Bruno Sanfilippo – Pianette (2019)

FrontCover1Bruno Sanfilippo is an Argentinian pianist, musician and composer.

Bruno Sanfilippo (born September 13, 1965) is a musician, pianist and contemporary classical music composer from Buenos Aires, Argentina. He currently resides in Barcelona, Spain. His sound has been described as an exploration of minimalist piano concepts and electroacoustic music. In 2015, he became one of the main exponents of the LIFEM 2015 festival, specializing in minimalist music.

The artist began playing the piano at a young age, starting with the Pleyel et Cie piano from his parents’ home[3] in Buenos Aires. Although Sanfilippo draws inspiration from various genres, in his early years, he was influenced by classical composers such as Satie, Debussy and Ravel. In 1988, Sanfilippo graduated from the Galvani Conservatory in Buenos Aires with a degree in Musical Composition.

In 2000, the artist left his native Argentina and began his life, and a new chapter of his career, in Barcelona, Spain.

In 1998, Sanfilippo started Ad21 music, a personal platform/label responsible for some of his albums except, The Poet, which was signed with 1631 Recordings and Decca Publishing in 2016, and Unity through the Russian label Dronarivm in 2018.

Bruno Sanfilippo01

Sanfilippo has participated in concerts and music festivals in both the national and international music scene. This includes performances at the Insolit Music Forum in Barcelona in 2007, the Stalker festival in Tallinn in 2012, the Antara Festival in London in 2013[6] and the LIFM festival in London in 2015.

The LIFEM 2015, or the London International Festival of Exploratory Music, was an opportunity for Sanfilippo to participate in the Minimalism Unwrapped series with fellow composers, Wim Mertens, Sylvain Chauveau and Greg Haines.

He has been lauded as an “exceptionally refined sound-sculptor” and his work has been compared to Max Richter, Arvo Pärt, Jóhann Jóhannsson, Harold Budd, and many more in the area of contemporary classical.

A sample of Sanfilippo’s “Ambessence Piano & Drones 1” was used in Canadian rapper Drake’s 2013 song “Started From The Bottom”.

Bruno Sanfilippo’s piano-based music continues to oscillate around melodic or atmospheric moods and with his new album released on New Years Day called ‘Pianette’, he returns back to the more melodic side of his compositions. (wikipedia)

Bruno Sanfilippo02

‘Pianette’, as an album, is the most structured and melodic of Bruno’s work for some time. There is a music box and ballet-like quality to the majority of the tracks and that’s clear from the opening title track. This is because the album itself is inspired in part by mechanical toys. It sets the tone of lush but dampened melodies, quietly beavering away under the surface. It also sets the pattern for the chords and notes being used as often at points during each track the music veers into a slight dissonance of chord change that makes you feel like something is beautiful – but not quite right. It’s a gentle curious mark that draws you into so many of the pieces such as ‘Paloma’ which revels in that state.

As the album moves forward we also start to dive inside the piano with its intimate microphone set up. ‘DOLL’ feels percussive with its stops, hammers and dampeners alluding to that mechanical toy feel. ‘Marionette’ sounds like there is a guitar playing too but its all in the pianos internals. It’s not quite like a prepared piano, but the softness of the sound really helps craft the tracks where this type of audio production is used.

Bruno Sanfilippo03

The album refuses to build up or slow down too much – it has an intensity to it that reminds me of old Europe and that comes home in the closing track ‘Goodness’ which is as close to a dramatic finale as the album gets.

Bruno Sanfilippo has made my favourite work of his with ‘Pianette’. It’s unashamedly new-classical in its composition, eerie with its tense production and melodic dissonance and oh so subtle in how it uses the piano to create mechanical life. The piano is easily one of the most expressive instruments on Earth, so playing these two ideas off against each other has created an inspired album of muted greatness. —


Bruno Sanfilippo (piano)


01. Pianette 3.29
02. Doll 5.14
03. La Mariposa 2.48
04. Marionette 3.18
05. Paloma 3.57
06. Multicolor 2-52
07. Empty Circus 2.39
08. Tin Soldiers 3.32
09. Wooden Toys 3.52
10. Dreams Of An Elephant 3.01
11. ClarOscuro Solo Piano Version 4.43
12. Goodness 3.55

Composed by Bruno Sanfilippo


His website:

Ally Venable – Texas Honey (2019)

FrontCover1Ally Marie Venable (born April 7, 1999) is an American blues rock guitar player, singer, and songwriter. She is the 2014, 2015 ETX Music awards female guitar player of the year, and she and her band were the ETX Music Awards 2015, 2016 blues band of the year.

