Wobble Jaggle Jiggle – Overflowing Bowl Of Green Jelly (1994)

FrontCover1.jpgWobble Jaggle Jiggle were a psychedelic rock band active in Brighton/UK during the 1990s.

The group were formed in 1989 by Robert ‘Wobbly Bob’ Chambers (guitar, bass, vocals), Ivor Vasquez (drums) and Ben ‘The Bass’ Jackson (bass, vocals), with Caroline Davey (vocals, keyboards, harmonica) joining in 1991. They recorded and produced a series of home-made cassette albums which they sold locally, and made their first vinyl appearance when they contributed the professionally recorded song “Thoughts of the Sky” to the 1992 Delerium Records compilation “Fun With Mushrooms”. Jackson then left, from which point Chambers played bass in their recordings while other bassists played live with the band, including Niall Hone (from Mandragora, 1993) and Dan Chapman (1994-95). Their third cassette, “Overflowing Bowl Of Green Jelly”, received a limited vinyl reissue on the Magic Gnome label in 1994, and the 1999 September Gurls label LP/CD “It Came From Nowhere” brought together archive tracks from a number of different line-ups. Vasquez left the band in 1996, replaced by ‘Trippy Fish’, and Davey left in 1997 before Chambers ended the group around 2000.

Wobble Jaggle Jiggle01The style and image of Wobble Jaggle Jiggle was based heavily on 1960s psychedelia and heavy drug references. The band’s name was taken from Chambers’ description of a drug experience, and many of his lyrics alluded to counter-culture lifestyle of “getting stoned and wearing groovy clothes”. Chambers was also a prolific artist and created all of the band’s album artwork and additional comic strip bonus material. Caroline Davey’s vocals were frequently compared to Grace Slick. Chambers’ guitar playing was influenced by the likes of Jimi Hendrix and Syd Barrett, and the band were part of the late-1980s/early 1990s British acid rock revival alongside bands like Spacemen 3, Sun Dial and The Bevis Frond. The rarity of their deliberately lo-fi cassette tape releases meant that it was only with the advent of the internet that their albums reached a wider audience and developed a cult following after the group had already split.

Caroline Davey also sang with the bands Cherokee Mist and Mandragora and continues to perform as a solo artist.

In September 2003 Wobbly Bob (guitar, vocals) formed the group ‘Daddy Fantastic’, named after a Wobble Jaggle Jiggle song which was in turn named after one of his caroline Pavilion theatr 1995cartoon character creations. He was joined by ‘The Baron’ (bass, vocals) and ‘Nimbus’ (drums, also of Crawlspace). In August 2004 they added Pete ‘The Daddy’ Bennett (vocals) and developed a live show involving performance artists. In 2006 Bennett entered and won the ‘Big Brother’ reality TV show, and left the band to launch a solo career. The original members continued to perform until Rob Chambers died in December 2008, aged 41. (by wikipedia)

WOBBLE JAGGLE JIGGLE is a psychedelic band from Brighton which get’s it’s inspiration both from the present and the past.The two big highlights of this band are the strong and sensuous voice of singer Caroline Davey (the grace of GRACE SLICK, combined with the power of JANIS JOPLIN) and the fabulous guitarplay of Robert Chambers, which shows obvious influences of legends like JIMI HENDRIX and SYD BARRETT. Since 1990, Have existed in Brighton, playing gigs around the south of England and parts of Belgium.

Where once there was Wobble Jaggle Jiggle, there now is only..DADDY


Caroline Davey (vocals, harmonica)
Robert Chambers (guitar, bass, vocals, kazoo)
Ivor Vazquez (drums, percussion)


The MC edition


01. Flame Of Life 7.55
02 Toke & Joke Club 2.03
03. Wasting My Time 5.19
04. Cosmic Ride 4.58
05. Force Of Feedback 4.30
06. My Room 4.11
07. Dark Stroll 9.33
08. Travelling By Armchair 1.39
09. Smoking My Reefer 6.08
10. Goodnight 3.21

All songs written by Caroline Davey – Robert Chambers – Ivor Vazquez





Traffic – Far From Home Tour (Giants Stadium – East Rutherford, NJ) (1994)

