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Here is a bunch of new albums on the great BGO label, which is an endless source of great material:

 

 

3^rd and 4^th albums by UK group Babe Ruth, which marks a change in their musical direction towards more conventional Rock material, but still quite interesting. On the third album they again changed the keyboards player (Steve Gurl) and by the time the fourth album was recorded, the founder / guitarist Alan Shacklock left, replaced by Bernie Marsden (future Whitesnake member). Following these two albums, the group recorded their fifth album "Kid`s Stuff", before disappearing from the surface. Although there is nothing innovative or groundbreaking here, this is still good Classic Rock, made when Rock was alive, which means it can't be bad. Definitely worth investigating!

 

 

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Here is a bunch of new albums on the great BGO label, which is an endless source of great material:

 

 

1st and 2nd albums by UK Prog outfit Babe Ruth, named after the American baseball star of the same name, founded by guitarist Alan Shacklock and including singer Janita Haan, keyboardist Dave Punshon, bassist Dave Hewitt and drummer Dick Powell (Powell and Punshon were replaced on the second album by Ed Spevock and Chris Holmes respectively). Although relatively obscure, the band was amongst the best and most interesting UK outfits at the time. The first album had quite strong Jazzy influence (especially on the great version of Frank Zappa's "King Kong"). All band members were excellent instrumentalist and the albums are full of great solos, especially by the guitarist. Haan was also quite unusual as vocalist, with a good dynamic range from whisper to scream. The material (written almost entirely by Shacklock) is excellent and withstands the test of time beautifully. Some tracks on both albums include elaborate orchestral arrangements, expanding the sound and musical scope of the compositions. In retrospect these two albums are hidden gems of the period and surely deserve the attention of every Prog fan. Wholeheartedly recommended!

 

 

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Here is a bunch of new albums on the great BGO label, which is an endless source of great material:

 

 

6^th and 7^th albums by US rockers Iron Butterfly, recorded by the second incarnation of the band fronted by guitarist Erik Braunn, who also wrote most of the tunes on these two albums. The original lineup of the group, which was a major force on the US Psychedelic Rock scene with their legendary "In-A-Gadda-Da-Vida" album, fell apart by the end of 1970, releasing their swan song "Metamorphosis". This second incarnation didn't continue the musical line of their predecessors (after all almost five years went by and the music scene changed), deciding to produce more mainstream Rock material, which of course infuriated fans and critics alike, who dismissed these albums offhand. In retrospect these albums are surely not worse that most of the material recorded at the time and contain quite a few brilliant moments, especially "Sun And Steel", which features keyboardist Bill DeMartines, who is the most notable instrumentalist on these recordings. Original Iron Butterfly drummer Ron Bushy is also part of the lineup. Altogether these two album are solid reflections of their times and lovers of 1970s Classic Rock should enjoy them.

 

 

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Here is a bunch of new albums on the great BGO label, which is an endless source of great material:

 

 

1^st and 2^nd albums by UK singer Roger Chapman, recorded following the demise of Family and later Streetwalkers, the two bands he led since the late 1960s and up to the late 1970s. Chapman's decision to go solo was a logical move following his experiences with bands, which failed to gain large following, despite the fact that they played some of the best music recorded in the 1970s, both Prog and later Classic Rock. He was at the top of his vocal powers and idiosyncratic showmanship and unique throaty voice had no equals, neither at the time nor later. Chapman selected an excellent band to accompany him on his debut studio album, which included Henry Spinnetti on drums, Geoff Whitehorn on guitar and the legendary Brian Odgers on bass. Ex-Family cohort Poly Palmer also participated on several tracks. Following the release of the studio album Chapman formed a touring band, christened "Shortlist", which included some of the musicians who played on the studio album and added Ex-King Crimson saxophonist Mel Collins, which was recorded live in Germany a few month later and released as the second album. Both albums absolutely kick butt are superb examples of Classic Rock, even when recorded relatively late, when Rock was already dying. Chapman still enjoys quite a lot of popularity, especially in Europe, and continues to perform and record. For his fans these albums are an absolute must!

 

 

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Here is a bunch of new albums on the great BGO label, which is an endless source of great material:

 

 

2^nd album by UK guitarist Mick Abrahams with the Mick Abrahams Band, which was expanded to a quintet for this album with the addition of Mick's partner in Blodwyn Pig, reedman Jack Lancaster. Lancaster's return marked a change in the band's overall sound, which was now quite similar to that of Blodwyn Pig, being more Jazz influenced as opposed to the last album being more Bluesy. The rest of the band's lineup is identical to the one, which recorded the previous album. Lancaster is the main soloist on this recording, with Abrahams keeping a relatively low profile, but he did write most of the music here, with the rest written by keyboardist Bob Sargeant. Altogether the album is another splendid effort by Abrahams and his team, with great compositions and splendid musicianship, which unfortunately didn't help much to gain any popularity. Disillusioned by the music business, Abrahams quit the scene completely for two decades, reappearing only in the early 1990s with a new edition of the Mick Abrahams Band, which released several albums since. This is a must for all Blodwyn Pig / Abrahams fans and a splendid piece of British Jazz-Rock Fusion.

