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:

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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 perthbluesclub.com)

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)

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

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Tracklist:
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

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Renaud Garcia-Fons – Oriental Bass (1998)

FrontCover1.jpgSometimes referred to as “the Paganini of double bass,” Renaud Garcia-Fons is a composer and five-string bass player who was deeply influenced by the brilliant bassist François Rabbath. Garcia-Fons actually started his studies in music at an early age. He began with piano when he was only five, switched to classical guitar at eight, and then to rock in his teens, finally settling on the bass when he was 16. Garcia-Fons lives in Paris and has toured through Germany and Europe performing at festivals. In 1987, he became a member of the Orchestre de Contrebasses. He remained with them for six years, also appearing with the Orchestre National de Jazz during some of that time. ENJA Records released Garcia-Fons’ solo debut, Légendes, in the ’90s. Alboreá was his next release. The album featured his quartet of Jean-Louis Matinier on accordion, Jacques Mahieux on drums, and Yves Torchinsky on bass. Garcia-Fons’ third album, Oriental Bass, which he composed, was released in 1998. Next, he combined talents with accordionist Jean-Louis Matinier on the album Fuera. Garcia-Fons’ music is a rich gypsy mix of global jazz flavored with Indian, Greek, African, flamenco, Latin American, tango, and new musette. On many works he is accompanied by a variety of instruments, including guitar, lute, derbouka, flutes, trombone, and accordion. ( by Charlotte Dillon)

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And this is the third album by Renaud Garcia-Fons:

A student of the legendary Syrian bass player François Rabbath, 5-string virtuoso Renaud Garcia-Fons is of Spanish and French descent splitting his time between both countries/cultures when he is not on the road throughout Europe. He is known as “a bassist with astonishing technique” whose con-arco playing has “a quality more reminiscent of the viola or the cello” (L.A. Times). Influenced not only by jazz and classical music but also by oriental, African and Spanish traditions, Renaud’s unique artistry led to exciting and successful collaborations with such open-minded players as Rabih Abou-Khalil, Nguyen Lê, Gérard Marais, Pedro Soler, Jean-Louis Matinier and Michael Riessler.

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Following his solo recording “Légendes” and the quartet album “Alboreá” (both of which received highest ratings from critics all over the world), Renaud’s east-western synthesis comes to a climax on “Oriental Bass”. Says Renaud: “I had a dream about a bass – half Gypsy, half Mauretanian – that travelled from India to Andalusia passing by the Mediterranean north or south. The bass is neither a traditional nor an oriental instrument. But its range of sonorities and the ways it is played upon – both pizzicato and con arco – seem to make it feel comfortable in the neighbourhood of certain instruments at home in the oriental world. For several years now my work – composing and improvising – has been led by these relationships and by the love the bass brings to all of this music. This is how the idea for this album was born.”

Assisted by a wide variety of musicians and instruments from diverse ethnic background, Renaud’s visionary masterwork “Oriental Bass” is definitely a highlight of 1997’s cross-cultural vintage. “Garcia-Fons’ music exists in a space of its own beyond jazz, world beat or any other category” (by Larry Katz).

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Personnel:
Claire Antonini (lute, théorbe)
Yves Favre (trombone)
Renaud Garcia-Fons (bass, percussion)
Chris Hayward (flute)
Jean-Louis Matinier (accordion)
Vicente Pradal (flamenco guitar)
Bruno Sansalone (clarinet)
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oriental percussion:
Rabah Khalfa – J.-F. Roger – Sam Schlamminger – Anu Yerno

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Tracklist:
01. Oriental Bass 6.38
02. San Juan 8.58
03. Goodjinns 5.24
04. Oryssa 7.18
05. Ghazali 3.01
06. Jullundur 3.55
07. Hommage A Ostat 5.57
08. Bajo Andaluz 3.44
09. Jam Buleria 3.07
10. Djani 7.43

Music composed by Renaud Garcia-Fons

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California Guitar Trio – Pathways (1998)

FrontCover1.jpgCalifornia Guitar Trio (CGT) is a band of three guitar players founded in 1991. The three—Paul Richards of Salt Lake City, Utah, Bert Lams of Affligem, Belgium, and Hideyo Moriya of Tokyo, Japan—met at a 1987 Guitar Craft course, in which Robert Fripp instructed them in the New Standard Tuning (NST). After completing several of Fripp’s Guitar Craft courses, the three toured as part of Robert Fripp and The League of Crafty Guitarists.

