Yoshiko Ieki – Toccatas Vol. 1. (J.S.Bach) (2016)

FrontCover1.jpgThe Japanese harpsichordist, Yoshiki Ieki, studied harpsichord with Gustav Leonhardt at the Amsterdam Sweelinck Conservatory, where she graduated wirh a soloist diploma in 1981.

And on this album she played on a very old instrument from Johannes Ruckers, part of the legendary Ruckers family:

The Ruckers family (variants: Ruckaert, Ruckaerts, Rucqueer, Rueckers, Ruekaerts, Ruijkers, Rukkers, Rycardt) were harpsichord and virginal makers from the Southern Netherlands based in Antwerp in the 16th and 17th century. Their influence stretched well into the 18th century, and to the harpsichord revival of the 20th.

The Ruckers family contributed immeasurably to the harpsichord’s technical development, pioneering the addition of a second manual; the quality of their instruments is such that the name of Ruckers is as important to early keyboard instruments as that of Stradivarius is to the violin family. In the 18th century, Ruckers instruments were often modified by French makers in a process known as ravalement, to allow for an extended range and other additions.


The Colmar harpsichord from 1624

Joannes Ruckers (variants: Ioannes, Hans, Jan) (15 January 1578 – 29 September 1642) was the first son of Hans Ruckers, and also became a harpsichord and organ maker. He lived his life in Antwerp. He and brother Andreas became partners in their father’s business upon his death, Joannes becoming sole owner in 1608. He joined the Guild of St Luke in 1611; his entry reads ‘Hans Rukers, sone, claversigmaker’; following this he engraved ‘IR’ into the rose of his instruments, rather than his father’s ‘HR’. He worked for the archdukes of the Netherlands in Brussels from 1616. His nephew Joannes Couchet joined his workshop around 1627, taking it over after his death. Around 35 of his instruments are in existence today. (by wikipedia)

And here´s a short biography of Yoshiko Ieki:


This album was recorded at the Under Linden Museeum in Colmar/France … on an original harpsichord from 1624 !

And … the music is just brilliant … listen to this fascinating melodies and sounds of an old harpsichord ! Enjoy this trip … !


Yoshiko Ieki (harpsichord)


01. Fantasia & Fugue in A Minor, BWV 904 / 8.45
02. Toccata in E Minor, BWV 914 / 8.21
03. Toccata in D Minor, BWV 913 / 13.21
04. Toccata in F-Sharp Minor, BWV 910 / 11-36
05. The Well-Tempered Clavier, Book 2:  Prelude & Fugue No. 14 in F-Sharp Minor, BWV 883 / 6.59
06. Toccata in G Major, BWV 916 / 9.12

Music composed by Johann Sebastian Bach



Yoshiko Ieki

Márcio Tubino And Artet – Community – Live At The Bird’s Eye (2016)

FrontCover1Márcio Tubino was born on 27th of March 1963 in Santa Maria, wich is in the brazilian state Rio Grande do Sul. His parents also come from this state. His father is from the castal area, while his mother was born in the uruguayan border area.

In the year 1969 the family moved to the capiltal Porto Alegre where Márcio Tubino grew up. The Land was going trough a military dictatorship since 1964 and experienced the euphoria caused by the victories of the brazilian soccer team. Behind this fade there seemed to be calmness and order but also a lot of repression and violence. Performers and artists had to be careful and develop a lot of creativity. The protest against the regime had to be well hidden behind allusions. Demanding texts combined with elegant and spirited harmonies in the tradition of Bossa Nova together with varios rhythms gave the brazilian Popmusic a very interesting touch.

Márcio experienced this musical impulses by various “rodas de samba”, by making music with his family and frends. Then Márcio sang together with his brothers and sisters. The elder ones discussed the lyrics and for fun they invented new vocal arrangements for the period songs, Sambas and traditional Bossa Nova.

