Flora Purim – Perpetual Emotion (2001)

FrontCover1Flora Purim (born March 6, 1942) is a Brazilian jazz singer known primarily for her work in the jazz fusion style. She became prominent for her part in Return to Forever with Chick Corea and Stanley Clarke. She has recorded and performed with numerous artists, including Dizzy Gillespie, Gil Evans, Opa, Stan Getz, George Duke, Mickey Hart of the Grateful Dead, Santana, Jaco Pastorius, and her husband Airto Moreira.

In 2002, Purim was the recipient of one of Brazil’s highest awards, the 2002 Ordem do Rio Branco for Lifetime Achievement. She has been called “The Queen of Brazilian Jazz”. (wikipedia)

For those who thought that despite recording, Flora Purim’s musical career went out the window with her prison term in the early ’90s, or, worse, at the end of 1970s jazz-world Flora Purim01fusion boom, think again. Perpetual Emotion is the strongest recording Ms. Purim’s monumental talent has given us since 1975’s 500 Miles High. Accompanied by life partner and collaborator percussionist Airto Moreira, saxophonist Gary Meek, pianist Christian Jacob, bassist Trey Henry, and acoustic guitarist Oscar Castro Neves, and producer Dom Comardella, Purim has selected material that showcases the ease and flow of a voice that contains within it the passion of Brazil and the airiness of a spring day. Some of those selections, such as Cesar Mariano’s “Saudade,” offer the deep melancholy of looking back to places you can never again visit and reveal within them the sweeter memories they hold. Chris Jacob’s piano leads the way trough the tune and strips it of any false “exotic” artifice. It’s a jazz ballad with a Brazilian melody and rhythm, eased through the gates by Moreira’s easy touch and a flowing bassline by Henry. On “Fotographia” by Antonio Carlos Jobim, Purim takes the tune, which has been recorded literally hundreds of times, to its folksy essence and makes of it a song that is neither jazz nor samba, but a tome of memory and longing. The highlight of the album is the revisiting of Chick Corea’s and Neville Potter’s “Crystal Silence.

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While the song had been in Purim’s early repertoire as an improvisation, a wordless melody, because she had not known — even though she had been part of Corea’s Return to Forever — that the tune had words all along. Her feeling for the original is fierce and moving; it flows from her like a river of feeling and motion, it offers the notion of seeing with new eyes that which has been present all along. Her interpretive voice has never sounded stronger, and her band is understated enough to let it come freely through the mix while providing her with musical challenges to rise to. Perpetual Emotion is the album Purim’s been promising to deliver her entire career. Let us hope that this is the first of many like it to come. (by Thom Jurek)


Trey Henry (bass)
Christian Jacob (piano)
Gary Meek (saxophone, bass, clarinet, flute)
Airto Moreira (drums, percussion)
Oscar Castro-Neves (guitar)
Flora Purim (vocals)

Airto Moreira01

01. San Francisco River (Moreira/Purim) 4.58
02. My Ship (Gershwin/Weill) 4.13
03. Escape  (Purim) 4.12
04. Saudade (Purim) 3.02
05. Crystal Silence (Corea/Potter) 6.18
06. Flora And Airto (Purim) 5.00
07. Fotografia (Gilbert/Jobim) 6.55
08. Journey To Eden (Purim) 5.19
09. Search For Peace (Purim/Tyner) 6.07
10. Airto’s Jazz Dance (Purim) 4.07
11. Carinhoso (Pixinguinha/Purim) 3.50





Harvey Mandel – Live At Broadway Studios 2001 (2018)

FrontCover1Harvey Mandel (born March 11, 1945, in Detroit, Michigan, United States) is an American guitarist known for his innovative approach to electric guitar playing. A professional at twenty, he played with Charlie Musselwhite, Canned Heat, the Rolling Stones, and John Mayall as well as starting a solo career. Mandel is one of the first rock guitarists to use two-handed fretboard tapping. (by wikipedia)

Always the innovator, always in demand and a pioneer of electric blues, few guitarists can claim to have played with John Mayall, Canned Heat and the Rolling Stones, performed at Woodstock and at the Grammy Awards with Bob Dylan.

Harvey The Snake Mandel’s career has spanned over 50 years, bridging the gap between the blues, jazz and rock with his two handed fretboard tapping and his creative use of sustain and controlled feedback. Mandel was a major influence on the styles of legendary artists Stanley Jordan, Eddie Van Halen and Steve Vai, among others.

