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. (roybookbinder.com)

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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!

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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, amazon.com

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Personnel:
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)

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Tracklist:
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

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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

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Personnel:
Michel Benita (bass)
Rick Cox (guitar, electronics)
Jon Hassell (trumpet, keyboards, electronics)
Kheir-Eddine M’Kachiche (violin)
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Tracklist:
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

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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.[1] 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.”

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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.

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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)

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Personnel:
Keith Jarrett (piano)

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Tracklist:

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

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Deep Purple – From The Setting Sun… (In Wacken) (2015)

FrontCover1.jpgAs a band gets older and has been together longer, and tours become more prevalent than releases of studio albums – mainly, one assumes, because the audience still wants to hear the same old songs rather than newer material at the concerts they go to – then there has to be something that fills the gap created by less albums. The solution is release live albums of archival concerts (something Deep Purple has been very good at over the past two decades) and live albums of recent gigs. Which is where we are here, with From the Setting Sun… In Wacken.

Recorded at Deep Purple’s appearance at the ever increasing popular music festival held at Wacken Open Air in 2013, this double album covers the band’s entire set list, one that mixes the old and the new almost seamlessly. And one should never under estimate how difficult it is for a band like Deep Purple, with 19 studio albums over almost 50 years, to find the right mix in the set list to ensure that they satisfy their fan base, young and old. To have the hits, but also to showcase their newer material so that it is not just a forgotten moment. I think they’ve done an excellent job here on this release.

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The newer material from the band all sounds terrific here in the live environment, and really brings to life these songs that may not be as well known by most fans as their classic hits. “Vincent Price” from Now What?! sounds awesome, with Airey’s keys combining beautifully with Glover’s bass line and Morse’s guitar riff. I love the studio version, but the live version really brings this song to life. “Contact Lost” from Bananas is an instrumental focusing on Steve Morse’s wonderful guitar playing, and showcases his talent perfectly, as does the following “The Well Dressed Guitar” from special versions of Rapture of the Deep, where guitar and keyboards dominate in a brilliant flurry of musicianship. “Hell to Pay” and “Above and Beyond” from NOW WHAT?! both come across excellently live, and more than hold their own in this brilliant setlist.
Of the older classic material, it was a real pleasure to hear “Into the Fire” and “Hard Lovin’ Man” from Deep Purple in Rock starting off the album after the typifying brilliance of “Highway Star” opens the show.

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Both of those songs are from the great Mark II era, and aren’t necessarily the songs you’d expect the band to play, so hearing them again was just terrific. Ditto with “No One Came” from Fireball. It’s still great to hear songs from these albums. “Strange Kind of Woman” and “Lazy” are always great staples, especially when the band tends to freeform through “Lazy” in whatever mood they happen to be in. “Perfect Strangers” is always a welcome addition, especially with that Hammond organ at the start. Don Airey does a great job staying true and trusted to Jon Lord’s original keys, both here and throughout the album and performance. “Space Truckin'” still sounds great after all these years, and “Smoke on the Water” features a guest appearance by Uli Jon Roth to help add to the most played song of all time. The encore is kicked off by covers of Booker T and the M.G.’s “Green Onions” and then “Hush”, which is still a great song after all these years, and completed by “Black Night”, that old staple that still has people jumping 40-odd years later.

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As always the performance of the band is faultless. They could probably do this in their sleep, but they sound as brilliant as ever. The great mix of songs, and the ability of the band to still play around with the tracks without changing them so much that people won’t enjoy them is fantastic. You may have heard similar on other recent live releases, but they still never fail to amaze you with their performance. It may not be an essential purchase, but you certainly won’t be disappointed if you do. (by almanack)

There’s gonna be hell… hell to pay!

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Personnel:
Don Airey (keyboards)
Ian Gillan (vocals)
Roger Glover (bass)
Steve Morse (guitar)
Ian Paice (drums)
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Uli Jon Roth (guitar on CD 2/06.)

