Big Country – Peace In Our Time (VHS rip) (1988)

FrontCover1.jpgIn 1988, the Iron Curtain still existed. In September of that year, Big Country became the first Western band to play live in the Soviet Union promoted by a private individual (not the state) and before the general paying public (not an invited audience). The band released their Top Five album Peace In Our Time in September of 1988 and, after launching the album at the Russian Embassy in London, took 286 people to Moscow. The concert was recorded …

… and released as a VHS video the same year.

I guess this concert was a real highlight in the history of Big Country.

Great concert, albeit a bit short. Pity we don’t get more songs, but the ones we are given look/sound great; some of them were not played frequently live. The guys sure look like they’re having a good time. (Giorgio)

And I miss the great “Fields Of Fire” …. but … we should be happy, that we can watch this band … live in Moscow … at a time the Iron Curtain still existed …

Recorded (on 1 October 1988) as part of the Big Country ‘Peace In Our Time’ World Tour
at Palace Of Sports, Moscow.

Music - Big Country - Moscow, USSR

Personnel:
Stuart Adamson (vocals, guitar)
Mark Brzezicki (drums)
Tony Butler (bass, background vocals)
Bruce Watson (guitar, vocals)

Film Director: Storm Thorgerson

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Tracklist:
01. Peace In Our Time (Adamson) 5.20
02. Look Away (Adamson) 4.22
03. Wonderland (Adamson/Brzezicki/Butler/Watson) 5.57
04. Broken Heart (Thirteen Valleys) (Adamson) 5.37
05. Steeltown (Adamson/Brzezicki/Butler/Watson) 6.12
06. River Of Hope (Adamson) 4.31
07. Thousand Yard Stare (Adamson/Watson) 4.50
08. King Of Emotion (Adamson) 6.02
09. Chance (Adamson/Brzezicki/Butler/Watson) 7.31
10. In A Big Country (Adamson/Brzezicki/Butler/Watson) 5.36
+
11. Peace In Our Time (VHS rip) (Full Concert) 57.33

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Example03

Example04

Example05

Example06

Example07

 

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PressKit

Frontcover of the special press kit for the show in Moscow
(included in this presentation)

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VHS-Tape1

Who holds the money, who holds the need
Who holds the strings of misery or the purse of greed
And the gunmen reap while the gangsters sow
And law is cheap when the smugglers go

Give us peace in our time
While I have a life to live
Then I have no life to give
Give us peace in our time

In sun-kissed rooms in city slums
Minds are restless till the airmail comes
From the forest floor to the western mind
Like a chat show topic on a party line
And the hardest love of all is to forgive
As the world comes tumbling down

Give us peace in our time
While I have a life to live
Then I have no life to give
Give us peace in our time

Let all the rain come down on blind desire
Like a thundercloud that holds a prairie fire
I hear the blame and I see the cause
A stronger voice and a stronger law
But buyers buy and sellers sell
Public consumption of a private hell

Give us peace in our time
While I have a life to live
Then I have no life to give
Give us peace in our time

Gov’t Mule – Live With a Little Help From Our Friends (Collector´s Edition) (1999)

FrontCover1Live… With a Little Help from Our Friends is a live recording of Gov’t Mule’s 1998 New Year’s Eve concert at The Roxy in Atlanta, Georgia. It was released as a 4-CD set Collector’s Edition and as two separate albums.

