Barbara Thompson & Paraphernalia – Everlasting Flame (1993)

FrontCover1One of the finest saxophone player ever… Barbara Thompson:

Barbara Gracey Thompson MBE (born 27 July 1944) is an English jazz saxophonist. She studied saxophone and classical composition at the Royal College of Music, but the music of Duke Ellington and John Coltrane made her shift her interests to jazz and saxophone. She was married to drummer Jon Hiseman of Colosseum from 1967 until his death in 2018.

Around 1970, Thompson was part of Neil Ardley’s New Jazz Orchestra and appeared on albums by Colosseum. Beginning in 1975, she was involved in the foundation of three bands:

United Jazz and Rock Ensemble, a ‘band of bandleaders’ …
Barbara Thompson’s Jubiaba and:
Barbara Thompson’s Paraphernalia, her most recent band

Barbara_Thompson01he was awarded the MBE in 1996 for services to music. Due to Parkinson’s disease, which was diagnosed in 1997, she retired as an active saxophonist in 2001 with a farewell tour. After a period of working as a composer exclusively, she returned to the stage in 2003.

Thompson has worked closely with Andrew Lloyd Webber on musicals such as Cats and Starlight Express, his Requiem, and Lloyd Webber’s 1978 classical-fusion album Variations. She has written several classical compositions, music for film and television, a musical of her own and songs for the United Jazz and Rock Ensemble, Barbara Thompson’s Paraphernalia and her big band Moving Parts.

She played the incidental music in the ITV police series A Touch of Frost starring David Jason. She also played flute on Jeff Wayne’s Musical Version of The War of the Worlds.

From 1967, until he died in June 2018, Thompson was married to the Colosseum drummer Jon Hiseman. The couple’s son Marcus was born in 1972, and their daughter Anna (now known as singer/songwriter Ana Gracey) in 1975. (wikipedia)

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And here´s another brilliant album … criminally underrated …

”This recording produces breathtaking impressions in the listener.” (Extra Dry, 06/94)
What an album!
Barbara Thompson herself feels this is one of her best albums and I tend to agree. Featuring her daughter’s vocals, it is a rich aural experience that draws on Egyptian rhythm and harmony. Listeners won’t regret buying this wonderful album. (Agadoo)

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Personnel:
Anna Gracey Hiseman (vocals)
Jon Hiseman (drums)
Peter Lemer (keyboards)
Malcolm MacFarlane (guitar)
Hossam Ramzy (percussion)
Barbara Thompson (saxophone, flute)
Paul Westwood (bass)

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Tracklist:
01. Everlasting Flame (Thompson) 5.15
02. In The Eye Of A Storm (Thompson) 5.06
03. Emerald Dusky Maiden (Thompson) 4.59
04. Unity Hymn (Thompson) 3.54
05. So Near, So Far (Hiseman/Thompson) 3.20
06. Tatami (Lemer) 4.56
07. Ode To Sappho (Thompson) 9.27 (*)
08. The Night Before Culloden (MacFarlane) 5.10
09. Ancient Voices (Thompson/Westwood) 6.33
10. The Fanaid Grove (Thompson) 7.15

(?) This composition based probably on an song, written by Marika Papagika called “Ta Pedia Tis Gitonias Sou”, written in 1925

 

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More from Barbara Thompson:
More

The Connells – Ring (1994)

FrontCover1The Connells are an American band from Raleigh, North Carolina. They play a guitar-oriented, melodic, jangle pop style of rock music with introspective lyrics that reflect the American South. Though mostly dormant, the band continues to play to this day. The band is best known for their song “’74–’75”, which was successful across Europe, topping the charts in Sweden and Norway and becoming a UK Top 20 hit in 1995.

Ring is the fifth studio album by the American alternative rock band The Connells, released in 1993.

The album (and band)’s biggest hit was the single “’74–’75,” which also appeared on the soundtrack of the 1995 film Heavy. In the UK, the album reached #36 on the UK Albums Chart while “’74-’75” peaked at #14 on the UK Singles Chart. In the US, the album reached #199 on the Billboard 200 with the single “Slackjawed” reaching #9 on the Hot Modern Rock Tracks chart.

“The record contains some brilliant pieces of pop songcraft (‘Carry My Picture,’ ‘Eyes on the Ground’) and some bittersweet lyrical ruminations, but slower numbers like ‘’74-’75’ are so sweet they border on cloying.” (Trouser Press)

Singles

After scoring a college radio hit with “Stone Cold Yesterday” from 1990’s One Simple Word, the Connells followed up with their strongest effort to date, the radio-ready Ring. While muddy production and underdeveloped songs occasionally plagued their earlier releases, Ring is an album aimed squarely at the mainstream, and is a clear attempt to pick up on fans of R.E.M., alt-country like Uncle Tupelo, and rootsy power pop like Marshall Crenshaw. The album’s first single, a lilting and seemingly unassuming acoustic ballad entitled “’74-’75” became an unexpected smash hit in Europe, topping the pop charts in many countries across the continent. The song was equally indebted to acoustic-based roots rock as it was to Celtic music (as witnessed in the ornate backing vocals) and was one of the band’s most successful concoctions.

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Subsequent singles, such as the poppy “Slackjawed” and the nostalgic “New Boy” (which sounds like it was written as musical accompaniment to a James Thurber story) each managed to garner some alternative radio attention as well. The album tracks were equally as strong, especially the tense “Carry My Picture,” a stark portrait of a vindictive relationship. Ring established the Connells as the forerunners in the group of jangle pop bands that had previously lived largely in the shadow of R.E.M. and helped the band become a moderate commercial success. While time has not been kind to the band or this album, the Connells clearly held some influence. In 2000, Fran Healy of the British guitar pop band Travis admitted that his band’s 1999 hit “Writing to Reach You” was written while listening to “’74-’75” on the radio, and was, in effect, a bit of a rip-off. The songs sound unmistakably similar, and it’s enough proof that the Connells deserve much more credit for their contributions to guitar-based pop than they have previously been given. (by Jason Damas)

In other words: A forgotten masterpiece !