Born in Michigan but raised in Chicago, he played with other Second City blues and rock greats like Charlie Musselwhite, Howlin’ Wolf, Mike Bloomfield, Steve Miller, Muddy Waters and Barry Goldberg before moving to San Francisco after being invited to play at the Fillmore by Bill Graham. And the Snake (so named by Barry Goldberg) continues to perform at a high level as hen tours with the Chicago Blues Reunion and the Snake Crew. (Press release)

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Mandel has long been known to fans as a “player’s player” when it came to the electric guitar. I first heard him on the “Stand Back!” album (which I still own) by Charlie (Charley) Musselwhite in ’66, and then on a pre-release of Mandel’s first solo album “Cristo Redentor” in ’68. He has released a number of albums under his own name which have been collected into a box set (with an unissued live set from the Matrix Club) which is now pretty expensive.

This (78 + minutes) album, recorded in 2001 in front of a live studio audience, can sit alongside his other albums as another good example of his guitar playing. The band is Mandel-guitar, John Ulen-drums, Joe Devito-bass, and Dave Scott-keyboards. The sound is very immediate, clean, and open, taken from digital soundboard sources, but has a couple of slight, very short sound level problems–but these are of no real concern.

This instrumental set includes versions of well known Mandel tunes like “Before Six”, “Christo Redentor”, and “Wade In The Water”, plus “The Snake”, “Blues Shuffle”, “Experimental Song”, “Midnight Sun” and a couple of others. This album is a showcase for Mandel in a straight quartet setting which accentuates his guitar playing. But his band too are no slouches on their respective instruments–especially Devito’s bass–which is almost a second lead instrument. The majority of the songs are in the 6 + to 8 + minutes range giving Mandel and the band room to expand the music in this stripped down setting playing for a live audience. “Wade In The Water” is 14 minutes long, giving the band a chance to really explore this tune. Included on this set are genres like the blues, rock, jazz, and a nice swinging shuffle, all of which show Mandel’s overall abilities exploring the sonic capabilities on his guitar.

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Fans of Mandel will want to give this a close listen. On”Christo Redentor” Mandel uses his guitar in place of the wordless vocals on the original album version. “Blues” is just that–a scorching example of Mandel’s blues chops–in his own inimitable style. But every tune has something that makes it well worth hearing for Mandel fans or fans of the electric guitar. There’s no fancy, intricate or cluttered arrangements–just Mandel in front of a basic band of sympathetic players which is perfect for hearing Mandel do his thing. And he does it.

There’s no booklet–just a single cover sheet with a short essay on the back. Too bad there’s spelling and grammatical errors–someone wasn’t paying attention. But in the end it’s the music that’s important–and this live set delivers on all counts. This is another example of what Mandel fans have known for some time–with all the albums he’s released–that he’s perhaps the best living relatively still unknown electric guitarist today. Just listen to “Midnight Sun”, with it’s distorted tone full of sustain and controlled feedback and fret board tapping. Ahh…yes. (Stuart Jefferson)

Recorded before an enthusiastic audience at Broadway Studios in San Francisco,
on June 21, 2001.


Joe Devito (bass)
Harvey Mandel (guitar)
Dave Scott (keyboards)
John Ulen (drums)

Alternate frontcovers:

01. Before Six (Fraiser) 8.46
02. Blues Shuffle (unknown) 7.31
03. Blues (unknown) 8.32
04. Christo Redentor (Pearson) 7.51
05. Emerald Triangle (Mandel) 5.34
06. Experimental Song (Mandel) 4.59
07. Midnight Sun (Mandel) 7.31
08. The Bad Monster (Mandel) 6.13
09. The Snake (Mandel/Taylor) 7.17
10. Wade In The Water (Traditional) 14.00

Harvey Mandel03


More from Harvey Mandel:


Gib eine Beschriftung ein


Jordi Savall & Hespèrion XXI – Ostinato (2001)

FrontCover1Jordi Savall i Bernadet (born August 1, 1941) is a Spanish conductor and viol player. He has been one of the major figures in the field of Western early music since the 1970s, largely responsible for popularizing the viol family of instruments (notably the viola da gamba) in contemporary performance and recording. As a historian of early music his repertoire features everything from medieval, Renaissance and Baroque through to the Classical and Romantic periods. He has incorporated non-western musical traditions in his work; including African vernacular music in Les Routes De L’Eslavage or The Routes of Slavery (2017).

His musical training started at age six in the school choir of his native Igualada (1947–55). After graduating from the Barcelona’s Conservatory of Music (where he studied from 1959 to 1965) he specialized in early music, collaborating with Ars Musicae de Barcelona under Enric Gispert, studying with August Wenzinger at the Schola Cantorum Basiliensis in Basel, Switzerland (1968–70) and eventually succeeding Wenzinger in 1974 as professor of viola da gamba at the Schola Cantorum Basiliensis.

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In 1974 he formed the ensemble Hespèrion XX (known since 2000 as Hespèrion XXI), together with his wife soprano Montserrat Figueras, Lorenzo Alpert and Hopkinson Smith. Hespèrion XX favored a style of interpretation characterized simultaneously by great musical vitality and maximum historical accuracy.