Continuing their collaboration then in Los Angeles, they founded The California Guitar Trio in 1991. They continue to play in the New Standard Tuning.[1] Their performances and recordings include original compositions, surf covers, and classical re-workings of classical music. Their influences include European classical music, rock, blues, jazz, world music, and surf music.

In 1992 and 1993 with Fripp and Trey Gunn, they toured and recorded as The Robert Fripp String Quintet.

The Trio’s music was featured during the television coverage of the 1998 and 2000 Olympic Games. It has been featured on CBS, NBC, CNN WorldBeat, and ESPN TV programs.[citation needed] They performed on the 2003 Grammy Awards-nominated track “Apollo” on Tony Levin’s CD Pieces of the Sun.[citation needed] CGT music served as wake-up music for the crew aboard NASA’s Space Shuttle Endeavour.

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The California Guitar Trio performed as an opening act for King Crimson, from which bassist Tony Levin and drummer Pat Mastelotto regularly join the CGT for live shows. CGT has shared the stage with many performers, including John McLaughlin, David Sylvian, Tito Puente, Leftover Salmon, Taj Mahal, Steve Lukather, Simon Phillips, Adrian Legg, Adrian Belew, Jon Anderson.

The Trio has released 16 albums: seven studio CDs featuring original CGT songs and a variety of other works spanning numerous genres, four live releases, and a Christmas CD with Christmas music. Lams has also made a solo album of Bach preludes titled Nascent.

In August 2004 they released Whitewater, which was produced by Tony Levin. It features mainly original works of the CGT, offset by a puzzle-work arrangement of a Bach lute suite and a mashup of “(Ghost) Riders in the Sky” with The Doors’ “Riders on the Storm.” This was followed in 2008 by Echoes, an album composed entirely of covers, and 2010’s Andromeda, the band’s first release to consist entirely of original material. The 2012 release Masterworks is an all classical music compilation featuring music by Beethoven, Bach, Vivaldi, Rossini and Part. Guitarist Fareed Haque played on Vivaldi’s “Winter”, and Tony Levin played upright bass and cello on four tracks. (by wikipedia)

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This is the 3rd album from the California Guitar Trio. Fresh from recent tours with King Crimson and John McLaughlin they have recorded a heady brew of classics and contemporary material. Everything from Beethoven’s 5th symphony, the theme tunes to Pulp Fiction, thought to newly-commissioned avant-grade pieces, all performed on 3 guitars. Track highlights includes: “Arroyo,” “Leap,” “Adagio for Strings (Barber),” “Moonlight Sonata (Beethoven),” and more!

“Pathways” is the California Guitar Trio’s 1998 release and bestselling album to date, featuring original compositions and amazing arrangements of the works of Beethoven. InsideOut, who have released numerous CGT recordings, write, “The California Guitar Trio consists of three revered musicians who aren’t actually natives of the “Golden State.” Actually, two of the members aren’t even from the United States! Bert Lams is from Brussels, Belgium; Hideyo Moriya is a native of Tokyo, Japan; and Paul Richards hails from Salt Lake City, Utah.

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The technical wizardry of the California Guitar Trio is breathtaking, and so is the wide range of instrumental music the group performs — everything from unique originals to dazzling, cleverly arranged reinterpretations of classical, jazz and surf rock pieces. Elements of blues and country are blended into the California Guitar Trio’s style too. Their diversity is unparalleled. There’s simply nothing the California Guitar Trio can’t do musically.”

