Roscoe Mitchell Quartet – Celebrating Fred Anderson (2015)

FrontCover1Chicago saxophone icon Fred Anderson died in 2010 and since then his birthday has been celebrated by friends, admirers and colleagues. For the 2015 event saxophonist/composer Roscoe Mitchell assembled a quartet for a tribute. The quartet is completed by cellist Tomeka Reid, bassist Junius Paul and drummer Vincent Davis. Mitchell prepared four original pieces and adaptations of two Fred Anderson compositions, Bernice and Ladies in Love. The concert was presented at Constellation in Chicago on March 27, 2015.

This concert, recorded live this year at a Chicago club, celebrates the 2010 death of Chicago saxophonist Fred Anderson. Unlike colleagues in the Chicago-based Association for the Advancement of Creative Musicians (AACM), Anderson stayed close to home most of the time through his productive life, owned, operating and playing in the Velvet Lounge. At different times, his combo included AACM luminaries like trombonist George Lewis and demon drummer Hamid Drake. Every year since his death, his musical soul mates celebrate his legacy with a concert like this.

If anyone qualifies for this gig, it’s brilliant reed player group leader and composer Roscoe Mitchell, who is to jazz music what the Hungarian composer Gyorgi Ligeti (d. 2006) was to ‘classical’ music, an artist of resolutely modernist bent who has always quested for new ways to express himself. This new album is one of Mitchell’s more adventuresome outings.

Fred Anderson

Thus, for the jazz novice, it is also one of his less accessible. It’s good, as almost anything Mitchell does is good. But it’s not easy to get into unless you’re already used to Mitchell’s innovations, which include the use of tone rows (Mitchell’s theme statement on “Cermak Road,” the final cut on the album, could have been written by Webern or Berg, except for the churning turmoil of rhythm underpinning it) and long passages of non-stop sax playing made possible by circular breathing. Mitchell’s associates on the album include Vincent Davis, a fiery drummer who has played with him fro a while, and newcomers Tomeka Reid on cello and Junius Paul on bass. Reid and Paul play their instruments with equal facility bowed and plucked. One of Mitchell’s compositions, “The Velvet Lounge,” is an extended solo outing for cellist Reid, playing arco: drummer Davis joins her halfway through and Paul on bass helps them wrap the piece up. Of the six songs, two are by Anderson, the other four Mitchell’s.

Roscoe Mitchell

Some of Mitchell’s playing on this lively album clearly qualifies as jazz, though of a distinctly modern persuasion, but all of it falls under the Mitchell’s Art Ensemble of Chicago used to categorize its music: this is “Great Black Music.” If you’re not used to Mitchell’s playing, it may take you a while to tune into this music but it’s the real thing. As is Mitchell, one of the most innovative, exciting –and best– musicians still performing. (And he’s 75!) —David Keymer)

Attention please: This is Free Jazz !


Vincent Davis (drums)
Roscoe Mitchell (saxophone)
Junius Paul  (bass)
Tomeka Reid (cello)


01. Song For Fred Anderson (Mitchell) 17.24
02. Bernice (Anderson) 10.40
03. The Velvet Lounge (Mitchell) 6.43
04. Hey Fred (Mitchell) 17.05
05. Ladies In Love (Anderson) 13.46
06. Cermak Road (Mitchell) 4.27

Fred Anderson2



Leslie West – Soundcheck (2015)

FrontCover1Soundcheck is the sixteenth solo album by legendary rock guitarist Leslie West. It follows 2011’s critically acclaimed Unusual Suspects, which featured contributions from such accomplished guitarists and close friends as Billy Gibbons, Slash, Zakk Wylde, Steve Lukather and Joe Bonamassa, and 2013’s Still Climbing, which included blistering duets with the late, great Johnny Winter, Jonny Lang and Mark Tremonti.

For this new release, Leslie lays down some of his most inspired musical magic to date with the assistance of true rock royalty: the renown British guitarists Peter Frampton and Brian May, ex-Jeff Beck keyboard virtuoso Max Middleton, vocalist extraordinaire Bonnie Bramlett and the late great Cream bassist and longtime friend of Leslie’s, Jack Bruce. Back in 1972, Leslie made musical history with Jack when they joined forces to form the super group West, Bruce and Laing. Soundcheck is co-produced and engineered by West’s collaborator Mike “Metal” Goldberg, who he shared, “helped me get my sound down on ‘Tape’ as they used to say, and did an amazing job as he always does.”

