P.F. Sloan - Twelve More Times (1966)

Sloan's second album had a fuller mid-1960s Los Angeles pop-folk-rock production than his more acoustic-weighted debut, and the material was a shade less strong.

Still, the standard of writing remained good, particularly on &"Let Me Be" (a hit for the Turtles), &"Here's Where You Belong" (Sloan's most pop-friendly numbers), the sullen but melodic &"Lollipop Train," and the wistful &"From a Distance," which sounds like it could have been a hit (and indeed it was a few years later in Japan). The Dylan influence was there to hear on &"Halloween Mary," &"When the Wind Changes" and &"The Man Behind the Red Balloon."

This was fine since those songs were good on their own merits, but not so fine when it just sounded like a dumb Bob Dylan talking-jive parody, as on &"Patterns Seg. 4." (by Richie Unterberger)

Co-produced by P.F. Sloan and Steve Barri (who also co-wrote several of the songs),1966''s "12 More Times" didn't knock me out the first couple of times I heard it.  This time out tracks like 'From a Distance' and 'The Precious Time' reflected a fuller, more 'produced' sound, but overall the sonic differences were minimal.  You could also hear Sloan struggling to carve out a unique identify.  Unfortunately, on first brush about half of the set sounded like Sloan was suffering from a severe case of Dylan wannabe.  Tracks like 'The Man Behind the Red Balloon', 'Here's Where You Belong' and 'Upon a Painted Ocean' not only borrowed Dylan's mid-1960s sound, but appropriated his lyrically dense, socially relevant palate. Luckily Sloan's voice was way better than Dylan's, croak but that didn't do anything to make this stuff sound more original.  All of those comments might explain the reason these songs didn't strike me as being as fresh and energetic as the first album.  Luckily I set the album aside and a couple of years later gave it another chance.  The second time around the set's charms started to reveal themselves to me.  True, it wasn't the most original collection you've ever heard, but it's probably one of the best mid-1960s folk-rock albums, though few folks have actually heard it.

 - 'From a Distance' was one of those period electric folk-rock songs that should have been a massive hit for Sloan (it was tapped as a single), and probably would have been a massive hit had The Byrds, The Grass Roots, The Turtles, or some other band tapped it as a cover.  One of those lost mid-1960s classics that collectors dream about stumbling across.  
- A driving blues numbers, 'The Man Behind the Red Balloon' found Sloan doing his best Dylan impression ...  well it sounded like Dylan had Dylan been gifted with a decent singing voice.
- Basically just Sloan and acoustic guitar, 'Let Me Be' had a likeable raw sound which actually sounded a but like an unfinished demo.  Naturally The Turtles covered it an had a hit.  
- Co-written with Barri, 'Here's Where You Belong' was another song with a Dylan influence, as channeled through The Byrds.  Nice driving rocker ...
- Once 'The Precious Time' got rolling it reflected a distinctive Byrds influence than jangle rock feel.  This might also be about as close to recording a grunge song as Sloan ever came.  One of the best performances on the album. 
- Complete with lyrically dense structure (with all those words this one would have been a bitch to play live), a bouncy melody, and harmonica solo, 'Halloween Mary' sported one of the album's best Dylan-esque melodies.  Yeah the goofy title was a mystery to me, but who cared when the song was so catchy, which explains why it was released as a single ...  
- Another stripped down acoustic performance (just Sloan, acoustic guitar, and harmonica), 'I Found a Girl' was interesting for simplicity and for being one of the few tracks that didn't try to make sine sort of 'big' statement.  Yeah it was amazingly sappy, but Sloan sounded very happy on this one so it stands as my choice for the album's best performance ...  
- 'On Top of a Fence' found Sloan returning to scathing social  commentary.  If heard in isolation this one probably would have been okay, but when packaged alongside the rest of these tracks, this one just kind of blurred in with the rest.
- With strumming electric guitar 'Lollipop Train (You Never Had It So Good)' started out sounding like a sappy 1950s love song, but quickly opened up into what sounded like a biting stab at a former girlfriend.  He's seldom sounded as pissed off ...  
- 'Upon a Painted Ocean'  offered up more Dylan, but this time out it sounded tired and obvious ... 
- 'When the Wind Changes' was an acoustic folk number that actually sounded like Donovan trying to channel Dylan.  With it's overt political manifesto, this one was simply pompous and plodding.  Imagine a bad night at your local Irish bar ...  
- Bless his soul, the notorious serious Sloan saved one of his best performances for the closer.   Atypically goofy, 'Patterns Seg. 4' had a great rockabilly melody coupled with some of the funniest lyrics he'd ever penned.   Nice to hear a throwaway like this ...  (by badcatrecords)

Hal Blaine (drums)
Bones Howe (drums)
Larry Knechtel (keyboards)
Joe Osborne (bass)
John Phillips (guitar)
P.F. Sloan (aka Philip Gary Schlein) (vocals, guitar, harmonica)

01. From A Distance (Sloan) 2.59
02. The Man Behind The Red Balloon (Sloan) 2.19
03. Let Me Be (Sloan) 2.49
04. Here's Where You Belong (Sloan/Barri) 3.00
05. The Precious Time (Sloan/Barri) 2.40
06. Halloween Mary (Sloan) 2.30
07. I Found A Girl (Sloan/Barri) 2.30
08. On Top Of A Fence (Sloan) 4.28
09. Lollipop Train (You Never Had It So Good) (Sloan/Barri) 3.05
10. Upon a Painted Ocean (Sloan) 3.10
11. When The Wind Changes (Sloan) 4.27
12. Patterns Seg. 4 (Sloan) 3.10

ARMU 2036
ARMU 2036 (zippyshare)

Arlo Guthrie - Live At Gerdes Folk City (1966)

This is Arlo Guthrie very early in his musical career live at Gerdes Folk City, Greenwich Village, New York City, back in 1966. Founded by Mike Porco and regarded by many as the original Centre of Folk Music, (a coffeehouse in Greenwich Village where everyone who was anyone in folk music used to play) you can find out more about this long gone venue here.

