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Articles on this Page
- 02/28/13--15:32: _Shelly Manne and Fr...
- 03/01/13--15:35: _Trapeze - You Are T...
- 03/02/13--15:50: _Defunkt - Crisis, 1...
- 03/02/13--15:52: _Marc Ribot - Shrek,...
- 03/03/13--15:29: _Starmania - Integra...
- 03/04/13--15:38: _Pablo Gil - Suka Ja...
- 03/05/13--15:51: _The Paul Butterfiel...
- 03/06/13--15:52: _Michal Gera Band - ...
- 03/07/13--15:30: _Bill Cosby - Silver...
- 03/07/13--15:30: _Rick Wakeman - King...
- 03/08/13--15:42: _Billy Cobham - Magi...
- 03/09/13--15:25: _Ian Wilson - Veer: ...
- 03/09/13--15:25: _Leo Sayer - Endless...
- 03/10/13--15:11: _Nancy Wilson Cannon...
- 03/11/13--15:55: _Ophiucus - Ophiucus...
- 03/12/13--16:28: _Electric Satie - Gy...
- 03/12/13--16:29: _Dan Willis and Velv...
- 03/13/13--17:55: _Re.: Margo Guryan -...
- 03/13/13--17:56: _Tool - Ænima, 1996 ...
- 03/14/13--15:22: _Paul Winter Sextet ...
- 02/28/13--15:32: Shelly Manne and Friends - Shelly Manne's My Fair Lady, 1956 (Jazz)
- 03/01/13--15:35: Trapeze - You Are The Music...We're Just The Band, 1972 (Hard)
- 03/02/13--15:50: Defunkt - Crisis, 1992 (Funk)
- 03/02/13--15:52: Marc Ribot - Shrek, 1994 (Avant-Garde)
- 03/03/13--15:29: Starmania - Integrale Live '98 (Rock Misical)
- 03/04/13--15:38: Pablo Gil - Suka Jazz en Directo, 2007 (Jazz)
- 03/06/13--15:52: Michal Gera Band - Magomania, 1995 (Jazz)
- 03/07/13--15:30: Bill Cosby - Silver Throat, 1967 (R'n'B)
- 03/07/13--15:30: Rick Wakeman - King Biscuit Flower Hour, 1975 (Sympho Prog)
- 03/09/13--15:25: Ian Wilson - Veer: Four String Quartets (Modern Composition)
- 03/09/13--15:25: Leo Sayer - Endless Flight, 1976 (Pop/Rock)
- 03/10/13--15:11: Nancy Wilson Cannonball Adderly, 1962 (Vocal/Jazz)
- 03/11/13--15:55: Ophiucus - Ophiucus, 1971 (Art Rock)
- 03/12/13--16:28: Electric Satie - Gymnopedie '99 (Electronic)
- 03/12/13--16:29: Dan Willis and Velvet Gentlemen - The Satie Project, 2010 (Jazz)
- 03/13/13--17:55: Re.: Margo Guryan - 25 Demos, 1966-1978 (Sunshine Pop)
- 03/13/13--17:56: Tool - Ænima, 1996 (Progressive Metal)
- 03/14/13--15:22: Paul Winter Sextet - Count Me In, 1962-1963 (Jazz)
1. Get Me to the Church on Time 4:14
2. On the Street Where You Live 5:41
3. I've Grown Accustomed to Her Face 3:25
4. Wouldn't It Be Loverly? 5:36
5. Ascot Gavotte 4:21
6. Show Me 3:43
7. With a Little Bit of Luck 6:04
8. I Could Have Danced All Night 3:01
André Previn - Piano
Leroy Vinnegar - Bass
Shelly Manne - Drums
"This trio set by Shelly Manne & His Friends (consisting of the drummer/leader, pianist André Previn, and bassist Leroy Vinnegar) was a surprise best-seller and is now considered a classic. Previn (who is really the main voice) leads the group through eight themes from the famous play, including 'Get Me to the Church on Time,''I've Grown Accustomed to Her Face,''I Could Have Danced All Night,' and 'On the Street Where You Live.' A very appealing set that is easily recommended; an audiophile version has also been released on CD by DCC Jazz."
Shelly Manne's My Fair Lady
Shelly Manne's My Fair Lady
1. Keepin' Time 3:41
2. Coast to Coast 3:56
3. What Is a Woman's Role 5:39
4. Way Back to the Bone 5:24
5. Feelin' So Much Better Now 3:36
6. Will Our Love End 5:03
7. Loser 4:37
8. You Are the Music 5:13
Mel Galley - Guitar
Glenn Hughes - Bass, Piano, Vocals
Dave Holland - Drums, Percussion
B.J. Cole - Steel Guitar (1,2)
Rod Argent - Keyboards (2,5)
Kirk Duncan - Keyboards (3)
John Ogden - Percussion (3)
Frank Ricotti - Vibraphone (6)
Jimmy Hastings - Sax (Alto) (6)
"Though they were best known for a kind of muscular funk rock, the band Trapeze always had a jazzy element, and on You Are the Music, We're Just the Band it is the softer tunes that stand out. This isn't to say that there aren't some good rockers here, since the title tune and 'Keepin' Time' are energetic and enjoyable. However it is on 'Coast to Coast' and 'What Is a Woman's Role' that the band really shines. This is partly because both are really good songs, partly because both benefit from some inspired sax and vibes work from guests Jimmy Hastings and Frank Ricotti. Vocalist Glenn Hughes takes the lead on most tracks, and is very effective as long as he stays in his low range; on the rock tracks he uses his higher register, which tends to have a squealing or screechy tone. Those who only know Hughes from his subsequent work with Deep Purple may be surprised to hear his warm, soulful work on this disc, which was his last with Trapeze."