Venable’s debut album, No Glass Shoes, with Connor Ray Music finished at number 16 in the RMR Electric Blues Charts for 2016. Venable is touted a must see act under 30-year olds by America’s Blue’s Scene. Her second album, Puppet Show, debuted at No. 7 in the Billboard Blues Albums Chart. The album Texas Honey was published in 2019.

She resides in Kilgore, Texas, United States. (by wikipedia)

Ally Venable01

Once again, Ally Venable teams up with bassist Bobby Wallace and drummer Elijah Owings for a gritty and fierce third album, Texas Honey. At just 20 years old, Ally Venable, lead guitarist and vocalist, stuns listeners with her powerful voice and electrifying guitar solos. The trio are without a doubt a band that will continue to impress.

The album opens with “Nowhere To Hide”, a track with an addicting guitar melody and dynamic vocal line that instantly showcases Ally’s range. The following track, “Broken”, features a crunchy guitar sound and impressive solo. Despite the lyrics, the song is feisty and bold. It is really a fusion of the more high energy songs on the album with the more mellow ones like “Blind to Bad Love” and “One Sided Misunderstanding”. These songs reveal a more melancholy side to the band with their slower tempos and lower pitched drumlines.

Ally Venable02

Until the very end, Texas Honey is full of surprises with “Love Struck Baby”, a retro-style track that makes you want to dance, and the final song on the album, “Careless Love” which is the perfect sing-along song for your next road trip.

With such variety, Texas Honey is an excellent demonstration of Ally Venable’s versatility and talent. Venable can take her music in so many different directions; it will be really exciting to see how her next release compares to this one. (by


Ally Venable (guitar, vocals)
Elijah Owing (drums, background vocals on 04.)
Lewis Stephens (keyboards)
Bobby Wallace (bass, background vocals on 04.)
Eric Gales (guitar, vocals on 05.)
Mike Zito (guitar, slide-guitar on 04., 07. + 11., background vocals on 04.)


01. Nowhere To Hide (Venable) 2.56
02. Broken (Venable) 3.34
03. Texas Honey (Venable) 2.28
04. Blind To Bad Love (Venable) 3.40
05. Come And Take It (Zito/Venable) 4.50
06. Love Struck Baby (Vaughan) 2.32
07. One Sided Misunderstanding (Venable) 3.59
08. White Flag (Venable) 2.49
09. Long Way Home (Venable) 3.16
10. Running After You (Venable) 3.55
11. Careless Love (Venable) 3.56



Ximo Tebar – A-Free-Kan Jazz Dance Big Band (2019)

FrontCover1Ximo Tebar (March 30, 1963 in Valencia) is a Spanish jazz musician (guitar, composition).

Tebar started taking guitar lessons at the age of seven. His first music genre was flamenco. At the age of 15, he was attracted to Brazilian music. When he was 17, he decided to take up a career in the professional music and founded his own Jazz Group. He won with his group the international competition of the jazz festival Getxo in 1990. In 1989, he played as the representative of Spain in the big band of EBU.

Since then, Tebar made regularly international tours with his band or as a solo guitarist. Also, he performed with Lou Bennett in Europe in 1992. In 1995, he made a record contract with Warner Brothers. In 1997, he made a tour with Lou Donaldson, Lonnie Smith, Idris Muhammad and Billy Lewis Brooks. His album Goes Blue, which was published with his own label Omix, was praised as an excellent work by critics. In 2002, he appeared for the first time in the New York jazz club, Birdland. At the end of 2003, he moved to New York for working with Arturo O’Farrill and the Afro Cuban Jazz Orchestra of Chico O’Farrill. he has produced also albums for Dave Schnitter and Ester Andujar. Besides, he has worked with Johnny Griffin, Benny Golson, Joe Lovano, Tom Harrell, Tete Montoliu, Anthony Jackson, Louie Bellson, Pedro Iturralde or Jan Akkerman.


