Derek Trucks Band – Same (1997)

FrontCover1Derek Trucks (born June 8, 1979) is an American guitarist, songwriter, and founder of the Grammy Award-winning The Derek Trucks Band. He became an official member of The Allman Brothers Band in 1999. In 2010, he formed the Tedeschi Trucks Band with his wife, blues singer/guitarist Susan Tedeschi. His musical style encompasses several genres and he has twice appeared on Rolling Stone’s list of 100 Greatest Guitarists of All Time. He is the nephew of Butch Trucks, drummer for the Allman Brothers.

The Derek Trucks Band was an American jam band founded by young slide guitar prodigy, Derek Trucks, who began playing guitar and touring with some of blues and rock music’s elite when he was just nine years old. After experimenting as an adolescent with musicians he met between tours and recording sessions, Trucks founded The Derek Trucks Band in 1994. With family ties to The Allman Brothers Band, Trucks continued to experiment and play with others, carefully assembling his own band over a period of several years. Led by Trucks and loosely based in his family home in Jacksonville, Florida, the band generally consisted of six members.

The band drew upon the wide variety of the influences and musical preferences of its Derek Trucks01band members. Together, they have gained increasing public notice and critical acclaim for developing a unique sound of their own. Melding together blues, southern rock, jazz, rhythm and blues, gospel, soul, funk with Hindustani classical music, afro-beat and world fusion, the band has released six studio albums, two live albums, and a live DVD. The bandmates have combined their talents to perform pieces from some of the most highly regarded musicians before them, while at the same time collaborating on writing the songs they have recorded. The band’s eclectic sound is a way for Trucks to explore his own creativity alongside his role as a guest, and eventually a permanent member, in The Allman Brothers Band.

The Derek Trucks Band (often called simply, Derek Trucks) is the debut album by American jam band The Derek Trucks Band, released on October 7, 1997. The album was recorded between September 30-October 4, 1996 at Dockside Studios, Maurice. The album is composed mainly of re-arranged jazz and blues classics and the rest are original compositions by the band. Derek was seventeen years old at the time of the release of the album. In 2008, the album was made available digitally, and is now available on iTunes, and other online retailers like Real, Rhapsody, Yahoo! Music, eMusic, Napster and Puretracks. (wikipedia)

Derek Trucks02

Derek Trucks began building his own legacy at the age of 12, playing scorching slide guitar that prompted many to hypothesize that he was the reincarnation of Duane Allman in the flesh. The nephew of Allman Brothers Band drummer Butch Trucks, Derek was virtually born into a show business family, but don’t think for a minute that he doesn’t create his own opportunity. Backed by a skin-tight rhythm section and complimented by a top-notch organist, the youthful guitarist blazes through new arrangements of jazz and blues classics. He turns the trumpet wizardry of Miles Davis into slide-guitar magic, and his readings of a couple of Coltrane tunes pack a terrific punch. The band also contribute several of their own compositions, paving the way for a bright future as a group of tight-knit, talented musicians. A flawless recording. (by Michael B. Smith)


Bill McKay (keyboards, synthesizer, clavinet, vocals on 03.)
Todd Smallie (bass)
Yonrico Scott (drums, percussion)
Derek Trucks (guitar, sarod)


01. Sarod (Trucks) 0.35
02. Mr. P.C. (Coltrane) 5.32
03. 555 Lake (McKay/Scott/Smallie/Trucks) 6.37
04. D Minor Blues (Oakes/Trucks) 6.05
05. #6 Dance (Oakes/Trucks) 2.41
06. Footprints (Shorter) 4.23
07. Out Of Madness (Scott/Smallie/Trucks) 4.12
08. Naima (Coltrane) 5.02
09. So What (Davis) 4.41
10. Evil Clown (McKay/Scott/Smallie/Trucks) 4.34
11. Egg 15 (Roper/Smallie/Trucks) 7.41
12. Sarod Outro (Trucks) 0.43


  • (coming soon)

Derek Trucks04

Sandy Carroll – Memphis Rain (1997)

FrontCover1Sandy Carroll spent the early part of her career singing in venues throughout the South, and began writing songs – alone, or with a writing partner – in the early 80s, many of which were subsequently recorded by folks like Albert King, Luther Allison, Preston Shannon, and Barbara Blue. She released her debut album, Southern Woman, in 1993.

