Laurence Perkins, Douglas Boyd + Manchester Camerata – Bassoon Concertos (2002)

FrontCover1.jpgIn 1932 Sacheverell Sitwell wrote ‘No composer has ever understood the qualities of individual instruments as did Mozart … with the bassoon, it is like a Sea-god speaking’. And yet Mozart was just eighteen years of age when he wrote this highly imaginative concerto, and it is the only one of three he composed for bassoon to survive. M. Haydn’s Concertino further explores the instrument’s lyrical qualities, and Stamitz displays a gift for melodic charm and inventiveness, of which his Concerto in F major is a good example, relying more on melody than virtuosic display. Weber’s Op 35 began life as a viola solo with orchestra and is Hungarian in flavour, and his Concerto in F major is unerringly cheerful throughout.

This highly enjoyable disc ebbs and flows through a medley of melodies, interspersed with moments of calm tranquility and utmost beauty, giving Laurence Perkins the opportunity to prove he is master of the Sea-God of the instrument world. (promotion text)

A delightful and generous collection’ (Gramophone)

‘Dazzling. Hyperion’s perceptive talent-spotting has produced a charming disc from performers virtually new to the catalogue – unreservedly recommended’ (BBC Music Magazine)

‘The performances are all sophisticated … a pleasure to listen to’ (American Record Guide)

‘A recording of airy clarity … a most recommendable disc, with much to enjoy’ (International Record Review)

‘Perkins brings out the fun in much of the inspiration as well as the lyrical beauty, warmly accompanied by the Camerata’ (The Guardian)

‘Dynamic and expressive contrasts are carefully and adroitly created and the orchestra meticulously managed. The result is a lovely and technically superior recording, not to mention another star in the crown of the folks at Hyperion’ (Fanfare, USA)

‘The playing of the Manchester Camerata (on modern instruments) is excellent throughout … They and their oboist conductor support their principal bassoonist with such care and attention that it is fair to call this a labour of love all round. Enjoy’ (MusicWeb International)

And I lovge the sound of a bassoon … so here you will hear delightful music from the past …

Recorded in the Concert Hall of the Royal Northern College of Music
Manchester, on 11 & 12 April 2001.


Laurence Perkins (bassoon)
The Manchester Camerata conducted by Douglas Boyd

Laurence Perkins

Wolfgang Amadeus Mozart: Concerto In B Flat Major, K191 (18.25)
01. Allegro 7.23
02. Andante Ma Adagio 6.34
03. Rondo, Tempo Di Menuetto 4:25

Michael Haydn:
04. Concertino In B Flat Major, Perger 52/5 7.18

Carl Stamitz: Concerto In F Major:
05. Allegro Maestoso 7.30
06. Adagio Molto 5.08
07. Poco Presto 4,23

Carl Maria von Weber: Andante E Rondo Ungarese, Op 35:
08. Andante 4.56
09. Rondo 6.01

Carl Maria von Weber: Concerto In F Major, Op 75 (18.02)
10. Allegro Ma Non Troppo 8.41
11. Adagio 4:34
12. Rondo – Allegro 4.45



Manchester Camerata

Manchester Camerata


21st Century Schizoid Band – Official Bootleg Volume One (2002)


21st Century Schizoid Band were a King Crimson alumnus group formed in 2002.

The name derives from the famous song “21st Century Schizoid Man” from the first King Crimson album, In the Court of the Crimson King. The initial band featured Mel Collins on saxophones, flute and keyboards, Michael Giles on drums, Peter Giles on bass, Ian McDonald on alto saxophone, flute and keyboards, and Jakko Jakszyk on guitar and vocals. All but Jakszyk had previously been members of King Crimson in its early years. Ian Wallace, another former Crimson member from that same period, replaced Mike Giles in early 2003 after the band’s Japanese tour. Further international touring followed in 2003/04.

The band played live with sets concentrating on compositions from King Crimson’s first four albums and other works from the band members’ back catalogues, including McDonald and Giles. They have released four albums, mostly of live work but including newer and/or recent compositions, such as Ian McDonald’s “Let There Be Light” (from his solo album Driver’s Eyes) and “Catley’s Ashes,” a Jakszyk instrumental which later appeared on his solo album The Bruised Romantic Glee Club (2006).


