Sue Foley – Young Girl Blues (1992)

FrontCover1Sue Foley (born March 29, 1968) is a Canadian blues singer and guitarist.

Foley was born in Ottawa, Ontario, and spent her early childhood in Canada. She learned to play guitar at age 13, became interested in blues music from listening to the Rolling Stones, and played her first gig at age 16. After high school graduation, she relocated to Vancouver where she formed The Sue Foley Band and toured Canada.

By age twenty-one, Foley was living in Austin, Texas[3] and recording for Antone’s, the blues label and historic nightclub. Her first release was Young Girl Blues.[4]

Foley has toured steadily with her band, toting her signature pink paisley Fender Telecaster. In 2001, she won the Juno Award for her CD, Love Coming Down.[6] Foley has Sue Foley02also earned seventeen Maple Blues Awards and three Trophees de Blues de France. She has also garnered several nominations at the Blues Music Awards in Memphis, Tennessee.

2018 marked Foley’s return as a solo artist with her latest album, The Ice Queen, which featured guest appearances by Billy Gibbons of ZZ Top and Jimmie Vaughan. (by wikipedia)

Sue Foley’s debut album, Young Girl Blues, is an impressive effort. Not only is Foley a wild, adventurous guitarist, she can write songs that don’t merely rehash standard blue clichés. Her songs have an intense passion that is heightened by her array of gutsy guitar textures, which are rooted in blues tradition but never tied down to it. (Thom Owens)

Sue Foley has great feel on guitar her style is strictly Blues no more no less nothing super fancy but what she does she does it well. She gets surprisingly warm tones from her maple neck 1968 paisley Fender Telecaster guitar and has good finger picking skills to boot. This is a good solid Blues album with no smoke nor mirrors just great wholesome playing with passion. Go get them Susie! (John Negro)


Sue Foley (guitar, vocals)
Robert Grant (drums)
Jon Penner (bass)
Sarah Brown (bass on 04.)
Denny Freeman (piano on 08.)
Derek O’Brien (guitar on 04. +  10.)
George Rains (drums on 04. + 06. percussion on 03.)
Kim Wilson (harmonica on 04. + 11.)
Reese Wynans (piano on 03.)


01. Queen Bee (Moore) 4.11
02 Chauffeur Blues (Lawler) 2.52
03. Cuban Gateway (Turner) 3.03
04. Mean Old Lonesome Train (Hicks/West) 3.22
05. Gone Blind (Foley) 3.47
06. Walkin Home (Foley/’Grant) 3.15
07. But I Forgive You (Whitaker) 2.45
08. Off The Hook (Hooker) 4.30
09. Little Mixed Up (unknown) 2.28
10. Hooked On Love (Hooker) 2.51
11. Time To Travel (Foley) 5.22



Sue Foley01

Rick Wakeman – Country Airs (1992)

FrontCover1.jpgThis is very strange album by Rick Wakeman:

Country Airs is a piano album written by Rick Wakeman and released in 1986 by Coda Records.

The album reached number one in the UK New Age charts. It was followed by two sequels, Sea Airs and Night Airs, released in 1989 and 1990, respectively.

A re-recording with four new compositions was released in 1992, published this time by President Records. Wakeman later revealed on his website that he regretted this version, doing it only because Coda had gone bankrupt, and refused to sell him the rights to the original. (by wikipedia)

Rick Wakeman wrote about this album:

This was a digital re-record and in retrospect I should never have done it. The only reason was that the original company who had Country Airs went bankrupt and they wouldn’t sell me the original back. Digital pianos had just arrived at the time and I thought it would be a good idea to record the album again on one. I can now look back and honestly say it was a huge mistake.

Forget I ever recorded it please!

All the original music for Country Airs and music notes mysteriously had gone missing and so I had to sit with the original recording and try and recall as much as I could exactly what I had done on the original. (taken from the offical Rick Wakeman website)

Rick Wakeman

Dear Rick … this album is not so bad … no !