This recording features an early live version of Alice's Restaurant where the spoken part is totally different from the eventual album version, with nothing about the littering or the draft, but just an ad-lib about how the song would spread all over the world once the crowd at Gerdes that night started singing it.

Arlo Guthrie was born in Brooklyn, New York, the son of folk singer and composer Woody Guthrie and his wife Marjorie Mazia Guthrie. Regarding his most famous work "Alice's Restaurant Massacree", a talking blues song that lasts 18 minutes and 34 seconds in its original recorded version, Arlo Guthrie has pointed out that this was also the exact length of one of the famous gaps in Richard Nixon's Watergate tapes. He has been known to spin the story out to forty-five minutes in concert. The Alice in the song is Alice Brock, who had been librarian at Arlo's boarding school in town before opening her restaurant, and who now runs an art gallery in Provincetown, Massachusetts.

The song lampoons the Vietnam War draft. However, Guthrie stated in a 2009 interview with Ron Bennington that the song is more an "anti-stupidity" song than an anti-war song, adding that it is based on a true incident. In the song, Guthrie is called up for a draft examination, and rejected as unfit for military service as a result of a criminal record consisting in its entirety of a single arrest, court appearance, fine, and clean-up order for littering and creating a public nuisance on Thanksgiving Day in 1965, when Arlo was 18 years old. Alice and her restaurant make up the recurrent refrain, but barely figure in the story. On the DVD commentary for the 1969 movie, Guthrie states that the events presented in the song all actually happened.

For a short period of time after its release in 1967, "Alice's Restaurant" was heavily played on U.S. college and counter-culture radio stations. It became a symbol of the late 1960s and for many it defined an attitude and lifestyle that were lived out across the country in the ensuing years. Its leisurely, sassy finger-picking acoustic guitar and rambling lyrics were widely memorized and played by irreverent youth. Many stations across the States have made playing "Alice's Restaurant" a Thanksgiving Day tradition.
A 1969 film, directed and co-written by Arthur Penn, was based on the true story told in the song, but with the addition of a large number of fictional scenes. This film, also called Alice's Restaurant, featured Arlo portraying himself. The part of his father Woody Guthrie, who had died in 1967, was played by an actor, Joseph Boley. Despite its popularity, the song "Alice's Restaurant Massacree" is not always featured on the set list of any given performance. (by Beehive Candy)

Gerdes Folk City, Greenwich Village, New York City in the Sixties

Arlo Guthrie (guitar, vocals)

01. Alice's Restaurant (A.Guthrie) 13.33
02. Talk 2.35
03. Buffalo Skinners (W.Guthrie/Traditional) 3.56
04. Talk 1.03
05. Try Me One More Time (Tubb) 2.10
06. Talk 0.52
07. Roll On, Columbia (W.Guthrie/Leadbelly/Lomax) 4.01
08. Talk 1.46
09. San Francisco Bay Blues (Fuller) 3.10

ARMU 2035
ARMU 2035 (zippyshare)

Gustav Mahler - Das Lied von der Erde (1963)

Well isn't this a pleasant surprise? We've been bombarded lately with second-rate Das Lieds, from dreary recent recordings by Salonen, Boulez, Levine, and Maazel, to reissues of overrated, indifferently played, sung, and/or conducted historical "legends" such as Walter/Ferrier and Horenstein. Here's a performance that offers good sound, gorgeous playing, and a real treat in the form of Eugen Jochum's intelligent, spontaneous podium guidance. Just listen to the incisive way he attacks the very opening, or the marvelous eruption at the center of "Of Beauty". Then there's the exquisite playing of the solo winds in "Der Einsame im Herbst" and "Das Abschied"--and in places too numerous to mention. True, it's not all perfect. Nan Merriman's voice has a quick vibrato that some may find off-putting, but how much better than Ferrier does she use the words themselves to underline the music's meaning! Nor does the orchestra have that wonderful tam-tam sound in the last song that gives Haitink's later version so much color and atmosphere. Still, it's so rewarding to hear a recording that keeps the music flowing, hits all the climaxes (loud or quiet), and basically revels in the fine musicianship of two experienced soloists and a great orchestra in fine form. More to the point, some of today's star conductors could learn a thing or two from Jochum who, though by no means a Mahler specialist, still gets more out of the piece than many who claim to be just that. (by David Hurwitz)

Ernst Haefliger (tenor)
Nan Merriman (mezzo-soprano)
Concertgebouw Orchestra Amsterdam conducted by Eugen Jochum

Alternate frontcover

01. Das Trinklied vom Jammer der Erde (Mahler/Li-Tai-Po/Bethge) 8.51
02. Der Einsame im Herbst (Mahler/Qian Qi/Bethge) 8.50
03. Von der Jugend (Mahler/Li-Tai-Po/Bethge) 3.11
04. Von der Schönheit (Mahler/Li-Tai-Po/Bethge) 6.29
05. Der Trunkene im Frühling (Mahler/Li-Tai-Po/Bethge) 4.29
06. Der Abschied (Mahler/Mong-Kao-Yen/Wang-Wei/Bethge) 26.54

ARMU 2034
ARMU 2034 (zippyshare)

Charles Fambrough - The Proper Angle (1991)

Bassist Charles Fambrough gathered together a rather impressive lineup of young greats (including on various cuts trumpeters Wynton Marsalis and Roy Hargrove, saxophonists Branford Marsalis and Joe Ford, keyboardist Kenny Kirkland, drummer Jeff Watts, and three percussionists) for a set of tricky hard bop originals. The interplay between the two Marsalises on the rapid "Broksi" is a high point, but the solos throughout the date are uniformly strong. Fambrough (who contributed seven of the pieces) stated accurately that the music reflects his periods with McCoy Tyner, Art Blakey, Grover Washington, Jr., and Airto. His well-conceived set is highly recommended.  (by Scott Yanow)

The Proper Angle, is a brilliant debut and one of the finest contemporary jazz discs I've ever heard. This is lively and exciting music played by outstanding musicians. Some major grooves happen on "Uncle Pete", or "Our Father Who Art Blakey", while "Broski", "Earthlings", and "One For Honor" incorporate a high-energy swing feel to the record, and softer tunes like "The Dreamer", "Sand Jewels" and "Dolores Carla Maria" help balance out the disc and give it a modern feel.  (by Willie B.)

