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)

Rick Derringer02

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

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


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

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



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)


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.


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 !


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


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



More from The Chieftains:


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.


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)


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)


Greek Byzantine Choir conducted by Lycourgos Angelopoulos


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



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)


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

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



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.


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.


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.


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 !


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


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)
11. Evil Blues (uncut edition) 1.00.42



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

New Presentation & Lora Szafran – You’ve Changed (1993)

FrontCover1.jpgLora Szafran graduated from the Department of Jazz and Pop Music in Katowice in 1986 and since then she has been considered one of the leading jazz vocalists in Poland. Still as a student, she cooperated with Walk Away, one of the most popular jazz bands in Poland. In 1984 she won first place at the International Competition of Jazz Vocalists in Zamosc. Since 1988 she has cooperated with one of the best acoustic jazz collaborations- New Presentation. She recorded two albums with the group: Lonesome Dancer (recognized as the jazz album of the year 1989) and You’ve Changed (1993). Lora Szafran’s singing performance is not related to jazz only. During her career she has frequently took part in international festivals, she won Grand Prix and Bursztynowy Slowik (Amber Nightingale) at Sopot ’90, Bregenea-Austria ’90, Cesme-Turkey 91. She accomplished two pop albums: “W Gore Slowa” (1991) and “Tylko Chopin” (1994). The vocalist recently has cooperated with Wlodzimierz Nahorny, which resulted in releasing the album “Spiewnik Nahornego”. Wojciech Niedziela is a jazz pianist, and composer; graduated from the Karol Szymanowski Academy of Musci in Katowice where he attended the class of piano led by prof. A. Zubek. Since 1991 he has been connected with the Jazz Institute (Composition, Interpretation, Education and Jazz Deaprtment) at first as an assistant, at present as a senior assistant leading the class of Jazz Piano and the Jazz Harmony. Mr Niedziela has accomplished about 30 CD records with such performers as: J. Pt. Wroblewski, P. Wojtasik, E. Kulm, M. Kulenty, L. Szafran.

Lora Szafran.jpg

He also made 4 records on his own, from which To Kiss the Ivories brought him 2 nominations to the Fryderyki Prize for the year 2000. Wojciech Niedziela is a laureate of many national and international competitions. He was also twice awarded the Stanislaw Wyspianski Young Artists Prize. Mr Niedziela has performed in famous jazz clubs (Montmartre, New Morning, A-Trane, Birdland) in Europe and USA; cooperated with leading artists of the international jazz scene such as: D. Liebman, M. Mainieri, D. Friedman, E. Henderson, B. Mollenhoff. His alumni include M. Tokaj, P.Wylezol, P. Wrombel, M. Wasilewski, P. Raminiak. (Press release)

Lora Szafran2.jpg

And here´s one of her beutiful albums, this time recorded with a Polish Jazzgroup called “New Presentation” featuring Wojciech Niedziela, another very fine jazz musician from Poland.

And so we here pretty good jazz music from the legendary Polish jazz-scene.

Excellent stuff !


Adam Buczek (drums)
Jacek Niedziela (bass)
Wojciech Niedziela (piano)
Lora Szafran (vocals)
Piotr Wojtasik (trumpe, flugelhorn)


01. Very Early (Evans) 6.26
02. What’s Love (W.Niedziela) 4.57
03. Oczekiwanie (W.Niedziela) 4.22
04. Right Frog (W.Niedziela) 5.51
05. You’ve Changed (Fisher) 2.21
06. Hay Fever (J.Niedziela) 4.05
07. My One And Only Love (Wood) 4.07
08. Perdido (Tizol) 5.31
09. Lush Life (Strayhorn) 6.44
10. Teach Me Tonight (DePaul) 4.47



Wojciech Niedziela.jpg


Kenn Lending Blues Band – Heartache Motel (1993)

FrontCover1.jpgThe Kenn Lending Blues Band was formed in November 1980, by the Danish singer and guitarist Kenn Lending. Kenn had already been very active, in several reputable Danish groups, since 1973. But forming his own blues band, fulfilled a dream, that he had, since he saw T Bone Walker live on stage in 1968.