Times may have been hard for Rick when this album was recorded but you would never have guessed it from sense of peace and tranquility that comes from these pieces of music. Forget the “New Age” tag that will probably deter a lot of people from buying this – this is superb solo piano music. No flash or bombast here – just Rick and a Grand Piano. The result is charming and peaceful – yet it reamins an involving collection of music unlike the usual insipid,Muzak wallpaper that you normally find in “New Age”. Some of Rick’s undoubted spirituality seems to shine through here too and this really is a record that you will find will refreshing and uplifting. It always makes me feel good! If you have not heard any of Ricks Piano works this is a superb place to start. Give yourself a treat and track this down You will not be disappointed. (Charles Goulding)

Good album. Any doubts. Even very good. Listening to the musician in structure of group, we not always can tell, how much it is good in solo work. Here only one musician and one tool – piano. Good emotions, the magnificent beginning and quieter end. I estimate in 4 stars. I like such albums. If I am tired from prog-metal, I listen to meditative albums of Rick: cycle “Aspirant” and cycle “Airs”. (mypost4spam )


Rock Wakeman (piano)


Front + back cover from the original recording from 1986

01. Lakeland Walks 3.50
02. Wild Moors 4.01
03. Harvest Festival 3.14
04. The Glade 3.02
05. Dandelion Dreams 5.45
06. Ducks And Drakes 4.07
07. Green To Gold 3.29
08. Stepping Stones 5.18
09. Morning Haze 4.07
10. Waterfalls 5.33
11. The Spring 3.49
12. Quite Valleys 6.01
13. Nature Trails 4.11
14. Heather Carpets 3.49

Music composed by Rick Wakeman



Nina Tichman – Works For Piano – Vol. 1 (Aaron Copland) (1993)

FrontCover1.jpgAaron Copland (November 14, 1900 – December 2, 1990) was an American composer, composition teacher, writer, and later a conductor of his own and other American music. Copland was referred to by his peers and critics as “the Dean of American Composers”. The open, slowly changing harmonies in much of his music are typical of what many people consider to be the sound of American music, evoking the vast American landscape and pioneer spirit. He is best known for the works he wrote in the 1930s and 1940s in a deliberately accessible style often referred to as “populist” and which the composer labeled his “vernacular” style. Works in this vein include the ballets Appalachian Spring, Billy the Kid and Rodeo, his Fanfare for the Common Man and Third Symphony. In addition to his ballets and orchestral works, he produced music in many other genres, including chamber music, vocal works, opera and film scores.

After some initial studies with composer Rubin Goldmark, Copland traveled to Paris, where he first studied with Isidor Philipp and Paul Vidal, then with noted pedagogue Nadia Boulanger. He studied three years with Boulanger, whose eclectic approach to music inspired his own broad taste. Determined upon his return to the U.S. to make his way as a full-time composer, Copland gave lecture-recitals, wrote works on commission and did some teaching and writing. He found composing orchestral music in the modernist style he had adapted abroad a financially contradictory approach, AaronCopland1962.jpgparticularly in light of the Great Depression. He shifted in the mid-1930s to a more accessible musical style which mirrored the German idea of Gebrauchsmusik (“music for use”), music that could serve utilitarian and artistic purposes. During the Depression years, he traveled extensively to Europe, Africa, and Mexico, formed an important friendship with Mexican composer Carlos Chávez and began composing his signature works.

During the late 1940s, Copland became aware that Stravinsky and other fellow composers had begun to study Arnold Schoenberg’s use of twelve-tone (serial) techniques. After he had been exposed to the works of French composer Pierre Boulez, he incorporated serial techniques into his Piano Quartet (1950), Piano Fantasy (1957), Connotations for orchestra (1961) and Inscape for orchestra (1967). Unlike Schoenberg, Copland used his tone rows in much the same fashion as his tonal material—as sources for melodies and harmonies, rather than as complete statements in their own right, except for crucial events from a structural point of view. From the 1960s onward, Copland’s activities turned more from composing to conducting. He became a frequent guest conductor of orchestras in the U.S. and the UK and made a series of recordings of his music, primarily for Columbia Records. (by wikipedia)


Following her debut at the age of seventeen performing Beethoven´s “Emperor” Concerto Nina Tichman appeared in major venues including Carnegie Hall, the Cologne Philharmonie, the Berlin Konzerthaus and the Salzburg Festspielhaus. She has worked with prominent conductors such as Moshe Atzmon, Leon Barzin, Aaron Copland, Dmitri Kitaenko and Louis Langrée, appearing with the Bamberger Sinfoniker, the Symphony Orchestras of the Bayerische, Hessische and Norddeutsche radio stations, the Baltimore und St. Louis Symphonies. Concert tours throughout North America, Asia, and Europe with appearances at major festivals such as Marlboro, Tanglewood, International Musicians Seminar at Prussia Cove, Styriarte, Frankfurt Feste, Rheingau Musikfestival, have established her as “one of the leading pianists of her generation” (Neue Musik Zeitung).

