Rare Bird - As Your Mind Flies By (1970)

Second album for Rare Bird  marking a wonderful contribution to the progressive rock genre. Without a question fans of organ and keyboard driven prog rock will love the music of RARE BIRD. Their arrangements although centred around the keyboard work of David Kaffinetti offers some great drumming and bass interplay. Steve Gould's melodramatic vocals are a tad bit raw but I think fit the music perfectly and give it a nice degree of grit. Prog heads will love the side long 20 min long track "Flight" an ambitious four-movement track which surprisingly does not overshadow side 1 which is littered as well with 4 fantastic tracks. For me the sound of Rare Bird is a scientific cross of Uriah Heep, T2 and Emerson, Lake & Palmer . "As You Mind Flies By" is pretty much a masterpiece and is an essential recording ! (by loserboy)

Mark Ashton (drums, vocals)
Graham Field (keyboards)
Steve Gould (bass, vocals)
David Kaffinetti (keyboards)
Emergency Choir (background vocals)

Andy Curtis (guitar on 10.)
Fred Kelly (drums on 10.)

Alternate frontcover

01. What You Want To Know (Ashton/Field/Gould/Kaffinetti) 5.54    
02. Down On The Floor (Ashton/Field/Gould/Kaffinetti) 2.35    
03. Hammerhead (Ashton/Field/Gould/Kaffinetti) 3.29    
04. I'm Thinking (Ashton/Field/Gould/Kaffinetti) 5.35    
05. Flight: Part 1. As Your Mind Flies By (Ashton/Field/Gould/Kaffinetti) 9.48    
06. Flight: Part 2. Vacuum (Ashton/Field/Gould/Kaffinetti) 3.16
07. Flight: Part 3. New Yorker/Central Park (Ashton/Field/Gould/Kaffinetti) 6.33     
08. What You Want To Know (mono single A-side,1970) (Ashton/Field/Gould/Kaffinetti) 3.32
09. Hammerhead (mono single B-side,1970) (Ashton/Field/Gould/Kaffinetti) 3.21
10. Red Man (1971, previously unreleased studio track) (Ashton/Field/Gould/Kaffinetti)  3.29

ARMU 2310
ARMU 2310 (zippyshare)


I wish all readers of this blog a HAPPY NEW YEAR !



B.B. King live in Japan – really cooking here on a concert performance that's quite different from his other live records of the time! The set's a double-length one – originally a 2LP set – and most tracks are nice and long, with lots more room for solos from B.B. – stretching out wonderfully in front of a crowd that's clearly going out of their minds – almost as enthusiastic, at least in the way they're recorded, as the Apollo crowd at a James Brown performance! Although not issued in the US at the time, the material is essential BB King – really great tracks that are some of the best he recorded in the 70s. Titles include "Jamming At Sankei Hall", "Hikari", "Chains & Things", "You Are Still My Woman", "Niji Baby", "How Blue Can You Get", and "Eyesight To The Blind". (SHMCD pressing.) ~ Dusty Groove


Sweet sweet sweet soul from The Moments, and one of their rare early albums for the Stang label! The tracks are all beautiful New Jersey harmony soul, of the sort that The Moments and others put on the charts in a large way during the early 70s – and the band's smoothing their act up a bit, but still has some of the roughness that makes the best New Jersey soul albums so compelling! Of course, Sylvia Robinson probably had something to do with that – as she was still just hitting her stride in the studio – finding a great way to present the group with all the fragility of their earliest years, but also a bit more punch than usual. Titles include their hit "Love On A Two Way Street", a surprisingly great cover of "Rocky Raccoon", and other nice ones like "So This Is Our Goodbye", "I Do", "Key To My Happiness", and "Lovely Way She Loves". ~ Dusty Groove

EDDIE HOLMAN - A NIGHT TO REMEMBER   A wonderful late 70s comeback for Eddie Holman – best known to folks for his earlier sweet soul work, but sounding equally great here on a set of club-heavy tracks! Although Eddie's falsetto soul might have seemed like a strange choice for the disco-oriented Salsoul label, this album actually works well – and stands as a good representation of the shifts in styles along the East Coast soul scene during the 70s. Eddie's voice is still in great shape, and he's great on the ballads like "You Make My Life Complete", "Immune To Love", and "It's Over" – but he also fits in great with the more up-tempo tracks, which were arranged and produced by Ron Baker and Norman Harris! Titles include "Time Will Tell", "All My Life", and the title cut, "This Will Be A Night To Remember". CD's got some killer bonus tracks – including "This Will Be A Night To Remember (orig Tom Moulton 12" mix)", "Time Will Tell (orig Tom Moulton 12" mix)", "You Make My Life Complete (orig single)", "Somehow You Make Me Feel (orig single)", and "I've Been Singing Love Songs (background vocals)". ~ Dusty Groove

Helmut Teubner - Heavens Light (1989)

Helmut Teubner works since 1980 in his "Electronic Workshop in Hanover. With a mixture of starry successful Cosmic Sound Heavy guitars and saxophone earthy deposits he celebrates success for years.

On this new album, he combines virtuoso classical, rock and modern Soundelements.

Helmut Teubner presents here an ingenious masterpiece: synphonic electronic music with progressive influences skillfully accompanied by an enrapturing saxophone and a mind-blowing E-guitar. Whatever the sleeve promises, the content of the CD exceeds it by sparkling with ideas that are most accurately performed and never boring but with bombastic string arrangements building up an unrivalled atmosphere.
It's hard to imagine how Helmut Teubner should ever again come up to the quality of this majestic masterpiece which is one of the best volumes in this series. Only those listeners completely devoted to the rough krautrock of the seventies may find problems in understanding this opus.
By the way, the saxophone is played by Ralf Nowy, famous for his solo albums as well as for his guest appearances with Drosselbart and Improved Sound Limited.

In other words: Brilliant electronic rock with a touch of symphonic prog rock!

Ralf Nowy (saxophone)
Kai Reuter (guitar)

Helmut Teubner (keyboards, electronics)

01. Heavens Light (Teubner) 10.33    
02. For You
(Teubner) 4.24    
03. Per Aspera Ad Astra
(Teubner) 7.02    
04. The Lucky Side Of Life
(Teubner) 4.18    
05. Longing For Heavens Light
(Teubner) 9.30    
06. Step Out Of The Darkness
(Teubner) 3.10    

ARMU 2309
ARMU 2309 (zippyshare)

Mark Isham - Mark Isham

Mark Isham returns to the basics on this self-named album, blowing a sweet horn, arranging both classics ("Blue Moon") and his own tunes, and using the fine voice of Tanita Tikaram, with whom he'd earlier worked on an album released under her name. Highly recommended. - by Chris Noto, Amazon.com

Isham continues his ensemble-style collaborations with guests Tanita Tikaram, Chick Corea, John Patitucci and John Novello, and the contributions of sidemen David Torn, Peter Maunu, and Peter Van Hooke. The pleasing group work provides a nice complement to the two vocal tracks. If you like these, try Isham's soundtrack recording for Trouble in Mind with Marianne Faithfull. - by Scott Bultman, AMG

Artist: Mark Isham
Album: Mark Isham
Year: 1990
Label: Virgin
Runtime: 45:41

1.  Honeymoon Nights (Mark Isham) 5:22
2.  I Never Will Know (Tanita Tikaram) 6:03
3.  Marionette (Mark Isham) 5:56
4.  An Eye on the World (Mark Isham) 3:56
5.  Blue Moon (Richard Rodgers/Lorentz Hart) 4:25
6.  Ashes and Diamonds (Mark Isham) 3:12
7.  Toward the Infinite White (Mark Isham) 5:20
8.  Songs of the Flying Fish (Mark Isham/David Torn) 4:38
9.  Turkish Delight (Mark Isham) 6:44

Mark Isham (Trumpet, Keyboards and Electronics)
Terry Bozzio (Drums) - 1,3,7,9
Doug Lunn (Bass Guitar) - 1,3,5,7-9
Ed Mann (Vibraphone) - 1
David Torn (Guitar) - 1,3,4,6-9
Peter Maunu (Acoustic Guitar) - 2
John Patitucci (Double Bass) - 2,3
Tanita Tikaram (Vocals) - 2,5
Peter Van Hooke (Drums) - 2,5
John Novello (Organ) - 3,4,6,7,9
Alex Acuna (Drums and Percussion) - 4,8,9
Chick Corea (Piano) - 6



Flyer features the compelling, virtuosic performances of Jeremy Powell on tenor sax, Ian Goodman on drums, and Mark Neuenschwander on bass. Tom composed the tunes and the quartet brings them to life in an exciting way. The hard work of recording engineer, Steve Connelly, of Zen Studios in St. Petersburg, and the legendary mastering engineer Bob Katz, located in Orlando, contribute to a high quality audio experience. Flyer also includes two of Tom's solo acoustic tunes, including the title track and "Changes in the Instant."


Anthony's voice has been described as both tough and vulnerable. His songs move from swagger and swing to sweet and luscious. Marc Myers (journalist, author, historian, founder JazzWax, and contributor to the Wall Street Journal) writes crisply, "Dig the voice!" Anthony says, "My goal is to write and record music with melodies and lyrics with deference to those that comprise the American songbook." The music has been called sophisticated by some. Others in the music industry have described the songs as, "filled with passion and wonderful surprises". Of course, the eye is of the beholder (or of the ear in this case). What is not subjective is that the musicians in the recordings are consummate professionals with impressive backgrounds. Their resumes include playing with such diverse notables as Frank Sinatra, Les Paul, Elvis Presley, Olivia Newton-John, Stan Getz, Buddy Rich, Blood, Sweat & Tears, Chicago, Lionel Hampton Big Band, and other prominent names and bands in the music industry, as well as performing in Broadway stage productions. Anthony concludes, "I hope that jazz enthusiasts, and those with an ear for pop music, will take the opportunity to listen and judge for themselves".


In this most recent endeavor by Tim Chokan, he continues to do his part to keep the Trumpet alive and make it cool again. Tim presents his Collection No. 5, "The Fun One" - A Smooth Jazz Quartet with Trumpet, bass, keyboards/synthesizers, and drums ! smooth Old School Soul inspired jazz that is fresh, funky, and FUN!! With a shout out to the acoustic guitar, "The Fun One" features two special guest guitarists: Kevin Chokan on track two, the slick "Highway Man", and track thirteen, the old school "Bootsey". Also, Perry Heinitz on the beautiful track six, "5 Jazz", with the Harmon Mute on the Trumpet. Also, the melody of track three, "Jazz Dance", was inspired by Solomon Burke, Jr.
, the son of the King of Rock and Soul, Solomon Burke. "The Fun One", instrumental, original, contemporary smooth jazz music that appeals to everyone young and old, fifteen songs that will pick you up and get you going, all with the intention of having Fun!

~ CD Universe

Polyphony - Without Introduction (1971)

This is one of those mythical releases that you think you'll never hear because it's been out of print for so long and there seems to be no intention of re-issuing it. A huge thankyou to Todd for allowing me to finally hear this album. I first heard about it when i received Greg Walker's legendary list of his top Prog albums. I had never heard of this American band who are from Virginia Beach,Virginia. Glenn Howard came up with the name POLYPHONY after seeing this term used by some of the great Classical composers.They used this word to describe "the many voiced textures in movements designed to excite and capture the attention of their listeners". Man that so describes this music. A five piece band with a drummer,percussionist,guitar,keyboard and bass player. And vocals too although the extended instrumental excursions are the focus. The cover art was done by this woman who worked for Sun Records. She would listen to the master tape then meditate over it waiting for the vision of what the cover art should look like. That was how she always did it. This art work won several awards. It's a picture of the "four elements of the universe subsiding toward an energy force which was "polyphony"." Released in 1972 this really doesn't sound like any particular band or album. And it's originality certainly is not forgotten when it comes to my rating here.
"Juggernaut" opens with outbursts of sound until it stays. Some intersting spacey sounds after a minute as percussion and drums support. Synths and heavier sound follows. Solo organ before 4 minutes then drums and bass return followed by the guitar which proceeds to rip it up. Vocals for the first time after 9 1/2 minutes. So good. Guitar and organ lead when the vocals stop. "40 Second Thing in 39 Seconds" is a mini-moog extravaganza.Very experimental but short.
"Ariel's Flight" features these angular sounds early on with some raw sounding guitar. It changes a minute in as the organ and drums start to lead. Chunky bass 3 minutes in and vocals follow. Man this is so good. The bass is ground-shaking. A change 5 1/2 minutes in as the organ comes to the fore.This is actually ANGLAGARD-like. Amazing. Vocals come and go. A calm with vocals 11 1/2 minutes in then it gets fuller again with pulsating organ and vocals. Hello ! "Crimson Dagger" opens with organ and drums as guitar and bass join in. A spacey vibe comes in before 3 minutes. A relaxing soundscape follows then the vocals join in. Backing vocals too on this one. (by Mellotron Storm)

Chatty Cooper (drums, percussion)
Glenn Howard (guitar)
Craig Massey (keyboards, synthesizer)

Martin Ruddy (bass, background vocals)
Christopher Spong (drums)

Glenn Howard

01. Juggernaut (Massey) 14.04
02. 40 Second Thing In 39 Seconds (Howard) 1.07
03. Ariels Flight (Massey)       15:15
03a) Gorgons Of The Glade     
03b) The Oneirocritic Man     
03c) The Frog Prince         
04. Crimson Dagger (Howard) 7.05

ARMU 2308
ARMU 2308 (zippyshare)

Bobby Womack - Understanding (1972)

As compelling as Bobby Womack's lacerating baritone may be, it still has that uncanny ability to be an engaging voice. This album has that timeliness appeal. It features the chart-buster in the mid-tempo number "Woman's Gotta Have It." It was a number one single on the Billboard R&B charts. In addition to the aforementioned song, Womack also features a host of other granite numbers like "Ruby Dean" and "I Can Understand It." The latter, penned by Womack, was also covered by New Birth. Both versions are excellent. However, Womack's version has a soothing effect as it employs a sensuous string arrangement while New Birth's rendition is rather funky, retaining a spirited horn arrangement. Womack's version was never a release. "Harry Hippie" is a narrative about his brother and former bandmate Harris Womack. It checked in at number eight. The Ohio native's unique trait to calm a song with his blistering baritone re-surfaces on "Sweet Caroline," the album's third and final release. For a song to be so sweet and gentle, Womack enhances the flavor of this sentimental number with a heartfelt, soulful approach. It slipped into the Top 20 at 16. By all standards, this album is stirring. (by Craig Lytle)

Tippy Armstrong (guitar)
Barry Beckett (keyboards, synthesizer)
Hayward Bishop (drums, percussion)
Harrison Calloway, Jr. (trumpet)
Ronnie Eade (saxophone)
Bobby Emmons (organ)
Pam Grier (background vocals)
Roger Hawkins (drums, percussion)
Patrice Holloway (background vocals)
David Hood (bass)
Jimmy Johnson (guitar)
Mike Leech (bass)
Dale Quillen (trombone)
Janice Singleton (background vocals)
Harvey Thompson (saxophone)
Bobby Womack (vocals)
Bobby Wood (piano)     
Reggie Young (guitar)


01. I Can Understand It (B.Womack) 6.30
02. Woman's Gotta Have It (B.Womack/Carter/L.Womack) 3.30
03. And I Love Her (Lennon/McCartney) 2.40
04. Got To Get You Back (Lewis) 2.47
05. Simple Man (B.Womack/Hicks) 5.50
06. Ruby Dean
(B.Womack/Hicks) 3.22
Thing Called Love (Wright/Hicks) 3.55
08. Sweet Caroline (Good Times Never Seemed So Good) (Diamond) 3.07
09. Harry Hippie (Ford) 3.50

ARMU 2307
ARMU 2307 (zippyshare)

Doris Troy - Same (1970)

Surely one of the most talented one-hit wonders of the rock era, Doris Troy hit the Top Ten with "Just One Look" in 1963, but also recorded many other fine pop-soul sides for Atlantic between 1963 and 1965. Unlike many soul performers of the time, Troy wrote most of her own material (under the pseudonym Payne), and had already written for other artists and sung backup with Dionne and Dee Dee Warwick and Cissy Houston on New York soul records before striking out on her own. More melodically ambitious and stylistically eclectic than many of her peers, her Atlantic sides blend elements of gospel, girl group, blues, and pop into a rich New York soul sound. Troy never reached the charts again after "Just One Look," but was more appreciated in England, where she toured occasionally and where the Hollies covered her "What'cha Gonna Do About It" on their first album. Moving to Britain, she recorded an album for Apple in 1970 with assistance from George Harrison and Billy Preston. In the early '70s, she sang backup vocals for British rock groups, most notably the Rolling Stones and Pink Floyd, in addition to recording a couple more albums. In the '80s she starred in Mama I Want to Sing, a musical based on her life story. The musical became a touring success, one which Troy remained involved with until 1998. She continued to perform in Las Vegas until her death from emphysema on February 17, 2004.

An all-star cast supported Troy on her lone Apple effort: George Harrison, Billy Preston, Peter Frampton, Stephen Stills, Klaus Voormann, Jackie Lomax, Eric Clapton, Leon Russell, and Delaney & Bonnie all contributed, and Harrison, Stills, Lomax, Preston, Voormann, and Ringo Starr pitched in on the songwriting, though Troy wrote or co-wrote most of the songs. Well-received by some critics, it really doesn't add up to the sum of its parts. Troy is in great voice, but much of the material is pedestrian, and the heavy rock/soul arrangements often have an over-beefy, early-'70s super-session feel. It works best when Troy puts the brakes on the hard rock to deliver emotional, slower soul tunes. [The 2010 reissue of Doris Troy was remastered by the same Abbey Road team who remastered the acclaimed 2009 Beatles reissues and was expanded by six bonus tracks: a previously unreleased alternate version of “All That I’ve Got (I’m Gonna Give It To You)” along with the original,” a cover of “Get Back,” “Dearest Darling,” “What You Will Blues” and “Vaya Con Dios.”]  (by Ritchie Unterberger)

Bonnie Bramlett (percussion)
Delaney Bramlett (percussion)
Eric Clapton (guitar)
Rita Coolidge (background vocals)
Peter Frampton (guitar)
Jim Gordon (drums)
George Harrison (guitar)
Billy Preston (keyboards)
Leon Russell (piano)
Ringo Starr (drums)
Stephen Stills (guitar, piano, background vocals)
Doris Troy (vocals, piano)
Klaus Voormann (bass)
Alan White (drums)
Bobby Whitlock (keyboards)
an uncredited horn section conducted by John Barham

01. Ain't That Cute (Harrison/Troy) 3.48
02. Special Care (Stills) 2.54
03. Give Me Back My Dynamite (Harrison/Troy) 4.53
04. You Tore Me Up Inside (Troy/Schinnery) 2.27
05. Games People Play (South) 3.06
06. Gonna Get My Baby Back (Harrison/Starkey/Troy/Stills) 2.17
07. I've Got To Be Strong (Lomax/Troy) 2.33
08. Hurry (Troy/Carroll) 3.10
09. So Far (Voormann/Troy) 4.22
10. Exactly Like You" (McHugh/Fields) 3.08
11. You Give Me Joy Joy (Harrison/Starkey/Troy/Stills) 3.38
12. Don't Call Me No More (Troy/Schinnery) 2.04
13. Jacob's Ladder (Traditional) 3.18
14. All That I've Got (I'm Gonna Give It to You) (Preston/Troy) 3.55
15. Get Back (Lennon/McCartney) 3.06
16. Dearest Darling (Troy) 2.50
17. What You Will Blues (Troy) 4.57
18. Vaya Con Dios (Russell/James/Pepper) 3.29
19. All That I've Got (I'm Gonna Give It to You) (alternative version) (Preston/Troy) 3.21

ARMU 2306
ARMU 2306 (zippyshare)

Mstislav Rostropovich - Herbert Tachezi - Cello & Organ (1993)

Mstislav Leopoldovich Rostropovich, KBE (March 27, 1927 – April 27, 2007), was a Soviet and Russian cellist and conductor. He was married to the soprano Galina Vishnevskaya (October 25, 1926 - December 11, 2012). He is widely considered to have been the greatest cellist of the second half of the 20th century, and one of the greatest of all time. In addition to his outstanding interpretations and technique, he was well known for both inspiring and commissioning new works which enlarged the cello repertoire more than any cellist before or since. He gave the premieres of over 100 pieces, forming long-standing friendships and artistic partnerships with composers including Dmitri Shostakovich, Sergei Prokofiev, Henri Dutilleux, Witold Lutoslawski, Olivier Messiaen, Krzysztof Penderecki, Alfred Schnittke, Norbert Moret, Andreas Makris and especially Benjamin Britten.

Rostropovich was internationally recognized as a staunch advocate of human rights, and was awarded the 1974 Award of the International League of Human Rights.

Herbert Tachezi (* 12. Februar 1930 in Vienna) is an Austrian composer, organist and cellist.He studied at the Musicacademy Viena and on the Iniversity Of Vienna.

He is since 1952 a very active part of the European classic scene and he played in many different countries in and outside Europe. He worked with mastermind Nikolaus Harnoncourt.
Today he is teaching at the Musicacademy Viena.

It's a pity that this recording has become somewhat hard to find- the arrangements are simply lovely (as well as some of the original works for organ and cello such as the Prayer by Saint-Saens). Although Rostropovich's lush sound does not completely match well to this recording's rather harsh harpsichord, the effect is quite wonderful on the pieces with organ. Highly recommended if you love the cello. (by C. Dyer)

Mstislav Rostropovich (cello)
Herbert Tachezi (organ, harpsichord)

01. G. Frescobaldi - Toccata 4.47
02. A. Marcello - Adagio 5.09
03. J.S. Bach - Three Chorale Preludes (1) 5.15
04. J.S. Bach - Three Chorale Preludes (2) 4.16
05. J.S. Bach - Three Chorale Preludes (3) 5.17
06. G.F. Haendel - Aria 3.48
07. J.S. Bach - Adagio 4.08
08. L. de Caix D'Hervelois - 7 altfranz. Mädchenbilder (1) 4.42
09. L. de Caix d'Hervelois - 7 altfranz. Mädchenbilder (2) 2.03
10. L. de Caix d'Hervelois - 7 altfranz. Mädchenbilder (3) 2.23
11. L. de Caix d'Hervelois - 7 altfranz. Mädchenbilder (4) 1.35
12. L. de Caix d'Hervelois - 7 altfranz. Mädchenbilder (5) 1.46
13. L. de Caix d'Hervelois - 7 altfranz. Mädchenbilder (6) 1.54
14. L. de Caix d'Hervelois - 7 altfranz. Mädchenbilder (7) 2.13
15. J. Rheinberger - Three Pieces from Op. 150 (1) 4.18
16. J. Rheinberger - Three Pieces from Op. 150 (2) 3.47
17. J. Rheinberger - Three Pieces from Op. 150 (3) 4.14
18. C. Sain-Saent - Priere Op. 158 5.27

ARMU 2305
ARMU 2305 (zippyshare)

Gunter Hampel - Spirits (1971)

Gunter Hampel (born 31 August 1937) is a German jazz vibraphonist, clarinettist, saxophonist, flautist, pianist and composer born in Göttingen, Germany, perhaps best known for his album "The 8th of July 1969" that included fellow musicians Anthony Braxton, Willem Breuker and Jeanne Lee. Jeanne, now deceased, was Gunter's wife.

Hampel became dedicated to free-jazz in the 1960s, developing his own record label (Birth Records), and worked with a variety of artists over the years, including John McLaughlin, Laurie Allan, Udo Lindenberg, Pierre Courbois and Perry Robinson. In the 1970s he also formed the "Galaxy Dream Band". (by wikipedia)

Some informations from the original liner-notes:

"SPIRITS are excerpts from a live-radio-performance at the WKCR Columbia University Radio Station in New York, August 26, 1971, the program was engineered by FRED SEIBERT

we record the music in the best studios, but without commercial producers. we have no distribution. you will not find our records at your record dealer! we sell by mailorder and send to the u.s.a., canada, belgium southamerica, england, sweden, danmark, the netherlands, france, austria, switzerland, africa, india, japan, and others.

each album 30 cm stereo $6 inclusiv mail, please send sheque to 34 Gottingen, Philipp-Reis-Str. 10 West Germany
USA: 1370 Prospect Ave, Bronx 59 NEW YORK CITY.

also contact addresses for performances!"

Attention please: This is an extreme free jazz record !

Excerpts from a live-radio-performance at the WKCR Columbia University Radio Station in New York, August 26, 1971.

Gunter Hampel (piano, flute,clarinet)
Jeanne Lee (vocals)
Perry Robinson (clarinet)

01. No. 90 26871-02 NY (Hampel) 12.02    
02. No. 88 26871-02 NY  (Hampel) 18.47    
03. No. 92 26871-02 NY Hampel) 18.37    

ARMU 2304
ARMU 2304 (zippyshare)

New re-ups

Neal Schon - Piranha Blues (1999)

Moody Marsden Band - Never Turn Our Back On The Blues (1992)

Paul Nero - The Big Beat (1965)

Klaus Doldinger - The Ambassador  (1969)

George Gruntz - Jazz Goes Baroque (1964)

... enjoy the music !

Kenny Barron - Canta Brasil (2002)

If one had to choose one word to describe pianist, instrumentalist and composer Kenny Barron, it would mostly likely be ubiquitous, in not only the kind of music he plays (which is most everything in modern creative jazz), but his in performing mates as well. Over the years, he has build relationships with the group Sphere, Ron Carter, Freddie Hubbard, Yusef Lateef and, of course, the near magical association with Stan Getz in the 1980's. On this his latest release, Barron has returned to his love affair with the Brazilian genre which he first cataloged in his 1993 release Sambao. His latest CD is a series of original compositions and arrangements. Each tune, while having a distinct character of its own, a la, the hyper "Zumbi" or the airy "Bachiao", has the common element of innovation and surprise that has made Barron's work so celebrated over the last few years. He seems to have lightened an up bit since his earlier sessions in the recording studio. Now as one of the most prolific recording artists on today's scene, Barron has built up a library of recorded music matched by few of his contemporaries and which highlights the universality of his compositions. On this outing, he is joined by a group of contemporary Brazilian jazz artists musicians who, like him, have an ingrained feel for these unique rhythms and melodies. While they all make important contributions, prominent among them is Anne Drummond's light as a feather flute which is instrumental in establishing that ambience of buoyancy Barron has established for each of these tracks. (by Dave Nathan)

Maucha Adnet (vocals)
Kenny Barron (piano)
Anne Drummond (flute)
Duduka da Fonseca (drums)
Romero Lubambo (guitar)
Nilson Matta (bass)
Valtinho (percussion)

01. Zumbi (Barron) 9.15
02. Clouds
(Barron) 10.09
03. Paraty
(Barron) 7.27
04. Until Then
(Barron) 7.11
05. Bachiao
(Barron) 7.31
06. Thoughts and Dreams
(Barron) 4.26
07. Dona Maria
(Barron) 6.20
08. This One
(Barron) 5.56

ARMU 2303
ARMU 2303 (zippyshare)

Gift - Same (1972)

Gift were one of those "no compromise" heavy progressive bands, who've now achieved a considerable cult status. They started up in 1969 as the school band Phallus Dei. Three years later they recorded the first Gift album at Union Studios in Munich, produced by Otto B. Hartmann.

Nick Woodland was listed on the sleeve of their first album, but he had quit Gift before the recording session began to join Subject Esq., later Sahara. The album comprised eight songs with no flutes, no woodwinds and no keyboards, just plain hard guitar riffs, to be compared to Hairy Chapter.

Some of the lyrics had clear anti-drugs messages. Recently (1990) Second Battle re-issued this album in its original cover. Helmut Treichel left in 1973 and was replaced with Dieter Atterer. (by Cosmic Dreams)
This is a Hard/Psych * Progressive Rock * Krautrock * masterpiece !

Rainer Baur (guitar)
Hermann "Mandy" Lange (drums, percussion)
Uwe Patzke (bass, vocals)
Helmut Treichel (vocals)
Nick Woodland (guitar, vocals)

01. Drugs (Treichel/Lange/Baur/Patzke) 5.10
02. You'll Never Be Accepted (Treichel/Lange/Baur/Patzke) 6.30
03. Groupie (Treichel/Lange/Baur/Patzke) 3.08
04. Time Machine (Batanoff) 3.06
05. Game Of Skill (Treichel/Lange/Baur/Patzke) 5.23
06. Don't Hurry (Treichel/Lange/Baur/Patzke) 5.06
07. Your Life (Treichel/Lange/Baur/Patzke) 4.30
08. Bad Vibrations (Batanoff) 3.37

ARMU 2302
ARMU 2302 (zippyshare)

Mad Sheer Khan - 1001 Nights

An Algerian native living in France who's best known in the West for his work with Nico and Sting, Mad Sheer Khan enlisted an impressive range of female vocalists from around the world to interpret songs based on poems from the book 1001 Tales of the Arabian Nights in their own native tongues. Native America, Tibet, Israel/Palestine, Algeria, Africa, Pakistan, and India are all represented here, with the artist's expressed goal to "convey the diversity of the world through a common spirit." The concept works well, with Khan and a stellar multicultural lineup of musicians tailoring each song to its singer. Fela Ababsa lends her captivating voice to "Night of Algerian," which segues seamlessly into "Algerian Sunrise," a gorgeous instrumental passage featuring the strings of Bulgaria's Plovdiv Chamber Orchestra. Morocco's Mamani Kei"ta's passionate wail drives the fiery "Night of the Gnawas" to a dynamic crescendo, with wickedly syncopated rhythms and strings helping to sell the drama. Only on the insistent "Night of Navajos" does Khan make a misstep, his synthesized sounds taking the listener out of the timeless mood the previous songs create. Still, this is a bold, experimental record that shows it really is a small world after all. - by Bret Love, AMG

Artist: Mad Sheer Khan
Album: 1001 Nights
Year: 1999
Label: Erato
Runtime: 63:06

1.  Night of Algeria 5:34
2.  Night of Gnawas 9:44
3.  Night of Hebrews 8:34
4.  Night of Navajos 8:55
5.  Night of Tibet 7:43
6.  Night of India 11:20
7.  Night of Persia 11:13
All compositions by Mad Sheer Khan 

Mad Sheer Khan (Oud, Sitar, Rebab, Santur, Keyboards, Percussion and Programming)
Ahmed Dhemai (Percussion)
Subramaniam (Violin)
Plovdiv Chamber Orchestra (Strings)
Nasser (Percussion)
Jean-Pierre Arnaud (Oboe and English Horn)
Bruno Caillat (Zarb)
Fela Ababsa (Vocals) - 1
Mamani Keita (Vocals) - 2
Nourith (Vocals) - 3
Mary Redhouse (Vocals) - 4
Kunchock Lama (Vocals) - 5
Sharmila Roy (Vocals) - 6
Parvin Javdan (Vocals) - 7

Cæcilie Norby Group - Live At The JazzFest, Berlin (2011)

Taken from the official Festival programme:

Danish singer Cæcilie Norby was born into a musical home. Her mother, an opera singer, and her father, a composer, supported her musical education from an early age. Jazz was not her first love, though. After a classical education she turned to pop music in the early eighties and had some considerable success with the band OneTwo.

Ten years later the renowned Blue Note label released her self titled jazz debut, starring none other than Chick Corea. For later productions she cooperated with the likes of the Brecker Brothers, Terri Lyne Carrington, Nils Landgren or Palle Mikkelborg.

Her latest cd, Arabesque, shows yet another of her facets, reminiscent of composers like Satie, Debussy, Ravel and Fauré. Together with her recent ensemble, the IFPI (International Federation of the Phonographic Industry)-awardee will once again leave the boundaries of classical music, jazz or pop behind.

Recorded live at the Haus der Berliner Festspiele, Main Stage
November 4, 2011

Lars Danielsson (bass)
Per Gade (guitar)
Katrine Gislinge (piano)
Morten Lund (drums)
Cæcilie Norby (vocals)

1. Both Sides Now (Mitchell) 6.54
2. Dead Princess (Ravel/Norby) 5.51
3. Wholly Earth (Lincoln) 6.21
4. The Tears Of Billie Blue (Debussy/Norby) 6.49
5. Scheherazade (Rimski-Korsakow/Norby) 4.00
6. Bei mir bist du scheen (Sholom Sholem Sucunda) 8.07
7. Cuban Cigars (Danielsson) 8.00
8. No Air (Satie/Norby) 4.52

ARMU 2301
ARMU 2301 (zippyshare)

Chris Spedding - Friday The 13th (1981)

Friday the 13th album by Chris Spedding was released Apr 22, 1997 on the M.I.L. Multimedia label. This is a live set of music featuring guitarist Chris Spedding with bass player Busta Jones and drummer Tony Machine that was recorded in New York City in March of 1981 on--of course--Friday the 13th. 

The taut trio runs through a clean-sounding and spirited set that includes a number of Spedding's signature tunes ("Guitar Jamboree," "Motorbikin'," "Hurt by Love," "Counterfeit") Friday the 13th music CDs. Though he was a highly successful session musician, Spedding never hit it very big as an act on his own Friday the 13th songs. 

It seems unfortunate, considering his smart and edgy guitar playing and journeyman rock & roller's voice (think Mark Knopfler or John Cale) Friday the 13th album. And his seemingly straightforward songwriting is actually full of subtle twists, turns, and tensions Friday the 13th CD music. Repeated listenings are amply rewarded. (by Rovi)


Busta Jones (bass, vocals)
Tony Machine (drums, vocals)
Chris Spedding (guitar, vocals)

01. Guitar Jamboree (Spedding) 5.48
02. Midnight Boys (Spedding/Snips) 3.32
03. Rush On You (Jones) 3.58
04. Motorbikin' (Spedding) 3.40
05. Hurt By Love (Spedding) 4.53
06. Hungry Man (Spedding) 4.07
07. Counterfeit (Spedding) 2.48
08. Lone Rider (Spedding) 4.13
09. Hey Miss Betty (Spedding) 5.32
10. Pogo Dancing (Spedding) 3.34

ARMU 2300
ARMU 2300 (zippyshare)


The Hammer Klavier Trio is jazz as it lives and breathes today. Three bright musicians use acoustic and electric instruments in a fun and unfussy concoction of classical jazz and contemporary rhythms that feels right for this moment. Their quirky and earnest melodies, sharp rhythms and hipster attitudes acknowledge with appreciation jazz's recent and older past, but are inspired not fettered by it. In fact, it frees them. So HKT keyboardist Boris Netsvetaev adds an edgy touch of electronics on "Hysterioso," his variant of Thelonius Monk's "Mysterioso," for no other reason than because it brings a smile, and the groove cut by bassist Philipp Steen and drummer Kai Bussenius is in step with how people move.

And the rest of Rocket in the Pocket demonstrates equal confidence, though after the lyrical, impressionism a la Bill E vans feel of "A Sketch in Dark Colours" you don't expect the dirty Fender Rhodes distortion effect Boris employs in his solo on "Suicide Train." Or Philipp's lead bass part on "Tekla," with Boris' haunting backdrop of a voicing. Or the free-time episode at the center of "Plan B," followed by chordal figurations reminiscent of a Herbie Nichols composition. But you accept it all, since these three clearly know what they're doing, and it's exciting.

Those are two reasons why the Hammer Klavier Trio has made many a strong impression and won an ever broadening fan base since forming at the Hamburg University of Music and Theater in 2002, where its members first met at a concert of the Joe Lovano-Bill Frisell-Paul Motian trio. The genuine originality of St. Petersburg-born Netsvetaev's compositions and arrangements, and the sensitive flexibility by which Steen and Bussenius make the music their own are two more. The intriguing drama and engaging playfulness heard throughout this album, though, are the main things. No other explanation is necessary to enjoy this music than hearing "Rocket in the Pocket," the album's title track. It shows off what HKT weaves together and how. A backbeat as funky as any in-crowd needs, a motor goosing Boris' elegantly precise and unerringly decisive piano line, Steen and Bussenius synchronizing their parts into an irresistible rhythm. Happy surprise! You can dance to it!

Good music wins out: the path from the release of HKT's 2008 recording debut Now I Know Who Shot J. F. K. to the issue of Rocket in the Pocket has been marked by positive steps. These include the trio's iœberjazz festival set, a clip of which can be seen on Youtube. The Jazz Journalists Association nominated the video for a 2011 Jazz Award, and digging the music too, featured HKT at its annual Jazz Awards gala at City Winery that June. The trio developed the opportunity to perform before the jazz media elite into an NYC mini-tour that reached NYC's hard-core aficionados, with gigs at Small's, Miles Cafe, the Garage, Puppet's in Brooklyn and the German General Consulate.

HKT was welcomed everywhere. "When's your next recording?" people asked. Here it is, Rocket in the Pocket. Launch and soar.

~ Howard Mandel, president, Jazz Journalists Association

Jazz Bigband Graz - Urban Folktales (2012)

Despite the inherent problems of managing large numbers of musicians, funding their activities, and finding venues large enough to host ensembles of 15-plus players, the jazz big band is undergoing something of a revival. Jazz Bigband Graz, from Austria, is yet another fine ensemble from Europe, and Urban Folktales shows that imaginative new directions in big band jazz are still ripe for exploration.

Jazz Bigband Graz was founded in 2000. Its previous albums include Plays the Music of Bob Brookmeyer (Mons Records, 2002) and Joys and Desires, which featured John Hollenbeck (Intuition, 2005): this is not a big band which relies on the old staples. On Urban Folktales the band is led by directors Heinrich von Kalnein and Horst-Michael Schaffer, who also compose its original tunes. Their compositions give the Jazz Bigband Graz a unique sound, incorporating traditional big band instrumentation and section playing, but mixing this up with electronic processing, sampled voices and the impact of African and European musical influences.

With the welcome addition of the electric zither, electric hurdy gurdy and theremin, there's a quirky inventiveness to the JBBG's instrumental lineup too. All three have a spooky, spectral quality that complements the more usual big band brass and reeds. These more traditional front line instruments are not to be outdone. The ensemble sound is beautifully balanced, each section demonstrating a command of dynamics and a range that extends from calm beauty to full-on power. The entry of the brass and reed sections in the opening seconds of "Rêve Africain (Part Two: The Revelation)" is terrifically dramatic and creates an irresistible groove that stays in place beneath Johannes Enders' lyrical tenor saxophone solo.

The electric hurdy gurdy, played by Matthias Loibner, takes the spotlight on "Urban Tribes," an up-tempo, urgent tune lent a certain air of Eastern European folk music not only by the hurdy gurdy's lonely wail, but also by the pulse set up by the band's rhythm section. "Seelenbaumein" features Christof Dienz's electric zither and Barbara Buchholz's theremin. Together with guest singer Theo Bleckmann, the players add a new dynamic to the usual big band line up and successfully build the song's other-worldly atmosphere. Finnish trumpeter Verneri Pohjola's solo flows beautifully.

"Space Trip—The Day We Landed" opens and closes with the sampled voices of the Apollo 8 crew before Bleckmann joins in with his pure, plaintive vocal. As the song develops a more familiar big band sound, guest guitarist Nguyên Lê's soaring, dynamic solo—underpinned by Gregor Hilbe's fierce percussive attack—builds the tune to a dramatic climax.

The JBBG opens up some wonderfully creative pathways for the contemporary big band. The mix of horn section power and instrumental eccentricity—with the theremin and electric zither—creates an innovative and engaging sound, while Bleckmann's distinctive vocal is used to superb effect. Urban Folktales is a genuinely contemporary big band album. (by Bruce Lindsay)

Christoph "Pepe" Auer (saxophone, clarinet)
Herbert Berger (saxophone, flute)
Barbara Buchholz (theremin)
Christof Dienz (zither)
Martin Harms (saxophone, clarinet, flute)
Gregor Hilbe (drums, electronics, programming)
David Jarh (trumpet, flugelhorn)
Heinrich von Kalnein (saxophone, flute)
Mattias Loibner (hurdy gurdy)
Axel Mayer (trumpet, flugelhorn)
Bernhard Nolf (trumpet, flugelhorn)
Andi Pesendorfer (trumpet, flugelhorn)
Uli Rennert (keyboards, synthesizers)
Daniel Riegler (trombone)
Horst-Michael Schaffer (trumpet, flugelhorn)
Henning Sieverts (bass, cello)
Reinhard Summerer (trombone)
Wolfgang Tischhart (trombone)
Robert Bachner (trombone on 04.)
Theo Bleckmann (vocals on 02. + 03.)
Johannes Enders (saxophone on 05.)
Robert Friedl (saxophone on 04.)
Klaus Gessing (saxophone on 04.)
Hadja Kouyate (vocals on 05.)
Nguyên Lê (guitar on 01., 03. + 06.)
Gianluca Petrella (trombone on 04.)
Verneri Pohjola (trumpet on 02.)
Philip Yaeger (trombone on 04.)

01. Urban Tribes - Introduction (Schaffer/v.Kalnein) 4.21
02. Seelenbaumeln (Schaffer/v.Kalnein) 10.47
03. Space Trip--The Day We Landed (Schaffer/v.Kalnein) 11.05
04. High Voltage (Schaffer/v.Kalnein) 7.28
05. Reve Africain (Part One: The Dream; Part Two: The Revelation) (Schaffer/v.Kalnein) 18.17
06. Coming Home (Schaffer/v.Kalnein) 12.18

ARMU 2299
ARMU 2299 (zippyshare)

The Josh Pilot Band - Price To Pay (2010)

Josh Pilot is a 20 year old blues guitarist/vocalist from a town located in the farmland just outside of Cincinnati. He has been playing guitar for 5 years, playing out professionally for 3 of those years.

His high energy searing solos and dark writing style comes from the heavy influences of Walter Trout, Jack White, and B.B. King. The rhythm section of the band is derived by the father/son duo of Jeff Hargis (bass), and Jason Hargis (drums).

Collectively, they create a blues/rock feel unparalleled by any other band. The brand new album, "Price To Pay," released in April of 2010, has already sold copies in Spain, France, and Great Britain. (Promo text)

In other words: this a real fucking good blues-rock, listen and enjoy this wonderful album ...and Josh Pilot can play many styles of the blues !

Jason Hargis (drums)
Jeff Hargis (bass, vocals on 07.)
Josh Pilot (guitar, vocals, organ)
Tim Burton (saxophone on 03.)
Steve Falearos (rhythm resonator on 04.)
Theo Oakley (background vocals on 01. + 09.)


01. Price To Pay (Pilot) 5.24
02. Leavin' Letter (Pilot) 3.38
03. Drowning In Misery (Pilot) 6.37
04. When I'm Dead (Pilot) 3.50
05. So Long (Pilot) 2.47
06. Mayday (Pilot) 6.18
07. Highway 101 (Jeff Hargis) 4.18
08. What's Behind The Sun (Pilot) 2.22
09. Somebody Help Me (Pilot) 5.51
10. Can't Fake The Blues (Pilot) 3.35

ARMU 2298
ARMU 2298 (zippyshare)