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Personnel:
David Connell (bass)
Mike Connell (guitar, vocals on 07. + 11., background vocals)
George Huntley (guitar, mandolin, vocals on 04., background vocals)
Doug MacMillan (vocals, guitar)
Steve Potak (keyboards)
Peele Wimberley (drums, percussion)
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Tim Harper (keyboards, background vocals)
Caro Giordano (cello)

Booklet04A

Tracklist:
01. Slackjawed (M.Connell) 4.00
02. Carry My Picture (M.Connell) 3.58
03. ’74–’75 (M.Connell) 4.39
04. Doin’ You (Huntley) 3.33
05. Find Out (MacMillan) 3.31
06. Eyes On The Ground (MacMillan) 3.03
07. Spiral (M.Connell) 3.07
08. Hey You (D.Connell/M.Connell/MacMillan) 3.23
09. New Boy (M.Connell) 4.39
10. Disappointed (M.Connell) 5.04
11. Burden (M.Connell) 4.00
12. Any Day Now (MacMillan) 2.39
13. Running Mary (M.Connell) 4.36
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European bonus tracks:
14. Logan Street (M.Connell) 3.39
15. Wonder Why (M.Connell) 3.14
16. Living In The Past (Anderson) 2.43

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Pierre Boulez & The Cleveland Orchestra Nocturnes + La Mer (Claude Debussy) (1995)

FrontCover1(Achille) Claude Debussy ( 22 August 1862 – 25 March 1918) was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the late 19th and early 20th centuries.

Born to a family of modest means and little cultural involvement, Debussy showed enough musical talent to be admitted at the age of ten to France’s leading music college, the Conservatoire de Paris. He originally studied the piano, but found his vocation in innovative composition, despite the disapproval of the Conservatoire’s conservative professors. He took many years to develop his mature style, and was nearly 40 when he achieved international fame in 1902 with the only opera he completed, Pelléas et Mélisande.

Debussy’s orchestral works include Prélude à l’après-midi d’un faune (1894), Nocturnes (1897–1899) and Images (1905–1912). His music was to a considerable extent a reaction against Wagner and the German musical tradition. He regarded the classical symphony as obsolete and sought an alternative in his “symphonic sketches”, La mer (1903–1905). His piano works include two books of Préludes and two of Études. Throughout his career he wrote mélodies based on a wide variety of poetry, including his own. He was greatly influenced by the Symbolist poetic movement of the later 19th century. A small number of works, including the early La Damoiselle élue and the late Le Martyre de saint Sébastien have important parts for chorus. In his final years, he focused on chamber music, completing three of six planned sonatas for different combinations of instruments.

With early influences including Russian and far-eastern music, Debussy developed his own style of harmony and orchestral colouring, derided – and unsuccessfully resisted – by much of the musical establishment of the day. His works have strongly influenced a wide range of composers including Béla Bartók, Olivier Messiaen, George Benjamin, and the jazz pianist and composer Bill Evans. Debussy died from cancer at his home in Paris at the age of 55 after a composing career of a little more than 30 years.

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Pierre Louis Joseph Boulez CBE (French: [pjɛʁ lwi ʒozεf bulɛz]; 26 March 1925 – 5 January 2016) was a French composer, conductor, writer and founder of several musical institutions. He was one of the dominant figures of the post-war classical music world.

Born in Montbrison in the Loire department of France, the son of an engineer, Boulez studied at the Conservatoire de Paris with Olivier Messiaen, and privately with Andrée Vaurabourg and René Leibowitz. He began his professional career in the late 1940s as music director of the Renaud-Barrault theatre company in Paris. As a young composer in the 1950s he quickly became a leading figure in avant-garde music, playing an important role in the development of integral serialism and controlled chance music. From the 1970s onwards he pioneered the electronic transformation of instrumental music in real time. His tendency to revise earlier compositions meant that his body of completed works was relatively small, but it included pieces regarded by many as landmarks of twentieth-century music, such as Le Marteau sans maître, Pli selon pli and Répons. His uncompromising commitment to modernism and the trenchant, polemical tone in which he expressed his views on music led some to criticise him as a dogmatist.

In parallel with his activities as a composer Boulez became one of the most prominent conductors of his generation. In a career lasting more than sixty years he held the positions of chief conductor of the New York Philharmonic and the BBC Symphony Orchestra, music director of the Ensemble intercontemporain and principal guest conductor of the Chicago Symphony Orchestra and the Cleveland Orchestra. He made frequent guest appearances with many of the world’s other great orchestras, including the Vienna Philharmonic, the Berlin Philharmonic and the London Symphony Orchestra. He was particularly known for his performances of the music of the first half of the twentieth century—including Debussy and Ravel, Stravinsky and Bartók, and the Second Viennese School—as well as that of his contemporaries, such as Ligeti, Berio and Carter. His work in the opera house included the Jahrhundertring—the production of Wagner’s Ring cycle for the centenary of the Bayreuth Festival—and the world premiere of the three-act version of Alban Berg’s Lulu. His recorded legacy is extensive.