In 1987 he returned to Barcelona to found La Capella Reial de Catalunya, a vocal ensemble devoted to pre-eighteenth-century music.

In 1989 he founded Le Concert des Nations, an orchestra generally emphasizing Baroque period, but sometimes also Classical and even Romantic music such as, for example, Sinfonía [por] Grande Orquesta by Juan Crisóstomo Arriaga) (1806-1826).

More recently Savall has performed with family members. The family ensemble has included his wife Montserrat Figueras (who died in 2011) and their two children, Arianna and Ferran. Arianna plays the harp and sings, like her mother; Ferran plays the theorbo (bass lute) and sings, not only with his family but also in Barcelona jazz clubs.

Savall’s discography includes more than 100 recordings. Originally recording with EMI Classics, and then from 1975 on Michel Bernstein’s Astrée label, since 1998 he has recorded on his own label, Alia Vox. (by wikipedia)

Jordi Savall01

I’ve been a fan of Jordi Savall and Hesperion XXI for a while. However it must be said that occasionally albums of the ‘early music’ era can be somewhat austere and dry, simply because the compositions may tend that way. This is not one of those recordings. This is fresh, lively, and exquisite music making, absolutely beautifully recorded by masterful musicians.

There is space and air in the sound, a nicely varied palette of different instruments, and the ensembles are small and very well placed to hear each instrument. A lute is a very soft-voiced instrument and typically recorded so that it gets lost competing with a viola da gamba and a harpsichord, but the balance here is exceptional. For instance, on ‘Greensleeves to a Ground’, the two lutes of high and middle registers are clearly placed either side of the gamba with the harpsichord discreetly chiming in when called upon in the background. You can hear every note. Tracks with more bowed strings are likewise beautifully enunciated.

Jordi Savall & Hespèrion XXI_02

Numbers like the Canarios are sometimes familiar yet fresh. And we’ve all heard the Kanon & Gigue umpteen times and probably have our notions of what it ought to go like and tempos etc. Well there’s certainly no harm in a quick tempoed toss-off as lithely and freshly played as this one. Might even make you forget that plodding interminable version played by an out of tune string quartet at that last wedding you went to.

Much of this is sparkling brisk dance music, yet the graceful introspection of the Marini Passacaglio and the other few mild-tempo numbers are well posed and give the tapping toes a not unwelcome rest.

But this is mostly a vivacious collection that can take you back in time to when the original music makers were not only alive and talented, they were young. (Count Orloff)


Michael Behringer (organ)
Sergi Casademunt (violone)
Bruno Cocset (violoncello)
Xavier Díaz (guitar, theorbo, vihuela)
Pedro Estevan (percussion)
Luca Guglielmi (organ)
Manfredo Kraemer (violin)
Eliseo Parra (percussion)
David Plantier (violin)
Arianna Savall (harp)
Jordi Savall (viola da gamba)
Pablo Valetti (violin)

01. Gallarda Napolitana (Valente)
02. Passamezzo Antico: Zarabanda (Recercada V) (Ortiz)
03. Passacalle (Falconiero)
04. Passamezzo Moderno (Recercada II) (Ortiz)
05. Ciaccona (Falconiero)
06. Ruggiero (Quinta Pars IX) (Ortiz)
07. Romanesca (Recercada VII) (Ortiz)
08. Sopra L’Aria Di Ruggiero (Rossi)
09. Passacalio (Marini)
10. Canarios (unknown)
11. Ruggiero (Merula)
12. Tres Glosas Sobre Todo El Mundo En General (de Auroxo)
13. Ciaccona (Merula)
14. Sonata A 2 (Purcell)
15. 3 Parts Upon A Ground (Purcell)
16. Kanon und Gigue (Pachelbel)
17. Greensleeves To A Ground (Anonymous)



Tony Bennett – Playin’ With My Friends – Bennett Sings The Blues (2001)

FrontCover1.jpgPlayin’ with My Friends: Bennett Sings the Blues is a 2001 album by Tony Bennett featuring duets with notable vocalists.

Tony Bennett’s latter-day albums tend to have themes, and this one has two, as indicated by its double-barreled title: It is both a duets album and a blues album. The duet partners include ten singers who range from his recent touring partners Diana Krall and k.d. lang to fellow veterans Ray Charles, B.B. King, and Kay Starr, and younger, but still mature pop stars Stevie Wonder, Bonnie Raitt, and Billy Joel. All sound happy to be sharing a mic with Bennett. Not surprisingly, the singer’s conception of the blues does not extend to the Mississippi Delta or the South Side of Chicago; rather, he is interested in the blues as filtered through the sound of the Swing Era, particularly from around Kansas City, and as interpreted by Tin Pan Alley and show tunes. For the former, his true mentor is Count Basie, whose overt influence is heard on six of the 15 tracks.


