Fabrizio Paterlini – The Art Of The Piano (2014)

FrontCover1.jpgTwo years ago, Fabrizio Paterlini asked his friends to describe their impressions of the word melancholy. Their responses inspired him to write the track, “If music were melancholy”. But it didn’t end there. In his free time, he wrote piano miniatures and posted them on his Soundcloud page. After 250,000 hits, he knew he was onto something. Now these tiny tracks are collected in the form of an album (on white vinyl!). A follow-up to the wintry Now (which was selected as one of our Best Winter Albums of 2013), The Art of the Piano encapsulates a sense of forlorn nature, stillness in the midst of white, peace in the middle of a swirling world. It’s a perfect panacea to wintry woes. Even before playing these tracks, one intuits the theme. With titles such as “Empty room”, “Conversation with myself” and “Broken”, the album seems to address seasonal affective disorder with an empathetic ear. Yet while The Art of the Piano may be melancholic, it’s not sad. A certain dignity can be found in these grooves, the dignity of discovering beauty when color has faded all around. It’s a sweet irony that the vinyl is white, while the cover includes brighter hues, like a cardinal seen in snow.


The set also includes one summer track (“Midsummer tiny song”), and concludes with the relatively upbeat “Wind Song”, the last piece to be recorded. In this piece, Paterlini seems to be saying, hold on, the brighter days are coming. The song ends in mid-thought, challenging listeners to respond by returning to melancholy, or venturing forth in hope. One advantage of this album is that it allows us to hear the artist unadorned. As much as we love additional orchestration, the solo piano provides nowhere to hide, and the performance seems more intimate as a result. There is, as the title implies, an art to the piano ~ it’s not enough to play the right notes in the right sequence. Paterlini is a tender performer, comfortable with silences, capable of turning a tender phrase with the high keys while sublimating the low. This artist’s love for the instrument, combined with the fact that these pieces were initially meant as gifts, makes the listening experience feel personal, rather than commercial. The white vinyl is the added touch that bridges the gap between performer and listener. (Richard Allen)


Fabrizio Paterlini (piano)


01. Somehow Familiar 3.39
02. Midsummer Tiny Song 3.42
03. My Piano, The Clouds 2.46
04. Empty Room 3.17
05. Conversation With Myself 3.41
06. Broken 3.47
07. If Melancholy Were Music 2.49
08. Wind Song 2.28

Music composed by Fabrizio Paterlini




The Alexis P. Suter Band – Love The Way You Roll (2014)

FrontCover1The Alexis P Suter Band is a five piece ensemble fronted by the eponymous Ms Suter. With a growing reputation for incendiary live performances, particularly in the North-Eastern USA where they are based, Love The Way You Roll – the APSB’s sixth album – should be the catalyst that helps introduce the band to a wider audience.

Love The Way You Roll is fine slab of modern guitar-led electric blues-rock. Opening with the riff-based “Nuthin’ In The World”, Jimmy Bennett’s heavily over-driven guitar has echoes of Hendrix in his soloing style, particularly in the outro solo as he bends and releases his strings with abandon.

The most distinctive aspect of the ASPB however is Suter’s deep, husky, powerhouse of a voice. She began singing in her church choir in Brooklyn as a four-year-old, and the gospel influence is still evident in her tone, particularly on ballads such as “Anything”, which also features some lovely organ from John Ginty, or “Waiting”. Blessed with a deep bass/baritone voice, Suter is a highly impressive singer, capable of convincingly conveying deep emotional turmoil, whether it be the pure lust of “Big Mama” or the anger and resignation of “You Don’t Move Me No More.” She is well-supported throughout by Bennett’s warm, choppy guitar playing and the solidly swinging rhythm section of Peter Bennett (bass) and Ray Grappone (drums/percussion), together with Vicki Bell’s voice (which adds lovely touches to songs like “Hang On” and “Them Days”).


Of the 12 songs on the album, various members of the band contribute 10 of the songs in different writing combinations. They cover a wide range of styles, from the funky blues of “It Ain’t Over” (with the memorably assertive lyrical punchline at the end of each verse that “It ain’t over till the fat lady sings”) to the R’n’B/pop ballad of “Them Days” and the Black Crowes-esque “Hang On.” The memorable title track features a rumbling bass and drum backing with distant and discordant slide guitar framing Suter’s voice of abandon.