On “Pathways”, a significant level of performance maturity is clearly in evidence. Thankfully, such maturity has been assigned to a repertoire consisting of classical arrangements along with original, intelligent progressive compositions that match well to their classical sensibility.

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In addition to the guitar trio configuration, a number of tracks include saxophone played by Bill Janssen and Roger Lambson. The touch tapped Warr Guitar, performed by Trey Gunn, is included on a few of the tracks as well.
“Pathways” will serve as a beautiful introduction to the work of the California Guitar Trio. It showcases some of the finest examples of their warmly sensitive musical expression. (jazz-rock-fusion-guitar.blogspot.com)

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Personnel:
Bert Lams (guitar)
Hideyo Moriya (guitar)
Paul Richards (guitar)
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Bill Janssen (saxophone on 03., 07., 09., 10. + 13.)
Trey Gunn Warr (guitar on 03., 07., 09., 10. + 13.)
Roger Lambson (saxophone on 09. + 13.)

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Tracklist:
01. Allegro Con Brio, Symphony No. 5 (Beethoven) 5.26
02. Arroyo (Lams/Richards/Moriya) 3.38
03. Pathways (Lams/Richards/Moriya) 4.27
04. Leap (F’unicelli) 2.51
05. Adagio Opus 11 (Barber) 3.59
06. Great Divide (Lams/Richards/Moriya) 2.32
07. Scramble (Lams/Richards/Moriya) 1.59
08. Classical Gas (Williams) 2.51
09. Kaleidoscope (Moriya) 0.56
10. Ananda  2:49
11 Adagio Sostenuto, Moonlight Sonata (Beethoven) 2:42
12 Presto Agitato, Moonlight Sonata (Beethoven) 4:45
13. Jesu, Joy Of Man’s Desiring (Bach) 2.40
14. Misirlou (Leeds/Roubanis/Tauber/Wise) 1.55

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Stil alive and well:

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Gillian Welch and David Rawlings – Nobody Sings Dylan Like Gill ‘n’ Dave (2019)

FrontCover1.jpgIf you saw Gillian Welch and David Rawlings on the Oscars this year, you know they’re amazing. You may not know they are also amazing interpreters of a certain Nobel Prize-winning singer-songwriter. They were featured often on my 40-volume Dylan cover collection “Nobody Sings Dylan Like Dylan,” but when I heard that the Dave Rawlings Machine had covered “Lily, Rosemary and the Jack of Hearts” at a San Francisco concert last year – opening the show with the first half of the song, and closing it with the second half – I decided it was time to give them their own NSD collection. A year later, here it is.

As always, thanks to the tapers – they are the true heroes of the ROIO world – and to Gill and Dave for daring to test their mettle on these incomparable songs. As you might remember, in the summer of 2015 Gill ‘n’ Dave did a 50th anniversary tribute at the Newport Folk Festival to the historic show at which Dylan first plugged in. Surprisingly, it has never turned up on any of the download sites I frequent, though there is a barely listenable/watchable version on YouTube. If you have a better version to offer, please do; if you don’t want to bother with the nuts and bolts of uploading, let me know and I’ll do it for you.

A few of these songs are featured on other NSD sets, but these are different versions. Finally, please allow me to dedicate this collection to my friend and fellow Dylan fan Erik, who first introduced me to Gill ‘n’ Dave’s music in 1996 by giving me a copy of “Revival” and telling me I’d love it. I did, and I still do. (jeffs98119 at dime)

Various dates and venues. Mix of audience and soundboard recordings
between 1996 and 2018

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Dave Rawlings & Gillian Welch (Oscar 2019)

Personnel:
Dave Rawlings Machine (on 01., 03., 05., 07., 11. + 13.)
The Esquires (on 02. + 09.)
Gillian Welch & David Rawlings (on 04., 06., 08., 10. + 12.)