 

 

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Here is a bunch of new albums on the great BGO label, which is an endless source of great material:

 

 

6^th album by US Rockers extraordinaire Steppenwolf and the only official live recording (originally a double LP) by the classic lineup of the group, which was recorded at various locations in early 1970, when the group was touring supporting their latest studio album "Monster". They perform several tracks from the latest album, as well as a selection of their classic material from earlier albums. The group was in top form at the time and their performances are strong and convincing, with John Kay firmly in the lead. Apart from the musical content, which is excellent, it is also a great opportunity to hear Kay's commentary when introducing the tunes, which reflects upon the social / political upheaval in the US at the time, with Rock musicians often in the forefront of the struggle. Rock obviously had a serious role as a means of expression and active platform at the time, when most rockers were intelligent enough to have something to say in addition to playing music, times sadly long gone by now. This album can be used as a time machine; just crank up the volume, relax, close your eyes and here you go 40 years back in time, when Rock was Rock and music was music. Enjoy!

 

 

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Here is a bunch of new albums on the great BGO label, which is an endless source of great material:

 

 

5^th album by US Rockers extraordinaire Steppenwolf, led by charismatic lead singer John Kay, who also penned most of their material, which is a great example of how Rock music became a most potent weapon during the social / political upheaval in the US at the time of its release. Most of the songs on this album are full of bitterness and sarcasm and bear strong commentary on the American political system and of course its involvement in the Vietnam War. Kay, as most rockers at the time, was a representative of the rebellious young generation, which looked upon politicians with disgust and despise, letting his opinion to be heard. Considering Rock's immense popularity at the time, performers had a wide audience and therefore were widely influential, which was a major factor in their struggle for change. Of course in retrospect we all know that governments remained corrupt and often immoral, but the struggle brought these issues to the awareness of an entire generation. As to the music, it is as good as all Steppenwolf material at the time, although mostly dismissed by critics, which for some reason never really "got" the band's fortes. This is Classic Rock, well written and well performed, which withstands the tides of time sans any inferiority complex. For the generation that never heard this music at the time it was created, here is an opportunity to plunge into history and enjoy it while doing it.

 

 

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Here is a bunch of new albums on the great BGO label, which is an endless source of great material:

 

 

3^rd and 7^th albums by US Rockers extraordinaire Steppenwolf, led by charismatic lead singer John Kay, who also penned most of their material, presented here as a twofer. "At Your Birthday Party" was released following the two monster predecessors, which shaped the US Rock in many respects, and were truly impossible to follow. No wander the album was received coldly by critics, who considered it a much weaker release at the time, but in retrospect it is quite an excellent album in every respect. Rather that follow the pattern established by the two earlier albums, the band intentionally took a step back from the bluesy influences and expanded their repertoire to include Rock ballads, which worked out quite well. Considering the fact that the band was producing two albums yearly in the first phase of their existence, the entire output is truly amazing and definitely underappreciated. "7" was the one before the last album recorded by the original incarnation of the band and is one of their strongest efforts, with excellent songwriting and perfect execution. It was their swan song in many respects, as the band would fall apart soon after, with just one more release up their sleeves. Although the band reformed later and in fact exists to this very day, the first glorious years and the first 8 albums are absolute Rock classics, sadly mostly forgotten and underappreciated. So here is a chance to re-examine their output and take another view at this great band, don't miss it!

 

 

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Here is a bunch of new albums on the great BGO label, which is an endless source of great material:

 

 

1^st and 2^nd albums by UK Prog trio Gun, led by guitarist Adrian Gurvitz, who also wrote all the music, and including also his brother Paul Gurvitz on bass and Louis Farrell on drums. Both albums are a fantastic mixture of Hard Rock, Prog and Psychedelics, with Adrian Gurvitz displaying some amazing guitar abilities. The basic trio format is expanded by usage of rich orchestral arrangements, which in my opinion are not only excellent, but also represent one of the very early and very successful attempts to create Orchestral Rock. The music is also excellent and original and in retrospect quite daring and ahead of its time. These two albums have been among my favorites for almost 40 years, which surely proves that they didn't go stale with age. The band fell apart after the release of the second album, but the Gurvitz brothers kept going during the 1970s as members of Tree Man Army and later Baker-Gurvitz Army with legendary drummer Ginger Baker. Definitely worth investigation for those who missed these relatively obscure gems!

 

 

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Here is a new album by an US Prog band, which is rather surprising:

 

 