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He founded a number of musical institutions in Paris, including the Domaine musical, the Institut de recherche et coordination acoustique/musique (IRCAM), the Ensemble intercontemporain and the Cité de la Musique, as well as the Lucerne Festival Academy in Switzerland. (wikipedia)

Pierre Boulez made his early reputation as a Debussy conductor, and with good reason. Debussy’s reputation as a musical “impressionist” led most people to think of him as a sort of musical Claude Monet–all blurry outlines and fuzzy images–but Boulez changed this perception, bringing an analytical clarity and razor-sharp definition to the composer’s musical mosaics. What he has achieved in this second series of Debussy recordings is an additional naturalness and spontaneity of expression. The Cleveland Orchestra is the ideal vehicle for this sort of interpretation, being perhaps the most technically precise band in the world. The result is just about perfect. (by David Hurwitz)

Recorded at the Masonic Auditorium, Cleveland, March 1991 (4) / March 1993

BackCover1Personnel:
The Cleveland Orchestra+ Chorus conducted by Pierre Boulez

The Cleveland Orchestra Chorus
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Franklin Cohen (clarinet on 04.)

Booklet02

Tracklist:

Nocturnes:
01. Nuages 6.15
02. Fêtes 6.31
03. Sirènes 9.47

04. Première Rhapsodie (Pour Orchestre Avec Clarinette Principale) 8.42
05. Jeux (Poème Dansé) 16.06
La Mer (Trois Esquisses Symphoniques):
06. De L’Aube À Midi Sur La Mer 8.47
07. Jeux De Vagues 7.09
08. Dialogue Du Vent Et De La Mer 7.41

Music composed by Claude Debussy

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The Cleveland Orchestra

Joshua Kadison – Painted Desert Serenade (1993)

FrontCover1Joshua Kadison (born February 8, 1963 in Los Angeles, California) is an American singer-songwriter, pianist, and writer. He is perhaps best known for the Top 40 hits “Jessie” and “Beautiful in My Eyes” from his debut album Painted Desert Serenade. He is the son of actress Gloria Castillo, who was the inspiration behind his song “Mama’s Arms.”

According to an early press release by EMI, “His maverick ways paid off in 1993 when EMI released his self-penned debut Painted Desert Serenade, a collection of introspective story songs including the break-through single “Jessie” and “When A Woman Cries,” already covered by legends Joe Cocker and Smokey Robinson. “I was so used to being outside of whatever was going on that I didn’t even think I’d get a record deal, much less have my songs played on the radio.” This, from the young man who received the BMI Award for one of the most played songs of 1994. His international hit “Beautiful in My Eyes” is often played at weddings and peaked at #19 in the U.S. Billboard charts. Painted Desert Serenade went platinum in the US and Germany, and went multi-platinum in Australia and New Zealand. According to The Guinness book of British Hit Singles both “Jessie” and “Beautiful In My Eyes” both reached the UK Top 40 with “Jessie” spending 15 weeks in the UK Top 75 with the 2 releases of the song combined and the album reached number 45. “Jessie” is still often heard on UK radio, his musical style and voice are similar to Elton John.

JoshuaKadison01His second album, Delilah Blue, was less commercially successful. His collection of songs were closer to sonic novels than the ballads featured in his first album; he used John Steinbeck’s book The Pearl as inspiration for a song of the same name. The single “Take it on Faith” failed to reach the Billboard Top 10, and shortly after, EMI voided its contract with Kadison. The title track “Delilah Blue” was released as a single in Australia.

In 1998, he published his book 17 Ways To Eat A Mango: A Discovered Journal Of Life On An Island Of Miracles and the 5-track-album Saturday Night In Storyville on his own label Storyville Records, selling it predominantly from his website. It was well received in Germany, where he continues to have a huge following. In 1999 he released another album via his website called “Troubador In A Timequake,” which was the first CD to include “My Father’s Son.” He is quoted to have said that it was a song written about his father, Ellis Kadison, who had recently died.

Shortly after, he signed a new deal with EMI Germany and his album Vanishing America was released. The album, released in May 2001, dealt with his disillusionment with the lost values of America. The album was a collection of songs that told stories about people not realizing their own beauty and full potential. Ironically, the album was never distributed in the United States. The album also included two selections previously used on his late 1990s albums, “My Father’s Son” and “Cherry Bowl Drive-In” and a solo version of “Dragonfly Queen,” re-titled “Begging For Grace.”

In 2005, Kadison relaunched his career on his self-run website “Radio Humanity.” He later bought back his previous website address and re-launched it. The Venice Beach Sessions was released as a download-only album in two parts, including a selection titled “Over The Sad Songs;” this was thought to be inspired by his recently dissolved relationship. Kadison has long been openly bisexual, which he once made mention of on his website’s forum. The discussion which ensued caused him to shut down the site for some time before it was eventually relaunched. His sexuality does not seem to have affected his popularity and sales one way or the other, and certainly has not diminished either.

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In 2006, EMI released Essential a collection which included tracks from all three full-length studio albums and three additional selections that had formerly been B-sides.

In 2007 Joshua continued to update his website with regular letters and toured Germany in the spring.

In 2008 Joshua released the download-only album Return Of The Dragonfly and toured Germany again. During the tour he announced that he would no longer be performing his older songs and would dedicate his time to studying the bansuri, a simple seven-hole bamboo flute.

Wherever possible at his concerts, he allows audience members to sit on the stage; this is evidenced by various videos on YouTube. He also has a “requests” and “Q & A” sessions at the end.

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Kadison’s career has been quiet since 2012, with him performing occasionally and following other interests and pursuits.