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Tracklist:
01. Lily, Rosemary, and the Jack of Hearts (1) (Mar 1, 2018, Fillmore, San Francisco, CA) 7.36
02. Gotta Serve Somebody (Sep 27, 1999, Radio Cafe, Nashville, TN) 7.31
03. I’ll Be Your Baby Tonight (Oct 4, 2007, Tangier Restaurant, Los Angeles, CA) 5.00
04. I Dreamed I Saw St Augustine (Aug 21, 1996, Acoustic Coffee House, Nederland, CO) 3.42
05. As I Went Out One Morning (Sep 24, 2014, Moore Theatre, Seattle, WA) 5.32
06. Billy (Nov 18, 1998, Off Broadway, St. Louis, MO) 6.13
07. Oh, Sister (Mar 8, 2018, McDonald Theater, Eugene, OR) 5.10
08. Goin’ to Acapulco (Oct 13, 2004, McDonald Theatre, Eugene, OR) 5.53
09. Quinn The Eskimo (Sep 27, 1999, Radio Cafe, Nashville, TN) 3.29
10. Odds And Ends (Aug 2004, WXPN Studios/World Café session, Philadelphia, PA) 2.58
11. Queen Jane Approximately (Jun 20, 2014, Town Park, Telluride, CO) 10.28
12. Mr Tambourine Man (Oct 3, 2015, Golden Gate Park, San Francisco, CA) 6.07
13. Lily, Rosemary, and the Jack of Hearts 2 (Mar 1, 2018, Fillmore, San Francisco, CA) 5.05

All songs written by Bob Dylan

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Sonya Varoujian – Seven (1998)

FrontCover1.jpgSonya Varoujian has been involved in music from a very early age. Sonya plays guitar,oud, keyboard, sings, and composes her own music and lyrics in both Armenian and English. Her music is an expression of the soul – a celebration of life, love, and homeland. She believes music is a gateway that allows people to share and experience truth and emotions that are normally left untapped.

During her formative years Sonya achieved numerous awards and recognition for her singing such as being selected in the New York All-State Choir. She has performed in Select Ensembles as well as in Armenian choirs under the direction of Jean Almouhian, the maestro of the Arax Argentinian Armenian Choir.

At an early age Sonya was inspired by folk vocalists such as Joan Baez and as a result learned to play the guitar at the age of 15. She recorded her first album entitled “All in All” which is a compilation of original songs with guitar and keyboard in London in 1991. Sonya expresses her love for life, nature, and human relationship in her music. Her songs are courageous, honest, and earthy. She formed her first band “Raindance” in London 1993 where she increased her repertoire and worked with musicians from Portugal and Thailand.

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In 1998 Sonya recorded her 2nd CD entitled “Seven” at Vapor Studios in NYC. At this time she worked with 5 other musicians Oshin Baroyan (producer and keyboardist), Steve Brien (Drums), Hallgrim Bratberg (Lead guitar), Rob Zion (Bass Guitar), and Jessica Hope (Backing Vocals). She regularly performed in the New York City circuit in such venues as CB’s Gallery, Mercury Lounge, The Bottom Line, and The Elbow Room. At this time she developed a good following and fan base and was also invited to play the Armenian American Music Festival in Long Island where for the first time she experimented with fusing her English band with authentic Middle Eastern instruments and collaborated with Michael Gostanian (Qanun), Haik Buchakjian (Oud), and Nshan Akgulian (Dumbek). She was also invited to participate in the PBS documentary the Armenian Americans along with celebrities such as Andre Agasse and Eric Boghosian.

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Following her success with “Seven” Sonya then recorded her third album entitled “Confession” in 2000 and continued to play venues in NYC and received many positive reviews and write ups in publications such as New York Newsday, Good Times Magazine, Stubble, Instant Magazine, Spill Magazine and the Armenian Reporter. Her songs also aired on radio stations such as WDRE 92.7 and WHRU 88.7.