With IVAM jazz ensemble, founded on the initiative of the Museum of Modern Art in Valencia, Tebar merged Erik Satie’s music with flamenco jazz. He has collaborated also with Joc Fora, Ricardo Belda, Lou Bennett (Now Hear My Meaning), Presuntos Implicados, Roque Martinez and David Pastor.

Tebar as a soloist and as a member of this group was awarded Muestra Nacional de Jazz by the ministry of Culture in 1989 and 1990. His group won the competition of Getxo in 1990. In 2001 and 2002, his band was awarded Premio Jazz Promusics as the best group. The album Homepage achieved this award again in 2001. In 2007, he was appreciated by the award for extraordinary performance in the field of jazz education of the International Association for Jazz Education. (by wikipedia)


Curious and unusual instrumental composition with traditional African, classical and flamenco voices, instruments and dances led by jazz guitarist Ximo Tebar. Artistically, highlights the fusion of traditional African music and dance with the most modern jazz in a curious and unusual instrumental composition with voices, itraditional African instruments and dances, flamenco dance, classical and modern instruments; cello, percussion, guitar, bass and drums creating a curious combination of environments cello-kora (traditional African instrument), and the African voices playing original music or arrangements of renowned composers such as Wayne Shorter or Miriam Makeba. The collective improvisations between the instruments together with the percussionists and the dances, create a rhythmic, mysterious and magical spectacular environment. This project is a multicultural breakthrough in the fusion of World Music. (by


Andrés Belmonte (flute)
Mariano Díaz (piano)
Will Martz (keyboards)
Vinx, Kwamy Mensah (vocals)
Matthieu Saglio (cello)
Ximo Tébar (guitar)
Héctor Gómez – Nathaniel Townsley – Vicente Climent – Donald Edwards
David Gadea – Mortalla Gueye – Dauda – Ibu – Aboo Zeze – Samuel – Harol Martínez
Xavi Alaman – Nacho Mañó – Luis llario.
José Luis Granell – Víctor Jiménez – Roque Martínez – Pepe Calatayud – Javi Forner – Lara Canet – Carmen Calatayud – Mari Cruz Lozano – Aure Company – Jaime Pérez
David Pastor – Juan Luis Crespo – Ángel Girón – Lorenzo Atencia – Ferrán López – Voro López – Richar Aguado.
Ferrán Verdú – Israel Soriano – Frank Liza – Dimas Rubio – Salva Sánchez – Aron Beltrán


01. Peter Gunn (Mancini) 7.37
02. Caravan (Ellington) 7.37
03. Velours (live) (Anomalie) 4.08
04. Summertime (I.Gershwin/G.Gershwin) 7.22
05. Con Alma (Gillespie) 4.54
06. Always And Forever (Metheny) 5.28
07. Footprints (Shorter) 9.16
08. Pata Pata (Makeba) 6.01


Martin Barre – MLB Celebrates 50 Years Of Jethro Tull (2019)

EPSON MFP imageAs the lead guitarist for Jethro Tull, Martin Barre has been joined at the hip to Ian Anderson since 1969, when he replaced Mick Abrahams in the group’s lineup. His playing has provided much of the energy that allows the band to soar on record and in concert amid the beauty of Anderson’s melodies and the complexity of his lyrics, and played no small part in helping the veteran band (some would say “dinosaur”) win the 1988 Grammy for Best Hard Rock Album for Crest of a Knave. Anderson himself has been quoted as saying, “Without Martin Barre, Jethro Tull could not exist.”

Barre’s solo work was confined to his home studio until he assembled a band to play some charity gigs in the early 1990s. Since then, he has recorded a pair of albums that allow him to stretch out in directions that Tull normally doesn’t permit, and to put his instrument into new sounds, genres, and musical contexts. (by Bruce Eder)


Wot No flute? Well very little anyway.