FrontCover1.jpgThe album “When the Eagle Flies,” released in 1974, was yet another Top Ten album in the USA, and moderately successful in the UK. However, a subsequent tour of the USA, while successful in terms of ticket sales,[9] was emotionally exhausting for the band. Capaldi later recalled “Rosko Gee and I were the only ones in anything like normal shape. Steve was having recurrent problems with the peritonitis, and Chris’s body was suffering from chemical warfare.”[10] Winwood ultimately passed his boiling point, walking off the stage in the middle of what would prove the band’s final show, in Chicago. The following day he left the tour without a word to anyone, leaving the rest of the band waiting for him at the venue for that night’s scheduled performance.[10] Feeling Winwood had been integral to Traffic’s music, the remaining members opted not to continue the band without him.

Traffic’s break-up was followed by two compilations from United Artists (Heavy Traffic and More Heavy Traffic), both of which only drew from the first half of their output.

Steve Winwood embarked on a solo career, while Rosko Gee and Rebop Kwaku Baah joined German band Can. Kwaku Baah died in 1983, and Capaldi dedicated his solo album Fierce Heart to his memory. Chris Wood also died that year from pneumonia.
Winwood and Capaldi, 1994


All the still living members of Traffic’s most recent lineup reunited in 1994 for a one-off tour, after a fan left a voice mail message at Bob Weir’s (of the Grateful Dead) hotel in Chicago during the 1992 “Scaring the Children” tour, and suggested it would be cool if Traffic toured with the (then Grateful) Dead. Traffic opened for the Grateful Dead during their summer tour. The flute/sax role on the tour was played by Randall Bramblett, who had worked extensively with Steve Winwood. Mike McEvoy joined the line up playing keyboards, guitar and viola, and Walfredo Reyes, Jr. played drums and percussion. Winwood and Capaldi recorded and released a new Traffic album, Far from Home, with no involvement from the other four members. It broke the top 40 in both the UK and USA. The Last Great Traffic Jam, a double live album and DVD released in 2005, documents the band’s 1994 reunion tour. (by wikipedia)

And here´s a souboard recording from theier 1994 tour … it must bei a real great tour !

Listen and enjoy !


Randall Bramblett (flute, saxophone, keyboards)
Jim Capaldi (drums, percussion, vocals)
Rosco Gee (bass)
Michael McEvoy (keyboards, guitar)
Walfredo Reyes, Jr. (percussion, drums)
Steve Winwood (vocals, guitar, keyboards)
Jerry Garcia (guitar on 11.)


01. Riding High (Winwood/Capaldi) 6.24
02. Some Kinda Woman (Winwood/Capaldi) 5.22
03. Medicated Goo (Miller/Winwood) 5.31
04. Mozambique (Winwood/Capaldi) 6.55
05. Rock And Roll Stew (Capaldi) 7.09
06. Rainmaker (Winwood/Capaldi) 7.59
07. Empty Pages (Winwood/Capaldi) 4.24
08. Low Spark Of High Heeled Boys (Winwood/Capaldi) 13.43
09. Light Up Or Leave Me Alone (Winwood/Capaldi) 13.19
10. John Barleycorn (Traditional) 7.54
11. Dear Mr. Fantasy (Winwood/Capaldi/Wood) 8.03



George Thorogood & The Destroyers – Live: Let’s Work Together (1995)

FrontCover1.jpgLive: Let’s Work Together is the second live album by George Thorogood & the Destroyers.

It was recorded on December 2–3, 1994 at Mississippi Nights in St. Louis, Missouri and December 5, 1994 at Center Stage in Atlanta, and released in 1995 on the EMI Records label.

The album featured guest appearances by musicians Elvin Bishop and Johnnie Johnson. (by wikipedia)

George Thorogood and his Delaware Destroyers have been raisin’ rock ‘n’ roll Shenanigans now for over thirty years. Coming out of Detroit in 1974, they got to release their first self-titled studio album in 1977. However, it was not until another nine years of roadwork, and several studio albums later, that the band hit pay-dirt with their first live album, simply titled `Live’ in 1986. It made the live Destroyer experience available to the world. And after all is said and done, it is not surprising that this is where the band finally clicked on album. George Thorogood and the Destroyers have always been a live beast, bursting into life when they hit the boards in front of a frenzied audience, but wilting slightly when cooped up in a recording studio.