1^st album by US Prog trio led by keyboardist Jimmy Pitts, who also composed almost all the music on the album, with bassist Jerry Twyford and drummer Alex Arellano. The music is a very ambitious musical suite, comprised of 17 miniatures, which pays homage to the Russian pianist / composer / philosopher / mystic Alexander Scriabin. Scriabin was of course one the most interesting and forward-thinking composers of the late 19^th / early 20^th Century, and who had an immense influence on the development of modern Classical Music, especially atonal / twelve-tone music developed later in the 20^th Century by Arnold Schoenberg, Alban Berg, Anton Webern, Hanns Eisler, Milton Babbitt, Luciano Berio, Pierre Boulez and Igor Stravinsky. Scriabin, who died unexpectedly at the age of 43, left an unfinished piece he was working on, called "Mysterium", which was an epitome of his aesthetic and mystical beliefs. As the title of the album suggests, Pitts and his cohorts try to develop a piece of music, which perhaps could have been written by Scriabin, if he was alive today. Although such an undertaking might look mockingly way too ambitious, to my pleasant surprise they managed to fulfill their ambitions extremely well. The music is truly excellent, full of twists and turns, yet beautifully coherent, bearing many references to modern Classical Music, but incorporating musical techniques from Rock and Jazz. Often devilishly complex and tricky, the trio manages to perform the music flawlessly, which of course demands almost total control of their instruments. In order to expand the album's tonality and instrumental depth, the group invited about a dozen of their friends / musicians (mostly guitarists), each contributing a brief solo on several of the pieces, adding mostly ornamentation rather than substance. Several of the guitar solos have a slight "metallic" tinge, which might lead for this album to be classified as Prog Metal (as I've observed in some of the album's reviews); well those who do so simply miss the point by a mile. The usage of instruments is completely meaningless and if this music was performed by a Classical ensemble (which seems like a good idea), it would still be the same – a superb example of intelligent, contemporary music, a rare gem on the dreary plane of musical refuse that mostly surrounds us all. The fact that such exceptional music was created by young musicians, who are not only very talented, but who also know who Scriabin was, not to mention knowing his music (an extremely rare manifestation of respect towards the European Classical Music heritage, especially among Americans), makes them a great example for others to follow (not that I have many illusions as to this becoming a reality. Overall this is a stunning debut, worthy of a respectful position among the best Prog albums produced in the last decade, although the open-minded listeners of contemporary Classical music might have a field day with it as well. Kudos and I can't wait for the group's next effort, hoping they can sustain the same level of excellence.

 

 

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Here is a new album by Israeli Jazz musician living in NY:

 

 

2^nd album by Israeli (resident in US) guitarist / composer Oren Neiman, a quartet recording with Neiman on guitar, Kenny Warren on trumpet, Doug Drewes on bass and Kenny Shaw on drums, featuring his original compositions. Neiman moved to NY in 2001, where he studied with some of the best Jazz players on the scene, including guitarist John Abercrombie, and soon becoming his protégé. Following the studies he formed his own quartet, recording a debut album in 2006. This new recording, with a new quartet, is quite a unique statement. Neiman concentrates here more on producing a musical statement rather than showing off his guitar playing. In fact it is the trumpeter, who plays most of the leads on the album, with Neiman more in the shadows playing only occasional solo parts, but sometimes they play amazing unisono passages, which remind me of the Larry Coryell / Randy Brecker excursions in Eleventh House, but which are stylistically remote from the Fusion played by Eleventh House. Neiman's music is very difficult to characterize (which is a good thing), obviously influenced by many diverse sources. It is predominantly Jazzy, but it also touches upon ethnic themes and rhythmic patterns, often using odd meters and unusual harmony. Also the unusual sound blend of the guitar / trumpet combination gives the listener the impression of hearing something innovative and rarely attempted before. Warren is an impressive player, with great sensitivity, warm tone and good range, who is able to make his instrument aggressive and lyrical, whichever suits the music at the time. The rhythm section gives a perfect support to the soloists, handling the difficult tempi with ease and elegance. Neiman's praise goes mainly to his composing abilities, as his instrumental duties here are not the main concern (as far as I perceive it), although his playing is obviously top notch. Overall this is an interesting and challenging album, absolutely worth investigating.

 

 

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Here are three albums by one of my favorite musicians, the Finnish genius Heikki Sarmanto:

 

 

Finnish pianist / composer Heikki Sarmanto recorded this album as a gesture of closing one of many of his "life-circles". Nearing the age of 70 he returns to a session recorded almost 4 decades earlier in Boston, where he attended the Berklee Collage. The quartet present here (Sarmanto on piano, Juhani Aaltonen on saxophone, Pekka Sarmanto on bass and Craig Herndon on drums) includes three of the 1970 quintet members, which recorded the music recently released as "A Boston Date" on the Porter label – a youthful foray into Free Form improvisation. This album re-examines some of the compositions used during that session, as well as adding several more recent ones, all composed by Sarmanto (except one tune). During the years that separate the Boston session and this recording, Sarmanto created a vast body of music both in the Jazz and contemporary Classical Music, earning a worldwide recognition as one of world's leading composers and performers. His contribution to the process of forging the European Jazz scene in the early 1970s is a monumental achievement in itself, but his entire career if full of superb triumphs. It is quite natural for people to mellow in time, and in Sarmanto's case the process of his development as a musician "mellowing" means refinement and intensification of his natural gift into a blissful perfection. This quartet recording is an ideal exercise in delicacy and sophistication, with deeply melodic flow ornamented by superb soloing. The music is coherent, but intricate and full of gorgeous musical details. These musicians are all true Masters, with great respect to musical traditions in every genre, be it Jazz, Classical Music or Folklore. Listening to the album inspires a warm, fuzzy feeling of total delight, with every note just right and every phrase just perfect. Absolutely not to be missed!

