Stephen Edmundson – Silver Apples Of The Moon (1992)

FrontCover1Stephen Edmundson is an US new age musician and this is his debut album … Recorded at the Bear Creek Recording Studio, Los Gato, California in 1989.

Stephen Edmundson plays the Hammered Dulcimer, a rare instrument, that has been experiencing a revival lately, especially in Celtic music. His main focus is the music of Ireland, Scotland, England, Wales and Brittany.
Filling out the repertoire are select pieces from the Renaissance and Classical periods. The brilliant, ringing tone of the Hammered Dulcimer is completed by the soft and relaxing sounds of the whistle and flute.

Two kind of harp are used on this recording: one is the wire-strung harp, the other is the more common nylon-strung harp.
The hammered dulcimer is a many-stringed, trapezoidal shaped
instrument, played with small wooden mallets.

Are real fine new age album, very gentle and soft … and you´ll hear tradtionals from all over the world …

Stephen Edmundson lives today in Göttingen (Germany) and is still active with guitar player Tomasz Gaworek.


Hannah Beckham (violoncello)
Stephen Edmundson (harp, dulcimer, flute, voice, whistle)
Todd Hicks (guitar)
Jeb Hogan (guitar)


01. Fanny Poer 3.21
02. Winter Has Come 2.30
03. Jenny Plucked The Pear 1.17
04.An Hani a Garan 2.13
05. Molly MacAlpin 4.05
06. Lark on the Strand 1.40
07. The Kid On The Mountain 1.59
08. Gaelic Waltz 3.14
09. White Hart 1.41
10. Greensleeves 1.19
11. La Guabina 2.12
12. Voices Of The Rain Forest 3.31
13. Bird Of Paradise 0.54
14. Bailecito 2.32
15. Enchanted Valley 4.16
16. Lyenda 4.07
17. Charm Danse 3.30
18. Yedid Nefesh 3.56

All songs are Traditionals




Snowy White’s Blues Agency – Blues On Me (1989)

FrontCover1Terence Charles “Snowy” White (born 3 March 1948, Barnstaple, Devon) is an English guitarist, known for having played with Thin Lizzy (permanent member from 1980 to 1982) and with Pink Floyd (as a backing guitarist; he was first invited to tour with the band through Europe and the United States in 1977, and during The Wall shows in 1980) and, more recently, for Roger Waters’ band. He is also known for his 1983 solo effort “Bird of Paradise”, which became a UK Singles Chart Top 10 hit single.

White grew up on the Isle of Wight, self-taught as a guitarist, having received his first guitar from his parents at the age of ten. He moved to Stockholm in 1965 at the age of seventeen, spending more than a year there playing in a trio called The Train. In 1968 he purchased his signature guitar, the Gibson Les Paul Goldtop. By 1970 he made his way to London and found work as a session player and as a member of Heavy Heart. During this time he met Peter Green and the two began a lifelong friendship (White later appeared on Green’s album In the Skies).

White had been recommended to Pink Floyd by Kate Bush’s former manager Hilary Walker, as they were looking for an additional guitarist for the live band on the Animals tour in 1977. White’s solo on “Pigs on the Wing” (it appears on the 8-track version), was his first time playing for the band. During the tour, White started off the show himself by playing bass guitar on the song “Sheep”, as well as soloing during “Have a Cigar” and “Shine on You Crazy Diamond Part VIII”.

SnowyWhite01In 1979 Thin Lizzy guitarist Scott Gorham, having seen White play with Pink Floyd in New York City during the Animals tour, approached him about joining Thin Lizzy.

The collaboration with these two bands was very complicated; the invitation to rehearse the live show of The Wall for Pink Floyd, happened at the same time he was invited to become a full-time member of Thin Lizzy, with whom he recorded/co-wrote their Chinatown and Renegade albums. White left Thin Lizzy in August 1982.

White’s connection to Pink Floyd continued in later decades. White was invited by the former Pink Floyd bassist Roger Waters to perform in another take of The Wall, in 1990, by the ruins of the Berlin Wall, along with other guest artists. Waters also called on White in 1991 for the ‘Guitar Legends’ concert, in Seville. David Gilmour was the guest on White’s 1994 album Highway to the Sun, appearing on the track “Love, Pain and Sorrow”, with Gilmour playing his Digitech Whammy pedal-induced Fender Stratocaster, which was recorded at Gilmour’s houseboat studio, The Astoria.

Apart from guest appearances by Chris Rea, David Gilmour and Gary Moore, the album also introduced two new Dutch-Indonesian musicians, Juan van Emmerloot (drums) and Walter Latupeirissa (bass and rhythm guitar). Kuma Harada also played bass and rhythm guitar.

SnowyWhite02White’s next album project was entitled Goldtop, named after his Gibson Les Paul Goldtop Standard guitar. It featured material in which White has been involved from as far back as 1974 right up to 1996, including two tracks from Thin Lizzy, jams from the Peter Green In the Skies session, and the extended, 8-track tape version of the Pink Floyd song “Pigs on the Wing”, featuring White’s guitar bridge between the two parts.

White has recorded five albums with his White Flames band. The first three were No Faith Required in 1996, Little Wing in 1998 and Keep Out: We Are Toxic in 1999.

In 1999 White joined Waters for his band’s In the Flesh US tour, which was successful, and in 2000, Waters again toured the US, this time recording a live album and making a film of the show. Again, from February to July 2002 White toured the world with Roger Waters.

WatersWhiteAnother White Flames album (as a three-piece), entitled Restless, was released in May 2002. Spring 2005 saw the release of a new White Flames album, entitled The Way It Is, with a basic four-piece outfit consisting of Richard Bailey (drums/percussion), Walter Latupeirissa (bass) and Max Middleton (keyboards). A DVD, The Way It Is…Live! was completed and issued.

White toured with Waters in The Dark Side of the Moon Live tour from June 2006, having played in Europe, North America, Australia, Asia and South America. He also performed with Waters at Live Earth.

White formed a new band in 2008 named The Snowy White Blues Project. In Our Time of Living was released in April 2009. The group featured Matt Taylor: guitar/vocals, Ruud Weber: bass/vocals, Juan van Emmerloot: drums, and Snowy White: guitar/vocals.

In 2010 White toured again with Roger Waters, in The Wall Live (by wikipedia)

And this is an album from his “Blues Agency” period: And it´s a real superb album feat the legendary Graham Bell on vocals … In Germany the album was called “Open For Business” and believe me: Snowy White is a criminally underrated guitar-player (listen to his solo on “Out Of My Dreams” … maybe he´s one of he best guitar player we had !

Listen and enjoy !

Jeff Allen (drums)
Graham Bell (vocals, harmonica, guitar)
Kuma Harada (bass, percussion)
Snowy White (guitar)

Open For BusinessFront+BackCoverTracklist:
01. I Can’t Help Myself (White) 4.19
02. Blues On Me (White) 4.50
03. Out Of Order (White) 3.19
04. When You Broke Your Promise (White) 3.55
05. I Want Your Love (Bell) 4.50
06. Out Of My Dreams (Bell) 4.15
07. Addicted Man (Bell) 4.13
08. Open For Business (White) 3.15
09. Walking The Streets (White) 3.44
10. Land Of Plenty (White) 5.30


WhiteGreenHaradaSnowyy White – Peter Green – Kuma Harada

Johnny Clegg & Savuka – Cruel, Crazy Beautiful World (1989)

FrontCover1 When South Africa was still suffering under the apartheid system in the 1980s, Johnny Clegg & Savuka was the last thing apartheid supporters wanted in a pop group. Their lyrics were often vehemently anti-apartheid, and apartheid supporters hated the fact that a half-black, half-white outfit out of South Africa was integrated and proud of it. Released in the U.S. at the end of the 1980s, Cruel, Crazy, Beautiful World is among the many rewarding albums the band has recorded. Sting and the Police are a definite influence on Clegg & Savuka, who have absorbed everything from various African pop styles to Western pop, funk, rock, and reggae. The lyrics are consistently substantial and frequently sociopolitical — “Bombs Away” addresses the violence of the apartheid regime, while “Warsaw 1943” reflects on the horrors Eastern Europe experienced at the hands of both communists and fascists during World War II. Clegg and company enjoyed a passionate following at the time, and this fine CD proves that it was well deserved. (by Alex Henderson)