You Are The Music...We're Just The Band
You Are The Music...We're Just The Band
1. You Don't Know 3:56
2. Steppin' Off 4:59
3. Everyday the Come 5:10
4. Hit Me 4:48
5. Refuse to Love 7:23
6. Crisis 5:02
7. Next 3:43
8. Gotta Write a Book 3:38
9. Edge of Tomorrow 3:58
10. Groove Faked 6:23
Joseph Bowie - Congas, Trombone, Vocals
Byron Bowie - Sax (Tenor), Vocals
John Mulkerin - Trumpet, Vocals
Bill Bickford - Guitar, Vocals
Kevin Bents - Keyboards, Vocals
Kim Clarke - Bass, Vocals
Kenny Martin - Drums, Vocals
"Led by trumpet player Joseph Bowie - the son of a St. Louis-based music teacher, the brother of big band arranger Byron Bowie, and late trumpet player of the Art Ensemble of Chicago's Lester Bowie - Defunkt created some of the most adventurous sounds of the last quarter of the 20th century. Formed in 1978, Defunkt initially took a danceable approach to jazz. Although their first three albums - Defunkt, Razor's Edge, and Thermonuclear Sweat - made them leaders of New York's radical underground music scene, their inability to achieve commercial expectations led them to disband in 1983, with Bowie retreating to the island of St. Croix. Reorganized after Bowie's return to New York in 1986, Defunkt recorded an additional six albums, including A Blues Tribute: Jimi Hendrix & Muddy Waters and In America, between 1988-1993. Beginning in 1996, Bowie sought a way to combine the big band jazz of the 1930s and '40s and the dance rhythms and grooves of the '70s, '80s, and '90s. Expanding Defunkt with the addition of more horn players and background vocalists, Bowie introduced the Defunkt Big Band with a six-week stint at the Knitting Factory in New York."
1. Prelude 1:17
2. Spigot 2:57
3. Forth World 7:53
4. Romance 6:29
5. Hoist the Bloody Icon High 4:40
6. Half Ass Whole 3:44
7. Big Money 4:45
8. Shrek 6:17
9. Human Sacrifice 10:43
10. Bells 10:08
Marc Ribot - Guitar
Chris Wood - Guitar
Marc Anthony Thompson - Autoharp
Sebastian Steinberg - Bass
Christine Bard - Drums, Percussion
Jim Pugliese - Drums
David Shea - Sampling
"Although Marc Ribot has lent his incomparable six-string idiosyncracy to any number of studio ensemble projects, Shrek is his first attempt to assemble a solid group of his own. Shrek's more or less stable lineup includes guitarist Chris Wood (of Medeski, Martin, and Wood), bassist Sebastian Steinberg, drummer Jim Pugliese, and percussionist Christine Bard. The group's debut shifts restlessly among animated jazz, rock, punk, and warped blues themes, filling the inevitable cracks with instrumental textures, minimal vignettes, and formless noise, similar in some respects to John Zorn's Naked City (though with considerably more focus...hell, with focus period!). The group is joined on three tracks by sampler collage artist David Shea."
1. Ouverture 2:01
2. Monopolis 2:22
3. Il Se Passe Quelque Chose 2:07
4. Quand On Arrive En Ville 4:27
5. Scène 1 3:37
6. Travesti 4:37
7. Scène 2 2:24
8. La Complainte De La Serveuse Automate 4:41
9. Scène 3 0:31
10. Interview De Zéro Janvier 1:01
11. Le Blues Du Businessman 5:03
12. Scène 4 0:40
13. Un Garçon Pas Comme Les Autres 3:10
14. Un Enfant De La Pollution 3:14
15. Scène 5 0:40
16. La Chanson De Ziggy 3:00
17. Scène 6 2:12
18. Interview De Johnny Rockfort 1:27
19. Banlieue Nord 6:01
20. Scène 7 0:39
21. Discours Electoral 1:28
22. Scène 8 0:48
23. Coup De Foudre 2:48
24. Petite Musique Terrienne 1:17
25. Monopolis (Reprise) 2:02
1. Scène 9 2:44
2. Les Adieux D'un Sex Symbol 5:37
3. Télégramme De Zéro A Stella 1:58
4. Scène 10 1:10
5. Trio De La Jalousie 1:43
6. Besoin D'amour 3:11
7. Jingle De Stella 0:58
8. Interview De Zéro Janvier 3:08
9. Scène De Ménage/Ego Trip 5:01
10. Scène 11 1:32
11. Quand On A Plus Rien A Perdre 2:27
12. Duo D'adieu 3:21
13. Nos Planètes Se Séparent 3:49
14. Les Uns Contre Les Autres 3:27
15. Scène 12 0:41
16. Ce Soir On Danse Au Naziland 6:11
2:17. S.O.S. D'un Terrien En Détresse 4:42
18. Le Rêve De Stella Spotlight 1:46
19. Sextet 2:01
20. Le Monde Est Stone 4:35
21. Le Monde Est Stone (Reprise) 3:00
Edith Fortin – Vocals (Cristal)
Norman Groulx – Vocals (Johnny Rockfort)
Joane Labelle – Vocals (Marie-Jeanne)
Kwin – Vocals (Sadia)
Patsy Gallant – Vocals (Stella Spotlight)
Frank Sherbourne – Vocals (Ziggy)
Richard Groulx – Vocals (Zéro Janvier)
Muriel Robin – Voice (Roger-Roger)
Denys Lable – Guitar
Rudy Roberts – Guitar
Jeff Fisher – Keyboards
Serge Perathoner – Keyboards
Jannick Top – Bass
Claude Salmieri – Drums
Lewis Furey - Conductor
"Starmania is a French/Québécois rock opera written in 1976 with music by Michel Berger and lyrics by Luc Plamondon. Some of its songs have passed into mainstream Francophone pop culture. The story is openly referring to the kidnapping of Patricia Hearst.
In 1978, its first recording was released (in French), sub-titled Starmania, ou la passion de Johnny Rockfort selon les évangiles télévisés ('Starmania, or the Passion of Johnny Rockfort According to the Televised Gospels') with the leading roles filled by Daniel Balavoine, Claude Dubois, Diane Dufresne, Nanette Workman, France Gall, Eric Esteve and Fabienne Thibeault.
