Radio.String.Quartet.Vienna – Posting Joe – Celebrating Weather Report – Live (2013)

FrontCover1The radio.string.quartet, interim radio.string.quartet.vienna, is a contemporary string quartet based in Vienna.

They are known for using a big variety of musical styles including classical, folk, rock, jazz, pop music, electronica and contemporary music in their compositions and arrangements.

Despite their name they have no artistic connection to any radio station.

The quartet was one of the big discoveries of the Berlin Jazz Festival in 2006 with its adaptation of the music of the Mahavishnu Orchestra.


John McLaughlin wrote the liner notes to their first album: ….”From the first note I was struck by the way this group had ‘appropriated’ my music and made it their very own. They even got the atmosphere which was present all those years ago. The other aspect that touched me deeply was the importance they attach to improvisation, and they do improvise!…. …This is no ordinary string quartet. The love of, and the dedication they have to their respective instruments is marvellous, and the fact that they have taken what was electric jazz-fusion music, fused it with their training in ‘classical’ music, and conserved the ‘electric’ atmosphere is outstanding.”

Radiodream (2011) marked a new chapter in the band’s history: it is the most independent work of the quartet containing a huge percentage of their own compositions, which show the various musical and cultural backgrounds of the band members.


Posting Joe – Celebrating Weather Report – live (2013) is paying homage to their fellow countryman, the great composer and pianist/keyboard player Joe Zawinul.[1] It was voted “#2 jazz album of the year 2013” by The Sunday Times.

In 2014 the band began to work on in between silence (2017), which defined a new operation mode both in their studio work and in their live-performance. The use of voices and electronics widens the band’s horizons considerably, a stylistic device which is now used for the first time on several pieces. The album compositions – exclusively written by the quartet – basically were re-arranged for the live-performance. With that step the band tried to adapt the spatial variability of listening to music live or from an album. For in between silence album the band worked with a co-producer for the first time, the Norwegian pianist and NuJazz-pioneer Bugge Wesseltoft.


In 2020 the band begins with their “quadrology”, whose basic idea is to represent the 4 elements earth, fire, air and water in their musical language and to relate them to each other. For each individual element there will be collaborations and a different line-up, the center and musical link of which will be radio.string.quartet.

The first element to appear, for the first time on her own label SeeYulette, was Erd’ with the Austrian singer and composer Roland Neuwirth in June 2020. In 2022 they released B:A:C:H • like waters, an audiovisual journey based on Johann Sebastian Bach’s g-minor Violin Solosonata. In 2022 they released B:A:C:H • like waters, an audiovisual journey based on Johann Sebastian Bach’s g-minor Violin Solosonata. (wikipedia)

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Ever since r.s.q.v was founded in 2003, it has been innovatively broadening the spectrum of the string quartet. The idea to dedicate the fifth album “Posting Joe” to the great jazz genius from Vienna was not new. “Although we have never had a specific plan,” Liao says, “Zawinul’s music has always been there. Already after our Mahavishnu album, which made us internationally known, we were about to start a Zawinul project. But then we became engaged with “Radiotree” together with accordionist Klaus Paier. Even so, the album included two r.s.q.v versions of Zawinul’s pieces.”

However, the expansion of the idea was postponed due to a proposition by the irresistible Rigmor Gustafsson, which resulted in the album “Calling You”. After this project the urge to work with material of their own was even greater. Their own compositions of dream interpretations on “Radiodream”, released in 2011, on which Igmar Jenner replaced Johannes Dickbauer on violin, marked the last tessera of r.s.q.v’s extraordinary work hitherto.

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After that the timing was perfect to go about a project that had long been postponed. Not least due to an invitation to play at an updated Zawinul biography presentation by Brian Glasser in London and an invitation to the “Zawinul Music Days” in Vienna by Zawinul’s former manager Risa Zinke. There was a further advantage to the project as well. Valcic: “Not only had Zawinul been in our hearts for ages, but we had also been thinking of doing a live album for a long time, since our concerts had developed certain dynamics of their own in comparison to the studio recordings.”

That is why the second part in all “Radiodream” concerts was dedicated to Zawinul. “We recorded at least eight of these sets. That way we could choose performances that we were completely satisfied with.” Recordings from all over Europe are combined into a Zawinul homage – from the legendary Music Association in Vienna, from Pori in Finnland, from Zagreb, Warsaw, Zürich and Ravensburg. On “Posting Joe” r.s.q.v. is sending musical declarations of love to one of the greatest jazz musicians of all times.

After spending 2006-2008 in worldwide demand for their exciting string-quartet-meets-jazz-fusion take on the music of the Mahavishnu Orchestra, radio.string.quartet.vienna have put aside the covers for a while. But if any composer’s work might be a temptation to a group that uniquely mixes the excitement of rock, the agility of jazz and the textures of classical strings, it’s Joe Zawinul’s. This tribute to the late Austrian colossus includes an astonishing version of Birdland, in which Asja Valcic’s percussive cello brings in the famous bass hook after an expectant hum of pizzicato strumming from the violins and viola. The racing Freezing Fire parades the quartet’s rhythm section-like drive, inspired arrangements and ability to creatively mimic Zawinul’s talky synth-sounds; Dream Clock reflects a patience with nuance and detail that balances all the virtuosity, and the later stages include a prayerlike In a Silent Way, and a closing Volcano for Hire full of musical mood-swings. There aren’t long, jazzy improv breaks, but an appetite for spontaneity fuelled the thinking behind the whole idea. (The Guardian)


Igmar Jenner (violin)
Cynthia Liao (viola)
Bernie Mallinger (violin)
Asja Valčić (cello)