In April 2006 Sonya went to Armenia and record her 4th CD entitled “Janapar” which composes of 12 original Armenian songs. Composer Narine Zarifyan wrote arrangements for her songs and Sonya collaborated with some of Armenia’s most talented musicians such as Hagop Jaghaspanyan (Guitar), Levon Tevanyan (Shvi), Armen Grigoryan (Duduk), Eduard Hartunyan (Percussion), Artyom Manukyan (Cello), Nelly Manoukyan (Flute), Linos String Quartet, Mary Vardanyan (Qanun) and others…

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The result spectacularly brings together her European roots and Armenian descent as Celtic-like haunting melodies together with the Armenian spirit merge into something truly beautiful. Her songs are about life, love, the village in which she volunteered in in Armenia in 2005, Armenia, and her return to her ancestral homeland. Sonya has since performed at the Golden Guitar Music Festival in July 2006 in Yerevan and has also given 3 solo concerts in Yerevan (1 in July 2006 and 2 in October 2006) in which she has performed both her Armenian and English songs. Her concerts have all sold out and as a result she has been invited to numerous television interviews and programs and has had further reviews in journals like “Afisha”, Armenia Now, and Yerevan Weekly. Her music also gets regular airplay on Armenian radio stations worldwide. (by armeniapedia.org)

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Website (now deleted)

And this is her scond album:

“Lead singer Sonya Varoujian has an elegant voice that does a great job of projecting her songs. Her mellow yet powerful tone would leave most listeners extremely impressed.” (Good Times)

“Sonya is a born entertainer who captures her audience with her catchy melodies, meaningful lyrics and incredibly passionate performance.” (Manhasset Press)

“Sometimes the letter grades above these reviews aren’t enough. For Seven, there should be a fourth category: atmosphere. It would get an A+…Seven creates a lush sound over which Sonya Varoujian’s voice soars. It is like aural aromatherapy.” (New York Newsday)

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“Seven is Sonya Varoujian and her evident talents are a promising treat for this constantly changing music business. This girl is strong and independent and there is always room for someone who clearly sings from the heart.” (Instant Magazine)

June 1999 –  “Sonya is a promising and talented artist and it wouldn’t surprise me in the least to find her making a fine career out of doing what she loves.” (Spill Magazine)

And yes, this is a very special, a very unique album. a very intimae album … a lost treasure in the history of folk music.

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Personnel:
Oshin Baroyan (keyboards)
Hallgrim Bratberg (guitar)
Steve Brien (drums)
Sonya Varoujian (vocals, guitar)
Rob Zion (bass)
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Eric Presti (guitar on 02. + 07.)
Carlos Savetman (guitar on 01., 04. – 06.)
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Jessica Hope (background vocals)

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Tracklist:
01. Reality 3.29
02. Straight To Somewhere 3.38
03. Remember 3.33
04. Strange 3.12
05. Pleasure 3.20
06. Knowing In The End 5.04
07. Cram 2.58
08. Home 5.28

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After 2017 the traces of this artist get lost und it is unknown where she is now …

Sonya Varoujian … where are you now ?

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Michael Atherton – Ankh – The Sound Of Ancient Egypt (1998)

FrontCover1Hi, back from Egypt I will present a wonderful piece of music, wirtten by Michael Atherton:

Emeritus Professor Michael Atherton (nee Jones) AM is an Australian musician, composer, academic and author (born 17 February 1950). Michael Atherton was born in Liverpool, England, of Irish, Welsh and German descent – eldest of five children. His family migrated from England to Australia in 1965 first living in Bunnerong Migrant Hostel, NSW, where he taught himself to play guitar, formed bands and played football with friends of British, Greek and Italian background.