In 1979 the show was given its theatrical debut in Paris, starring Balavoine, Étienne Chicot, Dufresne, Gall, and Thibeault, followed by Canadian productions in 1980 and 1986 and French revivals in 1988 and throughout the 1990s.
In 1992, an English version of the show was created with the release of the album Tycoon, with lyrics by Tim Rice, and starring Celine Dion, Nina Hagen, Peter Kingsbery, Cyndi Lauper, Willy Deville, and Tom Jones in the principal roles on the recording. The American premiere of Tycoon, with English lyrics, was produced at the UTEP Dinner Theatre in El Paso, Texas in 1996, with Plamondon in attendance. It was staged in Paris alternatively with the French version for a few months.
In 2004, Starmania was honoured as a MasterWork by the Audio-Visual Preservation Trust of Canada.
In the near future, Monopolis, the capital of the recently-united Occident, is terrorized by the Black Stars, a gang headed by Johnny Rockfort, who dances to the tune of Sadia, a student-agitator, originally from the upper crust, who cross-dresses at night and descends into the underground to hand out orders. They meet at the Underground Café, under the amused gaze of Marie-Jeanne, the robotic waitress.
Above this underground café stands the Golden Tower, a 121-floor building, the top of which is the office of Zéro Janvier, a billionaire getting into politics by running for the presidency of the Occident. He bases his electoral campaign on a return to order and on the construction of the new atomic world. Zéro Janvier thus becomes the sworn enemy of Johnny Rockfort and the Black Stars. It is in this framework that three parallel love affairs take shape and come undone: the impossible love of Marie-Jeanne for Ziggy, a young androgynous and mythomaniac record dealer; the sensational romance of Zéro Janvier and Stella Spotlight, a sex symbol who has just said farewell to the silver screen; and the passion of Johnny Rockfort and Cristal, a true nexus of the plot.
Cristal, the host and star of a TV show called “Starmania,” gets a call from Sadia offering her a clandestine interview with Johnny Rockfort, whose face no one knows. The get-together takes place at the Underground Café. For Cristal and Johnny, it is love at first sight. They go off together; therefore, Sadia has lost her hold over Johnny. Cristal decides to become the spokeswoman for the Black Stars, transmitting pirate messages by means of a neutron camera that lets her take over television frequencies.
Sadia, furious with jealousy, denounces Johnny and Cristal to Zéro Janvier on the evening that he is celebrating his engagement with Stella Spotlight at Naziland, a gigantic revolving discothèque above Monopolis. The Black Stars have chosen this very evening to set off a bomb in the Golden Tower.
Zéro Janvier’s men hunt the Black Stars. Cristal is hit and dies in Johnny’s arms. The shadow of Johnny Rockfort will darken the victory of Zéro Janvier, elected president of the Occident. Terrorism against totalitarianism, two living forces in opposition, two dangers that threaten the world.
Stella Spotlight, revolted by power, returns to her dream of immortality; Marie-Jeanne, having had enough of the underground world, heads off in search of sunlight."
1. Wishing Well 11:07
3. Wing And A Prayer 9:39
4. Major Delights 8:21
5. Slow Change 11:49
1. Sukkah 4:52
2. A La Espera 3:57
3. CCS Hip 4:39
4. Tukeke 6:03
5. Pablo De Caracas 5:50
6. Solar 10:24
7. Otra Vez 5:52
Pablo Gil - Tenor Sax
Mike Stern - Guitar (1-5)
Juan Angel Esquivel - Guitar (4, 6-12)
Roberto Koch - Bass
Andrés Briceño - Drums
DJ Metra - Scratches, Loops, Samples & Effects (6-12)
"Pablo Gil has studied in France & US and has the following degrees: -M.A. In Jazz Performance, City College of New York, 2000
-Degrees in Arrangement, Composition, Piano and History of Jazz in the Conservatoire National Superieur de Musique et Danse de Paris, 1996.
-Premier Prix de Saxophone de la ville de Paris, 1995.
-Medaille d’or en Saxophone in the Conservatoire National de Region de Paris, 1995.
-Diplome de Enseignement superieur des Musiques Modernes in the CIM, Paris, 1992.
Lived In Europe from September 1991 to December 1997, where he played , amongst many others, in the following places:
93-96: Conservatoire Superieur de Musique et Danse de Paris, Cite de la Musique, Auditorium des Halles, as a member of the C.N.S.M.D.P jazz big band.
95 Berlin, Moscow and Paris with an international orchestra formed with students from Conservatories in France.
Tour in Greece with Balisa. Montecarlo Sporting Club, St Louis Jazz Festival ‘97, Senegal, Musicora Jazz Festival in Boudroum, Turkey.
Sultanate of Oman. Cafe Paradiso, Amsterdam. Marciac Jazz Festival (France), Vannes Jazz Festival (France), Lisbon World Expo. Jazz Cafe, London. And many Jazz clubs all over Europe.
Lived in New York between January 1998 and September 2001, where he performed in venues such as: Birdland, Knitting Factory, Jazz Gallery, S.O.B’s, Kavehaz, Izzy Bar, etc.
Has also played in:
-1988 Festival de Jazz de Caracas with Cimarron.
- Festival de Jazz de Barquisimeto with Cimarron.
-1989 Festival de Jazz de Caracas, with Julio Mendoza’s Jazz Quintet.
-1999 Barranquilla Jazz Festival, in Colombia.
Curently lives in Venezuela and performs in jazz clubs and festivals in Europe and the U.S. with his own group or as a sideman."
Suka Jazz en Directo
Suka Jazz en Directo
1. Born in Chicago 2:55
2. Shake Your Moneymaker 2:27
3. Blues with a Feeling 4:20
4. Thank You Mr. Poobah 4:05
5. I Got My Mojo Working 3:30
6. Mellow Down Easy 3:40
7. Screamin' 4:30
8. Our Love Is Drifting 3:25
9. Mystery Train 2:45
10. Last Night 4:15
11. Look Over Yonders Wall 2:23
Paul Butterfield - Harmonica, Vocals
Elvin Bishop - Guitar, Vocals
Michael Bloomfield - Slide Guitar
Mark Naftalin - Organ
Jerome Arnold - Bass
Sam Lay - Drums
"Even after his death, Paul Butterfield's music didn't receive the accolades that were so deserved. Outputting styles adopted from Howlin' Wolf and Muddy Waters among other blues greats, Butterfield became one of the first white singers to rekindle blues music through the course of the mid-'60s. His debut album, The Paul Butterfield Blues Band, saw him teaming up with guitarists Elvin Bishop and Mike Bloomfield, with Jerome Arnold on bass, Sam Lay on drums, and Mark Naftalin playing organ. The result was a wonderfully messy and boisterous display of American-styled blues, with intensity and pure passion derived from every bent note. In front of all these instruments is Butterfield's harmonica, beautifully dictating a mood and a genuine feel that is no longer existent, even in today's blues music. Each song captures the essence of Chicago blues in a different way, from the back-alley feel of 'Born in Chicago' to the melting ease of Willie Dixon's 'Mellow Down Easy' to the authentic devotion that emanates from Bishop and Butterfield's 'Our Love Is Drifting.''Shake Your Money Maker,''Blues With a Feeling,' and 'I Got My Mojo Working' (with Lay on vocals) are all equally moving pieces performed with a raw adoration for blues music. Best of all, the music that pours from this album is unfiltered...blared, clamored, and let loose, like blues music is supposed to be released. A year later, 1966's East West carried on with the same type of brash blues sound partnered with a jazzier feel, giving greater to attention to Bishop's and Bloomfield's instrumental talents."
The Paul Butterfield Blues Band
The Paul Butterfield Blues Band
1. Berenica 8:00
2. MR.D. 7:13
3. P.S. 5:31
4. Alarica 9:47
5. April 8:54
6. Magomania 9:02
Michal Gera - trumpet
Petr Zeman - guitar
Vít Švec - bass
Pavel Razím - drums
"Czech trumpet player, composer, arranger, band leader. Born February 15, 1949 in Ústí nad Labem (former Czechoslovakia)."
1. Bright Lights, Big City 2:41
2. Big Boss Man 2:45
3. Hush Hush 1:54
4. Baby, What You Want Me to Do 2:43
5. Tell Me You Love Me 3:07
6. Aw Shucks, Hush Your Mouth 1:36
7. Little Ole Man (Upright, Everything's Alright) 4:10
8. Mojo Workout 2:53
9. I Got a Woman 3:22
10. Don'cha Know 2:45
11. Place in the Sun 2:35
"Bill Cosby's vocal albums are an eccentric and self-indulgent lot at best, more notable for the efforts of the Watts 103rd Street Rhythm Band than Cos' tongue-in-cheek attempts at singing. Silver Throat is a particularly strange entry, eschewing the funk sensibilities of other Cosby records in favor of a gritty, blues-inspired approach that doesn't really work with the comedian's limited range. Songs like Willie Dixon's 'Big Boss Man' and Ray Charles''I Got a Woman' are presented in fairly straightforward renditions, but Cosby deliberately mucks with the lyrics to varying degrees of comedic success - most impressive is 'Lil Ole Man,' a wry narrative recited over a backing track that essentially recapitulates Stevie Wonder's classic 'Uptight (Everything Is Alright)'."
1. Journey to the Centre... 12:03
2. Catherine Howard 11:42
3. Lancelot and the Black Knight 5:30
4. Anne Boleyn 8:57
5. The Forest 6:43
6. Arthur and Guinevere 14:40
7. Merlin The Magician 7:21
8. Catherine Parr 8:29
Ashley Holt - vocals
Martyn Shields - trumpet
Reg Brooks - trombone
John Dunsterville - guitars & mandolin
Rick Wakeman - keyboards
Roger Newell - bass, vocals
Tony Fernandez - drums
John Hodgson - percussion
"This live performance presented by the King Biscuit Flower Hour is an above average production of Wakeman's best-loved tunes. King Biscuit appropriately keeps the concert full-length, without any splicing, so that the songs are enjoyed exactly as they were during the staging. Wakeman electrifies San Francisco's Winterland Theater with stunning versions of 'Lancelot and the Black Night' and 'Merlin the Magician,' two of this album's finest cuts. Particular attention is given to 'The Forest,' a track rarely played live from Wakeman, but placed fittingly in the middle of the eight selections here. Recorded in 1975 at the height of progressive rock's glory days, Wakeman's attentiveness and passion can be felt from the opening keyboard surge. His accompanying musicians play a large part as well, with some expert guitar work from Jeffrey Crampton and spectacular vocal execution via Ashley Holt. The grandiose but stylish percussion work from John Hudson doesn't go unnoticed either, adding vividness to Wakeman's electronics, especially in the opening 'Journey to the Center of the Earth.' The liner notes are surprisingly informative for a live album, offering a brief but entertaining biography of Rick Wakeman's solo progression up to that point. Taken from the early stages of Wakeman's career, this album captures him in his freshest period, at a time when his flamboyant playing style was most respected."
King Biscuit Flower Hour
King Biscuit Flower Hour
1. On A Magic Carpet Ride 5:08
2. AC/DC 5:27
3. Leaward Winds 3:39
4. Puffnstuff 6:23
5. 'Antares' - The Star 5:11
6. Magic/Reflection In The Clouds/Magic Recapitulation 13:33
7. Bolinas 4:25
8. La Guernica 8:05
9. Pocket Change 6:30
10. Indigo 6:50
11. Opelousas 4:51
12. Early Libra 7:13
Billy Cobham - drums, hand-claps, vocals
Joachim Kuhn - keyboards
Mark Soskin - keyboards
Randy Jackson - bass
Pete Escovedo - timbales, vocals
"Of all Billy Cobham's Columbia fusion sessions, time has been the most unkind to Magic. Despite some inspired and at times awe-inspiring performances, the album is too much a product of its era, suffering from sickly sweet production, awkward vocal contributions, and ill-fitting clarinet contributions from an out of place Alvin Batiste. Strip away the viscous layers of gloss and indulgence, and Magic begins to live up to its title. Cobham's rhythmic interplay with bassist Randy Jackson and percussionists Pete Escovedo and Sheila E. is nothing short of astounding, as fierce and funky as anything in the drummer's catalog. But the songs are tepid and the arrangements overbaked, not to mention that Pete Maunu's guitar wankery verging on the point of absurdity. All in all, too much of a good thing, yet still not enough.
Along with the little known B.C., this is Billy Cobham's most disappointing recordings of the '70s. Like fellow fusion/drumming legends Alphonse Mouzon and Lenny White, Cobham gradually migrated toward disco/funk. His brand of this music sounds worse than most because he continues the propulsive drum style, making for an unbalanced approach. 'Bolinas' and 'Pocket Change' are embarrassing, but all is not lost as 'La Guernica' is a burner. As the so-called death of fusion was fast approaching, Cobham was at a crossroads in his career."
Magic/Simplicity of Expression, Depth of Thought
Magic/Simplicity of Expression, Depth of Thought
1-2. String Quartet No. 4
3. In fretta, in vento - String Quartet No. 6
4. …wander, darkling - String Quartet No. 5
5-11. Lyric Suite - Seven Elegiac Pieces
The Callino Quartet
"Ian Wilson was born in Belfast in 1964 and obtained the first D.Phil in composition to be awarded by the University of Ulster, which in 1993 commissioned his orchestral work Rise in celebration of the tenth anniversary of its foundation. His music has been performed and broadcast on six continents by artists such as the National Symphony Orchestra of Ireland, BBC National Orchestra of Wales, the Ulster, Belgrade Philharmonic and Norwegian Radio Orchestras, the London Mozart Players and the Irish Chamber Orchestra, the Artis, Vogler and Vanbrugh Quartets, Lontano, Avanti! and Camerata Pacifica ensembles, Catherine Leonard and Hugh Tinney. Works have been performed at many festivals including the BBC Proms, Venice Biennale, ISCM World Music Days, the Brighton, Cheltenham and Ultima Festival in Oslo, where Running, Thinking, Finding for orchestra received the composition prize in 1991.
Recent works include re:play for improvising tenor saxophonist, string quartet, piano and bass (2007) premiered at the West Cork Chamber Music Festival, Cassini Void, a concerto for clarinet and 10 instruments premiered at New York's Carnegie Hall in October 2007 and Harbouring for multiple choirs, soloists and orchestra, premiered in Wexford in June 2008.
In 1992 Ian Wilson was awarded the Macaulay Fellowship administered by the Arts Council of Ireland, and in 1998 he was elected to Aosdana, Ireland's State-sponsored body of creative artists. From 2000 to 2003 Ian Wilson was AHRB Research Fellow in Creative and Performing Arts at the University of Ulster. His music is published by Ricordi London and Universal Edition."
1. Hold on to My Love 3:10
2. You Make Me Feel Like Dancing 3:44
3. Reflections 3:12
4. When I Need You 4:13
5. No Business Like Love Business 3:32
6. I Hear the Laughter 3:16
7. Magdalena 4:22
8. How Much Love 3:39
9. I Think We Fell in Love Too Fast 3:08
10. Endless Flight 4:44
Leo Sayer - Guitar, Vocals
Larry Carlton - Guitar
Lee Ritenour - Guitar
Richard Tee - Piano
Chuck Rainey - Bass
Steve Gadd - Drums
Jeff Porcaro - Drums
"Richard Perry's production on Endless Flight, coupled with the tremendous song selection, makes it superior to the 1977 follow-up, Thunder in My Heart (also produced by Perry, but with not as much heart), with this project remaining big through most of that same year. The two number one hits, a catchy Vini Poncia/Leo Sayer co-write, 'You Make Me Feel Like Dancing,' and a cover of the title track to Albert Hammond's 1976 disc, When I Need You, are essential career components that sound great years later. It's amazing how much more substantial this album is over the somewhat contrived Thunder in My Heart which followed. Opening the disc with a Barry Mann/Cynthia Weil/Leo Sayer song like 'Hold on to My Love' is how to get yourself into the history books before the record is even out of the box. The Barry Mann/Leo Sayer composition 'How Much Love' on side two was the third chart single, going a bit beyond the Top 20 in the U.S. With strings arranged by Gene Page, Ray Parker on guitar, and Steve Gadd on drums, Sayer had a leg up on the competition. There's a cool photo of the tall Richard Perry walking down the street with the smaller-framed Sayer, and their working relationship reached its commercial zenith here. Willie Weeks provided the bass to 'When I Need You' with Jeff Porcaro on drums, David Bowie's guitarist Earl Slick on guitar, and Michael Omartian and James Newton Howard on keys (Omartian and Larry Carlton both show up on Albert Hammond recordings as well); it's perfect musicianship and perfect timing for this most artistic project by Sayer. The title track, written by Andrew Gold, is a standout, featuring Nigel Olsson on drums and Paul Buckmaster on strings, both borrowed from Elton John's camp. As this writer has stated about Albert Hammond, the same holds true for Leo Sayer; both these artists could have challenged Elton John for chart dominance had they put as much into all their albums as Hammond did with It Never Rains in Southern California and as Richard Perry and Leo Sayer put into Endless Flight. Covers of Danny O'Keefe's 'Magdalena' and the Supremes''Reflections' embellish the album chock-full of hits, a stirring title track, and superb musicianship. It's a career album with lots to offer the world."
1. Save Your Love for Me 2:38
2. Teaneck 4:30
3. Never Will I Marry 2:16
4. I Can't Get Started 4:55
5. The Old Country 2:57
6. A Sleepin' Bee 2:32
7. Happy Talk 2:21
8. Never Say Yes 3:57
9. The Masquerade Is Over 4:15
10. One Man's Dream 5:09
11. Unit 7 6:04
Nancy Wilson - Vocals
Cannonball Adderley - Sax (Alto)
Nat Adderley - Cornet
Joe Zawinul - Piano
Sam Jones - Bass
Louis Hayes - Drums
"An excellent collaboration of the Nancy Wilson voice with the Cannonball Adderley alto sax from the early '60s. While this 1961 recording was the first time Wilson was with Adderley in the studio, it was not the first time they had worked together. After singing with Rusty Bryant's band, Wilson had worked with Adderley in Columbus, OH. (It was there that Adderley encouraged her to go to N.Y.C. to do some recording, eventually leading to this session.) Not entirely a vocal album, five of the 12 cuts are instrumentals. A highlight of the album is the gentle cornet playing of Nat Adderley behind Wilson, especially on 'Save Your Love for Me' and on 'The Old Country.' Cannonball Adderley's swinging, boppish sax is heard to excellent effect throughout. Joe Zawinul's work behind Wilson on 'The Masquerade Is Over' demonstrates that he is a talented, sensitive accompanist. On the instrumental side, 'Teaneck' and 'One Man's Dream' are especially good group blowing sessions. On the other end of the spectrum, Adderley's alto offers a lovely slow-tempo treatment of the Vernon Duke-Ira Gershwin masterpiece, 'I Can't Get Started.' To keep the listeners on their musical toes, the first couple of bars of 'Save Your Love for Me' are quotes from 'So What' from the Miles Davis Sextet seminal Kind of Blue session. Given the play list and the outstanding artists performing it, why any serious jazz collection would be without this classic album is difficult to comprehend."
Nancy Wilson Cannonball Adderly
Nancy Wilson Cannonball Adderly
1. Prenez, Donnez 2:52
2. Patiemment 2:55
3. Au Hasard 3:12
4. Ne Cherche Plus 3:15
5. L'Eveil De Notre Temps 4:10
6. C'Est Pour Toi 2:56
7. Darbouka 2:16
8. T'Inquiète Pas M'man 3:10
9. Djuleka 4:00
10. Inachevée 2:11
11. Mirlipinious 2:02
12. Univers 4:28
13. Give or Take It 2:27
14. Into Your Song 2:54
15. You're Only Dreaming 2:52
16. Night Song 2:57
17. Darbouka 2:17
18. Telephone Funeral Blues 3:11
19. Gipsy Dog/Djuleka 4:01
20. Universe 4:48
Alain Labacci - guitars, percussion, vocals
Michel Bonnecarrere - guitars, bass, flute, percussion, vocals
Jean-Pierre Pouret bass, guitars, vocals
Bernard Labacci - drums, percussion, vocals
"French band Ophiucus was formed back in 1971, consisting of brothers Alain and Bernard Labacci, Jean-Pierre Pouret and Michel Bonnecarrere. This quartet opted to have their base of operations in the small town of Flagy, where they wrote material that was deemed interesting enough to land them a deal with Barclay Records. Their debut album Ophiucus was issued the same year, but a planned English version of this album was shelved. These alternate language versions would later surface as bonus tracks on reissues.
Ophiucus issued one more album, Salade Chinoise, in 1973. There are no records of activities from them after this point, and it is assumed that they disbanded soon after."
1. Gymnopédie # 1 - Universe 4:45
2. Gymnopédie # 2 6:22
3. Harmonies 1 6:13
4. Sarabande # 1 5:08
5. La Lune 4:57
6. Son Binocle 4:53
7. Musique D'ameublement (Tapisserie En Fer Forge) 3:49
8. Gymnopédie # 1 - Freestyle Ambience 4:20
9. Vexations 3:08
10. Gymnopédie # 1 - Global Sign Dub 2:54
Hiroyasu Yaguchi – Saxophone
Silvio Anastacio – Vocals, Guitar
Ryoji Oba – Synthesizer
Marco Antonio Bosco – Percussion
Mitsuto Suzuki - Arrangement
"Mitsuto Suzuki does 9 modern electronica-like arrangements of Erik Satie, some of them in styles like a Brazilian flavor. He does Gymnopédie no.1 three times in different styles to make it kind of a recurring theme.While he's doing Satie compositions, he is arranging them to the extent that you can't really call this a classical synth album the way say Tomita does. Ironically the most French sounding track of the 10 is La Lune which is his original composition.When I saw the track list I noticed the conspicuous absence of Satie's popular Gnossienes. I imediately suspected if he were to do a second album they would be the recurring theme. I'd think that hardcore Satie fans would be curious and upon listening while thinking some stuff clever and interesting, but will find overall it doesn't really evoke Satie. While it has a textured ambient sound its just a little short of being a really good ambient album regardless of the Satie."
1. Second Gymnopedie 7:23
2. Nocturne #2 2:13
3. I Idylle 5:46
4. Nocturne #3 3:11
5. Third Gymnopedie 6:06
6. First Gnossienne 4:07
7. Nocturne #4 3:02
8. First Gymnopedie 6:26
9. Ill Meditation 4:25
10. Nocturne #1 3:21
11. Il Aubade 5:23
12. Second Gnossienne 2:35
13. Nocturne #6 1:25
14. Nocturne #5 1:56
15. Olga Polka 4:35
Dan Willis - Clarinet, Duduk, Flute, Horn (English), Oboe, Sax (Soprano), Sax (Tenor)
Chuck MacKinnon - Flugelhorn, Trumpet
Jonathan Owens - Trumpet
Tim Sessions - Trombone
Antoine Silverman - Violin
Ron Oswanski - Accordion, Hammond B3
Pete McCann - Guitar
Kermit Driscoll - Bass
Richard Sosinsky - Double Bass
John Hollenbeck - Drums, Percussion
"Erik Satie's music is timeless and beautiful, but can it stand up to interpretation by downtown New York jazzbos? In the hands of Dan Willis & Velvet Gentlemen the answer is a resounding 'YES!' Willis' arrangements are as brilliant as they are varied. There are some straightforward readings (as on most of the Nocturnes) right alongside some pretty inventive and even daring ones. Second Gymnopedie starts as an accordion-sax-drums trio, then slides almost imperceptibly to a guitar-trumpet-drums trio. John Hollenbeck's alway engaging drumwork ties it all together, but the really amazing thing is how much the tune now resembles Miles Davis''All Blues!' At the other end of the Miles spectrum, Willis makes I Idylle sound like an outtake from Agharta with its use of distorted electric guitar and electric trumpet. The percussion and arrangement on First Gnossienne give it a bit of a Middle Eastern flavor, and yet Satie's melodies shine through no matter what the setting. The Satie Project is a great album that simultaneously celebrates Satie's vision and takes his music where you never thought it could go. The playing is excellent throughout. Well done."
The Satie Project
The Satie Project
1. What Can I Give You 2:19
2. Something's Wrong with the Morning 1:45
3. I Love 2:08
4. Sunday Morning 2:15
5. Can You Tell 2:08
6. Think of Rain 2:22
7. Sun 2:31
8. Most of My Life 2:10
9. The 8:17 Northbound Success Merry-Go-Round 2:10
10. Love Songs 2:53
11. Thoughts 2:14
12. I Don't Intend to Spend Christmas Without You 2:19
13. Come to Me Slowly 2:23
14. Timothy Gone 1:45
15. It's Alright Now 2:02
16. Values 2:33
17. I Think a Lot About You 2:18
18. The Hum 2:44
19. Please Believe Me 3:53
20. Yes I Am 3:11
21. I'd Like to See the Bad Guys Win 1:43
22. California Shake 3:27
23. Shine 3:03
24. Hold Me Dancin' 2:53
25. Good-bye, July 3:55
"Born in a New York suburb, songwriter extraordinaire Margo Guryan ironically enough grew up to create one of the most exquisite and appealing, if little heard, one-shot 'California' (although actually recorded on the East Coast) soft-pop gems of the kaleidoscopic late '60s (copies have fetched upwards of 200 dollars on the collector's circuit), before gradually disappearing from the scene. Despite the brief shelf life of her commercial career, her musical legacy actually proves far-reaching, stretching across various decades and serving several roles, from serious composer to reluctant performer to songwriter-for-hire and producer to teacher. Her single released album also resonated throughout the pop underground of the 1990s and beyond, serving as a primary inspiration for bands and artists like Wondermints and Linus of Hollywood.
Margo Guryan began her musical path as a child, taking up the study of piano in the first grade and continuing through high school and into Boston University, where she studied classical music even though she was attracted to certain kinds of pop music, particularly jazz, which she had fallen in love with in high school. Never a fan of performing, Guryan switched from her piano curriculum, for which she would have had to complete a senior recital, to composition in her sophomore year at Boston. Her pop and jazz compositions began garnering immediate attention. Chris Connor became the first artist to record one of her songs, 'Moon Ride,' which she released on Atlantic Records in 1957.
The summer after she graduated from college, Guryan spent three weeks at the Lenox School of Jazz in Massachusetts, where Ornette Coleman and Gary McFarland were fellow students and the teaching staff included Bill Evans, John Lewis, Milt Jackson, Jim Hall, Max Roach, and Gunther Schuller. Lewis and Schuller signed her to MJQ Music once the session was completed and gave her the assignment of turning Coleman's 'Lonely Woman' into a vocal version. Guryan's whole relation to the pop music world morphed, however, when fellow jazzbo Dave Frishberg introduced her to a record that changed her life: the Beach Boys''God Only Knows.' She began listening to any pop/rock music that she could get her hands on and altered her own songwriting tendencies accordingly. After working up a catalog of her own originals, jazz producer Creed Taylor sent Guryan to Columbia's publishing company, April-Blackwood, and manager David Rosner (her eventual husband) was sufficiently impressed enough to set about recording with her an album of her songs. Take a Picture appeared on Bell Records in 1968, by which time Spanky & Our Gang had already recorded a hit version of one of the songs, 'Sunday Morning.' The album earned positive reviews, but any wider attention was sacrificed to her performing aversion.
As a songwriter, though, it was a thoroughly productive period for Guryan. Claudine Longet, Jackie DeShannon, and Astrud Gilberto all released versions of 'Think of Rain' (while Dion and an impressed Harry Nilsson also recorded unreleased versions). 'Sunday Morning' was also a hit for Oliver, and it was recorded by Julie London, and Bobbie Gentry and Glen Campbell, among others. Other songs were placed with London, Carmen McCrae, the Lennon Sisters, and Mama Cass Elliot.
Guryan continued composing through the end of the '60s and into the '70s. She moved with her husband to Los Angeles and tried to stay current by writing a few 'Watergate' and 'earthquake' songs, eventually even succumbing to the disco trend for a single effort, but her personal connection with the music had begun to wane, and she turned to producing other artists. Gradually she began to study and practice classical music again with Howard Richman, the teacher she had originally found for her stepson. She, in turn, became a teacher, and took up composing again in the '90s as a teaching aid for her students. By the end of the decade, interest in her 1968 album had come full circle, garnering raves among pop aficionados, not only in the United States but also in Japan, England, and Europe, while a new generation of artists began embracing her lovely pop songs once again."
1. Stinkfist 5:11
2. Eulogy 8:28
3. H. 6:07
4. Useful Idiot 0:38
5. Forty Six & 2 6:04
6. Message to Harry Manback 1:53
7. Hooker With a Penis 4:33
8. Intermission 0:56
9. Jimmy 5:24
10. Die Eier Von Satan 2:17
11. Pushit 9:55
12. Cesaro Summability 1:26
13. Ænema 6:39
14. - Ions 4:00
15. Third Eye 13:47
Maynard James Keenan - vocals
Adam Jones - guitar
Justin Chancellor - bass
Danny Carey - drums
Marko Fox - vocals
Bill Hicks - vocals
Eban Schletter - organ
Chris Pittman - synthesizer
David Bottrill - keyboards
"For their third release, Tool explore the progressive rock territory previously forged by such bands as King Crimson. However, Tool are conceptually innovative with every minute detail of their art, which sets them apart from most bands. Make no mistake, this isn't your father's rock record. Sonically, the band has never sounded tighter. Long exploratory passages are unleashed with amazing precision, detail, and clarity, which only complements the aggressive, abrasive shorter pieces on the album. There is no compromise from any member of the band, with each of them discovering the dynamics of his respective instrument and pushing the physical capabilities to the limit. Topics such as the philosophies of Bill Hicks (eloquently eulogized in the packaging), evolution and genetics, and false martyrdom will fly over the heads of casual listeners. But those listening closely will discover a special treat: a catalyst encouraging them to discover a world around them to which they otherwise might have been blind. If these aren't good enough reasons to listen to Ænima, then just trust the simple fact that Tool deliver the hard rock goods every time the band chooses to release something."