And here´s her second album:

Sandy Carroll is a throaty, Janis Joplin-style vocalist who is in fine voice on this album. James Solberg is best known as guitarist for the late Luther Allison. He produced and played guitar on this album, adding expressive guitar playing and up-front production touches that put a shine on the whole affair. Sandy has toured professionally and earned her doctorate in street music. This woman’s voice is unforgettable, Southern to the hilt, with a roughness around the edges that convinces you that she knows what she’s singing about. In true bluesmama tradition, Carroll mixes up metaphors about food, sex, and other domestic matters with wild abandon and a keen sense of humor. (


Memphis Blues at it´s best:
To those who have never heard Sandy Carroll LIVE on Beale Street in Memphis, this CD is one of the best alternatives! The tempo of each song flows into the next keeping even the slow dramatic tunes lively. From the opening number, “Forecast Blues,” there is a Down South funkiness that starts one’s foot to instantly tapping. With funky songs like that and “Blues Thang,” to lighthearted whimsy like “Too Many Hats” and “Honey Lovin’ Gumbo,” the entire CD soundtrack offers something for everyone. First time that I played this was like heaven. Sandy has a blues voice that truly stamps her as one of the most unique and memorable talents to come along — this is especially evident with all of the “copy cat” sameness to most of American music these days. I must have played this CD to death the first 2 weeks that I had it. But, as much as I’ve played it, it draws me back like a good hot cup of Joe on a cold winter morning! (by Anon Emus)

Oh yes, that´s what I call music !


Sandy Carroll (piano, vocals)
Steve Potts (drums)
Dave Smith (bass)
James Solberg (guitar)
Ernest Williamson (keyboards)
Jeff Cargerman (percussion, background vocals)
Eddie Dattel (percussion, background vocals)
Richard Graham (percussion, washboard)
Wayne Jackson (trumpet)
background vocals:
Jacqueline Johnson – Susan Marshall

01. Forecast Blues (Carroll) 3.46
02. Too Many Hats (Carroll/Solberg) 3.26
03. Memphis Rain (Dattel) 4.26
04. While You Were Up (Carroll/Solberg) 2.33
05. Help Me Bear It All (Carroll) 5.03
06. Honey Lovin’ Gumbo (Cargerman/Carroll) 2.35
07. Blues Thang (Allison/Carroll/Solberg) 3.56
08. Just As I Am (Allison/Carroll/Solberg) 4.23
09. Feels Like Love (Carroll) 2.49
10. Good Line (Bingham/Carroll/Solberg) 3.42
11. Memphis (Spiby) 4.24
12. Bad Dog Boogie (Carroll) 3.36



“I have been playing, writing and singing music forever!” says singer/songwriter/pianist Sandy Carroll. “I am originally from McNairy County in West Tennessee (home of legendary sheriff Buford Pusser of Walking Tall fame), in a little town where our studio (her husband is Grammy-winning producer Jim Gaines) is now located. It is two hours east of Memphis, but I consider my musical home as Memphis.” (

Tim Rose – Haunted (1997)

FrontCover1A nearly forgotten singer/songwriter of the ’60s, Tim Rose’s early work bore a strong resemblance to another Tim working in Greenwich Village around 1966-1967 — Tim Hardin. Rose also favored a throaty blues folk-rock style with pop production flourishes, though he looked to outside material more, wasn’t quite in Hardin’s league as a singer or songwriter, and had a much harsher, even gravelly vocal tone. Before beginning a solo career, Rose had sung with Cass Elliott in the folk trio the Big Three a few years before she joined the Mamas and the Papas. Signed by Columbia in 1966, his 1967 debut album (which actually included a few previously released singles) is considered by far his most significant work. Two of the tracks were particularly noteworthy: his slow arrangement of “Hey Joe” inspired Jimi Hendrix’s version and “Morning Dew,” Rose’s best original composition, became something of a standard, covered by the Jeff Beck Group, the Grateful Dead, Clannad, and others. Years later, though, it was debated as to whether Rose wrote the song, or whether folksinger Bonnie Dobson penned the original version. Some non-LP singles he recorded around this time have unfortunately never been reissued, and although he made several other albums up through the mid-’70s, none matched the acclaim of the first one. An influence on Nick Cave and others, Rose died on September 24, 2002. A posthumous album called Snowed In, which contains material Rose was working on in the last year of his life, was released in 2003 by Cherry Red Records. (by Richie Unterberger)


This is a part-studio, part-live album. The live tracks were recorded at The Garage and the Royal Albert Hall, London (where Tim was appearing on the bill with Nick Cave) in 1997

Excellent studio versions of new songs and outstanding live performances of his classic songs,
“Morning Dew”, “Hey Joe”, and “Come Away, Melinda”. His best album since his debut album on Columbia Records. To this day, I prefer his versions of “Hey Joe” and “Morning Dew” from his first album and this wonderful semi-live album! (Gary Cornelius)

After Tim Rose released his classic debut album in 1967, and several not-so-good records in the following years, he almost disappeared in the late seventies. His 1977 album The Gambler was left unreleased untill 1991. Throughout the eighties he worked as a construction laborer, recorded TV jingles, studied history at college, became a stockbroker on Wall Street and struggled with alcoholism.


Things started picking up for him in the nineties, though. His big fan Nick Cave lobbied him, did some guest appearances at concerts, and let Rose open up for him at the Royal Albert Hall in May ’97. Six songs from that performance are featured here on this album.

According to some online biographies, Cave produced the studio tracks presented here, though the CD only lists Rose himself as producer (except “Natural Thing”; co-produced by one Trevor Cummins). I can’t imagine that Cave had anything to do with these studio tracks; his good taste would surely have opposed the cheesy production with programmed drums and similar atrocities.