Steve Berrios (percussion)    
Mino Cinelu (percussion)
Charles Fambrough (bass)
Joe Ford (saxophone)
Jerry Gonzalez (percussion)
Roy Hargrove (trumpet)
Kenny Kirkland (keyboards)
Branford Marsalis (saxophone)
Wynton Marsalis (trumpet)
Jeff "Tain" Watts (drums)

Alternate frontcover

01. Don Quixote (Nascimento/Camargo) 6.32
02. The Dreamer (Fambrough) 7.18
03. Uncle Pete (Wynton Marsalis) 4.16
04. Sand Jewels (Fambrough) 7.11
05. Broski (Fambrough) 7.04
06. Dolores Carla Maria (Fambrough) 4.05
07. Earthlings (Ford) 4.33
08. The Proper Angle (Fambrough) 4.14
09. Our Father Who Art Blakey (Fambrough) 5.58
10. One For Honor (Fambrough) 4.43
11. The Tonality of Atonement (Kirkland) 5.10

ARMU 2033
ARMU 2033 (zippyshare)

Sam The Sham & The Pharaohs - Their Second Album (Ju Ju Hand) (1965)

Taken from thr original liner notes:
"This is the second album Sam The Sham and The Pharaohs have made for MGM Records. The set includes their hit Ju Ju Hand-and the whole idea behind the LP is one of mystery and magic with a beat.
In this LP, Sam and the group make the rhythm pot boil with a wild assortment of tunes that carry the Pharaohs trade mark-that great Memphis beat. This album is a powerful follow-up to Sam's first set on MGM, Wooly Bully (E/SE-4297). The 45 r.p.m. single record of Wooly Bully and the album went skyrocketing around the world-Sam and the Pharaohs went to the very top of record charts in England, Germany, Holland and many more countries around the world.
In the midst of all this newly-won success, Sam is very realistic... "While I'm very happy and pleased with the way things are going for us, I know that they can change overnight. I also know that a lot of hard work made Wooly Bully possible. Hard work from the fellows in the group, our producers and management and a lot of hard work in promotion, on our part and on the part of the record company. There's lots more hard work coming to make this album and succeeding singles popular with the people, but I think we've got the sound that will reach them and stay with them."

Butch Gibson (saxophone)
David A. Martin (bass)
Jerry Patterson (drums)
Domingo "Sam" Samudio (keyboards, vocals)
Ray Stinnett (guitar)

01. Ju Ju Hand (Samudio) 2.05
02. Magic Touch (Evans/Livingston) 2.53
03. `Cause I Love You (Samudio/Chalmers) 1.57
04. Medicine Man (Reynolds/Addington) 2.15
05. That Old Black Magic (Arlen/Mercer) 1.44
06. I´ve Got A VoodooDoll (Gibson) 2.32
07. I´ve Got My Mojo Working (Morganfield) 3.05
08. The Gypsy (Reid) 2.06
09. Witchcraft (Leight/Coleman) 2.27
10. Love Potion No. 9 (Leiber/Stoller) 2.09
11. Magic Man (Davidson) 2.00
12. Hootchie Cootchie Man (Dixon) 2.40

ARMU 2032
ARMU 2032 (zippyshare)

Henry Mancini - Breakfast At Tiffany's (OST) (1961)

One of the most memorable components of the film Breakfast at Tiffany's is the extraordinary music composed by Henry Mancini. The film's theme song, Moon River (co-written with lyrisist Johnny Mercer), was hailed as an instant classic. Moon River has been recorded over 500 times and has sold over a million copies of its sheet music. Mancini met director Blake Edwards outside the Universal barbor shop and the two decided to colaberate on the television series Peter Gunn. Mancini's soundtrack album for Peter Gunn was his first to sell a million copies and went on to win him his first two Grammys, including Album of the Year. Edwards next asked Mancini to score Breakfast at Tiffany's in 1961. His score went on to win two Acadamy Awards.

Mancini was heavily inspired by the film´s star Audrey Hepburn. "I kind of knew what to write, at least what track I should I be on, by reading the script," he said. "And Audrey´s big eyes gave me the push to get a little more sentimental than I usually do. Those eyes of hers could carry it I knew that. Moon River was written for her. No one else has ever understood it so completely. There have been more than a thousand versions of Moon River, but hers is unquestionably the greatest. When we previewed the film, the head of Paramount was there, and he said, One thing´s for sure: That fucking song´s gotta go. Audrey shot right up out of her chair! Mel Ferrer [Audrey Hepburn´s husband] had to put his hand on her arm to restrain her. That´s the closest I had ever seen her come to losing control."

Moon River
Moon River, wider than a mile:
I'm crossin' you in style someday.
Oh dreammaker, you heartbreaker,
Wherever you're goin', I'm goin'your way.
Two drifters, off to see the world.
There's such a lot of world to see.
We're after the same rainbow's end,
Waitin' round the bend,
My huckleberry friend,
Moon River and me.

And this is a letter that Audrey Hepburn sent to Henry Mancini after his score was added to the film.
It reads:

Dear Henry,

I have just seen our picture - BREAKFAST AT TIFFANY'S - this time with your score. A movie without music is a little bit like an aeroplane without fuel. However beautifully the job is done, we are still on the ground and in a world of reality. Your music has lifted us all up and sent us soaring. Everything we cannot say with words or show with action you have expressed for us. You have done this with so much imagination, fun and beauty.

You are the hippest of cats - and the most sensitive of composers!

Thank you, dear Hank.