What can I say about this, do we really need it, probably not, but news that he was releasing this certainly caught my interest and uncustomarily quite excited, momentarily anyway and touring this Celebration with additional members Clive Bunker and Dee Palmer in the band has certainly provided some long overdue publicity. Well the next question is is it any good?


Disc 1 Live at the Factory Underground (Studio?) is a band effort by that I mean Martin Barre, guitars, mandolin, mandola, flute and Hammond, Dan Crisp, vocals, guitar, Alan Thomson, previously with John Martyn on bass, Derby Todd, drums. Disc 2 are Studio tracks, tracks 1- 6 an Acoustic Set where his female backing singers Alex Hart and Becca Langford take centre stage on all tracks up to and including One White Duck and also Locomotive Breath, John Carter, Martins childhood friend with whom he made the Grand Union album takes on Waking Edge, Dan Crisp, Still Loving You Tonight and Slow Marching Band. Other participants are Paddy Blight, Double Bass, Josiah J, keyboards and Frank Mead, the albums flute solo on this disc on Home.


Disc 1 the Live set has Mr. Barre in full hard rockin’ electric mode, of course initially it’s hard not to make comparisons with the originals in fact it’s impossible, Dan Crisp’s vocals have come in for some criticism, and on first play on disc this seem justified but Martin has stuck by him and having seen him live a few times and with a little mental readjustment, the initial concerns have diminished. It’s not that he is a bad vocalist I just think singing Tull songs is not his natural style and in any event is nigh on impossible to emulate Mr Anderson in his prime but ultimately this album is all about Martin Barre and his interpretation of these songs, putting his stamp on them and keeping them fresh of which I must say in this department is an unqualified success. Having seen him play these tracks live his enthusiasm is totally infectious, he seems to be having the time of his life, in fact he and the band are an absolute joy to watch. How he has narrowed it down to these 13 tracks who knows because if one looks at his set lists this is a very small portion of what he has being playing live.


After a rather tentative start with a jazz flavoured My Sunday Feeling, things pick up with For a Thousand Mothers and it all becomes clear what a crucial element he was in Tull’s classic sound. Hymn 43 has that wonderful chugging riff and then we come to Love Story where Dan Crisp earns some plaudits, this rendition is a little slower and grittier than the original and candidate for best on this disc and so it continues with perhaps an unusual choice in Sealion, Song for Jeffrey is rather lumbering but inherits a couple of hard rock riffs and guitar solo. Back to the Family gets heavy. I could go on, but what’s the point suffice to say although the songs are familiar to all, these versions have balls, played at full volume, the guitar work exceptional.


Disc 2, I was a little shocked when I heard the female vocals, but then again not, having seen them do the acoustic set, and they carry the songs effortlessly, with some wonderful accompaniment. Life’s a Long Song, Cheap Day Return, Under Wraps and One White Duck are standouts. I won’t say the quality dips hereafter but it’s a hard to follow on from those girls, suffice to say that they take it down a bit with the remainder including the mandolin driven Locomotive Breath where the girls come on board again

If this album does anything it shows what a creative writer Ian Anderson is or was depending on opinion and what a classic guitarist Martin Barre is.


Of course if one is looking for reasons to knock this, one doesn’t have to look far, it would be easy to shred it for any number of reasons, it can’t match the originals, the vocals may not be to everyone’s taste (I suspect the most likely criticism), it’s a good but not great album, the anticipation was greater than the reality but taken for what it is, this Celebration of Tull as a rock band reignites music much of which the punters would never expect to hear live again, is reason enough to make this is a worthwhile exercise. If nothing else it’s an advert for people to go check out Mr Martin Lancelot Barre live. My only disappointment here is that there is no third disc. (by oldrock)


Martin Barre (guitar, mandolin, mandola, flute, organ)
Paddy Blight (bass)
John Carter (vocals)
Dan Crisp (vocals, guitar)
Alex Hart (vocals)
Josiah J. (keyboards)
Becca Langsford (vocals)
Darby Todd (drums)
Alan Thomson (bass, vocals)
Frank Mead (flute on CD 2/09.)