VickiBellThe two covers on the album are Big Mama Thornton’s classic “You Don’t Move Me No More” (which is given a rock and roll re-interpretation with excellent jungle drums from Grappone) and Slim Harpo’s “Shake Your Hips”. The one-chord groove of the latter can be tricky to nail convincingly, but the APSB turn in a fine modern version, with Suter and Bell’s voices combining magically.

Recorded, mixed and mastered by Ben Elliott at Showplace Studios, Love The Way You Roll is a very enjoyable release and well worth checking out by fans of modern electric blues and blues-rock (by Rhys Williams)

Enjoy this album … you´ll hear nothing but the blues – very heavy blues-rock !


Vicki Bell (vocals)
Jimmy Bennett (guitar)
Peter Bennett (bass)
John Ginty  (keyboards, vibraphone)
Ray Grappone (drums, Percussion)
Alexis P. Suter (vocals)


01. Nuthin’ In The World (Bell/Suter) 3.48
02. 25 Years (Bell/Suter) 3.51
03. Anything (Bell/Suter) 4.58
04. Big Mama (Bell/Suter) 3.57
05. Love The Way You Roll (Bell/Bennett/Grappone/Suter) 3.45
06. Gonna Love You (Bell/Bennett/Suter) 3.50
07. Waiting (Bell) 3.52
08. You Don’t Move Me No More (Thornton) 2.49
09. It Ain’t Over (Bell/Bennett/Grappone/Suter) 2.47
10. Hang On (Bell) 4.25
11. Them Days (Bell/Suter) 3.34
12. Shake Your Hips (Harpo) 4.46



Steve Winwood – Live At The Telluride Festival (2014)

FrontCover1No, Steve Winwood isn´t a blues grass artists, but he appears at the legendary Telluride Festival in

Sing a song, play guitar, make it snappy.

When you hear the name Steve Winwood, where do you go? Back to Blind Faith? On the Arc of A Diver? Do you play Traffic in your head? Or do you think about the kid who was the driving force of the Spencer Davis Group? Wherever Steve Winwood’s impressive output takes you, it’s pure gold. Creatively restless and curious, the hallmark of Steve’s musical journey has been one of exploration and testing boundaries. The albums he’s made with Blind Faith and Traffic set him apart as a musician who reaches out to other, equally adventurous souls – Ginger Baker, Eric Clapton, Rick Grech, Dave Mason, Jim Capaldi, Chris Wood – to make records that remain as fresh and exciting as the first time you dropped the needle in the groove. Then as now, there’ve been no other recordings quite like John Barleycorn Must Die, or Blind Faith’s sole eponymous record. Musical conventions of the day were challenged by the sheer audacity of their compositions, range of influences, and stellar musicianship. What remains are classic records that reside in every serious listener’s collection.

Winwood01His solo records unleashed the Grammy tide – in the late 70s and 1980s, his melodic songs were radio staples and a career that at that time was already 20 years on, exploded. A wickedly talented multi-instrumentalist, Steve might be best known for his distinctive Hammond organ sound, a sound he has lent to Jimi Hendrix on “Voodoo Chile,” and as recently as on Miranda Lambert’s hit, “Baggage Claim.” You hear it and just know it’s Mr. Winwood.

In Steve Winwood’s music there is a vast range of influences and styles. He’s explored Delta blues, English folk, Afro-Caribbean rhythms and melds them into his own inventive songs. Chances are, you know the words to all of them. We’re honored to have Steve Winwood play for you. (Festival announcement for 2018)


Steve Winwood, showing no signs of age or wear on his beautiful voice, closed the second day with an awesome set of rock and roll that touched on songs from his careers with Blind Faith, Traffic, the Spencer Davis Group, and his solo career. One highlight was the blistering take on “The Low Spark of High Heeled Boys” that jammed into “Empty Pages.” Winwood alternated between organ and guitar, playing a blistering solo on the latter during “Dear Mr. Fantasy,” and even picked up a mandolin for a soulful take on “Back in the High Life.” (Reviews from the 2014 concert at the Telluride Festival by Candace Horgan)

What another great concert by Steve Winwood, including rare live performances of “Rainmaker” and “Medicated Goo” …

Recorded live at the Telluride Bluegrass Festival, Telluride, CO; June 20, 2014. Very good to excellent web stream.