Painted Desert Serenade is the debut studio album by American pianist/singer-songwriter Joshua Kadison, released in 1993 on SBK (a subsidiary of Capitol Records). It features two singles, both of which reached the top 30 on the US Billboard Hot 100: “Jessie” peaked at number 26, while “Beautiful in My Eyes” reached number 19 in 1994. (by wikipedia)

Singles

Pianist Joshua Kadison’s debut is chock full of odes to finding romance, longing for romance and losing romance. Propelled mostly by the enormously popular adult contemporary hit Jessie, about the searching title heroine and the hopeful, needing narrator who gets sucked into her longing, he paints vivid portrayals of troubled and hopeful dreamers. With lyrics like “Jessie, paint your pictures/’bout how it’s gonna be/by now I should know better/your dreams are never free,” Kadison taps into the wanderer in all of us. His strength is much like that of the best country music songwriters: Each track brings to life and tells a story about unique characters, whether it’s Lady Jane in the title song, Rachel in Picture Postcards from L.A. or Jessie making a recurrent visit in Georgia Rain. With Kadison being an unabashed romantic, none of these songs rock out or even come close to being edgy, but that works to their advantage because he also steers far from the middle of the road with his strong songwriting skills, yearning lyrics, pretty melodies and simple production. The best cut is Painted Desert Serenade, a swooningly romantic song about a senior citizen trying to convince a fellow senior that it’s not too late to find love. His follow-up, 1995’s Delilah Blue, had no hit singles and disappeared soon off the charts. (by Bryan Buss)

BackCover1Personnel:
Rod Argent (keyboards, background vocals)
Dave “Clem” Clempson (guitar; mandolin)
Mark Cresswell (guitar)
Martin Ditcham (percussion)
Denny Fongheiser (drums)
John Giblin (bass)
Peter van Hooke (piano, drums, percussion)
Paul Jones (harmonica)
Joshua Kadison (vocals, piano)
Chris Laurence (bass)
Phil Parlapiano (accordion)
John Pierce (bass)
Tim Pierce (guitar)
Tim Renwick (guitar)
Frank Ricotti (percussion)
Ian Thomas (drums)
Jeffrey “CJ” Vanston (organ)
Neal Wilkinson (drums)
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background vocals:
Sherwood Ball – Adele Bertei – Carmen Carter – Lance Ellington – Kathy Hazzard – Carol Kenyon – David Lasley – Valerie Mayo – Arnold McCuller – Joseph Powell – Ian Shaw – Helen Terry – Ruby Turner – Carmen Twillie – Fred White – Rosemary Butler – Gene Miller – Tessa Niles
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violin:
Mark Berrow – Ben Cruft – Roger Garland – Wilfred Gibson – Roy Gillard – Tim Good  Rita Manning – Peter Oxer – Bill Penham – Barry Wilde – David Woodcock – Gavyn Wright
viola:
Stephen Tees – Robert Smissen, – George Robertson – Andrew Parker – Susie Hansen
celli:
Paul Kegg – Ben Kennard – Helen Liebmann – Roger Smith
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oboe:
Frank Morgan – Richard Morgan

Strings arranged by Rod Argent; conducted by Gavyn Wright

Booklet02ATracklist:
01. Jessie 5.19
02. Painted Desert Serenade 2.57
03. Beau’s All Night Radio Love Line 4.26
04. Invisible Man 4.58
05. Mama’s Arms 3.00
06. Beautiful In My Eyes 4.09
07. Picture Postcards From LA 4.34
08. When A Woman Cries 3.31
09. Georgia Rain 4.03

All songs written by Joshua Kadison

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Philip Catherine Trio – Moods Vol. 1 (1993)

FrontCover1An immensely gifted Belgian guitarist, Philip Catherine is a highly regarded performer known for his harmonically nuanced, deeply lyrical playing and crisply rounded fretboard touch. Born in London in 1942 to an English mother and Belgian father, Catherine moved to Brussels with his family at a young age. As a teenager, he became interested in the guitar, influenced at the time by French singer/songwriter and poet George Brassens. By age 14 he was taking lessons, and learning the basic elements of jazz improvisation when he discovered Django Reinhardt. He quickly absorbed the jazz legend’s distinctive style, and eventually picked up other influences, including Belgian guitarist René Thomas. He also immersed himself in albums by such luminaries as Art Blakey, Clifford Brown, Max Roach, and others. (by Matt Collar)

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The trio of guitarist Philip Catherine, flügelhornist Tom Harrell, and bassist Hein Van DeGeyn mostly performs group originals on this introspective, relaxed, and thoughtful set. Michel Herr’s keyboards add atmosphere to three numbers. The music is subtle post-bop, sometimes quite eerie (such as the closing “A Time for Love”), and generally unpredictable. This set, and the slightly superior Moods, Vol. 2, deserve several listens. (by Scott Yanow)

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Personnel:
Philip Catherine (guitar)
Hein van de Geyn (bass)
Tom Harrell (flugelhorn, trumpet)
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Michel Herr (keyboards on 01., 05. + 07.)

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Tracklist:
01. Côté Jardin (Catherine) 12.29
02. The Man I Love (Gershwin) 9.09
03. Moods (Catherine) 2.01
04. December 26th Variation I (Catherine) 7.56
05. Romance (Harrell) 6.35
06. Fridge Blues (de Gey) 7.15
07. Côté Cours (Catherine) 2.45
08. Angel Wings (Catherine) 5.38
09. A Time For Love (Mandel) 3.39

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Hein van de Geyn

More Philip Catherine:
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Rick Derringer – Back To The Blues (1993)

FrontCover1This has got to be one of Rick Derringer’s most under rated albums of all time! I don’t really consider this a hardcore blues album,more of a Rock CD tinged with blues.

