Melody Gardot – Worrisome Heart (2006)

FrontCover1Melody Gardot /ɡɑːrˈdoʊ/ (born February 2, 1985) is an American jazz singer who has been influenced by such blues and jazz artists as Judy Garland, Janis Joplin, Miles Davis, Duke Ellington, Stan Getz and George Gershwin as well as Latin music artists such as Caetano Veloso. She has been nominated for a Grammy Award.

At the age of 19, Gardot was involved in a bicycle accident and sustained a head injury. Music played a critical role in her recovery. She became an advocate of music therapy, visiting hospitals and universities to discuss its benefits. In 2012, she gave her name to a music therapy program in New Jersey.

and was brought up by her grandparents. Her grandmother was a Polish immigrant. Her mother, a photographer, traveled often, so they had few possessions and lived out of suitcases. Gardot studied fashion at the Community College of Philadelphia.

While riding her bicycle in Philadelphia in November 2003, Gardot was struck by the driver of an SUV and sustained head, spinal, and pelvic injuries. Confined to a hospital bed for a year, she needed to relearn simple tasks and was left oversensitive to light and sound. Suffering from short- and long-term memory loss, she struggled with her sense of time.

Encouraged by a physician who believed music would help heal her brain, Gardot learned to hum, then to sing into a tape recorder, and eventually to write songs.

For several years, she traveled with a physiotherapist and carried a transcutaneous electrical nerve stimulator to reduce pain.

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Given her oversensitivity to sound, she chose quieter music. On the treadmill, she listened to bossa nova by Stan Getz. Unable to sit comfortably at the piano, she learned to play guitar on her back. During her recovery, she wrote songs that became part of the self-produced EP Some Lessons: The Bedroom Sessions.[11] Gardot was reluctant to record her songs at first, stating that they were too private for the public to hear, but relented and allowed her songs to be played on a Philadelphia radio station.

Gardot is a Buddhist, macrobiotic cook, and humanitarian. She speaks fluent French in addition to her native English and considers herself a “citizen of the world”.

Since 2017, Melody Gardot lives in Paris, even though she is often on tour.

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Gardot started music lessons at the age of nine and began playing piano in Philadelphia bars at the age of 16 on Fridays and Saturdays for four hours a night. She insisted on playing only music she liked, such as The Mamas & the Papas, Duke Ellington, and Radiohead.

During her time in the hospital she learned how to play the guitar and began writing songs, which were made available as downloads on iTunes and released on Some Lessons: The Bedroom Sessions in 2005. She began to play these songs at venues in Philadelphia and was noticed by employees of the radio station WXPN, operated by the University of Pennsylvania in Philadelphia, which helped to start the career of Norah Jones. She was encouraged to send a demo tape to the radio station, and the tape found its way to the Universal Music Group. She released her first album, Worrisome Heart (Verve, 2006), then My One and Only Thrill (Verve 2009), produced by Larry Klein

MelodyGardot01Worrisome Heart is the debut album of jazz singer-songwriter Melody Gardot. It was released independently in 2006 and later re-released on Verve Records in 2007 and 2008. The album contains new recordings of songs previously released on Gardot’s first extended play release, Some Lessons: The Bedroom Sessions as well as unreleased tracks.

Speaking of how the album first came to be made, in November 2008 Gardot told noted British jazz/soul writer Pete Lewis of Blues & Soul that: “It was created independently of a record company. It was made privately. So my only intention, or my only goal, was to make a record that at the end of the day I was happy with. And the way that the instrumentation was decided on was based on what I heard in my head, and what I thought would feel the best. So I guess having it released is kinda like having somebody publish your diary in a way!”[10]

The tracks “Wicked Ride”, “Some Lessons” and “Goodnite” were re-recorded for this album and are not the versions that appear on the Some Lessons EP. The 2006 independent release has a longer running time of 41:40 as it included the new version of “Wicked Ride”, as well as the hidden track “Sorry State”, which were omitted when released by Verve Records. The album cover and track listing were changed for a promotional release in 2007 and again for its eventual official release under the label in 2008. (by wikipedia)

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Melody Gardot’s debut recording, released in 2006, came two years after she suffered a near fatal automobile accident, the differently able Gardot triumphing in accomplishing what many others, including her, could only dream of. This project has her singing and playing guitar and a little piano, but more so presenting this project of all original material. Gardot has an interesting personal story, but even more intriguing music that straddles the line between lounge jazz, folk, and cowgirl songs. She’s part sophisticated chanteuse, college sophomore, and down-home girl next door. Her innocence, sweetness, and light are very alluring, much like the persona of tragic songbirds Eva Cassidy and Nancy LaMott. Feel empathy for Gardot, but don’t patronize her — she’s the real deal much more that many of her over-hyped peers. “Quiet Fire” is definitely her signature MelodyGardot07tune, as it speaks volumes of where her soul is at, in a jazz/blues mode, yearning for true love. The title track follows a similar tack, a slow, sweet, sentimental slinky blues that will melt your heart. A finger-snapping “Goodnite” leaves you wanting that night to continue, but also exudes a hope that permeates the entire recording. She might be a bit down on men during the nonplussed “All That I Need Is Love,” but her subdued optimism glows cool. “Sweet Memory” might possibly parallel Feist or perhaps KT Tunstall in a rural country mode, while “Gone” is clearly folkish, and the slow “Some Lessons” expresses a contemporary Nashville precept. The laid-back music behind Gardot is basically acoustic, incorporating hip jazz instrumentation, especially the trumpet of Patrick Hughes and occasional organ, Wurlitzer, or Fender Rhodes from Joel Bryant, but with twists including violin, lap steel, and Dobro. The concise nature of this recording and these tunes perfectly reflects the realization that life is precious, every moment counts, and satisfaction is fleeting. Likely to be placed in the Norah Jones/Nellie McKay/Madeleine Peyroux pseudo jazz/pop sweepstakes, Gardot offers something decidedly more authentic and genuine. She’s one-upped them all out of the gate. (by Michael G. Nastos)

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Personnel:
Mike Brenner (lap steel guitar)
Joel Bryant (keyboards, wurlitzer)
Matt Cappy (trumpet)
Melody Gardot (vocals, guitar, keyboards)
Patrick Hughes (trumpet)
Jef Lee Johnson (guitar)
Kurt Johnston (dobro)
Ron Kerber (clarinet, saxophone)
Paul Klinefelter (bass)
Barney McKenna (guitar)
Diane Monroe (violin)
David Mowry (dobro)
Charlie Patierno (drums, percussion)
Ken Pendergast (bass)
Stan Slotter (trumpet)

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Tracklist:
01. Worrisome Heart 4.23
02. All That I Need Is Love 2.38
03. Gone 2.53
04. Sweet Memory 3.23
05. Some Lessons 5.24
06. Quiet Fire 4.14
07. One Day 2.04
08. Love Me Like A River Does 4.07
09. Goodnite 3.05
10. Twilight 1.01

All songs written by Melody Gardot

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Thunder – Islington Academy London (2006)

FrontCover1.jpgThunder are an English hard rock band from London. Formed in 1989, the group was founded by former Terraplane members Danny Bowes (lead vocals), Luke Morley (guitar, backing vocals) and Gary “Harry” James (drums), along with second guitarist and keyboardist Ben Matthews and bassist Mark “Snake” Luckhurst. Originally signed to EMI Records in the UK, the band released their debut album Backstreet Symphony in 1990, which reached number 21 on the UK Albums Chart and number 114 on the US Billboard 200. The 1992 follow-up Laughing on Judgement Day reached number 2, while both albums were certified gold by the British Phonographic Industry (BPI). All nine singles released from the two albums reached the UK Singles Chart top 40.

Luckhurst left the band in late 1992, and was replaced the following February by former Great King Rat bassist Mikael Höglund. The new lineup recorded only one studio album, Behind Closed Doors, which peaked at number 5 in the UK and spawned three UK top 40 singles. The 1995 compilation Their Finest Hour (And a Bit) reached number 22 in the UK and was certified silver by the BPI. Höglund left in 1996 and was replaced by Chris Childs, after Morley performed bass on fourth album The Thrill of It All, which reached the UK top 20. Thunder’s 1998 live album Live reached number 35 on the UK Albums Chart, while the following year’s fifth studio album Giving the Game Away reached number 49. The band broke up in early 2000 due to “outside business forces”.

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After a brief hiatus, Thunder returned in 2002 and formed their own record label, STC Recordings. The band’s sixth studio album Shooting at the Sun was released the following year, supported by the UK top 50 single “Loser”. After three more new studio albums – 2005’s The Magnificent Seventh, 2006’s Robert Johnson’s Tombstone and 2008’s Bang! – Thunder decided to break up in 2009. Two years later, however, the group returned for a third active spell, scheduling a number of sporadic live shows over the following years. A tenth studio album, Wonder Days, was released on the earMusic label in 2015, giving the band their first UK top ten since 1995 when it peaked at number 9. Rip It Up followed in 2017, reaching a peak UK Albums Chart position of number 3. (by wikipedia)

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And here´s a very rare bootleg from 2006 … a superb soundboard recording… a Christmas party concert … (December 19, 2006) … enjoy the power of one of the finest Hard-Rock bands from the Eighties !

Sometimes it sounds like the heavy metal version of Free !

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Personnel:
Danny Bowes (vocals)
Chris Childs (bass)
Harry James (drums)
Ben Matthews (guitar, keyboards, background vocals)
Luke Morley (guitar, background vocals)

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Tracklist:
01. Intro 0.18
02. Loser 6.47
03. River Of Pain 3.48
04. The Devil Made Me Do It 5.11
05. Love Walked In 7.18
06. Back Street Symphony 4.19
07. I Love You More Than Rock N Roll 5.57
08. Dirty Love 12.26

All songs written by Luke Morley

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Alison Balsom – Bach Works For Trumpet (2006)

FrontCover1.jpgAlison Louise Balsom, Lady Mendes OBE (born 7 October 1978) is an English trumpet soloist, arranger, producer, music educator and spokesperson for the importance of music education. Balsom was awarded Artist of the Year at the 2013 Gramophone Awards and has won three Classic BRIT Awards and three German Echo Awards, and was soloist at the BBC Last Night of the Proms in 2009. She was the artistic director of the 2019 Cheltenham Music Festival. (by wikipedia)

None of the music on this disc was originally intended for trumpet. All of it in Bach’s days went first to singers, keyboardists and string players. But this point shrinks to a minor historical technicality when British trumpeter Alison Balsom plays. Her case for this music on trumpet is largely irresistible, enough to make one wonder whether Bach shouldn’t have written it her way instead. Incredible sensitivity is Balsom’s secret. In her hands, the trumpet rivals the human voice for expressivity and tonal coloring. Nary a note comes off as harsh or blaring, qualities typically associated with the instrument, and tenderness abounds. It’s hard to split musical hairs at this level of artistry. What’s more, Balsom retains at least part of the music’s original format, collaborating with soloists every bit her equal: organist Colm Carey, violinist Alina Ibragimova and harpsichordist Alistair Ross. Ross is a spry partner in the lengthy but fascinating Italian Variations while Carey more than compensates for the missing ensemble in the Bach-Vivaldi concerto transcriptions and other would-be orchestral works.

Balsom falls short only in the selections from a Violin Partita and a Cello Suite. Even a player as marvelous as she is cannot match the chordal richness of those instruments on the trumpet; much original depth is lost in translation. These two missteps aside, Balsom and Bach are an ideal combination. -(by Zachary Lewis)

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I love baroque music for trumpet, and Alison Balsom captures the playfulness of it beautifully. All the pieces on this CD are adaptations for trumpet from Bach’s chamber music (as well as arrangements that Bach had adapted himself from pieces by Vivaldi and Marcello), accompanied very effectively by Colm Carey on the organ, Alina Ibragimova on violin, Alistair Ross on harpsichord and chamber organ, and Mark Caudle on viola da gamba. By combining modern trumpet with organ, these pieces open up another dimension in one’s listening experience and enjoyment of music; purists might be sceptical about it, but it is definitely worth listening to. Showing consummate skill, Alison Balsom plays each note crisply and clearly with perfect control, and as someone who used to play the trumpet myself, I know that this is by no means an easy task. My particular favourites are the allegro of the concerto in D, the largo of the concerto in C minor, and the badinerie from the orchestral suite no. 2.

All too often we make the mistake of having music on in the background, whilst doing the housework for example, but this CD deserves to be listened to without distractions. Wonderfully uplifting, it will improve any rainy day. Recommended. (by Petra Bryce)

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Personnel:
Alison Balsom (trumpet),
Colm Carey (organ)
Mark Caudle (viola de gamba)
Alina Ibragimova (violin)
Alistair Ross (harpsichord, chamber organ)

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Tracklist:

Concerto in D Major BWV. 972 (after Vivaldi):
01. Allegro 2.05
02. Adagio 3.51
03. Allegro Assai 2.10

Suite No. 2 in D Minor, BWV. 1008:
04. Sarabande 2.41
05. Gigue 2.38

06. Aria Variata In A Minor (Italian Variations) BWV 989 / 9.24
07. Partita No. 3 in E, BWV 1006: Gigue 2.07

Trio Sonata In C Major BWV 529:
08. Allegro 4.55
09. Largo 5.16
10. Allegro 3.31

Concerto In C Minor (After Marcello) BWV 974:
11. Allegro 3.13
12. Largo 3.41
13. Presto 3.12

14. Klavierbüchlein für Anna Magdalena Bach, II: Aria: Bist du bei mir, BWV 508 / 2.42

Concerto In A Major BWV 1055 (Transposed To C Major):
15. Allegro 4.08
16. Larghetto 5.02
17. Allegro Ma Non Tanto 4.24

18. Suite No. 2 in B Minor, BWV. 1067: VII. Badinerie 1.31
19. Mass in B Minor, BWV 232: Agnus Dei 5.02

Music composed by Johann Sebastian Bach

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Jan James – Drive Me Home (2006)

FrontCover1.jpgborn 22 August 1967, Portland, Michigan, USA. Singing in church and listening to blues and rock on record, by her teenage years James had become a confident and accomplished performer. While at Michigan State University she met guitarist Craig Calvert and they began to play and compose together. Their band, the Flying Tigers, built a solid following in and around Detroit and soon they were eager to expand their base. Moving to Chicago, Illinois, and with a new band named Jewel Fetish, James and Calvert played in many locally noted blues clubs, including Buddy Guy’s, Blues Legends, Taste Of Chicago and The House of Blues. As James’ prestige grew she began performing under her own name, with Calvert continuing to provide powerful and fiery support for her singing. James sings an engaging and exhilarating mixture of traditional country blues and classic rock, with strong undercurrents of gospel and even hints of country music.

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In the mid-90s, James added to her dedicated local following through the release of an album on the Netherlands-based Provogue Records. Her European audience has continued to grow and although recorded in Chicago, her next few albums were also released by Provogue and received rave reviews in Europe and the UK as well as back home in the USA. In Chicago James appeared in a stage presentation of Love, Janis, based upon letters written by Janis Joplin, a singer to whom she has been favourably compared, and built around her life and music. The recorded work of James and Calvert shows them to be decidedly superior to many better-known artists. (.allmusic.com)

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Sultry, blues with a rock edge, this is the 7th CD release from this Chicago artist showcasing her powerful, soulful voice with the best of the blues from the front porch to the backwoods and back downtown, featuring the awesome guitar of Craig Calvert.

Super…front-porch acoustic, cocktail-lounge swing, stop-time shuffle, or sultry pop.
James delivery is powerful, clear, unmannered and witty. (Blues Revue)

With her sandpapered voice and tough-blossom ethos, Jan has clasped the enthusiasm and acclaim of US and European audiences to her blues-rocking heart. infectious mix of flat-out rock-and-roll, blues, and heady gospel music received spirited praise from the world press.

And The Detroit Metro Times voted her “Best Female Vocalist” just in time to
send her off to her new hometown, Chicago, where she soon became a favorite.

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Personnel:
Craig Calvert (bass, dobro, guitar)
Steve Gerlach (guitar)
Jan James -(vocals)
Bob Long (keyboards)
Kyle Woodring (drums)

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Tracklist:
01. Drive Me Home 1.15
02. Good Times Rolling In 5.13
03. Little Bit Of Lovin’ 3.54
04. Man On A Train 6.19
05. Hush 4.40
06. Living For The City 4.31
07. Rock Your Woman 5.09
08. Slow Burner 3.39
09. Someone Like You 4.02
10. Your Turn To Cry 4.11
11. Ramblin Rider 4.39
12. My Man 3.34
13. Soldier 5.19

All songs was written by Craig Calvert & Jan James
except “Living For The City” which was written by Stevie Wonder

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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.

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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”.

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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.

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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)

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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.

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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.

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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)

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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)

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Personnel:
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)
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violone(violin:
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
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background vocals:
Jerry Barnes – Stephanie McKay

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Tracklist:
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

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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…

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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.

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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!).

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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)

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

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Tracklist:
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

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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

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

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Tracklist:
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

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