In the year 1978 he started to study with his transverse flute. Tubino attendes the music academy of the Symphonic Orchestra Porto Alegre. At the same time he took part in various seminars, where he was taught the harmonies of e-and u-music, arrangements, history of classic and modern and also brazilian music.


Since 1980 M.Tubino is a professional musician. ” Raiz de Pedra” was the first group he played with. Here he developed his ability for saxophone and flute as well as composer. Highly acclaimed by critics and audience the group started their first tour to Germany in 1990, where Tubino lives now since 1995.

The brazilian performer has worked together with artists like Egberto Gismonti, Djalma Corrêa, Joe Zawinul, Dusko Goykowich, Alegre Corrêa, Renato Borghetti, Rosanna&Zélia. Next to an amount of recordings with others artists from Brazil and Europe Tubino has publisched 4 CD’s with “Raiz de Pedra”, wich contain various of his own compositions. His tours took him trough South America, Europe, to China, Japan and Egypt.

As arranger he wrote for many artists like Rosanna&Zélia, Dusko Goykowich and Jenny Evans. His writes for diferents formations like Jazz Combo, Strings and Jazz Big Bands. (rimaproductions.com)


ARTet is the band and project of Brazilian saxophone player Márcio Tubino. This ensemble is neither quartet nor quintet but an “ARTet” capable of transforming any kind of influences into musical ideas – that’s the leitmotif of the band.
With his LIVE concerts Márcio Tubino sticks to his roots. To perform on stage he assembled famous Brazilian musicians who live in Germany.

After four years of numerous gigs together, the 2nd CD of ARTet was recorded live within two days at the Bird’s Eye Jazzclub in Basel. Due to being that well-rehearsed the result is an album which is wonderfully harmonic, virtuosic and coherent to listen to.
The idea of ARTet as a boundless formation remains – Márcio Tubino goes even further and understands a concert as a musical dialogue between audience and band.
Furthermore, the band provided the concept of global networking via a QR code in the artwork: the portal “Community” opens new doors and the “community” is globally present. There is not just more information about the current CD but also links to other artists and art forms, as well as about projects for development aid, protection of nature and much more.


“Community” derives from natural events:
Musicians are playing in a charming Jazz club and still stay grounded in our technological world full of possibilities. Back to the roots, still spiced with a plenty of innovative sounds.
The songs connect traditional elements of South American Jazz with modern elements. Just in ARTet style not bound to any genres. Anything can and should flow in – a groovy globalization!
Or to quote composer and band leader Márcio Tubino: “Brazilian music, recorded in Switzerland, released in Germany and at home all over the world!”


Ricardo Fiúzapiano (keyboards)
João Luis Nogueira (guitar)
Fernando Paiva (drums)
Ciro Trindade (bass)
Márcio Tubino (saxophone, flute)

01. Marcha 6.56
02. Água 7.56
03. Onde todos estão 8.48
04. Da janela 5.55
05. E a vida segue 6.57
06. Batatinha 7.37
07. Azuis 10.50
08. Sol 6.04

Music composed by Márcio Tubino




More from GLM Records:


Simple Plan – Taking One For The Team (2016)

FrontCover1.jpgTaking One for the Team is the fifth studio album by Canadian rock band Simple Plan. It was released on February 19, 2016 through Atlantic Records and represents the band’s first full-length record in nearly five years. Following the release of three buzz singles in mid-2015, the band released “I Don’t Wanna Go to Bed” featuring American rapper Nelly as the official lead single for the album on October 16, 2015. It debuted at number 4 on the Canadian Albums Chart, earning the band their fourth consecutive top-5 and a perfect streak of top-10s for their first five studio albums.

“I Don’t Wanna Go to Bed” was released October 16, 2015 as the album’s official lead single. The song features pop and funk influences in a stylistic departure from the pop punk and pop rock of the group is earlier work. A Baywatch-inspired music video premiered October 15, 2015 – a day before the song is digital release It has since peaked outside the top 50 on the Canadian Hot 100 at number 54.