Blue Suede Blues will have you rocking out like never before,Blues All Night Long is a looong song with guitar playing to keep you wantin more.Meantown Blues is perfect in every aspect,vocals,playing etc. Sink Or Swim is another winner as is Time To Go. You can’t go wrong with this. Two guitars up!!!! (by Bill Smith)

This is jam packed with Classic Blues guitar grooves and superb guitar work from a true Guitar God. I’ve been a fan since his days with Johnny Winter and he has gotten better with time. Trouble in Paradise, Blue Suede blues, Sink or Swim, Unsolved Mystery and actually every trac is good to fantastic blues with a hefty helping of smokin solos throughout. My personal favorite is Time To Go, the last song.  Listen to the sound bites and give it a shot. (by Plank Spanker)

Rick Derringer01Rick has had a much more successful career in Blues than he had in the rock genre, and this is just another fine album to add to a collection. He continues to impress with his playing, and he certainly knows how to pick the right songs, and to write good Blues material. (by BarKat)

I didn’t know Rick was such a guitar virtuoso, his blues are of the fast paced Texas type. His guitar work on every song is just amazing, I recommend it for those that like guitar work. (by drsplash)

Again… it’s too bad people only know Rick Derringer for his Top 40 stuff that gets played to death. His blues chops are extraordinary, no doubt due in part to his time spent with Johnny Winter. Just his cover of ‘Meantown Blues’ alone was worth the price of admission, which was pretty damn reasonable too. (Peter K. Cudworth)

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And my personal favorite is without any doubts “Blues All Night Long”.

Listen to one of these underrated masters of the Blues-Rock guitar !

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Personnel:
Rick Derringer (vocals, guitar)
Andy Doerschuk (drums)
Brad Russell (bass)
Kevin Russell (guitar)

Booklet
Tracklist:
01. Trouble in Paradise 5.08
02. Blue Suede Blues 5.19
03. Blues All Night Long 8.11
04. Mean Town Blues 4.08
05. Sorry For Your Heartache 9.48
06. Sink Or Swim 5.06
07. Diamond 4.59
08. Crybaby 4.01
09. Unsolved Mystery 4.58
10. Blue Velvet 4.22
11. Time To Go 5.56

All songs written by Rick Derringer,
except 04, which waswritten by Johnny Winter

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The Chieftains – The Celtic Harp – A Tribute To Edward Hunting (1993)

FrontCover1Produced by head Chieftain Paddy Maloney, The Celtic Harp is essentially a showcase for the very talented harpist Derek Bell. Bell handled all of the arrangements, as well as contributed harpsichord and tiompan to the proceedings. Fine solos from flute god Matt Malloy (“Parting of Friends/Kerry Fling”), vocalist Kevin Conneff (“Green Fields of America”), and pipe player Maloney (“T’Aimse ‘Im Chodladh”) give the album a definite Chieftain feel, but The Celtic Harp belongs to Bell, who infuses each note with the subtlety and grace of a true master. (by James Christopher Monger)

Like so many Americans I can trace some of my lineage to Ireland. Perhaps that’s why the Chieftains’ music resonates with me. I first heard of them in the late 1950’s when I became aware of American folk music and it’s strong Scots-Irish heritage. Today I’m a fan of many so-called American Roots acts / bands who are more than little influenced by Celtic music. The Chieftains are a way to understand the basis of much American music, great exponents of traditional Celtic music, and just plain fun to listen to. This album is almost entirely instrumental with one song that is as compact a lesson in Irish-American history as I’ve ever heard. I also strongly recommend the Chieftains 50th Anniversary album. (Stephen Rustad)

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And here some informations about Edward Bunting:

Edward Bunting (1773–1843) was an Irish musician and folk music collector.

Bunting was born in County Armagh, Ireland. At the age of seven he was sent to study music at Drogheda and at eleven he was apprenticed to William Ware, organist at St. Anne’s church in Belfast and lived with the family of Henry Joy McCracken. At nineteen he was engaged to transcribe music from oral-tradition harpists at the Belfast Harp Festival in 1792. As Bunting was a classically trained musician, he did not understand the unique characteristics of Irish music, such as modes, and when transcribing tunes he ‘corrected’ them according to Classical music rules.

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One proof of this is that some tunes published by him were in keys that could not have been played by the harpists. His notes on the harpists, how they played and the terminology they used is however invaluable, and also many tunes would have been lost if he had not collected them.

Bunting organised a second festival in 1813 and wrote to the Belfast Charitable Society, based at Clifton House, for support. This was granted and the proceeds of the festival AncientIrishMusicwere donated to the Charitable Society to help the poor of Belfast.

Bunting went on a number of collecting tours between 1792 and 1807, and was the first to transcribe music ‘in the field’ as played by the musicians. He realised the importance of the Irish words to the songs and Patrick Lynch was employed to collect these. Bunting, who lived in Belfast with the McCrackens until his marriage in 1819, moved to Dublin where he held the post of organist at St. George’s Church. He died in Dublin on 21 December 1843 and is buried at the Cemetery of Mount Jerome, Dublin.

Bunting’s papers were lost for many years, but were rediscovered in 1907 and currently reside in the Special Collections department of Queen’s University of Belfast. Donal O’Sullivan has restored the original words to the airs that Bunting published without the words. The Chieftains’ 1993 album “The Celtic Harp” is a tribute to Edward Bunting.

The first commercial recording of Bunting’s collection was Edward Bunting’s The Ancient Music of Ireland — the 1840 Edition (2010, 8-CD set, Trigon, 151 tracks) (by wikipedia)

So let´s celebrate the great Edward Bunting and o course this wonderful group from Ireland … The Chieftains !