The band has been inactive since 2004; with members based in different countries, touring proved to be logistically and financially difficult. The possibility of performing again in 2005 was considered following offers from festivals, possibly with Guy Evans (of Van der Graaf Generator) on drums to replace Wallace who had other commitments, but the idea was abandoned. Wallace’s death in February 2007 would seem to have closed the lid on the band for good.

Jakszyk and Collins went on to record as a trio with founding Crimson guitarist Robert Fripp (and with rhythmic support from fellow members Tony Levin and Gavin Harrison) on the Scarcity of Miracles album in 2011. This was followed in 2013 by the announcement of a new King Crimson formation including all five, plus two additional members. (by wikipedia)


The single-CD Official Bootleg, Vol. 1, available principally at the group’s shows and through their website, is comprised of the first official recordings by the 21st Century Schizoid Band. Cut immediately prior to their inaugural tour, it features the original lineup — Michael Giles, Peter Giles, Ian McDonald, Mel Collins, and Jakko Jakszyk — doing new versions of songs from across the King Crimson repertory, from 1969 through 1972. The renditions here are less bold than those the group would subsequently lay down, although McDonald, Collins, and the Giles brothers get into an interesting and entertaining funk-like groove in the last section of “Ladies of the Road,” and there are some interesting lyrical excursions on “Formentara Lady,” and they sound as though they’re having a good time doing finely articulated versions of “A Man and a City” and “Catfood.” “Court of the Crimson King” starts off as an instrumental, but the one new alumnus of the group, Jakko Jakszyk, acquits him well on the vocals when the verses get picked up in the second half, and the others provide surprisingly good backing vocals at this late date in their respective careers. The group’s later live performances on CD and DVD are intrinsically more interesting, but this release is not to be ignored. (by Bruce Eder)


Mel Collins (saxophone,, flute, Keyboards, Background vocals)
Michael Giles (drums)
Peter Giles (bass, background vocals)
Jakko Jakszyk (guitar, vocals)
Ian McDonald (saxophone, flute, Keyboards, background vocals)


01. A Man A City (Fripp/Sinfield/McDonald/Lake/Giles) 8.27
02. Catfood (Fripp/Sinfield/McDonald) 4.53
03. In The Court Of The Crimson King (McDonald/Sinfield) 7.28
04. Formentera Lady (Fripp/Sinfield) 12.45
05. Ladies Of The Road (Fripp/Sinfield) 7.17
06. I Talk To The Wind (McDonald/Sinfield) 5.25
07. 21st Century Schizoid Man (Fripp/McDonald/Lake/Giles/Sinfield) 7.38


Tony Kinsey Quartet – Blue Circles (2003)

FrontCover1.jpgCyril Anthony ‘Tony’ Kinsey (born 11 October 1927) is an English jazz drummer and composer.

Kinsey was born in Sutton Coldfield. He held jobs on trans-Atlantic ships while young, studying while at port with Bill West in New York City and with local musician Tommy Webster in Birmingham. He had a close association with Ronnie Ball early in his life; the two even had a double wedding together. Kinsey led his own ensemble at the Flamingo Club in London through the 1950s, and recorded on more than 80 sessions between 1950 and 1977, including with Tubby Hayes, Bill Le Sage, Ronnie Scott, Johnny Dankworth, Tommy Whittle, Joe Harriott, Lena Horne, Frank Holder, Ella Fitzgerald, Ben Webster, Clark Terry, Harry Edison, Buddy DeFranco, Billie Holiday, Oscar Peterson, and Sarah Vaughan. He performed at European jazz festivals both as a drummer and as a poet. He did some work as a session musician in the 1950s and 1960s, playing on records by Eddie Calvert, Cliff Richard, and Ronnie Aldrich.


Kinsey also branched into composition; a string quartet composition of his is used in the short film On the Bridge, and he wrote arrangements for big bands in addition to music for over 100 commercials. Later in his life he wrote music for a musical based on the life of George Eliot.

In the SpongeBob SquarePants episode “Pickles”, “The Stranger in Town”, one of Kinsey’s compositions, plays in the background during SpongeBob’s confrontation with Bubble Bass at the Krusty Krab.