“Singing in the Rain” was released as second single from the album on March 25, 2016. However, the single version of the song does not feature R. City. The music video for “Singing in the Rain was released on April 12, 2016; set in the 1960s, it was a tribute to the movie That Thing You Do.


“Perfectly Perfect” was announced as the third official single on September 26, 2016.

The first song released from the era was “Saturday” on June 22, 2015.[14] In September 2015, drummer Chuck Comeau revealed the song would not be featured on the album.

“Boom” was released August 28, 2015 as the second promotional single after its music video premiered a day earlier.

A third buzz track, “I Don’t Wanna Be Sad”, was released September 18, 2015.[18] Initially presumed to be the album’s first official single, it was later announced to be a promotional track only.

The band released the album tracks steadily leading up to the release date. A music video for “Opinion Overload” was released on February 5, 2016.”Farewell” was released on February 14, followed by “I Refuse” on February 15, “Nostalgic”, “P.S. I Hate You” and “Perfectly Perfect”.


At the end of the album, Canadian sports announcer Bob Cole calls a fictional ice hockey game featuring Simple Plan, concluding with, “Oh my goodness, can you believe it? Just like that, Simple Plan have won the game!”.

Taking One for the Team received generally favorable reviews from music critics. On Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 65 based on 4 reviews, indicating “generally favorable reviews”.


Neil Z. Yeung of AllMusic called the record “pure, no-frills, feel-good fun, a start-to-finish crowd-pleaser for fans of that classic pop-punk sound.” He concluded about the band’s musical stance they made with their album: “When music is presented this directly, and after so many years holding firm to a particular style, it’s hard to root against them. They’re aware of their legacy and position as now-veterans in a scene that has already experienced another revival with young bands like Neck Deep and All Time Low. Simple Plan — whose members were in their late thirties at the time of recording — are the comeback underdog team, winning whether critics like it or not.”

A real pretty good high energy power rock album !


Pierre Bouvier (vocals)
Chuck Comeau (drums, vocals)
David Desrosiers (bass, vocals
Sébastien Lefebvre (guitar, vocals)
Jess Stinco (lead guitar, vocals)
Howard Benson (organ)
R. City (vocals on 05.)
Bob Cole (play-by-play announcer on 14.)
Nelly (vocals on 08.)
Jordan Pundik (vocals on 04.)
Juliet Simms (vocals on 14.)
Lenny Skolnik (keyboards, vocals)
baackground vocals:
Jonny Litten – Chady Awad – Melanie Fontana – Sidnie Tipton – Myah Langston

01. Opinion Overload (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/Company) 3.19
02. Boom! ((Bouvier/Comeau/Desrosiers/Lefebvre/Stinco//Ogren/Bailey) 3.10
03. Kiss Me Like Nobody’s Watching (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco) 3.23
04. Farewell (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco//Ogren/Bailey)3.21
05. Singing In The Rain (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/ Th.Thomas/ T.Thomas) 3.43
06. Everything Sucks (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco) 3.32
07. I Refuse (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco) 3.19
08. I Don’t Wanna Go To Bed Nelly (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/ Baran/Haynes) 3.09
09. Nostalgic (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/Company) 3.06
10. Perfectly Perfect (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/Stewart/Higgenson) 3.07
11. I Don’t Wanna Be Sad (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco) 3.14
12. P.S. I Hate You (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco(Stewart) 3.03
13. Problem Child (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco/Tranter) 3.41
14. I Dream About You (Bouvier/Comeau/Desrosiers/Lefebvre/Stinco) 3.09





Joe Bonamassa – Rockin’ Christmas Blues (2016)

FrontCover1.jpgThis is a very special christmas album. because it´s a self-released mp3 album by blue guitrplayer Joe Bonamassa, distrubted via facebook and his newsletter (# 51/2016):

I really look forward to the holiday season each year. The precious family time, the tightly wrapped presents, the glistening white snow – ok, no glistening white snow for me anymore, I’m in Florida now. And holiday time means holiday tunes, usually starting in about October these days. But if you’re like me, you’re just a little bit tired of hearing the same holiday jingles over and over again each year. Of course, there’s something fun about the first time you hear “Winter Wonderland” and “The Christmas Song” coming through that department store’s speakers. After all, who doesn’t love the holidays? And by Thanksgiving, I’m already pulling out my copy of Jewel’s first Christmas album – that can be our little secret, by the way. But you and me – deep down we’re blues fans, and after a few weeks of the novelty of Christmas music starts to wear off like yesterday’s aftershave, we’re ready to get back to our musical roots. (by Joe Bonamassa)

And so this is a nice addition to every serious Joe Bonamassa collection … christmas tunes in his very special way of playing the guitar !


Joe Bonamasse (guitar, vocals)
a bunch of unknown studio musicians


01. Merry Christmas, Baby (Baxter/Moore) 4.46
02. Bring Back My Cadillac (Bonamassa) 3.35
03. Christmas Boogie (One Little Kiss) (Bonamassa) 6.52
04. Christmas Date Blues (Turner) 2.31
05. O Holy Night (Adam) 4.05
06. Lonesome Christmas (Glenn) 3.27
07. Santa Claus Is Back In Town (Leiber/Stoller) 2.29



Rolling Stones – Havana Moon (TV rip) (2016)

HavannaMoon52Havana Moon is a concert film by the Rolling Stones, directed by Paul Dugdale. Havana Moon was filmed on 25 March 2016 in Havana, Cuba. The film is a recording of a free outdoor concert put on by the band at the Ciudad Deportiva de la Habana sports complex, which was attended by an estimated 500,000 concert-goers. The concert marked the first time a rock band had performed in Cuba to such a large crowd. On 11 November 2016 the film was released in multiple formats.

When the news that sitting United States president, Barack Obama was to visit Cuba was released—marking the first time a sitting president had visited the island nation in 88 years—the concert was rescheduled from 20 March 2016 to 25 March 2016.

The concert was suggested by lawyer Gregory Elias to Rolling Stones manager Joyce Smyth during a phone call on 13 November 2015. Elias suggested that the Stones play a free concert in Cuba, which he would cover the costs of – to which Smyth responded “Well, that’s certainly a unique proposal”. The concert was bankrolled by Elias’ charitable organization, Fundashon Bon Intenshon. There was some speculation that the move on Elias’ part was politically motivated, to which he responded in a statement that he only wanted to do something good for the Cuban people and did not have any business relations in the country.

The concert was planned for several months prior to its public announcement while the band was on their 2016 tour of South America, titled América Latina Olé Tour 2016.[4] The bands’ manager, Joyce Smyth, and Concerts West worked extensively with the Cuban government in order for the show to be approved, due to the Cuban government still having control over what its citizens listen to. The embargo on Cuba proved to be a technical challenge for the band and stage crews since they had to ship all of their equipment from Belgium and could not rely on local infrastructure to assist to the degree that they are used to in more developed areas.


The concert took place 5 days after President Barack Obama visited Cuba, marking the first time a sitting United States president has visited the island nation since the 30th President of the United States, Calvin Coolidge, visited the nation 88 years earlier, in 1928.

The show was originally scheduled to take place 20 March 2016. However, after it was announced that President Barack Obama was scheduled to arrive on the same day, concerns were raised and the decision was made to reschedule the concert to 25 March 2016.[5][6] Shortly before the rescheduled concert date, Pope Francis attempted to delay it, asking that the band play on a later date as the concert was scheduled for 25 March 2016, which was Good Friday, a major and solemn Christian holiday. The Vatican also suggested that the band delay the start of their concert until midnight to avoid the holy day. However, the Stones opted to play the concert at the originally scheduled date and time.