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Leslie West (born Leslie Weinstein, October 22, 1945) first gained worldwide recognition in 1969 as the guitarist and singer in the groundbreaking rock band Mountain. West’s wholly unique sound, distinguished by beautifully melodic phrasing, his slow, wide vibrato, and a crushing guitar tone set the standard in the late sixties and early seventies for blues/rock guitar playing of the highest order. Along with the hugely influential Top Ten hit “Mississippi Queen,” Leslie’s brilliant guitar work serves as the driving force behind the Mountain classics, “Nantucket Sleighride,” “Never In My Life,” “Don’t Look Around,” “Blood of the Sun,” “Dreams of Milk and Honey,” and the incredible Jack Bruce composition, “Theme For an Imaginary Western.”

That one-of-a-kind signature guitar sound propels Soundcheck throughout, evidenced by such powerful tracks as, “Left By The Roadside to Die,” “Here For the Party,” “Empty Promises–Nothing Sacred,” “Going Down,” “Spoonful,” “A Stern Warning” and five other Leslie West03stellar songs. “I wanted to surprise myself with this record,” Leslie discloses. “On that very first track, ‘Left By The Roadside to Die,’ I initially played the synthesizer part on the guitar, but I thought it would be really cool to start the record with a sound other than the guitar. I decided to have my keyboard player David Biglin come in and re-do it with the synth. That synth part provides a great groove, which enables me to first come in with the acoustic guitar and then bring in the heavier electric guitars right at the second verse. Another twist is that I add some acoustic slide guitar on the track, with the guitar in a really unusual open D tuning. All of the strings are tuned to either a D or an A note-no thirds in any of the chords.” For the solo, Leslie lays down a blistering slide guitar solo that burns with the power and precision that has earned him the respect and admiration of multiple generations of guitar players.

Included among Leslie’s many fans and disciples are six-string luminaries such as Eddie Van Halen, Randy Rhoads, John McLaughlin, Jethro Tull’s Martin Barre, Warren Haynes, and Richie Blackmore of Deep Purple. Blackmore has stated that Leslie’s phenomenal playing on “Mississippi Queen” served to redirect the course of Deep Purple’s music in an instant, ultimately resulting in the brutal hard rock intensity displayed on Deep Purple In Rock. “I’ve always really loved Leslie West’s playing,” says Blackmore. “I remember being in a place in Germany, and Ian[Paice, DP drummer] and I were out drinking together. In those days, you could go to a club and listen to the new records in their entirety that had just come out. Paice and I heard, ‘Mississippi Queen,’ and we both went white! We were thinking, ‘Who the hell is that?!’ It had such a big sound! For three guys, it was incredibly heavy. And Leslie’s vibrato is just great. Hearing Mountain directly influenced the direction of the Purple, and you can hear that influence on what was to become our next record, [1970’s], In Rock. At the time, we were trying to find our way as a band, some sort of ‘category.’ Jon [Lord, the late DP keyboardist] was into the classical stuff, and, although I love classical music, I wanted to follow up the Deep Purple album, the last one with the original line-up, with something much heavier, out-and-out rock. And that’s how In Rock came about.”


For Martin Barre, meeting Leslie in 1970 served to inspire the writing and playing on Jethro Tull’s most successful album in the band’s history, Aqualung. “Prior to going into the studio to record [1971’s] Aqualung, I met Leslie, whose playing I absolutely loved,” Barre reveals. “Leslie is well known for his association with Les Paul Juniors, and just after meeting him, I picked up a 1958 Junior because his sound was so incredible. I would say that he’s the only guitarist who has ever influenced me directly.”

Leslie was also influential in the development of the music for The Who’s masterpiece, Who’s Next. In early 1971, he was invited to record with the Who for the band’s initial NYC Record Plant sessions for the album, which sparked a close friendship with The Who’s leader, Pete Townshend. Says Pete, “Leslie gave me a really great Les Paul Junior with one pickup on it for me to use on Who’s Next, and Eric Clapton gave me an old Strat. They both gave me really good instruments and I still have those instruments today. Along with my Gretsch Chet Atkins, those three guitars were the only ones I used on Who’s Next.”