Atherton (nee Jones) attended Sir John Deane’s Grammar School in Northwich, England (1962–65). Following arrival in Australia he attended Matraville High (1965–66) then Randwick Boys High (1967), completing his matriculation via the School of Correspondence Studies while working as an office boy at the Boral Oil Refinery, Matraville. Atherton studied at the University of NSW, achieving a Bachelor of Arts with Honours (1973) followed by a Master of Arts with Honours in 1977. He studied music at the University of Sydney (1977-77) and the University of New England (1986-7), majoring in ethnomusicology. Awarded PhD by the University of Technology Sydney (2017).

In 1993 Atherton was appointed Foundation Professor of Music at Western Sydney University. He built a teaching and research department that focused on Australian expressions. Subsequently, in 2001 he was appointed inaugural head of the School of Contemporary Arts (Music, Theatre, Dance, Fine Arts & Electronic Arts). Following a University restructure to a college based system, he was appointed Associate Dean of the College of Arts and Social Sciences, responsible for the research portfolio.

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Atherton’s postgraduate supervision included sixteen successful doctorates in diverse fields of musical enquiry including, performance, cross-cultural composition, music therapy, ethnomusicology, and music for the screen. Atherton pioneered creative music therapy in adolescence, working at Rivendell (1978–80) with Professor Dame Marie Bashir. He played ‘world’ music in Sirocco (1980-6).

Atherton is a composer and performer with broad experience in music for the concert hall, film, television and radio. He toured extensively throughout Asia, Europe, USA and Canada with Sirocco, the Atherton TableBand, and Southern Crossings, supported by Music Viva Australia. He has made numerous CD recordings, documentary film scores Michael Atherton3and television themes, including the station music for TVS. Atherton played with the Renaissance Players (1974-1981), Southern Crossings Ensemble (1986-1993) and is currently a member of SynC, an electroacoustic duo. Performance highlights include the Aurora Festival 2008; New Interfaces for Musical Expression (NIME) opening concert, New York, June 2007; and NIME/Agora Resonances, Paris, 2006.

Atherton AM (Medal of the Order of Australia, awarded for services to music education and society) is an elected fellow (FRSA) of the Royal Society of Arts, Manufactures and Commerce. He was awarded an Australian Centenary Medal (2003) by Prime Minister John Howard for service to the community. He achieved a high commendation for research training and supervision in the Vice Chancellor’s Awards for Excellence at Western Sydney University (2008). In 2012, Western Sydney University honoured him with the title, Emeritus Professor, for his distinguished contribution to teaching and research in the field of music and service to the University over many years. Atherton led the establishment of a music therapy clinic and teaching facility at Kinsgwood, NSW. In 2011 he was officially acknowledged by Nordoff-Robbins Music Therapy and the music industry for leadership and support.
Personal life

Michael Atherton2Atherton is married to early childhood teaching specialist, Catherine Atherton. He has a son and a daughter from his first wife, Rosalind Croucher, and a son with Catherine Atherton.

Atherton is considered a leading expert in Australian made musical instruments and sound producing objects in Oceania. He authored the groundbreaking book Australian Made, Australian Played (1990) and was the contributing curatorial editor for Sounds Unlimited: building the instruments (2003). Music of the Spirit: Asian-Pacific Musical Identity was published in 2009, and Musical Instruments and Sound-Producing Objects of Oceania was published in 2010. A Coveted Possession: the rise and fall of the piano on Australi. (by wikipedia)

The catalyst for Ankh: The Sound of Ancient Egypt was an exhibition—Life and Death in the Land of the Pharaohs, developed by the National Museum of Antiquities in Leiden, The Netherlands. The exhibition came to the Australian Museum in 1998. It provided the challenge of producing a creative reconstruction of ancient Egyptian music and the inspiration for a longer term research project.