The eight live tracks are preferable. They feature Rose solo with acoustic guitar (on two tracks accompanied by Michael Winn on electric guitar). He’s in good voice, and does fine versions of his three most famous songs; “(Hey Joe) Cold Steel ’44”, “I Ain’t Had No Lovin'” (a. k. a. “Long Time Man”) and “Morning Dew”, sounding like an old blues man.

Too bad they didn’t go for an all-live album, or got a better producer and band for the studio sessions. (by Einar Stenseng)

And I include many entries in the condolence book, published shortly after his death.


Tim Rose (vocals, guitar)
Alan Seidler (piano)
Pierre Tubbs (keyboards)
Mickey Wynne (guitar)
Darius Ditullio, David Zinno, Eric Sample, Shawn Bight, B.Wilson, David Clarke


01. (Hey Joe) Blu Steel ’44 (Roberts) 5.12
02. Give Your Lovin To The Livin’ (Rose) 3.35
03. He Never Was A Hero (Rose/Ditullio) 3.12
04. Natural Thing (Cummins) 4.26
05. A Mite Confused (Rose) 4.41
06. I Ain’t Had No Lovin’ (Rose) 4.02
07. Because You’re Rich (Ditullio/Rose) 3.37
08. The Dealer (Rose) 5.19
09. Come Away, Melinda (Minkoff/Hellerman) 4.40
10. Haunted (Rose) 3.39
11. Four Dancing Queens Rose/Gold) 3.19
12. Hanging Tree (Rose/Gold) 4.22
13. I Sold It With My Car ((Goin’ Down In Hollywood) (Rose) 6.50
14. Morning Dew (Dobson/Rose) 6.09

All live tracks: Royal Albert Hall, London, 1997



Timothy Alan Patrick Rose (September 23, 1940 – September 24, 2002)


Loreena McKennitt – The Book Of Secrets (1997)

FrontCover1Loreena Isabel Irene McKennitt, CM OM (born February 17, 1957) is a Canadian musician, composer, harpist, accordionist, and pianist who writes, records and performs world music with Celtic and Middle Eastern themes. McKennitt is known for her refined and clear dramatic soprano vocals. She has sold more than 14 million records worldwide

The Book of Secrets is the sixth studio album by Loreena McKennitt, released in 1997. It reached #17 on the Billboard 200. Its single “The Mummers’ Dance,” remixed by DNA, was released during the winter of 1997–98, and peaked at #18 on the Billboard Hot 100, and #17 on the Modern Rock Tracks chart. The album is certified double-platinum in the United States. It has now sold more than four million copies worldwide.

The DNA remix of “The Mummers’ Dance” was made into a music video.
“Skellig” relates the dying words of a monk from a monastery that existed during the 6th–12th centuries on the island Skellig Michael (Great Skellig), 11.6 km west of Ireland.
“The Highwayman” is an adaptation of the poem “The Highwayman” by Alfred Noyes.
“Night Ride Across the Caucasus” was featured in the 1998 film Soldier.
The music from “Night Ride Across the Caucasus” was featured in the song Kokli by Ulytau.
“Dante’s Prayer” is a reference to Dante Alighieri’s Divine Comedy. (by wikipedia)

Loreena McKennitt01

Some artists or albums can hit you so hard on a personal level that you can’t help but fall for them at first listen. Such is my liaison with Loreena McKennitt. Even though the level of my knowledge is nonexistent when it comes to new age/world/celtic music, McKennitt’s voice is such that blends perfectly with the instrumentation of her compositions. She sounds sincere in a manner that travels the listener right into the scene of the tale she narrates. Her music can transport you to the Mediterranean, North Africa, the Middle East, Ireland, all over the world. Most of all though, her work is introspective; by listening to her albums, one can view life from a different perspective.


The Book of Secrets is McKennitt’s sixth release and her most successful album in terms of sales, having reached double platinum status in the US. The nature of music on this release is mostly soothing with only a few faster and lively moments. Nevertheless, the majority of the album consists of mid tempo songs centered around McKennitt’s expressive voice. However, that doesn’t mean that the instrumentation is second rate or cannot stand by itself without the vocals. With string instruments ranging from acoustic guitars to violin, hurdy gurdy and cello to table, drone and bodhran used for percussion, the arrangements are lush and immaculate.


Another important aspect of the album is the lyrics. Often, Loreena McKennitt does extensive research on the subjects that her albums deal with to the point where she visits places that her music draws influences from. Therefore, those of you who like to read lyrics will definitely feel more engaged while listening to The Book of Secrets. Moreover, a flaw that one might find at albums consisting of mid tempo songs is that they tend to sound a bit samey and linear. For most part, that’s not the case with this album as it contains a variety of melodies coming from different cultures. Therefore, even though the tempo is almost constant throughout The Book of Secrets, one can hear influences from the Middle East or the Mediterranean accompanied by the relevant instruments; an element that helps diversify the songs.