Already a year before Kenn Lending formed his band, he started his well known partnership with the legendary American blues pianist and -singer Champion Jack Dupree, who lived in Hannover, Germany. This partnership, that through the years turned into a very close friendship, lasted until “The Champ” past away in January 1992.

The Duo did over 1000 concerts together in 35 states and countries, including a seven week tour in USA and Canada in 1991. They also appear together on at least 19 different albums. Three of the albums was recorded in New Orleans, for Rounder Records in 1990 and 1991, in connection with their performances on ‘New Orleans Jazz & Heritage Festival’. One of these albums ‘Forever and Ever’, received the WC Handy Award for the best traditional album in 1991.

Even though the relationship with Champion Jack Dupree had first priority, Kenn used all his spare time, making his band a strong and kicking blues band. They are known as a hardworking band, in the clubs and festivals all over Denmark, and they have been visiting countries such as Norway, Sweden, Finland, Germany, Holland, Switzerland, France, Rumania, Russia, Kroatia and Turkey.


Kenn Lending Blues Band has recorded ten albums of their own. The latest called “Flying High”, was released in January 2012, in connection with the 30 years jubilee of Kenn Lending Blues Band as a recording band. They have also recorded with blues greats as Memphis Slim, Louisiana Red, Luther Allison, Mickey Baker, Aron Burton, Jan Harrington, Lillian Boutté and of course Champion Jack Dupree.

Because of their deep understanding and respect for the afro-American blues, Kenn Lending Blues Band has been frequently used, as a backing band by American blues artists as Jan Harrington, Lillian Boutté, Aron Burton, Louisiana Red, Champion Jack Dupree, Memphis Slim and Luther Allison. In 1987 they toured in Germany as a opening act for Fats Domino, and they were also the opening act for BB King on his tour in Holland 1988 and on his concert in Copenhagen 1989. Kenn Lending also recorded with American rockband “The Band”, and appears on the CD from 1996 “High On The Hog”.

During 1994 Kenn Lending also has been working, with singer Lillian Boutté and her “Musicfreinds” on festivals, and on her six weeks ‘Spirit of Louisiana Gospel Tour’. He also appear with her on the record: ‘Live Gospel United’, that made Top 40 of Denmark January 1995. Again in 1995 he joint The Gospel United tour with Lillian Boutté. In connection with this event the CD “People Get Ready” was released.


Kenn Lending Blues Band is known to have a very personal sound. This is even more evident on their latest CD “Flying High”. With the new songs by Kenn Lending, he is taking the audience on a trip through the treasury of Afro-American music. The high performance of the individual musicians along with a perfect sound makes this album a milestone in the great career of Kenn Lending Blues Band. (taken from their facebook entry)

And here´s one of their many albums … an it´s a pretty good one … ad if you like this kind of Blues (with a a fine touch of Blues-Rock), then you should listen …

I guess, it´s time to discover the Kenn Lending Blues Band … and they are still on the road …

Frank Larsen (drums)
Kenn Lending (guitar, vocals)
Svenni Svafnisson (bass)
Henning  (keyboards)
Anders Gaardmand (saxophone on 02., 05., 09. +  12.)
Steen Vig (saxophone on 03. + 15., accordion on 15.)

01. Just One Night (Lending) 4:45
02. I Don’t Need Nobody (Lending/Verner) 3.43
03. Let’s Love And Still Be Free (Lending/Verner) 5.52
04 Sometimes It’s Hard (Lending/Verner) 4.58
05. I Wish I Was A Poet (Lending/Verner) 4.08
06. Lost You Forever (Lending) 7.49
07. Let Me Play With Your Poodle (Whittaker) 3.42
08. I Want To Be Free (Lending/Verner) 6.16
09. Sunday Morning (Lending/Verner) 5.11
10. Automobile Blues (Dupree) 4.39
11. Roadlife (Lending) 4.55
12 All I Know (Lending) 4.00
13 The Saddest Feeling (Lending) 7.10
14. I Had A Dream Last Night (Lending) 4.45
15. When You Saw Me Cry (Lending) 3.57