Bennett makes no attempt to hide this, leading off the album with two songs, “Alright, Okay, You Win” (a duet with Krall) and “Everyday (I Have the Blues)” (a duet with Wonder), closely associated with Basie singer Joe Williams. The Broadway and Hollywood blues style is introduced in three selections written by Harold Arlen. On about half the tracks, the Ralph Sharon Quartet is augmented by Harry Allen’s saxophone and Mike Melvoin’s Hammond organ, but this remains a small, intimate affair that emphasizes the singers. There are missteps — Sheryl Crow’s Billie Holiday impersonation on “Good Morning, Heartache” is unfortunate, and Natalie Cole, as usual, sounds out of her depth on “Stormy Weather.” But the trade-offs Bennett enjoys with King and Charles are priceless, and the Joel duet is surprisingly effective. On the whole, this is yet another entry in Bennett’s lengthening series of autumnal recorded triumphs. (by William Ruhlmann)


Harry Allen (saxophone)
Tony Bennett (vocals)
Clayton Cameron (drums)
Paul Langosch (bass)
Mike Melvoin (organ)
Gray Sargent (guitar)
Ralph Sharon (piano)
Ray Charles – Natalie Cole – Sheryl Crow – Billy Joel – B.B. King – Diana Krall – K.D.Lang -Bonnie Raitt – Kay Starr – Stevie Wonder – Judy Garland


01. Alright, Okay, You Win (with Diana Krall) (Watts/Wyche) 3.31
02. Everyday (I Have the Blues) (with Stevie Wonder) (Chatman) 3.39
03. Don’t Cry Baby (Bernie/Johnson/Unger) 2.43
04. Good Morning Heartache (with Sheryl Crow) (Drake/Fisher/Higginbotham) 4.56
05. Let The Good Times Roll (with B.B. King) (Moore/Theard) 3.14
06. Evenin’ (with Ray Charles) (Parish/White) 4.15
07. I Gotta Right To Sing The Blues (with Bonnie Raitt) (Arlen/Koehler) 3.55
08. Keep The Faith, Baby (with K.D. Lang) (de Jesus/Lerner/Watts) 3.52
09. Old Count Basie Is Gone (Old Piney Brown Is Gone) (Turner) 3.25
10. Blue And Sentimental (with Kay Starr) (Basie/David/Livingston) 3.21
11. New York State Of Mind (with Billy Joel) (Joel) 4.31
12. Undecided Blues (Rushing) 3.18
13. Blues In The Night (Arlen/Mercer) 3.34
14. Stormy Weather (with Natalie Cole) (Arlen/Koehler) 4.34
15. Playin’ With My Friends (Cray/Walker) 4.50
16. I Left My Heart In San Francisco (with Judy Garland) (Cory/Cross) 3.08





Kim Pensyl – At The Moment (2001)

FrontCover1.jpgA fine pop-jazz keyboardist, trumpeter, and popular attraction on the “contemporary jazz” circuit, Kim Pensyl has recorded a long string of best-selling sets for such labels as Optimism, GRP, and Shanachie. Early on he played a variety of instruments, including trumpet, from age 12 and electric bass in a rock group before settling on keyboards. Pensyl attended Ohio State University, playing with the OSU jazz band. After earning a degree from the Eastman School of Music and attending Cal State Northridge, Pensyl worked in the Los Angeles area with a wide variety of bands including those led by Al Hirt, Don Ellis, Hubert Laws, Gerald Wilson, and Louie Bellson; he even played trumpet with Guy Lombardo. After a few years of studio work, in 1988 (when he began his solo career and recorded his first set as a leader) Pensyl had his style together, playing what could be called atmospheric lite jazz.

Released in 1988, 1989, and 1990, Pensyl Sketches, Vol. 1, Vol. 2, and Vol. 3 all sold quite well; the former two sets were recorded with Pensyl as the only musician. During the remainder of the ‘90s and into the new millennium, Pensyl began throwing a few curve balls at his listeners, including 1993’s piano-synth holiday outing A Kim Pensyl Christmas; 1996’s Under the Influence, with Pensyl interpreting some of his pop and R&B favorites; 1998’s Quiet Cafe, which brought his trumpet playing more to the fore; and 2001’s At the Moment, which found Pensyl taking on the mantle of trumpeter even more strongly, in a hard bop setting. Released in 2008, When Katie Smiles featured Pensyl at the Steinway for a set of smooth jazz-influenced originals.