Another fan of Leslie’s was none other than Jimi Hendrix, with whom Leslie jammed at famed NYC clubs like Ungano’s and elsewhere. “I first met Jimi while I was recording Climbing! at the Record Plant and he was in another room mixing Band of Gypsys,” Leslie recalls. “Jimi came in and after hearing the first track, ‘Never in My Life’ he looked over at me and said, ‘That’s a great riff, man.’ I started shaking! There’s a great picture of us playing together at Ungano’s, and Jimi’s playing Felix [Pappalardi’s] bass. Getting to know and play with Hendrix is one of my greatest life experiences.”

Closing out his new album “Soundcheck”, is a treasure for all longtime fans of Leslie West: a live version of Willie Dixon’s, “Spoonful,” recorded with Jack Bruce on bass and vocals and Joe Franco on drums, played in the classic Cream style as captured on 1968’s Wheels of Fire. “Back in 1988, I recorded an album called, Theme, which featured Jack on bass. We recorded at Millbrook in upstate New York, and the owner of The Chance in Poughkeepsie called and asked if we wanted to come over and do a set there, with no advertising, no nothing. Jack was into it, and the engineer at Millbrook, Paul Orofino, came with us and recorded the gig with a small portable stereo machine. “After hearing of Jack’s passing, we edited it down from its original length and decided it would be great to include on the record. As you can hear, I was trying to reincarnate myself into Eric Clapton! The first time I listened to Jack’s voice and the tone of his bass on the recording, I had tears in my eyes. I loved Jack so much.”


Leslie is looking to close out 2015 and kick off 2016 with major touring in the states and in Europe, performing a combination of his time-honored classics plus the material from Soundcheck. “I’m so happy with the sound of this new record,” Leslie affirms. “The guitar sound we captured is fantastic, and my voice is feeling better than ever.” (by

What a hell of a record … another hightlight in the long career of the one and only … Leslie West !

Leslie West01

Dave Biglin (keyboards, guitar on 04. + 09., strings on 04.)
Mike “Metal” Goldberg (drums, percussion)
Rev Jones (bass)
Leslie West (guitar, vocals)
Bonnie Bramlett (vocals on 08.)
Jack Bruce (bass, vocals on 11.)
Elaine Caswell (background vocals on 05.)
Martin Ditcham (drums on 08.)
Peter Frampton (guitar on 04.)
Joe Franco (drums on 11.)
David Hood (bass on 08.)
Brian May (guitar on 08.)
Max Middleton (piano on 08.)
Ariela Pizza (vocals on 09.)
Bobby Whitlock (organ on 08.)


01. Left By The Roadside To Die (J.West/L.West) 4.08
02. Give Me One Reason (Chapman) 4.04
03. Here For The Party (Kenny/Wilson/Rich) 4.00
04. You Are My Sunshine (Davis) 3.49
05. Empty Promises / Nothin’ Sacred (J.West/L.West) 3.46
06. A Stern Warning (L.West) 4.15
07. People Get Ready (Mayfield/Kahne/Miller) 3.08
08. Going Down (Nix) 4.16
09. Stand By Me (King/Leiber/Stoller) 2.56
10. Eleanor Rigby (Lennon/McCartney) 1.35
11. Spoonful (Dixon) 8.16 (*)

(*) Recorded live at The Chance, Poughkeepsie, NY in 1988.



I include a very intensive interview, not only about this album, but about his career … including really crazy stories about Noel Redding, who played with Leslie for a year.

Trigg & Gusset – Adagio For The Blue (2015)

FrontCover1Renowned Dutch artist Bart Knol, known for his versatile releases which currently cover just about the complete spectrum of the Dutch music scene, is back. This time with composer and woodwind specialist Erik van Geer.

Trigg & Gusset traffics in a deeply aromatic blend of noir-jazz on its sophomore effort Adagio for the Blue, the title itself a succinct encapsulation of the album’s tone. In contrast to the improv-based character of the group’s 2013 debut outing Legacy of the Witty, the new one’s rooted in formal compositional structures that still allow for soloing and improvisation. Though Trigg & Gusset is comprised of Bart Knol and Erik van Geer, it’s Knol who’s the more dominant contributor, given that he arranged and produced Adagio for the Blue’s material and is credited as the sole composer on five of the ten pieces (the others are credited to both members). Yet while the multi-instrumentalist contributes keyboards, synths, beats, electric guitar, and samples to the recording, it’s van Geer’s woodwinds (flute, bass clarinet, tenor saxophone) that often take the lead.

The two do a commendable job of simulating a live jazz quartet, given the fact that Knol assumes the role of pianist and drummer on most tracks. As a pianist, his light touch calls to mind someone like Ahmad Jamal, and it’s an approach that complements the late-night feel of the material. While “Vanishing Gold” and “The Vault” feature the duo only, the typical album track features the two augmented by others: the group’s smoky music is never more compellingly presented, for example, than on the opening “Intimate,” an aptly titled exercise in late-night melancholia that sees the leaders’ bass clarinet and piano ably supported by double bassist Dominique Bentvelsen and acoustic guitarist Midas Ghijsels. As silky and enveloping as the backdrop is, however, it’s van Geer’s haunting lead playing that’s the most striking component (Ghijsels is later given his own moment in the spotlight when his Flamenco guitar playing is featured on “Tortuga”).

Trigg & Gusset02

Much of the album is downtempo, but there are livelier tunes, too, among them “Madagascar,” whose comparatively spirited acoustic jazz groove receives a spike of energy from the playing of trumpeter Coen Hamelink, and there are moments on “Rhododendron” that evoke the laid-back splendour of Kind of Blue, especially when the front-line consists of van Geer’s tenor sax and Hamelink’s trumpet. An occasional classical influence also seeps into the album, a case in point the brooding, Satie-like piano figure Knol threads into the ponderous rumination “The Vault,” and with Knol’s electric guitar conjoined to van Geer’s tenor sax, the slinky groove of “Promenade” oozes an undeniable Badalamenti vibe. Such moments indicate that Adagio for the Blue should interest those whose taste runs to The Kilimanjaro Darkjazz Ensemble and Dictaphone. (by

In other words: an unknown masterpiece !

Trigg & Gusset03

Bart Knol (keyboards, syntehsizer, guitar, beats, samples)
Erik van Geer (saxophone, flute, clarinet)
Matthijs Blom (guitar on 10.)
Dominique Bentvelsen (bass on 01. + 09.)
Midas Ghijsels (guitar on 01. + 07.)
Coen Hamelink (trumpet on 03., 05. + 10.)
Just Lavooij (bass on 02. + 05.)

TRigg & Gusset01

01. Intimate (Knol/v.Geer) 5.54
02. Cook (Knol/v.Geer) 5.55
03. Madagascar (Knol) 4:04
04. Vanishing Gold (Knol) 7.16
05. Rhododendron (Knol) 4.03
06. The Vault (Knol/v.Geer) 3.40
07. Tortuga (Knol/v.Geer) 4.40
08. Cardium (Knol)  6.20
09. Promenade (Knol/v.Geer) 4.31
10. Primrose Path (Knol) 6.14




Gordon Chin – Cello Concerto + Symphony No.3 (“Taiwan”) (2015)

FrontCover1Gordon Chin is one of Taiwan’s leading composers, and increasingly honoured by commissions and performances from major ensembles in North America, Asia and Europe. Featuring an array of exotic Chinese percussion instruments, Symphony No. 3 ‘Taiwan’ is a dramatically powerful work cast in three movements which explore his native country’s turbulent history. Specific literary quotations from Shakespeare, Blaise Pascal and Samuel Johnson elucidate the expressive moods of the three-movement Cello Concerto No. 1. —

Gordon Chin is one of Taiwan’s leading composers, music director of the Yin-Qi Symphony Orchestra and Chorus in Taipei, and a faculty member at the National Taiwan Normal University (NTNU). As a composer he has received commissions and performances from North America (where he studied), Asia and Europe. Now in his late fifties, he has produced a number of substantial compositions including an opera, four symphonies, numerous concertos and choral works. These two impressive examples of his music were written ten years apart and are here given their world premiere recordings.

Shao-Chia Lu

The three-movement Cello Concerto No.1 is placed first. Some literary quotations from Shakespeare, Pascal and Dr. Johnson, quoted by Chin in his own booklet note, aim to elucidate the expressive moods of each movement. I am not sure they are especially helpful in that respect, but the music hardly needs any literary support, so direct is its strength and immediate appeal. It is on a large scale and full of arresting orchestral incident. Its modernist idiom will present few problems to admirers of the cello concertos of Martinu or Shostakovich, for it is in an acerbically tonal style with many exotic effects, and punchy assertive gestures dominate. Yet this is clearly the statement of an individual voice. The orchestral colours are alluring and the cello solo is wide-ranging, idiomatic.

It has quite a few challenges for the player – all of which cellist Wen-Sinn Yang has mastered. His dazzling virtuosity serves the work rather than the other way around. One hopes this disc will encourage other cellists to look at the music.

Symphony No.3 (subtitled Taiwan) is a dramatic work also cast in three movements, each of which explores the turbulent history of Chin’s native country. The first movement is subtitled Plunder, the second Dark Night and the third Upsurge. There are even motifs with such titles identified in the composer’s note, complete with musical illustrations. That first movement is almost a percussion extravaganza, becoming a timpani concerto at some points. The lyrical second movement draws upon a Taiwanese folk song, is punctuated by angry episodes and grows to a passionate climax. The finale pulls everything together in a satisfying way and leads to a heroic conclusion. The symphony is enjoyable and often striking, if at first slightly less compelling perhaps than the cello concerto. The performance of the excellent Taiwan Philharmonic under Shao-Chia Lü is certainly persuasive and sounds committed throughout.
The recording is very good, full and well-balanced with plenty of impact. This disc will appeal to anyone curious to know what can be made of the western classical tradition when its techniques and colours are expertly refracted through an East Asian lens. It is to be hoped that Naxos, whose second disc of Chin’s music this is will continue the series. The first disc is Naxos 8.570221: Double Concerto and Formosa Seasons. (Roy Westbrook)


Gordon Shi-Wen Chin,(born 1957), a Taiwanese composer and conductor, is a member of the faculty of National Taiwan Normal University. He earned his doctoral degree at the Eastman School of Music under Christopher Rouse and Samuel Adler.[2] As one of Taiwan’s most prolific composers, his works have been performed by the Seattle Symphony Orchestra, San Diego Symphony Orchestra, and Vancouver Symphony Orchestra, as well as by ensembles in Tokyo (Euodia Orchestra), France (Ensemble 2e2m), the International Sejong Soloists (United States), and many others.[3] The Los Angeles Times has called him a “confident master of the Western modernistic large orchestral idiom used for dramatic rather than abstract purposes.” Chin is now the music director of the Yinqi Chorus & Orchestra (by wikipedia)

Gordon Chin

Wen-Sinn Yang (cello)
Taiwan Philharmonic Orchestra, conducted by Shao-Chia Lu



Cello Concerto No. 1:
01. Allegro 13.29
02. Dreams Trapped Inside The Mirror 10.37
03. After Great Pain 11.38

Symphony No. 3, “Taiwan”;
04. Plunder 9.32
05. Dark Night 8.40
06. Upsurge 8.16


Jay Jesse Johnson – Set The Blues On Fire (2015)

FrontCover1Set The Blues On Fire is the fifth solo album by Ohio native Jay Jesse Johnson. With a equal parts Robin Trower like explosiveness, some Foghat hard boogie blues and influences from the British Blues Explosion that clearly influenced artists like Bonamassa, JJJ set serves up 12 tracks that deliver on the title tracks promise. From some smokin’ slow blues and fast paced rocking boogie they set the blues on fire from both ends.

Bassist Reed Bogart and drummer Jeff “Smokey” Donaldson combine to deliver a tight rhythm section accompanying JJJ’s guitar throughout this fast-paced, energetic thrill ride that the majority of this album is going to take you on. The frighteningly fast boogie of “Hell or High Water” declares that this band is here to rock you right from the start. The next track “Ghosts of Texas” is where the work of keyboardist Lee Evans work is most prominent with some great organ playing. There is a definite SRV Reese Wynans feel to this one. “Since My Baby’s Gone” is a captivating slow blues with a beautiful guitar tone reminiscent with just that little delay and hint of echo of Gary Moore. The boogie train takes off again with “Wheelhouse Boogie” where the slower pace really lets JJJ take the time to make that guitar groan and growl during the choruses.

Jay Jesse Johnson02

Another slower but positively rocking blues is delivered with “Midnight Dream” where the band lays down a rhythm and just lets JJJ go to town for an first-rate solo in the middle. A powerful rhythm section that sets a slightly funky yet ominously dark tone to the warning of “Don’t Mess With Baby.” “If I Knew Then” is a slow burning blues that should not be missed. From there the thrill ride drops off the edge of the precipice with the fast paced “Ace In The Hole.” “Grinding Blues” is exactly what is describes. However, the highlight of this album is the instrumental closing track “Rio de los Suenos (River of Dreams)” which has all the beautiful feel, mood, and superior tone of something you would expect to hear from Eric Johnson. This is truly an amazing song where JJJ shows the depth of his guitar mastery.

With excellent songwriting of Set The Blues On Fire and the killer tone that he can wring out of his Strat, Jay Jesse Johnson delivers a clear message to everyone that he is here to ignite the flame of the candle placing him on the blues-rock altar. (Kevin O’Rourke)

Jay Jesse Johnson03

Reed Bogart (bass)
Donaldson (drums)
Lee Evans (keyboards)
Jay Jesse Johnson  (guitar, vocals)


01. Hell Or High Water 3.54
02. Ghosts In Texas 4.21
03. Since My Baby’s Gone 4.57
04. Wheelhouse Boogie 5.03
05. Set The Blues On Fire 4.01
06. Midnight Dream 5.49
07. Voodoo Woman 4.07
08. Don’t Mess With Baby 4.30
09. If I Knew Then 5.25
10. Ace In The Hole 4.30
11. Grinding Blues 4.51
12. Rio De Los Sueños (River Of Dreams) 5.25

All songs written by Jay Jesse Johnson


Jay Jesse Johnson01

Les Musiciens des Saint Julien – The High Road To Kilkenny – Gælic Songs and Dances (2015)

FrontCover1The High Road to Kilkenny follows our recording of the complete fl ute sonatas of J. S. Bach (Alpha 186).
My research on the diversity of musical phrasing at the time of Bach, in the light of period documents and more especially of the Solfeggi of J. J. Quantz, resonates with that of living Irish music.
This programme is the outcome of a patient exploration of the musical sources, composed in Ireland chiefly in the seventeenth and eighteenth centuries and published in the eighteenth and nineteenth centuries, and of the original sung texts. For the sake of variety I have chosen works belonging to different genres, with an extremely refi ned and skilled repertory of settings of poetry (Lord Mayo, Sir Ulick Burke, among others) and a lighter repertory of songs and dances (Do Chuirfi nnse Féin Mo Leanbh a Chodladh, Oro Mhor a Mhoirin, Kitty’s Wishes).
I discovered Irish music and its performing practice around twenty years ago, when I was still a student in Barthold Kuijken’s Baroque flute class in Brussels. To attune one’s ear to the demands of an oral tradition was an eminently complementary training to what we were taught at the conservatory.
I have joyful memories of my fi rst backpacking trip around the Emerald Isle in the late 1990s. What an enchantment! The verdant landscapes, the fairytale (though fl eeting!) moments when the sun came out, the atmospheres so different from anything I’d known elsewhere are engraved on my memory.
And, above all, the hospitality and the musical encounters were particularly rich and enlightening in this country where music has remained a way of life. But this ‘popular’ practice shouldn’t obscure the fact that the old harper-poets like Turlough O’Carolan and his predecessors played for ‘polite society’: the music they left us is the music of the aristocracy.
It is with joy that I share these emotions of different kinds today with listeners to this latest production of Les Musiciens de Saint-Julien. (liner notes, written by François Lazarevitch)

Les Musiciens des Saint Julien01

After For Ever Fortune (Alpha Classics, 2010), this second incursion of Les Musiciens de Saint-Julien in Celtic lands, The High Road to Kilkenny, combines refined, ‘highbrow’ pieces along with an entertaining repertoire of songs in Gælic and dances from the Irish Baroque.

Embodied in a language, dances and emblematic instruments, Irish music also bears in it the mark of an insular pœtry and a turbulent history. Thus, it is to these that this exhilarating, entrancing programme bears witness, and for which François Lazarevitch went back to original texts and collections of the 18th and 19th centuries. Varied couplets, lullabies, minstrel songs and hymns to Nature relate and dance to themes of love, infidelity, and the seasons as well as occupation and exile.

François Lazarevitch

François Lazarevitch

Sensitive to interpreting this repertoire today, short of the picturesque or ossified codes, Les Musiciens de Saint-Julien find inspiration in the art of phrasing and ornamentation taught in numerous Baroque treatises, the energy and pœtry of period instruments, and the mix of musical traditions and sources. Here they are at home at the table of the great Irish names of the 17th and 18th centuries, and once again cross paths with one of their faithful partners: tenor Robert Getchell, very much present on the Baroque lyric stage and impassioned by different kinds of Irish music.

What a great album … music from centuries many years ago …  but still a fascinating music !

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Lucile Boulanger (viola da gamba)
Marie Bournisien (harp)
Caitlín Nic Gabhann (dance)
Robert Getchell (vocals)
David Greenberg (violin)
Bruno Helstroffer (theorbo, lute)
François Lazarevitch (flute, tin whistle, smallpipes)
Bill Taylor (harp)

Bruno Helstroffer.jpg
Bruno Helstroffer

01. Óró Mhór a Mhóirín – The Gorum 4.48
02. Sir Uillioc de Búrca 4.44
03. An Drumadóir 2.39
04. Cuckold Come Out the Amery 4.15
05. Edward Corcoran 2.37
06. Síle Bheag Ní Chonnalláin 3.09
07. Sir Arthur Shaen – Colonel Irwin – Clonmell Lassies – The Scolding Wife 5.12
08. Tiarna Mhaigh Eo 6.10
09. Soggarth Shamus O’Finn 3.29
10. When She Cam Ben, She Bobbit – Kitty’s Wishes 5.09
11. Do Chuirfinnse Féin Mo Leanbh a Chodladh 3.42
12. The Banks Of Barrow 3.41
13. James Betagh – Lady Wrixon 4.03
14. O’Neill’s Riding Barrack Hill – Petrie No. 94 – Irish Air 4.13
15. King Of The Blind 3.18
16. Molly Nic Ailpín 3.25
17. The Cunning Young Man 1.32
18. The High Road To Kilkenny – Toss the Feathers – The Mill Stream – Money Musk 3.19

Lucile Boulanger

Lucile Boulanger



Jan Garbarek – Live At The Beethovenfest (2015)

FrontCover1Norwegian saxophonist Jan Garbarek’s icy tone and liberal use of space and long tones has long been perfect for the ECM sound and, as a result, he is on many recordings for that label, both as a leader and as a sideman. He had won a competition for amateur jazz players back in 1962, leading to his first gigs. Garbarek worked steadily in Norway throughout the remainder of the ’60s, usually as a leader but also for four years with George Russell (who was in Scandinavia for a long stretch). Garbarek began recording for ECM in the early ’70s and, although he had opportunities to play with Chick Corea and Don Cherry, his association with Keith Jarrett’s European quartet in the mid-’70s made him famous, resulting in the classic recordings My Song and Belonging. In the ’80s, Garbarek’s groups included bassist Eberhard Weber and at various times, guitarists Bill Frisell and David Torn. Garbarek, whose sound has remained virtually unchanged since the ’70s, collaborated with the Hilliard Ensemble in 1993 (a vocal quartet singing Renaissance music) and the result was a surprisingly popular recording. Visible World followed in 1995, and four years later he resurfaced with Rites. In April of 1999, Garbarek and the Hilliard Ensemble returned with Mnemosyne. He issued In Praise of Dreams in 2004, and finally released his first live album as a leader, Dresden, in 2009. In 2012, ECM released the live archival recording Magico: Carta de Amor, by the Magico trio that also included guitarist Egberto Gismonti and bassist Charlie Haden. ( by Scott Yanow)

And this is another brilliant live concerts with Jan Garbarek and his group.

Without any doubts he´s one of the finest jazz musician our time !

Recorded live at Beethovenfest, Rhein Sieg Halle, Siegburg, Germany; October 2, 2015.
Excellent webcast.


Rainer Brüninghaus (keyboards)
Yuri Daniel (bass)
Trilok Gurtu (drums, percussion)
Jan Garbarek (saxophone)


01. One Goes There Alone (Garbarek) 8.29
02. Life Without Balcony (Garbarek) 5.15
03. Red Dust (Garbarek) 8.37
04. Transformations (Brüninghaus) 6.39
05. Stolt Oli 10:46 (Garbarek) 10.46
06. Maracatu 1:42 (Daniel) 1.42
07. Vignette 5:08 (Garbarek) 5.08
08. Pendant  (Garbarek) 8.52
09. La Pasionaria (Garbarek) 9.21
10. Drum Solo 13:26 (Gurtu) 13.26
11. It’s High Time (Garbarek) 4.38
12. Paper Nut (Shankar) 4.38