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Personnel:
Derek Bell (harp, dulcimer,harpsichord)
Kevin Conneff (bodhrán, vocals)
Martin Fay (fiddle)
Seán Keane (fiddle)
Matt Molloy (flute)
Paddy Moloney (uilleann bagpipes, tin whistle)
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The Belfast Harp Orchestra condcucted by Janet Harbison (on 01., 04., 08. + 11.(tracks: 1, 4, 8, 11)

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Tracklist:
01. MacAllistrum’s March – Máirseail Alasdroim (Traditional) 3.02
02. Tribute To Bunting (Traditional) 8.01
03. The Parting Of Friends / Kerry Fling (Traditional) 4.42
04. Planxty Bunting (Moloney) 4.47
05. Madame Cole (Carolan/Traditional) 2.45
06. The Blackbird (Traditional) 4.27
07. Táimse ‘im Chodladh (Traditional) 3.46
08. Sonny Brogan’s Mazurkas (Traditional) 2.55
09. The Wild Geese (Traditional) 6.32
10. The Green Fields Of America (Traditional) 5.40
11. Carolan’s Concerto (Traditional) 3.05
12. The Lament For Limerick (Traditional) 5.02

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Greek Byzantine Choir – Christmas Hymnes (1993)

FrontCover1.jpgByzantine music is the music of the Byzantine Empire. Originally it consisted of songs and hymns composed to Greek texts used for courtly ceremonials, during festivals, or as paraliturgical and liturgical music. The ecclesiastical forms of Byzantine music are the best known forms today, because different Orthodox traditions still identify with the heritage of Byzantine music, when their cantors sing monodic chant out of the traditional chant books such as sticherarion, which in fact consisted of five books, and the heirmologion.

Byzantine music did not disappear after the fall of Constantinople. Its traditions continued under the Patriarchate of Constantinople, which after the Ottoman conquest in 1453 was granted administrative responsibilities over all Orthodox Christians. During the decline of the Ottoman Empire in the 19th century, burgeoning splinter nations in the Balkans declared autonomy or “autocephaly” against the Ecumenical Patriarchate. The new self-declared patriarchates were independent nations defined by their religion.

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In this context, Christian religious chant practiced in the Ottoman empire, Bulgaria, Serbia and Greece among other nations, was based on the historical roots of the art tracing back to the Byzantine Empire, while the music of the Patriarchate created during the Ottoman period was often regarded as “post-Byzantine”. This explains why Byzantine music refers to several Orthodox Christian chant traditions of the Mediterranean and of the Caucasus practiced in recent history and even today, and this article cannot be limited to the music culture of the Byzantine past. (by wikipedia)

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These are hundreds to over a thousand year old Byzantine hymns, of ancient beauty and devotion. Features one of the best chanters (Psalti) and choruses, Angelopoulis, who also appears on several CD’s of ancient Roman chant (was Byzantine in style) done by Harmonia Mundi label’s Marcel Peres, who brings to life ancient church music. The melodies are often in a minor key, are of great beauty and the words are from or paraphrased from the Bible. Entrancing. Getting an English translation would make it easier to appreciate if you don’t know Greek; see the booklet. One of the best. (by Karl Schulte)

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Personnel:
Greek Byzantine Choir conducted by Lycourgos Angelopoulos

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Tracklist:
01. Romanos the Melodist, Kontakion: Today the Virgin 1.28
02. Petros Bereketis, 3 Heirmoi: Odes 1,5,9 / 4.36
03. Iakevos Protopsaltis, Doxastikon for the Sunday preceding Christmas: Glory Be To The Father 6.44
04. Kathisma: Come, O Ye Faithful and Let Us Behold 1.34
05. Heirmoi for the 1st Canon of Christmas: Odes 1,3,4,5,6,7,8,9 / 7.54
06. Petros Lambadarios: Glory to God in the Highest 1.56
07. Petros Lambadarios & Verses from the Great Doxology: Today Christ is Born 4.06
08. Chant for Communion: The Lord Hath Sent Deliverence Unto His People 10.30
09. Petros Lambadarios, Troparion: Thou Wast Born Secretly in the Cave 2.25
10. Petros Lambadarios, Exapostilarion: Our Savior Has Descended Unto us From on High 1.17
11. Petros Lambadarios, Doxastikon: Glory to the Father, to the Son & to the Holy Spirit (The Magi, Kings of Persia) 2.48
12. Petros Lambadarios, Sticheron: All the Angels in Heaven 1.54
13. Petros Lambadarios, Apolytikion: Thy Nativity, O Christ Our God 0.59
14. Balasios The Priest, Calophonic Heirmoi: A Star Has Already Risen 4.38
15. Ioannis Trapezountios: Kratima 4.26

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Mary Jane Leach – Celestial Fires (1993)

FrontCover1.jpgMARY JANE LEACH (born 1949) is a composer/performer whose work reveals a fascination with the physicality of sound, its acoustic properties and how they interact with space. In many of her works Leach creates an otherworldly sound environment using difference, combination, and interference tones; these are tones not actually sounded by the performers, but acoustic phenomena arising from Leach’s deft manipulation of intonation and timbral qualities. The result is striking music that has a powerful effect on listeners. Critics have commented on her ability to “offer a spiritual recharge without the banalities of the new mysticism” (Detroit Free Press), evoking “a visionary quest for inner peace” (Vice Versa Magazine), and “an iridescent lingering sense of suspended time.” (Musicworks Magazine)