Derek De Beer (drums, percussion, background vocals)
Johnny Clegg (vocals, guitar, concertina, umhuphe mouth bow)
Mandisa Dlanga (vocals)
Keith Hutchinson (keyboards, saxophone, background vocals)
Solly Letwaba (bass, background vocals)
Steve Mavuso (keyboards, background vocals)
Dudu Zulu (percussion, dance)
Alex Acuña (percussion)
John Baxter (background vocals)
Benn Clatworthy (saxophone)
Tom Regis (keyboards)
Hilton Rosenthal (keyboards, background vocals)
Howard Shear (trumpet)
Bobby Summerfield (keyboards,drum programming, electronic percussion)
Roy Wigan (trumpet)


01. One (Hu)’ Man One Vote (Clegg/Summerfield) 4.44
02. Cruel, Crazy, Beautiful World (Clegg) 4.25
03. Jericho (Clegg) 4.17
04. Dela (I Know Why the Dog Howls at the Moon) (Clegg)
05. Moliva (Clegg)
06. It’s an Illusion (Clegg)
07. Bombs Away (Clegg)
08. Woman Be My Country (Clegg)
09. Rolling Ocean (Clegg/Mavuso)
10. Warsaw 1943 (I Never Betrayed The Revolution) (Clegg)
11. Vezandlebe (Clegg) 4.04


Lisa Stansfield – Affection (1989)

FrontCover1When Lisa Stansfield took the R&B world by storm with her melancholy, Barry White-influenced single “All Around the World,” it was obvious that not since Teena Marie had a white female singer performed R&B so convincingly. Though she didn’t shy away from hip-hop and house-music elements, Affection leaves no doubt where the British singer’s heart lies — sleek yet gritty ’70s R&B. Though the retro leanings of such updated soul treasures as “You Can’t Deny It” and “What Did I Do to You” are obvious, Stansfield’s producer keeps things very fresh sounding by embracing a decidedly high-tech and very late-’80s/early-’90s production style. Though essentially a soul diva, Stansfield has a disco masterpiece in the love-and-togetherness anthem “This Is the Right Time.” (by Alex Henderson)

Stephen Gibson (trumpet)
Andy Morris (all instruments, programming, trumpet)
Lisa Stansfield (vocals)

01. This Is The Right Time 4.32
02. Mighty Love 5.12
03. Sincerity 4.49
04. The Love In Me 5.02
05. All Around The World 4.30
06. What Did I Do To You? 4.51
07. Live Together 6.11
08. You Can’t Deny It 5.31
09. Poison 4.19
10. When Are You Coming Back? 5.16
11. Affection 5.43
12. Wake Up Baby 3.55
13. The Way You Want It 5.04

All songs written by Andy Morris – Ian  Devaney – Lisa Stansfield


The Blues Brothers Band – Live At Montreux Casino (1997)

FrontCover1 After John Belushi’s death in 1982, many assumed that they had heard the last of the Blues Brothers. While it seemed that way during the period immediately following Belushi’s passing, by the end of the decade, most of the group (including such notables as Matt “Guitar” Murphy, Steve “The Colonel” Cropper, Donald “Duck” Dunn, Lou “Blue Lou” Marini, Tom “Bones” Malone, and Alan “Mr. Fabulous” Rubin) was raring to go once more. One major hurdle remained, however — who would supply the vocals? With Belushi obviously out of the running, Dan Aykroyd decided for one reason or another not to partake when the group landed a one-off gig at the Montreux Casino on July 12, 1989. Hence, replacement frontmen were lined up — Eddie Floyd (best known for the hit “Knock On Wood”) and Larry Thurston (who previously was a vocalist in Matt “Guitar” Murphy’s band). Additionally, a set list was compiled of such favorites as “Soul Man” and “Sweet Home Chicago,” as well as a handful of tracks never performed before by the band. And while there’s no denying the greatness of the players (anytime two original members of the legendary Booker T. & the MG’s are present, how bad could it be?), the whole attraction of the Blues Brothers was having Belushi and Aykroyd doing their shtick at the front of the stage. Not horrible, but what’s the point without Elwood and Jake? (by Greg Prato)

I don´t agree with this review … you can a powerful set of soul classics from the 60´s, played by fantastis musicians …It was a night, the legends came out to play!