Lots of love, Audrey

Orchestra conducted by Henry Mancini

01. Moon River (Mancini/Mercer) 2.46
02. Something For Cat (Mancini) 3.11    
03. Sally's Tomato (Mancini) 3.09    
04. Mr. Yunioshi (Mancini) 2.32    
05. The Big Blow Out (Mancini) 2.30    
06. Hub Caps And Tail Lights (Mancini) 2.33    
07. Breakfast At Tiffany's (Mancini) 2.49    
08. Latin Golightly (Mancini) 3.00    
09. Holly (Mancini) 3.21    
10. Loose Caboose (Mancini) 3.11    
11. The Big Heist (Mancini) 3.10    
12. Moon River Cha Cha (Mancini/Mercer) 2.35

ARMU 2031
ARMU 2031 (zippyshare)

Eichinger Quartet - Respiratory Complaints

Forceful contemporary jazz, Balkan and Brazilian music, swing rhythms and groovy backgrounds together with grotesque paraphrases of dance music: these are the elements that build the music of the Quartet, which, in spite of their varied nature, reflect a consistent, clear and unique musical domain. - from www.myspace.com/eichingerquartet

Tibor Eichinger started to play the guitar at the age of 13. At the beginning he studied classical guitar in Debrecen, then he graduated from jazz guitar department of Ferenc Liszt Academy of Music, Budapest. In 1994, he established his first band, their debut album, Message from the Garden came out in 1999, which was followed by What Watch? in 2001 with another outfit and called the Timeless Life project. In the same year the Eichinger Quartet also released an album entitled Respiratory Problems. The music of EQ is scored and arranged by Eichinger. The tunes include grotesque dance music paraphrases, jazz-rock, balkan, brasilian, swing and groove rhythms which - in spite of their diversity - present Eichinger's uniform, matured and unique music. Besides leading his bands, Tibor Eichinger has participated in theater performances, e.g. a production of the Krétakör Company, entitled Nexxt. He was a member of the Wertetics Orkestar and the Bop-Art Orchestra and Amorf Ördögök. He composed the title music for Gyorgy Szomjas' film, Unexpected Death; and he has also collaborated with film director Andras Szőke. He regularly give duo concerts with Gábor Gadó. With German jazz guitarist, Stefan Varga, he recorded an album in Germany, December 2004, with the title East and West" - from http://www.passiondiscs.co.uk

Artist: Eichinger Quartet
Album: Respiratory Problems (Légúti panaszok)
Year: 2001
Label: Bahia
Runtime: 68:52

1.  Freely II 4:01
2.  Pedestrian Crossing (Gyalogos átkelő) 7:10
3.  A Sweet-Gloomy Afternoon (Egy édes-bús délután) 5:45
4.  Rocco Balcanico 6:27
5.  Loft (Tetőtér) 7:10
6.  Madrapur 7:12
7.  Pradel 6:50
8.  Tiszatrip 7:18
9.  The Brothel of Seville (Sevillai bordély) 7:42
10.  Duo (Etude) 2:05
11.  Respiratory Compalints (Légúti panaszok) 7:05
All compositions by Tibor Eichinger

Tibor Eichinger (Electric and Acoustic Guitar)
Zsombor Zrubka (Vibraphone)
Peter Nagy (Double Bass)
Csaba Gavaller (Drums)

Art Bakley and The Jazz Messengers - Moanin' (1958)

Moanin' includes some of the greatest music Blakey produced in the studio with arguably his very best band. There are three tracks that are immortal and will always stand the test of time. The title selection is a pure tuneful melody stewed in a bluesy shuffle penned by pianist Bobby Timmons, while tenor saxophonist Benny Golson's classy, slowed "Along Came Betty" and the static, militaristic "Blues March" will always have a home in the repertoire of every student or professional jazz band. "Are You Real?" has the most subtle of melody lines, and "Drum Thunder Suite" has Blakey's quick blasting tom-tom-based rudiments reigning on high as the horns sigh, leading to hard bop. "Come Rain or Come Shine" is the piece that commands the most attention, a highly modified, lilting arrangement where the accompanying staggered, staccato rhythms contrast the light-hearted refrains. Certainly a complete and wholly satisfying album, Moanin' ranks with the very best of Blakey and what modern jazz offered in the late '50s and beyond.  (by Michael G. Nastos)

Art Blakey (drums)
Benny Golson (saxophone)
Jymie Merritt (bass)
Lee Morgan (trumpet)
Bobby Timmons (piano)

Alternate frontcover
01. Moanin' (Timmons) 9.33
02. Are You Real? (Golson) 4.47
03. Along Came Betty (Golson) 6.09
04. The Drum Thunder Suite: Drum Thunder/Cry A Blues (Blakey) 7.31
05. Blues March (Golson) 6.11
06. Come Rain Or Come Shine (Arlen/Mercer) 5:45
07. So Tired (bonus track) (Timmons) 6.35
08. Yama (bonus track) (Morgan) 6.22

ARMU 2030
ARMU 2030 (zippyshare)

Martin Kos - Stephan Kos & Suk Chamber Ochestra - Felix Mendelssohn Bartholdy (2003)

The Suk Chamber Orchestra was founded in 1974, the centenary of the composer Josef Suk ( 1874- 1935), whose name the orchestra commemorates.
Until the year 2000, the composer’s grandson, the violinist Josef Suk, was the artistic director of the orchestra. The orchestra’s concert master, Martin Kos, has now taken over this demanding position.

The orchestra has a very wide and colorful repertoire. Its concerts both at home and abroad have drawn great acclaim:
“……… The Suk Chamber Orchestra has a distinctive position in the Czech musical world, firmly rooted in the soil of the great nineteenth century flowering of Czech music. Nothing is left to chance in its performances. Each of its concerts is a demonstration of the Czech tradition which we can be confident is being safely transmitted into the third millennium…..”

The Suk Chamber Orchestra performs mostly without a conductor, and its wide repertoire includes all styles from the baroque era to contemporary works. They have been representing the Czech lands in classical music throughout the world for the last thirty years. They have toured the USA and are regularly invited to Japan; after successful debuts in Latin America (Brazil, Chile, Peru, Ecuador) they have been invited back several times. They were the first Czech orchestra to visit the Philippines. They are currently planning a return visit to China, including concerts at international festivals in Hong Kong, Macao and other venues.

Since 2002 the Suk Chamber Orchestra has held the Antonin Dvorak World Award in recognition of their work in promoting Czech music and performances in recordings and appearances in foreign countries.

This is their tribute to Felix Mendelssohn-Bartholdy (1809 - 1847) and his sometimes very dramatic compositions.

Martin Kos (violin)
Stephan Kos (piano)
Suk Chamber Orchestra


Concerto for violin, piano and String Orchestra in D Minor:
01. Allegro (Mendelssohn Bartholdy) 19.19
02. Adagio (Mendelssohn Bartholdy) 9.48
03. Allegro molto (Mendelssohn Bartholdy) 9.34

Concerto for violin and String Orchestra in D Minor:
04. Allegro molto (Mendelssohn Bartholdy) 9.09
05. Andante (Mendelssohn Bartholdy) 9.05
06. Allegro (Mendelssohn Bartholdy) 4.37

ARMU 2028
ARMU 2028 (zippyshare)


Trumpet virtuoso Allen Vizzutti has enjoyed a prolific career as performer and educator in both the jazz and classical fields since his early days with Woody Herman's big band and his notable four-year tenure with Chick Corea. The release of Vizzutti's superb new CD Ritzville, on October 16, is an especially welcome event because the in-demand trumpeter/composer has recorded all too infrequently as a leader. Ritzville brings the focus back to his primary passion of "performing music I love with my jazz group."

Contributions from Vizzutti's marquee-name friends Stanley Clarke and Chick Corea are featured on the boppish "Ticklish" and the up-tempo ballad "Amara" respectively, while the rest of the band includes old friends (the guitarist Mike Miller) and new (Portland-based pianist Darrell Grant) performing an array of standout Vizzutti originals, most of them written specifically for the Ritzville session. Pianist Laura Vizzutti, the trumpeter's wife, is showcased on her namesake "Laura's Blues," one of four selections on which an 11-piece string section was added.

Recorded in Seattle, where Vizzutti has been based since 1990, Ritzville contains so many stylistic crossings, from groove-tight fusion updates to string orchestrations to acoustic ballads, the leader became concerned during the recording of it that the music was more varied than he had intended. Whether by serendipity or design, however, the songs fit together seamlessly, adding up to an invigorating statement by a multifaceted artist who is in command in all stylistic situations.

Author of the definitive trumpet method books that bear his name, Allen Vizzutti started on the horn with lessons from his father Lido, a self-taught trumpeter. As he was growing up in Missoula, Montana, young Allen played in school bands and, at 16, won a concerto competition that sent him to Interlochen, where he was awarded first chair in the World Youth Symphony Orchestra. He went on to study at the Eastman School of Music in Rochester, NY.

After a period of gaining bandstand experience ranging from Ice Follies shows to Bach chamber orchestras, Vizzutti had to choose between two tempting offers: lead trumpeter with Woody Herman and first chair trumpet with the San Antonio Symphony. He became a member of Herman's Thundering Herd.

"The big band experience, which so many young players now never get, is so valuable in so many ways, and not just musical," said Vizzutti. "We had people like Dizzy Gillespie and Tony Bennett and Marian McPartland joining us all the time. You got to see how great musicians handled themselves, handled rehearsals, bantered with the audience. You learned about timing, about stretching out musical moments to maximize their impact."

Vizzutti met Chick Corea during rehearsals for a piece the pianist wrote for Herman. Corea later invited Vizzutti to join him for a three-month tour with his 13-piece ensemble, featuring strings and horns. The trumpeter also played with Corea sextets featuring Joe Farrell, Dave Liebman, and Steve Kujala and is featured on three Corea albums: Secret Agent (1978), Tap Step (1980), and Touchstone (1982).

In 1978, Vizzutti moved to Los Angeles. He joined Doc Severinsen and the Tonight Show Band, and played on more than 150 film and TV soundtracks as well as albums by Frank Sinatra, Barbra Streisand, and Prince. His own unique jazz-fusion band Red Metal made two recordings and performed regularly in L.A. and on tour over the next eight years. After his relocation to Seattle, he recorded several albums as a leader, including Trumpet Summit (1995) and Skyrocket (1996), both for Summit. It's to be hoped that Ritzville marks the beginning of a new period of recording activity for this charismatic and virtuosic artist.

"I'm very grateful for my musically rich life," says Vizzutti. "It's exciting and a lot of fun to continue to improve as a player and performer. Ritzville is a calling card for a fresh new musical chapter about to unfold."




Hammock House – Lower East Side is the result of four DJ/producers being allowed access to the original multitrack master tapes of some highly coveted vintage Fania tracks. The products are a Latin electronica rebirth of these classics in the form of “funky rhythms, cumbia grooves, sensuous electronic textures and remixed Héctor Lavoe vocal lines.” Toy Selectah, The Whiskey Barons, DJ Isa GT, and Twin Shadow have created memorable masterpieces from the timeless work of Fania greats Ray Barretto, Justo Betancourt, Willie Colon, Hector Lavoe, Ismael Rivera. Track listing: 1. Acid (Twin Shadow Remix); 2. Power (Whiskey Barons Heavy Funk Mix); 3. Catano (Whiskey Barons Cumbia Dub Mix); 4. Right On (Whiskey Barons Got Some Afro Mix); 5. Aguanile (Toy Selectah 2013 Cosmico Remix); and 6. Las Caras Lindas (Isa GT Remix). ~ Giant Step


Maestro takes us on a mighty hip trip here – running through a selection of rare grooves from Blue Note, and also throwing in a number of Capitol Records classics too! The vibe isn't just jazz – as the tunes include plenty of soul and funk too – and even a few of the cooler contemporary tracks from Blue Note in Europe – home to some wonderful recordings in recent years! As with others in this series, the 2-CD set is mixed – with a wonderful flow between the tracks – and the set's divided up into a "late nights" and "early mornings" session. Titles include "Goin Out Of My Head" by Nancy Wilson, "Woman Of The Ghetto (live)" by Marlena Shaw, "Kofi" by Donald Byrd, "Bambu" by Reuben Wilson, "Ces Petits Riens" by Stacey Kent, "Los Ojos Alegres" by Duke Pearson, "Apres Midi" by Fresu, "Tyra" by Booker Ervin, "Mission Impossible" by Billy May, "African Ascension part 1" by Horace Silver, "Thinking Of Baby" by Elmer Bernstein, and "Maybe It's Because I Love You Too Much" by Peggy Lee. ~ Dusty Groove

STEVE DAVIS - GETTIN' IT DONE   Steve Davis definitely gets it done with this sweet little set – just the kind of record that enforces all the love we've had for his talents over the years! Davis' sound on trombone is totally tops – tight, yet with a soulful flourish that really takes off on his solos – a sort of boldness that's more than enough to inspire the players in his group, as does his set of well-penned original compositions for the set! Davis never lets us down, and this album's the kind of soulful swinger that will have us checking him out for years to come – a set that features Josh Bruneau on trumpet, Mike DiRubbo on alto, Larry Willis on piano, Nat Reeves on bass, and Billy Williams on drums – and tunes that include "Getting It Done", "Steppin Easy", "Alike", "The Beacon", and "Wishes". ~ Dusty Groove

Led Zeppelin - Intimidator (1970)

Not only another Led Zeppelin bootleg, but a very good one !

This was the first concert at Montreux (more concerts was following the next years).

Led Zeppelin played at the Casino in Montreux in the middle of their first tour of Europe of the new decade.  A year and a half before some stupid with a flare gun burned down the venue, Zeppelin played one of their tightest and most intense sets of the year.  Most of the show was recorded from the audience.  The tape is rich, deep, powerful and one of the most vivid documents of the band basking in the success of Led Zeppelin II.  It is unfortunately incomplete, with minor cuts and with most of “How Many More Times” and “Whole Lotta Love” missing. 
It´s an mix between excellent audience and soundboard quality and shows how damn good this band was in their early days !

John Boham (drums)
Paul Jones (bass, keyboards)
Jimmy Page (guitar)
Robert Plant (vocals)

01. We're Gonna Groove (Bethea/King) 4.05
02. I Can't Quit You Baby (Dixon) 6.27
03. Dazed and Confused (Page) 16.29
04. Heartbreaker (Bonham/Jones/Page/Plant) 7.36
05. White Summer/Black Mountain Side (Page) 11.15
06. Since I've Been Loving You (Jones/Page/Plant) 6.57
07. Organ Solo (Jones) 2.33
08. Thank You (Page/Plant) 7.01
09. What Is and What Should Never Be (Page/Plant) 4.30
10. Moby Dick (Bonham/Jones/Page) 15.48
11. How Many More Times (Bonham/Jones/Page) 25.14
12. Whole Lotta Love (Bonham/Jones/Page/Plant/Dixon) 3.05

Alternate frontcovers

Hernán Jacinto - Lua (2009)

The pianist Hernán Jacinto was born in Buenos Aires in 1981. He collaborated with Rubén Rada, Pedro Aznar, Luis Alberto Spinetta, Javier Malosetti, Paul Wertico, Gloria Gaynor, Jean-Louis Rassinfosse, Emmanuel Horvilleur, Érica García, Lucas Martí, Guillermo Vadalá and Gustavo Bergalli, Christian Gálvez, Alejandro Herrera, among others.

In the year 2006 he made a long tour across Europe along with the sax player Karlheinz Miklin. Between 2004 and 2008 he was part of Javier Malosetti's trio, with which he toured Argentina and several countries of Latin America.

He is the pianist in Pedro Aznar's band, besides being the leader of two bands. This is his first album as a leader and it´s a real good one ... Jazz from Argentina ... discover and enjoy it !

Jerónimo Carmona /bass)
Mariano Loiácono (trumpet, fluegelhorn)
Ramiro Flores (saxophone, clarinet, flute)
Oscar Giunta (drums)
Hernán Jacinto (keyboards, percussion, vocals)
Javier Malosetti (nass on 02., 08. +10.)
Oscar Feldman (saxophone on 10.)
Hernán Segret (cello on 05. + 08.)
Alejandro Oliva (percussion 0n 01.)

01. A-Frik (Jacinto) 5.53
02. Arenales Blues (Jacinto) 4.11
03. Brad (Jacinto) 8.51
04. Nefertiti (Jacinto) 7.19
05. Cuchillos (Jacinto) 5.49
06. Lua (Jacinto) 7.30
07. Siete (Jacinto) 6.42
08. Gaviota (Jacinto) 5.28
09. Generador (Jacinto) 5.56
10. Like someone in love (Jacinto) 8.46

ARMU 2026
ARMU 2026 (zippyshare)

Tom Jones - Along Came Jones (1965)

 Tom Jones was born Thomas John Woodward, at 57 Kingsland Terrace, Treforest, Pontypridd in South Wales. His parents were Thomas Woodward (died 5 October 1981), a coal miner, and Freda Jones (died 7 February 2003).
Jones began singing at an early age: he would regularly sing at family gatherings, weddings and in his school choir. Jones did not like school or sports but gained confidence through his singing talent. At 12 he was diagnosed with tuberculosis. Many years later he said; "I spent two years in bed recovering. It was the worst time of my life." During convalescence he could do little else but listen to music and draw.
Jones' bluesy singing style developed out of the sound of American soul music. His early influences included blues and R&B singers Little Richard, Solomon Burke, Jackie Wilson and Brook Benton, as well as Elvis Presley, whom Jones idolized and with whom he would later become good friends.
In March 1957 Jones married his high school girlfriend, Melinda Trenchard when they were expecting a child together, both aged 16. The couple had a son named Mark who was born the month following their wedding. To support his young family Jones took a job working in a glove factory and was later employed in construction.

Jones, whose voice has been described as a "full-throated, robust baritone", became the frontman for Tommy Scott and the Senators, a Welsh beat group, in 1963. They soon gained a local following and reputation in South Wales. In 1964 the group recorded several solo tracks with producer Joe Meek, who took them to various labels, but they had little success. Later that year Decca producer Peter Sullivan saw Tommy Scott and The Senators performing in a club and directed them to manager Phil Solomon, but the partnership was short-lived.

The group continued to play gigs at dance halls and working men's clubs in South Wales. One night, at the Top Hat in Cwmtillery, Wales, Jones was spotted by Gordon Mills, a London-based manager originally from South Wales. Mills became Jones' manager and took the young singer to London, and also renamed him Tom Jones.

Eventually Mills got Jones a recording contract with Decca. His first single, "Chills and Fever", was released in late 1964. It did not chart, but the follow-up, "It's Not Unusual" became an international hit after offshore pirate radio station Radio Caroline promoted it. The following year would be the most prominent of Jones's career, making him one of the most popular vocalists of the British Invasion. In early 1965 "It's Not Unusual" reached number one in the United Kingdom and the top ten in the United States. During 1965 Mills secured a number of movie themes for Jones to record including the themes for the film What's New Pussycat? (written by Burt Bacharach and Hal David) and for the James Bond film Thunderball.

Along Came Jones is the 1965 debut album recorded by Tom Jones and included his massive hit single "It's Not Unusual". The album reached No 11. Some of the songs were covers and some were written especially for Jones like the Gordon Mills-penned "The Rose". (by wikipedia)
This is strong mixture between soul and easy listening music ... and the rest is history !

Tom Jones (vocals)
a bunch of unknown studio musicians

In the studio

01. I've Got A Heart (Mills/Reed) 2.33
02. It Takes A Worried Man (Traditional) 2.40
03. Skye Boat Song (Traditional) 2.59
04. Once Upon A Time (Mills) 2.07
05. Memphis, Tennessee (Berry) 2.40
06. Whatcha' Gonna Do (Willis) 3.07
07. Need Your Loving (Gardner/Robinson/Lewis/McDougall) 2.38
08. It's Not Unusual (Mills/Reed) 1.58
09. Autumn Leaves (Kosma/Mercer/Parsons/Prévert) 3.08
10. The Rose - Version 2 (Mills) 2.53
11. If You Need Me (Pickett/Bateman/Sanders) 2.38
12. Some Other Guy (Mills) 2.31
13. Endlessly (Benton/Otis) 3.19
14. It's Just a Matter Of Time (Otis/Benton/Hendricks) 2.42
15. Spanish Harlem (Leiber/Spector) 3.18
16. When The World Was Beautiful (Kaufman/Harris) 2.16

ARMU 2025
ARMU 2025 (zippyshare)

Jeff Beck Group - BBC Compilation: March 1967 to September 1968

Here is a Jeff Beck BBC compilation that has also circulated as Lost Early Sessions - Live At The BBC Collection 1967-1968; and as BBC Sessions 1967 & 1968 (with a slightly different tracklist).

Thanks to Mesquite who shared the tracks on Dime in 2006.

Mesquite noted: “Here is a Beck BBC compilation 1967-1968; this one assembled from my DAT tapes. Thanks to my pal in the Great White North for this.”

Here is a post at beehivecandy.com:

One of the reasons that bands were invited to perform sessions for the BBC during the 1960s and 1970s was due to the restricted ‘needle time’ that existed in the UK at the time. By undertaking ‘live sessions’ it enabled the BBC to provide more popular music performances, and get around the ridiculous limitations placed on them by the ‘Performance Rights’ authorities. These crazy restrictions were also in part the reason that Offshore ‘pirate’ Radio took off in the ’60s and ’70s. The legacy however has ironically given us high quality live performance recordings of bands from The Beatles through to The Yardbirds.

Until to date, no Jeff Beck BBC material has been officially released. One can only speculate why.

Very good to excellent FM/SBD stereo

Jeff Beck (guitar)
Rod Stewart (vocals)
Mickey Waller (drums)
Ron Wood (bass)
Dave Ambrose (bass on 01., 02., 07., 08., 09., 10., 11. + 12. )
Aynsley Dunbar (drums on 03., 04., 13. + 14.)


Saturday Club, BBC Radio - March 7, 1967
01. Hi Ho Silver Lining (English/Weiss) 2.51
02. I’m Losing You (Grant/Holland/Whitfield) 2.06

Saturday Club, BBC Radio - July 4, 1967
03. Rock My Plimsoul (Rod) 4.18
04. Tallyman (Gouldman) 2.54

Top Gear, BBC Radio - September 17, 1968
05. Rock My Plimsoul (Rod) 2.22
06. Shapes Of Things (Relf/Samwell-Smith) 3.23

Saturday Club, BBC Radio - March 7, 1967 (Broadcast March 18, 1967)
07. I Ain’t Superstitious (Dixon) 1.49
08. Beck interview 1.02
09. Hi Ho Silver Lining (English/Weiss) 2.49
10. I’m Losing You (Grant/Holland/Whitfield) 2.17
11. Let Me Love You (Dixon/Rod)
12. Stone Crazy (Guy) 2.22

Saturday Club, BBC Radio - July 4, 1967 (Broadcast July 8, 1967)
13. Rock My Plimsoul (Rod) 4.14
14. Tallyman (Gouldman) 2.49

Top Gear, BBC Radio - November 1, 1967 (Broadcast November 5, 1967)
15. I Ain’t Superstitious (with cuts) (Dixon) 2.31
16. Beck’s Bolero (Beck) 2.55
17. You’ll Never Get To Heaven (Bacharach/David) 2.56
18. You Shook Me (Dixon) 2.39
19. Loving You Is Sweeter Than Ever (Hunter/Wonder) 3.22

Top Gear, BBC Radio - September 17, 1968 (Broadcast September 29, 1968; November 3, 1968)
20. You Shook Me (Dixon) 2.53
21. Rock My Plimsoul (Rod) 4.08
22. Shapes of Things (Relf/Samwell-Smith) 3.48
23. Mother’s Old Rice Pudding (Beck/Hopkins/Newman/Wood) 4.16
24. Sweet Little Angel (King/Taub) 4.48

ARMU 2024
ARMU 2024 (zippyshare)

Dave Holland Big Band Montreal Jazz Festival 2000

 Dave Holland Big Band
Montreal Jazz Festival
Monument National
Ludger Duvernay
Montreal, Canada
July 1, 2000


Dave Holland, bass
Kenny Wheeler, trumpet 
Duane Eubanks, trumpet and flugelhorn
Alex Sipiagin, trumpet and flugelhorn
Robin Eubanks, trombone
Andre Hayward, trombone
Josh Roseman, trombone
Chris Potter, tenor saxophone
Antonio Hart, alto saxophone
Mark Gross, alto saxophone
Gary Smulyan, baritone saxophone
Steve Nelson, vibraphone
Billy Kilson, drums


1. Upswing (Holland) - 6:57
2. Shadow Dance (Holland) - 23:47
3. Triple Dance (Holland) - 16:00
4. 14:00

Source: Radio broadcast
Lineage: FM

Total time = 60:46


An undisputed funk classic – even back in the days before anyone ever said the phrase "funk classic"! This album must have been deleted the day it came out – because even though it's attained legendary proportions with groovers worldwide, it's always been hard to find – even back in the 70s! But unlike so many other "rare-but-not great" funk albums, this one's a killer – with a hard funky wah wah sound that we'd rank up there with James Brown's best work on Polydor from the early 70s, and which should have made Joe a millionaire, not a lost legend of soul music.

The band is sharp as a knife – with hard drums, tight bass, and some simply amazing guitar riffing. But the best part is Joe – as his vocals are hard and emotional, with just the right touches of righteousness to carry off the album's political messages, but not too much as to spoil the party that the band's having in the background!

Every single track is a winner, and if we were ever to make a list of the top five funk albums to own, this one would be on it! Titles include "The Way They Do My Life", "I Got So Much Trouble On My Mind", "The Trouble With Trouble", "Give Me Back My Freedom", "Live Like Brothers", and "Find Yourself". CD features a HUGE amount of bonus tracks too – titles that include "Thanks Dad (parts 1 & 2)", "This Girl Of Mine", "I'm Gonna Get You", "No", "Get Down Baby (parts 1 & 2)", "I'm A Young Man", "How High", "Let Me Be What I Am", "You Know It's True", and a 1969 version of "So Much Trouble In My Mind".

:::: SOURCE: Dusty Groove ::::



Sublime 70s work from Darrow Fletcher – a singer we mostly know for his early soul singles in Chicago – but one who really hits his stride on these rare sessions from LA! The music was mostly recorded for Ray Charles' Crossover label – although a few singles also appeared on Atlantic too – and the work has Fletcher's wonderful sweet soul vocal approach coming into play with these warmly flowing grooves that are mighty nice – almost a west coast take on the style that Leroy Hutson was doing in Chicago on Curtom! In the setting, Fletcher's even more appealing than before – a mature singer with a hell of a balance between class and soul, poise and swing – more than enough to rival his hippest contemporaries. Production on most tracks was done by Joel Webster – who also recorded for Crossover – and titles include "The Rising Cost Of Love", "Honey Can I", "Try Something New", "Secret Weapon", "Let's Get Together", "It's No Mistake", "Election Day", "Improve", and "Wind Up Toys".


A full length debut knockout for The Congregation – who have more-or-less been serving as the live soul house band on the north side of Chicago in the months leading up to Right Now Everything – and deservedly so! The group might take the most cues from classic raw soul and live show R&B – but they've clearly also soaked up plenty of garagey rhythms, uptempo blues and rave-up gospel – and most importantly, they're somehow delivering their raucous stage intensity in the studio. Vocalist Gina Bloom has the grit and the genuinely soulful spirit of singers who have been at it for decades – but this is a fairly young group – which is important, because we're hoping they'll continue to slay us for many years to come! The excellent band includes Chuck Sansone on keys and percussion, Charlie Wayne on guitar, Joe DeBord on bass, Dan Wendt on drums, Brian Crane on trumpet, Nick Nottoli on trombone and Erik Eiseman on sax. Includes the title track, "When There's Fighting", "Real Thing", "Darlin'", "High Class", "I Know You Will", "You'll Always Be Alright With Me", "I Will Forget You" and more.


Rockin soul from the start of the 60s – a great batch of upbeat numbers that definitely show the rougher side of the Northern groove! Lots of these tracks sit perfectly in a space between early soul music and R&B – and strut along with the heavier grooves of the latter, yet soar with the bold vocals of the former – making for a mix of modes that's mighty nice! There's loads of rare singles here we might not have heard otherwise – and titles include "Somebody Else's Sweetheart" by The Wanderers, "Puddentane" by Lula Reed, "I'm Hurting" by Billy Gales, "You Crack Me Up" by Charlie Baker, "This Little Love Of Mine" by Buddy Ace, "The Snake" by Maximillian, "Boys Will Be Boys" by Joe Tex, "Wait" by Sidney Barnes, "You're A Little Too Late" by Danny Owens, "That's A Good Idea" by Grover Mitchell, and "That's Why I Cry" by Varetta Dillard.

:::: SOURCE: Dusty Groove ::::

Philly Joe Jones Inspired Single Drags and Fast Paradiddles

Here's an exercise/warm-up that I've been messing around with lately. Basically it's just a bar of alternating accented single drags followed by a bar of accented single paradiddles. This one was inspired by the beautiful snare drumming of Philly Joe Jones and Kenny "Mean Streets" Washington.

I've been practicing this one at a faster tempo these days with the idea of matching the phrasing of the doubles of the paradiddles with the doubles of the drags in the bar preceding them. You have to play this at a brisker pace for this to make sense.

Don't forget to really crank those accents.

(and play it with brushes too!)

So here you go: