Various Artists – Land Of The Midnight Sun – Music and images from Finland (2006)

FrontCover1This special photo album + CD product illustrates the unforgettable experience of summers in Finland, which have inspired so many Finnish composers to write some of their greatest works.

Finland is perhaps best known for its peacefulness and beautiful nature: vast forests, a unique archipelago and thousands of lakes present a striking mixture of wooded hills and waters.

The best season to discover this pristine wilderness is summer, which in Finland is characterized by long days and – in more norther regions where the sun is visible for continuous 24 hours – by the dazzling phenomenon of the Midnight Sun.

15 outstanding nature photographs and 24 tracks of wonderful Finnish classical music invite to discover or remember the uniqueness of Finland as Land of the Midnight Sun.


And here are some beautiful pictures from the land of the midnight sun:










Jean Sibelius (1865-1957)
01. Rakastava (The Lover), Op. 14  / 3.57
02. Suite champêtre, Op. 98b / 3.19

Erkki Melartin (1875-1937)
Prinsessa Ruusunen (Sleeping Beauty Suite), Op. 22:
03. Minuet 3.08
04. Butterfly Waltz 2.02
05. Minä metsän polkuja kuljen (Along forest paths I wander) 1.49

Ilmari Hannikainen (1878-1951)
06. Rauha (Peace) 2.17

Bernhard Henrik Crusell (1775-1838)
Concerto for Clarinet and Orchestra in E-flat Major, Op. 1:
07. Adagio 3.24

Jean Sibelius (1865-1957)
Bagatelles, Op. 34:
08. Valse 1.45
09. Souvenir 1.41
10. Danse Pastorale 0.46
11. Reconnaissance 0.42
12. Jouer de harpe 1.37

Einojuhani Rautavaara (1928-)
Concerto for Birds and Orchestra “Cantus Arcticus” (1972):
13. Melancholy 4.17

Toivo Kuula (1883-1918)
14. Aamulaulu (Morning Song) 1.43

Martti Turunen (1902-1979)
15. Sunnuntai (Sunday) 3.20

16. Jo Karjalan kunnailla (The Hills of Karelia) 2.21
17. Soittajapaimen (The Piper Shepherd) 1.38
18. Orvon huokaus (An Orphan’s Sigh) 2.44

Väinö Raitio (1891-1945)
Kesäkuvia Hämeestä (Summer pictures from Häme):
19. Kesäyö (Summer Night) 2.26
20. Paimenlaulu (Herdsman’s Song 2.09
21. Kukkien kuningatar (Queen of the Flowers) 3.03

Leevi Madetoja (1887-1947)
Syksy-sarja (Autumn song cycle), Op. 68:
22. Lintu sininen (Bluebird) 1.59
23. Tule kanssani (Take My Hand), Op. 9/3 / 2.04

Erkki Melartin (1875-1937)
Symphony No. 1 in C minor, Op. 30/1 (1902):
24. Scherzo 5.14



Midnight Sun


Various Artists – Flamenco For Beginners (2006)

FrontCover1Okay, I´m back from my trip to Andalusian … a real excellent destination (as Chris wrote) even we had many rainy days …

And I´ll start my spanish weeks with a fine compilation album called  “Flamenco For Beginners”:

Flamenco (Spanish pronunciation: [flaˈmeŋko]) is an artform native to the Spanish regions of Andalusia, Extremadura and Murcia. It includes cante (singing), toque (guitar playing), baile (dance), jaleo (vocalizations), palmas (handclapping) and pitos (finger snapping).

First mentioned in literature in 1774, the genre originates in Andalusian music and dance styles. Flamenco is strongly associated with the gitanos (Romani people of Spain)—however, unlike Romani music of eastern Europe, the style is distinctively Andalusian and the fusion of the various cultures of southern Spain is clearly perceptible in Flamenco music. Although there are many theories on its influences and origins, the most widespread highlights a Morisco heritage, the cultural melting pot that was Andalusia at the time (Andalusians, Moors, Castilian settlers, Romanis and Jews) fostering its development over time. Flamenco music, as a theatrical representation of Andalusian musical tradition, was first recorded in the late 18th century but the genre underwent a dramatic development in the late 19th century.

In recent years, flamenco has become popular all over the world and is taught in many non-Hispanic countries, especially United States and Japan. In Japan, there are more flamenco academies than there are in Spain. On November 16, 2010, UNESCO declared flamenco one of the Masterpieces of the Oral and Intangible Heritage of Humanity.


There are many suggestions for the origin of the word flamenco as a musical term (summarized below) but no solid evidence for any of them. The word was not recorded as a musical and dance term until the late 18th century.

The Spanish word flamenco could have been a derivative of “fire” or “flame”, as it is connected to the ‘Cante’ and the dance’s solemn, passionate nature. The word flamenco may have come to be used for certain behaviour in general, which could possibly have come to be applied to the Gitano players and performers.

Another theory, proposed by Andalusian historian Blas Infante in his 1933 book Orígenes de lo Flamenco y Secreto del Cante Jondo suggests that the word flamenco comes from the Hispano-Arabic term fellah mengu, meaning “expelled peasant”; Infante argued that this term referred to the ethnic Andalusians of the Islamic faith, the Moriscos, who in order to avoid forced exile and religious persecution, joined with the Roma newcomers.


Palos (formerly known as cantes) are flamenco styles, classified by criteria such as rhythmic pattern, mode, chord progression, stanzaic form and geographic origin. There are over 50 different palos and a detailed description of them can be found in the main article. Some are sung unaccompanied while others have guitar or other accompaniment. Some forms are danced while others are not. Some are reserved for men and others for women while some may be performed by either, though these traditional distinctions are breaking down: the Farruca, for example, once a male dance, is now commonly performed by women too.

There are many ways to categories Palos but they traditionally fall into three classes: the most serious is known as cante jondo (or cante grande), while lighter, frivolous forms are called cante chico. Forms that do not fit either category are classed as cante intermedio.[citation needed] Cante jondo has clear traces of Arabic and Spanish folk melodies, as well as vestiges of Byzantine, Christian and Jewish religious music. (by wikipedia)

Let´s discover this fascinating music !


01. El Camarón de la Isla: Un Un Tiro Al Aire (1987) (Monge/Pachon) 4.41
02. La Paquera de Jerez: Que Dolor De Mare Mia (1975) (Traditional) 3.08
03. Paco de Lucía: Monasterio De Sal (1981) (Gómez/Lucía) 4.51
04. Ramon Algeciras + Paco Toronjo: De Mi Mismo Me Reia (1971) (Sanchez) 3.06
05. Juan Habichuela + Rancapino: La Pureza (1999) (Habichuela) 3.59
06. Paco de Lucía: Recuerdos (1971) (Sanchez) 3.06
07. Carmen Linares: Y Doy Suspiros Al Aire (1996) (Traditional) 5.32
08. Sernita De Jerez: A La Mare De Mi Alma (1959) (Traditional) 4.10
09. Terremoto Jerez: Yo Ya No Soy Quien Era (1969) (Traditional) 2.05
10. Paco de Lucía: Mi Nino Curro (1987) (R.Gomez/S.Gómez) 3.27
11. Bambino: Bambino, Piccolino (1969) (Molina) 2:13
12. José Mercé: Me Cierren los Ojos (1983) (Pernia) 1.57
13. Salmarina: A La Yala Yala (1994) (Evora/Muñoz) 3.29
14. Antonio Mairena: Por Tu Causa (1973) (Garcia) 5.32
15. Juan Peña: Lo Mismo Que Un Loco (1973) (Peña) 3.38
16. El Camarón de la Isla: Romance De La Luna, Luna (1983) (Bermejo/Lorca) 4.00
17. Fosforito: Te Quiero Más Cada Día (1980) (Diaz) 2.49
18. Jacinto Almaden + Justo Badajoz: Hablo Con Mi Dios Y Le Digo (1971) (Traditional) 3.45 19. Rafael Romero: Los Olivaritos Del Valle (1967) ( (Traditional) 1.16
20. Rosa Duran: Zapateado De Las Campanas (1956) (Traditional) 4.07





Jack Bruce – Somethin Els (1993)

FrontCover1Jack Bruce’s only album between 1980 and 1987, the year the Somethin Els project was started, was the atypical electronica oddity Automatic from 1983. During that time, although touring occasionally Jack was doing battle with his personal demons, a battle he eventually won, helped by a new wife in a new country. Settling in Germany his live and studio work took an upturn, and calling on the help of his A-list musical friends, in between a long series of concerts, the six year gestation of Somethin Els took place.

Writing in partnership with his long-time lyricist of choice Pete Brown, Somethin Els covers all of Jack’s R&B and jazz rock styles with an easy panache that only a cast of stellar musicians can pull off.

Opening track Waiting On A Word starts so abruptly, and on a vocal too, that one wonders how on Earth Jack Bruce and his band ever managed to get it right live, but being the consummate professionals they were I guess it presented no problems at all. This is followed by a classic Bruce R&B belter, and Willpower has Jack’s soulful croon telling us about his sparring partner in the addiction wars. When you have the likes of Clem Clempson on rhythm guitar, and Eric Clapton turning in the kind of dirty lead breaks that his solo career so often badly lacks, you can’t really fail, can you? If your toes don’t tap to this, it’s probably because you lost them to frostbite last winter.

With...The delightful vocal duet with Maggie Reilly on Ships In The Night is a ballad, and again we are focussed on Jack’s personal battles. This is for all intents and purposes a blues, but only in tone and subject, for it is not a twelve bar. Mr Clapton turns in a trademark heart-tugging solo that fits perfectly. Showing his virtuosity, Jack also plays cellos, piano, and other keyboards on this one.

By the time the disturbing intro to Peaces Of The East rolls around we are well into the diary of Jack’s recovery nightmares, and this time we have an Eastern flavoured snake dance, twitching with the nervous energy of withdrawal. No bass guitar at all on this one, Jack turns in vocals, piano, keyboards and drums.

Becalmed in the middle of the album, Close Enough For Love allows the love light to shine through the dark nights of the soul that precede and follow this lovely piano-led ballad. Jack sings the melody line mirroring the fat keyboard chords, backed by his funky bass, and Stuart Elliot’s drums keep it nailed in simple unfussy fashion as they do throughout the album.


G. B. Dawn Blues is a throwaway Booker-T styled organ based 12-bar blues that wakes up, scores, and goes to bed, all in less than three minutes. Criminality harks back to Automatic’s electronica, with a proto-Prince funk feel, and doesn’t quite fit with the rest of the album.

Jack finally finds redemption on Childsong, a song of rebirth that possibly draws parallels to Jack’s then new or impending parenthood. It is a smoky reflective affair where David Liebman’s soprano saxophone adds bags of atmosphere. The album ends with the instrumental FM, Jack alone at his piano in minor key jazz-classical mode.

Somethin Els oozes an effortless quality from every pore, and is as fine a testament to the sheer class of Jack Bruce when on form as anything he has produced in his long career. Perhaps his best ever album? That’s a subjective point, but I’m afraid that anyone who cannot see this album for the masterclass in progressive song writing that it undoubtedly is simply does not know what makes for real and timeless music. (by Roger Trenwith)


Jack Bruce (bass, vocals, keyboards, cello, drums)
Eric Clapton (guitar on 01., 02., 03.)
Clem Clempson (guitar on 02., 05., 06.)
Gerd Dudek (saxophone on 02.)
Stuart Elliot (drums on 01., 02., 03., 04., 05., 06.)
Anton Fier (drums on 07.)
Bruce Fowler (trumpet on 02.)
Walt Fowler (trumpet on 02.)
Ray Gomez (guitar on 07.)
Dick Heckstall-Smith (saxophone on 06.)
Trilok Gurtu (percussion on 01., 06. + 08. drums on 05. + 08.)
Mark Nauseef (percussion on 08.)
Uli Lask (saxophone on 02.)
David Liebman (saxophone on 07. + 08.)
Maggie Reilly (vocals on 03., 04.
Peter Weihe (guitar on 01., 03., 05.)