 

 

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Here are three albums by one of my favorite musicians, the Finnish genius Heikki Sarmanto:

 

 

2^nd album by Finnish pianist / composer Heikki Sarmanto, recorded soon after his return from Boston, where he attended the Berklee College of Music – the first Finnish musician to do so. The core of the quintet, which recorded this album, was established in Boston, and recorded a semi-formal session there, released only 38 years later as "A Boston Date" on the Porter label. With three Finnish musicians: Sarmanto on Fender Rhodes, flautist Juhani Aaltonen and bassist Pekka Sarmanto (Heikki's brother and life-long collaborator), and two Americans: guitarist Lance Gunderson and drummer Craig Herndon (Pekka replaced George Mraz, who played on the Boston session, recorded just few months earlier), this quintet continues the explorations originated in their first encounter, but this time the approach is quite different. Whereas the Boston session was almost completely spontaneous and unplanned, exploring the realm of Free Jazz collective improvisation, this recording session is obviously well planned and therefore much more organized. Although there is plenty of great improvisations here and even some Free Form, the melodic content is clearly stated and well developed, with an overall atmosphere of typical Nordic tranquility and serenity in the air. Sarmanto's switch to the Fender Rhodes and Aaltonen using the flute exclusively have a deep impact on the album's overall sound and ambiance, which are predominantly relaxed and deeply reflective. The worldwide explosion of Fusion, which happened in the early 1970s and which affected the Finnish scene as much as any other musical scene in the world can be heard here as well, with Sarmanto / Aaltonen interplays resembling the Chick Corea / Joe Farrell dialogs on the early Return To Forever albums. But above all, the music, composed almost entirely by Sarmanto (with Gunderson contributing one composition), is a sublime example of European Jazz at its peak, combining the elements of Jazz tradition with harmonies from the European Classical Music and heritage from European ethnic music. The Scandinavian Jazz musicians and composers, and Finnish ones in particular, were amongst the pioneers of Jazz-World Fusion, and many of their creations were deeply rooted in local folklore. Aaltonen's beautiful flute lines are full of clever innuendos to Finnish (but not only) folklore, as are many of Sarmanto's piano lines. Pekka's excellent bass playing is a clear evidence of his extraordinary talent and ability, which can be heard on countless Finnish Jazz albums over the years. Herndon provides a great rhythmic drive to the music and Gunderson solos and interacts with the other members of the quintet almost telepathically. Overall this a beautifully played and well constructed piece of music, which one tends to remember fondly for a very long period of time – I know I did, as I never forgot this album since hearing it for the first time some 37 years ago. For people who never heard it before, this is a wonderful opportunity to discover a masterpiece of European Jazz, which has been unavailable for decades and only now reissued on CD for the first time. Don't even think twice!

 

 

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Here are three albums by one of my favorite musicians, the Finnish genius Heikki Sarmanto:

 

 