The first stage of the project began with a response to the contents of the exhibition itself, followed by a delving into the ever-increasing output of Egyptological scholarship, to establish a broader musical context. The big questions loomed large: what did the music sound like? How were the instruments tuned? Was the music polyphonic? One must proceed by conjecture and deduction, using the literary and visual record in conjunction with an examination of surving instruments. The answers remain elusive, mainly gleaned from instruments housed in museums, along with iconographic and literary evidence. There is no surviving music notation, nor any musical theory which might instruct one about pitch, rhythm and timbre.

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In approaching the composition and performance of the music, Michael Atherton drew on his experience in playing medieval monophony, eastern European and Turkish folk music, as well as his participation in intercultural music projects.

Atherton primarily uses 5, 6, and 7 note scales based on specific pitches, resulting in a combination of Moroccan ramal mai mode and Persian afshari. He also gravitates toward pentatonic scales and major modes. The melodies move in small steps. The setting of the hymns is monophonic, with the inclusion of call and response development. Sung items include interpolated recitations, as a means of acknowledging a deep connection between lanuguage and music.

Ankh: The Sound of Ancient Egypt is a contribution to giving a voice to the vivid images of a dynamic musical culture. (by harmonies.com)

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The concept for this album came when composer/multi-instrumentalist Michael Atherton was commissioned to produce a creative reconstruction of ancient Egyptian music for an exhibition at the Australian Museum. Atherton took it one step further, pursuing a long-term research project of which this entrancing CD is the result. By studying literary and visual records as well as surviving artifacts, he began to get an idea of which instruments had been used in ancient Egypt, then approached the compositions by drawing on his experience with medieval monophony, Eastern European and Turkish folk music, and a variety of intercultural projects. Scholarly though all this may sound, the music on Ankh teems with mystical passion, with hypnotic melodies that wrap you in their webs and won’t let go. Is it authentic? Who knows? But it’s definitely effective. (by by Bret Love)

Enjoy the magic of this very rare and beautiful sounds, recorded by a real master of world music !

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Personnel:
Michael Atherton (all instruments, vocals)
Mary Demovic (vocals)
Greg Hebblewhite (trumpet)
Mina Kanaridas (vocals)
Philip South (percussion)
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background vocals:
Angela Shrimpton – Hasan Shanal – Maria Campbell – Stephen Clark

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Tracklist:

Atum (Creator Sungod):
01. Song 1.10
02. Instrumental (Harp, Undongo) 6.47
03. Instrumental (Bendir, Tapan) 3.19
04. Instrumental (Sistrum Ensemble, Voice) 1.16
05. Instrumental (Arghul) 3.46

Maat (Truth, Balance, Order):
06. Song (Voice, Sistrum, Tapan, Puk) + Instrumental (Egyptian Trumpet, Barrel Drums, Puk, Cymbals) 3.36
07. Instrumental (Boat-shaped Harp, Rewap) 3.38
08. Intrumental (Nay) 4.01
09. Instrumental (Double-reed Pipes, Gaval, Riq) 4.30

Khet (The Physical Body):
10. Song (Voice, Modified Oud, Crotala, Hand Claps, Papyrus) 1.46
11. Instrumental (Bamboo Flute, Tar) 6.27
12. Instrumental (Boat-shaped Harp) 5.01
13. Instrumental (Voices, Rewap, Arghul, Trigon, Riq, Bendir, Hand Claps) 2.09

Shen (Eternity):
14. Instrumental (Sistrum, Clapper Bells, Pellet Bells, Crotala, Cymbals) 2.15
15. Instrumental (Rewap, Riq, Gaval) 4.33
16. Song (Voices, Boat-shaped Harp, Trigon, Sistrum) 5.02
17. Instrumental (Nay) 2.40

Music composed by Michael Atherton

CD

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Ancient Egypt2

Van Morrison, Lonnie Donegan & Chris Barber – The Skiffle Sessions – Live In Belfast (2000)

FrontCover1The Skiffle Sessions – Live In Belfast 1998 is a live album by Northern Irish singer-songwriter Van Morrison, with Lonnie Donegan and Chris Barber, released in 2000 (see 2000 in music). Lonnie Donegan had played with the Chris Barber Jazz Band when he had his first hit with “Rock Island Line”/”John Henry” in 1955. He had been a childhood influence on Van Morrison, who had first performed in his own skiffle band with schoolmates when he was twelve years old in Belfast, Northern Ireland. This was Donegan’s first album in twenty years, reviving his career until his death in 2002.