In the Destroyers career so far there have been three live albums, the original from 1977, then lately there was Live in 1999, but it’s this middle one from 1995 that I picked as the best of a good bunch. The simple reason is that the performance is explosive, well recorded, chock-a-block full of Thorogood classics, the odd surprise here and there, and, like any good live recording, it is topped and tailed by a good solid slab of Mr. Chuck Berry.
The ever dependable Destroyers, stripped down to a basic four piece which this dog prefers (I’d rather have four musicians working hard than a nine piece being able to take it easy), put out a good solid sound. Apart from the amazing George out front on lead guitar and vocals, you have the exuberant Hank Carter on saxophone, who also contributes a touch of keyboards when the feeling takes. These two are backed by one of the most solid rhythm sections in history – Bill Blough on bass and Jeff Simon on drums. Over the years these two have welded together a mighty partnership.
For the first eleven songs the boys crank up their audience with a set full of Thorogood destroyers, working the fifth member of the band, the audience, to frenzy. Particularly on the tribute to John Lennon with their version of Larry Williams’ ‘Bad Boy’, which the Beatles would of first started playing in their days in Hamburg nightclubs back in the early sixties. But when George introduces Elvin (Bad Boy) Bishop to the crowd to join the band for some slide guitar on `Let’s Work Together’, the audience can barely contain themselves with excitement.


To top that, out from the wings for the final two songs comes Mr. Piano of Rock ‘n’ Roll/Blues/Boogie, Mr. Johnny Johnson. In his past Johnson has been chief sideman to all the greats including Chuck Berry, Buddy Guy, etc., and if you have never heard barrel house, honky-tonk piano, lend an ear to the last two tracks on this album. The first of the two is a storming version of ‘St. Louis Blues’, then we are led away by the rock ‘n’ roll national anthem ‘Johnny B. Goode’. By this time the excitement contained in the grooves of your CD can barely be controlled as your CD player hangs onto the disc by the skin of its teeth. The band members shoulder each other out of the way to take turns at soloing. Finally George breaks back in to take control and brings the song to a shattering climax.
All in all a very satisfying live recording of a band at the top of their game. Not many people know that when George sings…
“Why don’t you get a haircut and get a real job,
Just like your big brother Bob”
…he is of course singing about his soul brother `The Prince of Darkness’, Bob Finch of Tahitian Queen fame. Well, now you know.
Rocked by Mott the Dog
Rolled by Ella Crew (by Kim Fletcheron)

That´s what I call high energy Rock N Roll …


Bill Blough (bass)
Hank Carter (saxophone, keyboards, background vocals)
Jeff Simon (drums)
George Thorogood (guitar, slide-guitar, vocals)
Elvin Bishop (slide-guitar on 12.)
Johnnie Johnson (piano on 13. – 14.)

01. No Particular Place To Go (Berry) 5.14
02. Ride On Josephine (McDaniel) 6.57
03. Bad Boy (Williams) 4.51
04. Cocaine Blues (Amall) 3.34
05. If You Don’t Start Drinkin’ (I’m Gonna Leave) (Thorogood) 4.28
06. I’m Ready (Dixon) 5.12
07. I’ll Change My Style (Parker/Villa) 4.40
08. Get A Haircut (Avery/Birch) 5.42
09. Gear Jammer (Thorogood) 6.11
10. Move It On Over (Williams) 6.08
11. You Talk Too Much (Thorogood) 6.17
12. Let’s Work Together (Harrison) 6.47
13. St. Louis Blues (Handy) 7.03
14. Johnny B. Goode (Berry) 5.55



Rick Braun – Christmas Present, Music of Warmth & Celebration (1994)

FrontCover1.jpgRick Braun (born July 6, 1955, in (Allentown, Pennsylvania) is a smooth jazz trumpeter, multi-instrumentalist, and record producer.