José Neto

José Neto

Richard Bailey (drums)
Paul Booth (saxophone, flute, keyboards, vocals, irish whistle)
Cafe DeSilva (percussion)
José Neto (guitar)
Steve Winwood (organ, mandolin, electric guitar, vocals)


01. Introduction 2.27
02. Rainmaker (Winwood/Capaldi) 6.28 (*)
03. I’m A Man (Winwood/Miller) 6.02
04. Fly (Winwood/Godwin/Neto) 8.45
05. Can’t Find My Way Home (Winwood) 6.29
06. Medicated Goo (Winwood/Miller) 5.18
07. The Low Spark of High Heeled Boys (Winwood/Capaldi) 7.46
08. Empty Pages (Winwood/Capaldi)  5.49
09. Light Up or Leave Me Alone (Capaldi) 16.24
10. Band introductions 0.49
11. Dear Mr Fantasy (Winwood/Capaldi/Wood) 8.55
12. Back In The High Life Again (Winwood/Jennings) 8.51
13. Gimme Some Lovin’(S.Winwood/M.Winwood/Davis) 6.09
14. Closing Radio Banter 1.09

(*) “During Rainmaker, there were some slight chirp sounds and the volume fluctuated during stream.”



The festival area in Telluride

Various Artists – Celebrating Jon Lord – The Composer (2014)

FrontCover1Jon Lord is remembered as the founder of Deep Purple and one of the seminal rock keyboardists of all time. But Lord was also a respected composer, something he pursued alongside and throughout his tenure in Deep Purple. His untimely death in 2012 from a pulmonary embolism cut short a stellar career that was much richer than many realize.
With this album, Lord gets his due. An impressive cast of characters came together to perform select works live in the Royal Albert Hall. The result is something best described as cinematic. As individual pieces, the drama, energy, and emotion shines through. As a live concert it is a wonderful celebration of one man’s life work. (by innocentwords.com)

The passing of Deep Purple keyboardist Jon Lord in 2012 was sad for the obvious reasons, but also because he was about to release a just finished re-imagining of his “Concerto for Group and Orchestra,” a piece Deep Purple first played live at the Royal Albert Hall in 1969, and one that is often cited as the first true meeting of classical and rock. Lord was a big part of the heavy orchestral prog rock sound of Deep Purple, and he could rock when needed, or take center stage and play pretty as the soundtrack for a majestic autumn wind. He played with other bands as time went on, including Whitesnake, but in his later years he increasingly pursued his aspirations as a classical composer.


Which brings us to this set, one of two volumes derived from a historic tribute concert held April 4, 2014 at Royal Albert Hall that marked the 45th anniversary of when Lord’s “Concerto for Group and Orchestra” first debuted there. Surviving members of Deep Purple were on hand for the tribute, as well as Paul Weller, Whitesnake’s Micky Moody, Iron Maiden’s Bruce Dickinson, Yes keyboardist Rick Wakeman, and many others, including the Orion Orchestra conducted by Paul Mann. The evening opened with a classical set from the orchestra, which is what we have here, then went to a more rock-oriented second act, before concluding with a set by Deep Purple — the rock and Deep Purple portions of the evening are available as Celebrating Jon Lord: The Rock Legend, the other volume of this tribute set.

Among the highlights of this opening classical portion are the majestic “Fantasia” (from Sarabande), complete with horns, and a beautiful “All Those Years Ago,” which features vocals from Micky Moody and illustrates just how much vision Lord really had for a classical/rock fusion, and in retrospect, how Deep Purple personified that vision. (by Steve Leggett)


Miller Anderson (vocals on 04.)
Mario Argandoña (percussion on 01., 04., 06. + 07.)
Steve Balsamo (vocals on 03.)
Matthew Barley (cello on 02.; =$:)
Jerry Brown (drums on 01., 05. + 07.)
Margo Buchanan (vocals on 06.)
Murray Gould (guitar on 01., 05. + 07.)
Nigel Hopkins (piano on 01., 03.  05. + 07.,  organ on 02.)
Jeremy Irons (speaker on 08.)
Paul Mann (piano on 08.)
Jacqueline Martens (violin on 02.)
Micky Moody (guitar on 03.)
Darragh Morgan (violin on 06.)
Neil Murray (bass on 01., 05. + 07.)
Anna Phoebe (violin on 03.)
Kathryn Tickell (pipe om 02.)
Rick Wakeman (synthesizer on 05.)
Wix Wickens (keyboards on 01. + 07. piano on 06. )
The Orion Orchestra conducted by Paul Mann


