Oscar Peterson - Live at The Blue Note (1990)

This album is a part from a four-disc box set features the historic reunion of the Oscar Peterson Trio (Peterson, bassist Ray Brown, and guitarist Herb Ellis), who were playing together for all practical purposes for the first time in over 30 years at the Blue Note in March 16-18, 1990. Drummer Bobby Durham -- who had played with Peterson's band from 1967-1970 -- augments the lineup, making this nothing less than a stellar quartet. For the first time, the four albums taped on these nights have been issued together and they include The Legendary Oscar Peterson Trio Live at the Blue Note, Saturday Night at the Blue Note, Last Call at the Blue Note, and Encore at the Blue Note.

Musically speaking, this is Peterson at his peak, and his sidemen, all into their sixties at the time of these dates, just plain shine. These dates were recorded before Peterson's hip replacement surgery or his stroke, unlike the 1993 recordings at the same venue. What shows here is not only experience but swagger, strut, grit, and the finesse only master jazzmen can muster. Whether it's the burning "Honeysuckle Rose," with killer counterpoint between Peterson and Ellis, the understated ostinato in the medley of "Love Ballad/If You Only Knew" that shifts into a shimmering exercise in harmonic extension and rhythmic invention, or in the fresh, insightful, and eye-opening readings of standards such as "Billie's Bounce" or "I Wished on the Moon," the effect is the same: electrifying. In fact, these dates count among Peterson's finest live offerings, and sparkle with inspiration, humor, and stunning soulful vibe. In addition to the music, the sound of the venue and its atmosphere is captured here to stunning, warm effect, making these concerts feel immediate and accessible. Highly recommended. (by Thom Jurek)

Ray Brown (bass)
Bobby Durham (drums)
Herb Ellis (guitar)
Oscar Peterson (piano)

01. Introductions 1.56
02. Honeysuckle Rose (Razaf/Waller) 8.50
03. Let There Be Love (Grant/Rand) 12.00
04. Peace For South Africa (Peterson) 10.46
05. Sushi (Peterson) 8.06
06. I Remember You/A Child Is Born/Tenderly (Mercer/Schertzinger)/(Jones/Wilder)/(Gross/Lawrence) 7.17
07. Sweet Georgia Brown (Bernie/Pinkard/Casey) 8.21
08. Blues For Big Scotia (Peterson) 6.08

ARMU 2441
ARMU 2441 (zippyshare)

Mark Knopfler & Chet Atkins - Neck And Neck (1990)

Has Mark Knopfler gone soft in his old age? Last year he and three British cronies put together the Notting Hillbillies.

That pickup band turned out a self-named album in homage to the American South that was well-intentioned but a total snore. And now, Neck and Neck, is a cornball duet record with Chet Atkins, Nashville's Mr. Guitar. Lately Atkins has concentrated on New Age jazz and fusion, but on this collaboration producer Knopfler simply gives those styles a nod and then moves on to ''aw-shucks'' country dreck.

Worst offerings: Knopfler's back-patting ''The Next Time I'm in Town'' and an excrutiating parody of ''There'll Be Some Changes Made'' in which the 66-year-old Atkins declares a taste for ''groupie girls.'' Just because Knopfler wanted to make a vanity album with his guitar hero is no excuse to foist it on the rest of us. (by gw.com)


Chet Atkins (guitar, vocals)
Floyd Creamer (piano)
Guy Fletcher (bass, drums, guitar, keyboards)
Paul Franklin (dobro, steel-guitar, pedabro)
Vince Gill (background vocals)
Mark Knopfler (guitar, vocals)
Larrie London (drums)
Edgar Meyer (bass)
Mark O´Connor (fiddle, mandolin)
Steve Wariner (bass)

01. Poor Boy Blues (Kennerly) 4.01
02. Sweet Dreams (Gibson) 3.24
03. There´ll Be Some Chances Made (Higgins/Overstreet) 6.28
04. Just One Time (Gibson) 4.11
05. So Soft, Your Goodbye (Goodrum) 3.16
06. Yakety Axe (Randolph/Rich) 3.24
07. Tears (Grappelli/Rheinhardt) 3.54
08. Tahitian Skies (Flacke) 3.18
09. I´ll See You In My Dreams (Jones/Kahn) 2.59
10. The Next Time I´m In Town (Knopfler) 3.21

ARMU 2440
ARMU 2440 (zippyshare)

Ralph McTell - Spiral Staircase (1969)

Ralph McTell's second album remains most remembered for the first version of "Streets of London," although this acoustic version is different from the mid-'70s re-recording that made it to number two in the British charts. 

It's a low-key and wistful record, no surprise there, as McTell has never been an in-your-face kind of performer. The tone is predominantly acoustic, with some appropriately soft, graceful orchestral arrangements by Mike Vickers. 

A few of the songs, like "England 1914" and "The Fairground," have nicely sad, ethereal melodies and forceful observational lyrics. Others are merely OK, and the straight blues songs, like the cover of Robert Johnson's "Kind Hearted Woman Blues," are the least memorable. (by Ritchie Unterberger)

Various "Streets Of London" singles

I know, Ralph McTell was much more than "Streets Of London", but in my youth I was very impressed by this song. So ... here are the lyrics:

Have you seen the old man
In the closed-down market
Kicking up the paper,
with his worn out shoes?
In his eyes you see no pride
Hand held loosely at his side
Yesterday's paper telling yesterday's news

So how can you tell me you're lonely,
And say for you that the sun don't shine?
Let me take you by the hand and lead you through the streets of London
I'll show you something to make you change your mind

Have you seen the old girl
Who walks the streets of London
Dirt in her hair and her clothes in rags?
She's no time for talking,
She just keeps right on walking
Carrying her home in two carrier bags.

In the all night cafe
At a quarter past eleven,
Same old man is sitting there on his own
Looking at the world
Over the rim of his tea-cup,
Each tea last an hour
Then he wanders home alone

And have you seen the old man
Outside the seaman's mission
Memory fading with
The medal ribbons that he wears.
In our winter city,
The rain cries a little pity
For one more forgotten hero
And a world that doesn't care

Ralph McTell (guitar, vocals, harmonica)
Mick "Henry VIII" Bartlett (jug on 05. + 07.)
"Whispering Mick" Bennett (washboard on 05. + 07.)

Peter Berryman (guitar on 05. + 07.)
Brian "Brock" Brocklehurst (bass on 05. + 07.)

01. Streets Of London (McTell) 4.11
02. Mrs Adlam's Angels (McTell) 2.46
03. Wino And The Mouse (McTell) 1.03
04. England 1914 (McTell) 3.07
05. Last Train And Ride (McTell) 2.35
06. The Fairground (McTell) 4.10
07. Spiral Staircase (McTell) 3.34
08. Kind Hearted Woman Blues (Johnson) 2.46
09. Bright And Beautiful Things (McTell) 1.57
10. Daddy's Here (McTell) 4.23
11. Rizraklaru (Anag) (McTell) 1.47
12. (My) Baby Keeps Staying Out All Night Long (Moss) 1.55
13. Terminus (McTell) 1.59

ARMU 2439
ARMU 2439 (zippyshare)

New re-uploads

Peter Frampton - Frampton's Camel (1973)

Various Artists - 2th Blues Festival Bonn (1988) (w/Chicken Shack, Dr. Feelgood, Man, Canned Heat)

Anna Ternheim - Live in Hamburg (2006)

Enjoy the music !



Smooth Jazz is a universal language around the world. Take guitarist Daniel Domenge as an example, who resides in Languedoc-Roussillon! the large vineyard region is one of the 26 regions that make up France. The world-class guitarist has played professionally for some 20 years! his passion for Smooth Jazz finally drove him to record his second album . This flawless recording features a tantalizing return to retro influences, yet the beats and rhythms are cutting edge contemporary. Daniel's guitar work is buoyed by Fender Rhodes and Hammond B3 accents as he funkifies the audio environment . Three years after his first album " Patchwork" ," Lost In My Thoughts" features exceptional performances from all contributing musicians and polished off by engineer Reynald Evrard. All of the songs are stunning!This album is smooth jazz at its best ! This French guitarist speaks fluent Smooth Jazz! ~ CD Universe


Before the electric guitar ruined rock and roll, accordions, banjos and tubas had their rightful place in music. Driven underground by their oppressors, the great accordion/banjo/tuba bands have kept largely quiet, playing late night, speakeasy style concerts in underground clubs deep in the country, far from the ever vigilant ears of oppressive electric guitarist. But now one such underground band would run no more, and have emerged from the underground with bold new stylings, not afraid to show how music should have been played all along. ~ CD Universe


The Wondertones core group is comprised of a four piece rhythm section and a single solo guitar, rather than the usual sax, trumpet or vocalist. Accessible jazz with be-bop underpinnings, the Smooth Jazz of it's time. Great when you are driveing ,relaxing with friends or alone in contemplation. Really music that's great any time. 47 minute of the music that IS the Coolest Daddy-O. ~ CD Universe



An expanded version of this classic – with 5 more bonus tracks, 4 of which were arranged by Ennio Morricone! The core album is incredible 70s work from the lovely Astrud Gilberto – a rare effort for the CTI label that has her teaming up with arranger Eumir Deodato and saxophonist Stanley Turrentine – all in a groove that's totally different than most of her earlier work! Astrud's breathy vocals are still wonderfully intact – but they're given a more spacious approach in the arrangements – strings mixes with rolling basslines, soaring keyboards, and stone cold tenor from Stanley – in a groove that's simply wonderful, and which takes off in a whole new direction than before! Other players include Airto, Sivuca, Hubert Laws, and Dom Um Romao – and tracks include classic versions of "Ponteio", "Vera Cruz", and "Zazueira" that are all some of the most grooving takes on the tunes ever – plus "Historia De Amor", "Where There's A Heartache", "Brazilian Tapestry", and "Wanting Things". Bonus tracks include "If Not For You", "Acercendome A Ti", "Argomenti", "En Tu Piel", and "Un Donna Che Ti Ama". ~ Dusty Groove


Emmy® and Peabody Award® winning singer/songwriter Rondi Charleston presents original story-songs and delightful jazz cover arrangements that emerge straight from the heartfelt headlines of her life. NPR specialists Missing Piece have generated significant interest in features for this release. Noted jazz guitarist Dave Stryker, who serves as music director and co-writer on several tunes, brings a polished jazz aesthetic to this engaging and unusual program. Will be co-promoted with the film No Place On Earth, which features the song The Cave Knows co-written with Fred Hersch. The song appears as a bonus on this CD.  ~ Amazon


Extending a tradition that stretches from Aretha Franklin to Sarah Vaughn, singer, songwriter, Vesta Williams contributed to the soulful mix of musical era and genres during her career. Simply put, Vesta Williams is a musical legend. Before her death in September 22, 2011, Vesta released 6 studio albums that has produced “Congratulations” “Sweet Sweet Love” “4U” and “Special”. Her upcoming studio release “Seven” is completed and contains the wonderful vocals and arrangement that we have expected from her over the last 25 years. Vesta has sold over 2 million albums in her career that this effort will please all her fans. Vesta’s new single “Better Days” is available on Itunes. From Executive Producers Edwin Nicholas, Devon V. Collins and Kahlil I. Pedizisai, Vesta’s Album “Seven” will be available in Stores on March 12, 2013 from Stimuli Music. ~ urbanbridgez.com



Blistering sounds from Ballister – quite possibly the fiercest album so far from this key Chicago group – and that's saying a lot, given the intensity of their previous work! The trio really seem to know each other intimately by this point – so that they can really let loose, and explore a great range of sounds from the saxes of Dave Rempis, drums of Paal Nilssen-Love, and the cello, guitar, and electronics of Fred Lonberg-Holm! The album's an especially great illustration of the way that Fred's really opened up his energy level in recent years – and become a much more organic player, with a confidence in his sounds we never would have expected a decade ago. Rempis is masterful on alto, tenor, and baritone – blowing with a boldness that puts him firmly in line with a range of Chicago improvisers – and Paal's visiting drum work really pushes the whole thing forward strongly. Titles include "Cockloft", "Smolder", and "Phantom Box System". ~ Dusty Groove


One of the most outside sets we've heard from Rob Mazurek in years – a combination of his own cornet and work on ring modulator – creating a blend of jazz and electronics that's really mindblowing! Mazurek's not alone in his creative expressions – as he's joined here by a group group of players that mixes musicians from Rob's Chicago and Brazilian scenes – including Nicole Mitchell on flute and piccolo, Jason Adasiewicz on vibes, Mauricio Takara on cavaquinho, Guilherme Granado on keyboards and electronics, Thomas Rohrer on rabeca and C melody sax, Carlos Issa on guitar, and John Herndon on drums – a really unique lineup that lives up to all their promise with the rich sounds on the set. Most tracks are quite long – and titles include "Galactic Ice Skeleton", "Skull Caves Of Alderon", "Keeping The Light Up", "Passing Light Screams", and "Voodoo & The Petrified Forest". ~ Dusty Groove


Incredible reed interplay from the Rova Sax Quartet – still an amazing ensemble after all these years, with a mixture of complex creativity and surprising soul that few other groups of this nature can touch! On a record like this, Rova remind us that there's still plenty of freshness in the sax quartet format, when handled this well – rhythm, melody, and many other sounds coming together beautifully from the horns of Bruce Ackley on tenor and soprano sax, Steve Adams on alto and sopranino sax, Larry Ochs on tenor and sopranino, and Jon Raskin on baritone and alto. The set features a beautiful extended piece titled "Certain Space" – an amazing journey in sound – plus "The Blocks", and "To The Right Of The Blue Wall". ~ Dusty Groove

The Monday Morning Paradiddle

A few people have inquired as to what I've been up to lately and where I can be heard in the next couple of months. So here's a few interesting gigs of mine to take note of:

January 25 - Calgary Creative Arts Ensemble Big Band featuring Ralph Bowen presented by the National Music Centre's Summit Jazz Series

February 3 - Big Band Clinic @ The University of Calgary

February 5 - Ralf Buschmeyer  Trio hosts the Wine-Oh's Jazz Jam Session

February 6 - Carsten Rubeling Quartet @ The Cliff Bungalow Jazz Series

February 8 - The Yardbird Suite (Edmonton) with The Brenan Brothers

February 16 - The Invertigo Trio with Jim Brenan and Rubim de Toledo host the Broken City Jazz Jam 3-6pm

March 15 - Brad Shigeta Swing Band

March 16 - Fraser Calhoun Quartet featuring Mulgrew Miller @ Riverside Church

March 17 - Fraser Calhoun Quartet featuring Mulgrew Miller @ The Yardbird Suite (Edmonton)

March 18 - Fraser Calhoun Quartet featuring Mulgrew Miller @ Grant MacEwan University (Edmonton)

March 19 - Fraser Calhoun Quartet featuring Mulgrew Miller @ The Ironwood Stage & Grill

March 20 - 22 - Optimist Band Festival (Regina, SK)

March 23 - Guest Artist with the Regina Jazz Orchestra (Regina, SK)

Please drop by and say hello!

Here's a few things that have been making the rounds lately around the Four on the Floor offices. Enjoy!

- Brian Blade is indeed one of our generations most influential Jazz drummers (and for good reason!)  His work as a leader with his Fellowship ensemble and as sideman with the Wayne Shorter Quartet are two examples of why Brian has been leading the charge over the past ten or so years.

I've really been enjoying his duo work with guitarist Wolfgang Muthspiel and this track is a good example of the interesting music this drums/guitar duet is capable of:

And if you like that, here's another bass and drums duet featuring Blade with bassist Kiyoshi Kitagawa from his album "Prayer" on Sonny Rollins' "Oleo":

More interesting Brian Blade clips coming this week...

- Drummer Marcus Gilmore, who also happens to be the grandson of Jazz great Roy Haynes (!), has been making quite an impression lately. Here's a nice article on Gilmore courtesy of NPR's A Blog Supreme:


- Lewis Nash was recently in Calgary with the Monterey Jazz Festival On Tour and it was incredible. Nash has always been a favorite of mine. Here's a couple quick ones of Lewis in action from the same recent tour:

- Pianist Benny Green was also on that bill and, as far as I was concerned, really stole the show (and that's saying a lot considering how well everybody played!)

Here's another clip of Benny Green and his trio featuring Kenny Washington on drums:

Dig the very explicit accents that Kenny displays during his drum solo. Time for me to revisit my Wilcoxin snare drum solos, me thinks!

And here's a nice interview with Green talking about his days as a Jazz Messenger, mentored by the great Art Blakey:

- What am I listening to these days?

Mulgrew Miller Trio "Live at the Kennedy Center" - Rodney Green (drums)

Danny Grissett "Form" - Kendrick Scott (drums)

JJ Johnson & Stan Getz "Live at the Opera House" - Connie Kay (drums)

Oscar Peterson Trio "West Side Story" - Ed Thigpen (drums)

Jim Hall "Live!" - Terry Clarke (drums)

- Carl Allen recently gave an excellent masterclass at this year's edition of the JEN Conference in Atlanta on his approach to playing the ride cymbal. Here's a highlight of his session courtesy of Bret Primack, the "Jazz Video Guy":

- My good friend and fellow McGill alumni Rich Irwin recently launched his own on-line drumming school:


More on Rich and this exciting project coming soon!

- New Orleans drummer Herlin Riley is always a pleasure to listen to. His modern approach of dealing with New Orleans Second Line music and infectiousness groove always inspires me:

I've been checking out this album of Riley's lately too and enjoy not only his unique playing but interesting compositions as well:

- Special thanks to Chad Anderson who hipped me this special one (audio only!) of Max Roach:

- And finally, to finish off today's extensive Monday Morning Paradiddle, here's a little Tony Williams that has inspired me of late and should provide more than enough "fuel to the fire" to motivate me in the old woodshed this week!


Sweet Honey In The Rock, the venerable and Grammy Award-nominated a cappella ensemble that is currently celebrating its 39th performance season will bid farewell to one of its’ most tenured and revered member’s Dr. Ysaye M. Barnwell, when she officially exits the group the at end of May this year to pursue several of her own career endeavors.

Barnwell’s inimitable and distinctive bass tones were added to the DC based a cappella quartet in 1979 after being scouted and invited by the ensemble’s founder/ creator Dr. Bernice Reagon. Reagon (who retired in 2004) formed the group in 1973 along with Louise Robinson, Carol Maillard and Mie, while teaching a vocal workshop at the legendary D.C. Black Repertory Theatre Company. Both Maillard and Robinson took a sabbatical from the group in 1976, returning in1992 and 2004, respectively. The current line-up comprises Maillard, Barnwell, Robinson, Aisha Kahlil (who joined in 1981), Nitanju Bolade Casel (who joined in 1985) and Shirley Childress Saxton, an American Sign Language interpreter who has been performing ASL with the group since 1981.

Sweet Honey In The Rock's sterling legacy as songwriters, activists, inspirational performers, and musical innovators has endured and weathered twenty-three personnel changes since its’ inception. In the light of the various configurations, their patented and unique five-part harmonized fusion of African chants, blues, jazz, soul, gospel, and rhythm & blues has built a worldwide following and generated 23 original and revered recordings.

"We are very sad to see Ysaye go," says Carol Maillard, "but we know she's embarking on a wonderful world of projects and accomplishments that she'll undoubtedly achieve. She will always be a part of us and who knows when we might see her on the Sweet Honey stage again!"

Dr. Ysaye M. Barnwell
“I have loved and deeply appreciated being a part of and contributing to the ensemble and legacy of Sweet Honey over the past 34 years,” stated Barnwell. “The women of Sweet Honey will be my sisters forever, but I’ve felt a sense of calling to devote more of my personal and professional time to other projects that I’m very passionate about and have been nurturing for some time.”

Sweet Honey In The Rock has revealed plans to eventually add a new member, and will be holding auditions over the next several months in preparation for their, SWEET HONEY IN THE ROCK 40th ANNIVERSARY CELEBRATION: FORTY AND FIERCE, which will be launched and presented from late October 2013 – October 2014. The group is currently developing an entirely new theatrical production and show to commemorate their four decades of history- making music.

Barnwell will continue to be an integral part of all the ensemble’s live performances thru mid-May, 2013, including a series of international performances in Gent, Belgium, London, England, Muscat, Oman, and several cities in Australia in late March and early April.

Barnwell’s last recording with Sweet Honey In the Rock will be released by Appleseed Recordings on February 26, 2012. The album entitled, SWEET HONEY IN THE ROCK: A TRIBUTE, LIVE! JAZZ AT LINCOLN CENTER pays homage to the songs of several legendary jazz icons including Abbey Lincoln, Miriam Makeba, Odetta and Nina Simone. The double-CD is a live recording of their sold out performances at JALC’s Rose Theatre in April 2011 which also featured a contemporary jazz trio. They will perform several of songs from their new CD in all their forthcoming dates, and will reprise the full live Tribute show at the Kimmel Theater in Philadelphia, February 28; the McCarter Theatre in Princeton, March 1; NJPAC in Newark, March 2; BB Kings in New York. March 5; and the Howard Theater in Washington, DC, March 7.

Upon her departure from Sweet Honey, Dr. Barnwell plans to devote more of her time to her other career interests which include presenting vocal community workshops, conducting, composing, and further developing several major projects. Among them, THE FORTUNE’S BONES project that was commissioned and presented by the University of Maryland at the Clarice Smith Center in February 2012.

Dr. Ysaye Barnwell will be available for interviews during the month of February. Please contact Casey Brosten at casey@mileshighproductions.com to schedule an interview.

For more information on Sweet Honey In The Rock, please visit their official website:



Saxophonist Paul Taylor & Funky New York favorite Paul “Shilts” Weimar formerly of Down to the Bone
are appearing at the Landmark Theatre in Port Washington, NY on Saturday, February 16th.

Paul Taylor grew up in Denver, where he took up the saxophone at the age of seven. He played in school bands, and in high school joined a Top 40 band called Mixed Company. Jazz keyboardist Keiko Matsui and her husband, producer Kazu Matsui, discovered him playing at the Catalina Island Jazz Festival and hired him to play in their band. He spent two years with them, and then Kazu Matsui produced his 1995 debut album, On the Horn, which reached the jazz charts and spawned a radio hit in "Til We Meet Again." Pleasure Seeker, his second album, followed in 1997 and was equally successful. Taylor released his third album, Undercover, on Peak/N-Coded Music in February 2000. Also in 2000, he toured as a special guest artist with the Rippingtons. Subsequent albums Hypnotic (2001), Steppin' Out (2003), Nightlife (2005), and Ladies' Choice (2007), all issued by Peak Records, figured high in the contemporary jazz charts, with Ladies' Choice going all the way to number one. Peak released Taylor's eighth album, Burnin', in 2009. Two years later, Taylor returned with the album Prime Time.

Paul “Shilts” Weimar hails from London, England and has been playing saxophone since his early teens. His 30 year career has spanned all forms of jazz, funk, soul and pop music, and he has toured all over the world and recorded with a host of international artists. Most recently you would have seen Shilts as Bandleader and front-man of British urban jazz funk export, “Down To The Bone” which enjoyed massive success in the United States. DTTB released 7 albums of which Paul was heavily featured, both as a player and as a writer.

Visit THE JAZZ NETWORK WORLDWIDE "A GREAT PLACE TO HANG" at: http://www.thejazznetworkworldwide.com/?xg_source=msg_mes_network


Tim Gordon’s musicianship has been duly-noted in all genres of music, from rock, jazz, funk, top-forty as well as the likes of the Count Basie Orchestra. Having worked live with Pink Floyd, Ray Charles, Henry Mancini, Natalie Cole, as well as orchestral dates with; Harry Connick Jr., Manhattan Transfer and Josh Groban. Gordon’s musical journey continues with an impressive array of top recording artists in literally every genre of music listing him as ‘a first call musician”.

Tim traveled for many years with The Temptations and the Four Tops performing at major venues worldwide which included PBS Specials with The Four Tops such as “Live form the Jackie Gleason Theatre”, a CD recording; “Christmas Here With You”, and the DVD; “The Four Tops Live at the MGM Grand”.

Diversity has been Tim’s calling card, with literally thousands of recording sessions to his credit; national and regional artists releases, movie and television themes and numerous commercial dates. For twenty years Tim worked for Sound Source recording studio transcribing and recording all genres of saxophone and woodwind music for the popular “Sound Choice Accompaniment Tracks”.

As an educator, Tim encourages his students with the knowledge that there is life after music school. “It is my goal as an educator that as my students find their place in life, they might continue to perform.”

The Jazz Network Worldwide is excited to promote multi-instrumentalist Tim Gordon to its worldwide platform with his new CD Up & Up. As a veteran performing and recording artist Tim Gordon penned and arranged all the songs on his new project and hand-picked some of the best musicians on the scene. “When you hear ‘Up & Up’ it makes you immediately take notice of the funky grooves and the cohesiveness of such a stellar chemistry of musical excellence. Tim Gordon truly knows how to bring a musical conversation to pass, leaving you with wanting more” says Jaijai Jackson, creator of The Jazz Network Worldwide Social Network.

“It’s always fun to record music with great players, music is what we do, its who we are” states Gordon. Notables such as Keith Carlock, Jim Brock, Tim Smith, Roddy Smith, Steve Willets, Robby Robinson, Felton Offard, Roy Agee and John Thornton made this project come to life and expertly produced by Tim Smith and Tim Gordon.

“Soulful, hip, smart and technically brilliant. What else could you ask of a saxophone player? Encyclopedic range, comfort with any kind of music, and besides all that? He’s a real nice guy. You’re in for a treat here. Tim Gordon has finally made a record of his own!” says Ricky Schultz of http://www.jazzconsultant.com.

This project has been brewing for a while and has been long overdue, the nucleus of this project was to have ‘fun’ says Gordon wanting his listening audience to experience as much fun as they had recording it.


Visit THE JAZZ NETWORK WORLDWIDE "A GREAT PLACE TO HANG" at: http://www.thejazznetworkworldwide.com/?xg_source=msg_mes_network

Chris Barber - Elite Syncopations (1960)

In his notes on the back of the LP cover, Chris Barber wrote: "Ragtime is a musical idiom that was popular between 1890 and 1920 (having no connotation whatsoever with a bandleader named Alexander!). It had a very great influence on jazz development but has been sadly neglected in recent years.... We had the honour of visiting New Orleans to give a concert in 1959, and we were fortunate to find a collection of original Ragtime sheet music at Bill Russell’s little shop in the French Quarter, thus enabling us at last to prepare and record some authentic Ragtime-style jazz. All the numbers on this LP except Georgia Cakewalk and St. George's Rag come from this collection.... The descriptions of the tunes, the illustration and the panel underneath the title all taken from the original Stark Publishing Co. sheet music, as is the cover of Elite Syncopations".
Right from their outset in 1954 – and before that if you want to count the embryo bands that led to the formation of Ken Colyer's Jazzmen and that band's evolution into Chris Barber's Jazz Band – Chris and the band (but mainly Chris himself, I think) were innovators. Not only did they anticipate various trends but in many cases they set the trend by inventing it in the first place!
The first of the two best-known examples began with the band's skiffle group, the recording and release of Rock Island Line, the enormous influence of Lonnie Donegan, and the explosion of skiffle as both a commercial form of music and an amateur craze in the late-1950s. The second was the band's practice of inviting to Britain some of the most illustrious and influential names on the North American blues and gospel scenes: Sister Rosetta Tharpe, Sonny Terry and Brownie McGhee, and Muddy Waters with Otis Spann – all in the space of less than twelve months in 1957 and 1958. Several others followed, and together with the Barber Band they helped to foster the emergence of a vibrant British blues and rock scene.
In the late 1960s and early 1970s, another mini-craze emerged in the pop music world: ragtime. This happened largely because of the use of the ragtime tune The Entertainer as the theme song in the Paul Newman/Robert Redford hit movie, The Sting. I think it's fair to say that few patrons and fans were aware that the song had not been written for the movie but had been around for about 70 years!

Graham Burbridge (drums)
Chris Barber (trombone)
Pat Halcox (trumpet)
Monty Sunshine (clarinet)
Dick Smith (bass)
Eddie Smith (banjo)

01. Swipsey Cakewalk (Joplin/Marshall) 3.39
02. Bohemia Rag (Lamb) 2.44
03. Elite Syncopations (Joplin) 4.19
04. Cole Smoak (St.John) 4.38
05. The Peach (Marshall) 4.15
06. St. George's Rag (Barber) 3.14
07. The Favourite (Joplin) 4.01
08. Reindeer Ragtime Two Step (Lamb) 4.22
09. The Entertainer (Joplin) 3.50
10. Georgia Cakewalk (Mills) 4.19
11. Thriller Rag (Aufderheide) 3.01
12. Whistlin' Rufus (Mills) 3.01
13. Tuxedo Rag (Traditional) 2.18
16. Bugle Call Rag (Myers/Pettis/Schoebel) 4.18

ARMU 2438
ARMU 2438 (zippyshare)

Nini Rosso - La Ballata Della Tromba (1961)

Born in San Michele Mondovì Rosso's parents had attempted to send him to university, but at 19 he chose the trumpet over academia, and left home. After his employment in a nightclub was terminated by the police, he returned home, but soon after departed again to relaunch his career. He soon became one of the best-known jazz trumpeters in Italy, reaching the crest of his popularity in the 1960s. He became known in the UK in 1962 when his recording of "Concerto Disperato" was covered by Ken Thorne and his Orchestra and became a hit under the title "The Theme from 'The Legion's Last Patrol'". Rosso's original was quickly released on the Durium label and also made the charts, but was less successful than the cover. His 1965 worldwide hit "Il Silenzio" went to #1 in Italy, Germany, Austria, and Switzerland, and sold over five million copies by the end of 1967. It was awarded a gold disc. He also acted in the 1960s.

Rosso died of a tumor in 1994, at the age of 68.

This is rare and early EP with four songs including his amazing trumpet. Enjoy this item !

Nino Rossi (trumpet, vocals)
a bunch of unknown studio musicians


01. Ballata Della Tromba (Pisano) 2.59
02. In Due (Pisano) 2.3
03. Tempo D'estate (Pisano) 2.34
04. Sono Ricco (Tombolato/Pisano)  2.24

ARMU 2437
ARMU 2437 (zippyshare)

News about re-uploads

I´ve got many requests for re-uploads  of albums which are no more available. I´m going to upload them all again, but please be patient. Thanks a lot.

Troggs - Dijon, France (1981)

On February 4, 2013, singer-songwriter Reg Presley of The Troggs died from lung cancer. He had also suffered a “succession of recent strokes”. Presley was 71. The Troggs, with their brand of punk and power pop, had a number of hit songs, including Wild Thing, With A Girl Like You and Love Is All Around, which was covered in the 1990s with huge success by Wet Wet Wet.

The BBC reported that Presley had announced his retirement from music a year ago after being taken ill during a concert in Germany and being diagnosed with lung cancer.

Thanks to woffDLV who shared the tracks on Dime.

woffDLV notes:

From the Rummy Rumsfeld tape collection. An annoying DJ is talking into the music now and then to tell  the listeners what they hear, after Reg Presley announced already… Some radio interference can be heard in the background, otherwise a very good sounding recording.

Thanks to davies51 for the artwork.

Recorded live in Dijon, France; October 5, 1981. Very good FM broadcast.

Ronnie Bond (drums)
Chris Britton (guitar)
Tony Murry (bass)
Reg Presley (vocals)


01. Love Is All Around (Presley) 3.10
02. Feels Like A Woman (Presley) 3.39
03. Strange Movie (Presley) 2.59
04. Black Bottom (Bullis/Murray/Foot) 2.35
05. I Don’t (
Bullis/Murray/Foot) 3.17
06. Peggy Sue (Holly/Allison/Petty) 2.29
07. (I Can´t Get No) Satisfaction (Jagger/Richards) 4.28
08. Evil Woman (Weiss) 2.53
09. I Do Do (4.8MB) 2.49
10. Night Of The Long Grass (Presley) 2.59
11. Give It To Me (Presley) 2.00
12. With A Girl Like You (Presley) 3.20
13. Wild Thing (Taylor) 2.57
14. I Can’t Control Myself (Presley) 3.20
15. I Can Only Give You Everything (Coulter/Scott/Morrison)

Some more words about Reg Presley:

Reg Presley, best known as the lead singer of the ’60s rock band The Troggs, has passed away due to complications stemming from lung cancer and a series of strokes. Presley’s daughter said in a statement (via WEEN), “He passed away peacefully at home and myself, my brother and our mother were with him. We’re absolutely heartbroken.” He was 71.

Presley and The Troggs hit it big with their single “Wild Thing” (originally written by Chip Taylor) in 1966, though the band’s cult status gave them a name unto their own, with other preeminent garage pop gems like “With A Girl Like You”, “Anyway That You Want Me” (another Chip Taylor tune), “Give It To Me” and “Love Is All Around”. Or listen to the glam precursor of  ”I Do Do”.

Presley was born Reginald Maurice Ball on June 12th, 1941 in Andover. Outside of his music career, he made a name for himself as an amateur alien researcher, specializing in crop circles and signs of extraterrestrial life on earth. He authored a book on extraterrestrial forces called Wild Things They Don’t Tell Us.

In January of 2012, Presley took ill during a show in Germany. When hospitalized, doctors diagnosed Presley with lung cancer and placed him on chemotherapy. It was then Presley announced his retirement from music.

Reg Presley (RIP)

ARMU 2436
ARMU 2436 (zippyshare)

Dutch Jazz Times Closing Down

Dear All

During the last few months I have been working hard together with MFM Media to build a new site dedicated to the European Jazz scene called:

Jazz In Europe is a new English language blog dedicated to all things jazz in Europe. Why English? The answer to this question is rather simple; our goal is to spread the word about all the great jazz talent and happenings in the European jazz scene to the broadest audience that we can reach. Our focus is truly world wide. We believe the best way to achieve this is to communicate to our readers in English.

We will feature concert and CD reviews, publish interviews with European and international jazz musicians performing in Europe, Spotlight top European venues and festivals and comment on all the latest news regarding Jazz in Europe. In time we will be adding extra features to the site including among others a Geo-targeted concert diary, video interviews and much more.

With this in mind I will be discontinuing this blog effective 31 March 2013

You can find the new site at:

Please come and check us out

Thanks to all my readers who have followed me and I hope to see you all on Jazz In Europe.

Johan van Deeg

Cheryl Dilcher - Special Songs (1971)

Cheryl Dilcher began her musical career in her hometown of Allentown, Pennsylvania. Accompanying herself on the 12-string guitar, she played her self-penned songs at concerts on college campuses in the Lehigh Valley in the late 1960s and early 1970s. Some of the colleges she played include Lafayette College (Easton), Lehigh University (Bethlehem), and Muhlenberg College (Allentown).

This was Ms. Dilcher's 1st album (and also the 1st recording by Bette Midler). Suffice it to say this record contains excellent folk-psych songs (all written by the artist) well performed and certain to appeal to fans of Melanie' or Janis Ian's recordings from this period.

This is one of these unknown pearls from thisdecade.

John Adelson (keyboards, harmonica)
Bette Midler (background vocals)
Amedeo Borsetti (keyboards)

Cheryl Dilcher (guitar, piano, harpsichord, vocals)
Lane Emley (bass)
Mario Garcia (drums, percussion)
David Smith (flute)
Jim Turner (background vocals)
David Wagner (bass)

01. A Better Day (Dilcher) 3.47
02. Mercy, Dear Lord, Mercy (Dilcher) 2.37
03. Three Wishes (Dilcher) 2.41
04. Richard Never Cries (Dilcher) 2.50
05. Do I Have To Wait Very Long (Dilcher) 3.08
06. Song By A Bird (Dilcher) 3.27
07. Music Box (Dilcher) 0.39
08. How I'd Like To Go Home (Dilcher) 3.18
99. Cotton Joe (Dilcher) 2.48
10. Little Miss No One (Dilcher) 2.34
11. Happy Times (Dilcher) 2.32
12. Goodbye (Dilcher) 3.58
13. Save The World (Dilcher) 3.44

ARMU 2435
ARMU 2435 (zippyshare)

Edvard Grieg - Music For String Orchestra (2012)

Richard Tognetti's all-Grieg album with the Australian Chamber Orchestra focuses on music for string orchestra, including two arrangements that are premiered here. The familiar Holberg Suite is the main attraction, and listeners who are charmed by this evergreen are likely to take a chance on Tognetti's handiwork in his expanded versions of the String Quartet in G minor and the piano gem, Erotik. In a sense, the string quartet lends itself to a large-ensemble treatment more readily than a keyboard piece could, and the choices Tognetti made are idiomatic to the string orchestra, if not necessarily to the string quartet genre. The thickness of the string sections may be disconcerting to any who know the quartet, though to Tognetti's credit, he has retained some repartée for solo instruments, or allowed them to play passages in a concertante style, so the arrangement has sufficient connections with the original and ample contrasts and dramatic interchanges to sustain interest. Erotik, on the other hand, is a lush but simple setting for solo violin and string orchestra that stays in the lyrical vein for its short duration, and like the two Elegiac Melodies, has a subdued character that is in contrast to the volatility of the quartet. Tognetti's violin solos are tailored to his sweet tone and generous bowing, and the orchestra seems wholly in tune with his passionate ideas and interpretations. The super audio reproduction is quite clear and vivid, and BIS has taken great pains to avoid the gray, undifferentiated sound so common to string orchestra recordings. (by Blaur Sanderson)

Australian Chamber Orchestra

Australian Chamber Orchestra
Richard Tognetti – conductor

Richard Tognetti


String Quartet No. 1 in G minor, Op. 27 (1878):
01. I. Un poco andante - Allegro molto ed agitato 11.52
02. II. Romanze: Andantino - Allegro agitato 6.07
03. III. Intermezzo: Allegro molto marcato - Allegro agitato 6.21
04. IV. Finale: Lento - Presto al saltarello 7.54

Two Elegiac Melodies for string orchestra, Op. 34 (1880):
05. Hjertesar (The Wounded Heart) 3.24
06. No. 2. Varen (Last Spring) 4.43

Lyric Pieces, Book 3, Op. 43 (arr. R. Tognetti for violin and string orchestra) (1886):
07.  Erotikk, Op. 43 No. 53.34

Fra Holbergs tid (Holberg Suite), Op. 40 (1884/1885):
08. I. Prelude 2.43
09. II. Sarabande 3.40
10. III. Gavotte 3.15
11. IV. Air 5.33
12. V. Rigaudon 4.16

Music composed by Edvard Grieg

ARMU 2434
ARMU 2434 (zippyshare)

James Last - Soft Rock (1970)

James Last (also known as "Hansi") (born Hans Last, 17 April 1929) is a German composer and big band leader. His "happy music" made his numerous albums best-sellers in Germany and the United Kingdom. His composition, "Happy Heart", became an international success in interpretations by Andy Williams and Petula Clark. According to the British Hit Singles & Albums book, he has reportedly sold in excess of seventy million albums worldwide.

Last's father was an official at the public works department of the city of Bremen and he grew up in the suburb of Sebaldsbrück. He learned to play the piano from the age of 12, then switched to double bass as a teenager. His home city was heavily bombed in World War II and he ran messages to air defence command posts during raids. At 14 he was entered in the Bückeburg Military Music School of the German Wehrmacht.

After the fall of the Nazis, he joined Hans-Gunther Österreich's Radio Bremen Dance Orchestra in 1946. In 1948, he became the leader of the Last-Becker Ensemble, which performed for seven years. During that time, he was voted as the best bassist in the country by a German jazz poll for three consecutive years, from 1950–1952. After the Last-Becker Ensemble disbanded, he became the in-house arranger for Polydor Records, as well as for a number of European radio stations. For the next decade, he helped arrange hits for artists like Helmut Zacharias, Freddy Quinn, Lolita, Alfred Hause and Caterina Valente.

Last first released albums in the U.S. under the titles The American Patrol on Warner Brothers around 1964. He also released a series of nine albums in a series called Classics Up To Date vols. 1–9 which served up arrangements of classical melodies with strings, rhythm and wordless chorus from the mid 1960s through the early 1970s. Last released an album, Non-Stop Dancing, in 1965, a recording of brief renditions of popular songs, all tied together by an insistent dance beat and crowd noises. It was a hit and helped make him a major European star. Over the next four decades, Last released over 190 records, including several more volumes of Non-Stop Dancing. On these records, he varies his formula by adding different songs from different countries and genres, as well as guest performers like Richard Clayderman and Astrud Gilberto. He also had his own successful television series in the 1970s with guests ABBA and Lynsey de Paul.

Though his concerts and albums are consistently successful, especially in the UK, where he had 52 hit albums between 1967 and 1986, which made him second only to Elvis Presley in charting records,[citation needed] he has had relatively few hit singles. In the UK, his only chart singles were "The Seduction", the theme from American Gigolo (1980) composed by Giorgio Moroder, and "Biscaya" from the album Biscaya. In the US, where "The Seduction" became a Top 40 hit, peaking at No. 28 on the Billboard Hot 100 and No. 22 on the Adult Contemporary chart in May 1980, Last was somewhat more successful on the singles charts. In 2003, his song "The Lonely Shepherd" which features the pan flute of Gheorghe Zamfir appeared on the soundtrack of the Quentin Tarantino movie Kill Bill: Vol. 1.

He has won numerous popular and professional awards, including Billboard magazine's Star of the Year trophy in 1976, and has been honoured for lifetime achievement with the German ECHO prize in 1994. His song "Music from Across the Way" (recorded by Andy Williams in 1972) is a melody with a classical feeling and was a worldwide hit; it is the only other Last single apart from "The Seduction" to reach the U.S. Hot 100, where it peaked at No. 84 (and No. 18 on the Adult Contemporary chart) in late 1971. (His only other U.S. chart single was a double-sided entry featuring remakes of The Village Stompers' "Washington Square" and Creedence Clearwater Revival's "Proud Mary", which reached No. 22 on the Adult Contemporary chart in early 1971.)

Last has a large fan base in Europe and elsewhere. His trademark is big band arrangements of pop music hits; his series of party albums is equally well known. Over the course of his career, he has sold well over 100 million albums. In the United States, Last's music was a staple of the mainly instrumental-based Beautiful Music radio format for years.

European concert dates for April 2011 have been advertised. (by wikipedia)

This album was produced especially for the US market and contains many great siongs from the folk-rock scene during the Sixites. And James Last played these tunes in his very special way. Enjoy it !

James Last & His Orchestra

01. Lay, Lady Lay (Dylan) 3.44
02. I Got You Babe (Bono) 3.05
03. Teenage Love (Stahl) 3.11
04. Mr. Tambourine Man (Dylan) 2.24
05. Ballad Of Easy Rider (McGuinn) 3.00
06. Yesterday (Lennon/McCartney) 2.04
07. Like A Rolling Stone (Dylan) 3.08
08. Wedding Bell Blues (Nyro) 3.13
09. Baby Don't Go (Bono) 3.05
10. For Somebody (Last) 2.58
11. You've Lost That Loving Feelin' (Mann/Weil/Spector) 2.58

ARMU 2433
ARMU 2433 (zippyshare)

Enoch Light And The Light Brigade - Vibrations (1962)

Enoch Henry Light (18 August 1905, in Canton, Ohio – 31 July 1978, in Redding, Connecticut) was a classical violinist, bandleader, and recording engineer. As A&R chief and vice-president of Grand Award Records, he founded Command Records in 1959. Light's name was prominent on many albums both as musician and producer. In the 1930s Light studied conducting with the French conductor Maurice Frigara in Paris.
He is credited with being one of the first musicians to go to extreme lengths to create high-quality recordings that took full advantage of the technical capabilities of home audio equipment of the late 1950s and early 1960s, particularly stereo effects that bounced the sounds between the right and left channels (often described as "ping-pong").

He arranged his musicians in ways to produce the kinds of recorded sounds he wished to achieve, the first to do so. The first of the albums produced on his record label, Command Records, Persuasive Percussion, became the first huge hit based solely on retail sales. His songs received little or no airplay on the radio, because AM radio, the standard of the day, was monaural. Light went on to release several albums in the Persuasive Percussion series, as well as a Command test record.

The album covers were generally designed with abstract, minimalist artwork that stood out boldly from other album covers. These pieces were usually the work of Josef Albers. Light was so interested in the sounds of his music that he would include lengthy prose describing each song's sounds. In order to fit all of his descriptions on to the album sleeve, he doubled the size of the sleeve but enabled it to fold like a book, thus popularizing the gatefold packaging format. The gatefold sleeve became extremely popular in later decades, and was used on albums such as The Beatles' Sgt. Pepper's Lonely Hearts Club Band.

Enoch Light released myriad albums in various genres of music under a variety of names during the late 1950s and early 1960s. Some were released under Grand Award Records, a subsidiary label he founded earlier. The music was intended for older audiences, as opposed to most popular music of the time, which was usually aimed at teenagers. During this time, he pioneered many recording techniques such as the use of 35 mm mag (magnetic) film instead of magnetic tape, thereby reducing the effects of "wow" and "flutter". The recordings were released under the "35MM" series, starting from "Stereo 35-MM" released by Command Records. Musicians who appeared on Light's albums include The Free Design, The Critters, Rain, Doc Severinsen, Tony Mottola, Dick Hyman, and arranger Lew Davies.

In 1965, Light sold the Command record label, which had released the Persuasive Percussion series, to ABC Records, which itself was subsequently sold to MCA Records. After the sale, the quality of his records plummeted dramatically.[citation needed] The signature gatefold format (along with Light's prose) was immediately discontinued, and the covers changed to budget labels pressed on recycled vinyl.[citation needed] In 1975 they were completely discontinued.

Light continued recording after the sale of Command with a new label called Project 3, but did not concentrate so heavily on stereo effects. Light recorded several successful big band albums with his earlier established band in the Command days Enoch Light And The Light Brigade, using the original scores, keeping the arrangements as close to the original as possible. He retired from music entirely in 1974 and died four years later.

His rendition of "Autumn Leaves" was sampled by RJD2 for the song "A Beautiful Mine," which is the theme for the AMC drama Mad Men.

His version of "My Way of Life" was sampled by the Australian group The Avalanches for their hit song "Frontier Psychiatrist." (by wikipedia)

The records that Enoch Light made with his small Light Brigade ensemble feature some of Lew Davies' airiest, most adventurous arrangements, with many a song starting as a quiet bongo jam or a interplay of guitar lines and winds and the song's identity remaining mysterious for some time. "Vibrations" is named for the use of the ondioline, the sci-fi-sounding organ that takes some of the melody for "Remember" and "Dancing on the Ceiling." It's used sparingly, so not to sound gimmicky, and the majority of the album is a bongo and xylophone extravaganza. (by Ted Mills)


Phil Bodner (woodwind)
Bob Haggart (bass)
Al Klink (saxophone)
Milton Kraus (ondioline, organ)
Phil Kraus (percussion)
Don Lamond (percussion)

Tony Mottola (guitar)
Bobby Rosengarden (percussion)
Doc Severinsen (trumpet)
Ed Shaughnessy (percussion)
Stanley Webb (woodwind)
Moe Wechsler (piano)

conducted by Enoch Light

01. Temptation (Brown/Freed) 2.58
02. I Get A Kick Out Of You (Porter) 2.17
03. Remember (Berlin) 2.51
04. Green Eyes (Utrera/Rivera/Woods/Gilberg/Menendez) 2.49
05. Stars Fell On Alabama (Perkins/Parrish) 3.11
06. As Time Goes By (Hupfeld) 2.25
07. That Old Black Magic (Arlen/Mercer) 2.17
08. Yesterdays (Harbach/Kern) 3.02
09. Music Maestro Please (Wrubel/Magidson) 3.09
10. Bidin' My Time (Gershwin) 2.15
11. A Game Of Chance (Davies/Drake/Light) 2.53
12. Dancing On The Ceiling (Hart/Rodgers) 2.30

ARMU 2432
ARMU 2432 (zippyshare)

MoZuluArt - Same (2007)

MoZuluArt is a project that was founded by Roland Guggenbichler (Austria), Vusa Mkhaya Ndlovu (Zimbabwe), Blessings Nqo Nkomo (Zimbabwe), Ramadu (Zimbabwe).
It is a fusion of traditional zulu music with classical music based mainly on Mozart compositions hence the name MoZuluArt. "We try to fuse these two music styles in a way that leaves room to the original song and style and not absorb a lot from it so that it stays with it´s authenticity".

“Music is and has always been a unifying factor around the world, bringing together people from different backgrounds, races, ethnicities and of course, traditions. It is through music that people get to know and understand other cultures and develop a liking to adopt into that culture."

When the three guys from Zimbabwe were growing up in the dusty roads of Bulawayo and listening to traditional music and pop music from their local heroes Ilanga, Lovemore Majaivana, Fanyana Dube, Solomon Skhuza they never imagined that there was a thing called classical music in this world. later in their teenage years when they went shopping in big departmental stores in town or when they passed outside a hotel they say "there was this funny music that was always playing which they thought was slow and boring", little did they know that one day they will be the ones who will be singing, writing new texts and re-arranging this music they once called "slow and boring".

Roland Guggenbichler spent a big part of his youth practicing the Piano and imitating the Beatles with his first teenage band. A lot changed when he joined the local band "Rica Salsa". They focused on Afro-Cuban music, and Roland was fascinated by new sounds and grooves. It took another few years to discover that besides the "ndungu ndungu" drumming, African music comes in many different shapes and flavours and for sure many discoveries are still to be made.

If Mozart was still alive he would have been proud to see two cultures meeting together to celebrate his music and bringing it to an audience that never imagined that one day they will be sitting, nodding their heads and tapping their feet to his compositions.

Young as it is this project is set for a big future, this has been evidenced by the positive critics they are getting from music critics, fans, and the cooperate world alike. Muhamed Ali once said "if you think the world was surprised when Nixon Resigned wait till I kick George Foreman´s behind."

I am sure you will once again be surprised when MoZuluArt conquers the world. (by Vusa Mkhaya Ndlovu)

MoZuluArt caused a sensation in 2007 when they opened the "Festwochen" in Vienna performing together with the Vienna Symphony Orchestra in front of several hundred thousand people and live on TV. All concerts in 2007 and 2008 ended with standing ovations ...

Roland Guggenbichler (piano)
Vusa Mkhaya Ndlovu (vocals)
Blessings Nqo Nkomo (vocals)
Ramadu (vocals, percussion)
Wolfgang Pushing (flute on 05.)
Vienna Symphony Orchestra (on 14.)

01. Amasiko Intro (Nkomo) 0.59
02. Bheka Kimi (Nkomo/Mozart) 3.12
03. Igqiha (Traditional) 3.37
04. Zungikhumbule (Ndlovu/Mozart) 3.07
05. Mbombela (Traditional) 3.52
06. Phakathi (Ramadu/Guggenbichler) 5.42
07. Amasiko (Nkomo) 2.46
08. Blue River (Ndlovu) 5.48
09. Sizohamba Naye (Traditional) 2.55)
10. Qula (Traditional) 3.03
11. Tinto (Guggenbichler) 3.59
12. Masiyeni (Ramadu) 3.20
13. Amandebele (Traditional) 3.17
14. Bheka kimi (live) (Nkomo/Mozart) 2.53

ARMU 2431
ARMU 2431 (zippyshare)