Peter Maxwell Davies – Piano Concerto; Worldes Blis (2013)

FrontCover1As with most releases in the Naxos series on Maxwell Davies, these recordings were previously issued on Collins Classics, Worldes Blis in 1993 and the Piano Concerto in 1998. On the back cover CD insert, there Read more The Sunday Telegraph to proclaim the concerto as “one of the most attractive and immediately likeable piano concertos to appear for some time.” Although I liked it, I would never make such a claim. This piece, though not as astringent or cerebral as some of Maxwell Davies’s music, is far from “immediately likeable.” It sounds, rather, like Prokofiev swathed in the harmonies of Berio or, at times, Ligeti, which makes it interesting but certainly not immediately appealing to the average listener. Crushed brass chords underscore the piano’s often atonal tinkling, and even attempts at producing melodic themes challenge the listener with their atonal or bitonal harmonic clashes.

Again, the liner notes belie what one actually hears, describing “the tense ‘Scots-snap’ rhythms” and “A vivacious dance.” If you can dance to this stuff, you must have three legs and be hardwired in your brain for shifting cross-rhythms. Again, this is not a criticism of the music, which I found to be extremely interesting and among Maxwell Davies’s best works, but it is a very challenging piece with almost foreboding harmonies, and to pretend otherwise is to deceive the potential listener.


Since the concerto was dedicated to pianist Kathryn Stott, who plays it here, it is almost a foregone conclusion that her playing would be quite fine, and it is. I found her to be more of a cerebral rather than an emotional player, at least from this recording, and thus I’d have to say that the music suits her perfectly. Maxwell Davies appears to have assigned the most emotional passages to the orchestra, which keeps up an almost unbroken undercurrent of unease and menace, while the piano soloist merely overlays her commentary on this canvas. As a result I found this piece to be much more in line with Bartók’s Music for Strings, Percussion, and Celesta despite the very different melodic and harmonic style. The middle-movement Adagio , which is ironically the briefest of the three movements, presents the listener with a moment of relative inertia—the music barely, almost imperceptibly, nudges forward—but not of any calm or comfort. (Oddly enough, the use of pizzicato bass lines under the piano here almost, but not quite, put it in the realm of Third Stream music.) The third movement returns us to the unease of the first.


Worldes Blis, written in 1966-69, is based on a 13th-century plainchant yet is entirely instrumental. Here, Maxwell Davies’s flirtation with the kind of sound world being created by Ligeti is all the more obvious; even the use of a harp keeps the textures in the low range for much of the piece, and it seems to me to be more concerned with texture than anything else, though the slowly rising melody that begins in a solo cello is in some ways more melodic than anything in the concerto. Much of Worldes Blis has the same kind of rhythmic stasis and aura of unease that one hears in the middle movement of the piano concerto. It is, however, an interesting experiment in sound textures and suspension of time, so to speak, and it works very well. Slowly, almost imperceptibly at first, the music becomes busier, yet these “ Allegro s” will never be confused with a Mahler scherzo or a Prokofiev symphonic finale.

As the music becomes busier, it also becomes denser both harmonically and rhythmically, pulling the listener along but not quite engaging one except to admire the cleverness of his construction. In brief, an interesting contribution to the growing Maxwell Davies collection. If only Naxos would do the same for the music of Nancy Van de Vate! —FANFARE: Lynn René Bayley,


Kathryn Scott (piano)
The Royal Philharmonic Orchestra conducted by Peter Maxwell Davies



Piano Concerto (1997) (36:02)
01. I – Moderato – Più Mosso – Andante – Più Mosso – Andante 17.22
02. II – Adagio 8.35
03. III – Allegro 10.04

Worldes Blis (1966-69) (42:23)
04. Lento Recitando – Lentissimo 18.50
05. L’ Istesso Tempo 4.31
06. Allegro 3.30
07. Poco Più Mosso 6.19
08. Allegro 1.46
09. Lento 7.27