Leach’s music has been performed throughout the world in a variety of settings, from the concert stage to experimental music forums, and in collaboration with dance and theatre artists. She is an accomplished performer in her own right, who has been presented across the United States and Europe, and her works have been performed by many eminent soloists and chamber ensembles, most recently in Europe by Manuel Zurria, Emanuele Arciulli and the Orchestra Sinfonica di Lecce, György Lakatos and Trio Lignum in Hungary, the Flemish Radio Choir, La Gioia, the London Concord Singers, and Vox Feminae (Switzerland). In recent years Leach has received considerable acclaim for her choral music, which is featured on two CD releases on the XI and New World labels. Drawing on Leach01inspirations as diverse as Monteverdi, Bruckner, and 14th century Ars Nova, these pieces “enliven a choral repertoire starved for good contemporary work.” (Village Voice). Several are published by C.F. Peters.Leach has been commissioned by many notable ensembles, including Fondazione ICO Tito Schipa, Relâche, The DownTown Ensemble, Newband, and the New York Treble Singers; and by soloists such as Manuel Zurria, Emanuele Arciulli, Sarah Cahill, Guy Klucevsek, Shannon Peet, and Libby Van Cleve. She has received commissions/awards from the New York State Council on the Arts (2007, 1992), Danish Arts Council (2006), National Endowment for the Arts (2005, 1995), New York Foundation for the Arts (2002), International Alliance of Women in Music (2002), American Composers Forum (1995), the NEA (1995), Mary Flagler Cary Charitable Trust (1993, 1995, 1996), Westdeutscher Rundfunk (1992), and many other funders.Recordings of her work are on the New World, XI, Die Schachtel, Starkland, Lovely Music, Capstone, Innova, and Aerial compact disc labels. On the radio, her music has been featured by Radio Bremen, BBC3,First Art, John Schaeffer’s New Sounds, CBC (Canada), Radio Cultura in Sao Paulo, and by stations throughout America and Europe.

Leach02Writing about her work has appeared in several books:In Her Own Words: Conversations with American Women Composers by Jennifer Kelly/Illinois (2013),American Music in the Twentieth Century by Kyle Gann/Schirmer (1997), La musica minimalista by Paolo Coteni and Giovanni Antognozzi/Edizione Textus (2000), The New Generation of Mystery/Kunstler des XXI. Jahrhunderts by Maria De Alvear/World Edition (2000), and Het Tweede Thema of de Verwaarloosde Geschiedenis van de Componerende Vrouw by Simonne Claeys/Alamire Pere (Belgium, 2002). Her scores have been published in Soundings, Ear Magazine, and logosblad, and she has been featured in articles in Chamber Music, Vermont Quarterly, Pulse!, Option Magazine, Kölnische Rundschau, Albany Times Union, logosblad, and on German television.In 1995 Leach was selected for a prestigious grant from the Foundation for Contemporary Performance Arts, which was established by Jasper Johns and John Cage to support innovative artists in the performing arts.
“People say that Leach’s music is hard to listen to. Well, Beethoven’s music is hard to listen to -at first.”—Otto Luening

Beginning from simple means — close harmonies with phasing rhythms –, each of the 6 compositions on this CD gradually blossom in the intricacy of their exquisite movement and sound. Each uses an ensemble of instruments or voices of a similar family, which emphasizes the textural binding — “Bruchstuck,” “Green Mountain Madrigal,” “Mountain Echoes” and “Ariel’s Song” for 8 treble voices, “Feu de Joie” for solo bassoon and 6 taped bassoons, and the illusionary “Trio for Duo” for live and taped alto flute and voice. Truly beautiful. (by Gene Tyranny)

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Personnel:
The New York Treble Singers conducted by Virginia Davidson
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vocals:
Adrienne Edgar – Arlene Travis – Cynthia Richards-Hewes – Judith Pannill –
Karen Krueger – Maureen Haley – Nancy Wertsch – Therese McCormick
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Barbara Held (flute on 05.)
MJ Leach (voice on 05.)
Shannon Peet bassoon on 02.)

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Tracklist:
01. Bruckstück 12.45
02. Feu De Joie 8.54
03. Green Mountain Madrigal 8.44
04. Mountain Echoes 11.05
05. Trio For Duo 10.12
06. Ariel’s Song 10.50

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Jeff Healey – Evil Blues (1993)

FrontCover1.jpgNorman Jeffrey “Jeff” Healey (March 25, 1966 – March 2, 2008) was a Canadian jazz and blues-rock vocalist, guitarist, and songwriter who attained musical and personal popularity, particularly in the 1980s and 1990s. He hit Number 5 on the U.S. Billboard Hot 100 chart with “Angel Eyes” and reached the Top 10 in Canada with the songs “I Think I Love You Too Much” and “How Long Can a Man Be Strong”.

Born in Toronto, Ontario, Healey was raised in the city’s west end. He was adopted as an infant; his adoptive father was a firefighter. When he was almost one year old, Healey lost his sight to retinoblastoma, a rare cancer of the eyes. His eyes had to be surgically removed, and he was given ocular prostheses.

Healey began playing guitar when he was three, developing his unique style of playing the instrument flat on his lap. At age 9 his musical talents were showcased in an interview on the TVOntario children’s programme Cucumber. When he was 15,[2] Jeff Healey formed the band Blue Direction, a four-piece that primarily played bar-band cover tunes and featured bassist Jeremy Littler, drummer Graydon Chapman, and a schoolmate, Rob Quail on second guitar. This band played various local clubs in Toronto, including the Colonial Tavern.

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Healey began hosting a jazz and blues show on radio station CIUT-FM where he became known for playing from his massive collection of vintage 78 rpm gramophone records.[3]

Shortly thereafter he was introduced to two musicians, bassist Joe Rockman and drummer Tom Stephen, with whom he formed a trio, The Jeff Healey Band. This band made their first public appearance at the Birds Nest, located upstairs at Chicago’s Diner on Queen Street West in Toronto. They received a write-up in Toronto’s NOW magazine, and soon were playing almost nightly in local clubs, such as Grossman’s Tavern and the famed blues club Albert’s Hall (where Jeff Healey was discovered by guitarists Stevie Ray Vaughan and Albert Collins).