Gov’t Mule is almost single-handedly bringing back the spirit of the ’60s and ’70s power trios, the same kind of rock & roll magic that made Jimi Hendrix and Cream such musical icons. With this two-CD set, Gov’t Mule once again breaks the rules by recording both their second release and their fourth record live in concert. But hey, that’s OK for Warren Haynes, Matt Abts and Allen Woody because they are, after all, Gov’t Mule. This show was recorded on New Year’s Eve, 1998, at the Roxy in Atlanta, GA, and documents the band in peak form, from the power charged vocals and lead guitar of Warren Haynes, to Abts’ freight train drumming and Woody’s thunder driven bass. On any given night, Gov’t Mule alone can rock your socks off, but on this magical evening, the band was joined by some real brothers of the road — the Allman Brothers, the Rolling Stones, Eric ConcertPosterClapton; sideman Chuck Leavell was there, along with Parliament’s Bernie Worrell, former Black Crowes guitarist Marc Ford, Aquarium Rescue Unit’s Jimmy Herring, Randall Bramblett, newly appointed Allman Brothers’ bandmember, Derek Trucks and Yonrico Scott, the drummer from the Derek Trucks Band. Talk about a stage full of talent. The set kicks off with a pair of Gov’t Mule originals, “Thorazine Shuffle” and “Dolhineus,” before counting down the New Year clock and launching into an unexpected but amazing rendition of Black Sabbath’s “War Pigs.” Next comes a guitar rocking take on Steve Marriott’s “30 Days in the Hole” followed by Paul Rogers’ “Mr. Big,” featuring Marc Ford on guitar, followed by the blues laced “Look Over Yonder,” with some ultra fine piano work from Leavell. Haynes and the boys keep up the momentum by bringing out Worrell and Trucks, in addition to Leavell, to perform the Haynes-penned Allman Brothers favorite, “Soulshine.” Disc one closes with a hard rocking “Mule,” featuring Worrell again on organ, and incorporating a segment of Van Morrison’s “I’ve Been Working.” Dave Mason’s “Sad and Deep as You” is given the Gov’t Mule treatment to begin disc two, with Leavell’s and Bramblett’s sax enhancing the sound just that much more, and Herring and Worrell sit in on Haynes’ “Devil Likes It Slow.”

Gov´t Mule

Next comes yet another surprise for 1999, a dramatic reading of Neil Young’s “Cortez the Killer,” leading up to the closing all-star jam of “Afro Blue.” “Live” clocks in at about two-and-one-half hours, so there’s no doubt you are getting much more bang for your buck, but it’s not the quantity of the music that is important here, it’s the quality, and believe you me, you won’t find more quality rock & roll and blues anywhere. [Live…With a Little Help from Our Friends was also released as a limited-edition four-disc set] (by Michael B. Smith)

A hell of a show, a hell of a concert … Listen and enjoy … long live Southern Rock !

Gov´t Mule2

Personnel:
Matt Abts (drums, djembe)
Warren Haynes (vocals, guitar)
Allen Woody (bass, mandoline on 19.)
+
Randall Bramblett (saxophone on 18. – 20. + 23.)
Marc Ford (guitar, background vocals on 06., 07., 08., 20.)
Jimmy Herring (guitar on 20., 21. + 23.)
Chuck Leavell (keyboards)
Yonrico Scott (percussion on 18.)
Derek Trucks ( slide-guitar on 14., 16. + 23. guitar on 15.)
Bernie Worrell (organ, clavinet on 17., 18., 20. – 24.)

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Tracklist:
01. Wandering Child (Abts/Haynes) 7.45
02. Thorazine Shuffle (Abts/Haynes) 8.55
03. No Need To Suffer (Haynes) 8.12
04. Dolphineus + Happy New Year (Woody/Abts/Haynes) 1.12
05. War Pigs (Ward/Butler/Osbourne/Iommi) 8.00
06.Happy New Year II 0.17
07. Announcement + 30 Days In The Hole (Marriott) 7.12
08. Some Blues Licks (Haynes) 0.43
09. Mr. Big (Fraser/Kossoff/Rodgers/Kirke) 8.08
10.  Introducing Chuck Leavell 0.15
11. The Hunter (Jackson Jr./Jones/Wells/Dunn/Cropper) 8.24
12. Gambler’s Roll (Neel/Haynes) 13.49
13. Look On Yonder Wall (James/Sehorn) 11.06
14. 32-20 Blues (Johnson) 10.08
15. Announcment + I Shall Return (Haynes) 9.30
16. Soulshine (Haynes) 10.20
17. Mule (Woody/Abts/Haynes) + I’ve Been Working (Morrison) 17.56
18. Spanish Moon (George) 20.10
19. Sad And Deep As You (Mason) 13.51
20.  Introducing Jimmy Herring 0.44
21. Third Stone From The Sun (Hendrix) 17.01
22. Devil Likes It Slow (Haynes) 10.42
23. Cortez The Killer (Young) 13.54
24. Afro-Blue (Santamaria) 29.17
25. Pygmy Twylyte (bonus track – studio recording) (Zappa) 5.17