Recorded on 20 and 21 November 1998 at Whitla Hall, Belfast, Northern Ireland. In 1977, Morrison had discussed recording an album of skiffle music with Dr. John, “because I started off in a skiffle group and there must be millions of other musicians who also began their careers playing that kind of music…” In preparation for this recording, he went to see Donegan perform and invited him to dinner and after a second meeting they arranged to record the sessions live. Dr. John, who was playing in concert in the city’s Ulster Hall the same evening, arrived toward the end of the recording to play piano on the final few tracks. (by wikipedia)

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Van Morrison probably chose to give a pair of skiffle concerts in November, 1998 not because he was nostalgic, but because he has genuine love for this music. At least, that’s the impression The Skiffle Sessions gives. It’s a cheerfully old-fashioned yet curiously fresh album. By skipping “Rock Island Line,” the style’s best-known tune, and emphasizing the music’s foundation in American folk, blues, and jazz, they wind up revitalizing skiffle while paying homage to it. Yes, this may be corny at times, yet it’s a clever, diverse record. They delve into blues, letting Barber have a Dixieland trombone solo on “Frankie and Johnny,” invite Dr. John to play some New Orleans on “Goin’ Home” and “Good Morning Blues,” haul out Jimmie Rodgers’ “Muleskinner Blues” and Leadbelly’s “Goodnight Irene,” paying tribute to both country and folk. Only “Don’t You Rock Me Daddio” fits the clichés of skiffle, and here it’s only one side of a rich, generous collection of roots music.

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Some might say that this multifaceted approach to skiffle is revisionism, but it isn’t; skiffle itself was a hybrid, drawing from all sorts of American roots music but given an endearing twist by idealist British musicians, who loved the American myth as much as the music. The Skiffle Sessions captures this love of myth and music, while being a hell of a good listen. Morrison’s career has been idiosyncratic and unpredictable, but nothing has been quite as surprising as this. Really, there’s no reason why a skiffle album released in 2000 should be as irresistible as this, but Morrison, Donegan, and Barber bring such heart and love to this music that it’s hard not to be charmed. (by Stephen Thomas Erlewine)

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Personnel:
Chris Barber (vocals, trombone, bass)
Lonnie Donegan (vocals, guitar)
Paul Henry (guitar)
Chris Hunt (bass)
Van Morrison (vocals, guitar)
Nick Payne (harmonica, saxophone, background vocals)
Nicky Scott (bass)
Big Jim Sullivan (guitar)
Alan “Sticky” Wicket (washboard, percussion)
+
Dr. John – piano on 03. + 04.)

Promo EP

Promo EP

Tracklist:
01. It Takes A Worried Man (Traditional) 3.40
02. Lost John (Traditional) 3.33
03. Goin’ Home (Dvořák) 3.08
04. Good Morning Blues (Leadbelly/Lomax) 2.52
05. Outskirts Of Town (Razaf/Waller) 4.20
06. Don’t You Rock Me Daddy-O (Traditional) 1.51
07. Alabamy Bound (DeSylva/Green/Henderson) 2.22
08. Midnight Special (Traditional) 2.53
09. Dead Or Alive (Guthrie) 2.33
10. Frankie And Johnny (Traditional) 4.31
11. Goodnight Irene (Leadbelly/Lomax) 2.46
12. Railroad Bill (Traditional) 1.57
13. Muleskinner Blues (Rodgers/Vaughn) 3.06
14. The Ballad Of Jesse James (Traditional) 3.07
15. I Wanna Go Home (Traditional) 3.46

CD1

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