01. Fantasia (from Sarabande) (Lord) 4.14
02. Durham Awakes (from Durham Concerto) (Lord) 8.54
03. All Those Years Ago (Lord/Balsamo) 6:47
04. Pictured Within (Lord) 9.09
05. Sarabande (Lord) 8.36
06. One From The Meadow (Lord/Brown) 9.58
07. Bourrée (from Sarabande) 7.22
08. Afterwards (Lord/Hardy) 4.20

Rolland Hazzard – Young Girls (2014)

frontcover1Rolland Hazzard is a roots rock, folk rock, americana band from Austin, Texas.

Rolland Hazzard is a fine Rock band that can belt out some great jams. Two awesome vocalists and all awesome musicians.

Rolland Hazzard is a indie band … and this is their debut album and I guess, it´s one of the finest debut albums from the last years.

A tasteful mix of early Americana along with the ideals of Laurel Canyon 70’s folk-rock steeped in a large vat of heavy guitars and psychedelic undertones.

“There are incredible bands in Austin making mind blowing music but there are only two bands I would put my entire retirement pension (which at this point is a box of Yo MTV Raps cards and a few hundred VHS tapes) on the line for and that’s Annabelle Chairlegs and Rolland Hazzard. I’ve been chasing bands around and pretending to play guitar for a long long time and I’ve come to realize that what I lack in charisma or personality I make up for with spot on band predictions. Rolland Hazzard are about to skyrocket into the social ether whether the Hotel Vegas crowd is ready to concede to it or not, there are no keymasters to success and art is not a democracy, Rolland Hazzard are the complete package and rightfully so.” (by heycoolkid.net)


Seth Gibbs (drums, vocals)
Matthew Krausse (keyboards, accordion)
Christopher Putney (guitar)
Houston Putney (guitar, vocals)
Justin Smith (bass, vocals)

01. Young Girls 4.56
02. Gold 3.17
03. Hether St. 3.14
04. Fuck Around 5.47
05. My Name 5-33
06. Imaginary Kingdom 4.44
07. Tonight’s Trouble 4.04
08. Baptized 3.30
09. They Don’t Know  3.56
10. Summer Worship 5.36
11. Ghosts Of Memphis 6.04



Rolland Hazzard live at the Hotel Vegas, Austin, November 9, 2014:

Jeff Beck – Live In Tokyo (2014)

frontcover1Since his early days with the Yardbirds and on through his genre-busting solo years, Jeff Beck‘s guitar style remains uniquely his own. He proves that once again on his new DVD, Live in Tokyo.

Filmed in April 2014 at the Tokyo Dome City Hall in Japan, following the surprise US tour he did with Brian Wilson the previous fall. On that tour, Beck introduced a couple of new songs from an as-yet unreleased new album, including “Yemin,” which also turns up here.

Fans of Beck will be thrilled with pretty much everything about this set. The master delivers spirited versions of classics like “Blue Wind,” “Led Boots” and “Rollin’ and Tumblin’” as well as his unique version of the Beatles‘ “A Day In The Life,” which has left more than one fan dazzled and dazed by its beauty.

It is not, of course, a one man show. Beck’s backing band, fairly new at the time of the filming, more than hold their own. Drummer Jonathan Joseph and bassist Rhonda Smith make for a very powerful (if at times a bit busy) rhythm section. The style of guitarist Nicolas Meier compliments Beck without ever stepping on his spotlight.

Those wanting a simple explanation of what Beck does from this concert will be disappointed. He manages to spread his wings across jazz, funk, rock, blues and ballads without blinking. The medley of “Goodbye Pork Pie Hat / Brush With The Blues,” long a


Rhonda Smith

staple of his live shows, is a particular gem. Even when he veers off into a display of technical flash and fire, he never loses the soul which is always at the heart of his playing.

The heavy as hell “Big Block” is captured here in a stunning performance. And of course, when he wants to cut loose, there is still no stopping him. A moving rendition of “‘Cause We Ended As Lovers” from Blow By Blow, a stellar take on Jimi Hendrix‘s “Little Wing” and a powerhouse “Rollin’ and Tumblin” are among the highlights.