Braun’s mother was a self-taught pianist and banjoist. Braun played drums in high school, then followed his brother in playing the trumpet. In the 1970s, he attended the Eastman School of Music, and while a student there became a member of a jazz-fusion band, Auracle. The band worked with producer Teo Macero, and Braun co-produced the second album.

During the 1980s, he entered the pop music world. He released an album in Japan as a singer, then worked as a songwriter for Lorimar (Warner Chappell). He wrote the song “Here with Me” with REO Speedwagon, and it became a top twenty hit. When he returned to the trumpet, he worked as a studio musician and touring member with Crowded House, Natalie Cole, Glenn Frey, Tom Petty, Sade, Rod Stewart, Tina Turner, and War.

He released his debut solo album, Intimate Secrets (Mesa, 1992), followed by Night Walk and Christmas Present. His popularity increased enough by 1995, when he released Beat Street, that he was persuaded to pursue a solo career.

Rick Braun

He has cited as influences Miles Davis, Lee Morgan, Chet Baker, Clark Terry, Dizzy Gillespie and Herb Alpert, with the last one inspiring his album All It Takes including a song called “Tijuana Dance” (a play on Alpert’s band Tijuana Brass). One of his influences was Freddie Hubbard, and Braun composed a song, “Freddie Was Here” in 2008, which he recorded on his album, All it Takes, in tribute to Hubbard, who died that year.

He achieved several top chartings including Kisses in the Rain (as high as number 1), R n R (as high as number 1), All It Takes (as high as number 2), and Can You Feel It (as high as number 1) along with charting at the Traditional Jazz Albums for the first time in 2011 with Sings with Strings (as high as number 9).

Braun performs in the band BWB, with saxophonist Kirk Whalum and guitarist Norman Brown.

In 2005, he and saxophonist Richard Elliot co-founded ARTizen Music Group (now known as Artistry Music) and once had Rykodisc as a distributor.

Braun won Gavin Report’s Artist of the Year twice. (by wikipedia)

Rick Braun2

Christmas Present — Music of Warmth and Celebration is a pleasant, laidback collection of smooth jazz that’s ideal background music for holiday parties. Braun runs through a number of classic Christmas carols (“The Christmas Present,” “Do You Hear What I Hear?”) and several original pieces that often evoke the spirit of the season, making it a nice Christmas record for fans of smooth jazz and fusion. (by Stephen Thomas Erlewine)


Rick Braun (trumpet, piano, flugelhorn)
Russ Braun (trombone)
Curtis Brengle (piano)
Kevin Brown (trumpet)
Jack Daro (bass)
Vinny D’Onofrio (guitar)
Brad Dutz (drums, percussion)
Bob Feldman (bass)
John Grab (trombone, vello)
Cliff Hugo (bass)
Dave Karasony (drums)
Nick Lane (trombone)
Suzette Moriarty (french horn)
Ed Smith (cymbals)
Doug Tornquist (tuba)
Ned Treuenfels (french horn)
Woodland Hills Elves Guild Choir:
Angela Surfield – Darryl Phinnessee – Rick Braun


01. The Little Drummer Boy (Simeone/Davis/Onorati) 4.00
02. Bell, Book, And Candle (Braun/Lane) 3.36
03. Christmas In Gorgonia (Braun/Traditional) 2.59
04. The Christmas Song (Wells/Tormé) 4.38
05. Jingle Blues (Pierpont) 4.03
06. Far Away (Braun/Reilly) 3.25
07. Christmas Present (Braun/Lane)
08. O Tannenbaum (Traditional) 3.43
09. It’s Christmas (Traditional) 4.09
10. The Christmas Clock (Braun) 3.13
11. Do You Hear What I Hear? () 4.22
12. Newborn Christmas (Feldman/Smith) 3.35
13. Maybe Next Year (Braun/Brengle) 4.43
14. Grandma’s Music Box (Braun) 2.45



Andrzej Jagodzinski Trio – Christmas (1994)