Kim Pensyl01

Kim Pensyl is best known as a jazz-pop keyboardist, one who recorded popular crossover sets for Optimism, GRP, and Shanachie. However, At the Moment is quite a bit different, for on this set Pensyl is cast in the role of a hard bop trumpeter! Pensyl actually began playing trumpet when he was 12, but on his own previous recordings had not really stretched out on trumpet, so it is a surprise to hear him interacting quite comfortably on this fairly advanced straight-ahead jazz set with tenor saxophonist Bob Shepard, pianist Joey Calderazzo, bassist Chuck Bergeron, drummer Adam Nussbaum, and (on three numbers) trombonist John Fedchock. Influenced most by Miles Davis of the 1950s (particularly when muted), Freddie Hubbard, and Woody Shaw, Pensyl holds his own with the other notable players on 11 of his originals. The music is often driving (Shepard eats up the chord changes), Joey Calderazzo is a major asset, and the performances display plenty of heat. The individual songs are not overly memorable but the playing on a whole is of high quality, there are plenty of mood and tempo variations, and it is a happy surprise to realize that Kim Pensyl is such an excellent trumpeter. (by Scott Yanow)


Chuck Bergeron (bass)
Joey Calderazzo (piano)
Adam Nussbaum (drums)
Kim Pensyl (trumpet)
Bob Shepard (saxophone)
John Fedchock (trombone on 04., 07. + 10.)


01. Crossed Up 6.00
02. Frosted Lemons 6.48
03. No One But You 6.36
04. Stolen Encounter 4.26
05. Miles’ Lament 6.41
06. Rulers 5.52
07. The Hubster 5.36
08. Petals 9.27
09. Once Before 6.09
10. Blues For Monk 7.54
11. Linda Theresa 6.23

Music composed by Kim Pensyl




Various Artists – Abba (A Heavy Metal) Tribute (2001)

FrontCover1.jpgA Tribute to ABBA is a tribute album of ABBA songs played by a variety of heavy metal and hard rock bands, released on 2 April 2001 by German record label Nuclear Blast. The compilation was also released in Japan under the title ABBAMetal: A Tribute To ABBA.

Well, this is a must hear for any Metal fans, especially those into novelty album. If you own Pat Boone’s In A Metal Mood or The Bluegrass Tribute To AC/DC then here’s another to add to your nutty collection, a bunch of Power Metal bands tributing ABBA!

Actually, novelties aside this is really well done. I was expecting it to sound all silly and goofy but after I listened to this it made me realise how much ABBA needed a tribute. Ok, some of it is silly and goofy, like that electronic-influenced version of Take A Chance On Me which isn’t even far from the original anyway (what can you expect from a band called Rough Silk?) and the last track is pretty bad, it sounds nothing like the rest, with an electronic-beat chorus and dumb indie-rock verses and a very annoying vocalist.


The rest, however, is brilliant! We open with a cool version of Summernight City by Therion, complete with violins and such, and then Metalium throw out an AWESOME speedy take of Thank You For The Music! Voulez-Vous sounds quite cool, and Paradox’s S.O.S. is pretty fucking insane, especially in the chorus. Thrashiest song on here. Then we go to Eagle, which is the best song ABBA ever did, and Sargant Fury do a fun version (Rob Rock did it better though, on Rage Of Creation). One Of Us sounds pretty damn beautiful too.


The only think that disappointed me is that The Winner Takes It All wasn’t included (and Does Your Mother Know for that matter) but besides that this is a fun little album to own. (by Muloc7253)

And you have the chance to discover a lot of totally unknown Heavy Metal Bands !


01. Therion: Summer Night City (Andersson/Ulvaeus) 4.58
02. Metalium: Thank You For The Music (Andersson/Ulvaeus) 3.24
03. Sinergy: Gimme! Gimme! Gimme! (A Man After Midnight) (Andersson/Ulvaeus) 4.22
04. At Vance: Money, Money, Money (Andersson/Ulvaeus) 3.09
05. Morgana Lefay: Voulez-Vous (Andersson/Ulvaeus) 4.27
06. Paradox: SOS (Andersson/Ulvaeus/Anderson) 2.36
07. Rough Silk: Take A Chance On Me” (with Anke Hansen) (Andersson/Ulvaeus) 4.49
08. Spiral Tower: Chiquitita (Andersson/Ulvaeus) 5.35
09. Sargant Fury: Eagle (Andersson/Ulvaeus) 4.51
10. Flowing Tears: One Of Us (Andersson/Ulvaeus) 5.05
11. Nation: Waterloo (Andersson/Ulvaeus/Anderson) 3.18
12. Custard: Super Trouper (Andersson/Ulvaeus) 4.18
13. Tad Morose: Knowing Me, Knowing You (Andersson/Ulvaeus/Anderson) 3.27
14. Glow: Dancing Queen (Andersson/Ulvaeus/Anderson) 2.30




Blackmore’s Night – Fires At Midnight (2001)

FrontCover1.jpgFires at Midnight is the third studio album by the group Blackmore’s Night, released July 10, 2001 through SPV/Steamhammer. In comparison to their previous two releases, there are more electric guitar parts on this album, whilst maintaining a folk rock direction. The album was a Top Ten record in Germany.