This is one of those albums, which immediately invoke the recurring question: "How many recordings like this one remain hidden and unreleased all over the world?" The fact that it took 38 years for this gem to surface is criminally negligent, to put it mildly, with the only solace being the proverbial better late than never. Finnish pianist / composer Heikki Sarmanto has been one of my favorite musicians for the last four decades, always awe-inspiring and never disappointing. His life-time achievements indisputably deserve a book-sized biography (unfortunately not written yet) and his role as Europe's leading Jazz personality and a prominent creator of the emancipated European Jazz is sadly little known outside of a tiny circle of connoisseurs and researches. In fact the entire Finnish music scene often appears to be the one of world's best hidden secrets, which is amazing in view of the miraculous contribution of Finnish musicians and composers to the Pantheon of the overall human musical culture. Apparently even the most devoted music fans and critics often suffer from chronic narrow-mindedness and Xenophobia, with Americans leading the camp, with pride and remarkable consistency, over the years. Although recorded in 1970, this session does not reflect Sarmanto's early musical steps. He was 31 years old at the time and already a seasoned musician, with extensive Classical Music education (a graduate of the Helsinki Sibelius Music Academy - the country's most prestigious musical education institution) and extensive Jazz experience going back almost a decade earlier as member of several Jazz ensembles active on the country's burgeoning scene. In 1964-65 Sarmanto took part in the recording of Finland's first modern Jazz album, the legendary "The Modern Sound Of Finland" by saxophonist / flautist Esa Pethman, and his piano playing on that album already sounds refined and focused. In 1968 Sarmanto was the first Finn to be awarded a scholarship at the Berklee College of Music in Boston, which gave him a chance to get some formal Jazz education (the Jazz department of the Sibelius Academy would be established only in the early 1980s, and of course Sarmanto would be appointed its first department head). Sarmanto used his time in Boston not only to expand his formal Jazz horizons, but also to mingle and play as much as he could on the local Jazz scene, which was quite active at the time. The Berklee students and the local musicians often gigged together and soon enough ensembles were formed. Following a brief home visit in 1969, during which Sarmanto recorded his first album as a leader, a live sextet recording released as "Flowers In The Water" (on which Pethman is also featured), he returned to Boston to "wrap up" his Berklee affairs. During that period he formed the quintet, quite accidently, which is often the best way for things to happen, which is featured on this semi-professional recording. The quintet consists of Sarmanto on piano, another Finnish giant, saxophonist / flautist Juhani Aaltonen, who followed Sarmanto to Berklee but lasted only one semester (without a grant the finances were just against all odds), Czech bassists George Mraz, who also arrived in Boston on a Berklee grant (together with compatriot pianist Jan Hammer), escaping the brutal Warsaw Pact forces invasion of their homeland, following the brief "Spring of Prague" in 1969, the first major crack in the Berlin Wall. The remaining two musicians were guitarist Lance Gunderson and drummer Craig Herndon, both Bostonians at the time. The quintet was nicknamed, half-jokingly, "The Serious Music Ensemble", a name which would stick to several Sarmanto's groups in the future, featuring the core of this quintet. The three Europeans and two Americans obviously had no difficulty in communicating musically, and it's hardly surprising that they chose to play mostly Free Form, for several reasons. The air was still reverberating with the sounds of Albert Ayler, Eric Dolphy and John Coltrane, with the US Free Jazz scene at its peak by the end of the 1960s (unfortunately soon to be almost completely neglected, passing the torch to the Europeans). The limited, if any, rehearsal time the ensemble had before entering the studio, obviously left most of the content to be developed at the spur of the moment, making collective improvisation the only logical path to follow. And perhaps the youthful spirit of rebellion had also something to do with it, considering Berklee's extreme conservatism, which is legendary even today. Aaltonen, the oldest and most experienced musician on board, already had extensive Free Jazz practice, after playing with Finnish pioneers of the genre, most notably with drummer Edward Vesala, and his contributions are the most consistent, with remarkable power of expression, intensity and technical brilliance rivaling the Masters of the genre. The six pieces played during the session, all composed by Sarmanto, are performed in one continuous flow with no gaps between them. Typically, after a briefly stated theme, the musicians enter a series of exchanges, with one, two or even three players soloing simultaneously, with the rhythm section frequently changing the tempo. Most of the material is up-tempo, except for the beautiful ballad, which ends the set (dedicated to Margareth Chaloff, the legendary piano teacher), which is the gentlest and most structured piece on the album, featuring the exquisite bass work by Mraz and more typical of Sarmanto's future output. In many respects the session is quite typical European Free Jazz, resembling many similar musical encounters happening in Europe at the time, especially in the UK, but also in Poland, Germany and the Netherlands. It is quite distinctly different from American Free Jazz, which demonstrates rawer and more spontaneous approach but lacks the European Classical Music background, which is deeply implanted in the minds of European musicians, evident even in the most extreme Improvised Music experiments. In many respects, this session is probably one of the most "European sounding" recordings ever captured at a US studio. It is really interesting to compare this session with the material recorded by the almost identical quintet (exchange Mraz with Heikki's brother bassist Pekka Sarmanto) just a few months later and released as Sarmanto's second (first studio) album "Counterbalance" (also reissued on Porter Records). With Aaltonen playing exclusively flute and Sarmanto switching to Fender Rhodes, this seems to be a completely different group, even if still pretty much in the Free vain. The European influence simply becomes overwhelming, changing the music dramatically. Even if the sound quality of this recording is not up to modern digital standards (the recording was most probably not intended to be commercially released), the musical content and the immense historical importance of this session make it an indispensible document of the highest value. Kudos to Luke Mosling, the brave owner of Porter Records, for releasing this treasure and making it available to us, the music lovers, and saving a lost gem from extinction. Sarmanto's followers worldwide will be obviously delighted to hear this, as should be every connoisseur of good music, especially those who follow the emergence of the modern European Jazz. Brilliant stuff!

 

 

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Here are several new additions from the fantastic Vocalion label, which documents the glory days of the British Jazz scene:

 

 

British singer / actor Elaine Delmar is a prominent figure on the local entertainment scene, with several decades of activity on stage, cinema and recording studio. Delmar started her career as a Jazz singer in the mid 1960s, recording several albums for Denis Preston, and then signed with the CBS label, on which she released just the one album, now reissued on Vocalion. As opposed to her early strictly Jazz recordings, on this album Delmar presents repertoire drawn from the cinema and stage as well as contemporary songbook. Of course her Jazz inclinations are still very much audible, as are her natural charm and talent. The music is superbly arranged and the orchestral accompaniment perfectly executed, with that marvelous 1960s sound. In many respects this album is a perfect example of vocal albums made in Britain in the late 1960s / early 1970s, where arrangers and orchestra conductors were an integral part of the final result and the overall result full of brilliant details, both vocal and instrumental. They don't make music like that any more, that's for sure. This is a most pleasant trip don the memory lane, which lost nothing of its charm over time.