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Tracklist:

CD 1:

01. Highway Star (Gillan/Paice/Lord/Blackmore/Glover) 6.48
02. Into The Fire (Gillan/Paice/Lord/Blackmore/Glover) 3.26
03. Hard Lovin’ Man (Gillan/Paice/Lord/Blackmore/Glover) 6.34
04. Vincent Price (Ezrin/Airey/Gillan/Paice/Glover/Morse) 4.25
05. Strange Kind Of Woman (Gillan/Paice/Lord/Blackmore/Glover) 5.48
06. Contact Lost (Morse) 2.57
07. The Well-Dressed Guitar (Airey/Gillan/Paice/Morse) 2.38
08. Hell To Pay (Ezrin/Airey/Gillan/Paice/Glover/Morse) 5.02
09. Lazy (Gillan/Paice/Lord/Blackmore/Glover) 7.55

CD 2:
01. Above And Beyond (Ezrin/Airey/Gillan/Paice/Glover/Morse) 5.10
02. No One Came (Gillan/Paice/Lord/Blackmore/Glover) 5.16
03. Don Airey’s Solo (Airey) 3.00
04. Perfect Strangers (Gillan/Blackmore/Glover) 6.03
05. Space Truckin’ (Gillan/Paice/Lord/Blackmore/Glover) 4.54
06. Smoke On The Water (Gillan/Paice/Lord/Blackmore/Glover) 7.58
07.1.Green Onions (Jackson/Jones/Steinberg/Cropper)
07.2. Hush (South) 7.20
08. Black Night (Gillan/Paice/Lord/Blackmore/Glover) 6.14

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Trombone Shorty – Say That To Say This (2013)

FrontCover1.jpgTroy Andrews (born January 2, 1986), also known by the stage name Trombone Shorty, is an American musician, producer, actor and philanthropist from New Orleans, Louisiana. He is best known as a trombone and trumpet player but also plays drums, organ, and tuba. He has worked with some of the biggest names in rock, pop, jazz, funk, and hip hop. Andrews is the younger brother of trumpeter and bandleader James Andrews and the grandson of singer and songwriter Jessie Hill. Other musical family members are cousins Glen David Andrews and the late Travis “Trumpet Black” Hill. Andrews began playing trombone at age four, and since 2009 has toured with his own band, Trombone Shorty & Orleans Avenue.

Say That to Say This is the ninth album by American jazz musician Troy ‘Trombone Shorty’ Andrews. (by wikipedia)

This is the album that fans probably expected Trombone Shorty to make three years ago—a straight-ahead R&B disc. At the time, Shorty instead hooked up with Galactic’s Ben Ellman, whose inventive techniques transformed his studio sound on Backatown and For True, much as Daniel Lanois did with the Neville Brothers on Yellow Moon. And just as the Nevilles followed two experimental discs with the straight-ahead Family Groove, Shorty gets down to basics on Say That to Say This: No loops, very little hip-hop influence (and thankfully, no Kid Rock either)—just a soulful, band-centric album heavy on New Orleans funk.

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And you can’t get more New Orleans funk than a Meters reunion—the late ’70s lineup, with fifth member Cyril Neville—joining Shorty on “Be My Lady,” their first studio track together since 1978. Only trouble is that it’s practically a clone of the ’78 version on New Directions, which already had horns and an uncharacteristic smooth groove. You can hear why Shorty wanted to recut it—it’s a seductive ballad that deserved to be a hit first time around—but as a Meters reunion it’s a classic missed opportunity.

Another local classic gets echoed on “Fire & Brimstone,” whose opening bass groove brings Aaron Neville’s Toussaint-authored “Hercules” to mind. Both songs are full of street wisdom but while Neville’s song was tense, Shorty’s is triumphant, singing that music delivered him from the street life and vowing that fire and brimstone will always be in his horn. Co-producer Raphael Saadiq makes his presence felt with some of the most polished vocals Shorty’s done; this track is where his persona—tough, but warm and charismatic—really gels.

Saadiq’s hitmaking touch is a plus throughout; even the four instrumentals are concise and catchy (“Sunrise” is a lyrical moment, mostly with only horns and tambourine), while “You and I” and “Dream On” (no, not a cover) both energize with their rise-above sentiments. If a bit less progressive than the Ellman discs, this one can carry him to an even larger audience without losing the New Orleans essence. (by Brett Milano)

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Personnel:
Troy ‘Trombone Shorty’ Andrews (trombone, vocals)
Michael Ballard (bass)
BK Jackson (saxophone)
Pete Murano (guitar)
Dan Oestreicher (saxophone)
Joey Peebles (drums, percussion)
Raphael Saadiq (keyboards, clavinet, guitar, background vocals)
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Lemar Carter (drums on 06.)
Charles Jones (organ on 06.)
Taura Stinson (background vocals on 06.)
Calvin Turner (bass on 06.)