Music composed by Peter Maxwell Davies





Trudy Lynn – Royal Oaks Blues Cafe (2013)

frontcover1Houston native Trudy Lynn has been singing rhythm and blues since the 60’s and has had albums issued on several labels since her Ichiban debut in 1989. In recent years she has not been prolific but, as she explains in the sleevenotes, she was searching for the right songs. The result is an album that brings together some fairly obscure songs from blues singers and writers of yesteryear with two of Trudy’s own compositions.
Trudy has a seasoned voice which has enough grit to convey the emotions of the songs, an excellent example being “Country Man Blues”, a song once covered by Candye Kane. Here Trudy’s voice really conveys the slightly risqué lyrics and both Steve and Jonn contribute significantly. The piano features on “Street Walkin’ Daddy”, a hit in 1950 for Margie Day but Jonn plays some wonderfully relaxed guitar too. Trudy’s own songs stand up well in comparison: her “Every Side Of Lonesome” has a live feel with lots of handclaps and backing vocals, Jonn on slide and Steve’s harp almost buzzing in the background, a very catchy shuffle with strong vocals from Trudy. “Down In Memphis” is Trudy’s other credit, a short tune with some striking harp leading on a rocking little number in praise of the Bluff city. Several of the songs Trudy has selected to sing here are what might be described as ‘suggestive’, trudylynn2none more so than Clara Smith’s “Whip It To A Jelly” which closes the album with Steve’s harp working very well with Trudy’s vocal, a late night piece with Jonn on acoustic guitar. Jay McShann’s “Confessin’ The Blues” provides a strong opener, a song that goes back to the 40’s, all three front line players providing strong solos.
On Don Robey’s “Play The Honky Tonks” (a hit for Marie Adams in 1951) Randy’s piano is well to the fore.
My research failed to discover anything about four other songs here. “Feel It” is credited to B Campbell, another suggestive lyric in a performance which, especially Steve’s harp, is relaxed but effective. Another relaxed performance is the fine “Effervescent Daddy” (E Bennett) on which Trudy’s voice is a little smoother than is typical of the album where she usually has more grit in her vocals. However, on this song she is much smoother, as befits the style of the song. “I’m Gonna Put You Down” (W Booze) is a slow blues on which Trudy’s expressive, deep voice is very effective and “Red Light” (V Green) is an upbeat rocker which makes use of some of the same imagery as “I Caught The Katy” and is a real toe-tapper as Jonn ramps up the pace in his solo as the piano and harp underpin Trudy’s vocals.
There is plenty to enjoy here and it is good to hear Trudy in such good voice, sounding very much like the early female pioneers that she has sought to celebrate on this Album. (by
Steve Krase (harmonica, background vocals on 04.)
Eugene ‘Spare Time’ Murray  (bass)
Carl Owens (drums)
Jonn Del Toro Richardson (guitar)
Trudy Lynn (vocals)
Randy Wall  (piano)
Richard Cholawian (drums on 07.)
Rock Romano (bass, background vocals on 04.)
Robert ‘Pee Wee’ Stephens (piano on 04. + 07., background vocals on 04.)


01. Confessin’ The Blues (McShan) 3.51
02. Play The Honky Tonks (Robey) 4.27
03. Feel It (Campbell) 4.44
04. Every Side Of Lonesome (Lynn) 3.56
05. Country Man Blues (unknown) 3.57
06. Street Walkin’ Daddy (G.Day/M.Day) 5.35
07. Red Light (Green) 4.38
08. I’m Gonna’ Put You Down (Booze) 5.19
09. Down In Memphis (Lynn) 2.43
10. Effervescent Daddy (Bennett) 4.10
11. Whip It To A Jelly (Smith) 5.05



stevekraseSteve Krase

Greg Lake – Songs Of A Lifetime (2013)

frontcover1 Greg Lake, a multi-instrumentalist who was a member of King Crimson and Emerson, Lake and Palmer, died yesterday, December 7, at age 69.

Lake, who was a singer, songwriter, musician and producer, had been battling cancer for quite some time.
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His death was confirmed via his official Twitter account by Stewart Young, Emerson, Lake and Palmer’s longtime manager.

“Yesterday, December 7th, I lost my best friend to a long and stubborn battle with cancer,” Young wrote. “Greg Lake will stay in my heart forever, as he has always been. His family would be grateful for privacy during this time of their grief.”

The news comes nine months after Lake’s bandmate, keyboardist Keith Emerson, died of a self-inflicted gunshot wound.

Yes keyboardist Geoff Downes was among first rockers to pay his respects, saying, “Very sad about Greg Lake. I had the privilege of working with him on several projects. His great talent will be sorely missed by all. Another genius has passed away. 2016 has truly been an annus horribilis in musical history.” (by


Songs of a Lifetime is a live album by British musician Greg Lake. It contains songs played by Lake during his Songs of a Lifetime tour that highlight his career as a musician.

“It’s those classic songs and the stories behind them that make Greg Lake’s Songs Of A Lifetime so special. While the former Emerson, Lake & Palmer, King Crimson and one-time Asia vocalist and bassist penned his autobiography Lucky Man, “songs would crop up that were in some way crucial or extremely important in the development of my career,” giving Lake the idea to go out and perform these tunes – both his own and ones that influenced him.

Blasting storm effects, jabbing keys and a drum machine back Lake’s powerful vocal on a snippet of the King Crimson classic, “21st Century Schizoid Man,” that opens the 20-track disc. He moves onto a much less complicated “Lend Your Love To Me Tonight,” a personal highlight for me when I caught this tour in New York and one of the better songs on this CD.

Lake’s stories are as every bit as important as the songs he performed at these concerts. He recalls seeing Elvis in Lake Tahoe in the early 70s before going into a rendition of what he calls “the greatest rock and roll song ever written,” a rather solid stab at “Heartbreak Hotel.” Then we’re into the court of King Crimson with “Epitaph,” followed by a delicious story about the players in King Crimson and the famous cover of their debut album. On “I Talk To The Wind,” another classic Crimson tune, Lake’s vocals are very strong, even though at times the backing keys bleed through, adding a slight karaoke feel.

Bright quick audience participation lifts the equally bright and quick Beatles song, “You Got To Hide Your Love Away,” after Lake’s story about touring with Ringo Starr. A major highlight is when Lake’s vocal and acoustic guitar brush over “Trilogy,” which is practically worth the price of this CD alone. “Still You Turn Me On” sounded big and another story about how “C’est la Vie” was a hit for Johnny Hallyday (aka the French Elvis) in France certainly explains the global appeal of ELP.

The night wouldn’t be complete without the ubiquitous “Lucky Man.” Lake’s powerful voice and simple playing on the keys work well on a very sweet “People Get Ready.” The encore of ELP’s “Karn Evil 9, First Impression, Part 2″ gets the crowd really crazy with full complement of backing tracks. We do get a good mix of Lake’s bass up nice and high and his voice sounds as good at the end of the show as it did at the beginning. Overall, Songs Of A Lifetime does a stellar job of bringing a show from Greg Lake’s recent tour to life. We can only hope more will follow.” (by Ralph Greco, J)

I guess, to present this album is probably the best was to say good bye to Greg Lake … he was a real great one …


Greg Lake (vocals, guitar, bass, organ on 19.)
Andre Cholmondeley (vocals on 20.)
Jon Michael Engard (guitar on 20., background vocals)
April Laragy Stein (accordion on 11., background vocals)
background vocals:
Rob LaVaque – John Akers – Mary Ellen Hayden – Cassidie Smith – Katie Andrianos