 

 

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Here are several new additions from the fantastic Vocalion label, which documents the glory days of the British Jazz scene:

 

 

The folk music revival, which swept the US and Britain in the early 1960s, resulted in the new generation of musicians rediscovering the riches of musical tradition created over centuries passed. As opposed to Classical music, folklore was created outside of the musical "establishment" over the centuries, mostly by troubadours and non-professional authors, which of course doesn't make that this music is in any way inferior to the Classical heritage, it is simply different. Before Folk turned into Folk-Rock by the mid-1960s, hordes of musicians sang traditional material and created new songs in the spirit of the Folk tradition. This album documents the work of the British ensemble The Critics Group, which was quite well known at the time. This album, which collects folk songs from the streets of London, from Elizabethan times to present, is a beautiful example of how the folk tradition can be preserved and cherished. The group members are all excellent singers with splendid voices. The songs are mostly performed a cappella, as they were sung originally, but some have instrumental accompaniment. Overall this is a charming album, aimed at listeners who like traditional folklore.

 

 

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Here are several new additions from the fantastic Vocalion label, which documents the glory days of the British Jazz scene:

 

 

Two great vocal albums by US singer Salena Jones, born at the same small town as Ella Fitzgerald, who came to prominence after she arrived in the UK and captured the British audiences with her warm, sensuous voice and great ability to interpret Jazz material. In Britain Jones recorded her first two albums, released on the CBS label, both of which are presented here. Both albums were orchestrated and arranged by arranger / conductor Keith Mansfield, who was a superb master of his trade and whose orchestra included the best British studio and Jazz players at the time. The music covers a selection of popular vocal Jazz standards and other contemporary material, all beautifully performed with great feeling and masterly approach. The orchestral arrangements are absolutely stunning and full of superb short instrumental solos. The albums lost nothing of their charm over the years. Recommended to vocal Jazz enthusiasts.

 

 

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Here are several new additions from the fantastic Vocalion label, which documents the glory days of the British Jazz scene:

 

 

In parallel to his immensely important contributions in the Jazz field, British trumpeter Shake Keane also recorded three crossover Jazz / Pop albums for the Decca label in the 1960s, which although being on the "lighter" side of things are still prime examples of his amazing tone and virtuosity. The remastered edition of the 1967 album "That`s The Noise" (the second of the three) was released on a separate album on the Vocalion label, and here are the other two. "With The Keating Sound" form 1965 features Keane performing a great selection of Jazz standards, arranged and orchestrated by Johnny Keating and accompanied by the gorgeous orchestra led by him. Keating's orchestra, as many similar British orchestras at the time, included the best studio musicians, many of which were also active on the Jazz scene. "Dig It!", from 1968, features Keane performing contemporary Pop material, again arranged and orchestrated for an orchestra, this time by Ivor Raymonde, and feature quite unusual approach to Pop material. Both albums are a great document of the great trumpeter's genius, and of course include music, which stands the test of time quite well. Recommended for listeners who prefer the more melodic side of Jazz.

 

 

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CD

 

Here are several new additions from the fantastic Vocalion label, which documents the glory days of the British Jazz scene:

 

 

Two brilliant albums by British arranger / conductor / bandleader Alan Cohen, which he recorded with his orchestras, paying tribute to Jazz tradition and especially its Big Band heroes. Both albums were originally released on the Argo label. "Runnin` Wild", recorded in 1974, is a tribute to Paul Whiteman, who dominated the early (1920s) jazz scene in the US, leading an orchestra, which incorporated the best Jazz players of the time. "Black, Brown & Beige", recorded in 1972,  is a tribute to Duke Ellington, who started in the early 1940s to compose a series of superb Jazz suites, of which this was the first and which was unfortunately never properly recorded in its entirety by its creator. Cohen managed to assemble the pieces of the puzzle 30 years later and this is the first time we're able to hear this magnificent piece of music as intended. Cohen's orchestras included the best players on the burgeoning British Jazz scene at the time: Kenny Wheeler and Harry Beckett (trumpet), Malcolm Griffiths and Michael Gibbs (trombone) Alan Skidmore and Art Themen (saxophones), Alan Jackson (drums) and many more. The divine Norma Winstone contributes a wonderful vocal part on one track. Together these two albums are a wonderful glimpse at the Jazz history, presenting wonderful music, performed with inspiration and love. Brilliant stuff!

 

 

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CD

 

Here are several new additions from the loot I found raiding the record labels warehouses last week:

 

 

The original 1972 ECM "Crystal Silence" album by Chick Corea and Gary Burton was undoubtedly one of the pivotal Jazz recordings in every sense: the subtlety and the boldness of a duet setting with Corea's intricate compositions and the unusual harmonics of the piano / vibraphone combination all contributed to the overall stunning result. Now, 35 years later, gray-haired and musically wiser, Corea and Burton decided to re-live the experience of creating music together and record an up-to-date version of their encounter. This time the project is much more ambitious, as the first of the two CDs presents the duo accompanied by a Symphony Orchestra (the Australian Sydney Symphony), playing a set of Corea's compositions arranged for the orchestra by Tim Garland. The second CD returns to the original intimate duo setting, which performs several more of Corea's compositions and three standards. As expected, these performances are brilliant in every respect: on the technical level both musicians are virtuosi, and on the emotional level both are superbly lyrical and expressive. Corea's compositions deserve all the status of classics of course and these new interpretations of familiar material shed a new light on its elegance and sophistication. This is an instant classic, a must for any serious Jazz connoisseur and a landmark recording. Wholeheartedly recommended!