FrontCover1This trio has won acclaim all over the world and is now celebrating 20 years of their music-making.
The first Andrzej Jagodzinski album of jazzed-up Chopin, recorded in December 1993, was an event showered with awards. Another record “Live at the National Philharmonic” was created in 1995, followed by “Chopin Once More” in 1999. In 2008 the Trio recorded “Chopin – Jagodzinski – Sonata in B flat minor” celebrating the 15th anniversary of its creation by presenting a jazz vision of this great composition. The year 2010 witnessed a 2-CD album “Chopin – Les Brillantes”, which incorporated the band’s previous experience with Chopin’s music. It was also a tribute to the master on the 200th anniversary of his birth. All the CDs quickly attained the status of Golden Disc. (by arts.uci.edu)

“One of Poland’s leading jazz pianists interprets the music of the country’s greatest composer. (…) One of the best examples of classical jazz since Art Tatum tackled Massenet.” (Music and Media)

Jagodzinski’s organically swinging and highly interactive trio continued to explore jazz interpretations of one of the most acclaimed polish jazz pianists: Andrzej Jagodziski and his trio. Here The Andrzej Jagodzinski Trio performs traditional Polish Christmas carols, with the exception of “Cicha Noc (Silent Night)”, which is of course one of the most popular christmas songs of all time.

I guess, I will hear this wonderful album tomorrow night again … together with my wife, at the end of our christmas eve … before we´ll go to bed …

Andrzej Jagodzinski Trio1

Czesław ‘Mały’ Bartkowski (drums)
Adam Cegielski (bass)
Andrzej Jagodziński (piano)


01. Cicha Noc (Silent Night) 5.55
02 Z Narodzenia Pana (With Lord’s Birth) 4.00
03 Gdy Się Chrystus Rodzi (When The Christ Is Borning) 4.40
04 Mizerna Cicha (Wan, silent, stable earth) 5.25
05 Mędrcy Świata (The Sages of The World, Monarchs) 6.15
06 Pójdźmy Wszyscy Do Stajenki (Let Us All Go To Tthe Little Barn) 4.05
07 Jezus Malusieńki (Little Baby Jesus) 4.20
08 Gdy Śliczna Panna (When Beautiful Miss Rocked Son) 6.00
09 Lulajże Jezuniu (Hush little Jesus) 3.45



Andrzej Jagodzinski Trio2

Caffeine – Same (1994)

FrontCover1Caffeine is the eponymous debut album by the free improvisation trio consisting of Jim Baker on piano, Steve Hunt on percussion and Ken Vandermark on reeds. It was recorded in 1993 and released on Okka Disk. By the time of recording, Vandermark and Hunt were members of the NRG Ensemble.[1]Caffeine is the eponymous debut album by the free improvisation trio consisting of Jim Baker on piano, Steve Hunt on percussion and Ken Vandermark on reeds. It was recorded in 1993 and released on Okka Disk. By the time of recording, Vandermark and Hunt were members of the NRG Ensemble.

The Penguin Guide to Jazz notes that “‘with Baker and Hunt, Vandermark is slightly too exposed.”
The Chicago Tribune review by Howard Reich says “Baker’s restless pianism, Vandermark’s penetrating reed work and Hunt’s meticulous percussion perpetually react to one another in unexpected, novel ways.”
The Down Beat review by Bill Shoemaker states “Caffeine provides high-energy blow-outs followed by explorations of space and color. Baker’s first recorded outing is appetite-whetting, as he skillfully skirts Taylor’s long shadow.”


Ironically, Caffeine is the longest-lived project by reedist Ken Vandermark, and the least documented. It is an uncompromising trio rounded out by two of the most underrated Chicago musicians. Drummer Steve Hunt is mostly known for his work with the NRG Ensemble, and pianist Jim Baker has long been a mainstay of the Chicago scene. Baker produces rather linear lines with an uninterrupted flow of notes, and Hunt often uses percussive devices on his drum kit, creating a bustle. The two seem to have a privileged rapport, and Baker’s braininess acts as a foil for Hunt’s intuitiveness. Vandermark, still a little green, occasionally seems a little foreign to what they both cook, his playing being juxtaposed to theirs. The reed player gets credit, however, for his quite different approaches on each of the three instruments on this set of improvised music: clarinet, bass clarinet, and tenor sax.


