Philharmonia Baroque Orchestra (Nicholas McGegan) – Concerti Grossi, Op. 6, Nos. 7-12 8 (Corelli) (1990)

FrontCover1The Philharmonia Baroque Orchestra (PBO) is an American orchestra based in San Francisco. PBO is dedicated to historically informed performance of Baroque, Classical and Romantic music on original instruments. The orchestra performs its subscription series in the following cities and venues:

San Francisco: Herbst Theatre
Berkeley: First Congregational Church of Berkeley
Stanford: Bing Concert Hall
Palo Alto: First United Methodist Church

Laurette Goldberg, a harpsichordist, teacher, and pupil of Gustav Leonhardt, founded the PBO in 1981. She stood down as the ensemble’s music director in 1985 and chose Nicholas McGegan as her successor. McGegan served as PBO music director from 1985 through 2020. During McGegan’s tenure, the Philharmonia Chorale was established in 1995 as the affiliated chorus with the PBO, under the direction of Bruce Lamott. McGegan now has the title of music director laureate with the PBO.

Philharmonia Baroque Orchestra02

In 2012, Richard Egarr first guest-conducted the PBO. Following two additional guest appearances, in January 2019, the PBO announced the appointment of Egarr as its next Music Director, with an initial contract of 5 years. The original intention was for Egarr to serve as music director designate for the 2020-2021 season, and then to take the title of music director with the 2021-2022 season.[3] In the wake of the COVID-19 pandemic, the PBO reconfigured its 2020-2021 season into a virtual season, and announced the advent of Egarr as its music director effective 1 July 2020, one season earlier than originally planned.

Nicholas McGegan

The PBO has collaborated with such arts organisations as Cal Performances, the Centre de Musique Baroque de Versailles, and the New York Baroque Dance Company in the fully staged, modern-day premiere of Rameau’s Le Temple de la Gloire in April 2017. PBO regularly partners with the Mark Morris Dance Group.

The PBO has commercially recorded for such labels as Harmonia Mundi, Reference Recordings and BMG and Avie. The ensemble initiated its own label, Philharmonia Baroque Productions, in 2011. On radio, the PBO has been regularly featured on KDFC-FM. (wikipedia)

Philharmonia Baroque Orchestra01

And here they perform an important concert work by Arcangelo Corelli

Arcangelo Corelli (17 February 1653 – 8 January 1713) was an Italian composer and violinist of the Baroque era. His music was key in the development of the modern genres of sonata and concerto, in establishing the preeminence of the violin, and as the first coalescing of modern tonality and functional harmony.

Engraving of a bust of Corelli from the title page of
his Twelve Concerti Grossi, Op.6 (pub. 1714):
Arcangelo Corelli02

He was trained in Bologna and Rome, and in this city he developed most of his career, due also to the protection of great patrons. Even if his entire production is limited to just six collections of published works — five of which are composed of Trio Sonatas or solo and one by Concerti grossi — he achieved great fame and success throughout Europe, also crystallizing models of wide influence.

His writing was admired for its balance, refinement, sumptuous and original harmonies, for the richness of the textures, for the majestic effect of the theatricality and for its clear, expressive and melodious polyphony, a perfect quality of classical ideals, although belonging to the baroque epoch and often employing resources typical of this school, such as the exploration of dynamic and expressive contrasts, but always tempered by a great sense of moderation. He was the first to fully apply, with an expressive and structuring purpose, the new tonal system, consolidated after at least two hundred years of experimentation.

Arcangelo Corelli03

As a virtuoso violinist he was considered one of the greatest of his generation and contributed, thanks to the development of modern playing techniques and to his many disciples scattered throughout Europe, to place the violin among the most prestigious solo instruments and was also a significant figure in the evolution of the traditional orchestra.

A dominant figure in Roman musical life and internationally highly regarded, he was desired by many courts and was included in the most prestigious artistic and intellectual society of his time, the Pontifical Academy of Arcadia. He was known in his time as “the new Orpheus”, “the prince of musicians” and other similar adjectives, great folklore was generated around his figure and his fame did not diminish after his death. Even today his work is the subject of a voluminous critical bibliography and his sonatas are still widely used in musical academies as didactic material as well as pieces capable of affirming themselves in today’s concert repertoire. His position in the history of Western music is considered crucial, being recognized as one of the greatest masters at the turn of the XVII and XVIII century, as well as one of the earliest and greatest classicists. (wikipedia)

Arcangelo Corelli01Twelve concerti grossi, Op. 6, is a collection of twelve concerti written by Arcangelo Corelli probably in the 1680s but not prepared for publication until 1714. They are among the finest and first examples of concerti grossi: concertos for a concertino group (here a 1st violin, a 2nd violin and a cello) and a ripieno group of strings with continuo.

Their publication – decades after their composition and after Italian composers had moved to favor the ritornello concerto form associated with Vivaldi – caused waves of concerto grosso writing in Germany and England, where in 1739 Georg Frideric Handel honored Corelli directly with his own “Opus 6” collection of twelve. (wikipedia)

NotesThis album is really fantastic. The performance, the sound, the music is really beautiful. The Philharmonia Baroque Orchestra conducted by Nicholas McGegan is magnific. Simply bravo! (Manuel Carranza Cueto)





Concerto No. VII In D Major:
01 Vivace-Allegro-Adagio 1.56
02 Allegro 1.57
03 Andante Largo 1.54
04 Allegro 1.02
05 Vivace 1.02

Concerto No. VIII In G Minor (“Christmas Concerto”);
06 Vivace-Grave. Arcate sostenuto e come stà 1.12
07 Allegro 2.13
08 Adagio-Allegro-Adagio 2.43
09.  Vivace 0.54
10. Allegro 2.13
11. Pastorale ad libitum: Lagro 2.47

Concerto No. IX In F Major:
12 Preludio: Largo 1.12
13 Allemanda: Allegro 2.28
14 Corrente: Vivace 1.30
15 Gavotta: Allegro 0.45
16 Adagio 0.26
17 Minuetto: Vivace 1.37

Concerto No. X In C Major:
18 Preludio: Andante Largo 1.42
19 Allemanda: Allegro 2.08
20 Adagio 0.36
21 Corrente: Vivace 2.27
22 Allegro 2.29
23 Minuetto: Vivace 1.40

Concerto No. XI In B flat Major:
24 Preludio: Andante Largo 2.04
25 Allemanda: Allegro 2.17
26 Adagio-Andante Largo 1.37
27 Sarabana: Largo 0.50
28 Giga: Vivace 1.11

Concerto No. XII In F Major:
29 Preludio: Adagio 1.42
30 Allegro 2.20
31 Adagio 1.14
32 Sarabanda: Vivace 0.53
33 Giga: Allegro 2.54

Music: Arcangelo Corelli



Liner Notes

The official website:

Leonard Bernstein & The Boston Symphony Orchestra – The Final Concert (1992)

.FrontCover1Leonard Bernstein ( August 25, 1918 – October 14, 1990) was an American conductor, composer, pianist, music educator, author, and humanitarian. Considered to be one of the most important conductors of his time, he was the first American conductor to receive international acclaim. According to music critic Donal Henahan, he was “one of the most prodigiously talented and successful musicians in American history”. Bernstein was the recipient of many honors, including seven Emmy Awards, two Tony Awards, sixteen Grammy Awards including the Lifetime Achievement Award, and the Kennedy Center Honor.

Leonard Bernstein01

As a composer he wrote in many genres, including symphonic and orchestral music, ballet, film and theatre music, choral works, opera, chamber music and works for the piano. His best-known work is the Broadway musical West Side Story, which continues to be regularly performed worldwide, and has been adapted into two (1961 and 2021) feature films. His works include three symphonies, Chichester Psalms, Serenade after Plato’s “Symposium”, the original score for the film On the Waterfront, and theater works including On the Town, Wonderful Town, Candide, and his MASS.

Leonard Bernstein07

Bernstein was the first American-born conductor to lead a major American symphony orchestra. He was music director of the New York Philharmonic and conducted the world’s major orchestras, generating a significant legacy of audio and video recordings. He was also a critical figure in the modern revival of the music of Gustav Mahler, in whose music he was most passionately interested. A skilled pianist, he often conducted piano concertos from the keyboard. He was the first conductor to share and explore music on television with a mass audience. Through dozens of national and international broadcasts, including the Emmy Award–winning Young People’s Concerts with the New York Philharmonic, he made even the most rigorous elements of classical music an adventure in which everyone could join. Through his educational efforts, including several books and the creation of two major international music festivals, he influenced several generations of young musicians.

Leonard Bernstein08

A lifelong humanitarian, Bernstein worked in support of civil rights; protested against the Vietnam War; advocated nuclear disarmament; raised money for HIV/AIDS research and awareness; and engaged in multiple international initiatives for human rights and world peace. Near the end of his life, he conducted an historic performance of Beethoven’s Symphony No. 9 in Berlin to celebrate the fall of the Berlin Wall. The concert was televised live, worldwide, on Christmas Day, 1989 (wikipedia)

Leonard Bernstein03

While for obvious reasons this wasn’t billed as ”The Final Concert” at the time, there must have been quite a few members of the Tanglewood audience who realized what was happening. In places Tim Page’s notes read like a horror story: the fatally ill Bernstein ”cautious, reined-in, measuring his every motion with gravity and care”, nearly breaking down in the Beethoven, and conducting most of the scherzo ”leaning against the back of the podium, gasping for breath.” I’m glad I wasn’t there.

Leonard Bernstein05

Painful as all this detail is though, it doesn’t really have much bearing on the central question: what kind of performances are these? In the case of the Four Sea Interludes the answer is, decidedly odd. There’s a strong emotional current running through much of this, but it clogs in too many places, especially in the heavy slurring and dogged tempos of most of ”Storm”—a clear case of emotional overload. The big brass groundswell in ”Dawn” is impressive—as though Britten has (uncharacteristically) been taking lessons from Sibelius—but the similar massive cresendo towards the end of ”Sunday Morning” is out of scale: bell sounds more appropriate to Mussorgsky’s Kremlin than to Britten’s tiny Suffolk fishing village.

Leonard Bernstein06As for the Beethoven—well, in spite of what Page tells us I find it quite impressive. Tempos can be on the deliberate side, sound can be overbearing (the recording gives the timpani a fuzzy edge), but there’s surprisingly little pulling-about of pulse, and the expression—more contained than in a normal Lenny performance—has warmth and fluency. The finale, on the other hand, is a struggle in the positive sense (I emphasize that I made my notes before reading the booklet). The huge timpani crescendos aren’t to my taste, but there’s no denying the feeling behind them, or the will within the heroic tonal stuggle of the coda. It doesn’t all work: going through trio repeats both times at Bernstein’s portentous tread is a bit of an ordeal (what it must have been for Bernstein himself defies speculation). I certainly wouldn’t put it at, or even near the top of any list of recommended Sevenths. But I am glad I heard it. Even in such appalling circumstances, Leonard Bernstein was still capable of enriching our understanding of Beethoven. (

Recorded live at Tanglewood, Lenox, Massachusetts./USA , August 19, 1990


Boston Symphony Orchestra conducted by Leonard Bernstein



Benjamin Britten: Four Sea Interludes From The Opera “Peter Grimes” Op. 33:
01. Dawn 3.41
02. Sunday Morning 4.01
03. Moonlight 5.00
04. Storm 5.32

Ludwig van Beethoven: Symphony No. 7 Op. 92:
05. Poco Sostenuto – Vivace 16.17
06. Allegretto 9.47
07. Presto 10.25
08. Allegro Con Brio 8.39



Leonard Bernstein02

More from Leonard Bernstein:

The official website:

Leonard Bernstein04

Faith No More – (You Fat Bastards)- Live At The Brixton Academy (1991)

LPFrontCover1Faith No More is an American rock band from San Francisco, California, formed in 1979.[ Before settling on the current name in July 1983, the band performed under the names Sharp Young Men and later Faith No Man. Bassist Billy Gould, keyboardist/rhythm guitarist Roddy Bottum and drummer Mike Bordin are the longest-remaining members of the band, having been involved since its inception. The band underwent several early lineup changes, and some major changes later. The current lineup of Faith No More consists of Gould, Bordin, Bottum, lead guitarist Jon Hudson, and vocalist/lyricist Mike Patton.

Faith No More01

After releasing six studio albums, including best-selling records The Real Thing (1989) and Angel Dust (1992), Faith No More officially announced its breakup on April 20, 1998. The band has since reunited, conducting The Second Coming Tour between 2009 and 2010, and releasing its seventh studio album, Sol Invictus, in May 2015. After the touring cycle of Sol Invictus, Faith No More went on hiatus once again. In November 2019, the band announced that it would reunite to embark on a 2020 UK and European tour, but due to the COVID-19 pandemic, this was postponed. Touring was due to recommence with a brief US tour in September 2021, followed by the previously postponed UK and Europe dates in June 2022, but all tour dates were cancelled with Patton citing mental health reasons.

Faith No More02

You Fat Bastards: Live at the Brixton Academy is the only officially released live album by Faith No More. It was recorded by William Shapland on April 28, 1990 in the Brixton Academy, London during the tour supporting their third studio album The Real Thing. It was released on August 20, 1990 internationally and as an audio only version, under the name of Live at the Brixton Academy, in the United Kingdom on February 4, 1991 with two bonus tracks from The Real Thing sessions. The bonus tracks “The Grade” and “The Cowboy Song” were previously released on the “From Out of Nowhere” 12″ single but were added to this compilation in order for them to be available on CD. As a result, they do not appear on the vinyl release of Live at Brixton Academy. The performance of the Black Sabbath song “War Pigs” was later included on the 1994 Black Sabbath tribute compilation Nativity in Black, making it the album’s only live track. The reason for including this version, instead of the studio version from The Real Thing album, is unclear.

The video version was later released on a 2-disc DVD set with the video compilation Who Cares a Lot?. (wikipedia)

Video review:
Video Review

Recorded live on April 28, 1990 at London’s Brixton Academy, You Fat B**tards (the title taken from a joking stage rant from vocalist Mike Patton at a previous U.K. concert), captures Faith No More just as their album The Real Thing and single “Epic” started to become worldwide hits. While the hour-long video shows that Patton was still finding his vocal style (he relies on a nasal-like whine too often), and his stage persona was comparable to a bratty child (obviously poking fun at the larger-than-life and far too serious metal acts of the late-80’s/early-90’s), the band as a whole offers a thoroughly inspired performance.

Faith No More03

The large crowd shows their appreciation by going wild throughout, as FNM blasts out such favs as “From Out of Nowhere,” “Falling To Pieces,” “We Care A Lot,” the psychedelic instrumental “Woodpecker From Mars,” and the moody extended compositions “The Real Thing” and “Zombie Eaters.” Also featured is their aforementioned breakthrough hit “Epic,” as well as the pop rockers “Underwater Love” and “Edge of the World,” the early track “As the Worm Turns,” and the set-closing cover of Black Sabbath’s “War Pigs,” during which Patton fakes barfing fake blood and passing out – while eventually climbing a lighting truss. An interesting and worthwhile glimpse into the unpredictability of a Faith No More show. (by Greg Prato)

And “The Grade” is a wonderful acoustic ballad… !


Mike Bordin (drums)
Roddy Bottum (keyboards)
Billy Gould (bass)
Jim Martin (guitar)
Mike Patton (vocals)


01. Falling To Pieces (Mike Bordin/Bottum/Gould/Martin/Patton) 4:47
02. The Real Thing (Mike Bordin/Bottum/Gould/Martin/Patton) 7.53
03. Epic (Mike Bordin/Bottum/Gould/Martin/Patton) 4.54
04. War Pigs (Iommi/Osbourne/Butler/Ward) 6.57
05. From Out Of Nowhere (Mike Bordin/Bottum/Gould/Martin/Patton) 3.24
06. We Care A Lot (Mike Bordin/Bottum/Gould/Martin/Patton)3.50
07. Zombie Eaters (Mike Bordin/Bottum/Gould/Martin/Patton) 6.05
08. Edge Of The World (Mike Bordin/Bottum/Gould/Martin/Patton) 5.49
+ (CD version)
09. The Grade (Mike Bordin/Bottum/Gould/Martin/Patton) 2.05
10. The Cowboy Song (Mike Bordin/Bottum/Gould/Martin/Patton) 5.12



The official website:

Bruce Hornsby & The Range – A Night On The Town (1990)

FrontCover1Bruce Randall Hornsby (born November 23, 1954) is an American singer-songwriter and pianist. He draws from folk rock, jazz, bluegrass, folk, southern rock, country rock, jam band, rock, heartland rock, and blues rock musical traditions.

His recordings have been recognized with industry awards, including the 1987 Grammy Award for Best New Artist with Bruce Hornsby and the Range, the 1990 Grammy Award for Best Bluegrass Album, and the 1994 Grammy Award for Best Pop Instrumental Performance.

Bruce Hornsby03

Hornsby has worked with his touring band Bruce Hornsby and the Noisemakers, his bluegrass project with Ricky Skaggs, and as a session and guest musician. He was a touring member of the Grateful Dead from September 1990 to March 1992, playing over 100 shows during that period.

His 21st album, Absolute Zero, was released in April 2019 and features collaborations with Justin Vernon and Sean Carey of Bon Iver; Jack DeJohnette, Blake Mills, yMusic, The Staves, and Brad Cook.

Bruce Hornsby01

A Night on the Town was the third and final studio album by Bruce Hornsby and the Range. Following albums would be credited to Hornsby alone. A Night on the Town features Hornsby’s last significant hit single, “Across the River”, which spent one week at the top of the Billboard Album Rock Tracks chart and peaked at number 18 on the Billboard Hot 100. Bruce Hornsby chose Laurelle Brooks as the female lead in the music video for “Across the River”.. (wikipedia)

Bruce Hornsby02

Bruce Hornsby’s hardest-rocking album, A Night on the Town announces that he is heading into a different direction in its first few notes. John Mellencamp’s producer Don Gehman gives the sound, especially John Molo’s drums, a feel reminiscent of Mellencamp’s best work. The material here is among Hornsby’s best, and guest players include Jerry Garcia, tenor saxman Wayne Shorter, banjo virtuoso Béla Fleck, vocalist Shawn Colvin (before she was known), and jazz bass legend Charlie Haden. The arrangements still include the mix of synthesized and real percussion, and the trademark piano licks are sprinkled abundantly throughout, but the overall feel is much more rock & roll than anything before or since. The songs are great, with a political edge to “Fire on the Cross” and “Barren Ground.”

Jerry Garcia & Bruce Hornsby

The latter features Garcia’s lead guitar, the former a fine Shorter sax solo. “Stander on the Mountain” is a perceptive reflection on a former BMOC, straight out of Hornsby’s own attendance at a high school reunion, and “Lost Soul” is one of the most profound ballads he has composed, sung as a duet with Colvin. The single, “Across the River,” is a powerful look at the pursuit of one’s dreams in the face of local naysayers, and the subsequent return to one’s hometown with the resultant “I-told-you-so’s.” With A Night on the Town, Bruce Hornsby achieves a mix of mostly up-tempo rock music, adult lyrical themes, and crisp production values that has seldom been matched by other popular musicians of his generation. Though it only peaked at number 20 (his first two albums had reached the Top Five), it is an artistic high point. (Jim Newsom)


Bruce Hornsby (vocals, piano, synthesizer, accordion)
George Marinelli (guitar, mandolin, background vocals)
John Molo (drums)
Joe Puerta (bass, background vocals)
Shawn Colvin (vocals on 08.)
Béla Fleck (banjo on 03. + 04.)
Jerry Garcia (guitar on 04. + 05.)
Charlie Haden (bass on 07.)
David Mansfield (guitar on 06., violin on 07.)
Wayne Shorter (saxophone on 03.)
Jimmie Wood (harmonica on 06.)
background vocals:
Laura Creamer – Shaun Murphy – Shawn Colvin – Bridgette Bryant – David Lasley – Arnold McCuller – Fred White


01. A Night On The Town (B.Hornsby/J.Hornsby) 4.26
02. Carry The Water (B.Hornsby) 5.09
03. Fire On The Cross (B.Hornsby/J.Hornsby) 4.38
04. Barren Ground (B.Hornsby/J.Hornsby) 5.29
05. Across The River (B.Hornsby/J.Hornsby) 5.10
06. Stranded On Easy Street (B.Hornsby/J.Hornsby) 3.54
07. Stander On The Mountain (B.Hornsby) 6.09
08. Lost Soul (B.Hornsby) 5.45
09. Another Day (B.Hornsby) 4.24
10. Special Night (B.Hornsby) 4.11
11. These Arms Of Mine (B.Hornsby) 5.53



The official website:

Jan Garbarek – I Took Up The Runes (1990)

FrontCover1Jan Garbarek (born 4 March 1947) is a Norwegian jazz saxophonist, who is also active in classical music and world music.

Garbarek was born in Mysen, Norway, the only child of a former Polish prisoner of war, Czesław Garbarek, and a Norwegian farmer’s daughter. He grew up in Oslo, stateless until the age of seven, as there was no automatic grant of citizenship in Norway at the time. When he was 21, he married Vigdis. He is the father of musician and composer Anja Garbarek.

Garbarek’s sound is one of the hallmarks of the ECM Records label, which has released virtually all of his recordings. His style incorporates a sharp-edged tone, long, keening, sustained notes, and generous use of silence. He began his recording career in the late 1960s, notably featuring on recordings by the American jazz composer George Russell (such as Electronic Sonata for Souls Loved by Nature). By 1973 he had turned his back on the harsh dissonances of avant-garde jazz, retaining only his tone from his previous approach. Garbarek gained wider recognition through his work with pianist Keith Jarrett’s European Quartet which released the albums Belonging (1974), My Song (1977) and the live recordings Personal Mountains (1979), and Nude Ants (1979). He was also a featured soloist on Jarrett’s orchestral works Luminessence (1974) and Arbour Zena (1975).

Jan Garbarek 1969

As a composer, Garbarek tends to draw heavily from Scandinavian folk melodies, a legacy of his Ayler influence. He is also a pioneer of ambient jazz composition, most notably on his 1976 album Dis a collaboration with guitarist Ralph Towner, that featured the distinctive sound of a wind harp on several tracks. This textural approach, which rejects traditional notions of thematic improvisation (best exemplified by Sonny Rollins) in favour of a style described by critics Richard Cook and Brian Morton as “sculptural in its impact”, has been critically divisive. Garbarek’s more meandering recordings are often labeled as new-age music, or spiritual ancestors thereof. Other experiments have included setting a collection of poems of Olav H. Hauge to music, with a single saxophone complementing a full mixed choir; this has led to notable performances with Grex Vocalis. In the 1980s, Garbarek’s music began to incorporate synthesizers and elements of world music. He has collaborated with Indian and Pakistani musicians such as Trilok Gurtu, Zakir Hussain, Hariprasad Chaurasia, and Bade Fateh Ali Khan. Garbarek is credited for composing original music for the 2000 film Kippur.


In 1994, during heightened popularity of Gregorian chant, his album Officium, a collaboration with early music vocal performers the Hilliard Ensemble, became one of ECM’s biggest-selling albums of all time, reaching the pop charts in several European countries and was followed by a sequel, Mnemosyne, in 1999. Officium Novum, another sequel album, was released in September 2010. In 2005, his album In Praise of Dreams was nominated for a Grammy Award. Garbarek’s first live album Dresden was released in 2009.

I Took Up the Runes is an album by Norwegian saxophonist Jan Garbarek released on the ECM label and performed by Garbarek, Rainer Brüninghaus, Eberhard Weber, Nana Vasconcelos, Manu Katché, and Bugge Wesseltoft with Ingor Ánte Áilo Gaup contributing vocals.


In a contemporaneous review, Jim Aikin described the album as a “hauntingly evocative Euro-jazz session” and identified the “Gula Gula” track as “especially memorable”. (wikipedia)


A more eclectic release than his preceding releases, Jan Garbarek’s I Took Up the Runes satisfies listeners who had been more or less impatient for something with some meat and some muscle. Opening with a jazzy cover of Mari Persen’s “Gula Gula,” made fuller with bass guitar accompaniment that modifies the chord structure of the whole tune, the album next features the five-part “Molde Canticle,” which spans from a dreamy esoteric sound to African folk music. Garbarek really wails in places, and it is a welcome surprise — he should wail more than he does. Synthesizer sounds are starting to become less prominent as well. There is excellent piano work by Rainer Brüninghaus and excellent vocalizing by guest artist Ingor Ántte Áilu Gaup. A sign of good things to come. (by Mark Allender)


Rainer Brüninghaus (piano)
Jan Garbarek (saxophone)
Ingor Ánte Áilo Gaup (voice)
Manu Katché (drums)
Nana Vasconcelos (percussion)
Eberhard Weber (bass)
Bugge Wesseltoft (synthesizer)


01. Gula Gula (Mari Persen) (Garbarek) 5.56
02. Molde Canticle: Part 1 (Garbarek) 5.12
03. Molde Canticle: Part 2 (Garbarek) 5.44
04. Molde Canticle: Part 3 (Garbarek) 9.54
05. Molde Canticle: Part 4 (Garbarek) 5.11
06. Molde Canticle: part 5 (Garbarek) 6.08
07. His Eyes Were Suns (Traditional) 6.05
08. I Took Up The Runes (Garbarek) 5.25
09. Buena Hora, Buenos Vientos (Garbarek) 9.01
10. Rahkki Sruvvis (Gaup) 2.23



More Jan Garbarek:


Natasha (Turner) – Same (1991)

FrontCover1Natasha Turner is a native New Yorker who has a very powerful, sharp vocal range, and her jazz/blues guitar playing is exceptional! Natasha opens with the Doc Pomus/Dr John classic ‘Nightbird’, this splendid song features a jazzy balance between Turner’s guitar licks and Joel Diamond’s organ chords. ‘Nothing At All’ is written by Turner and Diamond, and lyrically reminds me of ‘Lets Call The Whole Thing Off’ that Ella & Louis made famous. One of my favourite soul/jazz songs on Natasha is ‘Open Up The Door’ which features ‘Chesky Records’ Album Producer David Chesky on organ. ‘Open Up The Door’ is reminscient of Ray Charles’ and Percy Mayfield’s early recordings. ‘The Night Is A Hunter'(Pomus/Dr John) is a slow blues dialogue that Turner creates an imtimacy that draws you ever closer to her flame. ‘Just A Little Bit’ is a Roscoe Gordon R&B gem and it’s great to see it revived here. ‘Endless Game’ (Turner/Diamond) is jazzy. I’ve heard many bands record Nick Gravenites ‘Born In Chicago’, this version has to be one of the best; Teddy Erwin and Turner’s guitars absolutely soar! ‘Tell Me What You’re Gonna Do'(Pomus/Dr John) is strutting blues featuring Joel on piano. ‘Seven Angels’ is a brilliant Natasha Turner original, and she begins with a dialogue, then moves into some very catchy lyrics. ‘High Cost Of Loving'(Dr John/Duke Robillard) has a rockier edge to it. ‘Wrong Kind Of Man’ is another Turner original, and this leans heaverly to Charles/Mayfield influences. The coup de grace on Natasha is Jimmy Rogers’ ‘Walking By Myself’. Now this is an album that most people will not have heard about, least of all seen, yet it rates as one of my all time favourite R&B albums with jazzy/blues influences. Anyone who plays Doc Pomus/Dr John is alright by me. David Chesky made sure that Natasha(1991) was very well recorded, and Natasha Turner delivered with a fantastic band! (by Gazz)


Chesky Records was best known for jazz and classical in the early 1990s, but the New York label dabbled in New Orleans-influenced R&B, roots-rock and blues with this little-known CD by singer Natasha Turner (who simply went by Natasha). This isn’t strictly a blues album — most of the tunes don’t have a 12-bar blues structure — but because it’s so rootsy and down-home, it ended up being placed in blues bins. And, to be sure, you’ll find a lot of blues feeling on such earthy offerings as “Open Up the Door,” “Wrong Kind of Man” (which Natasha wrote herself), and the Doc Pomus/Dr. John compositions “Tell Me What You’re Gonna Do,” “Nightbird” and “The Night Is a Hunter.” Although its New Orleans influence is hard to miss, this CD was recorded in New York — not the Crescent City — and was produced by Chesky Records founder David Chesky. This isn’t a fantastic album, but it’s competent and satisfying. (by Alex Henderson)


Richard Crooks (drums)
Joel Diamond (keyboards)
Teddy Erwin (guitar)
Natasha Turner (vocals, guitar)
Stu Woods (bass)
David Chesky (organ)


01. Nightbird (Pomus/Mac Rebennack) 3.48
02. Nothing At All (Diamond/Turner) 3.53
03. Open Up The Door (Diamond/Wynters) 3.49
04. The Night Is A Hunter (Pomus/Mac Rebennack) 5.58
05. Just A Little Bit (Gordon) 2.49
06.  Endless Game (Diamond/Turner) 5.33
07. Born In Chicago (Gravenites) 7.10
08. Tell Me What You’re Gonna Do (Pomus/Mac Rebennack) 3.11
09. Seven Angels (Rodgers/Turner) 5.49
10. High Cost Of Loving (Pomus/Robillard) 4.12
11. Wrong Kind Of Man (Turner) 3.34
12. Walking By Myself (Lane/Rogers) 4.30




Van Morrison – Live With The Danish Radio Big Band (Barbican Center London) (1990)

FrontCover1Sir George Ivan “Van” Morrison OBE (born 31 August 1945) is a Northern Irish singer-songwriter, instrumentalist and record producer. His professional career began as a teenager in the late 1950s, playing a variety of instruments including guitar, harmonica, keyboards and saxophone for various Irish showbands, covering the popular hits of that time. Van Morrison rose to prominence in the mid-1960s as the lead singer of the Northern Irish R&B band, Them, with whom he recorded the garage band classic “Gloria”. His solo career began in 1967, under the pop-hit orientated guidance of Bert Berns with the release of the hit single “Brown Eyed Girl”. After Berns’s death, Warner Bros. Records bought out his contract and allowed him three sessions to record Astral Weeks (1968). Though this album gradually garnered high praise, it was initially a poor seller.

Morrison has a reputation for being at once stubborn, idiosyncratic, and sublime. His live performances at their best are seen as transcendental and inspired; while some of his recordings, such as the studio albums Astral Weeks and Moondance, and the live album It’s Too Late to Stop Now, are highly acclaimed.

Moondance (1970) established Morrison as a major artist, and he built on his reputation throughout the 1970s with a series of acclaimed albums and live performances. He continues to record and tour, producing albums and live performances that sell well and are generally warmly received, sometimes collaborating with other artists, such as Georgie Fame and The Chieftains.

Much of Morrison’s music is structured around the conventions of soul music and R&B, such as the popular singles “Brown Eyed Girl”, “Jackie Wilson Said (I’m in Heaven When You Smile)”, “Domino” and “Wild Night”. An equal part of his catalogue consists of lengthy, loosely connected, spiritually inspired musical journeys that show the influence of Celtic tradition, jazz and stream-of-consciousness narrative, such as the album Astral Weeks and the lesser known Veedon Fleece and Common One.


The two strains together are sometimes referred to as “Celtic soul”. He has received two Grammy Awards, the 1994 Brit Award for Outstanding Contribution to Music, the 2017 Americana Music Lifetime Achievement Award for Songwriting and has been inducted into both the Rock and Roll Hall of Fame and the Songwriters Hall of Fame. In 2016, he was knighted for services to the music industry and to tourism in Northern Ireland. He is known by the nickname Van the Man to his fans. (by wikipedia)

And Van Morrison worked many times with The Danish Radio Big Band (see here)

And here´s another fine example, a nearly perfect bootleg (excellent broandcast reording) … what a wonderful night … what a brilliant combination !

… what a great addition to every Van Morrison collection … it´s a must to have !

Bit: This is the worst cover art for a Van Morrison I have ever seen !!!


Van Morrison (vocals, guitar on 05. – 15.)
The Danish Radio Big Band:
Jørgen Emborg (keybords)
Lennart Gruvstedt (drums)
Bjarne Roupé (guitar)
Mads Vinding (bass)
Ethan Weisgard (percussion)
saxophone, flute, clarinet:
Jesper Thilo – Jan zum Vohrde – Uffe Kraskov – Bent Jædig
trumpet, flugelhorn:
Benny Rosenfeldt – Jens Winther – Lars Togeby – Palle Bolvig – Perry Knudsen
Jens Engel – Axel Windfeld – Steen Hansen – Ture Larsen – Vincent Nilsson
Georgie Fame (organ on 11. – 14.)



The Danish Radio Big Band:
01. Basically Yours (Jones) 2.56
02. Introduction + Aura (Holdman) 6.01
03. Tiptoe (Jones) 7.44
04. Wild Bill (Pitts) 6.49

Van Morrison & The Danish Radio Big Band:
05. I Will Be There (Morrison) 2.51
06. Here Comes The Knight (Morrison) 3.26
07. Haunts Of Ancient Peace (Morrison) 4.12
08. Celtic Swing (Morrison) 5.00
09. Got To Go Back (Morrison) 5.07
10. A New Kind Of Man (Morrison) 3.15
11. Listen To The Lion (Morrison) 5.04
12. Vanlose Stairway (Morrison) 4.25
13. I`d Love To Write Another Song (Morrison) 2.44
14. Orangefield (Morrison) 4.00
15. Whenever God Shines His Light (Morrison) 4.09

The Danish Radio Big Band:
16. To You (Jones) 4.27
17. Van Morrison Live With The Danish Radio Big Band (Barbican Center London) (uncut edition) 1.17.45

I got this concert many, many years ago as a tape:




More Van Morrison:

Quaterna Réquiem – Velha Gravura (1990)

FrontCover1.jpgThe story of QUATERNA REQUIEM goes back to the late 80’s in Brazil, when classically trained brothers Elisa Wiermann (piano, harpsichord, organ) and Claudio Dantes (Percussion), decide to blend their two passions (Classical Music and Rock) , the name of the band (Latin for “The other four”) was a reference to the other members of the original formation.

Their first album called Velha Gravura (Ancient Engraving) was released by a quintet formed by the two founders and complemented by Jones Júnior (guitars), Marco Lauria (Bass) and violinist Kleber Vogel. The result is a carefully crafted fusion between Prog Rock, camera Music and a hint of jazz, with a special flavor provided by the dramatic violin of Vogel.

After an extended tour through Brazil, Kleber Vogel, Marco Lauria and Jones Junior leave the band and are replaced by guitarist Roberto Crivano and Fábio Fernandez (bass guitar and lute) and a Benedictine Monk with whom Elisa had worked, the band released “Quasimodo” (1994), where the title song (39 minutes Suite) is a complete work by Elisa based in Victor Hugo´s novel Our Lady of Paris. Due to the absence of virtuoso violinist Kleber Vogel, the sound gets more oriented towards keyboards.

Quaterna Réquiem01

After a long sabbatical, the band reunites to launch a new CD called “A Mão Livre” (A Free Hand) under the moniker WIERMANN & VOGEL, but we know it’s QUATERNA REQUIEM because Claudio Dantes, Marco Laurias and Roberto Crivano appear in the record. Despite the new band name, the album is musically closer to the debut due to the formation and the fact that Vogel’s violin is of huge importance.

Some of us believed that the story was over, but again under the original band name, the group released “O Arquiteto” with the final eponymous suite dedicated to notable architects as Bramante, Gaudi and Niemeyer among others. A good effort, even when slightly less satisfying to the previous.

That’s QUATERNA REQUIEM story so far, but only time will tell, because I believe they still have a lot to offer. (by Iván Melgar-Morey)

Quaterna Réquiem02

Quaterna Réquiem’s debut album “Velha Gravura” is an exhibition of compellingly beautiful musical pictures, mostly conceived under a symphonic drive, but leaving room for a varied array of folkish sorts and some jazz rock leanings. As points of reference I can mention ‘Snow Goose’ Camel, ‘W&W’-era Genesis and The Enid, but I think it is fair to point out that this quintet manages to create and convey their own signature sound in the general context of vintage symphonic tradition. Since I regard QR as my all-time favourite Brazilian prog act, it may come as no wonder that I am so in awe with each piece contained in the album’s tracklist. My only objection is a formal (not substantial) one: the opening number should not have been ‘Ramoniana’, since it is not precisely indicative of the overall symphonic pomp and circumstance that expands all throughout the entire remaining repertoire. But now that I mention it, let me tell you that this Creole folk based number is so beautiful, that all in all, I can’t help but enjoy it regardless of the location it is in. That interplay between acoustic guitar and flute (the latter played by a guest), with a violin and an oboe intruding softly in order to add some ceremonious colours, and that high spirited coda that fills the last minute and a half, all these things are simply irresistible.

Quaterna Réquiem03.jpg

The band’s caliber comes to the fore in full exposure in tracks 2, 3 and 6, which IMHO are the most notable numbers in the repertoire: ‘Aquartha’ and ‘Toccata’ are intense and complex, while keeping an appealing, clear sense of melodic sensibility; the namesake number incarnates a perfect balance between orchestral majesty and rock driven punch. ‘Tempestade’ and ‘Madrugada’ find the band sliding along the calmer side of things: the former is serene, something like a contemplation, and the latter is more notoriously introspective, as a reflection that revolves around the mysteries of the inner self. The colourful splendour of ‘Toccata’ lights things up at the end of the record’s official repertoire. The last 2 numbers in the CD tracklist are bonus tracks, very much in the vein of tracks 2, 4 and 6: had they been developed further and arranged with a major dose of symphonic magnificence, each one might have overshadowed some of the official tracks. Since even the bonus tracks in this CD are so good, my rating must indicate “Velha Gravura” as an excellent addition to any good prog collectio (by Cesar Inca)

Oh yes … such a superb progrock album !



Cláudio Dantas (drums, percussion)
Marco Lauria (bass)
Roberto Meyer (flute)
Jones Júnior (guitar, violin)
Adauro Vilarinho (oboe)
Kleber Vogel (violin)
Elisa Wiermann (piano, synthesizer)

01. Ramoniana (Júnior) 6.23
02. Aquartha (Wiermann) 5.06
03. Velha Gravura (Wiermann) 12.16
04. Tempestade (Wiermann) 7.19
05. Madrugada (Wiermann) 10.35
06. Toccata (Wiermann) 6.03
07. Carceres (Wiermann) 3.54
08. Elegia (Vogel) 4.48



Ludwig Güttler + Virtuosi Saxoniae – JS Bach Orchestral Suites (2014)

FrontCover1.jpgLudwig Güttler (born 13 June 1943) is an internationally known German virtuoso on the Baroque trumpet, the piccolo trumpet and the corno da caccia. As a conductor, he founded several ensembles including the chamber orchestra Virtuosi Saxoniae. His name is sometimes written in English as Ludwig Guttler.

He received a number of awards including Discovery of the Year in 1983, and Frankfurt’s Musikpreis for extraordinary achievements in 1989. He was a founding member of the Rheingau Musik Festival and has appeared regularly since the first season in 1988.

As head of the society of the Dresdner Frauenkirche, Ludwig Güttler promoted the reconstruction of this famous Baroque church, which was destroyed during World War II and was rebuilt in 1994–2004. In recognition of these contributions, Queen Elizabeth II appointed him Officer of the Order of the British Empire (OBE) in November 2007.

Güttler was born in 1943 in Sosa, in the Ore Mountain region of Saxony. He studied at the Staatliche Hochschule für Musik – Mendelssohn-Akademie in Leipzig with Armin Männel. From 1965 to 1969 he played in the orchestra of the Handel Festival in Halle and from 1969 to 1980 with the Dresden Philharmonic. He has been teaching the trumpet at the Hochschule für Musik Carl Maria von Weber in Dresden until 1990, and at the annual Güttler01International Music Seminar in Weimar from 1980 to 1990.

Since the mid-1970s, Güttler has been mainly active as a soloist and later as a conductor, at home and abroad, devoted mainly to the trumpet literature of the 18th century, especially the high-pitched piccolo trumpet. He was also involved in the development of a modern brass instrument to play parts designated for the historic corno da caccia. The instrument was made by Friedbert Syhre in Leipzig.

Güttler is also musical director of the festival “Sandstein und Musik” (Sandstone and Music) in Saxon Switzerland, founded in 1983 and of the festival Musikwoche Hitzacker in Hitzacker. Güttler is a member of the Sächsische Akademie der Künste (Saxon Academy of Arts).

Güttler founded the Leipziger Bach-Collegium in 1976, the Blechbläserensemble Ludwig Güttler in 1978, and in 1985 the chamber orchestra Virtuosi Saxoniae.[3] The group of members of the Staatskapelle Dresden concentrates on performing music from the 18th century found in Dresden libraries, in the fields of opera, sacred music and chamber music.

He supported the Rheingau Musik Festival from the beginning in 1988, both as a performer and a curator. In 2011 he appeared with his Brass Ensemble.[5] In 2012, he conducted his orchestra Virtuosi Saxoniae in Eberbach Abbey in works by Bach, Handel, Johann Friedrich Fasch, Christoph Förster, Telemann and Mozart, as part of the series “Companions along the way”.

Güttler03In 1983 he received a record prize of the Deutsche Phono-Akademie in Hamburg as “Discovery of the Year”. In 1988 he was the second recipient of the Georg-Philipp-Telemann-Preis of Magdeburg, in 1989 the Frankfurter Musikpreis. In both 1978 and 1985 he received the National Prize of East Germany, which he returned in 1989, asking that the money should be devoted to the reconstruction of the Frauenkirche.

After the German reunification, Ludwig Güttler became chairman of the society for promoting the reconstruction of the Frauenkirche Dresden and curator of the foundation Stiftung Frauenkirche. He regularly conducted “Wiederaufbaukonzerte” (concerts for the reconstruction).[9] For his involvement in the reconstruction of the Frauenkirche, he received several honours. President Horst Köhler awarded him in September 2007 the Great Cross of Merit of the Federal Republic of Germany. Erich Iltgen awarded him the Sächsische Verfassungsmedaille on 26 May 2005. Queen Elizabeth II appointed him Officer of the Order of the British Empire (OBE) in November 2007 in recognition of his contributions to the reconstruction of the Frauenkirche and his significant contribution to the reconciliation of the two peoples by this project. (by wikipedia)


Can one ever tire of the dancing inspiration that animates these four portmanteau collections which have delighted both serious and casual listeners ever since Bach compiled them for use in social occasions as the 30-something Kapellmeister at the briefly enlightened court of Prince Leopold of Cöthen, exulting in the multifarious influences which he had absorbed and could place at the service of a compositional mind of unequalled intellectual brilliance yet always conscious of his music’s need to entertain, to give delight as well as accompany the sober thoughts of his congregations?

Not, at any rate, in these performances from a virtuoso German ensemble hailing from Bach’s own part of the world and masterminded by a superb trumpeter-turned-conductor who well understands the exuberant, public character of these suites, their occasional purposes, for all that in such moments as the famous Air from the G major Suite, No.3, they appear to take on a more confiding aspect, drawing the listener in before dispelling the tension with another jolly minuet or charming sarabande.


This generously filled CD presents the complete Orchestral Suites (Overtures) by J.S. Bach. Bach’s Suites count among his most popular and most frequently performed works, they are quintessential Bach: majestic, noble, tender and full of energy. They contain some of Bach’s evergreens: the Air from the 3rd Suite and the Badinerie from the 2nd Suite.

Played by the Virtuosi Saxoniae conducted by trumpeter-conductor Ludwig Güttler, modern instruments in Historically Informed Performance Practice, the best of both worlds. (press release)

Recordings: 1990-1992, Lukaskirche, Dresden/Germany


Joachim Bischof (cello)
Ludwig Güttler (trumpet)
Eckart Haupt (flute)
Friedemann Jähnig (viola)
Thomas Käppler (timpani)
Günter Klier (bassoon)
Manfred Krause (oboe)
Andreas Lorenz (oboe)
Heinz-Dieter Richter (violin)
Roland Rudolph (trumpet)
Mathias Schmutzler (trumpet)
Roland Straumer (violin)
Guido Titze (oboe)
Werner Zeibig (bass)



Suite In C BWV 1066:
01. Ouverture 5.37
02. Courante 1.38
03. Gavotte I & II 2.27
04. Forlane 1.16
05. Menuet I & II 2.45
06. Bourrée I & II 2.25
07. Passepied I & II 3.02

Suite In B Minor BWV 1067:
08. Ouverture 6.25
09. Rondeau 1.39
10. Sarabande 2.52
11. Bourrée I & II 1.50
12. Polonaise I & II 2.59
13. Menuet 1.09
14. Badinerie 1.20

Suite In D BWV 1068:
15. Ouverture 6.35
16. Air 4.16
17. Gavotte I & II 3.11
18. Bourrée 1.15
19. Gigue 2.39

Suite In D BWV 1069:
20. Ouverture 6.49
21. Bourrée I & II 2.53
22. Gavotte 1.44
23. Menuet I & II 3.29
24. Réjouissance 2.17




Cassell Webb – Conversations At Dawn (1990)

FrontCover1Cassell Webb is a British-American musician.

Texas-born Cassell Webb has enjoyed a career that carried her from late 1960s psychedelia to country music and latter-day folk-rock to modern folk songwriting, classical music production and moved her across an ocean in the process. Her voice can sound ethereal or mournful and crosses genres as easily as Webb’s career has over more than 30 years.

Born in San Antonio, Texas, in the late 1940s, Webb began playing guitar at 14 and later gravitated to the psychedelic scenes in San Antonio and Houston. She became a member of the Children, a psychedelic outfit that was part of Lelan Rodgers’ stable of artists, appearing on their 1968 Rebirth album and several singles. She later joined Saddlesore, a Texas combo whose core members, Mayo Thompson and Rick Barthelme, were survivors from the Red Krayola (another Rodgers-managed act). They stayed together long enough to record one single (“Old Tom Clark”) on the Texas Revolution label before disappearing in the early 1970s.

Webb spent time in California and New York working as a session singer and acquiring some knowledge of production as well and then returned to Texas, where she spent the next few years working with such country artists as Jerry Jeff Walker, Willie Nelson, Guy Clark, and B.W. Stevenson. It was around the time she began writing songs that she also began her long association with songwriter/producer Craig Leon. Webb went to Europe CassellWebb01in the early ’80s, first to Holland and then to England, where she remained permanently and began her solo recording career. Initially signed to the Virgin owned independent label Statik Records, for which she recorded her debut album, Llano, she later joined the roster of Venture Records, an avant grade offshoot of Richard Branson’s Virgin Records label, through which she recorded Thief of Sadness in 1987. Webb’s most representative and popular album was her third, Songs of a Stranger, which was derived from her concert repertory of other writers’ music, including Jimmy Webb (“P.F. Sloan”), Nick Drake (“Time Has Told Me”), Townes Van Zandt (“If I Needed You”), and Phil Ochs (“Jim Dean of Indiana”).

Her subsequent two albums Conversations at Dawn and House of Dreams continued her development as a songwriter. The former was again recorded for Virgin Venture and the latter released on China Records.

Webb remains based in England, where her work on such radio programs as Saturday Sequence, coupled with periodic album releases and projects, such as the dance score Klub Anima (co-written with Leon), and singing and production work with artists such as Marillion’s Steve Hogarth and back ground vocal work on Blondie (band)’s “No Exit album have sustained her career in pop music.

She has worked consistently on the productions of Craig Leon, which since 1998 have been primarily in the classical field. Webb has also been a production assistant to Leon on television projects such as the 2009 documentary Orbit: Journey to the Moon, which aired on the U.S. Discovery Channel, and Bell’aria which aired in 2010 on U.S. PBS. Webb is also a producer on the 2012 PBS broadcast Quest Beyond the Stars as well as the creator of the story concept.

Her poetry has also been published by Pen & Ink of Ann Arbor, Michigan.


Webb’s version of the Rolling Stones classic “Tell Me,” from her 1990 album Conversations at Dawn (which also included her covers of Bruce Springsteen’s “Reason to Believe” and, in a nod to her own Texas psychedelic roots, the 13th Floor Elevators’ “Splash One”), has been included on the Connoisseur Collection’s Jagger/Richard Songbook CD.

More recent work has been appearances on the new re recording of Nommos and Visiting along with live appearances of those pieces in New York; Moogfest (Asheville, North Carolina); Saint Petersburg, Russia; Berlin, Germany; and Kraków, Poland from 2014 to date.

She has also co produced the album “George Martin: The Film Scores and Original Compositions” released in 2018 on Atlas Realisations/PIAS. (by wikipedia)


Texas-born Cassell Webb has enjoyed a career that carried her from late-’60s psychedelia to country music and latter-day folk-rock to progressive rock/pop, and moved her across an ocean in the process. Her voice, which can sound ethereal or mournful and crosses genres as easily as Webb’s career has over more than 30 years. Born in Llano, TX, in the late ’40s, Webb began playing guitar at 14 and later gravitated to the psychedelic scene in San Antonio. She became a member of the Children, a psychedelic outfit that was part of Lelan Rodgers’ stable of artists, appearing on their 1968 Rebirth album and several singles. She later joined Saddlesore, a Texas combo whose core members, Mayo Thompson and Rick Barthelme, were survivors from the Red Krayola (another Rodgers-managed act). They stayed together long enough to record one single (“Old Tom Clark”) on the Texas Revolution label before disappearing in the early ’70s. Webb spent time in California and New York working as a session singer and acquiring some knowledge of production as well and then returned to Texas, where she spent the next few years working with such country artists as Jerry Jeff Walker, Guy Clark, and B.W. Stevenson. It was around the time she began writing songs that she also began her long association with songwriter/producer Craig Leon.


Webb went to Europe in the early ’80s, first to Holland and then to England, where she remained permanently and began her solo recording career. Initially signed to the tiny independent label Statick Records, for which she recorded her debut album, Llano, she later joined the roster of Venture Records, an off-shoot of Richard Branson’s Virgin Records label, through which she recorded Thief of Sadness in 1987. Webb’s most representative and popular album was her third, Songs of a Stranger, which was derived from her concert repertory of other writers’ music, including Jimmy Webb (“P.F. Sloan”), Nick Drake (“Time Has Told Me”), Townes Van Zandt (“If I Needed You”), and Phil Ochs (“Jim Dean of Indiana”). Webb remains based in England, where her work on such radio programs as Saturday Sequence, coupled with periodic album releases and projects, such as the dance score “Klub Anima” (co-written with Leon), and singing and production work with artists such as Marillion’s Steve Hogarth have sustained her career in music. Her poetry has also been published by Pen & Ink of Ann Arbor, MI. Webb’s hauntingly lyrical version of the Rolling Stones classic “Tell Me,” from her 1990 album Conversations at Dawn (which also included her covers of Bruce Springsteen’s “Reason to Believe” and — in a nod to her own Texas psychedelic roots — the 13th Floor Elevators’ “Splash One”), has been included on the Connoisseur Collection’s Jagger/Richard Songbook CD, alongside recordings by the Flamin’ Groovies, the Who, Mary Coughlan, Naked Prey, Melanie, Marianne Faithfull, and Ike & Tina Turner. (by Bruce Eder)


And here´s her fourth album …. and it´s a real beautiful one:

This album has the aura of a great musical landscape (like Loreena McKennitt but without the Irish bells & whistles (thank god for that).
The centerpiece is “Darkness, Darkness” (one of many covers…) (Lillebol)
Cassell Webb has an amazing country voice, yet made a few albums on Venture that nudged psychedelia (not surprisingly given her 13th Floor Elevators past) and Americana before the term was contrived by the music press. One of the most under-rated singers ever, in my opinion – check this album ! (pkrpmusic)

This woman can enchant you … believe me ! And another highlight is of course her soft and gentle version of The Rolling Stones classic “Tell Me” from the Sixties.


Andy Duncan (drums, percussion)
Craig Leon (guitar, keyboards, bass)
Cassell Webb (vocals)
B.J. Cole (pedal steel-guitar on 03.)


01. Tell Me (Jagger/Richards) 3.51
02. A Song For Sophie Jane (Webb/Leon) 4.34
03. River Run (Webb/Leon) 6.26
04. Freedom’s Legacy (Smotherman) 4.09
05. Darkness, Darkness (Young) 5.12
06. You Take A Heart (Kaz) 3.30
07. Splash One (Hall/Erickson) 4.01
08. I Love The Wind (Vandiver) 3.40
09. In The Light (Webb/Leon) 4.33
10. Reason To Believe (Springsteen) 5.00
11. Bones And The Lady (Webb/Leon) 2.24