CD2

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Booklet

Savoy Brown – Train To Nowhere (2010)

FrontCover1This is a 2 hour double CD live set from WXXI radio Rochester New York State.

Stunning live set from veteran British Blues man Kim Simmonds and Savoy Brown. Featuring Train to Nowhere, Little Red Rooster and a 22 minute version of Louisiana Blues, recorded in 1997 and 1998.

Formed in 1967 and anchored around guitarist Kim Simmonds, Savoy Brown’s U.K. take on boogie blues paved the way for the heavier breakthough of British blues-based bands like Cream and Led Zeppelin, and while Savoy Brown don’t have the same critical reputation as these, they were still a bread-and-butter little rocking band. (by Steve Leggett)

So sit back and enjoy the smooth blues that is Savoy Brown, one of the finest blues bands ever !

Disc 1 Track 1 and Disc 2 Track 2 & 3 Recorded Live 9th March 1998 Tampa, FL, USA
Disc 1 Tracks 2-7 and Disc 2 Tracks 1, 4 & 5 Recorded Live 14th August 1997 Rochester, NY, USA

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Personnel:
Al Cash (drums, CD 1 – #2-7; CD 2 – #1, 4, 5)
Nathaniel Peterson (bass, vocals)
Kim Simmonds (guitar, vocals)
‘T’ Xiques (drums, CD 1 -#1; CD 2 -# 2, 3)TracklistCD 1:01)

Booklet1

Tracklist:

CD 1:
01. Too Much Of A Good Thing (Simmonds) 6.15
02. Let It Rock (Simmonds/Raymond) 5.33
03. Train To Nowhere (Youlden) 5.12
04. Bad Shape (Simmonds) 9.06
05. Mr. Browns Boogie (Simmonds) 8.46
06. Stay While The Night Is Young (Youlden) 12.18
07. Savoy Brown Medley: 12.16
07.1. She’s Got A Ring In His Nose And A Ring On Her Hand (Youlden)
07.2 Street Corner Talking (Simmonds/Raymond)
07.3. Hellbound Train (Simmonds/Silvester)
07.4. Wang Dang Doodle (Dixon)
07.5. Tell Mama (Simmonds/Raymond)

CD 2:
01. Little Red Rooster (Dixon) 13.06
02. Mississippi Steam Boat (unknown) 8.30
03. Lookin’ In (Simmonds/Peverett) 8:05
04.Louisiana Blues (Morgenfield) 21.27
05. Little Wheel (Bracken/Hooker)

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Inlet1

John Pizzarelli – John Pizzarelli meets The Beatles (1998)

FrontCover1Beatles fans love to explain that the key to the successful partnership of John Lennon and Paul McCartney was their contrasting songwriting personalities — Lennon was the tongue in cheek sardonic wit, McCartney the earnest balladeer. On John Pizzarelli Meets the Beatles, a sharply conceived tribute which sets the duo’s classics in a jazz trio with big-band arrangements, the singer/guitarist hits the mark more often when he’s taking on the Lennon persona. He approaches “Cant’ Buy Me Love,” “When I’m 64,” and “Get Back” with a playful wink, jumping off his speedy melody lines and the rising brass sections for extended improvisational tradeoffs with pianist Ray Kennedy, and adding colorful touches like scatting and even ad libbing his own lyrical verses based on the originals. Likewise, he attacks the all-instrumental “Eleanor Rigby” with a jumpy, swinging aggression. Pizzarelli, however, becomes overly schmaltzy in presenting ballads like “You’ve Got to Hide Your Love Away” and “Long and Winding Road” too seriously, with maudlin, straightforward arrangements that grind the party to a halt. The one exception is the more percussive “Oh Darling,” where his intense vocal helps the tune rise above the hotel lounge mentality. (by Jonathan Widran)

John Pizarelli

This is probably the most talked about CD I have made. The idea was to place the songs into a different time as if someone else had performed them first. For instance, “Can’t Buy Me Love” was a Woody Herman tune (hence, the Woodchopper’s Ball references), “Things We Said Today” was in the Moondance groove, “Here Comes The Sun” was a Jobim/Getz tribute, and so on. It is really a CD I am proud of, from Don Sebesky’s great arrangements (once again) to the terrific performances from the string players, big band members, soloists and trio. This CD was also #1 on the Swing Journal jazz charts in Japan and was released with two different songs in Canada. The Canadian version features the songs “You Can’t Do That” and “Got To Get You Into My Life.” They were nixed from the American release in favor of “Eleanor Rigby” and “You’ve Got To Hide Your Love Away.” We also did a terrific concert for Canadian TV of the Beatle CD live entitled John Pizzarelli Chante Les Beatles. It has run on the BET on Jazz channel and features a Canadian big band and strings conducted by Don Sebesky. (John Pizzarelli)

Beatles fans love to explain that one key to the successful partnership of John Lennon and Paul McCartney was their contrasting songwriting personalities: Lennon was the tongue-in-cheek, sardonic wit, McCartney, the earnest balladeer. On john pizzarelli’s John Pizzarelli Meets the Beatles (RCA Victor), a well-conceived tribute that sets the duo’s classics in jazz-trio and big-band arrangements, the singer/guitarist hits the mark most often when taking on McCartney’s tunes. He approaches “Can’t Buy Me Love,” “When I’m 64,” and “Get Back” with a playful wink, jumping off his speedy melody lines and the rising brass sections for extended improvisational tradeoffs with pianist Ray Kennedy. Pizzarelli adds colorful touches like scatting and even ad-libs his own lyrical verses based on the originals. Likewise, he treats an instrumental version of “Eleanor Rigby” with an aggressive sense of swing. And his intense vocal on a percussive “Oh, Darling” helps the tune rise above mere cover-band fare. However, when Pizzarelli presents ballads like “You’ve Got to Hide Your Love Away” and “Long and Winding Road” with maudlin arrangements, he pretty well grinds the party to a halt. (by Jazziz Maganzine, 2000)
John Pizarelli2

Personnel:
Harry Allen (saxophone)
Sanford Allen (violin)
Wayne Andre (trombone)
Kenny Berger (saxophone)
Joseph Bongiorno (bass)
Alfred Brown (violin)
Avril Brown (violin)
Kenneth Burward-Hoy (viola)
Stephanie Cummins (cello)
Rick Dolan (violin)
Max Ellen (violin)
Sammy Figueroa (percussion)
Barry Finclair (violin)
Andy Fusco  (saxophone)
Peter Gordon (french horn)
Adam Grabois (cello)
Juliet Haffner (viola)
Evan Johnson (violin)
Karen Karlsrud (violin)
Tony Kadleck (trumpet)
Gary Keller (saxophone)
Chungsun Kim (cello)
Jeanne LeBlanc (cello)
Jesse Levy (cello)
Lisa Matricardi (violin)
Melissa Meel (cello)
John Miller (bass)
John Mosca (trombone)
Laura Oatts (violin)
Jim O’Connor (rrumpet)
Ken Peplowski (clarinet)
Joel Pitchon (violin)
John Pizzarelli (guitar, vocals)
Martin Pizzarelli (bass)
Jim Pugh (trombone)
Allen Ralph (trombone)
Barry Ries (trumpet)
Maxine Roach (viola)
Douglas Romoff (bass)
Laura Seaton (violin)
Don Sebesky  (accordion, flute)
Richard Sortomme (violin)
Mitsue Takayama (viola)
Tony Tedesco (drums)
Liuh-Wen Ting (viola)
Leslie Tomkins (viola)
Ron Tooley (trumpet)
Belinda Whitney-Barratt (violin)
Chuck Wilson (saxophone)
Xin Zhao (violin)

Orchestra conducted by Don Sebesky

Booklet01A

Tracklist:
01. Can’t Buy Me Love 3.37
02. I’ve Just Seen A Face 2.49
03. Here Comes The Sun 5.05
04. Things We Said Today 4.16
05. You’ve Got To Hide Your Love Away 3.26
06. Eleanor Rigby 5.03
07. And I Love Her 3.57
08. When I’m 64 2.46
09. Oh Darling 4.04
10. Get Back 4.03
11. Long And Winding Road 3.46
12. For No One 3.11

All songw written by John Lennon + Paul McCartney, except 03. which was written by George Harrison

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Alternate front + back cover

Cathy Lemons Blues Band – Dark Road (1998)

frontcover1Cathy Lemons’ critically acclaimed CD “Dark Road” has won her some hard fought for recognition both as a songwriter and as soulful and expressive blues talent. Bkues Revue hailed “Dark Road” as “a burnished, scintillating disc and certainly one of the finest debuts from a contemporary female blues singer this year.” Vintage Guitar says this of Lemons’ vocal style: “She presents an almost classical quality to her voice. A dangerous approach to a tradition? You bet! But Lemons makes it work. The more you listen to this self-produced effort, the more you realize that it is a very individualistic emotional approach.” And Living Blues calls Lemons “a skillful and expressive singer” delivering blues “in a wide range of styles” from “dance-floor soul grooves” to “the occasional ballad.”

The quality of this CD is strengthened by an all-star line up. Tommy Castro  delivers his own fiery brand of guitar licks on the Lemons penned funk “Let Me Be Good,” and his wailing solo work on the slow blues “Takin’ a Train” (another original) can only be described as electrifying.

Rusty Zinn plays some raw Elmore James-style licks on another Lemons original “Hard Headed Man” and his “nasty tone and wild note bending” guitar work on the Junior Wells classic “Little By Little” leaves the listener wondering if this young “golden boy” might be from another generation of players.

cathylemonsbluesbandBut is it Steve Freund who is the guitar star on this CD. Kisliuk writes that Freund “fills in the edges around the snowmelt slow ‘Dirty Man’ with restraint and aching beauty.” DH of Vintage Guitar says that Freund’s “Lockwood-style finesse in tone and articulation work perfectly” with Lemons’ “delicate style.” Freund plays with beauty and intensity on the title cut “Dark Road,” creating a melancholic undertone, which builds as the song progresses. Freund’s 30 years in the blues business has indeed made him an exquisite accompanist.

David Maxwell is the pleasant surprise of this CD. His brilliant, jazz-influenced riffs on the Magic Sam classic “I Need You So Bad” create a richly textured rhythmic flow and his sinuous, Spann-like scales during his solo on the haunting “Worry, Worry” are rendered with magnificent feeling and precision.

Johnny Ace, Lemons’ partner and session leader, makes contributions with both bass and back up vocals. Ace’s style is simple and direct. He has an uncanny ability to follow Lemons in all her subtlety and zone in on just the right bass line to create a sexy, low-down groove. Ace becomes the very pulse, the very heart beat of the music. Nobody can play blues bass better than Johnny Ace.

So, as Mark A. Cole says of “Dark Road” in his Big City Blues review, “This is an excellent CD in that it combines Texas-rhythm influences with Chicago lead configurations. Lemons vocal work is top of the line … Definitely a winner! This CD has more talent and depth than you can imagine!” (by cdbaby.com)

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In 2000 when it was released, “All Music” critic Hal Horowitz hailed the album as “the finest debut from a female singer this year.” Six time Blues Music Award winner Tommy Castro plays guitar on two tracks, another BMA award winner Rusty Zinn plays on two, and Grammy award winning guitarist Steve Freund rounds out the rest of the fourteen cuts, plus David Maxwell plays some brilliant keys. Chicago blues gems plus originals with fabulous singing from Cathy Lemons. (by allmusic.com)

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Personnel:
Johnny Ace (bass, background vocals)
Kevin Coggins (drums)
Steve Freund (guitar)
Cathy Lemons (Vocals)
David Maxwell (Piano)
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Tommy Castro (guitar on 04. + 10.)
Rusty Zinn (guitar on 02. + 13.)

backcover

Tracklist:
01. Rolling And Tumbling (Morganfield) 4.18
02. Hard Headed Man (Lemons) 3.48
03. Dirty Man (Miller) 4.04
04. Let Me Be Good (Ace/Lemons) 4.40
05. Worry Worry (Davis/Taub) 5.26
06. Sayin It Plain feat. Steve Freund 03:07
07. Good Morning Little Schoolboy (Williamson) 5.55
08. Dark Road (Lemons) 6.08
09. Lonesome Whistle Blues (Toombs/Teat/Moore) 3.26
10. Takin A Train (Lemons) 5.56
11. I Need You So Bad (Maghett) 3.48
12. Just Got To Know (McCracklin) 3.46
13. Little By Little (unknown) 4.17
14. You Belong To Me (Magic Sam) 4.09

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Johnny Ace + Cathy Lemons

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Still alive and well: Cathy Lemons in 2014

Chicago – Christmas With Chicago (1998)

frontcover1In 1998 Chicago released their 25th album, called “The Christmas Album”.

And William Ruhlmann wrote about this album in “All Music Guide” (12/1999):

When Chicago first achieved national recognition in the late 1960s and early ’70s, it wasn’t hip for rock bands to make Christmas albums. Things changed, of course, but it took until 1998 for Chicago finally to fill this missing item in its catalog, at a time when the group seemed to have entered that phase of its career when it wanted to keep putting out records but didn’t want to risk releasing new material. (Chicago’s three previous releases had consisted of an album of big band standards and two greatest hits sets.) Whatever the circumstances, however, it was good to hear the Chicago style applied to seasonal standards. As ever, the group was a cooperative unit, with the three lead singers-Bill Champlin, Robert Lamm, and Jason Scheff-taking turns on the different songs, arranged by various band members and always allowing for generous contributions by the horn players Lee Loughnane, James Pankow, and Walt Parazaider. The songs were all seasonal favorites except for Loughnane and John Durrill’s “Child’s Prayer, ” featuring a choir dominated by the musicians’ children, which sounded so much like a Middle Ages English hymn that it fit right in. Highlights included a particularly moving vocal on “Have Yourself A Merry Little Christmas” by the gruff-voiced Champlin, a wonderful doubled flute passage by Parazaider on “O Come All Ye Faithful, ” and a rare lead vocal by Loughnane on “Let It Snow! Let It Snow! Let It Snow!” But the whole album, pristinely produced by E Street Band pianist Roy Bittan, was well performed. It sounded exactly like you would expect a Chicago Christmas album to sound, and if you liked the band and holiday music, you’d like the record, too.

And here ist a very rare live performance from Chicgo, to promote this album, recorded live at the House Of Blues, Los Angeles, CA, December 8, 1998 —  it´s a broadcast recording … so, we can hear the sound of Chicago in an excellent quality …

Enjoy this album … but I have to say …  the early incarnation of Chicago (Transit Authority) was much better !

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Personnel:
Bill Champlin (vocals, keyboards, guitar)
Keith Howland (guitar, keyboards)
Tris Imboden (drums)
Robert Lamm (vocals, piano)
Lee Loughnane (trumpet, flügelhorn, vocals)
James Pankow (trombone)
Walter Parazaider (woodwinds)
Jason Scheff (vocals, bass)

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The Christmas studio album (coming soon in this blog)

Tracklist:
01. Intro 1.23
02.Little Drummer Boy (Davis/Onorati/Simeone) 4.39
03. You´re The Inspiration () 4.30
04. Hard Habit To Break () 3.49
05. The Christmas Song () 3.59
06. Let It Snow! Let It Snow! Let It Snow! (Kahn/Styne) 4.03
07. God Rest Ye Merry, Gentlemen (Traditional) 3.43
08. Saturday In The Park () 2.55
09. Have Yourself A Merry Little Christmas (Martin/Blane) 4.17
10.  Just You N Me () 6.04
11. Hard To Say Sorry + Get Away () 5.31
12. Santa Claus Is Coming To Town (Gillespie/Coots) 4.11
13. Outro 1.18

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Sarband – Alla Turka – Oriental Obsession (1998)

frontcover1Musical director Dr. Vladimir Ivanoff, who founded
Sarband in 1986, connects cultures, people and
epochs, both as a scholar and a musician:
His programs unite musicians from widely different
cultures and musical backgrounds and mediate
between past and present, Early Music
and living traditions.

The cooperation in the ensemble is not a fashionable crossover, but conceived as a continuous dialogue
on equal terms. All the artists unrestrictedly contribute their native traditions, their personal histories and their own creativity to the programs, so that Sarband also ecomes a musical training ground for communication
and tolerance between different cultural identities.

«Sarband» means connection.
In Mid-Eastern music theory, this term signifies a link between two compositions within a musical suite.
Ensemble Sarband invites most diverse audiences as well as most diverse performers «to come together»;  it «binds» them to cultural experiences previously  perceived as alien. (by sarband.de)

vladimir-ivanoff

Vladimir Ivanoff

With Mozart’s “Rondo Alla Turca” at its core, this production encompasses early instances of a fascination with things exotic, an attitude based on the equation of the exotic with the promise of great happiness. European interest in Turkish music can be traced back to as early as the sixteenth century. It was in the seventeenth and eighteenth centuries, however, that “Turkish” music became really popular — in the “turqueries, ” exotic-sounding passages included in many operas. The album defines the historical point in time at which popular interest in non-European music was aroused for the first time: The perception of the world was no longer limited to Europe. “Alla Turca” presents unusual European translations of “Oriental” music. In Mozart’s famous “Rondo Alla Turca” motif, the lively confusion of exotica seems sort itself out, its pieces falling into place in a “rondo” of the strange and the familiar.

“Powerful sounds from Ivanoff: Shades of baroque, Turkish dervish music and the Orient, never mind the occasional Mozart, make this a disc worth a listen. This is a car accident (of Oriental and Occidental history thrown together), and we all stare at those as we drive by.” (JAM, February 1999)

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Personnel:
Mustafa Dógan Dikmen (flute, vocals, percussion)
Vladimir Ivanoff (percussion)
Ihsan Özer (zither, percussion)
Ahmed Kadri Rizeli (fiddle)
Silke Strauf (violoncello)
Belinda Sykes (oboe, vocals)
Axel Weidenfeld (lute, guitar)
Mehmet Cemal Yesilcay (lute)

booklet01a

Tracklist
01. Rondo Alla Turca (1) (Mozart) 2.17
02. Elci Pesrev (Cantemir) 3.31
03. Izanum (Dona) 1.11
04. Chanson Turque (Nlainville) 4.42
05. Acem Ilahi (Bobowsky/Ufki) 6.12
06. Concerto Turco/Nominato Izia Semaisi (Toderini/Traditional) 7.41
07. Rondo Alla Turca (2) (Mozart) 1.05
08. Busis Derdim (Dona)
09. Rondo Alla Turca (3) (Mozart) 1.04
10. Hüseyni Ilahi (Bobowsky/Ufki) 7.24
11. Allahoy (Isaac) 3.14
12. Perdeh (Chardin) 1.31
13. Der Deste (Traditional) 4.58
14. Psalm 6 (Bobowsky/Ufki) 5.26
15. Hasta Ghiringium (Dona) 3.05
16. Hüseyni Pesrev (Murad) 6.31
17. Rondo Alla Turca (4) (Mozart) 1.10
18. Psalm 2 (Bobowsky/Ufki) 13.30

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