 

 

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CD

 

Here are several new additions from the loot I found raiding the record labels warehouses last week:

 

 

1^st album by the magnificent Jethro Tull, the only band that survived 40 years of rapidly changing world and still sounds so much better that anything produced today. This debut album is dear to my heart and I remember vividly listening to it for the first time back in 1968 – this was different! Sure, it was based on the Blues tradition and followed the British Blues revival surge, which blessed us all with a plethora of great bands. But these kids (yes they were) had an edge and an attitude, which I liked. Ian Anderson had a vice like no one else and his flute playing, although far from being virtuosic, always hit the right note (even if it was the wrong note). Mick Abrahams was a great Blues guitar player, as was evident already then, and would be proved time after time in following years. Glenn Cornick played some nasty bass lines and Clive Bunker beat the hell out of the set. I loved the nonchalance, the obvious "let's not take it too seriously" approach, and those glimpses of pure genius, which this album is full of. I loved it then and I love it now – absolutely nothing changed, except for the fact that a whole universe of dreadful music was made since, which luckily I was able to escape. This new edition is a true gem and a collector's dream, with the original mono mixes, new stereo mix, singles and live BBC material, everything one might hope for. I don't suppose any Tull fan will need to contemplate the decision as to buying this beauty. Grab it!

 

 

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CD

 

Here are several new additions from the loot I found raiding the record labels warehouses last week:

 

 

4^th album by singer / songwriter Cat Stevens and one of the grand 1970s classic releases, which remains up to this day as an icon of supreme songwriting. Stevens was a most prolific writer at the time and wrote many songs for other singers as well as for his own albums. Recently recovered form tuberculosis, he changed his approach to writing lyrics, which became much more personal and introvert, as well as touching upon themes of social awareness (he was amongst the first songwriters to talk about environmental issues). But his main strength was of course his incredible talent to carve those unforgettable melodies, seemingly simplistic, but exquisitely crafted and touching. This album is full of such great songs, several of which turned into evergreens. Almost 40 years after these songs were written they lost nothing of their beauty, relevance and potency. Same can be said also about his next album "Teaser And The Firecat", which is also an absolute classic. This Deluxe Edition adds a whole CD of bonus material, with early demos and live performances of the songs included on the album recorded over the years, some as recent as 2006. This is a gem any way you look at it and an essential item in any decent record collection!

 

 

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DVD

 

Here are several new additions from the loot I found raiding the record labels warehouses last week:

 

 

Well into their 4^th decade of music making, Ian Anderson and his Jethro Tull keep the flame of great music alive. Dinosaurs, or not, Anderson & Co. are still infinitely better musicians than most of the younger folk and despite the obvious age limitations (tell me about it) they can still outplay anybody. The opportunity to perform at the prestigious Montreux Festival was in many respects a tribute to the band's lifetime achievements and is a very emotional affair. The band plays two sets; the first is a semi-acoustic and the second a full electric, playing a historic review of their best material over the years. The band includes Martin Barre (guitar), Andrew Giddings (keyboards), Jonathan Noyce (bass) and Doane Perry (drums). There is hardly any need to say much more here just relax and enjoy – satisfaction guaranteed! Dolby Digital 5.1 Surround Sound and DTS, 117 minutes.

 

 

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CD

 

Here are several new additions from the loot I found raiding the record labels warehouses last week:

 

 

3^rd and 4^th albums by brilliant UK Blues group Aynsley Dunbar Retaliation, led by legendary drummer Aynsley Dunbar and including some of the greatest musicians of the period, like Victor Brox (vocals, guitar & keyboards), Jon Morshead (guitar), Alex Dmochowski (bass) and Tommy Eyre (keyboards). Following the release of the first two albums, the group asked John Mayall to produce their 3^rd release and the resulting album is one of the greatest British Blues masterpieces of all times. The extraordinary vocals by Brox (deep throaty baritone), superb guitar and keyboards solos and fantastic rhythm section, combined with excellent songwriting just all come together to create a stunning album, which strangely enough us relatively unknown to most British Blues fans. Unfortunately by the time the 3^rd album was released, the group was already falling apart, with Dunbar moving ahead to create his (also short-lived) "Blue Whale" project. The 4^th album was a contractual commitment and was recorded partly after Dunbar left, with Brox assuming the leadership for a while. The resulting album is not as strong as its predecessor, but considering the abilities and talent of the musicians involved, it is still (in retrospect) quite good, certainly better that many other efforts recorded at the time. This is essential document of British Blues, an absolute must to any fan of the genre.

 

 

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CD

 

Here are several new Israeli additions, covering everything from early Rock, Ethnic and Jazz music:

 

 

3^rd album by Israeli (resident in US) saxophonist / composer Eli Degibri, one of several young Israeli Jazz players, who established themselves as part of the new vibrant generation of top international players. Degibri is a member of the Al Foster quartet / trio and for 3 years was a member of the Herbie Hancock sextet, credentials that would make any aspiring Jazz musician proud. In parallel he also leads his own ensembles, which perform predominantly his own compositions. This album presents Degibri in an unusual trio setting with Hammond player Gary Versace and drummer Obed Calvaire, playing live in a tiny NY Jazz club. The material is all, except for a couple of standards, composed by Degibri, and the trio is obviously having a great time performing. The soaring Hammond (one of my favorite instruments) and soulful saxophone create a somewhat "retro" atmosphere for this entire gig, which is truly delightful and reminiscent of the good old days, when music was played straight from the heart. The great thing about this album is that it can be enjoyed on many levels; it is great fun to listen to, but it also presents plenty of sophistication and insightful moments for a Jazz connoisseur, who listens below the surface and beyond the obvious. I can assure anybody that this album is absolutely worth your attention; Hammond lovers (which have a hard time these days to find new recordings) should jump on this like flies on honey!

 

 

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CD

 

Here are several new Israeli additions, covering everything from early Rock, Ethnic and Jazz music:

 

 

4^th album by Israeli (resident in US) clarinetist / saxophonist / composer Anat Cohen, sister of trumpeter Avishai Cohen and saxophonist Yuval Cohen, who are also collectively known as the 3 Cohens. Cohen is already established as one of the leading female Jazz performers in the US and her previous releases have earned her much deserved critical acclaim. On this album Cohen returns to a classic quartet format, with keyboardist Jason Lindner (the only non-Israeli on this album), bassist Omer Avital and drummer Daniel Freedman. Guitarist Gilad Hekselman guests on three tracks. Cohen's prime instrument is the clarinet, which she plays masterfully and with a unique lyricism, rooted deeply in the Jewish tradition of that instrument, but she also plays the soprano and tenor saxophones and bass clarinet on this album, displaying her instrumental versatility. Half of the album's material comprises of Cohen's original compositions, the rest are standards, including a great version of John Coltrane's "After The Rain". It is a real pleasure to hear these young, but extremely talented musicians, carrying the Jazz tradition into the next Century, expanding it with their own fresh ideas and youthful enthusiasm. Cohen masterly mixes Middle Eastern, Cuban, and above all Jewish ethnic elements into her delivery, with deep sensitivity and finesse. Overall this is a great Jazz album, which is also accessible to a much wider audience beyond the hard-core Jazz circle, without loosing any of its musical integrity. Delightful!

 

 

JAZZIS WEB SHOP

 

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CD

 

Here are several new Israeli additions, covering everything from early Rock, Ethnic and Jazz music:

 

 

3^rd album by Israeli (resident in US) trumpeter / composer Avishai Cohen (not to be confused with the bass player of the same name), and the second release of a Jazz trilogy called "Big Rain". This time Cohen presents an intimate format of a trio, with pianist Yonatan Avishai and drummer Daniel Freedman. The format and the music are quite different on this release, minimalistic and insightful, yet clearly continuing the lyricism and ethnic influences of its predecessor. The music, all composed by Cohen, is all acoustic and the naked sound of the instruments presents an enormous challenge with no escape or margin for errors, a test all the musicians pass with flying colors. Cohen's complete control of the trumpet's tonality and vibrato are impressive. Avishai's piano lines are always elegant and complement Cohen's phrases tastefully and intelligently. Freedman is faced with the tough challenge of keeping the music together and provide the rhythmic glue, which again he performs gracefully and respectfully, keeping his contributions mostly in the background. In spite of the limitations imposed by the trio format, the album presents a full-scale musical experience, which is exactly right and completely fulfilling. Again this album is an excellent example of creative contemporary Jazz, combining Jazz tradition with ethnic influences, beautifully played and recorded. Wholeheartedly recommended!

 

 

JAZZIS WEB SHOP

 

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CD

 

Here are several new Israeli additions, covering everything from early Rock, Ethnic and Jazz music:

 

 

2^nd album by Israeli (resident in US) trumpeter / composer Avishai Cohen (not to be confused with the bass player of the same name), one of several Israeli Jazz musicians who are already firmly established on the international scene. Avishai is the brother of Anat Cohen and Yuval Cohen, both gifted reeds players, and together they perform under the 3 Cohens moniker. This album is the first release of a Jazz trilogy called "Big Rain", and presents Cohen in a quintet setting with guitarist Lionel Loueke, keyboardist Jason Lindner, bassists Omer Avital and drummer Daniel Freedman. Chekere player Yosvany Terry guests on several tracks. The ensemble creates together a highly atmospheric and beautiful mixture of Jazz and World Music, which is a superb example of how Jazz can be saved from stagnation and pushed beyond its usual perimeters. Cohen skillfully employs the trumpet's natural lyricism as well as electronic effects to produce a plethora of different sounds. Lindner's playing is delicate and touching, especially when he uses the Fender Rhodes (no other keyboard except the Hammond has such profound and unique sound for me). Loueke's guitar adds ethnic colors and his occasional vocals (in the Fon language) take the music straight into the heart of Africa. Avital is brilliant, as always, with his bass pulsating like a heart of the music and finally Freedman ornaments the music rather than driving it forcefully, which in this case is exactly what the music needs. Cohen composed most of the music, with Lindner and Loueke contributing one tune each. Altogether this album is an excellent example of creative contemporary Jazz, combining tradition with vision, excellently executed and uplifting. Wholeheartedly recommended!

 

 

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