CD 1 – Live at Factory Underground:
01. My Sunday Feeling 3.32
02. For A Thousand Mothers 4.34
03. Hymn 43 3.31
04. Love Story 4.11
05. Sealion 4.07
06. Song For Jeffrey 3.42
07. Back To The Family 4.05
08. Nothing To Say 5.44
09. Hunting Girl 5.35
10. Teacher 5.53
11. Steel Monkey 3.46
12. Nothing Is Easy 4.58
13. New Day Yesterday 4.50

CD 2 – Studio Tracks:
01. Wond’ring Aloud 1.53
02. Someday The Sun Won’t Shine 2.02
03. Life Is A Long Song 3.29
04. Cheap Day Return 1.30
05. Under Wraps 3.06
06. One White Duck 2.20
07. Still Loving You Tonight 4.54
08. The Waking Edge 3.17
09. Home 3.16
10. Locomotive Breath 4.09
11. Slow Marching Band 3.28

All songs written by Ian Anderson



Martin Barre talks about this album:


Jan Garbarek – Live in Matera (2019)

FrontCover1.jpgAs an improvising musician, Jan Garbarek has said that he seeks to make his playing “fit the tone, texture and temperament of the music. It’s about finding a common language.” The quest to explore that language has ranged widely across time and space, from the folk songs of his native Norway to improvisations around medieval polyphony and the music of the Indian subcontinent and Middle East, as well as jazz. In the course of these musical journeys, the intensely focused sounds of his tenor and soprano saxophones have become among the most instantly recognizable and haunting in contemporary music.

Garbarek was born in Mysen, Norway in 1947. His family later moved to Oslo and, at the age of 14, Garbarek first heard John Coltrane on the radio, which inspired him to take up the saxophone. Dexter Gordon, then a frequent visitor to Norway, also made a deep impression.

In 1962 Garbarek won a competition for amateur jazz players and for the rest of the decade worked regularly in Norway, usually as a leader, but he also spent four years with jazz composer and theorist George Russell, who would later describe him as “the JanGarbarek01.jpgmost original voice in European jazz since Django Reinhardt”. In 1969, ECM founder Manfred Eicher asked Garbarek to join the roster of his new record label. Garbarek’s first ECM album was Afric Pepperbird. “After we recorded it we knew we had something special,” Eicher remembered. It was to be the first step in one of ECM’s most distinguished recording careers.

Jan Garbarek rose to international fame in the mid-1970s playing with Keith Jarrett’s European Quartet, which released the albums Belonging, My Song and the live recordings Personal Mountains, Nude Ants, and Sleeper. Such collaborations, in the words of Jarrett’s biographer, Ian Carr, took “the art of classic jazz to its highest pinnacle”.

Triptykon (1972) was the first recording on which Garbarek used a Norwegian folk song in his playing, a direction in which he had been encouraged by American trumpeter Don Cherry. “Whether I like it or not,” Garbarek told one writer, “I am locked into a certain vocabulary or phraseology which is linked to Norwegian folk music.”

In 1979, Garbarek recorded Photo with Blue Sky, the first of a series of albums with the Jan Garbarek Group, a regular touring band whose line-up would evolve over the decades. It was not until 2007 that they recorded a live album, however, the double CD, Dresden. As the Guardian wrote of the group on their 2007 tour: “The contrast between an intense jamming sound and the songlike simplicity of the tunes is always Garbarek’s magic mix, but this version of the band has an exhilarating intensity.”

JanGarbarek02Officium, one of the most significant recordings of Garbarek’s career – and in the history of ECM – was made in 1993 in St Gerold monastery in Austria with the Hilliard Ensemble. Garbarek’s sax – a “fifth voice” – weaves soaring, swooping lines around the polyphony of the vocal quartet, creating effects that are as entrancing as they are unexpected. In 1999 came a sequel, Mnemosyne, which ranged further across time in its musical material, and Officum Novum explored the crossroads between east and west, with particular focus on the music of Armenia.

Garbarek’s restless musical imagination, so evident in his Hilliard collaborations and countless other projects over the years, keeps driving him forward. Of his musical journey he says: “It never really stands still. Not at any point in time can you say, ‘Now I reached something.’” (by


And yes, Jan Gabarek ist still active … alive and well. So listen to his brilliant concert, recorded at the Gezziamoci Festival 2019 in Matera/Italy.

This show was broadcasted by an Italian TV-Station (this video is included in my file) and so we have a brilliant soundboard recording.


In keeping with the theme of bringing cultures together, various concerts featuring international musicians will take place as part of the Materadio programming. An especial highlight promises to be the performance of Norwegian jazz saxophonist Jan Garbarek, who will be joined on stage by another world-class musician, Indian percussionist Trilok Gurtu. (press release)

Indeed: another nearly perfect perfomance by one the greatest jazz musician of our time !

Enjoy this rarity !


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


01. Opening (unknown) 2.32
02. Molde Canticle (Garbarek) 16.55
03. Untitled (unknown) 5.27
04. Hot Æ Dæ Fe Noko Vesolt Væ (Jutulen Og Stolt Øli) (Garbarek) 10.34
05. Matera Five (Brüninghaus/Daniel/Garvarek/Gurtu) 5.01
06 Matera Six (Brüninghaus/Daniel/Garvarek/Gurtu) 11.36
07 Matera Seven (Brüninghaus/Daniel/Garvarek/Gurtu) 7.20
08 Rainer Solo (Brüninghaus) 8.07
09 All Those Born With Wings (5th Piece) (Garbarek) 6.20
10.  Trilok Solo (Gurtu) 12.12
11. Improvisation (Brüninghaus/Daniel/Garvarek/Gurtu) 9.57
12. Had To Cry Today (Winwood) 7.10





Kronos Quartett – Live At The Hardly Strictly Bluegrass Festival (2019)

FrontCover1.jpgFor 45 years, San Francisco’s Kronos Quartet  has pursued a singular artistic vision, combining a spirit of fearless exploration with a commitment to continually reimagine the string quartet experience. Pete Seeger, who would have turned 100 years old this May, lived through the tumultuous 20th century as a force for kindness, humility, and good. His pursuits reflected the complexity of the times through the lens of music. Kronos Quartet will create a multi-artist exploration of Seeger’s musical legacy. The group will collaborate with composers, guest vocalists and fellow musicians, to re-imagine the songs that Seeger popularized and celebrate his place in the landscape of American music. (by big-o magazine)


What a great concert … a classical quartett plays all these folk classics … !

Thanks to UncleBoko for sharing the HDTV webcast at Dime.

Recorded live at the Hardly Strictly Bluegrass Festival. Music For Change: Pete Seeger @ 100. Golden Gate Park, San Francisco, CA; October 4, 2019.
Very good audio (ripped from HDTV webcast).


Hank Dutt (viola)
David Harrington (violin)
John Sherba (violin)
Sunny Yang (cello)
Brian Carpenter (vocals on 04., 06. – 09.)
Lee Knight (vocals, banjo on 02., 06. – 09.)
Meklit (vocals on 05., 06. – 09.)

Aoife O’Donovan (vocals on 03., 06., 07., 08.
San Francisco Girls Chorus (on 08. + 09.) directed by Valérie Sainte-Agathe


01. Intro/The House Of The Rising Sun (Traditional) 5.18
02. Which Side Are You On? (Traditional/Reece) 3.38
03. Kisses Sweeter Than Wine (Newman/Seeger/Hays) 4.11
04. Deep In The Muddy Water (Seeger) 4.09
05. The President Sang Amazing Grace (Mulford) 6.31
06. Turn! Turn! Turn! (To Everything There Is A Season) (Seeger) 4.11
07. If I Had A Hammer (Seeger/Hays) 2.54
08. Where Have All The Flowers Gone (Seeger/Hickerson) 6.32
09. We Shall Overcome (Tindley) 6.07

Pete Seeger



Scorpions – Rio de Janeiro (2019)

FrontCover1Scorpions is a rock band from Hannover, Germany that was formed in 1965. Internationally acclaimed for their 1984 rock anthem “Rock You Like a Hurricane” as well as other popular singles such as “Big City Nights”, “No One Like You”, “Send Me an Angel”, “Still Loving You”, and “Wind of Change”, the band has sold over 100 million records worldwide. Along with metal contemporaries such as Black Sabbath, Deep Purple, Iron Maiden, Judas Priest, Metallica, Whitesnake, and others, Scorpions is one of the most successful acts in heavy metal and hard rock in history as well as, by far, the most successful German rock band in the U.K. and the U.S.

