Henri Salvador – Reverence (2006)

FrontCover1.jpgHenri Salvador (18 July 1917 – 13 February 2008) was a French Caribbean comedian and singer.

Salvador was born in Cayenne, French Guiana. His father, Clovis, and his mother, Antonine Paterne, daughter of a native Carib Indian, were both from Guadeloupe, French West Indies. Salvador had a brother, André, and a sister, Alice.

He began his musical career as a guitarist accompanying other singers. He had learned the guitar by imitating Django Reinhardt’s recordings, and was to work alongside him in the 1940s. Salvador recorded several songs written by Boris Vian with Quincy Jones as arranger. He played many years with Ray Ventura and His Collegians where he used to sing, dance and even play comedy on stage.

He also appeared in movies including Nous irons à Monte-Carlo (1950), Nous irons à Paris (Jean Boyer’s film of 1949 with the Peters Sisters) and Mademoiselle s’amuse (1948).

He is known to have recorded the first French rock and roll songs in 1957 written by Boris Vian and Michel Legrand — “Rock’n Roll Mops”, “Rock hoquet, Va t’faire cuire un oeuf, man” and “Dis-moi qu’tu m’aimes rock” — under the artist name of Henry Cording (a play on the word “Recording”). Despite this historical aspect, he never ceased to claim that he disliked rock and roll and even refused to talk about this subject later on.


In the 1960s, Salvador was the host of several popular television variety shows on French TV. In 1964, he scored a hit with “Zorro est arrivé”, which was inspired by The Coasters’ U.S. hit “Along Came Jones”. He is also famous for his rich, catchy laugh, which is a theme in many of his humorous songs. In 1969, Henri Salvador recorded a variation of “Mah Nà Mah Nà” entitled “Mais non, mais non” (“But No, But No” or “Of Course Not, Of Course Not”), with lyrics he had written in French to Piero Umiliani’s music.

Henri Salvador and his song “Dans mon île” (1957) were thought to be an influence on Antônio Carlos Jobim in formulating the Brazilian bossa nova style.

Caetano Veloso, a famous Brazilian composer and singer, made Henri Salvador famous to Brazilian audiences with the song “Reconvexo”, in which he says “quem não sentiu o swing de Henri Salvador?” (“who hasn’t felt the swing of Henri Salvador?”). Veloso also recorded a version of Salvador’s song “Dans mon île”.


At the age of 70, Salvador was the voice-over of the crab Sebastian in the 1989 French dubbing of Disney’s The Little Mermaid. Recordings of “Embrasse-la” (“Kiss the Girl”) can be found on YouTube.

Salvador discovered singers Keren Ann and Art Mengo.

He died of a ruptured aneurysm at his home in the early hours of 13 February 2008. He was 90 years of age. He was buried next to his wife Jacqueline in Père-Lachaise Cemetery.

He was known as a supporter of Paris Saint-Germain F.C. He obtained four seats for life in the Parc des Princes.


Henri Salvador continues to be popular today among French communities in Canada. In 2000, Virgin Records released a CD featuring popular hits such as “Jazz Mediterrannée”, which continues to receive regular air play. In 2002, his album Chambre avec vue sold over two million copies. In 2005, Salvador was awarded the Brazilian Order of Cultural Merit, which he received from the acclaimed singer and Minister of Culture, Gilberto Gil, in the presence of President Luiz Inácio Lula da Silva for his influence on Brazilian culture, particularly on bossa nova, to whose invention he contributed. That same year he took 52nd place in the election of Le Plus Grand Français (The Greatest Frenchman).

He was also a commander of the French Légion d’honneur and of the French National Order of Merit. In 2007, he released Révérence on V2 Records, featuring Gilberto Gil and Caetano Veloso. He then went on to perform the track “La vie c’est la vie” from that album on an episode of the BBC programme Later… with Jools Holland aired on 4 May 2007. (by wikipedia)


At 88 years old, Henri Salvador has been a popular figure in the French music world for quite a while (he started there in 1945). In 2000, he reinvigorated his career and reintroduced himself to the public with Chambre Avec Vue (re-released as Room with a View two years later) and since then has been going quite strong, coming out with Ma Chère et Tendre in 2003, and now Révérence in 2006. Recorded mostly in Brazil under the direction of Caetano Veloso’s — who makes an appearance here on a new version of “Dans Mon Île” — longtime producer and arranger Jaques Morelenbaum, Salvador continues his legacy as singer of the sweet melancholy. The quiet, breathy strings and soft bossa nova rhythms that are incorporated into many of the pieces on the album add to the overall poignancy of Salvador’s voice, which shows no sign of aging, still smooth and clean, reflecting the warmth of his native French Guyana.


It works especially well on the francophone version of the classic Vinicius de Moraes/Antonio Carlos Jobim song “Eu Sei Que Voi Te Amar,” retitled “Tu Sais Je Vais T’Aimer” here (it appears twice on Révérence actually, once as a solo track and once as a duet with Gilberto Gil), where the longing and suffering of love come through in the timbre of his voice, the hesitation in his phrasing. In “Italie (Un Tableau de Maître),” he riffs on a familiar Italian melody as he reminisces about the country, talking about it like a woman he loves, even slipping into its own language for a line or so, and in “Cherche la Rose,” one of three older tracks on the album, and done with Caetano Veloso, there’s a bittersweet hesitancy to the way he sings the song 40 years after its initial release that comes only from the experience and understanding he’s gained as he’s gotten older.


This is where he’s best, and most comfortable, and it’s what sounds the best, too, so it makes sense that most of Révérence stays in the adagio, in the reflection. In fact, it even seems a little out of place when Salvador moves into faster, jazzier pieces like the gospel-inspired “Alléluia! Je l’Ai dans la Peau” or the Frank Sinatra-esque “L’Amour Se Trouve au Coin de la Rue,” adding saxophones and bright drums and coming across slightly forced, albeit exuberant. Salvador has aged nicely, and settled down into his years, and the best bits of Révérence convey this perfectly, the life of an artist who has truly been inspired, and inspired countless others. (by Marisa Brown)


Henri Salvador is an 89-year-old with an extraordinary history. Born in French Guyana, he moved to France as a child, joined a dance orchestra as guitarist, and ended up working in Brazil, where his songs would later influence the work of the great Tom Jobim – the greatest composer of the bossa nova era of the late 1950s. Salvador also became a celebrity, and a TV personality back in France, and he now seems poised for unlikely international success. This new set was recorded in Paris, New York and (of course) Rio, where his producer was the great Jacques Morelenbaum, who has worked with everyone from Jobim to Mariza; they were joined by Brazilian stars Caetano Veloso and Gilberto Gil. It’s remarkable for Salvador’s effortlessly clear, perfect vocals and equally unexpected range. Many of the songs are gently charming laid-back ballads, but there’s also a swinging French-language treatment of Ray Charles, with Alleluia! Je l’Ai Dans la Peau. Alleluia, indeed. (by Robin Denselow)


Patrick Artero (saxophone, trumpet)
Marcelo Bernades (flute)
Bernardo Bessler (violone)
Paulinho Braga (drums, percussion)
Denner Campolina (bass)
Mino Cinelu (drums, percussion)
Michel Coeuriot (clarinet, keyboards, oboe, synthesizer)
Thomas Coeuriot (guitar, mandoline)
Marcelo Costa (percussion)
Guy Delacroix (bass)
João Donato (piano)
Phillip Doyle (tuba)
Claude Egéa (trumpet)
Laurent Faucheux (drums)
Michel Feugère (saxophone, trumpet)
Frederic Gaillardet (piano)
Luis Galvão (guitar)
Gilberto Gil (vocals)
Alain Hatot (flute, saxophone)
Didier Havet (rombone)
Jorge Helder (bass)
Denis Leloup (trombone)
Eduardo Morelenbaum (clarinet)
Jaques Morelenbaum (cello)
Katia Pierre (flute)
Hugo Vargas Pilger (cello)
Iura Ranevsky (cello)
Rob Reddy (saxophone)
Saul Rubin (guitar)
Marcello Isdebski Salles (cello)
Henri Salvador (vocals, percussion)
Paulo Sérgio Santos (clarinet)
Eric Seva (saxophone)
Billy Jay Stein (organ)
Caetano Veloso (vocals)
Jean-Christophe Vilain (trombone)
André Villéger (flute, saxophone)
Ricardo Amado – Rick Amado – Paul Prates Barbato – Michel Bessler – José Alves Da Silva – Daniel Guedes – Antonella Pareschi – Eduardo Pereira – Paschoal Perrota – Felipe Prazeres – Rogério Rosa – Maria Christine Springuel – Ricardo Taboada
background vocals:
Jerry Barnes – Stephanie McKay


01. La Vie C’est La Vie (Salvador) 2.24
02. Mourir à Honfleur (Salvador) 3.48
03. Dans Mon Île (Pon/Salvador) 4.56
04. Cherche La Rose (feat. Caetano Veloso) (Salvador) 4.57
05. L’ ‘Amour Se Trouve au Coin de la Rue (Salvador) 3.27
06. Tu Sais Je Vais T’Aimer (Jobim/de Moraes) 4.04
07. J’Aurais Aimé (Salvador) 2.37
08. Italie (Un Tableau de Maître) (Martinico/Salvador) 3.11
09. D’Abord (Salvador) 2.57
10. Les Amours Qu’on Delaisse (Salvador) 5.17
11. Alleluia! Je l’Ai Dans La Peau (Salvador) 2.50
12. Les Dernières Hirondelles (Salvador) 3.21
13. Tu Sais Je Vais T’Aimer (feat: Gilberto Gil) (Jobim/de Moraes) 4.05



Henri Salvador (18 July 1917 – 13 February 2008)

Pete Haycock – Bikers’ Dozen (2006)

FrontCover1.jpgPete Haycock blazed trails for many years as lead guitarist, vocalist and founding member of the Climax Blues Band, from 1969 to the mid-1980s. After achieving great success with CBB, Pete embarked on a successful solo career in the late 80s, recording a couple of solo albums (including the instrumental IRS release, ‘Guitar & Son’), composing several stellar motion picture soundtracks (i.e, ‘Thelma & Louise’, ‘Drop Zone’, and many others with Han Zimmer), and recorded/toured with the newly-formed ELO Part II. From there, he toured with the ‘Night of the Guitars’ line-up, then joined Steve Hunter and CBB bassist Derek Holt in a venture they called ‘H Factor’.

Pete composed and recorded in the studio for several years and, in 2005, he was approached by the producer of the Hollister Independence Rally DVD, and was asked if he’d be interested in providing music for the video commemorating the Hollister, California, motorcycle rally that year. Pete enthusiastically contributed song samples to the project, which was well-received. As the video project was nearly complete, the producer suggested that Pete consider lengthening and reworking some of the cuts, and release it as a 13-track CD called ‘Bikers’ Dozen’. Pete agreed, and the resulting album was released in early 2006, and entitled ‘Bikers’ Dozen’.

BIKERS’ DOZEN is a rich tapestry of compositions, each uniquely stamped with the Pete Haycock trademark sound. It’s truly amazing to think that these 13 songs were composed and performed by the same person; they are that wide-ranging. Some bluesy shuffles, some in-your-face adrenaline rock chops, and some melodic instrumentals with such exquisite tone that George Benson would blush…


If you’re a Climax Blues Band fan, a Pete Haycock fan, or just a lover of outstanding guitar and musicianship, I can’t emphasize how much you’ll enjoy this album — IF you can find it… My suggestion would be to visit the Pete Haycock Appreciation Society page on Facebook, then DEMAND that this great CD become available for purchase and/or download. Though Pete isn’t administrator of that site, messages are passed along to him, and perhaps if there is enough interest, he may honor us with its release!

Before I go, here’s what another reviewer had this to say about the Bikers’ Dozen album:

“Pete Haycock is one of my earliest and strongest influences on the guitar – a “mentor”, if you like. All through the Climax Blues Band days I scrutinized his every note.. And then later I almost wore a hole in the “Guitar And Son” LP. One of the tastiest guitar players and tunesmiths on the planet, he returns with “Biker’s Dozen”… OK then – guess it’s time for me to sit down with my guitar and do some studying again! A smashingly well done CD which should appeal to a broad range of both musicians and non-musicians alike. Already a few seconds into the strong opening riff on the first track, `Cry To Me’, you know you’re in for a real treat. Delicious slide guitar floats elegantly in and suddenly you find yourself riding away on an endless, smooth musical highway.


Pete’s strong slide guitar makes its mark again on `The Heat’, a bluesy rocker. `Klone Shuffle’ has an infectious groove – once again a proof of how Pete can make even a simple riff sound interesting. `Miracle’ is a strong vocal tune sung by John Fiddler – the opening lines sound much like Mark Knopfler. `Prattlin’ ` really caught my ear – what a cool tune! A fresh-sounding groove – oh how I want to grab my guitar and play along to that stuff! – and those little fiddle fills in the background really made the tune sound really original !

`Dominator’ oozes MUSCLE. Horsepower! Acceleration! And `Talkin’ Mutton Jeff Here’ – hi ho, we’re in spacey Jeff Beck-land here! Dreamy and powerful at the same time. One for the road indeed!

`Collossus’ is a little symphonic rocker that sounds so majestic. Some of it sounds a bit like a mix between William Orbit and Mike Oldfield. But on top of it all is Pete’s signature guitar lines – it binds it all together and nothing sounds dull at any point.

`Driver’ makes you want to go out and ride a motorbike (or pick up a guitar, plug in, and wail away!).


Sure, this CD has loads of high energy rock guitar playing on it – but I also really dig `Waiting For Rain’ and `Blue Breakers’; both are absolutely delicious pop guitar works of art. `Waiting For Rain’ would make George Benson envious – what a tone! What a feel! Imagine you’ve just parked your motorbike by a small beautiful beach to watch the setting sun…ahhh..!

And `Stolen Wings’ is a wonderful ballad in the key of F# minor, a bit reminiscent of The Allman Brothers. A strong and wonderful main melody. Duane would love this one…

This is the kind of CD that sounds great at the first listen – and then it just gets better and better the more you play it… (by Jeffers)


Pete Heycock (guitar)
a bunch of unknown studi musicians
John Fiddler (vocals, harmonica)


01. Cry To Me (Haycock) 4.30
02. Miracle (Haycock/Fiddler) 4.31
03. The Heat (Haycock) 3.38
04. Waiting For Rain (Haycock) 4.32
05. Klone Shuffle (Haycock) 1.55
06. Prattlin’ (Haycock) 2.50
07. Collossus (Haycock) 4.40
08. Talkin’ Mutton Jeff Here (Haycock) 4.12
09. Stolen Wings (Haycock) 4.52
10. Dominator (Haycock) 2.21
11. Blue Breakers (Haycock) 3.16
12. Driver (Haycock) 4.49
13. Biker’s Dozen (Haycock) 3.24



Pete Haycock01
Pete Haycock (4 March 1951 – 30 October 2013)

Ginger Baker’s African Force – Palanquin’s Pole (2006)

FrontCover1.jpgThose thunderous drums we hear in the beginning of this set could only come from one drummer — Ginger Baker — and despite the name of the band, it is Baker who is its backbone. Recorded live in 1987 in Bremen, Germany, Baker, Thomas Akuru Dyani, Kwaku A. Mensa, Ansoumana Bangoura, and Ampofo Acquah used their percussive stature to completely bowl over a throng at the Schaumburg Festival. All five men play percussion or drums, two sing, and one occasionally plays guitar. For over 47 minutes they travel into the hypnotic heart of the drum. The drum exists here not only as a means to make music, but also as a means to impart history, mystery, magic, and communication. Whether the polyrhythms begin as simple 4/4 patterns and wind out immeasurably, snaking their way through subsets of counter balanced time, or set out from the beginning to suspend all notions of time and its place in the space is of no consequence; this quintet plays only to hear, and hears only to speak in that intimate language that utters itself as culture. This is a drum record like none other in existence. It is a mystical record that is rooted in the bone buried in the earth, and Baker’s assemblage understands all too well, that the drum is the heartbeat of the universe. Awesome. (by Thom Jurek)

Recorded live by Radio Bremen/Germany at the Schauburg, May 4, 1987


Alternate frontcovers

Ampofo Acquah (percussion, guitar, vocals)
Ginger Baker (drums)
Ansoumana Bangoura (percussion)
Thomas Akuru Dyani (percussion)
Francis Kwaku A. Mensah (percussion, vocals)


01. Go Do (Mensah) 5.05
02. Brain Damage (Baker) 5.20
03. Ansumania (Bangoura) 4-53
04. The Palanquin’s Pole (Traditional/Acquah) 9.46
05. Abyssinia / 1.2.7. (Acquah) 6.00
06. Ginger’s Solo (Baker) 9.30
07. Want Come? Go! (Dyani) 6.17




Corinne Bailey Rae – Same (2006)

FrontCover1.jpgCorinne Jacqueline Bailey (born 26 February 1979) is a British singer and songwriter from Leeds, West Yorkshire. Bailey Rae was named the number-one predicted breakthrough act of 2006 in an annual BBC poll of music critics, Sound of 2006. She released her debut album, Corinne Bailey Rae, in February 2006, and became the fourth female British act in history to have her first album debut at number one. In 2007, Bailey Rae was nominated for three Grammy Awards and three Brit Awards, and won two MOBO Awards. In 2008, she won a Grammy Award for Album of the Year (for her work as a featured artist in Herbie Hancock’s River: The Joni Letters).

Bailey Rae released her second album, The Sea, on 26 January 2010, after a hiatus of almost three years. It was produced by Steve Brown and Steve Chrisanthou (who produced her debut album in 2006). She was nominated for the 2010 Mercury Prize for Album of the Year. In 2012, she won a Grammy Award for Best R&B Performance for “Is This Love” (a cover of the Bob Marley and the Wailers song of the same name). Bailey Rae was married to fellow musician Jason Rae from 2001 until his death in 2008, and as part of the grieving process, she channelled her emotions into her music. Her first two albums have together sold over five million copies worldwide.

On 26 February 2016, Bailey Rae announced her third album, The Heart Speaks in Whispers, which was released on 13 May 2016. The Heart Speaks in Whispers debuted at No. 2 on Billboard’s R&B chart.


Corinne Bailey Rae is the debut studio album by English singer-songwriter Corinne Bailey Rae. It was released on 24 February 2006 by EMI. The album debuted at number one on the UK Albums Chart and was certified triple platinum by the British Phonographic Industry (BPI). Four singles were released from the album: “Like a Star”, “Put Your Records On”, “Trouble Sleeping” and “I’d Like To”. Corinne Bailey Rae has sold over four million copies worldwide.

“Like a Star” was released as the album’s lead single in a limited-edition format in 2005, peaking at number 34 on the UK Singles Chart. When re-released in October 2006, “Like a Star” reached a new peak position of number 32 on the UK chart. The second single, “Put Your Records On”, peaked at number two in February 2006. “Trouble Sleeping” was released as the album’s third single in May 2006, peaking at number 40 in the UK.


“I’d Like To” was released on 12 February 2007 as the fourth and final single. On the same day, the album was re-released with a bonus disc containing some of the B-sides and remixes included on previous singles, as well as three new tracks—one of which, a cover of Björk’s 1993 song “Venus as a Boy”, only previously appeared on a covermount for Q magazine. Several songs from the album appear in the 2006 comedy-drama film Venus starring Peter O’Toole. In the United States, “Breathless” was released as a promotional single in 2007.

Corinne Bailey Rae debuted at number one on the UK Albums Chart, selling 108,181 copies in its first week. The album had sold 968,341 copies in the United Kingdom by May 2016, earning a triple platinum certification from the British Phonographic Industry (BPI) on 22 July 2013.

The album was certified platinum by the Recording Industry Association of America (RIAA) on 5 December 2006, and had sold 1.9 million copies in the US by January 2010. As of October 2009, Corinne Bailey Rae had sold over four million copies worldwide. (by wikipedia)


After selling four million copies of her debut album, an effort filled with her precious brand of neo-soul and the uplifting hit “Put Your Records On,” singer/songwriter Corinne Bailey Rae lost her husband Jason Rae suddenly and took two years off to grieve and recover before returning with her second effort, The Sea. On the album’s opener “Are You Here,” lyrics like “Wait till you see those eyes” and “He’ll kiss you make you feel sixteen” suggest she’s just fallen in love, but the fascinating idea behind The Sea is that it never explains itself, even if there’s a new richness in Rae’s soft and oh-so-tender voice that suggests something has changed deep inside. As such, the song’s “What’s it even mean?” question could be the beginning of a love affair or a tragedy, but the following “I’d Do It All Again” is even trickier, as post-argument lyrics written before her husband’s tragic loss (“You’re searching for something I know/Won’t make you happy”) take on new meaning . Further confusing the matter, throughout the album the singer speaks of her love in the present tense.


Then there are the numbers that come from left field, like the slithering, funky “The Blackest Lilly,” which struts like a sexy Rolling Stones song while pulling inspiration from Philadelphia’s neo-soul party, the Black Lily. It comes to a moving end with the title track, a masterful piece that looks back through generations of loss and the majestic ocean of time that “Breaks everything/Crushes everything/Cleans everything.” If it all seems incongruous, so is the recovery process Rae must face, and the album’s cycle of mourning, returning to work, aching, fondly reminiscing, yearning, and then back again won’t be unfamiliar to anyone who has lost someone close. It doesn’t offer any answers, but The Sea is a testament to Rae’s artistic growth as it provides comfort to those left on the wistful side of eternal love, and insight to those who are not.(by David Jeffries)


Corinne Bailey Rae (vocals, guitar, bass, piano, synthesizer)
Jess Bailey (organ, piano on 04.)
John Beck (keyboards on 03, + 05.)
Rod Bowkett (guitar, bass on 02.)
Justin Broad (drum programming on 04. + 09.)
Livingston Brown (bass on 09.)
Steve Brown (organ on 06., synthesizer, piano background  vocals on 11.)
Steve Bush (bass, guitar on 06.)
Steve Chrisanthou (organ on 01. + 05.); guitar on 02,, 03., 05., 08. + 10., piano on 10.)
Jim Corry (saxophone on 03., 05., 08. –10.)
Tommy D (drum programming, keyboards on 09.)
Sam Dixon (bass on 03.)
John Ellis (background vocals, glockenspiel on 11.)
Andrew Hale (piano, programming on 07.)
Paul Herman (drum programming, guitar on 04., guitar on 09.)
Kenny Higgins (bass on 05., 08., 10. + 11.)
Kenji Jammer (guitar)
Mikey Lawrence (drums, percussion on 11.)
Pete Lewinson (drums on 07.)
Paul McKendrick (background vocals on 08.)
Audrey Nunn (bass on 04.)
Andy Platts (guitar, piano on 06.)
Jason Rae (saxophone, flute)
Cara Robinson (background vocals on 03.)
Paul Siddal (keyboards on 01., 02., 08. + 10.)
Malcolm Strachan (trumpet)
Joe Tatton (organ on 03.)
Colin Waterman (drums on 08.)
The London Session Orchestra conducted by Wil Malone (strings on 01., 02., 06. + 10)


01. Like A Star (Rae) 4.03
02. Enchantment (Rae/Bowkett) 3.58
03. Put Your Records On (Rae/Beck/Chrisanthou) 3.35
04. Till It Happens To You (Rae/Sheyne/Herman) 4.38
05. Trouble Sleeping (Rae/Beck/Chrisanthou) 3.29
06. Call Me When You Get This (Rae/Bush) 5.05
07. Choux Pastry Heart (Rae/Lassen) 3.57
08. Breathless (Rae/Nelkin) 4.15
09. I’d Like To (Rae/Danvers/Herman) 4.08
10. Butterfly (Rae/Bowkett) 3.53
11. Seasons Change (Rae/Brown) 4.55



Nayekhovichi – Прощай, Корова! (Farewell Thee, Cow!) (2006)

FrontCover1.jpgNayekhovichi is a klezmer band from Russia formed in 2004. It was named after Vanya Zhuk’s (band leader) grandfather Simon Noakhovich.

And here´s their debut album from 2005:

The classic release of 2005 comes with a bonus-track! Nostalgic electric guitar, screaming clarinet – the groundbreaking klezmer record that gained praise of the leading masters of this international genre.

I came across Nayekhovichi totally by chance, playing in Krakow’s main square in summer 2006. They were like the ultimate buskers; stunning a growing crowd with their unique take on traditional klezmer music, while the lead singer sang through a loud hailer. I bought the CD there and then, and spent the rest of the trip wondering if it had been the best or worst 10 euros ever spent. As it turns out my judgement was sound; these guys totally rock, whether it’s playing their own music, or their own take on Paint It Black.(by Tom)


“Taganrog`s a nice song but it didn`t impress me on a record. You sing live better.” (Michael Alpert of Brave Old World)

“What you showed me isn`t bad for a backing track. Now you should make music out of it, maybe add violin… What?! It`s the final product?!” (Josh Dolgin)

“When I was listening for the third time, the sound didn`t annoy so much. You just get used to it” (Jeka Lizin of Dobranotch)

Exploring and exploiting their roots in Ashkenaz, Russian and Soviet traditions Nayekhovichi create a special sonic borsht. So let´s call Nayekhovichia very special “Klezmer Garage Band”


Oleg Drobinsky (clarinet)
Alexander Lyzintseff (tuba)
Sergio Romanoff (accordion)
Vanya Zhuk (guitar, vocals)
on bonustrack also:
F-dot MachineGenius (drums)
Marc Guide-R (bass)
Max Car-P-Cheff (saxophone)


01. Taganrog (Zhuk/Drobinsky) 4.24
02. Dovids Shtaynvarfer (Traditional) 5.44
03. Amol iz Geven a Yid (Traditional) 4.18
04. Bessarabian Karahod (Traditional) 3.37
05. Levine mit zayn Flying Machine (Bernie/Kozlow) 4.14
06. Three Wisemen (Suite) (Traditional) 5.51
07. Paint It Black (Pavlyonok/Coolpin) (*) 3.09
08. Genas Freylekhs (Fomin) 3.48
09. Yampol (Traditional) 4.00
10. Farewell Thee, Cow! (Traditional) 2.07
11. Borsht demo version (Traditional/Zhuk) 4.01

(*) This is of course the classic Jagger/Richards composition !



This another item of the great Mr. Sleeve collection … Thank you very much !


Brian Wilson – What I Really Want For Christmas (2006)

FrontCover1.jpgWhat I Really Want for Christmas is the sixth studio album by Brian Wilson and his first solo seasonal release. It was released by Arista Records in October 2005 and features many traditional Christmas songs, as well some of Wilson’s originals, including remakes of the Beach Boys’ “Little Saint Nick” and “The Man with All the Toys”. As a bonus, Wilson elected to include a sampling of seasonal recordings initially available on his website a few years earlier.

Critical reaction was mixed; the album eventually peaked at #200 for one week on the Billboard 200 chart in the US, though “Deck the Halls” became a Top 10 Adult Contemporary hit. (by wikipedia)

Now that he has been successfully cajoled back on to the horse, there’s no stopping Brian Wilson, it seems. He appears to be shrewdly alternating serious projects with pot-boilers, last year’s monumental Smile being preceded by the flimsy duets-and-outtakes collection Getting in over My Head and now succeeded by that leakiest of music-biz gambits, a Christmas album.


Brian’s been here before, in the company of his old band; indeed, there are retreads here of The Beach Boys’ festive chestnuts, “The Man with All the Toys” and “Little Saint Nick”, the latter of which, sad to say, possesses more genuine pop pep than anything else on the album. It also demonstrates that, for all his litigious spite, there are some lyrical tasks that only Mike Love can handle comfortably. A Van Dyke Parks or a Tony Asher, for instance, would probably balk at the cornball sentiments of “Little Saint Nick”, but sometimes cornball is exactly what Brian Wilson’s songs need.

What Brian really wants for Christmas, one imagines, is a simpatico lyric-writing partner, someone who might steer him away from phrases such as “a ding-dong, ding-dong, ding-dong day”, one of the lines he comes up with for “On Christmas Day”. There are a couple of candidates involved here, though neither looks like a long-term prospect. Bernie Taupin contributes the lyric to the title track, every line of which Wilson delivers as if it’s a thought-provoking aphorism, rather than a festive cliché.


Alternate frontcover

Rather better is Jimmy Webb’s “Christmasey”, which manages to rhyme “light up the candles” with “a song of Handel’s”, and has Brian claiming, “It gives me such a lift/ Makes me wanna give myself a gift”, a welcome shaft of light-heartedness into what can be at times a fairly po-faced affair.

For the most part, Wilson has resisted the temptation to try to emulate the legendary Spector arrangements of A Christmas Gift for You, avoiding the same material in favour of wholesome, earnest arrangements of carols.

Within the formula, a few tracks stand out: “Deck the Halls” is given a slinky rumba arrangement; the otherwise ponderous “It Came upon a Midnight Clear” features a nice bluesy piano break; and “Auld Lang Syne” appears in an a cappella version whose vocal arrangement recalls Wilson’s heroes The Four Freshmen, albeit employing some unusual diving glissandi. This, you suspect, is where Brian would really like to be at Christmas: around the tree with his late brothers, all neatly sweatered, working on some outlandish harmonies. (by Andy Gill)


Karen Elaine Bakunin (viola)
Scott Bennett (glockenspiel, keyboards, vibraphone, background vocals)
Nelson Bragg (percussion, background vocals)
Erika Duke-Kirkpatrick (cello)
Jeffrey Foskett (guitar, sleigh bells, background vocals)
Probyn Gregory (flugelhorn, french horn, guitar, trumpet, background vocals)
Jim Hines (drums)
Robbie Hioki (trombone)
Sharon Jackson (violin)
Peter Kent (violin)
Bob Lizik (bass)
Paul Mertens (flute, harmonica, saxophone)
Taylor Mills (vocals)
Carol Robbins (harp)
Darian Sahanaja (glockenspiel, keybords, vibraphone, background vocals)
Nick Walusko (guitar, background vocals)
Brian Wilson (vocals,  keyboards)
John Yoakum (oboe, saxophone)


01. The Man With All the Toys (Wilson/Love) 3.01
02. What I Really Want For Christmas (Wilson/Taupin) 3.52
03. God Rest Ye Merry Gentlemen (Traditional) 3.28
04. O Holy Night (Traditional) 4.30
05. We Wish You A Merry Christmas (Traditional) 2.39
06. Hark The Herald Angels Sing (Traditional) 3.36
07. It Came Upon A Midnight Clear (Traditional) 3.10
08. The First Noel (Traditonal) 4.49
09. Christmasey (Wilson/Webb) 4.10
10. Little Saint Nick (Wilson/Love) 2.13
11. Deck The Halls (Traditional) 2.38
12. Auld Lang Syne (Traditional) 1.36
13. On Christmas Day (Wilson) 3.25
14. Joy To The World (Traditional) 2.09
15. Silent Night (Gruber/Mohr) 0.49




Single release

Bruce Springsteen – We Shall Overcome – The Seeger Sessions (2006)

FrontCover1.jpgWe Shall Overcome: The Seeger Sessions is the fourteenth studio album by Bruce Springsteen. It peaked at number three on the Billboard 200 and won the Grammy Award for Best Traditional Folk Album at the 49th Grammy Awards.

This is Springsteen’s first and so far only album of entirely non-Springsteen material and contains his interpretation of thirteen folk music songs made popular by activist folk musician Pete Seeger. As an activist and artist of folk music, Seeger did not write any of the songs on the album. His life’s work focused on popularizing and promoting the ethic of local, historical musical influences and recognizing the cultural significance that folk music embodies.

The record began in 1997, when Springsteen recorded “We Shall Overcome” for the Where Have All the Flowers Gone: the Songs of Pete Seeger tribute album, released the following year. Springsteen had not known much about Seeger given his rock and roll upbringing and orientation, and proceeded to investigate and listen to his music.[2] While playing them in his house, his 10-year-old daughter said, “Hey, that sounds like fun,” which caused Springsteen to get interested in further exploring the material and genre.


Via Soozie Tyrell, the violinist in the E Street Band, Springsteen hooked up with a group of lesser-known musicians from New Jersey and New York City, and they recorded in an informal, large band setting in Springsteen’s Colts Neck, New Jersey farm.[2] In addition to Tyrell, previous Springsteen associates The Miami Horns as well as wife Patti Scialfa augmented the proceedings. This group would become The Sessions Band. The subsequent Bruce Springsteen with The Seeger Sessions Band Tour expanded on the album’s musical approach.

The album, like its predecessor Devils and Dust, has been released on DualDisc, in a CD/DVD double disc set, and as a set of two vinyl records.


For the DualDisc and CD/DVD sets, the full album is on the CD(-side), while the DVD(-side) side features a PCM Stereo version of the album and a short film about the making and recording of the album. Two bonus songs also appear on the DVD(-side).

On October 3, 2006, the album was reissued as We Shall Overcome: The Seeger Sessions – American Land Edition with five additional tracks (the two bonus tracks from before and three new numbers that had been introduced and heavily featured on the tour), new videos, an expanded documentary and liner notes. Rather than a DualDisc release, the American Land Edition was released with separate CD and DVDs. Added sales were minimal.


We Shall Overcome received widespread acclaim from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 82, based on 25 reviews.[14] In his review for AllMusic, Stephen Thomas Erlewine praised Springsteen’s modern take on Seeger’s repertoire of folk songs and said that it is the liveliest album of his career: “It’s a rambunctious, freewheeling, positively joyous record unlike any other in Springsteen’s admittedly rich catalog.” David Browne of Entertainment Weekly felt that Springsteen successfully imbues the songs with a “rock & roll energy” rather than an adherence to folk’s blander musical aesthetic. Rolling Stone magazine’s Jonathan Ringen believed that he relied on folk and Americana styles on the album in order to “find a moral compass for a nation that’s gone off the rails”, particularly on the implicitly political “Oh, Mary Don’t You Weep”, “Eyes on the Prize”, and “We Shall Overcome”. Gavin Martin of Uncut called it “a great teeming flood of Americana” and “a powerful example of how songs reverberate through the years to accrue contemporary meaning”.

TourposterIn a less enthusiastic review, Neil Spencer of The Observer wrote that the songs chosen for the album lack intrigue and edge, and are “mostly too corny to have much drama restored to them”. Robert Christgau panned We Shall Overcome in his consumer guide for The Village Voice, wherein he gave it a “B”, which is assigned to bad albums he reviews as the “dud of the month” in his column. He felt that Springsteen relies too much on a rural drawl and overblown sound when folk music requires subtlety and viewed the album as the worst case of his histrionic singing.

Seeger himself was pleased by the result, saying “It was a great honor. [Springsteen]’s an extraordinary person, as well as an extraordinary singer.” We Shall Overcome was voted the 19th best album of the year in the Pazz & Jop, an annual critics poll run by The Village Voice. In 2007, it won the Grammy Award for Best Traditional Folk Album at the 49th Grammy Awards. By January 2009, the album had sold 700,000 copies in the United States. the RIAA certified it with gold record status. (by wikipedia)


We Shall Overcome: The Seeger Sessions is an unusual Bruce Springsteen album in a number of ways. First, it’s the first covers album Springsteen has recorded in his three-decade career, which is a noteworthy event in itself, but that’s not the only thing different about We Shall Overcome. Springsteen, a notorious perfectionist who has been known to tweak and rework albums numerous times before releasing them (or scrapping them, as the case may be), pulled together the album quickly, putting aside a planned second volume of the rarities collection Tracks after discovering a set of recordings he made in 1997 for a Pete Seeger tribute album called Where Have All the Flowers Gone: The Songs of Pete Seeger. Enthralled by this handful of tracks — one of which, “We Shall Overcome,” appeared on the tribute — Springsteen decided to cut a whole album of folk tunes popularized by Pete Seeger. He rounded up 13 musicians, including some who played on those 1997 sessions, and did two one-day sessions in late 2005 and early 2006, swiftly releasing the resulting album that April. As Bruce stresses in his introductory liner notes, these were live recordings, done with no rehearsals, and We Shall Overcome does indeed have an unmistakably loose feel, and not just because you can hear the Boss call out chord changes in a handful of songs. This music is rowdy and rambling, as the group barrels head-first into songs that they’re playing together as a band for the first time, and it’s hard not to get swept up along in their excitement. Springsteen has made plenty of great records, but We Shall Overcome is unique in its sheer kinetic energy; he has never made a record that feels as alive as this.


Not only does We Shall Overcome feel different than Bruce’s work; it also feels different than Seeger’s music. Most of Seeger’s recordings were spare and simple, featuring just him and his banjo; his most elaborately produced records were with the Weavers, whose recordings of the ’50s did feature orchestration, yet that’s a far cry from the big folk band that Springsteen uses here. Bruce’s combo for the Seeger sessions has a careening, ramshackle feel that’s equal parts early-’60s hootenanny and Bob Dylan and the Band’s Americana; at times, its ragged human qualities also recall latter-day Tom Waits, although the music here is nowhere near as self-consciously arty as that. Springsteen has truly used Seeger’s music as inspiration, using it as the starting point to take him someplace that is uniquely his own in sheer musical terms.


Given that, it should be no great surprise that Bruce also picks through Seeger’s songbook in a similar fashion, leaving many (if not most) of Pete’s well-known songs behind in favor of a selection of folk standards Springsteen learned through Seeger’s recordings. (Author/critic Dave Marsh researched the origins of each song here; there are brief introductions within the album’s liner notes and thorough histories presented on the official Springsteen site.) While the songs featured here adhere to no one specific theme — there are work songs, spirituals, narratives, and protest songs — it is possible to see this collection of tunes as Springsteen’s subtle commentary on the political state of America, especially given Seeger’s reputation as an outspoken political activist, but this record should hardly be judged as merely an old-fashioned folk record. We Shall Overcome is many things, but a creaky relic is not one of them. Springsteen has drawn from Seeger’s songbook — which he assembled in the ’40s, ’50s, and ’60s from traditional folk songs — and turned it into something fresh and contemporary. And even if you have no patience for (or interest in) the history of the songs, or their possible meanings, it’s easy to enjoy We Shall Overcome on pure musical terms: it’s a rambunctious, freewheeling, positively joyous record unlike any other in Springsteen’s admittedly rich catalog. (by Stephen Thomas Erlewine)


Sam Bardfeld (violin)
Art Baron (tuba)
Frank Bruno (guitar)
Jeremy Chatzky (bass)
Mark Clifford (banjo)
Larry Eagle (drums, percussion)
Charles Giordano (keyboards, accordion)
Ed Manion (saxophone)
Mark Pender (trumpet, background vocals)
Richie “La Bamba” Rosenberg (trombone, background vocals)
Patti Scialfa (background vocals)
Bruce Springsteen (vocals, guitar, harmonica, organ, percussion)
Soozie Tyrell (violin, background vocals)


01. Old Dan Tucker (Traditional) 2.31
02. Jesse James (Gashade) 3.48
03. Mrs. McGrath (Traditional) 4.20
04. O Mary Don’t You Weep (Traditional) 6.05
05. John Henry (Traditional) 5.07
06. Erie Canal (Allen) 4.03
07. Jacob’s Ladder (Traditional) 4.28
08. My Oklahoma Home (B.Cunningham/A.Cunningham) 6.04
09. Eyes On The Prize (Traditional/Wine) 5.17
10. Shenandoah (Traditional) 4.53
11. Pay Me My Money Down (Traditional) 4.32
12. We Shall Overcome (Tindley/Carawan/Hamilton/Horton/Seeger) 4.53
13. Froggie Went A-Courtin’ (Traditional) 4.33
14. Buffalo Gals (bonus track) (Traditional) 3.12
15. How Can I Keep From Singing (bonus track) (Traditional) 2.20
16. How Can A Poor Man Stand Such Times And Live (bonus track) (Traditional) 3.23
17. Bring ‘Em Home (bonus track) (Traditional) 3.36
18. American Land (bonus track) (Traditional) 4.44