Radio String Quartett

01. Troposphere (Mallinger) 1:39
02. Birdland (Zawinul) 6:33
03. Freezing Fire (Shorter) 4:05
04. Peace (Zawinul) 6:16
05. Black Market (Zawinul) 6:35
06. Dream Clock (Zawinul) 6:14
07. Wireless Wings – For Joe (Valčić) 6:55
08. In A Silent Way (Zawinul) 3:54
09. Cannonball (Zawinul) 5:51
10. Volcano For Hire (Zawinul) 6:31


More from the Radio String Quartet Vienna:

The official website:

Ida Landsberg – Acoustic Bossa Nova (2013)

FrontCover1Ida Landsberg is a singer, pianist and songwriter. Born in Berlin, after some years of classical singing lessons with Renate Dasch (mother of the opera singer Annette Dasch), she studies music from 1998 to 2000 at the Berlin University of Arts with Jutta Schlegel (voice), Marek Bobéth (piano), Martin Ripper (flute), Jolyon Brettingham-Smith and Bodo Bischoff (music theory), Harald Schwarz (choir direction) and moves to Tuscany in 2000, initially for a student exchange but emigrates definitly to Italy because of sentimental reasons. She takes lessons at the Siena Jazz School, studies jazz improvisation, ear training and participates at different master classes and workshops held by Marco Tamburini, Cheryl Porter, Carl Verheyen, Greg Koch, Robben Ford and other. Since 1998 Ida plays gigs as a jazz and bossa nova singer in clubs and venues, theatres, in the radio, at festivals and events both in Germany and Italy.

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Just to name some of them, she sang at the “Villa Celimontana Festival” (Rome), “Cantiere Musica” (Anguillara), “Note di Montecucco” (Campagnatico), “Festival del Giornalismo” (Orbetello), Teatro Eliseo, Teatro Anfitrione (Rome), “Disma Music Show” (Rimini), “Capalbio Libri” with Tony Renis, at Massimo Nunzi’s radio programme “Jazz a Nota Libera” together with Lino Patruno and many clubs all over Italy. She performs with different groups, from the minimal duo with her long time guitarist – and now husband – Simone Salvatore to the whole big band. In the past years she had the honour to collaborate with many excellent musicians such as Frank Gambale, Marco Guidolotti, Francesco Poeti, Ferruccio Spinetti, Emilio Soana, Andy Gravish, Mirco Mariottini, Piero Borri, Giampiero Grani, Angelo Olivieri, Marco Caudai, Stefano Bagnoli, Angelo Ferrua, Romano Pratesi, Olivier Renne, Lello Pareti, Matt Smith, Alessio Buccella, Katie Mullins, Michele Makarovic, Michele Santinelli and many others.

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EQ Music Singapore released her first two solo albums “Jazz Moments” with piano player Francesco Moraca, “Acoustic Bossa Nova” with guitarist Simone Salvatore – that was published again by Hitman Jazz (Thailand) – and innumerous compilations. Futhermore she published different soundtracks for the iPhone game “1112″ (Episode 02 and 03) together with the skilled sound designer Dimitri Pachkov and for the Italian national TV (RAI), as well as some electronical music with DJ Nicko Vee and 11 Inch released by the independent labels Salto Recordings, Aux Audio and Tenor Recordings. IRM

A records just published her album “Cherry Tree Lane”, the first one with unedited songs.

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And here´s her first soloalbum,

Ida Landsberg (vocals)
On this album we hear acoustic versions of well-known songs from rock and soul history … what a great voice, light as a feather … what great solo contributions on the guitar.

This album is a little sensation … highly recommended.


Ida Landsberg (vocals)
Simone Salvatore (guitar)


01. You Are The Sunshine Of My Life (Wonder) 4.23
02. (I Can’t Get No) Satisfaction (Jagger/Richards) 2.39
03. I Heard It Through The Grapevine (Whitfield/Strong) 3.02
04. Venus (v. Leeuwen) 2.38
05. The Look Of Love (Bacharach/David) 3.50
06. It’s Too Late (King/Stern) 3.19
07. Walk On The Wild Side (Reed) 3.37
08. Sunny (Hebb) 3.43
09. Maniac (Sembello) 4.36
10. Jammin’ (Marley) 3.14
11. Fragile (Sumner) 3.49
12. You Are Not Alone (Kelly) 3.44



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The official website:

Alena Cherny – For You – The World’s Best Loved Classical Piano Pieces (2013)

FrontCover1The Ukrainian pianist, Alena Cherny, found her own way to music. Her unique development in part has its origins in her extraordinary educational biography even this course has been relatively standard for the career of an inrernational pianist. A passionate pianist, she studied with professor Natalia Vitte at the Tchaikovsky Corservatoire in Kiev and then pursued solo studies with professor James Avery at the Staatliche Hochschule für Musik in Freiburg im Breisgau, graduating in each case with flying colours. After that she earned a diploma for chamber music and Lied accompaniment at the State Academy of Music at Trossingen under professor Michael Uhde. These studies were accomplished with the highest distinction. In Kiev Cherny also received valuable support and inspiration from the famous piano pedagogue and pianist Boris Archimovitch. She also participated in master-classes with András Schiff and in international piano competitions – she was a finalist in the Concours Clara Haskil at Vevey in 1991.

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The more unique part of Cherny’s musical development came from her early years though not through any musical family tradition. She discouvered the music in her little hometown through childhood curiosity and by her own initiative. Very influential in her wish to become a pianist were her visits to the house of Nicolai Bashchanov, the Russian biographer and music publicist who was personally acquainted with the most important musicians of the Soviet Union. Bashanov had retreated to the country side and had brought with him a record collection and more importantly his Petrof upright piano. To children in the neighborhood hungry for knowledge, he passed on to them the literature of music, and for Alena, this was her first encounter with her own talent. She had the ability to respond to this talent and to take full responsibility for it. Her mother, a teacher, and her father, a lorry driver, recognized Alena’s gift and supported her first steps to her calling.

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Extensive recital tours in the USA, in England, Israel, Germany, Italy, Austria and Japan made her name known in the leading music centres of the Western world. As a professional musician, Alena Cherny is somewhat exceptional. She is a pianist who does not allow her career to be determined by the rules of the music industry. Her successful concertizing is not based on any routine formulas, she is rather guided by artistic considerations, total independence, and following her inner voice. Although today she does not deny that her first dream profession was to become an actress, she found the door to a wider world through music.

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An immense treasure of masterworks provide her with constant sources for further musical development. When Cherny performs, she shares with her audiences her musical discoveries. Whether performing chamber music together with musicians such as Gidon Kremer, Gerard Caussé, Maria Kliegel, Thomas Demenga, Christoph Homberger, Peter Sadlo, or when she performs the works of her favourite composer, J.S. Bach, the classics, romantics, and contemporaries, in concerts or on sound studios, in all cases she relates the ideas and passions that come out of the works of her repertoire. Her interpretations are marked by narrative freedom, a close dialogue with the audience and the unconditional striving to rediscover the work of music time after time. And in all cases she leads the listener through the written music to the composer. This is the unconditional obligation of a musician, an artist.

Today Alena Cerny lives in Switzerland. (

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And here´s a pretty good album(2 CDs) with „The World’s Best Loved Classical Piano Pieces“.

A wonderful overview of the highlights of classical piano music !


Alena Cherny (piano)



CD 1:
01. Jesu bleibet meine Freude (Bach) 3.01
02. Allegretto. Alla turca (from Piano Sonata No. 11 in A major, K. 331) (Mozart) 3.20
03. Adagio sostenuto (from Piano Sonata No. 14 in C sharp minor Moonlight) (Beethoven) 3.57
04. Adagio (from Toccata, Adagio & Fugue, BWV 564) (Bach) 3.37
05. Intermezzo in A major, Op. 118/20 (Brahms) 6.04
06. Albumblatt für Elise, Bagatelle in A minor, WoO 59 (Beethoven) 3.29
07. Ich ruf zu dir, Herr Jesu Christ, BWV 6390 (Bach) 3.41
08. Rondo a capriccio, Op. 129 „Die Wut über den verlorenen Groschen“ (Beethoven) 7.10
09. Fantasia No. 3 in D minor, K. 397/385g (Mozart) 4.40
10. Waltz in A-flat major, Op. 39/150 (Brahms) 1.23
11. Erbarme dich, mein Gott (from Matthäuspassion, BWV 244) (Bach) 6.27
12. Lieder ohne Worte, Op. 62 No. 6: Frühlingslied (Mendelssohn-Bartholdy) 2.22
13. Träumerei (from Kinderszenen, Op. 15) (Schuhmann) 1.44
14. Wiegenlied, Op. 49/40 (Brahms) 1.59
15. Pavane pour une infante défunte05:09

CD 2:
01. Pavane pour une infante défunte, M. 19 (Ravel) 5.09
02. Nocturne No. 20 in C sharp minor, Op. posth. (Ravel) 4.20
03. Frühlingsrauschen, Op. 32/30 (Sinding) 2.51
04. June (from The Seasons, Op. 37) (Tschaikowsky) 4.13
05. Auf dem Wasser zu singen, D. 774 (Schubert) 5.18
06. October (from The Seasons, Op. 37) (Tschaikowsky) 3.48
07. Tango (from España, Op. 165) (Albéniz) 2.40
08. Comptine d’un autre été: L’après-midi (Tiersen) 2.01
09. Golliwogg’s Cakewalk (from Children’s Corner) (Debussy) 3.07
10. Waltz in C-sharp minor, Op. 64/2 (Chopin) 4.53
11. Gymnopédie No. 10 (Satie) 3.28
12. December (from The Seasons, Op. 37 (Tschaikowsky) 3.45
13. Ave Maria, D. 839 (Schubert) 7.47
14. Gnossienne No. 1 (Satie) 4.56
15. The Heart Asks Pleasure First (Nyman) 2.23
16. Le Piccadilly, Marche (Satie) 1.56
17. Big My Secret (Nyman) 2.35




The official website:

Ana Popovic – Can You Stand The Heat (2013)

FrontCover1Ana Popović (Serbian Cyrillic: Ана Поповић, born May 13, 1976) is a blues guitarist and singer from Serbia who currently resides in the United States.

Popović was born in 1976 in Belgrade. Her father introduced her to the blues, and she started to play the guitar when she was fifteen.

In 1995, she formed the band Hush with Rade Popović (guitar, vocals), Milan Sarić (bass guitar) and Bojan Ivković (drums). Hush performed rhythm and blues, but also incorporated elements of funk and soul into their sound. The band had their first performance in the club Vox in Belgrade. During 1996, Hush performed across Serbia, also performing in Greece. Thanks to their performance at the Marsoni Blues Festival in Senta, Hush got the invitation to perform at the Fifth International Blues, Jazz, Rock and Gastronomic Festival in Hungary.[3] A part of their performance was released on a live album which featured recordings from the festival. In 1996, Popović played slide guitar on Piloti album Dan koji prolazi zauvek (The Day that Is Passing Forever).

During 1998, Hush had over 100 performances, playing in blues clubs and blues festivals.[3] During the same year, they released their debut album, Hometown, through PGP-RTS.[3] The album was produced by Aleksandar Radosavljević, and featured Vojno Dizdar (electric piano and Hammond organ), Petar “Pera Joe” Miladinović (harmonica), Aleksandar Tomić (tenor saxophone) and Predrag Krstić (trumpet) as guests. Beside the band’s own songs, Hometown also featured covers of blues standards.


In 1998, Popović went to Netherlands to study jazz guitar, and Hush disbanded.