01. 21st Century Schizoid Man (Fripp/Giles/Lake/McDonald(Sinfield) 1.00
02. Lend Your Love to Me Tonight (Lake/Sinfield) 3.39
03. Songs of a Lifetime Tour Introduction (Lake) 1.03
04. From The Beginning (Lake) 5.03
05. Tribute to the King (Lake) 7.03
06. Heartbreak Hotel (Axton/Presley) 2.25
07. Epitaph/The Court Of Zhe Crimson King (Fripp/Giles/Lake/McDonald/Sinfield) 5.05
08. King Crimson Cover Story (Lake) 4.46
09. I Talk To The Wind (McDonald/Sinfield) 4.29
10. Ringo and the Beatles (Lake) 4.15
11. You’ve Got To Hide Your Love Away (Lennon/McCartney) 2.51
12. Touch And Go (Emerson/Lake) 3.06
13. Trilogy (Emerson/Lake) 2.56
14. Still… You Turn Me On (Lake) 3.34
15. Reflections of Paris (Lake) 1.21
16. C’est Le Vie (Lake) 3.57
17. My Very First Guitar (Lake) 4.05
18. Lucky Man (Lake) 4.45
19. People Get Ready (Mayfield) 3.25
20. Karn Evil 9: 1st Impression, Pt. 2 (Emerson/Lake) 5.41



(* 10. November 1947 in Poole, England; † 7. Dezember 2016 in London)

He had white horses
And ladies by the score
All dressed in satin
And waiting by the door

Ooh, what a lucky man he was

White lace and feathers
They made up his bed
A gold covered mattress
On which he was laid

He went to fight wars
For his country and his king
Of his honor and his glory
The people would sing

A bullet had found him
His blood ran as he cried
No money could save him
So he laid down and he died

Urszula Dudziak – Wszystko Gra (2013)

frontcover1Back from Poland … and here´s an album from one of most important jazz singers from this country …  :

Urszula Bogumiła Dudziak-Urbaniak (born 22 October 1943) is a leading Polish jazz vocalist. She has worked with artists such as Krzysztof Komeda, Michał Urbaniak (her ex-husband), Gil Evans, Archie Shepp, and Lester Bowie. Her 1970s song, Papaya, gained widespread popularity in Asia and Latin America in 2007.

Dudziak was born in the Straconka, now a neighborhood of Bielsko-Biała, Poland. She studied piano, but began to sing in the late 50s after hearing records by Ella Fitzgerald. Within a few years she was one of the most popular jazz artists in her native country. She met and later married Michał Urbaniak. In the late 60s they began to tour overseas and in the 70s settled in New York City.

Dudziak has some problems with language and customarily eschews words in favour of wordless vocalizing that is far more adventurous than scat. Already gifted with a remarkable five-octave vocal range, Dudziak employs electronic devices to extend still further the possibilities of her voice. She has frequently worked with leading contemporary musicians, including Archie Shepp and Lester Bowie, and was a member of the Vocal Summit group, with Jay Clayton, Jeanne Lee, Bobby McFerrin, Norma Winstone, Sting, Michelle Hendricks, and Lauren Newton. Dudziak has also cooperated and performed with her fellow Polish female jazz vocalist Grażyna Auguścik.

On 11 November 2009 Dudziak was awarded the Knight’s Cross of the Order of Polonia Restituta by President Lech Kaczyński.

Dudziak and Michał Urbaniak are divorced, together they have two daughters: pop singer Mika (Michelle, born 1980) and Kasia. After the divorce she was in a relationship with Jerzy Kosiński for four years. In 1993 she married Swedish captain Benght Dahllof. Dudziak owns apartments in Manhattan, Sweden and Warsaw.

On 8 March 2011 she released her autobiography called Wyśpiewam wam wszystko (I’ll sing everything for you).

And this is her very special album …  celebrating her 70ths birthday … and it´s maybe one of her best albums ever recorded … listen and enjoy !


Robert Cichy (guitar)
Urszula Dudziak (vocals)
Artur Lipiński (drums)
Krzysztof Pacan (bass)
Łukasz Poprawski (saxophone)
Jan Smoczyński (keyboards)


01. Wookies Walk (Smoczyński) 9.11
02. Turkish Mazurka (Smoczyński) 8.21
03. Song For S (Smoczyński/K.Urbaniak) 8.56
04. Cajon (Smoczyński) 6.45
05. Balkan Dance (Smoczyński) 3.13
06. Shortcut To Heaven (Smoczyński) 6.46
07. Drumming (Lipiński) 1.42
08. Happy Riding (Smoczyński) 5.23
09     Let’s Have A Good Time (Smoczyński/M.Urbaniak) 3.57





Clem Clempson – In The Public Interest (2013)

FrontCover1Taken from a press notice:

“I get up and plan to do some writing and actually end up spending most of it being distracted by other things,” that’s how Clem Clempson explained why he hadn’t come up with a solo album, when asked by DME ten years ago. Indeed, having worked with BAKERLOO, COLOSSEUM, ROUGH DIAMOND and some other project, one of the finest British guitarist didn’t have time to make a proper record of his own. Until now, that is.

Last year, Clem hooked up for some songwriting with Pete Brown, a lyricist par excellence, most famous for his stints with CREAM and Jack Bruce, and then threw in some classics. One of these is Ray Charles’ “I Don’t Need No Doctor,” a PIE live staple which gets delivered by COLOSSEUM voice Chris Farlowe and the most fabulous Maggie Bell. The other, “Route 66,” sees Maggie joined by her former STONE THE CROWS colleague Ronnie Leahy on keyboards. A lot to enjoy then, when the record, titled “In the Public Interest,” comes out.

ClemClempsonBandCream rises [and there’s a pun to rise within the metaphor later on] and this first ever solo outing from founding member of Bakerloo [and later Colosseum and Humble Pie], David ‘Clem’ Clempson, is just that in its classic presentation of rock and blues perfection. For those who recall, Bakerloo’s blues gem This Worried Feeling – gaining prominence on the Harvest label’s Picnic sampler of 1970 – features one of the greatest fuzzed-up and wah-wahed guitar solos ever. Ever. Sustained sumptuousness.

The tracks on this album are more mainstream modern rock, and exude class. There is gorgeous guitar on the instrumental fourth track Can’t We Try Again – a tranquil antithesis to the feedback-heavy brilliance of Clem’s Bakerloo classic: age does not wither but it becalms – and of course his guitar soloing throughout all tracks is exemplary. Second instrumental, eighth track Leopold’s Great Escape, jazzes things up a bit. The third, 7th Blues, [that’s a load of numbers….] is again calmly sweet.

ClemClempson03There are great guest vocalists: Maggie Bell on third Route 69, and Chris Farlowe on blues chug Who, whilst they both combine to contribute to Ray Charles’ I Don’t Need No Doctor.

Pete Brown, former Cream lyricist, also adds to the quality mix, with title track In The Public Interest reflecting Brown’s classic satirical insights.(by somediurnalauralawe.blogspot)

Adrian Askew (keyboards, synthesizer)
Clem Clempson (guitar, vocals)
Eddie Filip (drums. percussion)
Reggie Worthy (bass)
Maggie Bell (vocals in 03. + 09.)
Chris Farlowe (vocals on 06. + 09.)
Ronnie Leahy (piano on 01. + 03.,bass on 03., organ on 01.)
01. Think About Me (Clempson/Leahy/Brown) 5.35
02. In The Public Interest (Clempson/Brown) 5.14
03. Route 69 (Clempson/Leahy/Brown) 3.50
04. Can’t We Try Again (Clempson) 7.16
05. Dancing With The Blues (Clempson/Brown) 4.59
06. Who (Dixon) 4.24
07. Waiting For The Day (Clempson) 5.32
08. Leopold’s Great Escape (Clempson/Askew) 6.41
09. I Don”t Need No Doctor (Simpson/Ashford/Armstead) 5.00
10. 7th Blues (Clempson/Askew) 4.07
11. The Way You Waved Goodbye (Clempson/Brown) 5.21


D.D Lowka & Band – Mini Jazz (2013)

FrontCover1This is the first album from German bassplayer D.D. Lowka:

That´s pure pleasure: Going to a small music studio with some good friends to play the piano, the trumpet and the percussion together. No rehearsel, no big arrangements.

Listening to the latest jokes, drinking coffee, counting in the tunes, just playing and improvising on some charming melodies. A funky, jazzy and lyrical conversation unfolds.

Relaxed music, perfect for nightly drives through big cities, for beginning your day or an elegant party with, suitable for splendid sunsets as well as autumnal rainy days. (take from the original liner-notes)

DDLowka01This is a hommage to all the great names of jazz history:like Dizzy Gillespie, Miles Davis, Herbie Hancock, Wes Montgomery, Duke Ellington …. and all the others.

D.D. Lowka is a member of Quadro Nuevo:

ReinhardGreinerQuadro Nuevo is a German acoustic quartet which was founded in 1996 and can be categorized as World Music and Jazz. The band is composed of Robert Wolf, Mulo Francel, D.D. Lowka, Andreas Hinterseher.and Evelyn Huber.
Quadro Nuevo live at “Leverkusener Jazztage” 2015

Within the last decade the band played about 2000 concerts all over the world and is with its numerous awards and Chart Positions among the internationally most successful German Jazz Bands.

Their style is a composition of (cit. Quadro Nuevo) “Tango, Valse Musette, Flamenco, lovely dedusted filmmusic and an almost faded Italy”. (by wikipedia)

And I know, D.D. Lowka is very proud of this album and if you listen to this music, you will know why ! One of the finest jazz albums in the last years.

Reinhard Greiner (trumpet)
Walter Lang (piano)
Didi Lowka  (bass, tarambuca, xylophone, kinderdrums, udu-drum)
Florian Rein (cajon, drums, udu-drum)
Mulo Francel (bass clarinet on 10. + 12.)
Joscho Stephan (guitar on 04. + 07.)

01. Manteca (Gillespie) 3.18
02. Stomping at the Savoy (Sampson) 3.50
03. Latin Lovers (Bosco) 4.04
04. Overload (Sugababes) 3.50
05. Lili (Kaper) 5.19
06. West Coast Blues (Montgomery) 3.04
07. Butterfly (Hancock) 4.39
08. Caravan (Ellington) 5.12
09. Spartacus (North) 4.40
10. Someday my prince will come (Churchill) 3.39
11. Mohn (Lowka) 3.58
12. St. Louis Blues (Handy) 5.37
13. Estate (Martino) 4.58
14. Bye Bye Blackbird (Henderson) 3.34
15. Blue in Green (Davis/Evans) 4.47



Pete York & Young Friends – Basiecally Speaking (2013)

FrontCover1It all goes back to year 1965. Spencer Davis Group was recording a single for the label Phillips Germany after having released its number one hit “Keep on Running”. Alongside the guitarist and a former German teacher Spencer Davis, Steve Winwood and his older brother Muff also the upcoming drummer Pete York was a member of the band. The producer of the session was Siggi Loch. “We’ve been friends ever since,” Pete York, who turned 70 in August, reminisces. “Maybe it is Siggi’s birthday present that I got the chance to release this album on ACT.”

The present is called „Basiecally Speaking“. As you might guess due to the title, the album is all about Count Basie. York explains: “Basie was almost my first connection with jazz after Louis Armstrong. When I was 15, my mother took me to see his concert. It was unforgettable, particularly due to his energetic drummer Sonny Payne. His big band had such power and dynamics. Basie used the whole language of music and was famous for his musical humour as well as for his economic way of playing the piano. Every note mattered and was swinging. I have tried to include all these things in my music. Most of all, I learnt from Basie what not to play.”

Live01Not only in this aspect is Pete York unique – there are not many drummers who can be compared with the Briton in diversity and ingenuity. York, who has been living in Bavaria since 1984, became famous in the 60s with the Spencer Davis Group and with The World’s Smallest Big Band – a duo with Eddie Hardin. Boundaries between genres have never been important to him – he has played with jazz musicians, such as Chris Barber and Klaus Doldinger, blues stars like Dr. John and rockers including recently the deceased keyboardist Jon Lord from Deep Purple and songwriter Konstantin Wecker. For the German comedian and jazz musician Helge Schneider York does not only hold the drumsticks but even recently acted in one of his films. He also created and appeared in the TV series “Super Drumming” with a number of prominent drummer colleagues. Moreover, York has also got talent as an entertainer with British humour. He once wrote TV comedy scripts alongside members of Monty Python.

York’s openness, relaxed attitude and excellent entertainment qualities coincide with Siggi Loch’s understanding of music. Love for tradition is also important for both. “A lot of young musicians are not acquainted with the history of jazz. You can’t have a future without knowing and honouring the past,” says Siggi Loch. This was the starting point for “Basiecally Speaking”.

Live02In spring Loch received the Škoda Lifetime Achievement Award on the Jazzahead fair in Bremen. He took the prize money, doubled it and invested it into a project in which young upcoming musicians would play together with an experienced star. And who would better fit the role of the leader and mentor than Pete York.

That is why Pete York does not play with „old cats“ on „Basiecally Speaking“ but rather with „Young Friends“. First of all, there is Gábor Bolla, the newest ACT star on saxophone. “That was Siggi’s idea, since I didn’t know him before. I was all the more amazed how extremely well Gabor plays the high-power tenor saxophone that was also very important in Basie’s band, with musicians such as Lester Young, Hershel Evans or Eddie “Lockjaw” Davis. For a drummer it is exciting that Gabor can play with rhythmic accuracy at high tempos, relax over the medium tempos and be beautiful on ballads . Andi Kissenbeck, the specialist for groovy Hammond organ, whom York had already met, received an important role on the project. “If you don’t have a brass section, Hammond organ is almost the only alternative. I’ve played with many organists, such as Wild Bill Davis and with rock colleagues including Brian Auger, so I can recognise and appreciate how wonderfully Andi plays.” And finally, there is Torsten Goods, who has shown on his ACT albums “Irish Heart” and “1980” that he plays the classic jazz guitar with unique technical brilliance and style. He can play that all-important Freddie Green rhythm guitar, change to deliver an astonishing solo or punch up an ensemble and he also has a wonderful swinging voice that can be heard on “Gee Baby”.

Andreas Kissenbeck

Andreas Kissenbeck

This session is a milestone in the varied career of Pete York. “I think I’ve been heard on around 200 albums in the last 50 years and now I’ve come back to my first love, the happy swing of Count Basie. What really knocks me out, apart from Siggi wanting me to do this at all, is the way the Young Friends just dived into this project and made such a great sound right off the bat. With guys like these around me I feel as young as they are.

“Basie’s old hits, such as “Cute”, “Jumpin’ At The Woodside” and “Splanky”, are grooving and swinging, making “Basiecally Speaking” a true pleasure. Or, as York puts it in his funny Denglish when things go well together: “Uh, what a Geschmack!” (promotion text)

In other words: This is one of the best jazz-album Pete Mr. Superdumming York ever recorded !

Gabor Bolla (saxophone)
Torsten Goods (guitar, vocals)
Andreas Kissenbeck (organ)
Pete York (drums, vocals)
Wolfgang Schmid (bass on 01.)

01. Groovin’ For Basie (York/Goods/Bolla/Kissenbeck/Schmid) 3.36
02. Tickle Toe (Young) 3.24
03. Jumpin At The Woodside (Basie) 4.11
04. Splanky (Hefti) 5.01
05. Moten Swing ( Benny Moten/Buster Moten) 4.30
06 Flip, Flop And Fly (Calhoun/Turner) 3.32
07. Lil’ Darling (Hefti) 5.31
08. Shiney Stockings (Foster/Hendricks) 5.41
09. Cute (Hefti) 04.02
10 Gee Baby Ain’t I Good To You (Redman/Razaf) 3.21
11 Lester Leaps In (Young) 3.48
12 Broadway (Bird/McRae/Woode) 3.53
13. Roll ‘Em Pete (Johnson/Turner) 2.14

* (coming soon)

Torsten Goods

Torsten Goods