In 2012, Kinsey appeared in the documentary film, No One But Me, discussing jazz musician, Annie Ross. (by wikipedia)

Tony Kinsey.jpg

And here´s a real nice album from 2003:

`Blue Circles’ was recorded live at the Ealing Jazz Festival in August 2002. The drummer, composer and arranger Tony Kinsey led his quartet featuring alto saxophonist Peter King in a performance that was dedicated to Bill Le Sage, a long time musical associate of Kinsey’s, who died in the spring of 2002.

The repertoire chosen was a selection of jazz favourites and standards, plus two originals by Tony Kinsey and Bill Le Sage. They were played to an appreciative audience with the style and passion one would expect from these talented musicians.

This quartet of seasoned jazzmen are all individually very well known and respected on the British jazz scene, and they have all been leaders in their own right. They have produced a great live album of straight-ahead swinging jazz.


Alec Dankworth (bass)
John Horler (piano)
Peter King (saxophone)

Tony Kinsey (drums)


01. I Love You (Porter) 7.57
02. Alone Together (Schwartz) 10.14
03. Confirmation (Parker) 8.07
04. Blue Circles (Kinsey) 9.08
05. Close Your Eyes (Petkere) 8.14
06. All Blue (Davis) 9.28
07. Last Resort (Le Sage) 10.49


Crosby, Stills, Nash & Young – Tour Of America (2002)

FrontCover1With an average age of 58 for the four members of this band, you’d expect them to take it easy. That’s not so. The show started just after 8pm and ended three hours later. You don’t get much more classic than this stuff. Add in legendary players Booker T. Jones on keyboards and Donald “Duck” Dunn on bass and you’re already batting a thousand. Starting the show with an almost ragged “Carry On,” CSNY’s set list spanned thirty-four years. No less than four songs from Neil Young’s brand new Are You Passionate album were interspersed with a ton of radio staples like “Wooden Ships” and “Old Man.” Crosby was clearly not feeling well this evening and yet his duet with Graham Nash on “Guinnevere” was as haunting and smooth as ever. Everyone in the band definitely had roles. While Crosby was featured on more of the down tempo tunes, Stephen Stills was the bluesy rocker. His gritty, over the top vocal on Booker T.’s “Ole Man Trouble” was a highlight of the night. Graham Nash was the polished guy. “Our House” was a pristine little pop classic that could have been co-written by McCartney. As always, Neil Young is the wildcard in CSNY. One minute he’d be tearing out a chill inducing “Southern Man” and then you’d find him gently crooning “Harvest Moon” in a sweet falsetto.


Tonight’s show was broken into 3 sections. First was a mostly muted electric set that contained “Southern Cross,” “Military Madness” (which once again seemed relevant) and a great rendition of Nash’s “Used To Be A King.” After a particularly rocking “Cinnamon Girl” there was a 20-minute intermission. Then, the four of them returned without the extra musicians for almost an hour of acoustic numbers. Beginning with “Helplessly Hoping,” this section of the show was musically the most satisfying even if it was a bit longwinded. With Young offstage, the other 3 climaxed the acoustic set with “Suite Judy Blue Eyes.” This featured a stunning solo from Stephen Stills that had the crowd keeping time with their claps.


Always a politically motivated band, the events of last year hung literally over the proceedings. A backdrop was covered with flyers from NYC that were posted by relatives and friends in desperate attempts to find their loved ones. Nash and Crosby revived “Half Your Angels” which was written about the Oklahoma City bombing but eerily fit the more recent situation. Of course, the big nod to last September was just after the band re-plugged. Neil Young led the band through the dissonant, powerful “Let’s Roll.” This was inspired by and sung from the point of view of citizens on the flight that went down in Pennsylvania. The lyrics were based on cell phone conversations that passengers made to their families explaining that they were about to attempt to regain CSNY3control of the plane. Neil was particularly animated during this one. With lighting effects simulating a thunderstorm,

Young stomped like a Yeti having a seizure as he tortured his guitar. Following a surprisingly loud “Woodstock,” the band ended the show with a slower, rhythmically straighter “Rocking In The Free World” that had everyone up and dancing. As a surprise, Neil and Stephen dug into their Buffalo Springfield catalog and retrieved a slightly reworked “For What It’s Worth” for the first encore. The foursome ended the show with psychedelic swirls of light behind them for the country tinged hippie anthem “Teach Your Children Well.” Over the course of the long show, the band occasionally wandered into self-indulgent, yawn inducing territory, but overall CSNY 2002 was a full night of stellar entertainment that also managed to prove that they’re not merely a nostalgia act.


David Crosby (vocals, guitar)
Graham Nash (vocals, guitar, keyboards, harmonica)
Stephen Stills (vocals, guitar, bass)
Neil Young (vocals, guitar, harmonica)
Donald ‘Duck’ Dunn (bass)
Booker T Jones -(keyboards)
Steve ‘Smokey’ Potts (drums)


01. Carry On (Stills) 4.20
02. Questions (Stills) 4.24
03. Military Madness (Nash) 3.35
04. Goin’ Home (Young) 6.12
05. Wooden Ships (Crosby/Kantner/Stills) 8.47
06. Feed The People (Stills) 5.59
07. You’re My Girl (Young) 5.37
08. I Used To Be A King (Nash) 6.06
09. Southern Man (Young) 6.15
10. Southern Cross (Stills/R.Curtis/M.Curtis) 5.06
12. Helplessly Hoping (Stills) 4.34
13. Our House (Nash) 3.40
14. Old Man (Young) 4,16
15. Guinnevere (Crosby) 6.20
16. The Lee Shore (Crosby) 6.04
17. Harvest Moon (Young) 6.43
18. Ole Man Trouble (Jones) 5.17
19. Half Your Angels (Nash) 5.33
20. Suite: Judy Blue Eyes (Stills) 9.26
21. Let’s Roll (Young) 7.13
22. Long Time Gone (Crosby) 7.33
23. Two Old Friends (Young) 6,25
24. Woodstock (Mitchell) 5.44
25. Rockin’ In The Free World (Young) 13,32
26. For What It’s Worth (Stills) 5.07
27. Teach Your Children (Nash) 4.03




Carla Bruni – Quelqu’un M’a Dit (2002)

FrontCover1Quelqu’un m’a dit is the debut album of Italian-French singer, model, and former First Lady of France Carla Bruni, released in 2003.Quelqu’un m’a dit (Someone told me) is the debut album of Italian-French singer, model, and former First Lady of France Carla Bruni, released in 2003.

Quelqu’un m’a dit debuted at number one on the French Album Chart, spending thirty-four non-consecutive weeks in the top ten. The album also reached the top ten in Germany, Switzerland, Italy, Portugal and Chile.
Three tracks appeared in Hans Canosa’s 2005 American film Conversations with Other Women (“J’en connais”, “Le plus beau du quartier”, and “L’excessive”), and the song “Le plus beau du quartier” was used in H&M’s Christmas 2006 commercial. The title track was played over the closing credits of Mensonges et trahisons et plus si affinités…, included on the (500) Days of Summer soundtrack released in 2009, and appeared in the 2010 Carte d’Or Muffin commercial. The song “Le Ciel Dans Une Chambre” also appeared in an episode of Skins, series 3.
The second track, “Raphaël”, is named for Bruni’s then-lover, philosophy professor Raphaël Enthoven,[3] with whom she had a son, Aurélien Enthoven, in 2001.
Bruni has further collaborated with the co-producer, Louis Bertignac, in 2005 duetting with him on the song “Les Frôleuses” on his new album. (by wikipedia)


Carla Bruni is an Italian supermodel and this is her first album. Like Milla Jovovich’s debut, this caught everyone by surprise. It’s a very good effort, far beyond what one would have expected. It’s an acoustic and intimate album, and the songs are from her own harvest. She also plays guitar. The talented French guitarist Louis Bertignac produced the album. Although she’s Italian, most of the album is sung in French with some Italian touches, like in “Le Ciel Dans une Chambre.” The result is a kind and smooth album that mixes folk and chanson Française in equal parts. Although she’s not breaking any new ground, the result is compelling. (by Iván Adaime)


Louis Bertignac (guitar, piano, percussion, organ, bass, oboe, mandolin)
Carla Bruni (vocals, guitar, percussion)
Vincent Catulescu (cello)
Régis Ceccarelli (drums)
Léna Fablet (violin)
Rachid Guissous (piano)
Roselyne Macario (viola)
Steve Shehan (percussion)
Laurent Vernerey (bass)


01. Quelqu’un M’a Dit (Bruni/Carax) 2.46
02. Raphaël (Bruni) 2.26
03. Tout Le Monde (Bruni) 3.17
04. La Noyée (Ginsburg) 4.00
05. Le Toi Du Moi (Bruni) 3.21
06. Le Ciel Dans Une Chambre (Paoli/Bruni) 4.49
07. J’en Connais (Bruni) 2.35
08. Le Plus Beau Du Quartier (Bruni) 3.30
09. Chanson Triste (Bruni) 3.31
10. L’excessive (Bruni) 3.04
11. L’amour
12. La Dernière Minute (Bruni) 1.03


CarlaBruni01.jpgThe nude side of Carla Bruni

Dick Heckstall-Smith – You Don’t Know Dick (2004)

DHSFrontCover1This book is a fascinating read and well worth the cover price of £16.95, because it includes a CD of 7 previously unreleased examples of Dick’s playing, with bands that cover a large spectrum of jazz and blues. The book shows Dick to be a well educated and highly intelligent individual, equally at home in Blues, Jazz and Contemporary Music bands.

In the semi-pro world where I played during the same period, it was the guys who could not hack the Jazz or Dance Band scene that formed the blues bands. The London scene must have been very different however, Dick and his contemporaries would have been capable of holding their own in any scene.

The life and times of musicians in any touring band are always interesting and Dick’s tales of his adventures, musical and otherwise, with The Graham Bond Organisation, Alexis Korner’s Blues Incorporated, John Mayall’s Bluesbrakers and Jon Hiseman’s Colosseum make for a most interesting read.

Dick’s commentaries on his life and times are frank and detailed, but interestingly although he opens up to his readers on some matters, there is a reserve that somehow prevents the reader from getting a real measure of Dick until the whole of the book has been read. Whether this is intentional or it just happened that way I don’t know.

I have known other very highly talented musicians who have difficulty in coping with those things that us mere mortals find easy, one who springs directly to mind and may have been known to Dick was Brian Gray Brian was an enormously talented saxophone player but he struggled to make a living and eventually gave the business up. Dick on the other hand has ploughed on but always had to live from hand to mouth.



Pete Grant’s part of the book attempts to analyse why this should have happened to someone as talented as Dick. His conclusion that the public are never sure whether he is in the blues world or the contemporary music world is probably correct. Before the UK public hand over their money, they want to be more certain of what they are going to get. The fact that a very large sector of the public prefer the Tenor playing of Stan Getz and Zoot Sims to that of John Coltrane, may also be a contributing factor.

The clearest insight into Dick that we get is where he writes about racism and proves quite rightly in my opinion that there can be no alternative but to classify people as those we like and those we don’t, colour race and creed have nothing to do with it. Having said that however people like people like themselves! (by Don Mather) (*)


And here´s this very rare CD (“not for sale seperately from the book”). Maybe I will scan this book later ..

And this is not onyl a very rare CD, bit a great tribute to one of he finest Bristish Jazz musicians ever: Mister Dick Heckstall-Smith.

Listen and enjoy !


01. The Deluxe Blues Band: Heatwave (McGrath/Heckstall-Smith) 4.10
02. Dick Heckstall-Smith: Aquamarine (1) (Heckstall-Smith) 10.46
03. Jon T-Bone Taylor’s Bop Brothers: Try (Green/Plotel) 5.13
04. Dick Heckstall-Smith:  Il Collingdale (1) (Heckstall-Smith) 20.26
05. The Hamburg Blues Band: Woza Nasu (2) (Heckstall-Smith) 16.14
06. The Wentus Blues Band: Looking Back (3) (unknown) 4.38
07. The Graham Bond Organisation: Only Sixteen (4) (Bond) 3.20

(1): previously unreleased live recording, Newcastle, 1991 (Heckstall-Smith)
(2): previously unreleased live recording, Flensburg/Germany, 2002
(3): previously unreleased live recording, Helsinki/Finland, 2002
(4): previously unreleased live recording, Broadcat, 1965




(*) Don Mather plays Tenor Sax and Clarinet and runs a Big Band and a Quartet and Quintet in Coventry, he was for five years Chairman of the Coventry Jazz Festival Committee, during which time the festival joined the big league. Don is a member of the Musicians Union and a Coventry Branch Committee man. His jazz tastes are catholic, but he confesses to be sometimes bemused by some so called ‘contemporary jazz’.

Wentus Blues Band & Dick Heckstall-Smith – Man Of Stone (2015)

FrontCover1Dick Heckstall-Smith was much more than “only” the Saxophone Player for one of the best Jazz-Rock bands, we ever had … Colosseum !
He was an extraordinary solo Artist and session Player, too. Here we can hear him with the Wentus Blues Band from Finland !

What can I say about Dick Heckstall-Smith? Brilliant jazz and blues sax player, composer and owner of the largest tea cups in history, and most importantly for me, my friend.

In 1998, I first met Dick Heckstall-Smith, at a recording session for his “Blues And Beyond” album. Soon afterwards I started running his official website, and soon after that, Dick asked me to be his manager. Dick lived to play on stage. He had semi regular gigs with The Hamburg Blues Band, then there were Colosseum tours, a jazz gig here and there, but that still left a lot of time to fill, gig wise.
In 2002, Dick wanted to put a blues based live band together. His ideal line-up would have included Clem Clempson on guitar and Gary Husband on drums. There hadn’t been much movement on this when we were contacted by Robban Hagnas of The Wentus Blues Band. They hailed from Kokkola in Finland. An accomplished blues act, they had found a unique way round the limited touring opportunities in Scandanavia by touring with classic blues artists such as Mick Taylor, centering their sets around each special guest. That way, they could tour several times a year, rather than just once.


It was agreed that Dick would go out on a Scandanavian tour with them, and and he was as excited by the prospect as I had ever seen him. I remember him dragging me around pretty much every army surplus store in North London one Saturday afternoon in order to find enough cold weather clothing to combat whatever conditions might be faced on the road. I was very aware that my main role with Dick was to maintain a level of hope in the future for him, and this tour constituted the most hopeful he had been for some time.
Once Dick had travelled to Finland for rehearsals and the tour itself, I got daily updates from him by phone. He was particularly impressed by The Wentus Blues Band guitar attack which reminded him of Peter Green era Fleetwood Mac. They had tailored their set to him, with numbers associated with Blues Incorporated, Graham Bond ORGANization and The Bluesbreakers, as well as numbers from Dick’s jazz orientated solo work, such as the song that had become something of a signature for him, “Woza Nasu.” Dick enjoyed the tour immensely, and felt, (as I did when hearing the live recording) that his playing was near his best. I recall one particularly “up” call from Dick. He was staying in an isolated hotel not a million miles from the Arctic Circle, and raved about His ride there, via Reindeer and Sleigh. Dick came back from the tour as invigorated and enthused as I ever saw him in those later years, and I will always thank Robban Hagnas and his band for that.


A few months later, I got to see Dick in action with the Wentus boys in action at a one off gig in Oxford. Dick drove myself and Pete Brown there, via Canada it seemed. Dick could be directionally challenged now and then. However, we did get there in time for the show, and it was wonderful how the band interacted with a true master of his instrument. This live album is testament to that wonderful interaction. (by Pete Grant; taken from the original liner-notes)
Such a great concert … including one of Dick Heckstall-Smith´s masterpieces … his own composition “Woza Nasu ” … Listen !

Recorded live in Helsinki at Cantina West April, 5th, 2002.


Mikael Axelqvist (drums)
Robert Hagnäs (bass)
Nike Riippa (guitar)
Anders Sjöberg (vocals)
Kim Vikamn (guitar)
Dick Heckstall-Smith (saxophone)
01. Key To Love (Mayall) 3.46
02. Missing You (Everton/Edward) 3.53
03. You Got Me (Where You Want Me) (Robey) 5.23
04. Suspicions – Part 2 (Mayall) 6.34
05. Woza Nasu (Heckstall-Smith) 17.04
06. Man Of Stone (Kirkland) 8.16
07. Have You Heard (Mayall) 8.41
08. Pretty Things (McDaniels) 3.06
09. Before You Accuse Me (McDaniels) 5.02
10. Looking Back (Watson) 4.25