01. Waiting On A Word (Bruce/Brown) 3.52
02. Willpower (Bruce/Brown) 4.26
03. Ships In The Night (Bruce/Brown) 5.20
04. Peaces Of The East (Bruce/Brown) 4.55
05. Close Enough For Love (Bruce) 5.51
06. G. B. Dawn Blues (Bruce/Brown) 2.41
07. Criminality (Bruce/Brown) 5.05
08. Childsong (Bruce/Brown/Hymas) 5.06
09. FM (Bruce) 3.33




 Jack Bruce in 1993

Various Artists – Heritage Of Wales (1999)

FrontCover1Wales is known as “The Land Of Song” and what beter way to demonstrate its musical heritage than by the glorious voices of the choirs of Morriston Orpheus and CCaerphilly Male Voice Choir, together with soprano Mary Thomas accompanied by Sheila Romberg on harp.

Many beaitiful songs are here ..

Aberystwyth, Cwm Rhondda and the stirring Balld Of Rorke´s Drift sung by the Cwrt-Y-Gollen Junior Choir.

Caerphilly Male Voice Choir

Caerphilly Male Voice Choir

Here is a legacy of well known music from the heart of Wales and from the rich, varied and fascinating Welsh musical traditions.

Morriston Orpheus Choir

Morriston Orpheus Choir

01. Caerphilly Male Voice Choir: Land Of My Fathers (James) 2.35
02. Mary Thomas: Home (Evans/Mynyddog/Traditional) 2.31
03. Caerphilly Male Voice Choir: Welsh Rhapsody (Grundman) 4.52
04. Morriston Orpheus Choir: Aberystwyth (Parry) 3.03
05. Mary Thomas: Suo Gan (Traditional) 2.42
06. Caerphilly Male Voice Choir: God Bless The Prince Of Wales (Traditional) 2.39
07. Mary Thomas: The Ash Grove (Traditional) 2.16
08. Morriston Orpheus Choir: When I Survey The Wonderous Cross (Miller/Watts) 4.29
09. Caerphilly Male Voice Choir: All Through The Night (Traditional) 2.56
10. Morriston Orpheus Choir: Arwelfa (Hughes) 3.36
11. Mary Thomas: Bells Of Aberdovey (Traditional) 2.10
12. Cwrt-Y-Gollen Band: Tretower Court (Traditional) 2.54
13. Mary Thomas: Lisa Lan (Traditional) 2.00
14. Cwrt-Y-Gollen Junior Choir: Ballad Of Rorke’s Drift (Garrity) 4.35
15. Cwrt-Y-Gollen Band: Welsh Medley: Men Of Harlech/Sospan Fach/All Through The Night (Traditional) 2.09
16. Mary Thomas: David Of The White Rock (Traditional) 2.21
17. Morriston Orpheus Choir: Cwm Rhondda (Hughes/Williams/Traditional) 2.55



Various Artists – Chesky Records – Promotional Sampler (1992)

FrontCover1It all started in 1978 when a young composer/musician named David Chesky, who was beginning a career on Columbia Records, found himself frustrated with the lack of artistic control afforded by his position. He asked his business partner and younger brother Norman if he thought they should start their own record company. But what did these two young men who had made their way from Miami to New York at a tender age know about running a business? Frankly, not much. But what the brothers may have lacked in corporate acumen they made up for with a burning passion to create great music and great sounds, and the desire to to create new and exciting ways to capture and reproduce music.

And so, Chesky Records was born. Norman remembers: “We wanted to please both musical connoisseurs and the high-end audiophiles by signing some of the best musicians in the world, and then capturing their live performances with the latest and best technology.” Adds David, “I would walk into a recording studio and see fifty microphones set up. When I realized that people don’t hear music that way, and that musicians play differently when they are recorded like that, I decided that if we ever started a company, it was going to have a different and unique recording philosophy.” By 1986, David was traveling to universities and talking to scientists and engineers about the parameters of recording capabilities. This was also the year that he had the honor of being introduced to the great classical pianist Earl Wild, who not only gave the younger musician some pointers on composition and performance, but also the opportunity to listen to the master tapes of one of his famous Rachmaninoff recordings from the Reader’s Digest series. David was so impressed by what he heard that he and Norman struck a deal with Wild and Reader’s to re-issue the work on audiophile-quality vinyl. The Cheskys had saved every nickel to build a custom mixer and tube tape recorder that would bring the original glory out of older recordings. The bid was successful, and the ensuing release was met with such widespread critical success that we were able to reissue the other Reader’s recordings and then do the same with a number of orchestral works on RCA.

DavidCheskyDavid Chesky

The next step would prove to be even more difficult than the first. We had to show that they were capable of not only producing wonderful reissues, but first-rate original recordings as well. Renting out the legendary RCA Studio A, we set up their custom-built equipment and recorded jazz violinist Johnny Frigo, followed in short succession by long-admired jazzmen Clark Terry and Phil Woods. As these initial efforts garnered raves from jazz fans and audiophiles alike, we managed to build a formidable roster of Latin American talent: Luiz Bonfa, Grammy-winning clarinet and alto saxophonist Paquito D’Rivera, and vocalist Ana Caram. The Chesky catalog has grown steadily ever since, and includes jazz legends Peggy Lee, Herbie Mann, Joe Henderson and McCoy Tyner, adult contemporary artists Livingston Taylor, Kenny Rankin, Rebecca Pidgeon, Sara K., John Pizzarelli, and Christy Baron, classical keyboard masters Earl Wild and Igor Kipnis, and world music innovators Orquesta Nova, celebrated guitarist Badi Assad, Carlos Heredia, and I Ching.

Along with the excitement over showcasing famous musicians and establishing newer ones came significant technical advances in the recording process. Chesky Records was the first company to use 128x Oversampling to achieve previously unheard levels of fidelity, while utilizing the finest analog-to-digital converters to attain what came to be known as High Resolution Recordings. As well as the first independent American record label to record using the Digital Versatile Disc (DVD) technology. The recently introduced first recordings made with 96kHz/24-bit components had astonished even the hardest-to-please audiophiles. At the same time that Chesky had been pushing the very boundaries of recorded music, we also reached our greatest artistic triumph. Paquito D’Rivera’s third Chesky release, Portraits of Cuba, a beautiful collection of jazz interpretations of Cuban folksongs, won the 1997 Grammy for Best Latin Jazz Performance, beating out a slew of major-label competitors. Chesky Records has its collective eye on the horizon.


Norman Chesky

Today Chesky continues to strive to broaden our audience while staying fast to our commitment to use the finest technology available to deliver beautiful music and develop the listening pleasures of tomorrow today. Our Binaural+ Series recordings sound great on headphones and speakers, and capture the sound of music as you would if you were sitting in front of the band. Recorded in high-resolution 192-kHz/24-bit sound with a special Binaural head (a “dummy” human head with specially calibrated microphones where the ears would be). Now headphone users can also hear the same three-dimensional sound and imaging as audiophiles have for the past 25 years with Chesky Recordings capturing even more spatial realism for the home audiophile market, bringing you one step closer to the actual event.

Now, with our sister company, we are giving users the ability to purchase music as high-resolution audiophile quality downloads. HDTracks not only has the entire Chesky records catalog but a wide variety of all the music you love from Led Zepplin to Beethoven and eveything in-between. Think I-tunes, only HIGH-RES! (take from the “Official website”)

01. Sara K:.Miles Away 2.47
02. Kenny Rankin: Haven’t We Met ? 3.02
03, Paquito D’Rivera: Havana Cafe 6.34
04. Orquesta Nova:Serenata 4.33
05. Fred Hersch: Heartsong 5.55
06. McCoy Tyner::Recorda Me 9.48
07. Kenny Rankin: What Am I Gonna Do With You…Aime? 5.37
08. Bruce Dunlap: Spokes 6.10
09. Orquesta Nova: Oblivion 4.15
10. Fred Hersch: Child’s Song 7.07
11. Bruce Dunlap: Tesuque 4.16
12. Tom Harrell: Touch The Sky 6.40
13. Sara K.:Trust Somebody 3.40


Various Artists – Buena Vista Social Club – 7 Track Sampler (2000)

FrontCover1Not actually a band proper but a confluence of veteran Cuban musicians brought together for a recording session by American guitarist Ry Cooder after a 1996 trip to Havana. The project became the surprise hit of 1997 when its resulting album, Buena Vista Social Club, wound up selling over five million copies, largely by word of mouth, and won a Grammy for Best Tropical Latin Performance. The Buena Vista Social Club did more internationally for Cuban music than decades of cultural exchanges ever could and simultaneously helped popularize the world music genre in the late-1990s.

Cooder was invited to Havana by the British world music producer Nick Gold to a record African High-life musicians with a group of Cuban players. When the African musicians failed to get their visas, Cooder and Gold instead recorded an album of son — a polyrhythmic musical style long popular in Cuba — with veteran local musicians. After assembling the core group — musical director Juan de Marcos González, bassist Orlando “Cachaito” López, guitarist Eliades Ochoa, pianist Rubén González and singers Manuel “Puntillita” Licea and Compay Segundo — the recording session began at the Havana studio Egrem, an old RCA Records Studio with 1950s vintage equipment.

BuenoVistaSocialClubThe album’s fourteen tracks were recorded in six days. One of the songs, “Buena Vista Social Club,” was written by Cachaíto’s father about an old Havana gathering place. Cooder decided to name the group and album after the club. When Cooder returned to Havana two years later with his percussionist son, Joaquim, to record Ferrar for a solo album, director Wim Wenders followed them. His film, Buena Vista Social Club, is mix of footages from that trip and Buena Vista’s live performances in New York City and Amsterdam. The film was nominated for an Academy Award in 2000. Though several solo albums came out of the project, the renewed attention for the veteran Cuban musicians was short-lived. In 2003, Compay Segundo and Ruben González died at ages 95 and 84, respectively; Ferrer died at 78 in 2005. Despite their losses, the group continues to tour with a revolving line-up of musicians.(by Rolling Stone)

This is a 7-track promotional CD sampler includes 2-tracks produced by Ry Cooder (“Chan Chan” & “Nuestra Ultima Cita”).

Track 7 is a previously unreleased live track (live at the Carré Theater, Amsterdam, 11 April 1998)


01 .Buena Vista Social Club: Chan Chan (Repilado) 4.18
02. Rubén González: Mandinga (Rodriguez) 8.28
03. Afro-Cuban All Stars: Pío Mentiroso (Miguel) 4.38
04. Ibrahim Ferrer: Nuestra Última Cita (Medina) 3.58
05. Omara Portuondo: La Sitiera (López) 3.54
06. Rubén González: Chanchullo (López) 5.11
07. Buena Vista Social Club: El Cuarto De Tula (Siaba) 8.08


Alex Jacobowitz – Spanish Rosewood (1996)

FrontCover1Alex Jacobowitz (born 19 May 1960 in New York) is a classically-trained street performer who plays the marimba and xylophone.

During the 1980s and 1990s he played in New York City, including at the Lincoln Center’s “Meet the Artist” program, Yeshiva University, Zabar’s, Central Park, the 84th Street Synagogue, International House, the New York Hilton, Metropolitan Museum of Art, and Coney Island’s “Sideshows by the Seashore”. He was an Official Street Performer at the South Street Seaport in Lower Manhattan, a member of Musicians Under New York, and Young Audiences of Rochester. He has performed at Arts Councils and Imagination Celebrations throughout New York State. He has performed on Entertainment Tonight, and has been an artist-in-residence at Artpark (New York) and Holland Village (Japan).

In 1991, he moved to Europe, mainly performing in Germany, and living in Berlin. Jacobowitz performed classic and Jewish traditional music on German television (ARD, ZDF, Third Programmes), and occasionally in Hungary, Israel, Italy, Luxembourg, South Korea, Poland, Portugal, Switzerland, Russia and Ukraine. In 2006, he was invited to perform at the Busker’s Festival in Ferrara, Italy.

JacobowitzIn 1994, he began the study of traditional Jewish instrumental music (klezmer) with Giora Feidman. In 1997, he saw Brave Old World in concert, and trained under Alan Bern, their musical director.

Solo klezmer appearances include festivals in Jerusalem, Schleswig-Holstein, Safed, Kraków, Fürth, Bamberg, synagogues throughout Germany, including Oranienburgerstrasse Synagogue in Berlin, chabad houses in Prague, Geneva, Zürich, the Jewish Museum in Frankfurt, Hackescher Hoftheater in Berlin, Kibbutz Nahal Oz, Kibbutz Ma’ale HaChamisha, and settlement Mitzpe Jericho.

He has performed with Shelly Lang’s Neshoma Orchestra (NYC), the Jerusalem Symphony Orchestra, and the Berlin Kammerphilharmoniker. He has performed Jewish music at Pisa’s Jewish Festival (Italy, 2011) Sydney’s Shir Madness festival (Australia, 2010), the Warsaw Jewish Festival (Poland, 2012), the Trondheim Jewish Culture Festival (Norway, 2012), the Düsseldorf Jewish Film Festival (2012, Germany), the Budapest Jewish Film Festival (Hungary, 2012) and the 4th Munich (München) Jüdische Filmtage (Jewish Film Festival, January 2013).

Since 2010 he has been performing klezmer music with violinist Yona (Stas) Rayko at Jewish cultural festivals throughout Europe.

He is the recipient of a Meet the Composer award. His Art of Xylos CD was released in 2002 by Sony-BMG[3] under the Arte Nova label, and was nominated for the Echo Prize under the crossover category. He won competitions in Montreal (1981), Lucerne (1994), Ludwigsburg (2004) and Osnabrück (2007). (by wikipedia)

Alternate frontcover

This is his first album, recorded between 1988 and 1996, in New York, Israel, and Germany. And it´s a real unique and beautiful album … listen !

Alex Jacobowitz (xylophone)

New York, 1985


Isaac Albéniz (1869 – 1909) from España, opus 165:
01. Prelude 1.55
02. Tango 2.38
03. Malagueña 3.52

Isaac Albéniz (1869 – 1909) from Cantos de España, opus 232:
04. Prelude – Leyenda 5.39

Francisco Tárrega (1852 – 1909):
05. Recuerdos de la Alhambra 4.40
06. Capriccio Arabe 4.31

Enrique Granados (1867 – 1916) from Danzas Española, opus 37:
07. Dance No. 4 Villanesca  5.51

Domenico Scarlatti (1685 – 1757):
08. Sonata in E major, K. 380 – Andante commodo 4.50
09. Sonata in b minor, K. 87 – Andante mosso 5.20
10. Sonata in a minor, K. 11 (original in c minor) 2.38
11. Sonata in d minor, K. 9 – Allegro 3.27
12. Sonata in A major, K. 209 – Andante cantabile 3.59

13. La Romanza 2.03