After being signed to Arista Records in 1988, the band released the album See the Light, which appeared on the RPM Top 100 chart in 1989.[4] It featuring the hit single “Angel Eyes” and the song “Hideaway”, which was nominated for a Grammy Award for Best Rock Instrumental Performance. While the band was recording See the Light, they were also filming (and recording for the soundtrack of) the Patrick Swayze film Road House. Healey had numerous acting scenes in the movie with Swayze, as his band was the house cover band for the bar featured in the movie. In 1990, the band won the Juno Award for Canadian Entertainer of the Year. The albums Hell to Pay and Feel This gave Healey 10 charting singles in Canada between 1990 and 1994, including a cover of The Beatles’ JeffHealey03.jpg“While My Guitar Gently Weeps” which featured George Harrison and Jeff Lynne on backing vocals and acoustic guitar.

By the release of the 2000 album Get Me Some, Healey began to concentrate his talent in a different musical direction closer to his heart, the appreciation for another original American music form, jazz.

He went on to release three CDs of music of traditional American jazz from the 1920s and 1930s. He had been sitting in with these types of bands around Toronto since the beginning of his music career. Though known primarily as a guitarist, Healey also played trumpet during live performances. His main jazz group for touring and recording being Jeff Healey’s Jazz Wizards.

Healey was an avid record collector and amassed a collection of well over 30,000 78 rpm records. Starting in 1990 he hosted a radio program of very early jazz on CIUT at the University of Toronto with Colin Bray. Later he went national on CBC Radio’s program entitled My Kind of Jazz, in which he played records from his vast vintage jazz collection. He moved the show two years later to Jazz FM – CJRT; as a part of ongoing celebrations for what would have been Healey’s 50th birthday in 2016, the latter program began to air in repeats Wednesdays 9pm on jazz.fm.

For many years, Healey toured throughout North America and Europe and performed at his club, “Healey’s” on Bathurst Street in Toronto, where he played with his blues band on Thursday nights and also with his jazz group on Saturday afternoons. The club moved to a bigger location at 56 Blue Jays Way and was rechristened “Jeff Healey’s Roadhouse.” Though he had lent his name to the club and often played there, Jeff Healey did not own or manage the bar. (The name came from the 1989 film, Road House, in which Healey appeared.) At the time of his death, he had been planning to perform a series of shows in the United Kingdom, Germany, and the Netherlands with his other band, the “Jeff Healey Blues Band” (aka the “Healey’s House Band”) in April 2008.

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Over the years, Healey toured and sat in with many well-known performers, including The Allman Brothers, Bonnie Raitt, Stevie Ray Vaughan, Buddy Guy, BB King, ZZ Top, Steve Lukather, Eric Clapton and many more. In 2006, Healey appeared on Deep Purple vocalist Ian Gillan’s CD/DVD Gillan’s Inn.

Healey discovered and helped develop the careers of other musical artists, including Terra Hazelton and Amanda Marshall.

In early 2009, Healey’s album Mess of Blues won in The 8th Annual Independent Music Awards for Best Blues Album.

In 2009, Healey was inducted into the Terry Fox Hall of Fame.

In June 2011, Woodford Park in Toronto was renamed Jeff Healey Park in his honour.

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In 2014 Healey was inducted into Canada’s Walk of Fame. In September 2016, Jeff Healey was inducted into the Mississauga Music Walk of Fame. In March 2016 the posthumous album Heal My Soul was released, followed by the companion album Holding On in December of the same year. Both records were compiled from unreleased recordings by Roger Costa. The 12 track Heal My Soul featured six covers and a number of collaborations with Marti Frederiksen, Arnold Lanni and Stevie Salas. The 15 track Holding On album contains ten live tracks recorded in 1999 at the Rockefeller Music Hall in Norway and five studio tracks.

On January 11, 2007, Healey underwent surgery to remove metastatic tissue from both lungs. In the previous 18 months, he had two sarcomas removed from his legs. On March 2, 2008, Healey died of sarcoma in his home town of Toronto at age 41. Healey’s death came a month before the release of Mess of Blues, which was his first rock/blues album in eight years.
Healey married Krista Miller in 1992; they had a daughter and were divorced in 1998. He married Cristie Hall in 2003 and had a son with her. (by wikipedia)

And here´s another pretty good bootleg, recorded live at the Pistoia Blues Festival Pistoia (Italy) – July 4, 1993.

Listen and you´know why Jeff Healey was one of the finest guitar player in the last century

A hell of a record ! And we hear fantastic background vocals, too !

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Personnel:
Jeff Healey (guitar, vocals)
Joe Rockman (bass, background vocals)
Washington Savage (keyboards)
Tom Stephen (drums)
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background vocals:
Mischke & Chouckoo

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Tracklist:
01. Evil Hand Here To Stay (Healey&Rockman/Stephen) 6.39
02. Announcment 0.39
03. Confidence Man (Hiatt) 3.37
04. It Could All Get Blown Away (Goldberg/Goffin) 5.26
05. Lost In Your Eyes (Petty)
06. While My Guitar Gently Weeps (Harrison) 4.55
07. Heart Of An Angel (Holmes) 6.02
08. Angel Eyes (Hiatt/Koller) 6.04
09. Roadhouse Blues (Densmore/Krieger/Manzarek/Morrison) 5.43
10. See The Light (Healey)
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11. Evil Blues (uncut edition) 1.00.42

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Norman Jeffrey “Jeff” Healey (March 25, 1966 – March 2, 2008)