In 1999, Popović formed the Ana Popović Band in the Netherlands. In 2000, she appeared, alongside Eric Burdon, Taj Mahal, Buddy Miles, Double Trouble, Eric Gales and others, on the Jimi Hendrix tribute album Blue Haze: Songs of Jimi Hendrix with a cover of the song “Belly Button Window”. In 2001, she released her solo debut, Hush!, through the German label Ruf Records. The album was recorded in Memphis, with the members of Ana Popović Band, as well as studio musicians. It was produced by Jim Gaines, who previously worked with Carlos Santana, John Lee Hooker, Alexis Korner and others. The album featured Bernard Allison as guest. The album saw large success, so Popović left her guitar studies, and dedicated herself to performing.

In 2003, Popović released her second album, Comfort to the Soul. The album, recorded in Memphis and produced by Gaines, featured a fusion of blues, rock, soul and jazz. During the same year, on the Rhythm & Blues Festival in Belgium, she was invited by Solomon Burke to join him on stage, after which she joined him on the rest of the tour as a guest. In 2005, Popović released a live album and DVD entitled Ana! Live in Amsterdam, recorded on January 30, 2005, on her concert in Amsterdam club Melkweg.


In 2007, Popović released the album Still Making History through the American record label Eclecto Groove Records. In 2009, she released the album Blind for Love, and in 2011 the album Unconditional through the same label. Both Still Making History and Unconditional reached number one in the United States Billboard Blues chart. In 2012, Popović moved to Memphis, Tennessee, and a few years later relocated to Los Angeles, California.

Popović’s ninth full-length album, entitled Can You Stand the Heat, was released in April 2013 through ArtisteXclusive records. The album, produced by Tony Coleman, was recorded with John Williams on bass guitar, Harold Smith on rhythm guitar, Frank Ray Jr. on organ and Tony Coleman on drums. Popović performed at the 2013 New Orleans Jazz & Heritage Festival, where she introduced a new project: a nine-piece band under the name Ana Popovic & Mo’ Better Love. In September 2013, Popović signed with Monterey International booking agency.

In 2014, she was nominated for a Blues Music Award in the Contemporary Blues Female Artist of the Year category.


Popović released a triple album titled Trilogy on May 20, 2016. The album includes multiple guests, including Joe Bonamassa, Robert Randolph, Cody Dickinson (North Mississippi Allstars), Bernard Purdie, and rapper Al Kapone.

Popović released her next studio album, Like It on Top on September 14, 2018. The album was recorded in Nashville, Tennessee, and produced by Keb’ Mo’.

Can You Stand the Heat is Ana Popović’s sixth studio album, released on March 27, 2013 on ArtisteXclusive records. The album has eleven original songs and three cover songs, and features guest appearances with Grammy Award winner Tommy Sims and Grammy nominee Lucky Peterson, and was produced by B.B. King’s drummer of twenty-five years, Tony Coleman. She met Coleman when she was opening for B.B. King, and they wondered if groovy blues was fading from the scene, so they came up with the idea of making a blues album in the style of Albert Collins and Albert King, using funk and “old-school” soul. Popović relocated her family from Amsterdam to Memphis so that she could record at Ardent Studios and to embrace the music aura that circulates in the city’s perennial juke joints.[8][4] The title track, “Can You Stand the Heat”, was released as single before the album was released, and a video was shot for the song, directed Jonathan Pekar. (wikipedia)


Blues, powerful vocals, and a hint of jazz: Ana Popovic must be back. The three-time 2012 Blues Music Awards nominee returns this spring with Can You Stand the Heat, a project that signals Popovic’s search for an edgier sound with an instrumental range that went largely unexplored on previous records. Originally from Belgrade, Serbia, Popovic first dove into music with the band Hush in the 1990s before electing to work as a solo artist in 1999. In support of her latest release with ArtisteXclusive Records, Popovic is touring as Ana Popovic & Mo’ Better Love, a new collaboration that emanates the full sound achieved on the album.


Can You Stand the Heat kicks off with its title track, a five minute-long jazzy jaunt that taps into gospel-styled background vocals and scaling keys. On “Hot Southern Night” and the fast-paced “Boys Night Out,” Popovic shares the influence of her current Memphis base with American blues-styled licks and vibes. Popovic turns it up one notch further on “Hot Southern Night” as Grammy Awards nominee Lucky Peterson steps in to trade vocals with Popovic and lend his own six-string and organ-playing skills. Grammy winner Tommy Sims also makes a guest appearance to close the album with a remixed version of “Mo’ Better Love,” the original of which is included on the album as well.


For hardcore blues fans, the album’s reigning tracks will likely be “Tribe,” “Ana’s Shuffle” and “Blues for Mrs. Pauline.” The short guitar-lovers-only intro to “Tribe” recalls the mood felt on classic lead-ins like in Led Zeppelin’s “Nobody’s Fault But Mine,” while “Ana’s Shuffle” cuts vocals out of the equation entirely to focus on enthusiastic soloing and technical tenacity. “Blues for Mrs. Pauline” offers a nice contrast to the shuffle as it weaves a warning against cheating in relationships through the lyrics and around a supporting cast of rhythms and harmonies. Popovic’s voice, clear and forceful, gives the lyrics a charge that makes each story shared and each sentiment expressed feel honest and heartfelt.

Though Popovic’s take on the blues sounds similar to much of the jazz-influenced blues music of today and of decades past, it is Popovic’s voice that gives her work its strength. The new musical elements explored in Can You Stand the Heat (including the background singers and keyboard work, as well as the rhythm guitar and horn sections) give Popovic’s latest release a wider range of sounds to choose from. While Popovic’s sampling comes across well on the record, the live feel she strives for has a fair chance of sounding even better live. With her new project Ana Popovic & Mo’ Better Love already on the road, concert and festival attendees are likely discovering that Popovic’s songs reach new levels when performed onstage. (by Meghan Roos)


Tony Coleman (drums)
Ana Popović (vocals, guitar, slide guitar)
Frank Ray, Jr. (keyboards)
Harold Smith (guitar)
John Williams (bass)
Marc Franklin (trumpet)
Felix Hernandez (percussion on 11.)
Lucky Peterson (vocals, guitar, organ on 06.)
Tommy Sims (bass on 13, vocals on 14.)
Kirk Smothers (saxophone)
Tauris Turner (drums on 04.)
Javier Solis (drums, percussion on 13. + 14.)
background vocals:
Sherry Williams & John Williams (on 01., 07. + 13.)
Stephanie Bolton & Sharisse Norman (on 03. – 05.)
John Williams & Frank Ray, Jr (on 11.)
Jerard Woods & Jovaun Woods (on 14.)
Children choir on 13. + 14.:
Jovanni Ramirez – Jerard Woods II – Justin Woods – Sarah-Clayton McBrayer – Emmy Layne Myers – Noelle Jamison – Nori Jamison

01. Can You Stand The Heat (Popović) 5.00
02. Can’t You See What You’re Doing To Me (Turk/Ahlert) 3.53
03. “Mo’ Better Love (Popović/Sims) 3.28
04. Object Of Obsession (Popović/Williams) 4.15
05. Boys’ Night Out (Popović/van Meurs/Coleman) 2.27
6. “Hot Southern Night” (with Lucky Peterson) A. Popović, M. van Meurs 3:39
7. “Every Kind of People” Andy Fraser 4:10
8. “Ana’s Shuffle” A. Popović, Tony Coleman 4:07
9. “Blues for Mrs. Pauline / Leave My Boy Alone” A. Popović, T. Coleman, Buddy Guy 7:11
10. “Leave Well Enough Alone (aka High Maintenance You)” A. Popović, M. van Meurs, T. Coleman 4:11
11. “Tribe” A. Popović, Tony Coleman 5:47
12. “Rain Fall Down” Mick Jagger, Keith Richards 4:07
13. “Growing Up Too Soon” (Bonus track) A. Popović 2:58
14. “Mo’ Better Love” (with Tommy Sims – Bonus track) A. Popović, T. Sims 3:26




Blackmore’s Night – Winter Carols (2006/ 2013)

FrontCover1.jpgWinter Carols is the sixth studio album by the group Blackmore’s Night, released in the United Kingdom on October, 2006, and in the United States on November 7, 2006. It is a Christmas themed album. The cover artwork for this album, painted by Karsten Topelmann, is an adaptation of a street in Rothenburg ob der Tauber, Germany, in line with the band’s heavy Renaissance influence. The same street is portrayed in the cover of Blackmore’s Night’s second studio album, Under a Violet Moon. In the cover of “Winter Carols” the street is painted as winter time, whereas Under a Violet Moon’s cover takes place on apparently a summer night. While the selections “Winter (Basse Dance)” is credited to Ritchie Blackmore as composer, it is an adaptation of the second section of Joaquin Rodrigo’s “Fantasía para un gentilhombre,” which Rodrigo composed for classical guitar virtuoso Andres Segovia in 1954.

On December 2006, Winter Carols entered at #7 on USA Billboard New Age Charts.[4]

The album won the New Age Reporter Lifestyle Music Award as the Best Holiday Album. (by wikipedia)


Ever wonder what Christmas carols sounded like back in time when the finest form of transportation was by horse and wearing armor was a hip fashion statement? Well then, the second release of 2006 by Blackmore’s Night, Winter Carols, may offer some insight. As with their previous efforts, the music on Winter Carols is of the Renaissance-inspired folk variety. And while the majority of the songs are traditional compositions, there are also a few originals, including “Winter (Basse Dance),” which includes some simply gorgeous acoustic guitar doodling by once Fender Strat/Marshall amp abuser Blackmore. Elsewhere, songs such as “Hark the Herald Angels Sing/Come All Ye Faithful” and “We Wish You a Merry Christmas” would sound splendid sung around the campfire — if it were still the 15th century. Unfortunately, a rendition of the Chipmunks’ “The Chipmunk Song (Christmas Don’t Be Late)” is not included. (by Greg Prato)


This is one of the most refreshing albums of Christmas music released in many years! There are no Santa Clauses, Rudolphs, or Sleigh Rides here. Candice Night (vocals) and Ritchie Blackmore celebrate Christmas without all the commercialism that saturates most Christmas albums and tastefully interpret carols with a few original compositions added for flavor. Of the originals, “Christmas Eve” and “Winter (Basse Dance) are most notable, although the latter is an adaptation of a classical guitar piece written for Andres Segovia by Joaquin Rodrigo (“Fantasia Para Un Gentilhombre”). Candice Night’s vocals are perfectly suited to the music on the album, and if you want to celebrate the season by listening instead of partying, WINTER CAROLS comes highly recommended! (Tom Daly)


Ritchie Blackmore (guitar, mandola, nyckelharpa, hurdy-gurdy, percussion)
David “Bard David of Larchmont” Baranowski (keyboards)
Robert “Sir Robert of Normandie” Curiano (bass)
Albert Dannemann (bagpipes, background vocals)
Anton Fig (drums)
Candice Night (vocals, shawm, pennywhistle)
Pat Regan (keyboards)
Sarah Steiding (violin)
background vocals:

Sisters of the Moon:
Lady Madeline and Lady Nancy (Madeline and Nancy Posner)
Ian Robertson – Jim Manngard



CD 1:
01. Hark the Herald Angels Sing / Come All Ye Faithful (Traditional) trad. 3.50
02. I Saw Three Ships (Traditional) 2.40
03. Winter (Basse Dance) (Blackmore) 3.08
04. Ding Dong Merrily On High (Traditional) 3.17
05. Ma-O-Tzur (Traditional) 2.19
06. Good King Wenceslas (Traditional) 4.44
07. Lord Of The Dance / Simple Gifts (Carter/Brackett) 3.34
08. We Three Kings (Traditional) 4.49
09. Wish You Were Here (song from Shadow of the Moon) (Teijo) 5.02
10. Emmanuel (Traditional) 3.33
11. Christmas Eve (Blackmore/Night) 4.20
12. We Wish You A Merry Christmas (Traditional) 1.21

CD 2:
01. Hark the Herald Angels Sing / Come All Ye Faithful (live from Minstal Hall 2013) (Traditional) 4.11
02. Emmanuel (live from Minstal Hall 2013) (Traditional) 4.34
03. We Three Kings (live from Minstal Hall 2013) (Traditional) 5.24
04. Ma-O-Tzur (live from Minstal Hall 2013) (Traditional) 2.11
05. Good King Wenceslas (live from Minstal Hall 2013 (Traditional) 6.15
06. Christmas Eve (2013 version) (Blackmore/Nigh) 4.34
07. Christmas Eve (German radio edit) (Blackmore/Night) 3.58
08. Christmas Eve (English & German radio edit) (Blackmore/Night) 3.58
09. Christmas Eve (English radio edit) (Blackmore/Night) 3.56



The cover artwork for this album, painted by Karsten Topelmann, is an adaptation of a street in Rothenburg ob der Tauber, Germany, in line with the band’s heavy Renaissance influence. The same street is portrayed in the cover of Blackmore’s Night’s second studio album, Under a Violet Moon. In the cover of “Winter Carols” the street is painted as winter time, whereas Under a Violet Moon’s cover takes place on apparently a summer night.

And here´s the same scene … in our time:



Irvin Mayfield & The New Orleans Jazz Playhouse – A New Orleans Creole Christmas (2013)

FrontCover1.jpgIrvin Mayfield, 37, is a Grammy and Billboard Award-winning artist with 25 albums to his credit. Mayfield is the founding Artistic Director of the New Orleans Jazz Orchestra and currently serves as Jazz Artist in Residence for the Apollo Theater; he served as Artistic Director of Jazz for the Minnesota Orchestra from 2009-2015. In 2009, he entered into a historic partnership with the Royal Sonesta Hotel and created Irvin Mayfield’s Jazz Playhouse, which brought “Jazz back to Bourbon Street” in the historic French Quarter. Mayfield was nominated to the National Council on the Arts by President George W. Bush and was subsequently appointed to the post by President Barack Obama in 2010; he served through 2014. He also received The Chancellor’s Award from the University of New Orleans (the highest ranking award given to a professor) in 2010 and was awarded an Honorary Doctorate from Dillard University in 2011. He and NOJO recently opened the first space built for Jazz in the city that created the music – The Peoples Health New Orleans Jazz Market.

Irvin Mayfield & The New Orleans Jazz Playhouse01

The Grammy and Billboard award winning trumpeter and bandleader, Irvin Mayfield, debuts his first album of holiday music with A New Orleans Creole Christmas, a collection of timeless holiday classics reinterpreted by the widely-recorded cultural ambassador of New Orleans. With his 12th release on the New Orleans source for jazz, Basin Street Records, Mayfield demonstrates his maturity as a player and arranger with the handpicked small ensemble called The New Orleans Jazz Playhouse Revue. The album blends traditional-style playing on the upbeat rendition of “O Tannenbaum – O Christmas Tree” with soulful, gospel-inspired versions of “Silent Night” and “Winter Wonderland”, and melodic, modern jazz renditions of other favorites such as “The Christmas Song” and “Have Yourself a Merry Little Christmas”. Michael Watson graces the listener with his velvet singing voice on the Vince Guaraldi/Lee Mendelson classic, “Christmas Time is Here”.

A New Orleans Creole Christmas was recorded at Irvin Mayfield’s Jazz Playhouse on Bourbon Street in New Orleans. Recording on a street famed as the origin of Jazz, the Grammy-winning artist continues his mission of placing Jazz at the center of American culture and advancing a time-honored tradition in a city known for its music.


A New Orleans Creole Christmas is sure to delight the serious jazz listener and families looking to enjoy a fresh take on their favorite Christmas melodies, as they spend time together this holiday season. (

This is one of my favorite Christmas in this year !


Jon Chin (piano)
Derek Douget (saxophone)
Vincent Gardner (trombone)
Peter Harris (bass)
Ronald Markham (piano)
Jason Marshall (saxophone)
Irvin Mayfield (trumpet)
Adonis Rose (drums)
Michael Watson (vocals)

Irvin Mayfield & The New Orleans Jazz Playhouse02Tracklist:
01. O Tannenbaum – O Christmas Tree (Traditional) 4.46
02. Silent Night (Gruber/Mohr) 5.21
03. Winter Wonderland (Bernard) 5.02
04. The Christmas Song  (Tormé/Wells) 7.14
05. Christmas Time is Here (Guaraldi/Mendelsohn) 4.16
06. Have Yourself A Merry Little Christmas (Blane) 8.25
07. It Came Upon A Midnight Clear (Traditional) 3.28
08. Christmas Time Is Here (Trio) (Guaraldi) 4.09




Mary Lattimore – The Withdrawing Room (2013)

FrontCover1.jpgMary Lattimore is an American classically trained harpist based in Los Angeles, California. In addition to her solo work and collaborations with fellow Philadelphia musician Jeff Zeigler, she has also performed with multiple prominent indie musicians, including Thurston Moore, Kurt Vile, and Steve Gunn.

Originally from Asheville, North Carolina,[3] Lattimore was born and raised in western North Carolina.[4] Her mother was also a harpist, and she first learned to play the harp when she was 11 years old. She was not very interested in it at first, but this began to change as she got better at it.