The actual sound and visual here is fantastic. Sharp image and crystal clear sound give the viewer the old “next best thing to being there” feeling, without question. All in all, Live In Tokyo is a must for fans of Jeff Beck and his mastery of the guitar. Casual fans may find it a bit indulgent at times, but then again, it’s doubtful anyone falls on the “casual” side of the fence when it comes to Mr. Beck these days. (by ultimateclassicrock.com)


There is a moment in the recently released DVD, Jeff Beck: Live In Tokyo, when it really hits home that Beck is indeed a genius. It’s not when he’s driving through a rocker like “Big Block” or rockabilly jazzing in “Rollin’ & Tumblin’” or even when he’s giving homage to John Lennon on “A Day In The Life.” It’s when he is so quiet and the notes are so delicate they could shatter at the slightest touch. That is when all the years of hype about Beck’s immense artistry on the guitar solidifies in your mind. He is a genius.

Filmed in April of last year at the Tokyo Dome City Hall, this is Jeff Beck at probably his most mature. Nothing is rushed, nothing is overly lit, nothing is fake. It’s Beck accompanied by three very strong musicians (guitarist Nicolas Meier, bassist Rhonda Smith and drummer Jonathan Joseph) performing in synch to compositions by the likes of Jimi Hendrix, Muddy Waters, Charles Mingus, Stevie Wonder and Beck himself. (by glidemagazine.com)

And this is the audio version from this concert.


Jeff Beck (guitar)
Jonathan Joseph (drums)
Nicolas Meier (guitar)
Rhonda Smith (bass, vocals)

01. Introduction/Loaded (Beck/Garcia) 4.52
02. Little Wing (Hendrix) 3.10
03. You Know You Know (McLaughlin) 6.44
04. Hammerhead (Beck/Rebello) 4.05
05. Angel (Footsteps) (Hymas) 5.30
06. Stratus (Cobham) 5.45
07. Yemin (Meier) 6.23
08. Where Were You (Beck/Bozzio/Hymas) 3.15
09. The Pump (Hymas/Phillips) 3.57
10. Goodbye Pork Pie Hat’ (Mingus) / ‘Brush With The Blues (Hymas/Beck) 4.08
11. You Never Know (Hammer) 4.05
12. Danny Boy (Traditional) 3.04
13. Blue Wind (Hammer) 2.55
14. Led Boots (Middelton) 4.10
15. Corpus Christi Carol (Traditional) 2.33
16. Big Block (Beck/Bozzio/Hymas) 5.18
17. A Day In The Life (Lennon/McCartney) 6.11
18. Rollin’ And Tumblin’ (Traditional) 5.14
19. ‘Cause We Ended As Lovers () 3.59
20. Why Give It Away (Beck/Delila/Appapoulay/Cassell/McEwan) 6.38






Eva Klein – Nothing To Add (2014)

FrontCover1Eva Klein is a very young singer/songwriter from Munich/Germany. And this is her debut album:

“Nothing to Add” offers its listeners classical singer/songwriter artistry, flavoured with a taste of folk and jazz, the hand-crafted ensemble transposed in minimalistically arranged music and pure analogue sound. The 14 tracks of her first solo album reveal an authentic and impassioned journey through the artist’s emotional world. In turns sad, ironic, cheeky or melancholic, the album is always honest with vivid lyrics that demand to be listened to.

At the same time the creative arrangements for the album are running at full speed. The process is fulfilling and exhausting at the same time – it’s never been more exciting. (Eva Klein)


This is a very fine debut (with excellent guitar solos by Tim Turusov !) and I hope, that we can hear more of these folky tunes from Germany- Long live the singer/singwriter tradition !

Eva Klein (guitar, vocals)
Flo Streitwieser (bass)
Tim Turusov (guitar)

01. This Is Home 4.03
02. Love Is A Demon 3.06
03. The Moment I‘m Thinking Of You 3.50
04. I Was Wrong 3.52
05. The Baltic Sea 4.49
06. All That Matters 4.10
07. You Made It Real 3.36
08. Look Around You 2.46
09. Salt 3.50
10. When Will I Find 3.39
11. Kiss Again 5.04
12. Jailor 4.49
13. Twenty-Nine 4.20
14. No One 4.04

All songs are written by Eva Klein