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Tracklist:
01. Say That To Say This (Ballard/Murano/Andrews) 2.56
2. You and I (Outta This Place) (Ballard/Murano/Andrews) 3.51
03. Get the Picture (Osborne/Murano/Saadiq/Andrews) 2.44
04. Vieux Carre (Peebles/Andrews) 2.46
05. Be My Lady (A.Neville/C.Neville/Porter, Jr./Modeliste/Nocentelli 3.32
06. Long Weekend (Saadiq/Stinson) 4.08
07. Fire And Brimstone (Ballard/Stevenson/Murano/Stinson/Andrews) 3.27
08. Sunrise (Andrews) 3.16
09. Dream On (Ottestad/Peebles/Ballard/Murano/Hollander/Andrews)  4.21
10. Shortyville (Saadiq/Andrews) 4.23

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Joe Cocker – Fire It Up – Live (2013)

FrontCover1.jpgThis 2013 release from the veteran British vocalist, was his first live recording in over 20 years: Fire It Up: Live documents his celebrated European Fire it Up tour, witnessed by millions of delighted fans since its kick off in March 2013. Fire it Up: Live presents the show at the Lanxess Arena in Cologne in April 2013. “I’m very flattered”, Joe Cocker confessed at the show, “because there’s so many young artists on the scene now – it’s amazing that we can still pull them in”. This success is due to an exceptionally gifted artist, who thrills his audience merely with the immense power of his voice, as well as the timeless magic of hits like “With a Little Help of my Friends”, “You Can Leave Your Hat On”, “Unchain My Heart”, “Up Where We Belong” and “You Are So Beautiful”.

Simply stated, Joe Cocker is like a fine wine. He seems to get better with age. This is Cocker at the pinnacle of his craft. An amazing song line up and a voice that belts out every tune with a passion that is fired up like no other time in his career. The tightest live band of all time. Rolling Stone Magazine, you should put this one in your Top 100 Albums of all time. A must have CD for your collection. You’ll listen to this one over and over and over again! Thank you Mr. Cocker for your finest work yet. (by Philip T)

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What a great concert! Cocker was in great form and the band was tight. Since it was a live album they move from song to song with efficient dispatch. This was the first live concert album for the Englishman in decades. Rumors were this was to be his retirement album and as fate would have it, that is exactly how it played out with the passing of Cocker just a short time later. (by Avid One)

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The last and very best Joe Cocker concert. The German audience, just like the Brits and us Americans were in a loving, exuberant, appreciative mood and Joe gave his all. If you had to write your own epitaph or history, Mr. Cocker gave it the very best anyone could.
My only regret: Not being there. (by JayDub)

This was the last album by Joe Cocker … what a great legacy …. !!!

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Personnel:
Gene Black (guitar)
Jack Bruno (drums)
Joe Cocker (vocals)
Norberto Fimpel (saxophone, percussion, accordion on 14.)
Herman Jackson (organ)
Nick Milo (keyboards)
Oneida James-Rebeccu (bass)
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background vocals:
Laura Jane Jones – Nichelle Tillman

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Tracklist:

CD 1:
01. I Come In Peace (Brewster/Wilson) 4.42
02. Feelin’ Alright (Mason) 4.42
03. The Letter (Thompson) 5.49
04. When The Night Comes (Adams/Warren/Vallance) 5.10
05. You Love Me Back (Matkosky/Bently/Diamond) 4.07
06. I’ll Be Your Doctor (Trott/McMorran/Horn) 3.40
07. Up Where We Belong (Sainte-Marie/Nitzsche/Jennings) 6.03
08. Come Together (Lennon/McCartney) 5.44
09. Eye On The Prize (Turner/Gilmore/Clement/Johnson/Kenney/Broussard) 5.01
10. You Don’t Need A Million Dollars (Giles) 4.28
11. You Are So Beautiful  (Preston/Fisher) 4.10
12. Younger (Burr) 4.22

CD 2:
13. Fire It Up (Frew/Reid/Dodson) 4.32
14. N’oubliez Jamais (Cregan/Kunkel) 6.37
15. You Can Leave Your Hat On (Newman) 4.42
16. Unchain My Heart (Sharp/Powell) 6.10
17. With A Little Help From My Friends (Lennon/McCartney) 11.30
18. Summer In The City (j.Sebastian/M.Sebastian/Boone) 4.24
19. Hard Knocks (Broussard/Ramsey/Sanders) 3.58
20. Cry Me A River (Hamilton) 5.32
21. You Don’t Know What You’re Doing To Me (Hilton/Kirkpatrick) 4.34

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Joe Cocker (20 May 1944 – 22 December 2014)

Brian Auger’s Oblivion Express (feat. Alex Ligertwood) – Live in Los Angeles (2015)