Prior to the show, the band were guests of honour at the British embassy in Cuba, which held a meet and greet on 24 March 2016 for approximately 200 people, many being Cuban musicians. The Rolling Stones also started a “musician-to-musician” charity initiative in which musical instruments were donated by major instrument suppliers to Cuban musicians of all genres.

The concert itself was attended by a crowd estimated to have consisted of over 500 thousand concert-goers and marked the first time a foreign rock band had performed an open-air concert in Cuba to a crowd of that size.


The film received critical acclaim from multiple publications, including The New York Times, The Guardian, Rolling Stone, and The Daily Telegraph. The New York Times stated that “The Rolling Stones gave a stunning performance”. The Guardian remarked that the show was “spectacular and historic,”[24] with the Daily Express sharing a similar viewpoint, calling it a “historic” show.[25] Rolling Stone magazine praised the concert, stating that it was “no ordinary concert” and had a significant impact for music in Cuba.

“This was no ordinary concert. People hugged and shared looks of disbelief. Coming at the end of a run of shows in South America and Mexico, last night might have marked at least a temporary pause for the legendary group, but it had all the markings of a new chapter for music in Cuba.” (Richard L. Dewey, Rolling Stone, 26 March 2016)

“We have performed in many special places during our long career but this show in Havana is going to be a landmark event for us, and, we hope, for all our friends in Cuba too.” (The Rolling Stones official statement, 1 March 2016)

This video was ripped from the a German TV channel called 3sat with German subtitles.


Mick Jagger (vocals, harmonica, guitar)
Keith Richards (guitar, vocals)
Charlie Watts (drums)
Ron Wood (guitar)
Sasha Allen (background vocals)
Karl Denson (saxophone)
Bernard Fowler (background vocals)
Darryl Jones (bass, background vocals)
Chuck Leavell (keyboards)
Tim Ries (saxophone, keyboards)
Havanna Chor: Coro Entrevoces

Directed by Paul Dugdale


01. Jumpin’ Jack Flash
02. It’s Only Rock ‘n Roll (But I Like It)
03. Tumbling Dice
04. Out of Control
05. All Down The Line
06. Angie
07. Paint It Black
08. Honky Tonk Women
09. You Got the Silver
10. Before They Make Me Run
11. Midnight Rambler
12. Miss You
13. Gimme Shelter
14. Start Me Up
15. Sympathy For The Devil
16. Brown Sugar
17. You Can’t Always Get What You Want
18. (I Can’t Get No) Satisfaction

All songs written by Mick Jagger & Keith Richards




















































Fantastic Negrito – The Last Days Of Oakland (2016)

FrontCover1Blues in the 21st century usually falls into two camps: hip revivalists raised on rock who are ready to shred and traditionalists content to confine the music on a narrow path. Fantastic Negrito — the new persona of Xavier Dphrepaulezz, who previously pledged allegiance to Sly Stone in the ’90s — disregards this playbook by offering a fresh take on blues with his 2016 album, The Last Days of Oakland. The title alone pushes against the sweeping tides of gentrification and the album begins with a litany of what’s good and bad within Oakland, a theme Fantastic Negrito touches upon throughout his album. Class and commerce aren’t the only thing on his mind: The Last Days of Oakland teems with all the turmoil of urban life in 2016, a place where racial, financial, technological, and political tensions all threaten to explode. Fantastic Negrito isn’t happy with certain classes being pushed to the margins but he’s not pining for the past: he respects tradition — a debt made explicit via a lithe cover of Lead Belly’s “In the Pines,” but heard throughout the album as he flits between jumping boogie, Dobro blues, flexible funk, and gospel — but he uses the past as a way of framing the present.

Xavier Dphrepaulezz

Certainly, his blues isn’t limited to thundering riffs or guitar solos, but that doesn’t mean that he resists the temptation of an overdriven six-string. “Hump Through the Winter” crunches with a color reminiscent of Led Zeppelin or, perhaps more accurately, Jack White or the Black Keys, a pair of millennial rockers whose blend of retro-tradition and modern sensibility is felt all through The Last Days of Oakland. What separates Fantastic Negrito from these 21st century peers is that he doubles down on funk and digitally erased cultural boundaries without losing a specific sense of self or place. There’s a reason why this album is named after his hometown: it’s an album about Oakland, just as it’s an album about Xavier, yet this city by the Bay stands in for any other city in America, just as Fantastic Negrito speaks for anybody frustrated by the loss of humanity in this era of gentrifications. (Stephen Thomas Erlewine)


“The Chilean” (guitar)
Xavier Dphrepaulezz (vocals, drum programming,guitar, piano)
LJ Holoman (keyboards)
Masa Kohama (guitar)
Colin Linden (slide-guitar)
Omar Maxwell (drums)
Cornelius Mims (bass)
Piwie (percussion)
Tomas Salcedo (guitar)


01. Intro – The Last Days Of Oakland (Dphrepaulezz) 0:35
02 Working Poor (Dphrepaulezz) 4:01
03. About A Bird (Dphrepaulezz) 3:40
04. Scary Woman (Dphrepaulezz) 3:10
05. Interlude – What Would Y.ou Do? (Dphrepaulezz) 1:20
06. The Nigga Song (Dphrepaulezz) 3:16
07. In The Pines (Leadbelly) 4:19
08. Hump Through The Winter (Dphrepaulezz) 3:54
09. Lost In A Crowd (Dphrepaulezz) 5:00
10. Interlude 2 – El Chileno (Dphrepaulezz) 0:41
11. The Worst (Dphrepaulezz) 3:52
12. Rant Rushmore (Dphrepaulezz) 5:01
13. Nothing Without You (Dphrepaulezz) 4.15



Beth Hart – Live At SWR1 (German TV rip) (2017)

FrontCover1.jpgBeth Hart (born January 24, 1972) is an American singer, songwriter and musician from Los Angeles, California, United States. She rose to fame with the release of her 1999 single “LA Song (Out of This Town)” from her second album Screamin’ for My Supper. The single was a number one hit in New Zealand, as well as reaching top 5 on the US Adult Contemporary and number 7 on the Billboard Adult Top 40 Chart. Subsequent albums namely Seesaw and Live in Amsterdam by Beth Hart and Joe Bonamassa, achieved number 1 status on the Billboard Blues Album Chart. Hart’s release Bang Bang Boom Boom rose to number 3 on the Billboard Blues Album Chart, as well as the album Don’t Explain by Hart and Bonamassa. The album Seesaw rose to number 8 on the Billboard Top Independent Album Chart. Hart has had two number 1 singles in Denmark “As Good as It Gets” and “Learning to Live”, as well a platinum selling album, Leave the Light On.

Hart’s first album with Bonamassa, Don’t Explain, went gold in the Netherlands. In 2014 Hart was nominated for a Grammy Award for Seesaw and she was also nominated for a Blues Music Award in the category ‘Best Contemporary Blues Female Artist’. (by wikipedia)

And here´s a TV rip from the German Sender SWR 1 … what a great, intimate concert !


Beth Hart (vocals, piano, bass, guitar)
Jon Nichols (guitar, vocals)


01. Love Is A Lie (Hart)
02. Jazzman (Hart)
03. Good Day To Cry (Hart)
04. Tell Her You Belong To Me (Hart)
05. Broken And Ugly (Hart)
06. Isolation (Hart/Khoury/Herzberg)
07. Mama This One’s For You (Hart)
08. I’ll Take Care Of You (Benton)
09. Fire On The Floor (Hart)
10. My California (Hart/Westberg)
11. Leave The Light On (Hart/Leiber)

Total time: 59.15