After a short break they decided to cotinue … and here´s a brilliant soundboard recording from their concert at the Rock In Rio Festival.

The Scorpions were voted the best concert at Rock in Rio 2019. The Scorpions performed at Rock in Rio on Friday (the Metal Day – 4 October 2019). On stage, the band played “Cidade Maravilhosa” and used a yellow and green guitar in honor to Brazil at Rock in Rio.

And yes, these guys knows how to rock … till today !

Thanks to Chesterchaz for sharing the HDTV broadcast at Dime.

Recorded live at the Parque Olímpico, Rio de Janeiro, Brazil, October 04, 2019


Mikkey Dee (drums)
Matthias Jabs (guitar, background vocals)
Paweł Mąciwoda (bass, background vocals)
Klaus Meine (vocals, guitar)
Rudolf Schenker (guitar, background vocals)


01. Intro 8.11
02. Going Out With A Bang (Meine/Andersson/Hansen)/Make It Real (Schenker/Rarebell)  8.46
03. The Zoo (Schenker/Meine)/Coast To Coast (M.Schenker/R.Schenker) 12.13
04. ’70s Medley 8.45
04.1. Top Of The Bill (R.Schenker/Meine)
04.2. Steamrock Fever (R.Schenker/Meine)
04.3. Speedy’s Coming (R.Schenker/Meine)
04.4. Catch Your Train (Roth)
05. We Built This House (Meine/Andersson/Hansen) 4.20
06. Delicate Dance (Jabs) 5.06
07. Cidade Maravilhosa (Filho)/Send Me An Angel (R.Schenker/Meine) 6.05
08. Wind Of Change (Meine)  5.47
09. Tease Me Please Me (Meine/Jabs/Vallance/Rarebell) 8.58
10. Blackout (Meine/Rarebell/Kittelsen) 4.18
11. Big City Nights (R.Schenker/Meine) 7.46
12. Radio announcer 1.45
13. Still Loving You (R.Schenker/Meine)/Rock You Like A Hurricane (R.Schenker/Meine/ Rarebell) 15.00
14. Radio outro 4:44



Charles Lloyd´s Kindred Spirits – Jazz Middelheim (2019)

FrontCover1.jpgIt may seem a bit of a paradox to still describe 81-year-old American saxophonist Charles Lloyd as a jazz innovator. But the fact is that Lloyd continues to search tirelessly for new paths and forms of expression rather than producing a resume of his long career. »I refer to myself as a sound-searcher,« says Charles Lloyd. »The deeper I dive into the ocean of sound, the more I become aware that I need to dive down even deeper.« Thus as recently as 2016 he founded the alternative country and Americana band The Marvels, recording the album »Vanished Gardens« with the new band’s pedal-steel-guitar sounds and roots rock singer Lucinda Williams; for many critics, this is one of the top records in Lloyd’s large discography.

In addition to two members of The Marvels, Charles Lloyd is accompanied by guitarists Julian Lage und Marvin Sewell. »Kindred Spirits« is the title of the programme with which the five musicians celebrate jazz music’s inexhaustible powers of innovation.

Charles Lloyd01And here´s a review of his show at the Ronnie Scott´s Jazzclub, London (1 August 2019)

Charles Lloyd’s first appearance at Ronnie’s with a truly amazing group was a very special event. Lloyd’s Kindred Spirits group comprised a cohort of the highest calibre. Two extraordinary guitarists, Julian Lage and Marvin Sewell, and on bass and drums, two of Lloyd’s long-time co-musicians, the in-demand rhythm section of Reuben Rogers and Eric Harland, and, leading it all, the unmistakeable, 81-years-young Charles Lloyd on tenor sax and flute. From the moment he stepped on stage it was clear that he just loved to be playing in a small club, and he did not hold back – a strong musical presence making sure attention was paid to detail all-round, guiding with a gentle, knowing intelligence with roots in a lifetime of just living the music.

Charles Lloyd02.jpg

The guitarists had very different styles, so complemented each other inspiringly. Lage light, super fast and furiously florid, Sewell, sharp, raw and hitting the blues streak – they just kept upping the ante every time they soloed! Not quite duelling, but… and Harland’s drum solo was one of those that redefines what a drum solo is – none of that ‘just bash away’ – he focused on a beat and worked round it meticulously and, later, Lloyd joined him, not without humour, wielding metallic green maracas for a brief percussive duet that lightened the tone. Similarly, Rogers on electric bass didn’t take the easy route, lots of space and then he just turned it up.

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Great playing from all five – never a dull moment, with Lloyd imposing his large, all-embracing presence with a gentle touch and many big smiles – just like his playing, which combined the imposingly forceful, demanding attention, and the gracefully mellifluous, with gorgeous phrasing trickling up and down the hill with every note he played – with a memorably devastating tenor sax solo outtro to their second number that really flew. The flute was Lloyd’s other instrument of choice, setting up the mood for the finale to a brilliant 80 minute set, ending on a carnival note, throwing jazz, chunky funk and a demon Latin undercurrent in to the melting pot with glorious glee! (by Geoff Winston)

And here´s is his show from the Park den Brandt … Excellent stuff !

Thanks to Steven (who recorded the show); and to gideon77 for sharing it at Dime.

Recorded live at Jazz Middelheim. Park Den Brandt, Antwerp, Belgium; August 16, 2019. Very good FM broadcast.

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Gerald Clayton (piano)
Eric Harland (drums)
Charles Lloyd (saxophone, flute)
Reuben Rogers (bass)
Marvin Sewell (guitar)


01. Radio intro 1.51
02. Deverish Dance 19:54
03. All My Relations 10.44
04. How Can I Tell You 19.40
05. Little Anahids Day 11.04
06. Untitled 1 10.58
07. Untitled 2 14.19
08. Crowd 0.14
09. Radio outro 1:03

Music composed by Charles Lloyd

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Golden Earring – 50th Anniversary Pinkpop Festival (2019)

FrontCover1.jpgGolden Earring is a Dutch rock band, founded in 1961 in The Hague as the Golden Earrings (the definite article was dropped in 1967, while the “s” was dropped in 1969). They achieved worldwide fame with their international hit songs “Radar Love” in 1973, which went to No. 1 on the Dutch charts, reached the Top 10 in the United Kingdom and went to No. 13 on the United States charts, “Twilight Zone” in 1982, and “When the Lady Smiles” in 1984. During their career they have had nearly 30 top-ten singles on the Dutch charts while releasing 25 studio albums.

The band’s lineup consists of co-founders . All musicians in the present lineup of the band have been continuous members of the band since 1970, although other musicians have joined and left the band during the intervening years.

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They played the very first Pinkpop back in 1970, and 49 years later they will take to the stage in exactly the same line-up: Golden Earring. Something is guaranteed to happen every time the hell-raisers from The Hague get under the Pinkpop Girl’s skirts. During that first Pinkpop performance George Kooymans got a big electric shock, and in 1977 Barry Hay ended up tripping in a police station. And in 2005 they dragged the festival through its toughest edition. In 2019, Pinkpop and the Golden Earring together represent more than a century of Dutch rock pride – cause for a celebration if ever there was! (

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Rinus Gerritsen (bass)
Barry Hay (vocals, guitar)
George Kooymans (vocals, guitar)
Cesar Zuiderwijk (drums)


01. When The Lady Smiles (Kooymans/Hay) 5.59
02. Another 45 Miles (Kooymans) 3.33
03. Long Blond Animal (Kooymans/Hay) 5.22
04. Twilight Zone (Kooymans) 7.39
05. Going To The Run (Kooymans/Hay) 4.30
06. Johnny Make Believe (Kooymans/Hay) 5.22
07. Bass Solo (Gerritsen) 6.46
08. Radar Love (Kooymans/Hay) 16.47
09. She Flies On Strange Wings (cut) (Kooymans) 2.45

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