She is at home in repertoire ranging from Frescobaldi to composers writing today, many of whom have entrusted her with world premieres of their compositions. Her discography includes music by Bartók, Beethoven, Copland (Complete Works for Piano), Chopin, Corigliano, Fauré, V.D. Kirchner, Mendelssohn, Penderecki, und Reger.

American born, Nina Tichman has been based in Europe since winning the prestigious “Busoni” Competition. Other awards include the Mendelssohn Prize of Berlin, First Prize of the Casagrande Competition in Italy and the Prize of the Organization of American States.

NinaTichmannIn 2001 she founded the Xyrion Trio with Ida Bieler and Maria Kliegel, an ensemble that has been praised for its vital, emotional and dramatic musicmaking and whose recording of the complete Beethoven Piano Trios has been praised for its “flawless ensemble, subtle phrasing, and great rhythmic energy” (American Record Guide).

Nina Tichman is a graduate of The Juilliard School, where she was awarded the Eduard-Steuermann-Prize for outstanding musical achievement. In 1993 she was appointed Professor of Piano at the Hochschule für Musik in Cologne and she has led master classes at the Mozarteum in Salzburg, as well as at Amherst College and Princeton University. (by

“Aaron is Moses”. Leonard Bernstein’s affectionate aphorism about his friend and mentor expresses exactly Aaron Copland’s importance in the development of a truly American music. Copland, born 1900, influenced as did no other the emergence of America from a country whose aspiring musicians, with few exceptions, had to go abroad in order to receive adequate training, into a mecca for musical training and a center for new artistic impulses. His personal involvement together with his popularity smoothed the way for innumerable composers and was instrumental in awakening the interest of the American public for its native musical language.

The scope of Copland’s language as a composer is defined by two extremes: his so-called “severe” style, determined by serial techniques and stringent formal structure, and his simple style, in which he tried to write music that would be more accessible to a broad public.


American musician Nina Tichman has been acclaimed as one of the leading pianists of her generation (Neue Musik Zeitung). Winner of numerous international competitions and being at home in the major music centers of the world, Nina Tichman has been particularly interested in contemporary compositions and their roots in traditional music for the piano. The music of Schönberg and Debussy, whose complete piano works she has presented cyclically (also released on the WERGO label), as well as that of contemporary American composers such as Copland and Elliott Carter, plays a central role in her repertoire. (prestomusic.comI

And if you listen carful,you will realize how much Keith Emerson was influenced by Aaron Copland !


Nina Tichman (piano)


01. Piano Variations (1930) 12.09

Four Piano Blues (1926-1948);
02. Freely Poetic 2.06
03. Soft And Languid 3.00
04. Muted And Sensuous 2.44
05. With Bounce 1.20

Piano Sonata (1939-1941):
06. Molto Moderato 9.44
07. Vivace 4.41
08. Andante Sostenuto 11.08

Three Moods (1920):
09. Embittered 1.03
10. Wistful 2.02
11. Jazzy 1.25

12. Petit Portrait (1921) 1.51
13. Midsummer Nocturne (1947) 2.02

The Cat And The Mouse (1920):
14. Scherzo Humoristique 4.03



Modern Jazz Quartet – A Night At The Opera (1993)

FrontCover1The Modern Jazz Quartet (MJQ) was a jazz combo established in 1952 that played music influenced by classical, cool jazz, blues and bebop. For most of its history the Quartet consisted of John Lewis (piano), Milt Jackson (vibraphone), Percy Heath (double bass), and Connie Kay (drums). The group grew out of the rhythm section of Dizzy Gillespie’s big band from 1946 to 1948, which consisted of Lewis and Jackson along with bassist Ray Brown and drummer Kenny Clarke. They recorded as the Milt Jackson Quartet in 1951 and Brown left the group, being replaced as bassist by Heath. During the early-to-mid-1950s they became the Modern Jazz Quartet, Lewis became the group’s musical director, and they made several recordings with Prestige Records, including the original versions of their two best-known compositions, Lewis’s “Django” and Jackson’s Bags’ Groove”. Clarke left the group in 1955 and was replaced as drummer by Connie Kay, and in 1956 they moved to Atlantic Records and made their first tour to Europe.

Under Lewis’s direction, they carved their own niche by specializing in elegant, restrained music that used sophisticated counterpoint inspired by baroque music, yet nonetheless retained a strong blues feel. Noted for their elegant presentation, they were one of the first small jazz combos to perform in concert halls rather than nightclubs. They were initially active into the 1970s until Jackson quit in 1974 due to frustration with their finances and touring schedule, but reformed in 1981. They made their last released recordings in 1992 and 1993, by which time Kay had been having health issues and Mickey Roker had been his replacement drummer while Kay was unavailable. After Kay’s death in 1994, the group operated on a semi-active basis, with Percy Heath’s brother Albert Heath on drums until disbanding permanently in 1997.

MJQSixties.jpgIn July 1974, Jackson quit the group, later citing frustration with their finances as his primary reason. He was also unhappy with the group’s touring schedule, which by then had become year-round rather than the previous arrangement in which they had vacations during the northern hemisphere summer. Jackson had previously used the downtime to play and record music that was not in the style of the Modern Jazz Quartet, but felt saddled in the group after they also began playing at summer jazz festivals in 1969 or 1970.[2] The jazz magazine DownBeat compared their breakup to “the abrupt disintegration of Mt. Rushmore”. In November 1974 they performed a farewell concert at Avery Fisher Hall, later released as a series of two albums and then as a complete package, The Complete Last Concert (1988). They had occasional reunion concerts, never going more than eighteen months without playing together, before reuniting in 1981 for a tour of Japan, recorded as Reunion at Budokan 1981 for Pablo Records. They recorded three more albums for Pablo, Together Again: Live at the Montreux Jazz Festival ’82 (1982), Echoes (1984), and Topsy: This One’s for Basie (1985), before returning to Atlantic, recording Three Windows (1987, with the New York Chamber Symphony) and For Ellington (1988).


Kay had a stroke in 1992 and during his recovery was replaced by drummer Mickey Roker, who performed on some tracks on the group’s last released recording, MJQ & Friends: A 40th Anniversary Celebration (recorded 1992–1993, released1994). Kay died in November 1994, after which the group operated on a semi-active basis; the 1995 album Dedicated to Connie, a recording of a 1960 concert in Slovenia, was released in his memory. In February 1995, Albert Heath, Percy Heath’s brother, became the quartet’s percussionist. Percy Heath had become tired of touring by 1997 and the group permanently disbanded in that year after a final recording date. In October 1999, Jackson died, followed by Lewis in March 2001 and Heath in April 2005. (by wikipedia)

And here´s one of their last recorded live performance … and this is a very beautiful legacy of a real unique jazz band !

Recorded live at the Opera of Philadelphia, 1992


Alternate frontcover

Percy Heath (bass)
Milt Jackson (vibraphone)
John Lewis (piano)
Mickey Roker (drums)

01. Don’t Stop This Train (Lewis) 5.47
Blues In B (Lewis) 5.21
03. Blues In A Minor (Lewis) 7.11
04. Blues In C Minor (Jackson) 5.39
05. Alexander’s Fugue (Lewis) 5.40
06. Minor Love (Lewis/Jackson) 5.03
07. Legendary Profile (Jackson) 4.18



Alannah Myles – Rocking Horse (1992)

FrontCover1Alannah Myles (born December 25, 1958) is a Canadian Juno and Grammy Award-winning singer-songwriter who had the chart-topping hit “Black Velvet” in 1990.