On December 2001, Fires At Midnight was a finalist on the New Age Voice award for the best vocal album of the year. In 2004 the album went Gold in the Czech Republic.

The album was one of the 10 international bestsellers in Russia during the Autumn of 2001. The single “Times They Are A Changin” stayed in the Russian top 20 Hits for over 9 weeks.

It featured the singles “The Times They Are a Changin'”, “Home Again” and “All Because of You”. (by wikipedia)


One of hard rock’s most influential guitarists has opted for the cultural upheaval and regality of the Renaissance era, as Ritchie Blackmore and vocalist Candice Night spearhead a band who abides by a hearty cross-pollination of English folk, 16th century melodies, and progressive rock. Here, Blackmore injects tasteful electric lead lines into a mix consisting of buoyantly executed rhythmic structures and Ms. Knight’s whispery, and at times, satiny vocalizations. Thus, Blackmore’s Night proclaims a festive atmosphere throughout these 16 pieces, while the band’s charming rendition of Bob Dylan’s “The Times They Are a Changin'” might represent the lone deviation from the grand scheme of things to coincide with this ensemble’s altogether cheery demeanor and novel approach. Moreover, for those expecting to hear Blackmore ravage his electric with his now-infamous high-octane, blues-drenched power chords and doomsday chops, forget it. With this release, subtly, finesse, and nuance reign supreme amid a series of persuasive works that cover quite a bit of fertile terrain. (by Glenn Astarita)


Ritchie Blackmore (guitar, hurdy-gurdy, mandolin, renaissance drums, tambourine)
Robert “Sir Robert of Normandie” Curiano (bass, background vocals)
Chris Devine (violin, viola, recorders, flute)
Carmine Giglio (keyboards)
Candice Night (vocals, pennywhistle, shawms, harp, recorder, electronic bagpipes)
Pat Regan (keyboards)
Mike Sorrentino (drums)
John Passanante (trombone)
Richard Wiederman (trumpet)
Albert Dannemann (bagpipes on 11.)


01. Written In The Stars (Blackmore/Night) 4.47
02. The Times They Are A-Changin’ (Dylan) 3.33
03. I Still Remember (Traditional) 5.42
04. Home Again (Blackmore/Night) 5.28
05. Crowning Of The King (Traditional) 4.32
06. Fayre Thee Well (Blackmore)  2:05
07. Fires At Midnight (Traditional) 7.36
08. Hanging Tree (Blackmore/Night) 3.47
09. The Storm (Blackmore/Night) 6.12
10. Mid Winter’s Night (Traditional) 4.30
11. All Because Of You (Blackmore/Night) 3.37)
12. Waiting Just For You (Traditional) 3.17
13. Praetorius (Courante) (Praetorius) 1.57
14. Benzai-Ten (Blackmore/Night) 3.52
15. Sake Of Song (B-side to the European Single “The Times They Are a Changin’ ) (Blackmore/Night) 3.13
16. Village On The Sand (Blackmore/Night) 4.57
16. Again Someday (Blackmore/Night) 1.49





Eric Clapton – One More Car, One More Rider (2002)

FrontCover1.jpgOne More Car, One More Rider is the eighth live album by Eric Clapton, released on 5 November 2002 on Duck / Reprise Records. It is also the third double live album. The album contains songs performed during Clapton’s 2001 world tour. The recordings on this album are from two nights at the Staples Center in Los Angeles, 18 & 19 August 2001.Accompanying Clapton on this album are Andy Fairweather-Low, Steve Gadd, Nathan East, Billy Preston, Greg Phillinganes, and David Sancious. Eric Clapton himself said that this would be his last world tour, making this album initially more valuable. However he since has toured the world several times both on his own and with others, including Steve Winwood, Mark Knopfler, and his four Crossroads Guitar Festivals with his own chosen high-profilehouse band; different from his usual band. (by wikipedia)

The inconsistent double live album One More Car, One More Rider strives to represent the harder and softer sides of Eric Clapton. Sometimes, on warhorses such as “Hootchie Coochie Man” and “Have You Ever Loved a Woman,” he transports listeners to the Delta or Chicago’s South Side, where a titan of the blues is throwing down bitter wisdom.