1. A Bun Dance 3:37
2. Papa Zimbi 4:26
3. Casa Camara 4:58
4. Them Nasty Hurtin' Blues 3:25
5. Voce e Eu (Only You and I) 2:51
6. Insensatez (Foolish One) 3:40
7. Mystery Blues 3:55
8. Chega De Saudade (No More Blues) 3:03
9. Routeousness 4:50
10. Count Me In 2:26
11. Bells and Horns 4:45
12. Saudade de Bahia (Longing for Bahia) 4:26
13. Casa Camara 5:07
14. Pony Express 3:20
15. Maria Ninguem (Maria Nobody) 2:57
16. Toccata (From Suite Gillespiana) 4:45
17. Count Me In 3:01
Paul Winter - alto sax
Dick Whitsell - trumpet
Les Rout - baritone sax
Warren Bernhardt - piano
Richard Evans - bass
Harold Jones - drums
1. Cupbearers 3:32
2. Ally 6:48
3. The Sheriff 4:44
4. With Malice Toward None 5:22
5. All Members 6:50
6. Marilia 5:27
7. Suite Port Au Prince: Invocation to Dambala/Prayer/Papa Zimbi 10:00
8. New York 19 5:15
9. Quem Quizer Encantror O Amor (He Who Wants to Find Love Has to Cry) 3:47
10. The Thumper 5:28
11. Count Me In 2:44
12. Repeat 3:21
13. Lass from the Low Countrie 3:44
14. Down by the Greenwood Side 5:35
15. We Shall Overcome 3:21
Paul Winter - alto & soprano sax
Dick Whitsell - trumpet
Jay Cameron - baritone sax
Warren Bernhardt - piano
Chuck Israels - bass
Ben Riley - drums
"Though Paul Winter is today known for his blend of world music and new age as leader of the Paul Winter Consort, in the early days of his career, he was the leader of a promising jazz band. Winning a contest that landed his mostly collegiate band a record contract with Columbia Records, Winter sought veterans to round out his group, while also applying and receiving the opportunity to lead his band for six months into Latin America on a very successful U.S. State Department-sponsored goodwill tour. This compilation combines selections from his first three albums for Columbia, all long out of print, adding previously unissued performances by various lineups of his early-'60s sextets. The detailed booklet includes extensive liner notes about the evolution of the band and some of its experiences. On the first disc, the lineup includes the alto saxophonist with trumpeter Dick Whitsell, baritone saxophonist Les Rout, pianist Warren Bernhardt, bassist Richard Evans, and drummer Harold Jones. The energetic hard bop opener, 'A Bun Dance,' penned by pianist Norman Simmons, features tight ensembles and lively solos. Evans penned the exotic, Latin-flavored 'Casa Camara,' a lush work that deserves to be more widely known. No one can remember who wrote 'Mystery Blues,' given that the title is also unknown; in any case, it is a spirited, playful number that would have been a perfect set closer for a gig, featuring a raucous chorus by Rout and Evans' sublime bass. The scoring of reeds and horn gives Antonio Carlos Jobim's 'Insensatez' a very different sound than typically heard on jazz records of the era, with Winter's emotional alto sax standing out. The seven tracks from a 1962 concert at the White House are all previously unissued. 'Bell and Horns' is an obscurity penned by vibraphonist Milt Jackson, which serves as their lively introduction to the invited audience. Bernhardt contributed the loping jazz waltz 'Pony Express' in honor of the Kennedy's young daughter, Caroline; the composer's engaging piano, Winter's sassy alto, and Rout's soulful baritone make it a memorable performance. Their finale is a brief rendition of Evans' engaging blues 'Count Me In.'
Disc two features live performances at the University of Kansas City and the University of Colorado, along with a studio date. The personnel had changed, with Jay Cameron now on baritone sax, Chuck Israels (who had recently left Bill Evans) on bass, and Ben Riley on drums (prior to his working with Thelonious Monk). Tom MacIntosh, long an under-appreciated composer who contributed numerous originals to various bands, penned 'The Cupbearers,' a piece that has become a jazz standard, along with the lovely 'Ally.' The sextet delivers a stirling rendition of the former, while their emotional interpretation of the latter is also a high point. A third MacIntosh work, the gorgeous ballad 'With Malice Toward None,' marks Winter's debut recording on soprano sax, which he handles as deftly as his main instrument. Bernhardt's 'Suite Port au Prince' is a three-part work with a gospel flavor in its first section, a more exotic air in its second, wrapping with a spirited, chant-like finale with an engaging dance rhythm. For the last four tracks, representing the final recordings of Winter's sextet, Cecil McBee is the bassist and Freddie Waits is the drummer. All of these tracks were taped for the album Jazz Meets the Folk Song. Pianist Denny Zeitlin's contribution, 'Repeat,' is an early example of his writing which pre-dates his later debut recording for Columbia, and showcases Winter's lively soprano sax, with potent comping by Bernhardt. The old folk song 'Lass from the Low Countrie' adds acoustic guitarist Gene Bertoncini and flautist Jeremy Steig; it's another strong feature for Winter on soprano sax. The spiritual 'We Shall Overcome' served as the band's finale, as they were devastated by the assassination of President John F. Kennedy only days before. This moving performance is a fitting conclusion to a promising group that remained together for only a short time."
Count Me In
Count Me In