One of her first musical activities was her contribution to the Valerie Project, which released its self-titled debut album in 2007. This album was intended to be an alternative soundtrack to the film Valerie and Her Week of Wonders.[3] In 2012, she released her first solo effort, a self-titled cassette, on Fred Thomas’ Life Like imprint. The following year, this album was re-released by Desire Path Recordings as the Withdrawing Room.

Mary Lattimore01

In 2014, she and Zeigler released Slant of Light on Thrill Jockey. Also that year, she received a Pew Fellowship grant, which she used to travel around California and Texas; while doing so, she recorded the album At the Dam, which was released on Ghostly International in 2016. The album’s title was taken from an essay about the Hoover Dam in Joan Didion’s 1979 book The White Album. On May 18, 2018 Lattimore released her latest LP titled Hundreds of Days. (by wikipedia)

An exquisite debut from Mary Lattimore, working a wonderful magic on her harp, doing for the harp what Fahey & Basho did for the guitar, offering one of the most serene & lovely records, for drinking tea and watching the sun rise in your green room, subtly layered & picking so soft it’s barely audible, whispers silenced in the breeze, matched perfectly with exotic electronics conjuring peepers & nightowls, so peaceable that the necessary Bell Jar breakdown in the middle of the A side almost undoes everything that precedes it, but it recovers, restores a beautiful order, and nearly forgotten in sweet bliss by the end of the whole thing, drowned in a minimally lush majesty.

Mary Lattimore03

Desire Path keeping their flawless batting average up with this one, such a stellar record, and all the more exciting since it’s her solo debut. Available on April 1 and only 300 pressed, so don’t say I didn’t warn you. (

Harp, warming your feet, your hands, your heart. Previous collaborations have seen Mary matching wits with such esteemed luminaries as Thurston Moore, Meg Baird, Kurt Vile, Ed Askew, Fursaxa, and Jarvis Cocker. (Editorial Reviews,

In other words: peaceful, soothing, psychedelic, warm and atmospheric music.

AlternateFrontCover1Alternate frontcover

Mary Lattimore (harp, effects)
Jeff Zeigler (synthesizer on 01.)


01. You’ll Be Fiiinnne 24.37
02. Pluto The Planet 16.25
03. Poor Daniel 2.28

Mary Lattimore02


Roy Book Binder – The Good Book (2013)

FrontCover1.jpgRoy Book Binder was born October 5, (Queens, New York), in 1943 is a laconic living treasure of American Blues, Ragtime and Old Timey music. He is the epitome of the singing, song writing, storytelling Bluesman troubadour. Binder from the early sixties became a student and friend of the Rev. Gary Davis and it was from these early days he became equally at home with Blues and Ragtime. He is known to shift from open tunings to slide arrangements set to his original and sometimes quirky tongue in cheek compositions, with both traditional and self-styled licks, drawing on many musical influences. He combines his Blues with Hokum, Dixie Jazz licks, Yas Yas styling’s, recited lines, Old Timey acoustic Hill Country music with ease. It is this storey telling style that he is renowned for. Binder is much revered and has shared the stage with a luminary of some of the biggest Roots artists around the world. He also is a guitar teacher of note and most of his compositions relate back to his time as chauffeur and companion to Rev. Gary Davis. With his latest release Book Binder once again delivers just what he does best. “”The Good Book”” on Binder’s own label Peg Leg Records presents 10 quality self penned compositions all delivered in his laconic style.

All compositions have been composed by Book Binder and it shows in their wonderful smile inducing delivery. You cannot listen to this cd and not want to get up and jig or take up a jug and blow your heart out. The playing is an absolute highlight that just may encourage you to drag out that old guitar of yours. It may be a modern recording but it is one truly rooted in the twenties and thirties and as such highlights a rollicking style of music neglected in our high paced world. (


This is Roy Book Binder’s first all original song, studio album in many years! Featuring guitar, clarinet, stand-up bass, percussion and special guest Damon Fowler on lap steel…Is it midnight in Paris 1935? Or Texas in 1940? It swings and it’s hot! Roy Book Binder’s new CD is no doubt his best! It has been a long journey for the artist who first recorded for the Blue Goose label back in the late 1960’s after being discovered at a Gaslight Cafe hootenanny in Greenwich Village! Over the years, Book Binder has slowly developed from an interpreter of his heroes’ blues to a songwriter whose own compositions have been recorded by such luminaries as Jorma Kaukonen, Vidar Busk, and most recently by Ann Rabson & Bob Margolin. Not since Jerry Douglas produced his first Rounder CD Bookeroo in 1988 do we find Roy in the company of such a fine ensemble of musicians….. and he sure takes to it! This music tells the story of a man who has lived “the life” for over 40 years and has enjoyed every day of it!


The Book and his cohorts are having fun and you’re bound to feel the same when you hear this new music…. Plenty of fingerpickin’ guitar, wailing clarinet, stand-up bass, drums and even some hot lap steel guitar by special guest, Damon Fowler. The title song “The Good Book” reminds listeners about the simple lessons we learned as youngsters. “Step Right Up” is a reminisce about Roy’s medicine shows friends and their days in the business. Hacksaw Harney, who stayed with Roy in NYC, inspired the instrumental piece “Hacksaw”. The song, “They Called Him Junior”, recalls the life of Robert Lockwood. With this new all original CD, Roy fulfills one of his dreams! Hope you enjoy! — Editorial Reviews,


Erik Bergene (harmonica)
Roy Book Binder (guitar, vocals)
Frank Bowman (clarinet)
Glenn Evans (percussion)
Damon Fowler (lap-steel guitar)
Alex Hall (percussion)
T-Bone Hamilton (bass)