But then there are those times when old Slowhand goes to his mushy place, singing nondescript odes such as “My Father’s Eyes” as though he’s chasing Sting for some sensitive-man prize. Clapton still possesses one of the most arresting guitar sounds on the planet, a laserlike beam of pure tone. But he rarely uses it to roar, and when he does — on a rearranged “Badge,” complete with dramatic pauses, or on the coda of the rocking “Layla” that contains some of the most adventuresome improvisation he’s recorded in years — it only becomes painfully clear just how often this car is riding on cruise control. (by Tom Moon)


Eric Clapton (guitar, vocals)
Nathan East (bass, background vocals)
Andy Fairweather-Low (guitar, background vocals)
Steve Gadd – drums
Billy Preston (keyboards, background vocals)
David Sancious (keyboards, melodica, guitar, background vocals)



CD 1:
01. Key To The Highway (Broonzy/Segar) 3.38
02. Reptile (Clapton) 5.44
03. Got You On My Mind (Biggs/Thomas) 4.06
04. Tears In Heaven (Clapton/Jennings) 4.27
05. Bell Bottom Blues (Clapton) 4.57
06. Change The World (Kennedy/Kirkpatrick/Sims) 6.23
07. My Father’s Eyes (Clapton) 8.35
08. River Of Tears (Clapton/Climie) 8.54
09. Going Down Slow (Oden) 5.37
10. She’s Gone (Clapton/Climie) 6.57

CD 2:
11. I Want A Little Girl (Mencher/Moll) 4.25
12. Badge (Clapton/Harrison) 6.03
13. Hoochie Coochie Man (Dixon) 4.30
14. Have You Ever Loved A Woman (Myles) 7.51
15. Cocaine (Cale) 4.22
16. Wonderful Tonight (Clapton) 6.42
17. Layla (Clapton/Gordon) 11.12
18. Sunshine Of Your Love (Brown/Bruce/Clapton) 6.40
19. Over The Rainbow (Arlen/Harburg) 10.01




Various Artists (David West & Friends) – Eight Miles High – A Bluegrass Tribute To The Byrds (2001)

FrontCover1.jpgThis tribute album was produced by David West:

David West was born in Los Angeles, California on August 13, 1952. He has made Santa Barbara, California his home since 1971.

In 1972 David co-founded the “Cache Valley Drifters,” a modern style bluegrass band that went on to record three ground breaking albums for Flying Fish Records (Chicago, Ill.) and tour North America for twelve years.

Around the same time, he worked as accompanist to the legendary songwriter Kate Wolf, playing guitar, banjo and contributing original songs to her repertoire. He maintained a musical connection with Kate from 1974 until her untimely death in 1986.

After the Cache Valley Drifters parted ways in 1984, David worked as a freelance musician, playing as a sideman in recording sessions and performances with many well DavidWest01.jpgknown artists. He opened Play Ball!’s Studio “Z” in Santa Barbara in 1996, and signed on with C.M.H. Records (Los Angeles) as staff producer and musician, working on, among other projects, the “Pickin’ On” series, which has over 50 titles and has sold nearly three million copies.

Currently, David spends his days writing, recording and performing. He has traveled to Ireland and the British Isles, Europe, Cuba, Jamaica, Polynesia, Tasmania, Australia, India, Africa, Mexico, Fresno and all over North America playing music and pursuing his interest in ethno-musicology. (davidwest.com)

Eight Miles High: A Bluegrass Tribute to the Byrds is a new turn on the unique sounds of one of the most influential rock bands of the sixties and seventies, an instrumental exploration of their greatest folk tunes. The Byrds’ innovative “jangly” sound and ethereal harmonies were driven by eclectic guitarist Roger McGuinn, who pioneered the use of twelve-string and steel guitars in rock music, and anchored by the bluegrass-tinged bass of Chris Hillman, a former mandolin player whose traditional style further complemented the diverse blend that was the recipe for The Byrds’ success. (promo text)

The mellow trippy tunes of the “the American Beatles”, the Byrds, gets a pure instrumental bluegass tribute, spiked with splashes of 5-string banjo, and dobro, brewed by some of the most proficient bluegrass artists recording today. Tracks: “Time Between” “All I Really Want to Do,” “My Back Pages,” “Hickory Wind”, “Mr. Tambourine Man” and more!


Tom Ball (harmonica)
Dennis Caplinger (fiddle)
Steve Fishell (dobro)
Bo Fox (drums)
Jay Dee Maness (pedal steel guitar)
Al Di Marco (piano)
Mike Mullins (guitar, mandolin)
Bob Nichols (drums)
David West (banjo, guitar, mandolin, bass, dobro)


01. So You Want To Be A Rock ‘N’ Roll Star (Hillman/McGuinn) 4.25
02. Have You Seen Her Face (Hillman) 3.16
03. Eight Miles High (Clark/Crosby/McGuinn) 4.55
04. My Back Pages (Dylan) 3.32
05. Jesus Is Just Alright (Reynolds) 4.24
06. Time Between (Hillman) 3.08
07. Turn! Turn! Turn! (To Everything There Is A Season) (Traditional/Seeger) 4.07
08. I’ll Feel A Whole Lot Better (Clark) 2.59
09. Hickory Wind (Buchanan/Parsons) 4.18
10. Mr. Spaceman (McGuinn) 2.45
11. All I Really Want To Do (Dylan) 3.49
12. Mr. Tambourine Man (Dylan) 4.23



