 5.05
08. Passing Time (Jones) 5.06
09. Sublime (Jones) 5.16
10. Arrival (Parlan/Simmonds) 4.56


Margaret Becker – Immigrant´s Daughter (1989)

FrontCover1.JPGMargaret Becker (born July 17, 1959) is an American Christian rock singer, guitarist, and songwriter. She has had twenty-one No. 1 Christian radio hits, won four Dove Awards, and been nominated for four Grammy Awards.

Becker was born in Bay Shore, New York, raised in East Islip, New York, and began playing in coffeehouses while teaching music and taking opera lessons. Having graduated from James Madison University with a degree in communication, she moved to Nashville, Tennessee in 1985, and signed to Sparrow Records as a songwriter; soon after she toured with Rick Cua as a backup singer and sang on Steve Camp’s 1986 album One on One. The next year she landed a contract as a solo artist, and released her debut album, Never for Nothing. The single “Fight for God” was her first hit, and her second LP, The Reckoning, followed with two more hits, “Light in the Darkness” and “Find Me”.

Becker began working with producer Charlie Peacock starting with 1989’s Immigrant’s Daughter, and a string of successful albums followed, including a Spanish language LP. She won two Dove Awards in 1992, for Rock Album (Simple House) and Rock Song (“Simple House”). However, in the late 1980s and early 1990s, Becker occasionally MargaretBecker01encountered controversy in the world of Contemporary Christian music because she is a Roman Catholic; some Christian stores refused to carry her album, and her concert appearances were sometimes picketed. Although she was raised in Catholicism, Margaret currently attends a non-denominational church in Nashville, TN. After 1995’s Grace, Becker decided to take a sabbatical from the music industry; during this time she wrote a book entitled With New Eyes and wrote editorials for Campus Life magazine.

She left Sparrow Records in 2002 but has continued to record since then, both her own albums and for compilation albums. She appears on the albums Sisters (Warner Bros. Records, 1994), Listen to Our Hearts (Sparrow, 1998), Heaven and Earth (Sparrow, 1999), and the New Irish Hymns series (Kingsway Music), and is one of the members of the 1994 collaboration Ashton, Becker, and Denté. She co-wrote Bob Carlisle’s “Bridge Between Two Hearts”. Her second book, Growing Up Together, appeared in 2000; her third, With New Eyes, came out in 2004, and a fourth, Coming Up for Air, was published in 2006. In late 2007, Becker’s latest album, Air, was released.

Becker gives teaching seminars across the United States. She also produces records for other singers, and in 2006 she wrote a series of columns for CCM Magazine. Becker has also been active in supporting charities such as Habitat for Humanity, Compassion International, and World Vision.

Becker has been single for her entire life and currently lives in Nashville, Tennessee. (by wikipedia)

This was her first album with producer and keyboard player Charlie Peacock and it´s a real good opo album and hervoice is extremly strong ..  but … all these lyrics … influenced by various segments from the bible.

And because I don´t believe in God … all the lyrics have nothing to do with me … sorry folks !


Jimmy A (guitar)
Margaret Becker (guitar, vocals)
Charlie Peacock (keyboards, background vocals)
Roger Smith (organ)
Larry Tagg (bass)
Mike Urbano (drums)
background vocals:
Annie Stocking – Brent Bourgeois – Jeanie Tracy – Vince Ebo


01. Immigrant’s Daughter (Becker/Peacock) 4.24
02. This Is My Passion (Becker) 4.10
03. Stay Close To Me (Becker/Peacock) 3.15
04. The Hunger Stays (Becker/Peacock) 4.15
05. Just Come In (Becker) 4.32
06. Honesty (Becker/Ahlstrom/Demus) 3.47
07. Solomon’s Shoes (Becker/Peacock) 3.16
08. Laugh A Little (Becker/Peacock) 3.46
09. People Get Ready (Mayfield) 3.44



Nona Hendryx – Skin Diver (1989)

FrontCover1.jpgNona Hendryx (born October 9, 1944), is an American vocalist, record producer, songwriter, musician, author, and actress.

Hendryx is known for her work as a solo artist as well as for being one-third of the trio Labelle, who had a hit with “Lady Marmalade.” Her music has ranged from soul, funk, and R&B to hard rock, new wave, and New Age. She stated in an interview that her family’s last name was originally spelled with an “i” and that she was a distant cousin of American music legend Jimi Hendrix. (by wikipedia)

A transitional album from the word go, Hendryx plays synthesizer and works with producer and former Tangerine Dream member Peter Baumann, and the result is this lush (at times too lush) pop record that sounds unlike anything else Hendryx recorded. Fans of her previous work may be taken aback by this record, but the dense, almost ambient, soundscapes she constructs and her always great singing make this a satisfying foray into uncharted territory. (by John Dougan)


“Skindiver” is, for me, a personal journey through the various stages, and resultant upheavals, of love in its many manifestations – from the yearning ‘Off The Coast Of Love’ (The Master – is love, according to Nona), to her cry for help ‘6th Sense’ (“Can anybody feel me/ Does anybody care”) to empiric rebirth in ‘New Desire’ (“I’m tenderly falling/ Into your arms, Catch me I’m falling”). ‘Women Who Fly’ and ‘No Emotion’ stand out for their sheer intensity and contrasting styles – the former’s percussion driven inner dialogue versus the latter’s guitar grinding highs and synthesized mellows exploring the divide people face at the end of bad relationships and wasted lives.

The inarguable gem of this collection, however, is ‘Through The Wire’. The ethereal quality of the music alone is stunning. Interwoven with Nona’s deft vocal stylings that are, in a word, breathtaking on every other track for their sheer emotional clarity, and you have a masterpiece that, in my humble opinion, I cannot imagine any other artist performing. (M.Nichols)


Rusty Anderson (guitar)
Peter Baumann (drum programming, programming, synthesizer)
Devra (piano)
Nona Hendryx (vocals, drum programming, piano, synthsizer)
Raymond Jones (piano)
John Pierce (bass)
Jerry Steckling (drum programming, programming, synthesizer)
Michael Thompson (guitar)
Kurt Wortman (percussion)
background vocals
The Carole Lombard Quartet
B.J. Nelson – Carole Pope


01. Off the Coast Of Love 4.33
02. Women Who Fly 5.13
03. No Emotion 5.30
04. Love Is Kind 3.39
05. Tears 4.34
06. Skin Diver 5.09
07. 6th Sense 6.01
08. Through the Wire 4.45
09. Interior Voices 4.50
10. New Desire 5.07

All songs written by Nona Hendryx



The Mick Clarke Band – Live At The Splendid (1989)

FrontCover1Mick began his solo career in the early 80s and has become an established name on the European scene, touring regularly in every country from Finland down to Italy. Praised for his fiery “straight from the wood” guitar sound, he has appeared on numerous festivals with artists such as Robert Cray, Johnny Winter and Rory Gallagher. Mick has released fifteen solo albums so far.

Mick began his career with KILLING FLOOR part of the British blues boom of the late 60s. The band backed Texas blues guitar star Freddie King and toured with legends such as Howlin’ Wolf and Otis Spann. Killing Floor has recently reformed for recording and tour projects, and recent live work included a performance at Sweden Rock Festival 2012.

MickClarke01In the mid 70s Mick co-formed SALT a powerful blues-rock act who were a big hit on the London scene in the 70s playing regularly at the Marquee and other top venues. The band played at the Reading Festival and also opened for Muddy Waters at two major London concerts. SALT has also reformed for occasional re-union tours.

THE MICK CLARKE BAND originally started working around the London area in the early 80s, but quickly received offers of work from mainland Europe and the United States. Early festival appearances such as the Belgium R&B Festival in Peer confirmed their appeal for continental audiences, while the US tours established a world wide reputation for the band. (by www.bluesbartring.co.uk)

And here´s a very rare and superb soundboard recording, taken from my old live tape collection … (guess I got this tape from my old friend Markus Gygax from Switzerland  … he died to early !)

And if you like this fucking good old way of British Blues … you should listen … because Mick Clarke is one of the finest musicians from the second generation of this Music … and … he´s still alive and well … still touring, still recording … WOW !


Chris Lloyd Baron (harmonica)
Mick Clarke (guitar, vocals)
Mike Hirsh (drums)
Mick Phillips (bass)
Peter Terry (keyboards)


01. Intro 0.53
02. All These Blues (Parker) 5.07
03. Looking For Trouble (Clarke) 3.49
04. Careless Love (Handy) 4.29
05. Night Time Is The Right Time (Hooker) 7.03
06. Walkin´ Blues (House) 4.47
07. Walkin´ By Myself (Rogers) 4.45
08. It Hurts Me Too (Red) 6.52
09. You Need Love (Dixon) 5.13
10. Tore Down (King/Thompson) 6.05
11. TV Blues (Clarke) + Madison Blues (James) 9.04
12. Mona (McDaniels) 5.31
13. Full Moon Boogie (Clarke) 5.21
14. Nineteen Years Old (Morganfield) 9.44
15. Nothing But A Fool + Shake That Boogie (Clarke) 9.30




Various Artists – Night Of The Guitar – Live ! (1989)

FrontCover1.JPGAt the end of the 80s, the music scene was dominated as much in Europe as in the rest of the world, by mass phenomena that fought for first place in record sales. The lovelies Rick Astley, Pet Shop Boys, Madonna, Michael Jackson, Wet Wet Wet, Kylie Minogue jostled for the supersale throne with some groups – with guitar in hand- that defended rock licks, distortion and delays: Guns ‘n’ Roses, Def Leppard, U2, or Metallica were writing their own legends.

In those years, an event that went almost unnoticed brought together nine guitarists for seven gigs in Great Britain (from 20-26 of Nov., 1988) and peaked with a brief tour of Europe. You can hardly find any news about it on the Web and it was finally left to posterity on a double live record and a handful of videos. Guitars Exchange was there.

Before a wall of Marshall screens, getting on and off stage, alternating turns for 3 hours, were Steve Howe (Yes, Asia), Leslie West (Mountain), Robby Krieger (The Doors), Randy California (Spirit), Steve Hunter (Lou Reed, Alice Cooper, Peter Gabriel), Pete Haycock (Climax Blues Band), Andy Powell and Ted Turner (Wishbone Ash), and Alvin Lee (Ten Years After). The ‘nine axes’ enjoyed a rhythm section that clearly met expectations: Clive Mayuyu (drums), Derek Holt (bass and voice), Livingstone Browne (bass and keyboards) and Chris Bucknall (keyboards).


The initiative all came from the record label I.R.S. No Speak, founded at the beginning of 1988 by Miles Copeland III, master of ceremonies of the night of the guitar and brother of Stewart Copeland (The Police drummer, who also took part as invited guest on the final number that closes the record). Copeland’s aim was none other than to shine light on instrumental rock in the hands of excellent musicians, giving them shelter on a record label devoted exclusively to his production. Somehow you had to protect yourself in a storm of disco, punk, New age. It was an ambitious purpose, musically valid, although financially risky: the label closed after 3 years with just 19 records produced.

Steve Hunter.jpg

Night of the Guitar – Live! was perhaps the shining moment of the adventure. Pete Haycock’s semi-acoustic Höfner and Steve Hunter’s electric Neal Moser open the record with three numbers, Dr. Brown I Presume (Brown’s notable bass solo), The Idler and Lucienne. Three pieces on records both guitarists released the same year: Guitar and Son and The Deacon respectively. It’s a mixture of rock fusion that culminates in the delicate ballad (3rd track), passing through rock that hides a feeling of urban jazz in Hunter’s piece. He authored unforgettable bits of the soundtracks of our lives: such as the introduction to Lou Reed’s Sweet Jane or the acoustic on Solsbury Hill by Peter Gabriel, to name a couple.

To electrify the air after the ballad, we turn to Randy California and his Charvel, a brand of guitar made popular that decade thanks to high-end guitarists such as Eddie Van Halen, Randy Rhoads and Richie Sambora, among others. After Groove Thing, a brilliant intro replete with harmonies hammered out on the neck, Randy takes charge on a version of Hey Joe in a powerful tribute to his friend and colleague Jimi Hendrix, with whom he shared venues in New York nightclubs in 1966. This was during the militant times of Jimmy James & The Blue Flames, and before the worldwide success of the lefty, before he became known as Jimi.


The fortunate fans were already set to welcome who was probably the most anticipated name on the ticket: Robby Krieger and his Gibson ES-355 from 1964- his favourite at that point in his life, the 80s, when he searched for more of a jazz sound- definitely brought the house down with a version of Love Me Two Times (The Doors, 1967) with a much ‘fuller’ guitar than the original.

And who better than Ted Turner and Andy Powell to re-establish order in the house? The bi-cylindrical engine of the Wishbone Ash, in perfect synchrony, unsheathed in a version of his classic from 1972 The King Will Come, where Turner’s fabulous Paul Reed Smith (the American brand had been making their gems for hardly 3 years) and the ‘classic’ Gibson Flyin’ V of his mate bring this guitar dialogue to life with an unbeatable connection.


It was now Leslie ‘the mountain’ West´s turn and his Steinberger, which in his hands looks like a toy. He was in top form, for sure. The two pieces that appear on the record are classics from the Mountain album Climbing! in 1970: a very personalised version of Theme From An Imaginary Western by Jack Bruce and Never In My Life.

Then, once again, after the storm came the calm, from the hands of Steve Howe and his Martin 00-18. A master class of guitar technique on Clap Medley, the only acoustic number of the night without accompaniment. Then time to switch the Martin for a Gibson ES-175 (his main guitar during the militant years of Yes) and in the company of Pete Haycock, start up Würm, a 1971 classic from the English progressive rock band.

Alvin Lee and his Tokai Signature take over in the final stretch with a powerful instrumental No Limit, in probably one of the best moments of the album. With a hard version of Ain’t Nothin’ Shakin’ together with all his mates on stage, nine ‘axes’ for an unforgettable cover of the Dylan classic All Along The Watchtower, and a final medley of the great hits, Whole Lotta Shakin’, Dizzy Miss Lizzie, Johnny B. Goode, Rock & Roll Music and Bye Bye Johnny Bye Bye. A display of skill and real passion for our favourite instrument, genuine fireworks fit to mess up any Rick Astley who gets in the way…


It was an unforgettable night. A night in which nine guardians of the guitar, nine rock gods, got together to reclaim -at the end of the 80s- a gender that they themselves made so very big and continues to be. (by Massimo D’Angelo)

And I was a very lucky guy … ´cause I saw all these guys during their shot Europena tour in Munich (feat. Jan Akkerman on guitar) … It was one of the best concerts I´ve ever saw !

And the wind beginns to howl … 



On guitar:
Alvin Lee – Andy Powell – Leslie West – Pete Haycock – Randy California – Robby Krieger –  Steve Howe – Steve Hunter – Ted Turner
Livingstone Brown (bass, keyboards)
Chris Bucknell (keyboards)
Derek Holt (bass, vocals on 08.)
Clive Mayuyu (drums)



Pete Haycock:
01. Dr. Brown I Presume (Haycock) 5.03

Steve Hunter & Pete Haycock:
02. The Idler (Hunter) 5.35
03. Lucienne (Haycock) 5.55

Randy California & Steve Hunter:
04. Groove Thing (California) 4.43

Randy California:
05. Hey Joe (Roberts) 5.01

Robby Krieger & Steve Hunter:
06. Love Me Two Times (Krieger/Morrison/Densmore/Manzarek) 4.58

Ted Turner &Andy Powell:
07. The King Will Come (M.Turner/Upton/T.Turner/Powell) 7.01

Leslie West:
08. Theme From An Imaginary Western (Bruce/Brown) 5.11
09. Never In My Life (Collins/Lang/Pappalardi/West) 5.07

Steve Howe:
10. Clap Medley (Howe) 5.55

Steve Howe & Pete Haycock;
11. Wurm (Howe) 4.08

Alvin Lee;
12. No Limit (Lee/Hubbard) 4.37
13. Ain’t Nothin’ Shakin’ (Colacrai/Fontane/Gluck/Lambert) 5.37

Steve Howe, Andy Powell, Randy California, Pete Haycock & Robby Krieger:
14. All Along The Watchtower (Dylan) 7.17

Alvin Lee, Leslie West, Ted Turner & Steve Hunter:
15. Rock N Roll Medley 8.39
15.1. Whole Lotta Shakin’ (Williams)
15.2. Dizzy Miss Lizzie (Williams)
15.3. Johnny B. Goode (Berry)
15.4. Rock & Roll Music (Berry)
15.5. Bye Bye Johnny Bye Bye (Berry)