Loreena McKennitt02

Overall, regardless of one’s taste, this is an album that people who seek for emotional music should give a chance. It’s a pity that Loreena McKennitt seems to be enjoyed mostly by older audiences because her work can appeal equally to younger folks so give this album a spin and you won’t regret it. (by manosg)


Anne Bourne (cello on 06.)
Aidan Brennan (guitar on 03.,  mandola 0n 04. + 07.)
Martin Brown (guitar, mandolin, mandola on 05.)
Stuart Bruce (assembled drone on 01., vocal drone on 04.)
Paul Clarvis (snare drum on 05.)
Nigel Eaton (hurdy-gurdy on 02. + 04.)
Steáfán Hannigan (bodhrán on 05.)
Nick Hayley (serang, rebec, lira da braccio on 07.)
Brian Hughes (oud on 02., 04., 07. , guitar on 01., 04., 06., 07.,  irish bouzouki on 04., 05., 07.,  guitar synthesizer on 04., vocal drone on 04.)
Robin Jeffrey (guitar on 06.)
Martin Jenkins (mandocello on 03., 04., 05. + 07.)
Manu Katché (drums on 01., 02., 04. + 07.)
Caroline Lavelle (cello on 02., 05. + 08.)
Rick Lazar (percussion on 01., 02., 04., 05. + 07.)
Joanna Levine (viola da gamba on 03. + 06.)
Hugh Marsh (violin on 02. – 08.)
Loreena McKennitt (vocals, piano on 08., keyboards, harp on 06., kanun on 01.,  accordion on 04. + 05.)
Osama (violin on 04.)
Steve Pigott (keyboards on 03. + 08.)
Donald Quan (tabla on 02., 04., 07., timba, esraj on 01., viola on 02., 04., 05., 06., 08.,  keyboards on 03., 04., vocal drone on 04.)
Hossam Ramzy (percussion on 02., 04., 05. + 07.)
David Rhodes (guitar on 02.)
Danny Thompson (bass)
Bob White (tin whistle on 03., shawm on 04.)
String Quartet (on 03. + 07.):
Andy Brown (viola)
Chris van Kampen (cello)
Iain King (2nd violin)
Jonathan Rees (1st violin)

01. Prologue 4.20
02. The Mummers’ Dance 6.04
03. Skellig 6.07
04. Marco Polo 5.11
05. The Highwayman 10.22
06. Night Ride Across The Caucasus 8.27
07. Dante’s Prayer 7.10

All music written by Loreena McKennitt. All lyrics written by Loreena McKennitt except 05, which was writen by Alfred Noyes)



  • (coming soon)


Astor Piazzolla – Tres Minutos Con La Realidad (1997)

FrontCover1Astor Pantaleón Piazzolla (Spanish pronunciation: [pjaˈsola], Italian pronunciation: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His oeuvre revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles.

In 1992, American music critic Stephen Holden described Piazzolla as “the world’s foremost composer of tango music”  …

… Early in 1989 he formed his Sexteto Nuevo Tango, his last ensemble, with two bandoneons, piano, electric guitar, bass and cello. Together they gave a concert at the Club Italiano in Buenos Aires in April, a recording of which was issued under the title of Tres minutos con la realidad. Later he appeared with them at the Teatro Opera in Buenos Aires in the presence of the newly elected Argentine President Carlos Menem on Friday, June 9. This would be Piazzolla’s last concert in Argentina.

He suffered a cerebral hemorrhage in Paris on August 4, 1990, which left him in a coma, and died in Buenos Aires, just under two years later on July 4, 1992, without regaining consciousness. (by wikipedia)

And here´s one of his last concerts in Argentina … live at the Club Italiano in Buenos Aires.

AstorPiazzolla2009_02This is one of the few recorded documents of the Sextet that represents the last (tragically short) phase of Piazzolla’s career. The music is extremely dark, passionate and intense.

These are, I believe, the only live versions of the La Camorra pieces and of the Tango Ballet

There are other live recordings of this group: The Lausanne Concert,Luna,Astor Piazzolla & The New Tango Sextet: Live at the BBC 1989. There’s a video of the BBC Concert included in Astor Piazzolla in Portrait

The sextet also produced some studio work (including new pieces not found elsewhere) that is available on the various versions of 57 Minutos con la Realidad – highly recommended, (by Thelonious)


José Bragato (cello)
Hector Console (bass)
Gerardo Gandini (piano)
Horacio Malvicino (guitar)
Tullio Pane (bandoneon)
Astor Piazzolla (accordion, bandoneon)

01. Luna (Levinson/Piazzolla) 10.08
02. Sexteto (Piazzolla) 10.18
03. Tres minutos con la realidad (Piazzolla) 3.06
04. Camorra II (Piazzolla) 6.40
05. Camorra III (Piazzolla) 10.13
06. Tango Ballet (Piazzolla) 11.49



Astor Piazzolla01

Pee Wee Ellis & The NDR Big Band – What You Like (1997)

FrontCover1.jpgAlfred “Pee Wee” Ellis (born April 21, 1941) is an American saxophonist, composer and arranger. With a background in jazz, he was an important member of James Brown’s band in the 1960s, appearing on many of Brown’s most notable recordings and co-writing hits like “Cold Sweat” and “Say It Loud – I’m Black and I’m Proud”. He also worked closely with Van Morrison.

In the 2014 biographical movie Get on Up about James Brown, Ellis is played by Tariq Trotter (Black Thought, MC from the Roots).

In later years, he became a resident of England, living in the town of Frome in the county of Somerset.

Ellis was born Alfred Bryant on April 21, 1941 in Bradenton, Florida to his mother Elizabeth and his father Garfield Devoe Rogers, Jr. In 1949 his mother married Ezell Ellis, and the family moved to Lubbock, Texas where Ellis was given his nickname “Pee Wee”. He gave his first public performance in 1954 at Dunbar Junior High School. After Ezell Ellis was killed in 1955, the remaining members of the family moved to Rochester, New York. While attending Madison High School he played professionally with jazz musicians including Ron Carter and Chuck Mangione. In 1957 he moved to New York City, where he attended Manhattan School of Music and had regular lessons with Sonny Rollins. In 1960 he moved back to Florida working as a bandleader, musical director and writer.


Ellis played with the James Brown Revue from 1965 to 1969. While with Brown he arranged and co-wrote hits like “Cold Sweat” and “Say It Loud – I’m Black and I’m Proud”. In 1969 he returned to New York City. He worked as an arranger and musical director for CTI Records’ Kudu label, collaborating with artists like George Benson, Hank Crawford and Esther Phillips. In the late 1970s he moved to San Francisco and formed a band with former Miles Davis sideman David Liebman, with whom he recorded “The Chicken”, that was to become a favourite of Jaco Pastorius.

Between 1979 and 1986 he worked with Van Morrison’s band as an arranger and musical director and then again from 1995 through 1999. He also gave occasional performances in 1988, 1989, 1991, 1992, 1993, 1994, 2000, 2002, 2005 and 2006 as guest appearances.[5]

In the late 1980s Ellis regrouped with some musicians he worked with during his time with James Brown to form the JB Horns. With Fred Wesley and Maceo Parker he recorded a number of albums that defined a version of jazz-funk. The group also toured in Europe. In 1992 he resumed his solo recording career. Ellis also appeared alongside Bobby Byrd in the J.B All Stars.


In 1995, showing the diversity of his musical interests and talents, Ellis played tenor sax and arranged the horns for the album Worotan, by Mali’s Oumou Sangare, the so-called “Songbird of Wassoulou” and worked with many other artists on the World Circuit label including Ali Farka Toure, Cheikh Lo, Anga Diaz and renowned Cuban bassist Cachao.

His own group The Pee Wee Ellis Assembly have continued to work consistently since 1992, and Ellis is always busy guesting with multivarious artists, arranging and recording both his own albums and as a respected session player and teaching.

Between 2009 and 2011 Ellis toured an African tribute to James Brown, “Still Black Still Proud”, to much acclaim in both USA and Europe. Special guest in the project included Vusi Mahlasela, Maceo Parker, Cheikh Lo, Mahotella Queens and Ghanaian rapper Ty.

Since 2012 Ellis has been touring with the Ginger Baker Jazz Confusion, a quartet comprising Ellis, drummer Ginger Baker, bassist Alec Dankworth and percussionist Abass Dodoo.

In July 2014 Pee Wee Ellis was honored with a doctorate by Bath Spa University, and he continues to support local music as patron (and a principal performer) of the Bristol International Blues and Jazz Festival (by wikipedia)


Leading the German NDR Big Band, saxophonist Pee Wee Ellis turns in a competent, occasionally stilted collection of soul-jazz and classic funk. The production and the playing is a bit too mannered for the music to actually catch fire, but there are moments — such as Fred Wesley’s cameo on “Tune with a View” or Van Morrison’s vocal spotlight on “I Will Be There” — that make the disc a worthwhile listen. (by Stephen Thomas Erlewine)


Pee Wee Ellis is a versatile cat. He claims that he doesn’t like pigeonholes, and yet he’s mastered all of them. Ellis’ stylistic diversity can be heard on What You Like (Minor Music), an album he recorded in ’97 that is finally hitting the streets. It’s Ellis’ first in a big-band setting since taking over the ensemble behind James Brown in 1967 at age 26, which came after he studied with Sonny Rollins and established solid jazz credentials. Then later it was on to Brother Jack McDuff and arranging for George Benson, Hank Crawford and Sonny Stitt.


All the above influences can be heard on What You Like, from the boogaloo of “The Prophet” to the down-home groove of “Far From Home.” Jenni Evans contributes three fine vocals, but Van Morrison’s guest shot could have been phoned in. Ellis shows his balladic purity on “I Get Along Without You Very Well” and shows off a screaming flat five to end “2 Dock C” (based on Rollins’ “Doxy”). Add to that the excellent backing of the Hamburg-based NDR Big Band, the keyboard work of Steve Hamilton, the guitaristry of Tony Remy, the drumming of Michael Mondesir and the arrangements of Jorg Achim Keller and What You Like should please any demographic. (by Harvey Siders)


Pee Wee Ellis (saxophone)
The NDR Big Band directed by Jörg Achim Keller:
Wolfgang Ahlers (trombone)
Lennart Axelsson (trumpet)
Detlef Beier (bass)
Peter Bolte (saxophone)
Lutz Büchner (saxophone)
Ingolf Burkhardt (trumpet)
Egon Christmann (trombone)
Fiete Felsch (reeds)
Joe Gallardo (trombone)
Edgar Herzog (reeds)
Mark Mondesir (drums)
Michael Mondesir (bass)
Tony Remy (guitar)
Lucas Schmid (trombone)
Steffen Schorn (reeds)
Claus Stötter (trumpet)
Jon Welch (trombone on 05., 08. + 11)
Reiner Winterschladen (trumpet)
Jenni Evans (vocals on 02., 07. + 10.)
Van Morrison (vocals on 04.)
Fred Wesley (trombone on 09.)


01. The Prophet (Ellis) 5.00
02. Take Me To The River (Green) 5.24
03. Soul Pride (Ellis/Brown) 4.56
04. I Will Be There (Morroson) 2.45
05. I Get Along Without You Very Well (Carmichael) 5.12
06. Dock “C” (Ellis/Rollins) 6.02
07. (Your Love Is) So Doggone Good (Ervine/Love)
08. Far From Home (Ellis/Payne) 6.52
09. Tune With A View (Ellis) 6.12
10. Step (Ellis/Roper) 3.48
11. What You Like (Ellis/Brown) 6.05



Michael Brecker – Live By The Sea (1997)

FrontCover1.jpgA remarkable technician and a highly influential tenor saxophonist (the biggest influence on other tenors since Wayne Shorter), Michael Brecker took a long time before getting around to recording his first solo album. He spent much of his career as a top-notch studio player who often appeared backing pop singers, leading some jazz listeners to overlook his very strong improvising skills.

Brecker originally started on clarinet and alto before switching to tenor in high school. Early on, he played with rock- and R&B-oriented bands. In 1969, he moved to New York and soon joined Dreams, an early fusion group. Brecker was with Horace Silver during 1973-1974, gigged with Billy Cobham, and then co-led the Brecker Brothers (a commercially successful funk group) with his brother, trumpeter Randy Brecker, for most of the 1970s. He was with Steps (later Steps Ahead) in the early ’80s, doubled on an EWI (electronic wind instrument), and made a countless number of studio sessions during the 1970s and ’80s, popping up practically everywhere (including with James Taylor, Yoko Ono, and Paul Simon).

Brecker03.jpgWith the release of his first album as a leader in 1987 (when he was already 38), Brecker started appearing more often in challenging jazz settings. He recorded additional sets as a leader (in 1988 and 1990), teamed up with McCoy Tyner on one of 1995’s most rewarding jazz recordings, and toured with a reunited Brecker Brothers band. Two Blocks from the Edge followed in 1998, and a year later Brecker returned with Time Is of the Essence. The early 2000s saw the release of Nearness of You: The Ballad Book and Wide Angles in 2001 and 2003, respectively.

However, after experiencing some mysterious back pain during a concert in 2005, Brecker was diagnosed with myelodysplastic syndrome (MDS), a cancer of the blood marrow. A failed search for a matching bone marrow donor eventually led to an experimental partially matching blood stem cell transplant via his daughter in late 2005. He passed away on January 13, 2007. Brecker’s final album, Pilgrimage, featuring pianists Herbie Hancock and Brad Mehldau, guitarist Pat Metheny, bassist John Patitucci, and drummer Jack DeJohnette, was, ironically, his first of all-original material. It was released a few months after his passing. (by Scott Yanow)

And here´s a brilliant bootleg (sound board recording), this man was reall one of the finest jazz musician of the last decades ! And … what a line-up !!!

Recorded live at the Tokyo Bay NK Hall, Tokyo, Japan, August 24, 1997


Michael Brecker (saxophone)
Joey Calderazzo (piano)
Dave Holland (bass)
Jack DeJohnette (drums)
Pat Metheny (guitar, guitar synthesizer)


01. Slings And Arrows (Brecker) 9.39
02. Midnight Voyage (Calderazzo) 9.22
03. Song For Bilbao (Metheny) 12.37
04. Every Day (I Thank You) (Metheny) 12.53



Michael Leonard Brecker (March 29, 1949 – January 13, 2007)

Karel Gott – Miluj (1997)

FrontCover1.jpgKarel Gott (14 July 1939 – 1 October 2019) was a Czech pop singer.

Karel Gott, the top-selling Czech pop singer with a silky smooth tenor who shot to stardom under Communism and remained popular after the 1989 Velvet Revolution, has died. He was 80.

Dubbed the “Sinatra of the East” by the local press while on tour in Germany in 1967, Gott was voted the nation’s most popular singer 42 times. His original songs and covers of Western pop hits helped him sell tens of millions of records.

Gott’s wife, Ivana, announced his death on Wednesday on the singer’s official website. He had announced in September he was battling acute leukemia. Tributes flowed in from Czech celebrities and Prime Minister Andrej Babis proposed a state funeral for Gott.

The singer gained international notice in 1968 with his song “Lady Carneval,” which won a gold medal at a music contest in Brazil. He built up a worldwide following during his 60-year career but was most popular in Germany and former Communist eastern European countries.

Unlike many other Czech artists, Gott performed at home and abroad after the 1968 Soviet-led invasion. His signing of the so-called “Anti-Charter” opposing the dissident Charter 77 statement also did little to dent his popularity.


Born on July 14, 1939, in Pilsen, Gott trained as an electrician before he began singing in cafes in Prague in the late 1950s. He was eventually admitted to the Prague Conservatory to study opera and got his break when hired at the avant-garde Semafor theatre in 1963.

Gott also performed in the west during the communist era. He spent six months in Las Vegas in 1967 and later returned to the United States, including two concerts at Carnegie Hall in 2000 and 2005.

In recent years, health problems had slowed the singer, but he promised to keep performing despite his illnesses. Gott is survived by two adult daughters from former relationships and two children born in 2006 and 2008 with his current wife. —Michael Kahn)

And here´s one of his sentimental Pop albums …

Definitely a good voice, but defnitely not my kind of music !


Zdeněk Charlie Blažek (guitar)
Michal David (keyboards)
Karel Gott (vocals)
Pavol Habera (keyboars, guitar)
Oldřich Krejčoves (guitar)
Karel Růžička (saxophone)
background vocals:
Jana Durczaková  – Táňa Gruntová
Maryla Rodowicz (vocals on 01.)


01. Miluj (Krajewski) 4.39
02. Cherchéz La Famme (David/Machek) 3.55
03. Sen V Nás Zůstává (Con Te Partiró) (Sartori/Peterson/Quarantotto/Borovec) 4.04
04. Královny Krásy (Habera/Machek) 3.15
05. Lásky Z Náměstí (Krajewski/Vrba) 4.29
06. Do Tvé Vůně Vstávám Rád (David/Kubík) 3.54
07. Postavme Lásce Vítězný Sloup (Janeček/Machek) 3.32
08. Stvořená K Lichotkám (David/Borovec) 3.37
09. Lásko, Říkám Stop! (David/Sorosová) 3.56
10. Co S Tou Dávnou Vzpomínkou (Janeček/Vrba) 3.25
11. Bláznivé Milování (Habera/Šíp) 3.20
12. Noční Král (Steinberg/Kelly/Krečmar) 4.04



Pete Gavin & The Life After Blues Band – Live And Guilty (2007)

FrontCover1.jpgPete Gavin might get confused with another musician by the same name, who likewise came out of the British blues scene. That was the drummer Pete Gavin, who worked in bands such as Vinegar Joe as well as backing up the likes of Joe Cocker and Eric Clapton. The drummer Gavin’s professional activities seem to have been winding down just around the time the guitarist decided to go professional, but they still have similarities in their early careers, one Gavin drumming in a blues band led by Long John Baldry while the other Gavin gave his all as a guitarist for bandleader and organist Spencer Davis.

Guitarist Gavin, who is usually featured on some kind of dobro or resophonic guitar, has been based out of Germany for most of his career, and indeed likes to be advertised as “Germany’s own British bluesman.” He is a native of London and began his career on the British folk scene, playing clubs around the Soho area as well as larger festivals. Until the ’80s he worked as a physicist and only dabbled in the music business.

Pete Gavin & The Life After Blues Band:

Once he threw himself into full-time blues, years of travel throughout Europe, Japan, and the United States preceded the decision to live in Germany. In the ’90s he established the Life After Blues Band with bassist Sir Charles E. Williamson, an American who hails from Connecticut, and Berlin-based drummer Uwe Laemmche. Gavin’s repertoire includes some clever originals such as the instrumental “Spaghetti Eastern” as well as a generous portion of blues warhorses of the “I’m Your Hoochie Coochie Man” and “Big Boss Man” variety. (by Eugene Chadbourne)

Born in London, Pete Gavin began his career in the folk-blues scene around Soho – playing in Bunjies, The Troubadour, The Marquee and other clubs with musicians such as Spencer Davies (Spencer Davis Group) and Keith Relf (The Yardbirds). Later he played at larger British festivals (Reading, Glastonbury).

His day job (as a physicist) kept him away from the music business for a few years, but at the beginning of the 1980s he jacked-in his sinecure and started to travel and make music.

The street became the hard school for his amazing blues-harp and guitar playing, and touring in Japan, USA and Europe helped form his style before he settled in Germany.

Pete Gavin am 11.  Februar 2012 im Gleis 1 in Waldenburg
Now comes a man who, through years of hard on-the-road music making, brings an unrivaled authenticity to your stage.

In his voice swings not only pride and bitterness, but the unrestrained energy of a now-is-the-right-time feeling. On stage, this energy is transformed into music – resolute, at times uncomfortable and melancholy, but always going forwards. Pete Gavin is one of the best slide-guitarists living in Germany – discernable by the full pearly tone he conjures from his instrument. (by

And this is one of his live album  … and it´s really time to discover the unique word of Pete Gavin and his way to play the Blues an archaic style … he´s one of these forgotten heroes in the European blues scene … Listen !

Recorded live at the
Yorckschlösschen, Berlin (05.11.07)
Nuremburg Volksfest (11.09.97)
Miles Club, Berlin (11.07.98)


Pete Gavin (guitar, slide guitar, harmonica, vocals)
Uwe Laemmche (drums)
Sir Charles E. Williamson (bass)


01. Gawain I (Anthony) 1.12
02. Statesboro Blues (McTell) 3.21
03. Fun On The Run (Gavin) 4.30
04. Big Bossman (Reed) 3.25
05. Pater Noster Boogie (Gavin) 3.40
06. You Make My Hair Curl (Gavin) 5.05
07. Kansas City (Littlefield) 3.36
08. Hard Times (Gavin) 3.41
09. Life After Blues (Gavin 3.51
10. Gawain II (Anthony) 0.30
11. Waisting Time Blues (Gavin) 5.49
12. San Francisco Bay Blues (Fuller) 3.23
13. I’m Your Hoochie Coochie Man (Dixon) 3.48
14. 634-5789 (Cropper/F’loyd) 3.35
15. Gawain III (Anthony) 0.34
16. Why Love (Gavin) 3.33
17. Make & Shake Boogie (Gavin) 4,08
18. Don’t Mess With Me (Gavin) 4.38
19. Gawain IV (Anthony) 0.34

The four tunes of “Gawain” were play by the Ray Antohny Orchestra




Hana Müllerová – Simphonies Concertantes For Harp And Orchestra (Jean-Baptiste Krumpholz) (1997)

FrontCover1.jpgJean-Baptiste Krumpholz (Czech: Jan Křtitel Krumpholtz) (8 May 1742 – 19 February 1790) was a Czech composer and harpist.

Krumpholz was born in Budenice, near Zlonice. He learned music from his father while growing up in Paris; in 1773 he played a successful harp concerto in the Burgtheater in Vienna. After serving three years in Count Esterházy’s court orchestra (1773–1776), during which he is said to have taken counterpoint lessons with Joseph Haydn, he embarked on a successful concert tour of Europe. In Paris and Metz, he worked along with manufacturers Jean Henri Naderman, his son François Joseph Naderman, and Sébastien Érard towards improving the construction of the harp. He composed concertos and sonatas for harp and chamber music.

In the end, he drowned himself in the Seine after his wife, a former pupil, Anne-Marie Krumpholtz (1755–1824), also a virtuoso harpist, eloped to London, although the story that this was with pianist Jan Ladislav Dussek is apocryphal.[citation needed]

He was the brother of Wenzel Krumpholz, violinist and mandolin player.

Krumpholz composed 52 sonatas, 6 concertos and many preludes and variations for the harp. He wrote also harp duets, quartets and 4 sonatas for harp, 2 violins, 2 French horns and cello. (by wikipedia)

Jean-Baptiste Krumpholz.jpg

Considered the foremost harp composer of his day, Jean-Baptiste Krumpholtz was a contemporary of Haydn and Mozart. He almost certainly knew the former; they were at the Esterházy court at the same time, and his wife, the harpist Anne-Marie Steckler performed in Haydn’s London concerts. Krumpholtz’s scored several major harp works proceeding Mozart’s concerto for flute and harp, dedicated to Mademoiselle de Guines, for whom Krumpholtz himself wrote. Featured in this recital are his “Variations on an Air by Mozart” (from symphony no.35). Composing in a style which was both typical of the period yet advanced the range and technique of harp music, Krumpholtz scored some of his works for solo or accompanied performance. (Gary S. Dalkin)

Hana Müllerová01.jpg

And here are some information about the solo artist of this album, Hana Müllerová:

Hana Müllerová02.jpg

Hana Müllerová (harp)
Vojtech ‘Spurny (piano on 01. – 06)
Prague Philharmonia conducted by Jaroslav Krček



Simphonie Concertante in F major for Harp and Orchestra, Op.5, No.1 (14:46):
01. Allegro 5.57
02. Andante 3.43
03. Menuetto. Allegretto 5.14

Simphonie Concertante in B flat major for Harp and Orchestra, Op.5, No.2 (14:11):
04. Allegro non troppo 5.20
05. Adagio con espressione 4.02
06. Tempo di Menuetto 4.56

Simphonie in F major for Harp and Orchestra, Op.11, No.1 (22:56)
07. Allegro assai 9.21
08. Andantino sempre piano 8.53
09. Rondeau. Allegro 4.47

Simphonie in G major for Harp and Orchestra, Op.11, No.2 (19:59)
10. Allegro 7.30
11. Romance 7.01
12. Rondeau. Allegro 5.29

Music composed by Jean-Baptiste Krumpholz