Alannah Myles was born on 25 December 1958 in Toronto, Ontario. She is the daughter of William Douglas Byles, who was a pioneer in the Canadian broadcasting industry and was inducted into the Canadian Association of Broadcasters’ Hall of Fame in 1997. Raised by her parents in Ontario, Myles spent her childhood composing and learning music. Myles began writing songs around age nine, performing in a songwriting group for the Kiwanis Music Festival in Toronto at age 12. At 18 she began performing solo gigs in southern Ontario, eventually meeting Christopher Ward, a WMG recording artist and songwriter. With Ward’s help, she formed her own band and performed cover versions of rock and blues songs, while polishing her own material. In her mid-20s, she and Ward would later collaborate with David Tyson to produce the eponymously titled debut album, Alannah Myles. She appeared in a 1984 episode of the television series The Kids of Degrassi Street, in which she played the role of an aspiring singer and single mother and was featured in several TV and film productions as a guest host and actor prior to becoming a recording artist.

Booklet02B.jpgMyles changed her surname from Byles at the age of 19 after deciding to pursue a career in entertainment. Appearances in TV commercials paid for music demos that led to countless rejections in Canada, until she recorded masters for three songs; “Who Loves You” and a video demo for “Just One Kiss” directed by photographer Deborah Samuel. With matched financing from her songwriting collaborator, Much Music (City TV) VJ and program director Christopher Ward and FACTOR, she signed her first record contract with Atlantic Records in 1987.

In fall of 1987, Warner Music Canada’s director of artists and repertoire (A&R), Bob Roper, sent Myles’s three-song video package to all of Warner Music Group’s U.S. affiliates, which garnered a contract for seven or eight years from Atlantic Records (WMG), given by head of A&R Tunc Erim and Atlantic label founder Ahmet Ertegun. Myles left her acting career, co-wrote and recorded the remainder of her first album with Christopher Ward and producer David Tyson. In 1989, Atlantic Records released her eponymous debut album and Myles toured internationally for 18 months. Her first album was awarded the Diamond Award for sales of over one million units; she is the only Canadian debut artist to attain that award. Her first album was reported to have sold upwards of 6 million copies internationally and remains a classic-selling album.

In May 1989, Warner Music in Canada released Alannah Myles which produced four Top AlannahMyles01.jpg40 hits, including “Love Is”, “Lover Of Mine”, “Still Got This Thing” and her number-one classic rock hit, “Black Velvet”. Atlantic Records’ 1989 debut album release was ineligible for Grammy nominations until the early 1990 U.S. single release “Black Velvet” became a number-one hit, claiming ASCAP’s most played song on radio for 1989 and 1990. By 2000, it had received ASCAP Millionaire Award for over five million radio airplays.[citation needed] “Black Velvet” won Myles the Grammy Award for Best Female Rock Performance in 1991 and three Juno Awards.

In 1992, Myles was nominated for a second Grammy award for Best Female Rock Vocal Performance for the track “Rockinghorse”, the B-side of “Song Instead of a Kiss”, the lead-off single from her second CD Rockinghorse. “Song Instead Of a Kiss”, written and composed by Myles, Nancy Simmonds, and Canadian poet Robert Priest,[7] was a 60-piece orchestrated ballad that reached number one on several radio stations around the globe but was met with little response in America, whose audiences were accustomed to “that slow southern style” of “Black Velvet”.[citation needed] The album, released that year, included the other hit singles “Our World, Our Times”, and “Sonny, Say You Will”. Myles received a Grammy nomination for Rockinghorse and several global awards, including a Juno and Much Music’s People’s Choice Award for “Our World, Our Times” (by wikipedia)


Her first album was a very rocking debut – a fine album to start with. The second didn’t abandon those rock roots but showed much refined way to make music. “Lover of Mine” was already showing her sophisticated way – a dangerous word to use but I am talking the same way The Beatles updated their sound with “Rubber Soul” in the mid-60’s. “Rocking Horse” is even a better album than her first one.

“Song Instead of a Kiss” is one of my favorite songs of the 1990’s. It is emotional atmosphere can make you cry easily if you actually listen to the words and her voice. The slow tempo with classical music elements and the final scream complete this as a perfect song. The opener “Our World Our Times” sounds nothing like I’ve heard before – a fascinating song which has interesting vocals, melody, drumming, great guitar sounds. “Sonny Say You Will” sounds amazing – it is a great power ballad.


The rest of the songs are really good too. “Tumbleweed”, “Make Me Happy”, “Love in the Big Town”, “Life And Rumours”, “Living on a Memory” are good rock songs. “The Last Time I Saw William” is a beautiful song too. The title song was something I didn’t like at first but now it has started to sound very interesting, actually a fun song.

These are very good 50 minutes to spend and I have went through it many times, so I know. (Reijo Piippula)


Denny Fongheiser (drums, percussion)
Will Lee (bass)
Alanah Myles (vocals)
Kurt Schefter (guitar)
David Tyson (keyboards, bass, background vocals)
David Wipper (guitar, mandolin)
background vocals:
Christopher Ward – John Elefante – Mark Free – Rose Stone – Tommy Funderburk
Buzzy Feiten (guitar on 05.)
Gary Grant (trumpet)
Greg Smith (saxophone)
Larry Williams (saxophone)


01, Our World Our Times (Tyson/Ward) 6.24
02. Make Me Happy (Tyson/Ward) 5.49
03. Sonny Say You Will (Ward) 5.08
04. Tumbleweed (Ward) 4.38
05. Livin’ On A Memory (Tyson/Ward) 5.53
06. Song Instead Of A Kiss (Myles/Simmonds/Priest) 5.04
07. Love In The Big Town (Tyson/Ward) 4.48
08. The Last Time I Saw William (Tyson/Ward) 4.15
09. Lies And Rumours (Tyson/Ward) 5.06
10. Rockinghorse (Myles/Simmonds) 3.00




Ry Cooder & Vishwa Mohan Bhatt – A Meeting By The River (1992)

FrontCover1.jpgA Meeting by the River is an album recorded by Ry Cooder and Vishwa Mohan Bhatt; it was recorded in September 1992 and released in April 1993 through the record label Water Lily Acoustics. This improvised, collaborative album features Cooder on slide guitar and Bhatt on the Mohan veena, a stringed instrument created by Bhatt. A Meeting by the River was produced by Kavichandran Alexander and Jayant Shah, engineered by Alexander, and mastered by Kevin Michael Gray and Paul Stubblebine. It peaked at number four on Billboard’s Top World Music Albums chart, and earned Cooder and Bhatt Grammy Awards for Best World Music Album at the 36th Grammy Awards (1994). The album is included in Tom Moon’s 2008 book 1,000 Recordings to Hear Before You Die.

A Meeting by the River was recorded in September 1992; it features Cooder solely on slide guitar and Bhatt on the Mohan veena, a stringed instrument he created.[2][3] Allmusic’s Daniel Gioffre described the instrument as a hybrid between a guitar and a vichitra veena; it is played with a metal slide moving across steel rods along the neck. Cooder had heard a recording of Hindustani classical music performed by Bhatt and was impressed by his playing and the “haunting clarity” of the Mohan veena. Cooder and Bhatt met for the first time less than one hour before recording began; they improvised much of the set; the album’s liner notes state, “this recording was unplanned and unrehearsed”. The album was produced by Kavichandran Alexander, founder of Water Lily Acoustics, and Jayant Shah. It was engineered by Alexander, and was mastered by Kevin Michael Gray and Paul Stubblebine. Cooder and Bhatt are accompanied by Cooder’s fourteen-year-old son Joachim on dumbek, a Middle Eastern drum, and by Sukhvinder Singh Namdhari on tabla.

Vishwa Mohan Bhatt1

The collaboration between Cooder and Bhatt is Alexander’s first attempt to record musicians of different cultures together, one of his goals when he founded the record label. Author George Plasketes described Bhatt’s playing as “highly nuanced” and said, Cooder performs in a more “loose-jointed, slip ‘n’ slide style”. According to Gioffre, Cooder and Bhatt use improvisation and “voice-like” phrasing, showing melodic performances in an alternating fashion and in unison. The album contains four tracks, three of which are credited to Cooder and Bhatt; tracks range in duration from approximately seven-and-a-half minutes to twelve minutes. “Longing” has a structure similar to a raga. Author Tom Moon said Cooder takes the lead on the hymn “Isa Lei” as Bhatt contributes “elaborate squiggling asides” and “swooping nosedives”. In 2011, Bhatt performed “A Meeting by the River” at a music festival in honor of guru Kelucharan Mohapatra. Bhatt said of the song, “Music has no religion and no geographical or linguistic barrier. It speaks a universal language. My composition – ‘A Meeting by the River’ – aims at explaining this.” Bhatt has said he considers working with Cooder his “most special” collaboration.

Ry Cooder1Gioffre wrote a positive review of the album and called Cooder and Bhatt “genuine masters” of their respective instruments. He described the musical interplay between the musicians as “nothing short of astounding” and the album as a rare instance in which a combination of genres works. Gioffre also wrote, “this album is masterfully recorded; each instrument is clear, distinct, and three-dimensional sounding. A Meeting by the River is a must-own, a thing of pure, unadulterated beauty, and the strongest record in Cooder’s extensive catalog. Peter Margasak of the Chicago Tribune awarded the album four stars out of four, describing Cooder’s performance as “arresting” and Bhatt’s as “haunting”. Margasak wrote that the fusion revealed a “rare, often transcendental beauty” as the two artists “gently and intuitively” found common ground. Rolling Stone called the album “fruitful” and awarded it three stars out of five.

A Meeting by the River reached a peak position of number four on Billboard’s Top World Music Albums chart. In 1994, the album earned Cooder and Bhatt Grammy Awards for Best World Music Album. Bhatt became one of a few Indian musicians to have received a Grammy Award until A. R. Rahman won at the 52nd Grammy Awards in 2010. Previous Indian award winners had been recognized jointly with Western artists. The February 25, 1995, issue of Billboard, which featured the annual “Indies Spotlight” and covered independent music between the January 29, 1994, and January 21, 1995, issues of the magazine included A Meeting by the River at number ten on its list of the “Top Indie World Music Albums”. The album is included in Tom Moon’s 2008 book 1,000 Recordings to Hear Before You Die: A Listener’s Life List.


Vishwa Mohan Bhatt (mohan veena, slide guitar)
Joachim Cooder (dumbek)
Ry Cooder (bottleneck guitar, guitar)
Sukhvinder Singh Namdhari (tabla)


01. A Meeting By The River (Cooder/Bhatt) 10.08
02. Longing (Cooder/Bhatt) 9.59
03. Ganges Delta Blues (Cooder/Bhatt) 7.49
04. Isa Lei” (Caten) 12.00



Nitty Gritty Dirt Band – Not Fade Away (1992)

FrontCover1.jpgNot Fade Away is the 1992 album from The Nitty Gritty Dirt Band. The Nitty Gritty Dirt Band (a.k.a. The Dirt Band) is notable for having many charting albums and singles. Two singles from this album charted. “I Fought the Law” reached 66 on the US Country charts. “One Good Love” reached 74 on the US Country charts.

Suzy Bogguss appears as guest vocalist on “Don’t Underestimate Love”. They also appeared on her 1992 album Voices In The Wind. (by wikipedia)

I love this album, right behind Live Two Five, on my list of favorites. Bobby’s “Losin You” is addicting. Ibby’s “Mother of the Bride” is a wonderful sequel to “Dance Little Jean”. Jimmy’s “The Dream” is another one of his winners and Jeff is always great. I remember these songs from their concerts in the late 80’s and early 90’s. I recommend this CD to anyone who loves the NGDB and misses the days when Ibby was with them. (an amazom customer)

Not an essential, but a good album …


Bob Carpenter (keyboards, bass, vocals)
Jimmie Fadden (drums, harmonica)
Jeff Hanna (guitar, vocals)
Jimmy Ibbotson (guitar, mandolin, bass, vocals)
Suzy Bogguss (vocals on 08.)


01. Not Fade Away (Hardin/Petty) 2.51
02. Little Angel (Berg/Hanna) 3.47
03. Mama Tried (Haggard) 2.50
04. One Good Love (Foster/Hanna) 3.40
05. Losin’ You (Carpenter/Kell) 4.19
06. I Fought The Law (Curtis) 2.17
07. Mother Of The Bride (Ibbotson) 3.44
08. Don’t Underestimate Love (Berg/Hanna) 3.44
09. What’ll You Do About Me (Linde) 2.38
10. The Dream (Fadden/Nelson) 4.03