FrontCover1.jpg2015 live Oblivion Express album – featuring the dream team of Brian’s utterly unique, exuberant and uplifting playing alongside Alex Ligertwood’s stratospheric singing. Many years have passed since their first collaborations – both their respective talents remain utterly undiminished. The highlights of this new collection are almost too numerous to list, but the opener Freedom Jazz Dance still has that edgy, dark feel that has thrilled Brian Auger fans since the early 1970’s, when they took the Eddie Harris original instrumental version and injecting it with a vital and progressive new groove, adding incisive lyrics and Brian’s astounding organ solo that still stands today as a goose bump inducing ride, and the high standard many keyboard players still aim to achieve. In contrast, Happiness Is Just Round The Bend continues to be the joyous, life affirming funky, soul jazz outing that cannot but help lift ones spirit. Of course, The Main Ingredient had a bigger commercial success with their cover version, but to quote Dobie Gray ‘the originals are still the greatest!’

Absolutely amazing that Auger (74 when this was recorded in 2013) and Ligertwood (67 at the time) still have such undiminished chops at this stage of life. They nail the groove with every tune on this two CD set. Auger is still one of the few the reigning champions of the Hammond B-3 and I defy anyone to show me a vocalist that sounds as good as Ligertwood does now as he did in 1972. His range and phrasing is still phenomenal and while considered an acquired taste by some, there is no denying his energy and passion.

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I’ve seen them both several times over the last 40 years and this set sounds as good as any of the times I’ve seen either of them play. I got to see and speak at length with Ligertwood a few times when he was performing at a small supper club on Ventura Blvd in the L.A. area in the early 2000’s and he was gracious and charmingly candid as we discussed his career beginning with Troc (a French band with drummer André Ceccarelli from the early 70’s), Oblivion Express, David Sancious (True Stories, released in 1978 – sadly out of print on CD but hire Pinkerton’s to find a copy for you, it’s an amazing recording as well) and Santana. Auger was equally charming the one time I got to converse with him about his career as well. They’re both class acts and I can’t imagine a fan of either of these two underappreciated giants being disappointed with this purchase. Highly recommended. (by Dave Hoeltje)

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Personnel:
Brian Auger (keyboards)
Karma Auger (drums, background vocals)
Les King (bass)
Yarone Levy (guitar)
Alex Ligertwood (vocals, guitar, percussion)

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Tracklist:

CD 1:
01. Freedom Jazz Dance (Harris/Auger/Ligertwood) 7.38
02. Happiness Is Just Around The Bend (Auger) 6.53
03. Straight Ahead (Dean) 6.26
04. Bumpin’ On Sunset (Montgomery)  11.25
05. Inner City Blues (Gaye(Nyx) 6.08
06. Whenever You’re Ready (Dean) 7.47

CD 2:
01. Truth (Ligertwood) 7.53
02. Don’t Look Away, Look Around (Ligertwood/Dean/Mullen) 8.21
03. Second Wind (Auger) 5.07
04. I Love You More Than You’ll Ever Know (Kooper) 7.30
05. Future Pilot (Auger) 7.26
06. Compared To What (McDaniels) 11.54
07. Brain Damage (Ligertwood/Mills) 8.02

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I love to lie and lie to love
A-Hangin’ on, we push and shove
Possession is the motivation
that is hangin’ up the God-damn nation
Looks like we always end up in a rut (everybody now!)
Tryin’ to make it real — compared to what? C’mon baby!

Slaughterhouse is killin’ hogs
Twisted children killin’ frogs
Poor dumb rednecks rollin’ logs
Tired old lady kissin’ dogs
I hate the human love of that stinking mutt (I can’t use it!)
Try to make it real — compared to what? C’mon baby now!

The President, he’s got his war
Folks don’t know just what it’s for
Nobody gives us rhyme or reason
Have one doubt, they call it treason
We’re chicken-feathers, all without one gut. God damn it!
Tryin’ to make it real — compared to what? (Sock it to me)

Church on Sunday, sleep and nod
Tryin’ to duck the wrath of God
Preacher’s fillin’ us with fright
They all tryin’ to teach us what they think is right
They really got to be some kind of nut (I can’t use it!)
Tryin’ to make it real — compared to what?

Where’s that bee and where’s that honey?
Where’s my God and where’s my money?
Unreal values, crass distortion
Unwed mothers need abortion
Kind of brings to mind ol’ young King Tut (He did it now)
Tried to make it real — compared to what?!

Tryin’ to make it real — compared to what?