It is on bass clarinet that he manages to best blend with his cohorts — maintaining an energetic flow without sounding forceful. On tenor, Vandermark is at his fiercest and most ferocious. The second part of “Landscape on the Events Horizon,” a clarinet feature, provides a rare occasion to hear him in contemplative mode. Overall, the music is extremely dense, despite the fact that the session only involves a trio and the musicians avidly seek to fill all the spaces. Despite its shortcomings, Caffeine manages to sustain the listener’s interest due to, in particular, Hunt’s and Baker’s attention to details. (by Alain Drouot)

Attention please: This is free jazz and when I write fee jazz I mean free jazz !


Jim Baker (piano)
Steve Hunt (drums, percussio
Ken Vandermark (reeds)


01. Two Car Garage 16.14

Landscape On The Events Horizon (46.58)
02. Landscape On The Events Horizon (Part 1) 10.11
03. Landscape On The Events Horizon (Part 2) 14.54
04. Landscape On The Events Horizon (Part 3) 8.55
05. Landscape On The Events Horizon (Part 4) 7.34
06. Landscape On The Events Horizon (Part 5) 5.20

07. Beyond The Gum Wrapper  9.45

All compositions by Baker/Hunt/Vandermark



Kermit Ruffins – The Big Butter & Egg Man (1994)

FrontCover1With his outgoing personality, New Orleans-style trumpet playing, and likable singing style, Kermit Ruffins has the potential to develop into a new Louis Prima. This CD from Justice hints at his potential, but it is quite erratic. Some of the songs (particularly those featuring the tenor of Roderick Paulin) are too modern; Ruffins’s solos are streaky, and the varied material does not all succeed. Best are such good-time numbers as “I’ll Drink Ta Dat,” “The Undertaker Man” and “Li’l Liza Jane,” although one wishes that this rendition of “Struttin’ with Some Barbecue” were a lot stronger. (by Scott Yanow)

New Orleans of the ’90s has two young trumpeters in their 20s, Kermit Ruffins and Nicholas Payton, who resemble the greatest New Orleans trumpeter of them all, Louis Armstrong. Payton, who bears the closest physical resemblance, does the best job of echoing Satchmo’s piercing, adventurous jazz solos. Ruffins, whose physical resemblance is less exact, is the heir of Armstrong as pop entertainer–the warm singer, the charming joker, and the tuneful trumpeter. Six of the 10 tracks on Ruffins’s second solo album, The Big Butter & Egg Man, are vocal numbers, and it’s on those that he bridges the gap between New Orleans jazz of the ’20s and New Orleans R&B of the ’50s. This is most obvious on “Li’l Liza Jane,” an old Dixieland standard which was later recorded by Fats Domino and the Neville Brothers.

Kermit Ruffins2

Ruffins and his two former bandmates in the ReBirth Brass Band–saxophonist Roderick Paulin and tubaist Philip Frazier–get a Dixieland horn arrangement swinging, but the gospel-ish vocals and syncopated dance beat come straight out of R&B. The same approach of sophisticated harmonies, infectious rhythms, and exuberant humor is applied to the old Tin Pan Alley title tune, to Stuff Smith’s 1930s marijuana song “If You’re a Viper,” and to Ruffins’s guided tour of his hometown, “I’ll Drink Ta Dat.” The four instrumentals, featuring music by Armstrong, Ellington, and Ruffins, are perfectly respectable, but it’s Ruffins’s vocal showcases which separate him from the pack. (Geoffrey Himes)

Kermit Ruffins

Jerry Anderson (drums)
Dwight Fitch (piano)
Philip Fraizer (tuba)
Corey Henry (trombone)
Roderick Paulin (saxophone)
Kermit Ruffins (trumpet, vocals)


01. I’ll Drink Ta Dat (Ruffins) 3.55
02. The Big Butter And Egg Man (Clare/Friend) 4.07
03. Besame Mucho (Skylar/Velázquez) 4-08
04. Out Of Left Field (Ruffins) 4.46
05. The Undertaker Man (Ruffins) 4.00
06. Leshianne (Ruffins) 3.09
07. Struttin’ With Some Barbecue (Hardin/Raye) 4.17
08. If You’re A Viper (Smith) 3.11
09. Li’l Liza Jane (Traditional) 3.53
10. West Indies Jazz Dance (Ellington) 3.58