Jack Bruce And The Cuicoland Express – Live At The Milkyway, 2001 (2010)

FrontCover1An excellent 2cd set of a night of Jack Bruce’s latin influenced tour of the shadows in the air album,with 3 Cream numbers added into the mix.Sound is very good,performances are excellent.Previously only available to “pledge”customers,as a download,I believe(I will not truck with downloads,being a hi-fi enthusiast–why settle for second best?)this is now available to all.Don’t hesitate,you won’t regret this one.this is a really great Jack cd,perhaps his best ever,my only regret being that he did not perform The consul at sunset,his first,as far as I can recall,latin flavoured piece,and a firm personal favourite.Maybe another time (Music Lover)

The voice and style of one of the greatest bassists ever. In a way, it comprises both the soul and the spirit of an everlasting band as Cream but showing Bruce’s unique own flavor. (Mehaudy S. Roberto)

Originally released at Pledge Music it’s great that this beautiful set now gets a wider distribution.

Mixed and produced by the legendary Kip Hanrahan the sound quality is outstanding. And so is the music. This is taken from the Cuicoland Express tour, promoting Jack’s then new album “Shadows In the Air”. And it’s certainly nice to hear just how great the songs from that album was, like “Shadow Heart”.

Vernon Reid.jpg

The band is stellar with Bernie Worrell contributing some avantgardish hammond playing, a three man rhythm section with Bobby Ameen, El Negro and Richie Flores – all legends from the New York latin scene. And on lead guitar Vernon Reid (Living Color). Jack’s playing is wild and spontaneous as always, his intonation on the fretless is not spotless all the time, but whatever he does on the bass is never short of engaging and interesting. His vocals are in top form. The only minus – in my ears – is the overly fast playing of Reid which doen’t really suit Jack Bruce’s melodic compositions. At least for me it’s difficult to find head and tails in the vast flurry of notes.

A good mix of newer songs and Cream classics with some of Jack’s most beloved solo tunes (just a shame “Theme From An Imaginary..” isn’t on the record although it was played at the show).

An absolute must for Jack Bruce fans and for any one in to adventurous, free-spirited music. (Bodhi Heeren)

Bernie Worrell

Jack Bruce deserves to be heard and listened to by a wider audience again. His musical range is actually quite mind-boggling, and this cd gives a very good flavour of the live experience. His compositional skills can be heard on Milonga, Dark Heart (more recent Latin-influenced compositions) and We’re Going Wrong (ahead of its time Cream song). His bass improvisational skills can be heard on the perennial Sunshine of Your Love (but he plays a fulltone and singing Warwick these days differing from the rough hewn EB3 of old). His unique tenor-rock vocal skills are evident throughout the cd, but listen to the very last track as he loosens up to morph 52nd Street from funk to reggae and the band gleefully follow the groove.

This is a live record, with long workouts and infectious band interplay. Bruce’s influences include jazz, rock, blues, classical, reggae and Latin music, but it all ends up being Jack Bruce music. The band are great, Latin percussionists who worked with Kip Hanrahan, Bernie Worrell’s sly and amusing fluency on the keyboards/organ, Vernon Reid – not really a blues player but a real original with a wide range of techniques.


I highly recommend this great live double cd to anyone interested in exploring Jack Bruce’s music. He is one of the great creative musicians of the rock/jazz/blues era in Scotland/UK! Anyone who gets interested should then buy Songs for a Tailor, Harmony Row, Out of the Storm, and More Jack than God. (Mark Robinson)

This is simply the best live CD in two decades as well as being the best Jack Bruce record ever! Can’t recommend this two CD set highly enough. (Yak la Brace)

Recorded live at the Melkweg, Holland October 20, 2001.

Robby Ameen (drums)
Jack Bruce (bass, piano, vocals)
Richie Flores (congas)
Horacio ‘El Negro’ Hernandez (drums)
Vernon Reid (guitar)
Bernie Worrell (organ)



CD 1:
01. Surge (Bruce/Hanrahan) 2.51
02. Out Into The Fields (Brown/Bruce/Laing/West) 5.34
03. 52nd Street (Bruce/Hanrahan) 9.38
04. Heartquake (Bruce/Brown) 7.10
05. This Anger’s A Liar (Bruce/Hanrahan) 9.31
06. Sunshine of Your Love (Bruce/Clapton/Brown) 9.40
07. Milonga (Bruce/Hanrahan) 6.55

CD 2:
01. Windowless Rooms (Bruce/Hanrahan) 15.46
02. Dark Heart (Bruce/Hanrahan) 8.35
03. White Room (Bruce/Brown) 11.02
04. We’re Going Wrong/Politician (Bruce/Brown) 19.13
05. 52nd Street Encore (Bruce/Hanrahan) 10.39

More Jack Bruce: