Swing de Gitanes – Muza (2011)

FrontCover1.jpgSwing de Gitanes refreshing virtuosity creates a unique musical experience derived from the color and excitement of Gypsy music, the elegance of French melodies, the infectious bounce of American swing and the charm of the middle east. The band’s original compositions influenced by the Gypsy guitarist Django Reinhardt and by the Israeli melting pot of music that the members of the band grew up on: Russian folk songs, Spanish- Ladino songs, Greek music and more…
Over its tenth year of varying activity, Swing de Gitanes has been in the forefront of the Gypsy Swing genre in Israel and has gleaned ample praise – with hundreds of performances in the most acclaimed stages and festivals.
The band has three albums under its belt, as well as hundreds of performances, participation in major Israeli music festivals, collaborations with leading local artists and collaboration with leading international Gypsy Swing and Jazz luminaries.  (by swingdegitanes.com)

What a great album … and I will call this music “world music”  Enjoy the beautiful sound of Swing de Gitanes !

Photo By Ronengoldman.com

Ori Ben-Zvi (guitar)
Yaakov Hoter (guitar)
Oren Sagi (bass)
Daniel Weltlinger (violin on 04., 06., 11. + 14.)


01. You Made Me Love You (Monaco) / I Can’t Give You Anything But Love (Mchugh) 3.36
02. The Godfather Love Theme – Speak Softly Love (Rota) 4.19
03. J’attendrai (Oliveri) 4.22
04. Sweet Sue (Harris/Young) 2.56
05. Montagne Sainte Genevieve (Reinhardt) 4.37
06. Rhythm Israel (Hoter) 2.56
07. Blue Drag (Myrow) 4.18
08. Honeysuckle Rose (Waller) 2.25
09. Honeymoon (Hoter) 3.58
10. Nuages (Reinhardt) 4.20
11. Burning Guatemala (Ben Zvi) 3.32
12. Tchavolo Swing (Schmitt) 4.49
13. Honey Pie (Lennon/Mccartney) 3.12
14. Black And White (Reinhardt) 2.43
15. Danube (lvanovici) 4.33





Steely Dan – Toronto (2011)

FrontCover1.jpgSteely Dan is an American rock band founded by core members Walter Becker (guitars, bass, backing vocals) and Donald Fagen (keyboards, lead vocals) in 1972. Blending elements of jazz, traditional pop, R&B, and sophisticated studio production with cryptic and ironic lyrics, the band enjoyed critical and commercial success starting from the early 1970s until breaking up in 1981. Throughout their career, the duo recorded with a revolving cast of session musicians, and in 1974 retired from live performances to become a studio-only band. Rolling Stone has called them “the perfect musical antiheroes for the Seventies”.

After the group disbanded in 1981, Becker and Fagen were less active throughout most of the next decade, though a cult following remained devoted to the group. Since reuniting in 1993, Steely Dan has toured steadily and released two albums of new material, the first of which, Two Against Nature, earned a Grammy Award for Album of the Year. They have sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 listed Steely Dan at #82 as one of the 100 greatest musical artists of all time. Becker died on September 3, 2017, leaving Fagen as the only official member. (by wikipedia)

And here´s a pretty good bootleg:

And this is what Jane Stevenson commented at torontosun.com:

Becker, who recalled Santa Claus with his beard, glasses and tummy and stationary stance, as he played guitar to the side of Fagen’s keyboards was also in unusually chatty form, rambling on and on a couple of times during the show and even took over on lead vocals at one point. Fagen, meanwhile, was in his typical Ray Charles mode, in sunglasses and with his head tilted to the side, as he sang song after song in his delightfully raspy but still strong voice while occasionally jumping to his feet with one or both arms in the air.

As they often do in a live setting, Fagen and Becker gave the songs plenty of breathing space as they delivered longer versions than their studio counterparts and the infusion of younger players like Carlock and Herington kept them on their toes and it suits them.

This show has just surfaced and it’s thanks to Joe Blotz Records & Lawn Care for sharing the tracks.

Recorded live at the Molson Amphitheatre, Toronto, Canada; July 22, 2011.
Excellent soundboard.


Walter Becker (guitar)
Donald Fagen (keyboards, vocals)
Jim Beard (keyboards)
Keith Carlock (drums)
Jon Herington (guitar)
Michael Leonhart (trumpet, keyboards)
Jim Pugh (trombone)
Roger Rosenberg (saxophone)
Freddie Washington (bass)
Walt Weiskopf (saxophone)
background vocals:
Carolyn Leonhart-Escoffery – Cindy Mizelle – Catherine Russell



CD 1:
01. Dizzy Intro (Adderley) 6.43
02. Aja (Becker/Fagen) 8.42
03. Black Friday (Becker/Fagen) 4.54
04. Hey Nineteen (Becker/Fagen) 9.23
05. Your Gold Teeth (Becker/Fagen) 8.53
06. Time Out Of Mind (Becker/Fagen) 6.04
07. Showbiz Kids (Becker/Fagen) 7.11
08. Bodhisattva (Becker/Fagen) 6.22
09. Dirty Work (Becker/Fagen)  5.18
10. Godwhacker (Becker/Fagen) 7.12

CD 2:
11. Neighbours Daughter (Toussaint) 8.46
12. Monkey In Your Soul (Becker/Fagen) 3.08
13. Josie (Becker/Fagen) 6.51
14. Peg (Becker/Fagen) 4.30
15. My Old School (Becker/Fagen) 6.27
16. Reelin’ In The Years (Becker/Fagen) 6.00
17. Pretzel Logic (Becker/Fagen) 7.05
18. Kid Charlemagne (Becker/Fagen) 6.03
19. Outro 1.56



Gwilym Simcock – Good Days At Schloss Elmau (2011)

FrontCover1When Chick Corea calls you a creative genius, you know you’re on to something. Praise like this is nothing new to UK piano whiz kid Gwilym Simcock, though.

So, here´another album by a master of contemporary  jazz piano:

You have to worry about a man who entitles one of his pieces Can We Still Be Friends? It threatens a gloopiness which this album does sometimes deliver. But when Simcock stops mooning and becomes energised the results can be terrific. He’s a formidable musician as well as a formidable pianist, with a feeling for the way harmony can create architecture as well as momentary colours – a rare gift. (by Ivan Hewett)


Unaccompanied piano performance is a challenge 30-year-old Gwilym Simcock hasn’t confronted since his childhood classical training, and one that’s all the greater because it invites comparison with a significant personal influence: Keith Jarrett. But this highly varied set is more explicitly classical in its harmonic mobility and melodic flourishes and more elaborately composed than Jarrett’s jazz work. Simcock can play so many things at once, while often developing pieces through progressions of modulations and changing motifs that a few listenings are required to tease it out. If this all-original and mostly first-take set has any drawbacks, they come from occasional over-elaboration and the odd hint of sugariness. But it’s mostly an awesome solo debut. The chord-rammed blizzard of sound on Wake Up Call borders on free music, Northern Song recalls Django Bates’s melodies and the bluesy, sublimely paced and faintly Mehldauesque Gripper is surely one of the great contemporary jazz piano performances. (by John Fordham)


Gwilym Simcock (piano)


01. These Are The Good Days 6.06
02.  Mezzotint 6.37
03. Gripper 6.35
04.  Plain Song 5.49
05. Northern Smiles 5.44
06. Can We Still Be Friends? 12.17
07. Wake Up Call 5.27
08. Elmau Tage 9.28

Music composed by Gwilym Simcock


Schloss Elmau (Gemany)



Krzysztof A. Janczak – The Clockwork Music (2011)

FrontCover1Clockwork – noun – the mechanism of a clock; a mechanism of geared wheels driven by a wound spring, as in a mechanical clock or watch; any similar mechanism, as a wind-up toy, Aurélien’s Police figure or ‘The Clockwork music’ musical Piece …

Krzysztof A. Janczak is one of the most remarkable composers of young generation in Poland. The laureate of over a dozen international concert and film music competitions among others; Eyes & Ears of Europe in Munich, Red Dot in Berlin, New York Festivals in NY, European Talent and Universal Music Award in Cologne, and Transatlantyk Young Composer Award in Poznan. In 2012, he received a nomination to a special RMF Classic Award for young film music composer of a year. In 2017 supported by the letters from Max Richter and Monika Willi (editor of Michael Haneke) he has become a member of European Film Academy.

Since his debut in 2003, when The Winter won The Golden Tadpole at Camerimage festival, he created the music for over 40 movies, dozens of orchestral, chamber and piano pieces, that have been performed all over the world, and the music for TV channels such as; Disney Channel, NBC Universal, 13th Street, Kabel Deutschland and many others.


After graduating in Musicology at Warsaw University, as a bursar of French Government and Nadia and Lili Boulanger Foundation, headed by Daniel Barenboim and Martha Argerich, he moved to Paris, where after five years of studies he received the diplomas of composition and orchestration in the most prestigious French school École Normale de Musique de Paris and Maurice Ravel Conservatory, in classes of remarkable Michel Merlet, a student of Olivier Messiaen and Igor Stravinsky. In 2007, after composing the Warsaw Uprising Symphony, an homage of young generation to those who fought for Warsaw in Second World War, he was honored The Silver Cross of Merit by President of Poland.


He perfected his skills and craft attending numerous master classes leaded by such composers as: Howard Shore, Alberto Iglesias, Max Richter, Michael Nyman, Jan A.P. Kaczmarek, Patrick Doyle, Don Davis, Trevor Morris, Rolfe Kent, Christopher Young, Marc Isham and Marco Beltrami. In 2013, he was selected from over 4400 applicants from 137 countries to attend the Berlinale Talents program.

Currently he collaborates with the directors and musicians all over the world, composing the music for many feature, documentary and animation films. He is regularly a guest at Abbey Road Studios, leading and supervising the recordings with the best soloists and orchestras, among others London Symphony Orchestra. -(by cdbaby.com)

Without any doubt … this is a masterpiece of moern classic music !



kQsaX – Krakowski Kwartet Saksofonowy (Cracow Saxophones Quartet):
Bartosz Banasik (baritone saxophone)
Piotr Feledyk (tenor saxophone)
Łukasz Nędza (alto saxophone)
Sebastian Oroń (soprano saxophone)
Konrad Ligas (accordion)
Roman Ślazyk (bass)

Bartłomiej Staniak (violin)
Radio Cracow Orchestra conducted by Artur Pater


01. Fugludé No. 1 3.15
02. Le Mans 2.32
03. Irish Theme 3.12
04. Intermezzo 3.55
05. Pantomime 2.10
06. Minuit 3.22
07. Fugludé No. 2 3.26
08. Road to Orléans 1.33
09. Noon 3.15
10. Huvelin Street 1.43
11. Fugludé No. 3 3.08
12. La Seine 2.30
13. Clockwork Movement 2.49
14. Clockwork Soprano 2.00
15. Clockwork Alto 2.37
16. Clockwork Tenor 2.03
17. Clockwork Baritone 2.04
18. Clockwork Prelude No. 1 2.50
19. Clockwork Prelude No. 2 3.03
20. Clockwork Prelude No. 3 2.46

Composed by Krzysztof A. Janczak

Krzysztof A. Janczak




Big Will & The Bluesmen feat. Peter Struijk – Hard Times (2011)

FrontCover1Big Will & The Bluesmen was a traditional blues band from the Netherlands inspired by great musicians as Muddy Waters, Sonny Boy Williamson and John Lee Hooker.
On this album you’ll find eleven original compositions from Big Will & the Bluesmen. Among those are four acoustic tracks. All songs are based on the Delta / Chicago tradition with true, authentic bluessounds

The band has chosen to give a prominent place on the harmonica (blues harp) and there is also – slide guitar to hear. All this for an authentic blues atmosphere. Close your eyes and imagine yourself in the Mississippi Delta, the “swamp” on a sultry evening, a bottle of Jack Daniels under your belt, life is hard and unforgiving.

They let themselves be inspired by among others: Son House, Robert Johnson, Junior Wells, Muddy Waters and John Lee Hooker.

Will has over 10 years experience playing in blues / rock bands, but would rather be back to basics, the Delta and Chicago blues.

Alex also has extensive stage experience, playing primarily in rock bands. He too has fallen in love with the authentic blues.


Jos the drummer lets you feel the heartbeat of the blues, just goose bumps!

Traditional blues riffs on electric and upright-bass by Henk Wessels, you’ll be hearing a lot from this promising new band.

“Unplugged” The band plays not only on festivals and pubs, they also perform unplugged for receptions, restaurants and backroom shows in a (semi) acoustic setting.


The band Big Will & the Bluesmen ismainly inspired by two currents of blues music: the Delta and Chicago style. Originally starting in the early twenties.


Although slavery is abolished, the black rural population is poor and work on the land. In the evenings they usually spent time in so called juke joints, where they drink the cheap self distilled whiskey and sing simple but powerfull songs about failed love and the misery of their existence. Often the singers were accompanied by guitar and harp.

That’s how the blues was born. -(by last.fm)

Or: That´s why I love the Blues !

“Guitarist Peter Struijk delivers lowdown blues that look back to a time of rough edges and raw emotions.” (Blues Revue, USA)


Wil van der Ende (harmonica)
Alex “Riverside Jr.” Konijnenburg (guitar, vocals)
Henk Wessels (bass)
Jos Waal (drums)
Henk Heijlema (lapsteel on 09., mandolin on 06.)
Gerbrand Schoenmaker (piano on 08.)
Peter Struijk (guitar on 01., 04. – 07.)


01. Hard Times 6.58
02. Same Old Blues 5.51
03. Waiting On A Train 3.34
04. Leave It All Behind 5.39
05. Seven days -3.25
06. Laura Song 1.26
07. On My Way 3.39
08. Big Will Theme 2.08
09. Drifting And Driving 4.15
10. Sweet Lovin Woman 4.13
11. Release My Soul 4.06

All songs written by Alex “Riverside Jr.” Konijnenburg



John Maus – We Must Become The Pitiless Censors Of Ourselves (2011)

frontcover1We Must Become the Pitiless Censors of Ourselves is the third album from the American electronic musician John Maus, released in 2011, on Ribbon Music in the United States and Upset the Rhythm in the UK.

We Must Become the Pitiless Censors of Ourselves received largely positive reviews from contemporary music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 75, based on 20 reviews, which indicates “generally favorable reviews”.

David Bevan of Pitchfork praised the album in a positive review, stating, “We Must Become the Pitiless Censors of Ourselves is the most vibrant and toothsome expression of Maus’ pursuits yet. He keeps his vocals awash in gothic reverb and echo-driven effects, blurring the lines between what he’s saying and emoting.” Bevan continues, “Maus has a full set of songs whose architecture is just as sophisticated and riveting in actuality as it is in theory. While earlier records have been riddled by experiments gone awry, they also didn’t feature the revolving parts and aerodynamic hooks of “Believer”, the closing track here and one that glitters from any angle. And although there’s another vocalist at his side in the lullaby lilt of “Hey Moon” (cover a Molly Nilsson song), the way Maus sings to the heavens makes it sound as though he’s no longer alone with his thoughts. Spend a lot of time with this record, and it’s hard not to feel like you’re right there with him.”

johnmaus01Jordan Redmond of Tiny Mix Tapes gave the album a very positive review, stating, “Being an academic, John Maus understands the imperative to only release bodies of work that are conceptually sound and completely actualized. With Pitiless Censors, he sought to break into a new creative period but was disappointed that it was only a “consummation” or logical conclusion to the sound on his previous two widely-available albums (Songs and Love Is Real). Based on the evidence here, Maus needn’t have any reservations about the body of work that he has released into the world. Pitiless Censors is a sparkling album, a lo-fi synth pop masterpiece that manages to give endless aural delights while still being intellectually engaging, and despite having been caught at the center of a whirlpool of current movements, all of which reflect some aspect of Maus’ style, he has only cemented his identity as a singular, unimpeachable figure. When confronted with music like this, it’s impossible not to be a believer.”

Matthew Cole of Slant Magazine gave the album a 0/5 star rating, citing derivative synth instrumentation and the validity of Maus’s philosophical work, stating, “Maus’s We Must Become the Pitiless Censors of Ourselves is engineered for minimal accessibility and maximum pretension; if you’ve heard even 30 seconds of this album, then you know he isn’t looking to make his name in the music industry.” Cole continues, “The album is filled with garage-sale synths flooded with reverb and nary a hook to be found, sounding, at best, like an unfinished video-game score and, at worst, like a Human League track played backward in a Walkman taped to the skull of a drowning man. Sometimes the instrumentals approximate a no-budget Disintegration in their misbegotten twinkliness, but no amount of lo-fi shimmer can compensate for the intentional inadequacy of the vocal lines and the utter lack of memorable melodies.” It was one of the only negative reviews of the release. (by wikipedia)

Yes … this is another magic album in this blog.


John Maus (all insruments)


01. Streetlight (Maus) 2.52
02. Quantum Leap (Maus) 2.52
03. …And the Rain (Maus) 2.46
04. Hey Moon (Nilsson) 4.08
05. Keep Pushing On (Maus) 3.33
06. The Crucifix (Maus) 1.15
07. Head For The Country (Maus) 3.16
08. Cop Killer (Maus) 2.41
09. Matter Of Fact (Maus) 2.16
10. We Can Breakthrough (Maus) 2.08
11. Believer (Maus) 4.05




Göteborg Wind Orchestra – And There Was Music (2011)

FrontCover1Göteborg Wind Orchestra (GWO) was original founded by the Gothenburg Tramline Music band in 1905. Today the Gothenburg Wind Orchestra represents one of Sweden´s few remaining professional wind ensembles and carries an international reputation.

GWO´s home venue is Gothenburg´s oldest secular building “The Crown House” (1654) where concerts are performed all year round. In addition, the orchestra tours the Gothenburg region, occasionally also abroad.

GWO´s repertoire is a mix of classical and jazz concerts, colourful collaborations with stars from entertainment and an array of productions for children, youngsters as well as for families. Several of our foremost soloists and artists from the different genres also make regular guest appearances in musical productions and there are long standing collaborations with some of Sweden´s most popular choirs and music educations and works extensively with children and youth.

The Crown House:


Alexander Hanson is one of the most requested conductors in Sweden and since 2005 he is the artistic leader and chief conductor of GWO.

In 2004, he concluded his conducting education with the highest degree at the world-renowned Sibelius Academy in Helsinki where he studied under professor Leif Segerstam. Since then, Alexander is frequently engaged by professional orchestras such as The Royal Philharmonic orchestra in Stockholm, Malmö Symphony Orchestra, The Göteborg Opera, The Band of the Swedish Navy, Norrköping Symphony Orchestra and the Swedish Chamber Orchestra. (taken from the original liner-notes)

Alexander Hanson

Alexander Hanson

And this is one their many albums … a real brilliant mix of different styles of music … and if you like all these wind insruments you should listen to this album … enoy it !





01. Ambulatory Suite: I. Promenade (Walking theDog) (Gershwin) 2.22
02. Ambulatory Suite: II. March Of The Swiss Soldiers (Gershwin) 2.00
03. Ambulatory Suite: III. Fidgety Feet (Gershwin) 2.47
04. Grace (Jones/Lubbock) 5.51
05. The Fairy Feller’s Master-Stroke (Mercury) 2.27
06. The Awakening (Metheny/Mays) 8.30
07. Ack Varmeland du skona (Traditional) 4.53
08. Ur Folkvisesvit: No. 1. Ganglek fran Alvdalen (Traditional) 2.58
09. Ur Folkvisesvit: No. 2. Visa fran Rattvik (Traditional) 4.36
10. Ur Folkvisesvit: No. 7. Polska efter Hook-Olle (Traditional) 4.00
11. Hunting Wabbits 2 (A Bad Hare Day) (Goodwin) 4.40
12. Trumpet Concerto (James) 3.39
13. La Paloma (Iradiuer) 4.48
14. Balkan Blues (Fahlström) 2.25
15. The Midnight Sun Will Never Set (Jones/Salvador) 3.43
16. Fuga y Misterio (Piazzolla) 6.02
17. Stardust (Carmichael) 4.53
18. Riverdance (Whelan) 5.58




I will present more rare stuff from the Swedish music scene in the next weeks …