Steve “The Colonel” Cropper (guitar)
Donald “Duck” Dunn (bass)
Anton Fig (rums)
Eddie Floyd (vocals)
Tom Malone (trombone)
Lou “Blue Lou” Marini (saxophone)
Matt “Guitar” Murphy (guitar)
Alan “Mr. Fabulous” Rubin (rumpet)
Larry Thurston (vocals)

01. Hold On I’m Comin’ (Hayes/Porter) 3.07
02. In the Midnight Hour (Pickett) 2.52
03. She Caught The Katy (Mahall/Ratchell) 3.51
04. The Thrill is Gone (Hawkins/Darnell) 6.27
05. Can’t Turn You Loose (Redding) 3.20
06. Sweet Home Chicago (Johnson) 6.55
07. Knock On Wood (Floyd/Cropper) 3.33
08. Raise Your Hand (Floyd/Cropper/Isebell) 2.35
09. Peter Gunn (Mancini) 4.58
10. Soulfinger (King/Jones/Cunningham/Cauley/Caldwell/Alexander) 3.25
11. Hey. Bartender (Dixon) 5.33
12. Soul Man (Hayes/Porter) 3.32
13. Everybody Needs Somebody to Love (Wexler/Burns/Burke) 3.47
14. Green Onions (Jones/Cropper/Steinberg/Jackson) 4.19



Boo Hewerdine & Darden Smith – Evidence (1989)

FrontCover1It’s criminal how overlooked this wonderful album has been in garnering the praise it deserves. Smith and Hewerdine, according to the narrative on the album’s label, were thrown together by record management types to collaborate on this work. (If you purchase this album, read the label. It gives an incredibly humorous account of the divergent viewpoints held by Smith and Hewerdine about the musicmaking process of “Evidence.”) In a total matter of weeks, they did all the composing and recording for “Evidence.” From the end result, you’d think at that point they had been friends and collaborators for years. There are some songs on this album that are best described as subtle masterpieces. For example, “First Chill of Winter” is a heartbreaking and beautiful piece, with the artists’ voices blending and building off each other in a seamless duet. The lyrics are also breathtaking: “I believe/I believe/I believe/…I just felt the first chill of winter/Was it you/Was it me/That let the coldness in?” “Evidence” is also a powerful song that perfectly captures the ironies and edginess of infidelity and betrayal: “We go dancing./Your eyes are always on the door…/Here comes the punchline right across the floor./He breaks in./We won’t be dancing anymore.” Not all of the songs on the album reach the heights of these two incredible numbers. However, if “First Chill of Winter” and “Evidence” are the two grand slams of the album, the rest of the work still pulls off an amazingly high ratio of home runs.

The EP from the “Evidence” album
JD Foster (bass)
Boo Hewerdine (vocals, guitar)
Sonny Landreth (guitar)
Paul Percy (drums, percussion)
Darden Smith (vocals, guitar)
Reese Wynans (keyboards)
Chris Birkett (percussion on 01.)
Martin Lascalles (keyboards on 03., 05., 08. + 10; synthesizer (bass) on 01., cymbales on 02.)
Syd Straw (background vocals on 04., 06. + 12.)

Alternate frontcover
01. All I Want (Is Everything) 2.55
02. Under The Darkest Moon 3.34
03. Reminds Me (A Little of You) 3.13
04. South By South-West 3.09
05. These Chains 2.41
06. The First Chill Of Winter 3.54
07. Out Of This World 3.09
08. Love Is A Strange Hotel 2.54
09. Evidence 3.51
10. Oil On The Water 3.43
11. Tell Me Why 5.01
12. Who, What, Where And Why?  4.40
13. A Town Called Blue 2.07

All songs written by Boo Hewerdine and Darden Smith

Tommy Flanagan – Jazz Poet (1989)

FrontCover1By the time of this recording, pianist Tommy Flanagan had been performing for decades — mostly as a sideman — for a who’s who of jazz: players such as Miles Davis, J.J. Johnson, and Sonny Rollins, to name a few. His perfect, yet unassuming style made him the pianist of choice for dozens of musicians. While he has recorded as a leader from time to time, this album may be the best representation of his work available. He performs a set of great tunes (“Caravan,” “Willow Weep for Me,” “St. Louis Blues,” “Lament,” and others) in a topflight trio, with George Mraz on bass and Kenny Washington on drums. Flanagan is at the peak of his powers. Never flashy, never showy, this is just outstanding music performed by a true master who is one of the great bop pianists of the 20th century. (by Steve Loewy)

Tommy Flanagan (piano)
George Mraz (bass)
Kenny Washington (drums)

01. Raincheck (Strayhorn) 4.59
02. Lament (Johnson) 5.09
03. Willow Weep For Me (Ronell) 6.04
04. Caravan (Tizol/Ellington) 6.24
05. That Tired Routine Called Love (Dennis) 6.49
06. Glad To Be Unhappy (Hart/Rodgers) 4.47
07. St. Louis Blues (Handy) 6.35
08. Mean Streets (Anthony/Flanagan/Roth/Van Halen/Van Halen) 4.13
09. I’m Old Fashioned (Kern) 5.43
10. Voce Abuso (Lins) 4.51


John Fahey – God,Time And Causality (1989)

FrontCover1John Fahey’s the missing link between Delta blues and new age acoustic enlightenment, with a broad stylistic range that also touches on indian ragas, the modal sound of Gregorian chants, dusty flamenco shadings and classical forms as well as Hawaiian and bottleneck pickings. The steel string superman has been at it for over 30 years now since starting Takoma records back in `59, and has continually enriched his style to incorporate a deeper sense of his Delta blues roots, taking his compositions beyond the standard pop framework to create breathtakingly picturesque mood-scapes ranging from somber and dark to finger-pickin’ ecstasy. God, Time And Causality is an all-instrumental record with several extended medleys (three over 11 minutes) that give the listener a front seat taxi ride through the unpaved backroads, shanty villages and enchanted forests that Fahey summons on his acoustic guitar. Fans of Ry Cooder’s soundtrack work, Leo Kotke, Jorma Kaukonen, Taj Mahal, Michael Hedges and Will Ackerman should dive into the guitar artistry of John Fahey, the man who’s been an influence on them all. Guaranteed to cool off even the most severe cases of hot foot this summer. (by CMJ New Music Report Issue,1990)

John Fahey (guitar)

01. Revelation (Patton) 3.47
02. The Red Pony (Fahey) 6.28
03. Lion (Hawkins) 6.38
04. Medley: Interlude / The Portland Cement Factory / Requiem For Mississippi John Hurt (Traditional/Fahey) 11.37
05. Medley: Snowflakes / Steamboat ‘Gwine Around The Bend / Death Of The Clayton Peacock / How Green Was My Valley (Traditional/Fahey) 11.46
06. Medley: Sandy On Earth / I’ll See You In My Dreams (Hawkins/Travis/Traditional/Fahey) 16.29


Giora Feidman – Clarinetango (1990)

FrontCover1Giora Feidman (born March 26, 1936) is an Argentine-born Israeli clarinetist who specializes in klezmer music.

Giora Feidman was born in Buenos Aires, Argentina, where his Bessarabian Jewish parents immigrated to escape persecution. Feidman comes from a family of klezmer musicians. His father, grandfather and great-grandfather made music for weddings, bar mitzvahs, and holiday celebrations in the shtetls of Eastern Europe. Feidman married Ora Bat-Chaim, his personal manager, in 1975.

Feidman began his career in Buenos Aires as a member of the Teatro Colón Symphony Orchestra. Two years later he immigrated to Israel to become the youngest clarinetist ever to play with the Israel Philharmonic Orchestra. He was a member of the orchestra for over 20 years. In the early 1970s he began his solo career. He has performed with the Berliner Symphoniker, the Kronos Quartet, the Polish Chamber Philarmonic, the Munich Chamber Philarmonic Orchestra, and the Munich Radio Orchestra. In 1974 the Israeli Philharmonic Orchestra commissioned composer Misha Segal to write a concerto for clarinet and orchestra for Giora Feidman. The one movement piece, which was based on an original Nigun, premiered that same year.

Movie director Steven Spielberg invited him to play the clarinet solos for the soundtrack of Schindler’s List, which won seven Academy Awards.

Feidman founded the “Clarinet and Klezmer in the Galilee” seminar and master class program, which takes place every year in Safed, Israel. (by wikipedia)

This is very special album by Giora Feidman. It was recorded with only 2 microphones to get a very realistic sound in the Rutgers Presbyterian Church, New York (1989)

And on this album you can hear more or less tango music only … a real highlight in the career of Gioa Feidman !

Giora Feidman (clarinet)
Jerr Israel (guitar)
Manny Katz (guitar)
Mark Minkler (bass)
Roberto Pansera (bandoneon)

01. La Cumparsita (Rodriguez) 2.43
02. Gracias a la Vida (Parra) 4.07
03. Lluvia de Estrellas (Maderna) 3.09
04. Mi Buenos Aires Querido (Gardel) 3.04
05. Don Ludwig (Pansera) 2.49
06. El Choclo (Villoldo) 2.51
07. Palomita Blanca (Aieta) 2.29
08. Fuga e Misterio (Piazzolla) 2.10
09. Uno (Mores) 3.09
10. Guitarra Romana ( 2:18 )
11. Clarinetango (Pansera) 3.37
12. Alfonsina y el Mar (Ramirez ) 4.17
13. Hernando´s Hideaway (Adler) 2.24
14. Es Dia que me Quieras (Gardel) 3.15
15. Adios Nonino (Piazzolla) 3.29
16. Hamabe-no Uta (Narita) 3.08
17. A Media Luz (Donato) 3.24
18. Chiquilin de Bach´in (Piazzolla) 4.34
19. Taquito Militar (Mores) 2.39


Gerald Garcia – Latin American Guitar Festival (1990)

FrontCover1I will start this “new” blog with a fantastic piece of guitar music by Gerald Garcia:

Gerald Garcia (born 1949 in Hong Kong) is a classical guitarist and composer.

After studying chemistry at Oxford University, he became a professional musician, making his debut at the Wigmore Hall in London. His more than fifteen CDs have sold more than 30,000 copies worldwide. In addition, he has performed with other musicians including John Williams, Paco Peña and John Renbourn.

Garcia is also known as a composer, particularly for his Etudes Esquisses for guitar, GeraldGarciarecorded for Naxos Records by John Holmquist. He is musical director of the National Youth Guitar Ensemble.

Gerald Garcia lives in Oxford, where, according to his website, he enjoys “cooking, computer music, Taoist Yoga and conducting the odd chamber orchestra.”

Some quotes about this album:
Although I didn’t enjoy this disc quite as much as Garcia’s “Brazilian Festival”, I thought it was a fine recording that opened up to me new areas of repertoire at a price that I couldn’t resist. I’m not a guitarist and cannot really comment on Garcia’s achievement as a musician, but the whole came across to me as a layman as perfectly convincing. Listen especially to Piazolla’s Cinco Piezas, and there to “Acentuado”! But the Lauro, the Brouwer and the rest are definitely not to be despised either. The recording quality (made at Tonstudio van Geest in Heidelberg, Germany, 1989) is excellent, with none of the “early Naxos” problems sometimes encountered. If you are out for some relaxing, interesting guitar music, this could be for you. (by Leslie Richford)

Excellent interpretation of some famous pieces by A.Lauro.
I also warmly recommend the marvelous early composition by Brouwer, the suite No. 2 in D. (by Leslie Richford)

Listen to this wonderful album !

Gerald Garcia (guitar)


Antonio Lauro:
01. Maria Luisa  2.32
02. Canciòn De Cuna 1.19
03. Joropo 1.49

Jorge Morel:
04. Prelude (For Olga) 2.28
05. Danza Brasileira 2.15

Jorge Cardoso:
06. Milonga 4.09

Antonio Lauro:
07. Cororá 1.58
08. Natalia 1.50

E. Grenet (arranged by  L. Brouwer):
09. Drume Negrita     3:01

Leo Brouwer – Suite In D:
10. Preludio 2.58
11. Allegro Buriesco 1.31
12. Andantino 2.06

Heráclio Fernandez (arranged by. A. Diaz):
13.  El Diablo Duelto 2.57

Antonio Lauro:
14. Nelly 3.25

Heráclio Fernandez:
15. Alfonsina Y El Mar 4.46

Astor Plazzolla – Cinco Plezas:
16. Campero 4.36
17. Romántico 5.02
18. Acentuado 3.42
19. Tristón 4.13
20. Compadre 3.03
21. Tristón 4.13