01. The Good Book 3.19
02. It Coulda Been Worse 2.05
03. Step Right Up 2.17
04. Full Go Around 2.40
05. Poker Playin’ Papa 3.51
06. Crazy About You 2.11
07. What You Gonna Do 4.10
08. They Called Him Junior 3.26
09. Electric Cigarette Blues 2.34
10. Hacksaw 2.02

All songs written by Roy Book Binder





Jon Hassell – Live At Teatro Foce, Lugano (2013)

FrontCover1.jpgComposer/trumpeter Jon Hassell (born March 22, 1937) is the visionary creator of a style of music he describes as Fourth World, a mysterious, unique hybrid of music both ancient and digital, composed and improvised, Eastern and Western. After composition studies and university degrees in the USA, he went to Europe to study electronic and serial music with Karlheinz Stockhausen. Several years later, he returned to New York where his first recordings were made with minimalist masters La Monte Young and Terry Riley, through whom he met the Hindustani raga master, Pandit Pran Nath, and embarked on a lifelong quest to transmute his teacher’s Kirana vocal mastery into a new trumpet sound and style. In the last two decades, he has recorded albums which have, over the years, become so widely appropriated that many of their innovations have become woven anonymously into the texture of contemporary music high and low.

Contemporary jazz would not be the same without Jon Hassell. The genius composer’s Fourth World genre, the union between traditions and modern technology, which he has JonHassell01.jpgcultivated since the 1980s, finds its place in the fourth dimension. Trumpetist Hassell’s unique playing style has inspired countless artists in the realms of ambient, progressive rock and jazz. The seasoned musician has collaborated, for instance, with Brian Eno, Peter Gabriel and Kronos Quartet. Hassell’s work can also be heard on numerous film soundtracks.

The pioneer of digital processing and sample technique released an album entitled Maarifa Street/Magic realism 2 (Label Bleu) in 2005. The album comprises concert recordings from 2000-2003; the raw material was then reworked layer by layer by Hassell and some parts were re-performed. A critic described this exciting collage as “ambient voodoo jazz”. When working on the album, Hassell put together a new group, Maarifa Street. On their 2005 tour the ensemble astonished their audiences. As reinforcement the Happening gig features Eivind Aarset on the guitar, one of the most outstanding musicians in the field of European nu-jazz.

Thanks to original uploaders LEWOJAZZ and FBAUER; and to davidraphael for keeping the show alive at Dime.

Recorded live at the ECM Sessions –  Teatro Foce, Lugano, Switzerland; March 22, 2013. Very good satellite radio


Michel Benita (bass)
Rick Cox (guitar, electronics)
Jon Hassell (trumpet, keyboards, electronics)
Kheir-Eddine M’Kachiche (violin)
01. Intro (in Italien) 4.44
02. Lonely Town 14.08
03. Sketches Of The Mediterranean 12.11
04. DJ talk 1.05
05. Last Night The Moon Came Dropping Its Clothes In The Street 8.06
06. Who Cares 10.04
07. DJ talk 1.06
08. Girlanda Punto 12.30
09. DJ talk 1.03
10. Scirocco 10.54
11. Outro 1.42

Music composed by Jon Hassell


Keith Jarrett – Concerts (2013)

FrontCover1.jpgConcerts is a live solo album by American pianist Keith Jarrett recorded in concert on May 28, 1981 at the Festspielhaus in Bregenz, Austria and on June 2, 1981 at the Herkulessaal in Munich, West Germany and originally released as a 3-LP set on the ECM label. It was also released as a single LP including only the Bregenz performance.

Initially the CD pressings included only the Bregenz performance; it was not until 2013 that ECM put out a full three-disc reissue containing both concerts on CD for the first time.

The opening of the Bregenz performance was included in the soundtrack of the film Mostly Martha. (by wikipedia)

By the early ’80s, Keith Jarrett was definitely under siege, accused of arrogance, singing along too loudly, rambling eclecticism, and other “heinous” jazz crimes, especially in the wake of the massive success of the Köln Concert seven years before, and the issue of the massive, unprecedented Sun Bear Concerts box set in 1978. Indeed, around this time, Jarrett would verbally attack music critics at his solo concerts, and the reflected paranoia is obvious in Peter Ruedi’s defensive booklet essay included here, “The Magician and the Jugglers.”


This multi-disc set was recorded during two concerts over four days in the spring of 1981 in Bregenz, Austria, and Munich, Germany. This recording is not to be confused with the earlier, more consistently inspired Solo Concerts: Bremen/Lusanne from 1973, which made Jarrett a star, yet the pianist was far from tapped out in these performances. He is often in his best lyrically funky form, where he makes the most out of a single ostinato idea — particularly at the beginning of the Bregenz concert and in the middle of the Munich concert — and his touch and exploitation of the dynamics and timbres of a grand piano are always a pleasure to hear.


Even the passages of stasis or seemingly aimless rippling do not cancel out the treasurable moments and have real worth — though for some, the string plucking near the end of the Munich show may be somewhat gratuitous. In any case, this is far more interesting and elevated music-making than that of the New Age navel-gazing imitators who were cropping up in Jarrett’s wake in the early ’80s en masse, and adds immeasurably to the historically unique portrait of the artist. (by Richard S. Ginell)

Recorded in concert in Bregenz, Austria on May 28, 1981 (tracks 1-4) and
Munich, West Germany on June 2, 1981 (tracks 5-10)


Keith Jarrett (piano)


CD 1: Bregenz:
01. Festspielhaus Part I / 22.00
02. Festspielhaus Part II / 12.07
03. Untitled 9.30
04. Heartland 6.02

CD 2: München I:
05. Herkulesaal Part I 23.23
06. Herkulesaal Part II 24.23

CD 3: München II:
07. Herkulesaal Part III 26.30
08. Herkulesaal Part IV – 11.45
09. Mon Coeur Est Rouge 8.30
10. Heartland 6.11

All compositions by Keith Jarrett