Get this crazy baby off my head!


Eleanor McEvoy

Eleanor McEvoy - Eleanor McEvoy - 1993 - Geffen Records

Eleanor McEvoy, from Dublin, Ireland won the Irish Record Industry Award for Best New Artist on the strength of her powerful and intensely emotional classic ''Only a Woman's Heart,'' which is one of the most sung modern Irish songs today. On this, her debut album, she sings more songs in the sane vein, as well as some good ballads with a lovely Celtic touch. This album is by no means a mystical, "Celtic lament" style album in the Enya/ Clannad style. There are some great upbeat songs on this album as well. Eleanor's soft and warm "Dublin" voice carry these songs perfectly, and they are all her own compositions. A good album from a very underrated artist. Buy her "Yola" album, and try and try and listen to listen to her "Snapshots" album.


1. Finding Myself Lost Again
2. Only a Woman's Heart
3. Apologize
4. Boundaries of Your Mind
5. For You
6. Go Now
7. It's Mine
8. Not Quite Love
9. Promises We Keep
10. Music of It All
11. Leave Her Now
12. Breathing Hope
13. Stray Thoughts

All songs composed by Eleanor McEvoy. Album also released with four bonus tracks


Eleanor McEvoy - Vocals, Guitar, Piano, Organ, Keyboards, Harmonium & Violin
Bill Shanley - Guitars, Dobro, Organ & Harmonica
Jim Tate - Bass
Noel Eccles - Drums, Percussion & Programming
Declan Masterson - Uilleann Pipes
David Jones - Cello
David Agnew - Oboe
String Quartet


Eleanor McEvoy is an impressive debut album from McEvoy, proving that she is not only capable of fusing contemporary folk and celtic music, but that she's a singer-songwriter with a graceful, individual voice. Both the music and the songs have a quietly powerful beauty, which makes it no wonder that the album helped McEvoy win the Irish Record Industry Award for Best New Artist. © Thom Owens, All Music Guide


It was obvious from an early age where Eleanor McEvoy's interests lay. The career of one of Ireland's most popular songwriters started at age four when she performed at an Irish music competition as the lead singer in her sister's band. At eight, she took up the violin, and attended the College of music in Dublin for piano and violin up until 1985. Upon finishing school she attended the prestigious Trinity College in Dublin where she studied music by day and worked in pit orchestras by night. She graduated from Trinity with an honours degree and was accepted to the National Symphony Orchestra of Ireland. Eleanor worked with the Symphony Orchestra for five years before she finally took the plunge and left the classical world behind her to concentrate on her real passion - songwriting. Eleanor McEvoy achieved star status in Ireland in 1992 when her song "Only A Woman's Heart" inspired the title for and appeared on, the "A Woman's Heart" anthology album. It has since become the best selling album in Irish history, even eclipsing records by such legendary Irish artists as Van Morrison and U2. "A Woman's Heart" stayed in the Top 10 for over a year. 1994 saw the world-wide release of her self-titled debut on Geffen Records, "Eleanor McEvoy". Eleanor toured the USA, Europe and the Far East in support of the album, building up a loyal fanbase and racking up international sales. Leading Irish music magazine Hot Press placed the album amongst the top debuts of that year. 1996 was a busy year for Eleanor starting with the release of her second album "What's following Me?" described by Billboard magazine as "a...as must hear album.." this release featured the single "Precious Little". Eleanor again toured internationally playing to sold out venues in the USA and Europe. The second single, "Whisper A Prayer To The Moon" was featured in the Pierce Brosnan film, " The Nephew", which was released August 1998. Eleanor's involvement with film continued with her performance of "The Seabird" for the soundtrack of "Some Mother's Son" staring Helen Mirren , written by "Riverdance" composer Bill Whelan. Eleanor released her third album "Snapshots" in 1999. Produced by Rupert Hine, the album recieved rave reviews on both sides of the Atlantic. The Boston Globe described the album as "a gem...Its traversal of country, Celtic, and cosmic bar room styles is exhilarating..... SNAPSHOTS effectively freezes the listener in its frame". It was on the third US tour for this album that she began her collaboration with the Belfast pianist Brian Connor. On the release of the latest album Yola, UK Magazine MOJO wrote that "....the glorious simplicity of this release feels like a homecoming in every sense. ...the performances are beautifully restrained.." With co-writing credits going to Lloyd Cole, and Henry Priestman (The Christians), the album is available on the new "super audio" SACD format. Eleanor and Brian Connor have spent 2002 touring throughout Ireland, the UK, USA and Canada and will be returning to the USA and Canada for an additional series of dates in Sept- Oct 2002. As a songwriter Eleanor has had her songs covered by artists as diverse as Emmylou Harris, Phil Coulter and Mary Black. Caroline Lavelle's version of the McEvoy/Lavelle composition "All I Have" features in the latest episodes of the cult USA television series "Six Feet Under". © 2001 Harmony Ridge Music

BIO (Wikipedia)

Eleanor McEvoy (born 22 January 1967) is one of Ireland's most accomplished contemporary singer/songwriters. Eleanor composed the song Only A Woman's Heart, title track of A Woman's Heart, the biggest-selling album in Irish history. Eleanor made her stage debut in November 1971 at the age of four with her older sister Marion and brother Kieran, playing her sister’s piano accompaniment for an Irish song in the “Slogadh” competition. They won the Dublin round of the competition. At a very young age, Eleanor was playing violin, improvising harmonies, in the parish folk group. In later years she arranged music for the group. From 1975 to 1988 Eleanor studied at the V.E.C. College of Music in Dublin, winning numerous scholarships for violin and piano. She won the college Senior Composition prize in 1983, and gained the A.L.C.M. Diploma (Violin) in 1988. Eleanor was tutored by Máire Breathnach in Irish traditional music, and was the winner of the Oireachtas Junior Solo Traditional Violin competition in 1981. In 1984 Eleanor commenced her four year Single Honour course in Music in Trinity College, Dublin, graduating in 1988 with a B.A. Mod, (Music). She was a Choral Scholar there in 1985 and 1986, and was also the leader of The University of Dublin Choral Society Orchestra. At this time also she was a violinist in several other orchestras and string quartets, and leader of the College of Music Senior orchestra. Eleanor did some part-time violin teaching in the North Dublin School of Music in Swords, Coolmine Community College, and in the prestigious St. Columba’s College, Rathfarnham. Eleanor toured with Phil Coulter in the United States, and with Mary Black's band's extensive and memorable tours, which included Japan. In 1988 Eleanor became a violinist in the National Symphony Orchestra, and remained there until 1992 when her song Only A Woman's Heart inspired the title for, and appeared on, the A Woman's Heart anthology album. It has since become the best selling album in Irish history. A Woman's Heart stayed in the Top 10 for over a year. In 1993 Eleanor released her self-titled album and toured extensively, including the United States and Asia, to promote it. 1996 saw the release of Eleanor's second album What's Following Me?. Eleanor released her third album Snapshots in 1999. Although she has featured in innumerable TV programmes over the years, it is worth mentioning that the production of this album was the subject of an excellent documentary in RTE’s “Cúrsai Ealaine” series. Eleanor released her fourth album, Yola, in 2001 and her fifth, Early Hours, in 2004. In August 2005 Eleanor had a sellout concert entitled “Eleanor McEvoy "Her Songs and Music” in the National Concert Hall with the RTÉ Concert Orchestra. Eleanor's sixth album, Out There, was released in September 2006. She has since toured extensively in the UK and Europe, and in Australia where she toured for twenty-five days in the Spring of 2007 and again in 2008. Eleanor's co-writing credits have seen her published with fellow writers and performers such as Rodney Crowell, Lloyd Cole, Brad Parker, Henry Priestman, Johnny Rivers and Dave Rotheray of The Beautiful South. Caroline Lavelle's version of the McEvoy/Lavelle composition All I Have features in the USA television series Six Feet Under. Eleanor's song Whisper a Prayer to the Moon from her second album was featured in the film The Nephew, starring Pierce Brosnan. In Some Mother’s Son, which starred Helen Mirren, she sang Bill Whelan’s The Seagull. Eleanor's recent albums have been adopted by the Hi-Fi community, and are frequently used to test speakers and amplifiers. Yola has been described as an industry standard for SACD, winning awards and accolades from the Hi-Fi industry. The album, Out There, was named Record of the Year for 2007 by Hi-Fi+ Magazine in Britain. Eleanor's latest album Love Must be Tough was released in May 2008. In October of 2008 Love Must be Tough was named Record of the Year for 2008 by Hi-Fi+ Magazine.


Jango - Closer to Home - 2000 - Samson Music

A good smooth jazz album from Jango. It's tight, funky, and is way above the average "listen, but don't hear" elevator type smooth jazz that is all too pervasive today. This album shows some originality. The musicianship on the album is good, and the sound is very seventies based. There are obvious Donald Fagen/Steely Dan influences here, and if you like the Dan sound, you may appreciate this album more. Check out their 1999 album, "Dreamtown," and for more music in the same mould, listen to Tom Scott & The L.A. Express' brilliant "Tom Cat" album.


Soul Casserole
Joyful Caravan (For Curtis)
Sweet and Low Down
Under the Influence of Love
Diamond Drive
What Your Heart Tells You to Do
The Score Pt. 2
Closer to Home
Pink Flamingos
Nightside Express
The Beard
Kool Down Ez
Soul Casserole (2nd Helping)

All tracks composed by Steve LeGassick, & Michael Price, except
"Diamond Drive," "What Your Heart Tells You to Do," & "Kool Down Ez" by Steve LeGassick, Michael Price, &
Steve Nieves


Steve Nievas - Lead & Background Vocals, Saxophone
Nick Kirgo, Annas Allaf - Guitars
Leon Johnson - Bass
Steve Le Gassick - Keyboards
Dave Bever - Drums, Percussion
Charlie Peterson - Flugelhorn


Many young players think it's hip to include retro-soul elements like Hammond B-3, Wurlitzer and wah-wah guitars into their smooth jazz mix; the five studio musician members of Jango, however, came of age as players in the 70s and revel in living completely in the past, unabashedly centering whole tunes (both vocal and instrumental) around the styles of Ace, Tom Scott and Steely Dan. Last year's debut Dreamtown was a bit too focused on copying the Becker-Fagen style, and while Steve Nieves' voice and the crafty lyrics of oddball tunes like "The Beard" and "Pink Flamingos" on Closer To Home are still in that vein, this overreliance on the overly familiar is balanced by new L.A. Express type instrumentals and gentle ballads like "What Your Heart Tells You" that offer a hint of greater depth. While a decent vocalist, Nieves shines brighter fronting on sax. Caressed by a rising brass section on "Soul Casserole," his jumpy alto leaps and dives around a crunching of wah-wah and rhythm guitars (by Nick Kirgo) and a swirling Fender Rhodes harmony by Steve LeGassick. The swinging funk tune "Diamond Drive" finds multiple textures of Nieves' horn and LeGassick's Rhodes creating a powerful duality, while Kirgo snaps along underneath. The band's exciting synergy is best summarized by "The Score - Part 2," a jam which blends horn accents, a simmering sax line and brooding organ textured with a Rhodes harmony. "Kool Down EZ" offers a peek into what Jango would sound like without the constant 70's mindset. Then again, without that, a lot of the charm is lost. © Jonathan Widran, All Music Guide


Consisting of Los Angeles-based studio players, Jango is a group that has focused on Steely Dan-influenced soft rock/adult contemporary vocals as well as instrumental NAC/crossover music. The Jango project came about in 1998, when singer/saxophonist Steve Nieves (who had recorded as a leader for the now-defunct JMI label) and keyboardist Steve Le Gassick joined forces with guitarist Nick Kirgo, bassist Leon Johnson and drummer Dave Beyer. All of the musicians had been quite active in the L.A. studio scene. Jango signed with Samson Music in 1998, and its CD Dreamtown came out in early 1999 Closer to Home followed a year later. © Alex Henderson, All Music Guide


David Maxwell

David Maxwell - Maximum Blues Piano -1997-Tone-Cool

"for virtuosity, it's david maxwell's maximum blues piano (*****) no vocals (actually just one)--just 10 fingers singing their way through jump, boogie, new orleans,funky,chicago and plain old badass blues"---pulse, 1997

This is a great piano blues album. It's funky, has some great slow blues, with a touch of Gospel, and David Maxwell's playing is truly outstanding. And check out some of the players here - Ronnie Earl, and Duke Levine on guitar. In fact, there is some outstanding blues guitar on the album, and listen to the great sax wizard, "Kaz" Kazanoff. It's magic stuff! Check out David's "Max Attack [95 North]" album, and buy Savoy Brown's great "The Blues Keep Me Holding On" album which features David on the ivories.


Blues Don't Bother Me
Breakdown on the Bayou
After Hours
Sister Laura Lee
Down at P.J.'s Place
Honky Tonk Train
Heart Attack
Deep into It
Walk the Walk
Manhattan Max (Boppin' Wit da Chippies)
Take Me on Home

All tracks composed by David Maxwell, except "After Hours" by Erskine Hawkins, Avery Parrish, & "Honky Tonk Train" by Meade "Lux" Lewis.


Ronnie Earl (Guitar), Ronnie Earl (Guitar (Electric)), John Lee Hooker (Quotes Researched & Compiled), Duke Levine (Guitar (Rhythm)), Mickey Bones (Washboard), Mickey Bones (Rub), Mickey Bones (Rubboard), Marty Ballou (Bass), Marty Ballou (Bass (Electric)), Marty Ballou (Bass (Acoustic)), Kevin Barry (Guitar), Gordon Beadle (Sax (Baritone)), Gordon Beadle (Sax (Tenor)), Mark "Kaz" Kazanoff (Sax (Tenor)), Mark "Kaz" Kazanoff (Soloist), Bob Kempf (Producer), David Maxwell (Organ), David Maxwell (Piano), David Maxwell (Arranger), David Maxwell (Producer), David Maxwell (Main Performer), Dr. Toby Mountain (Mastering), Darrell Nulisch (Vocals), Marty Richards (Percussion), Marty Richards (Drums), Richard Rosenblatt (Executive Producer), Dick Shurman (Liner Notes), Scott Aruda (Trumpet), Scott Aruda (Arranger), Scott Aruda (Horn Arrangements), Chris Rival (Engineer), Chris Rival (Mixing), Diane Menyuk (Art Direction), Raymond Green (Trombone)
[ More details on CD cover ]


David Maxwell is one of the great, living, blues-influenced piano players. His soulful, energetic, gospel-, blues-and jazz-tinged, virtuoso playing reflects his years as a sideman to such luminaries as Otis Rush, Jimmy Rogers, Freddie King and James Cotton, as well as his long-term relationships with mentors Otis Spann, Sunnyland Slim and Pinetop Perkins. At present, Maxwell heads up the James Cotton Trio and is a renowned solo performer, as well as a sought-after educator and workshop leader at both the high school- and college-levels. Maxwell has played, toured and recorded with Bonnie Raitt, John Lee Hooker, Odetta, James Cotton, Albert King, Hubert Sumlin, Buddy Guy, Ronnie Earl, Keith Richards, Roy Gaines, Ola Mae Dixon, Steve Freund, Mike Welch, Paul Oscher, Lowell Fulsom, Luther Johnson, Eric Clapton, Levon Helm and the Conan O'Brien Band, among many others. His latest album, Maximum Blues Piano- on Tone Cool Records- received high acclaim. He has been nominated twice for a W.C. Handy Award. David is often compared to his mentor Otis Spann. In fact, James Cotton calls David, 'the soul of Otis Spann.' "(Otis) never sat me down and gave me lessons, so to speak," Maxwell says, "but he was so encouraging to me as a man and as a musician. I'd follow What he did on the keyboard, make mental notes. He would entertain me and I would enjoy it." © www.tonecool.com/cds/1160.htm

11 tracks, 66 min., highly recommended
This 1997 album features this veteran of the blues piano on his first solo CD - this after nearly 30 years of touring with the likes of Buddy Guy, John Lee Hooker, Freddie King, Bonnie Raitt and Otis Rush! A complete instrumental set (except for "Heart Attack" which features vocalist Darrell Lynn Nulisch), 47 year-old David Maxwell is joined by a stellar cast, including guitarists Duke Levine & Ronnie Earl, saxophonists Mark "Kaz" Kazanoff & Gordon Beadle, and Duke Robillard's rhythm section. The highlights are many, and include "Deep into It" (slow blues with Ronnie Earl), a 7 minute solo version of Meade Lux Lewis' "Honky Tonk Train", the very Otis Spann-ish "Walk The Walk", and "Take Me On Home" (slow blues with Ronnie Earl & Gordon Beadle). A perfect CD for those of you who are desperately seeking that "rollin' & thunderin'" piano sound that you associate with Otis Spann's playing. Sound recording is outstanding, with excellent notes by Dick Shurman. © (EL) , © 2008 Roots & Rhythm. No part of this site may be reproduced without written permission, www.rootsandrhythm.com/roots/BLUES%20&%20GOSPEL/blues_m2.htm

Maxwell's solo debut has been a long time in coming, but it been worth the wait, as he neatly sidesteps the curse of the non-vocalist bandleader. Bringing in Darrell Nulisch for one vocal ("Heart Attack") only distracts from this fine instrumental showcase for David's prodigious abilities. Maxwell literally sparkles on the gospel-ish sanctified shout of "Sister Laura Lee," the New Orleans strut of "Breakdown On the Bayou," the boogie woogie classic "Honky Tonk Train" and "Manhattan Max," trading licks throughout with guest stars Ronnie Earl, Duke Levine and saxman supreme Mark "Kaz" Kazanoff, basically the cream of the New England blues mafia. The fact that Maxwell has learned his slow blues lessons well is exhibited on the Pete Johnson tribute, "Down at P.J.'s Place," "Deep Into It" and a seven-minute-plus rendition of Avery Parrish's "After Hours." This is more than just an impressive debut; this is a record of great playing and uncommon musical depth. © Cub Koda, All Music Guide


Pianist David Maxwell has been a part of the Boston blues scene as a sideman since the late 1960s, but has only in the '90s begun leading his own band and recording under his own name. Maxwell took some of his early stylistic cues from the likes of Spann, Sunnyland Slim and Pinetop Perkins, also listening to the recordings of Big Maceo, Ray Charles and Memphis Slim; he became friendly with Muddy Waters' longtime piano player, Otis Spann, in the late 1960s. Maxwell went on to back many great players over the years, including Freddie King, whom he worked with for two years in the early 1970s; Bonnie Raitt, whom he worked with in 1974 and '75, while she was still based in Boston; and James Cotton from 1977 to 1979. He toured Europe and Japan with Otis Rush in the 1990s, and has performed over the years with dozens of others, including John Lee Hooker, Jimmy Rogers, Paul Oscher, Hubert Sumlin, Bob Margolin, John Primer and Ronnie Earl. He has joined many of these same people on their studio efforts, including Cotton for his 1997 Grammy-winning Deep in the Blues. Maxwell also can be heard on the soundtrack to the movie Fried Green Tomatoes with longtime Boston musicians Ronnie Earl and Peter Wolf. Maxwell's debut record for Tone-Cool, Maximum Blues Piano, is a collection of instrumental tunes that showcase many of the Boston scene's veteran players: Ronnie Earl and Duke Levine on guitars, Kaz Kazanoff and Gordon Beadle on saxophones, drummer Marty Richards and bassist Marty Ballou. Echoes of all of his influences can be heard throughout the tracks, including Pete Johnson on "Down at A.J.'s Place," and Otis Spann on "Deep Into It." © Richard Skelly, All Music Guide


David Maxwell has amassed an enormous resume throughout the years playing piano with some of the greatest and most well-known musicians in the blues--- Freddie King, Bonnie Raitt, John Lee Hooker, James Cotton, Otis Rush, Jimmy Rogers, Hubert Sumlim, Muddy Waters, Ronnie Earl and many more. David's style encompasses elements of the blues and jazz, but he is best known for his soulful virtuosity and unmatched ability to reach the heart of post-war Chicago Blues. Through his work, he has gained the respect of artists, fans and critics (a Grammy with James Cotton, multiple Grammy and WC Handy nominations for work with other artists and several WC Handy performance nominations) and has established a reputation as one of the finest blues pianists on the scene today. Please check out www.davidmaxwell.com


"I don't think anybody could be tighter playing the blues on the piano than David Maxwell. He plays the blues like it should be played. He plays the low-down, dirty, funky blues. He's got it all together." - John Lee Hooker: "Dave has always been one of the most amazing piano players I've ever heard. Maximum Blues Piano showcases all of his strengths and is a great ride." - Bonnie Raitt: "David Maxwell plays with fire and soul. He keeps the spirit of Otis Spann alive." - James Cotton: You remind me of the old guys - T-Bone Walker, Aretha Franklin, Ray Charles. You've got a lot of talent on your hands." - Otis Rush : "David Maxwell and Otis Spann are the baddest two piano players I know." - Junior Wells


The Best of Ten Wheel Drive (With Genya Ravan)

Ten Wheel Drive - The Best of Ten Wheel Drive (With Genya Ravan) - 1995 - Polydor Records

A brilliant album, with amazing vocals by Genya Ravan. Her voice sounds like a mixture of Maggie Bell, Janis Joplin, Maria Muldaur, and a myriad of others. The music here is classified as jazz rock, but the album has many more musical influences, and covers more musical genres than you will hear on most ordinary jazz rock recordings. There is a lot of brilliant electric and brass playing. The sound of Tower Of Power is in there, as is Blood, Sweat & Tears. There is soul, country, blues, R&B, psychedelic influences, and more.....You have to hear it. All the tracks were written by wonderful composers. Genya's version of "Stay With Me" by Larry Weiss, and Jerry Ragovoy is incredible, but all the tracks are great and throw some real surprises at you. There are many great unexpected musical twists and turns. Songs seldom take the route you expect them to. You will rarely hear an album that moves from track to track with so much musical inventiveness, innovation, and originality. Genya Ravan could very well be unfamiliar to many music fans, but she has had a huge influence in the music industry over many years. She has played with numerous bands, and with musicians like Dusty Springfield, Buddy Guy, and Steve Winwood. She sang backing vocals on the Blue Oyster Cult album, "Mirrors." The list goes on and on. Read her extensive bio's on this blog. Buy this great album. There is so much going on here sonically, that you really need to hear it in the right sound quality. Listen to TWD's "Construction #1" and "Brief Replies" albums. They are both brilliant. If you can find it, buy "Genya Ravan," her 1972 s/t album. "The Best of Ten Wheel Drive (With Genya Ravan)" is a true original, and is VHR by A.O.O.F.C.


Tightrope - Genya Ravan, Leon Rix
Lapidary - Aram Schefrin, Michael Zager
Eye of the Needle - Michael Zager, Aram Schefrin
Candy Man Blues - Louis Hoff
Ain't Gonna Happen - Michael Zager, Aram Schefrin
House in Central Park - Michael Zager, Aram Schefrin
Morning Much Better - Michael Zager, Aram Schefrin
Brief Replies - Michael Zager, Aram Schefrin
Come Live With Me - Michael Zager, Aram Schefrin
Stay With Me - Larry Weiss, Jerry Ragovoy
How Long Before I'm Gone - Michael Zager, Aram Schefrin
Last of the Line - Michael Zager, Aram Schefrin
The Night I Got Out of Jail - Michael Zager, Aram Schefrin
Shootin' the Breeze - Michael Zager, Aram Schefrin
Love Me - Michael Zager, Aram Schefrin
I Had Him Down - Michael Zager, Aram Schefrin


Check out http://en.wikipedia.org/wiki/Ten_Wheel_Drive#Line-up for the many different players/vocalists who were part of TWD


When Bette Midler put the Jerry Ragovoy/Larry Weiss song "Stay With Me" in her film The Rose, it was a sly tribute to the genius of Genya Ravan and her innovative ensemble Ten Wheel Drive. The former Goldie Zelkowitz hit big in Europe with "Can't You Hear My Heartbeat," which Peter Noone has said Zelkowitz/Ravan's manager nicked off producer Mickey Most's desk. Most and Noone, of course, hit in America with "Can't You Hear My Heartbeat" on a Herman's Hermits release. Zelkowitz emerged from her pioneering girl group (later producing Ronnie Spector's first solo disc) to front an adventurous and highly experimental unit known as Ten Wheel Drive. With elements of Blood, Sweat & Tears meeting Big Brother & the Holding Company somewhere in the middle, Ten Wheel Drive covered the gamut of pop styles. The band's three albums with Ravan, and a fourth without her on Capitol, only hinted at Ten Wheel Drive's potential. Polygram's Bill Levenson has done another commendable job putting together a solid collection featuring six tracks each from the first two discs and four from the third. A track from the Capitol disc co-written by Schefrin/Zager/Ravan and entitled "Why Am I So Easy to Leave" would have made this perfect but, clocking in at 79:05, this disc is generous indeed. "Come Live With Me" has Ravan's exotic vocals slinking up and down the scale alongside bass and guitar, and "Brief Replies" is reminiscent of Mae West singing in the film Myra Breckinridge, but it is Ravan's screaming-from-the-cosmos wail in her astonishing performance of "Stay With Me" that is the album's zenith. Pearl producer Paul A. Rothschild was enlisted to recreate Ravan's performance somehow and Bette Midler did a wonderful tribute to her, as well as to Joplin and to songwriter Ragovoy (who also co-wrote Joplin's signature tune "Piece of My Heart." Make no mistake, both Joplin and Midler have owed a debt to the work of Genya Ravan. Just listen to "Last of the Line," with its experimental pop that Big Brother & the Holding Company flirted with so often, or the dreamy "Shootin' the Breeze," which sounds like a Jackie DeShannon/Burt Bacharach reunion. It is second only to "Stay With Me" as the showpiece of the disc. Any group that goes out on so many limbs to cover pop, jazz fusion, hard rock, country, blues, and any other musical format whether in vogue or not, deserved the opportunity to generate more sound. This "best-of" is a unique snapshot of talents who have yet to receive their due. © Joe Viglione, All Music Guide


Ten Wheel Drive was a highly influential rock/jazz group not afraid to push the envelope while exploring various musical styles. Though musicians came and went, including the original lead vocalist, by the time the fourth album was released, the records have stood the test of time, influencing the successful Bette Midler breakthrough film The Rose, inspiring women with the drive and ambition to front their own group in a once male-dominated industry, getting sold on auction sites like Ebay to be discovered by new generations of music lovers. The original lead vocalist and founding member, Genya Ravan, spoke with AMG concerning how she formed the band: "I went to see Billy Fields, he was going to manage me. He had a friend in New Jersey that befriended two guys that were writers and they were looking for someone to sing their songs. Billy asked me if I wanted to hear them, I said 'OK' since I was always looking for material, so I met with Mike Zager and Aram Schefrin at a dinky little piano studio in Times Square. They played "Polar Bear Rug" and "I Am a Want Ad" and got me interested even though I thought they sounded more like show tunes, I was also an actress, so I liked it. At this time, I had an R&B band and they came to hear me in some sleazy bar and they liked what they heard and saw. They did not have a band nor musicians in mind, I knew some good jazz players, so (we) got the musicians and started to audition and rehearse." When asked how the idea took shape, Ravan replied: "When I heard Blood, Sweat & Tears -- (the) first record with Al Kooper ( Child Is Father to the Man), my fave. I said, oh I want a horn band. It was 1969, we started to rehearse at the Bitter End, Sid Bernstein joined in the management with Billy Fields. It was a very exciting time, we played the Atlanta Pop Fest. Every great band that lived played that gig, that gig is what broke our band (and) we were an instant success." On the material, Ravan said she "seldom wrote with Ten Wheel Drive...Aram was a brilliant lyricist, Mike and Aram were easy to work with, so I wrote some, it made me feel good, because the ones I wrote turned out to be the most soulful, like "Pulse," "Tightrope." I came into my writing more during the Urban Desire and ...and I Mean It! recordings." Those were the albums that came out on 20th Century Records at the end of the '80s, apart from Ten Wheel Drive. The group signed with Polydor when Sid Bernstein brought Jerry Schoenbaum to the band's rehearsal and to one of their gigs at the Bitter End. The vocalist noted: "Jerry flipped. Signed us immediately." There were artistic consequences to having phenoms like bassist Bill Takas and drummer Leon Rix moving on to LaBelle and Buzzy Linhart, Rix recording with Bette Midler as well. Over the span of four albums, guitarist Aram Schefrin and keyboard player Mike Zager (no relation to Zager & Evans of "In the Year 2525" fame, though because of the point in time, there was some confusion in rock circles) worked with more than a dozen and a half different players. When Ravan was asked about this, she replied: "It turned out to be good for us, fresh blood, it was creative, I love changes like that. I did not like the canning of musicians, but I was the one that had to do it. New blood is always exciting, You know how laid-back jazzers can be, they get excited for the first five minutes." The band played Carnegie Hall on Ravan's birthday and she cites the Central Park gig for WNEW when the Nightbird disc jockey Allison Steele hosted it, as well as the Atlanta Pop Festival as just two of the highlights of their brief but important career. Steele would later co-write the liner notes to Bill Levenson's 1995 16-track compilation on Polygram, The Best of Ten Wheel Drive With Genya Ravan. With all the excitement the band generated live, there was, unfortunately, no full concert performance on video or record. "One of the last gigs we did was a show at Carnegie Hall with a symphony," Ravan said. "Mike and Aram were geniuses. This was their forte -- they wrote this rock opera of "Little Big Horn" and it was brilliant, Polydor did not want to record it, I swear 'til this day, had it been recorded, Ten Wheel Drive would have gone down in history, it was one of the reasons I was disillusioned into leaving the label, it made me want to quit the business." There were no unreleased gems recorded and left in the vaults, Ravan stating that everything happened all too fast. And then she left the group she founded: "Things started to get complicated. The music was not the main thing anymore, it was too expensive to have that many people involved. We had accountants, lawyers, roadies, and of course the group, we could not tour Europe because it was to expensive to get there and stay there. I just felt like there would be no future for me with the band anymore, also some personal stuff went down, that made it awkward. It just felt like it had hit the end for me." Ravan recorded a solo album in 1972 for Columbia Records with Schefrin and Zager co-producing. They enlisted the Rascals vocalist Annie Sutton to sing on the self-titled 1974 Capitol release that featured Hall & Oates on backing vocals, but it wasn't the same. The band created essential music and has a revered place in rock history. Schefrin practices law in Rhode Island, having produced other records after the final breakup of Ten Wheel Drive; Zager does soundtrack work; and Ravan continues to record. © Joe Viglione, All Music Guide

BIO (Wikipedia)

Ten Wheel Drive were an American Jazz/Rock Fusion band from 1968 to 1974. In 1968, after the final disbandment of the all-female rock band Goldie & The Gingerbreads, Genya Ravan was looking for a new band. The same applied for Michael Zager and Aram Schefrin, two musicians and songwriters from New Jersey. Acquainted by their managers, the three musicians who would become the nucleus of the new band had initially some hard work to do. Their origins and artistic backgrounds were very different, and, at first the music was not after Genya Ravan’s fancy. Also, she alone had some noteworthy experience in the music business. More musicians had to be found for the rhythm and brass sections. Only people who were able to read sheet music were contracted. The one exemption from this rule was Genya Ravan. In 1969 the band started to perform regularly and attract positive notice, and comparisons were drawn between Genya Ravan and Janis Joplin. At the same time, the Polydor record label was forming an American division. Its new President, Jerry Schoenbaum, closed a deal with Ten Wheel Drive, and together with producer Walter Raim the band released its first album, Construction #1. The first big concert appearance of Ten Wheel Drive was (arguably) in 1969 at the Fillmore East in New York City. Apart from the band's intense musical presence, Genya Ravan caused some excitement when she took off her transparent vest and continued the performance half naked with painted breasts and shoulders. In the summer of the same year, Ten Wheel Drive appeared at the Atlanta Pop Festival. On this occasion Genya Ravan and Janis Joplin, who previously had often been compared, met in person for the second time. They had met initially at Steve Paul's club The Scene when Janis sat in with the band. In 1970, Ten Wheel Drive released their second album, Brief Replies, with producer Guy Draper. Many of the brass musicians had also been replaced, meanwhile. 1971 saw Ten Wheel Drive performing at Carnegie Hall a rock opera of sorts based on the Battle of the Little Big Horn and the history of the Native North American peoples. The American Symphony Orchestra and a choir participated in the project, which had been meticulously prepared with a lot of time spent for the investigation work. But notwithstanding the provable quality of the material produced, Polydor decided against the recording of the event and was later blamed for bad judgement. Also in 1971, the band's third album Peculiar Friends appeared, for the first time produced by Aram Schefrin and Michael Zager themselves. Genya Ravan’s decision to leave the band and start her solo career at this time, was presumably influenced by the record company’s attitude towards the Carnegie Hall concert. She was replaced by Annie Sutton of The Rascals. But even after this, Aram Schefrin and Michael Zager contributed to Genya Ravan’s first solo album. Ten Wheel Drive left Polydor and in 1974 their fourth and last album, Ten Wheel Drive, was released by Capitol Records. It includes music which had earlier been composed by Genya Ravan and Aram Schefrin. With this record the already loose cooperation between the band musicians ended.


Genya Ravan, aka Goldie Zelkowitz (born Genyusha Zelkowitz, April 19, 1940, in Łódź, Poland) is an American rock singer and producer. She is the former lead singer of The Escorts, Goldie & the Gingerbreads, and Ten Wheel Drive. Genyusha Zelkowitz arrived in the USA in 1949, accompanied by her parents and one sister. She had two brothers, who died. These were the only family members who had survived the Nazi Holocaust in Europe. On arrival in America, her mother changed her daughter's name to Goldie. Goldie kept the name when she joined Richard Perry's band The Escorts as lead singer and later, when she became co-founder (at age 17) of the groundbreaking all-female rock band Goldie & The Gingerbreads. In 1966, during a temporary breakup of the Gingerbreads, she recorded a single, Disappointed Bride, under the name Patsy Cole. When Goldie & The Gingerbreads disbanded in 1968, Goldie, now as Genya Ravan, became the lead singer of the newly formed rock band Ten Wheel Drive. In 1974, for one of her first solo records, and in honor of her father, she changed her name once more back to Goldie Zelkowitz. Since then and on any new editions of her earlier releases, she is again Genya Ravan. Genya Ravan had worked as a producer for different record labels. Amongst others, she was responsible for the debut album Young, Loud and Snotty by the punk rock band Dead Boys (1977) and the comeback album Siren by Ronnie Spector (1982). She also contributed vocals to the latter album. In 2001 Genya discovered TriPod the band at CBGBs and produced their demo CD, adding backup vocals to one track. In 2006 Ravan was recruited by Steven Van Zandt to host a monthly radio show on Van Zandt's Underground Garage radio channel - heard throughout North America on Sirius Satellite Radio - and worldwide on Sirius Internet Radio. She joined a team of hosts that includes original Rolling Stones manager/producer Andrew Loog Oldham, rock star Joan Jett, punk rock singer Handsome Dick Manitoba, producer/humorist/Beatles historian Martin Lewis, veteran FM radio deejay Kid Leo and rock entrepreneur Kim Fowley.

BIO [ © Joe Viglione, allmusic.com ]

Genya Ravan is an important rock & roll personality and influential vocalist and record producer, born Genya Zelkowitz on April 19, 1945, in Lodz, Poland. Her mom later changed her name to Goldie Zelkowitz, Ravan taking her birth name back when she formed the band Ten Wheel Drive. When her parents left Poland, they went into a Russian camp. The singer kindly gave personal details of her youth to AMG on April 4, 2002: "We lost everyone. I never had an aunt or an uncle, I had two brothers, they died. I never met my grandparents, it was me and my sister and my mom and dad. They came from big families and saw all of them die. We escaped to the U.S. via a ship. We were DPs and went straight to Ellis Island." Young Goldie Zelkowitz never knew she could sing until in her late teens "then I picked up alto sax, drums, and harmonica." In the summer of 1962, she asked to sing with the Escorts (not Felix Cavaliere's band from Syracuse University nor the '50s group or U.K. band of the same name) who were performing at the Lollipop Lounge in Brooklyn, NY. She remembers it was the summer because: "I had pants that showed my belly button, they could not get their eyes off it." Soon, she was rehearsing with the band and became the first girlfriend of Richard Perry, bass vocalist in the group and the man who would go on to produce Ringo Starr, Carly Simon, Leo Sayer, the Pointer Sisters, and so many others. The band recorded and released a few singles on Coral Records in 1962 and 1963: "Somewhere" b/w "Submarine Race Watching," "I Can't Be Free" b/w "One Hand, One Heart," and "Something Has Changed Him" b/w "Back Home Again." After she left the Escorts, Zelkowitz formed Goldie & the Gingerbreads, an original all-female band that was only the first of many firsts for Zelkowitz. All girls in a man's music world was as daunting a task as a woman trying to become president of the United States. Petula Clark, Lulu, Cilla Black, Skeeter Davis, and Kitty Wells simply did not have a crew of women backing them up. Where the Go-Go's became a bit of a novelty years later, the people who came before that hit '80s band, Goldie & the Gingerbreads, Fanny, and later, Isis, all had a harder edge and would have done more for the cause's credibility had they had the hit singles to go along with their critical acclaim. In the new millennium "women's music" is a huge industry with Dar Williams, Phranc, Ferron, and others making waves around the world, but they all owe a debt to the work of Zelkowitz and her original international pop group. The gals released singles on Decca and Immediate in the U.K., with "Can't You Hear My Heart Beat," produced by Alan Price of the Animals, hitting on the British charts. Their manager was Michael Jeffries who split from producer Mickie Most and kept Goldie & the Gingerbreads and the Animals under his wing (and, of course, Jimi Hendrix later through the Animals' Chas Chandler). Most took Herman's Hermits with him and that band had a hit with "Can't You Hear My Heart Beat" in America. Atlantic Records founder Ahmet Ertegun signed Goldie & the Gingerbreads to his Atco imprint and released their singles in the U.S. After the Gingerbreads, Zelkowitz former the electric and brass rock group Ten Wheel Drive and Genya Ravan was born. A drummer named Les Demerle told Ravan she should use her real name instead of Goldie and that she sounded so black she should call herself "raven," as in blackbird, but she wanted it spelled different, thus Ravan. This is the fellow who turned Ravan onto Bill Takas and the Breckers and how she knew enough jazz musicians to put together Ten Wheel Drive. She met Aram Schefrin and Mike Zager through her manager, Billy Fields. "He had a friend in New Jersey that said he had two incredible writers looking for someone to start a band with. Billy Fields was close to Sid Bernstein and they went on to manage all of us," she said. The band recorded three albums for Polydor with the rhythm and horn sections changing constantly. Judy Collins' bassist, Bill Takas and Buzzy Linhart/Bette Midler drummer Luther "Leon" Rix were members of the original Ten Wheel Drive on their Construction #1 album. Ravan was and is friends with Linhart, and it is interesting how Rix would play with Midler, and Midler would make a grand statement in her film The Rose with Ravan's signature tune from Ten Wheel Drive days, Jerry Ragovoy's "Stay With Me." Midler may have used it as the show-stopper in her motion picture, which was loosely based on the life of Ravan's contemporary, Janis Joplin (the two women played on the same bills at times), but it is the Ten Wheel Drive/Genya Ravan version which is definitive and timeless, the prototype never surpassed when Kiki Dee, John Verity, and even Midler took it on. After leaving Ten Wheel Drive for a solo career, she had philosophical disagreements with Clive Davis at Columbia Records and her self-titled album debut had, like Ten Wheel Drive, too many directions. Not content to be the new Janis Joplin for CBS, the singer instinctively knew her value as an extraordinary vocalist and music pioneer. The album features the band Baby backing Ravan up, and myriad producers, though she felt more comfortable with Zager and Schefrin handling that chore. The 1972 single, not on the album, "Morning Glory," is a fine example of what could have been. It is important to note, though, that this was not Ravan's solo debut — there was an Island Records 45 rpm released in 1966 under the name Patsy Cole. "This is a whole other story," she said. "I walked in on a session in London to do background with Dusty Springfield. When she left, the session was over. I started to play piano and sing an old song that Baby Washington & the Hearts did and Chris Blackwell loved it, so he said 'Let's roll tape' and he had to give me another name, I was under contract, and that single went on to be a hit in Jamaica and I believe it got to number one. I had Spencer Davis, Georgie Fame horns, and Stevie Winwood playing on that single under the name Patsy Cole." Zager & Schefrin re-formed yet another Ten Wheel Drive and released an album in 1974 on EMI with latter-day Rascals vocalist Annie Sutton performing one Ravan co-write, "Why Am I So Easy to Leave." Meanwhile, Ravan went on to cut more solo records, a brilliant Goldie Zelkowitz with the underrated Gabriel Mekler producing for Janus Records, They Love Me, They Love Me Not with the late Rolling Stones producer Jimmy Miller and Stones' engineer Joe Zagarino producing, and the incredible body of work kept building, with no noticeable Top 40 chart recognition that songs on the albums warranted. She reunited with Miller in 1986 for the unreleased Buddy Guy tapes that also feature Nils Lofgren, Aerosmith's Joe Perry, singer Jo Jo Laine, and others. During the sessions in Warren, RI, both she and Miller got on-stage to jam with Buddy Guy while he performed an evening show at one of the city's nighclubs. It was absolutely magical. Ravan took things into her own hands and the "significant projects (are) Urban Desire and ...And I Mean It! (both on 20th Century)...because I wrote most of it and I got to produce it. (They were) also the best sellers for me." Indeed, Ravan began producing for other acts, most notably the groundbreaking punk band the Dead Boys for Sire Records, and then Ronnie Spector's Siren album for Ravan's own imprint, Polish Records, with the handle "Who Do I F*** to Get Off This Label?" Outside of women producing themselves, Genya Ravan was the very first woman to produce significant male bands. "Sonic Reducer" by the Dead Boys is an underground classic and was one of the better-sounding discs when Sire Records started heralding the new wave rock movement. Ravan has produced numerous groups, from Joy Rider released on Polydor in Europe to the Crumbsuckers, Certain General, Long John Baldrey, Kool & the Gang, Tiny Tim, and many, many others. Her visibility as a vocalist is at times overshadowed by the huge amount of production and industry work that she took on, from promotion to A&R at various labels. In 2001, she released For Fans Only, a collection of songs recorded over the years available only from her website, www.genyaravan.com. She's painting art, recording music, and at the dawn of the new millennium, was busy writing a book/screenplay about her incredible life in the music industry. From major girl group and blues vocalist to pioneering record producer and having performed with Steve Winwood, Dusty Springfield, Buddy Guy, Kool & the Gang, and so many others as an artist, the music industry would be a different place without the vast contributions of Genya Ravan, contributions that the world has still failed to recognize.


Nicky Moore & The Blues Corporation

Nicky Moore & The Blues Corporation - Live - 2001 - Ind.

‘Nicky Moore, big voice, big body, takes close control of the Blues Corporation. He writes strong, original blues material mixed with carefully selected covers: there’s no middle ground, every song goes straight for the throat. The bass player, Pete Shaw, is excellent, as solid as they come, so too, drummer Ed Collins. Danny Kyle, on acoustic guitar, is an interesting and worthwhile addition to the line-up, bringing a light counterpoint to the grittier guitar work of lead guitarist Timmy Moore.’ © Blues in Britain Review 2005

The powerful Blues Corporation were formed in 1992, and split at the end of 2001 after issuing this rare "Live" ! album. Nicky Moore may not be a household nane to many blues rock fans, but he is a very experienced vocalist and guitarist. He played in the great jazz rock band, Tiger, but is mainly known for playing with the heavy rock bands, Samson, and Mammoth. The Blues Corporation was voted the top live blues band, by listeners to the very popular UK BBC Radio 2 station in 2000. This is a good album with some great straightforward Blues/R&B boogie, which at times is mindful of early Canned Heat or John Fogerty/CCR. Check out he band's "Hog on a Log" album, and if you can find it check out the "Up The Hardway" album by the great early seventies British hard rock band, Hackensack, which features tremendous vocals by Nicky Moore.


01 - Boneman - Moore
02 - Intro-Keep A lookout For The Blues - (Intro - John Smith : Keep A lookout For The Blues - Moore/Allen)
03 - Chant - Moore/Allen
04 - Resting In The Blues - Moore/Allen
05 - Let Sleeping Dogs Lie - Moore
06 - Statesboro Blues - Blind Willie McTell
07 - Thrill Is Gone - Hawks/Darnell
08 - All The Kings Horses - Moore
09 - Sea Of Blues - Moore [ Dedicated to Dr Rachael Stopps...a real mermaid ]
10 - Heartbreak Hotel - Axton/Durden/Presley
11 - It's Tight Like That - Moore/Tunbridge/Childs/Bagge [ Dedicated to Stuart Childs...for his musicianship and his friendship ]
12 - Thank You - Moore


Nicky Moore: - vocals, guitar
Grant Tunbridge - bass, vocals
Tommy Allen - guitar, vocals
Ed Collins - drums, vocals
Julien "Webster" Greaves - sax, harmonica [ Special Guest ]
Tim Moore - acoustic guitar (Thankyou) [ Special Guest ]


Known as ‘The Voice’, Nicky is without doubt one of the very best blues singers on the music scene today. Nicky can deliver spine-tingling ballads and hard-rocking numbers equally well, using his amazing voice range to good effect. He’s a notable songwriter and arranger, with many published songs to his credit. Nicky is also well known as a voice trainer, as seen on popular TV show ‘Lakesiders’. Nicky’s vocal range spans three and a half octaves form bottom D to B flat. He was classically trained, with 4 years at Exeter Cathedral Choristers school, and he has had 40 years experience as a vocalist. Career - Tiger – A jazz rock band. Tiger recorded 3 albums for EMI in which Nicky was Co–writer in all the material. The Nicky Moore Band – A Blues and R&B band playing numerous club dates and one major tour with Wishbone Ash. Samson – A heavy rock band. 2 L.P’s for Polydor and 1 Live LP (all made LP charts), 5 singles for Polydor ( all top 75 hits), 5 British tours, and 2 European tours. 3 video’s for Polydor Records, Co-writer in all material. Joint Forces – A solo album for Paul Sampson and Co-writer in all material. Uli Jon Roth & Electric Sun – A classical rock band. 1 LP for EMI records, 1 video. Several TV appearances (including Whistle Test). World Tour (including 2 month US Tour) singing lead and backing vocals. Mammoth – The heaviest rock band in the world! 1 LP and numerous live appearances, plus national TV and radio. Co-writer in all material. Nicky Moore Band – The Nicky Moore Band (mark 2) released 2 cassettes. Mister Big Stuff – A soul band released 1 album. Blues Corporation – Voted top live blues band by Radio 2 listeners in 2000. Extensively toured England and Europe. Produced 5 Albums and appeared on radio and TV. Miscellaneous - Jingles for Rothmans International, Shell UK, Canadian Beer, Radio 1, Thirty voice-overs for Sovereign Radio – Kent., Featured in the BBC TV show ‘Lakesiders’ and ‘Get Your Act Together.’ Today, Nicky Moore’s Blues Corporation are - Nicky Moore – vocals, Eddie Collins – keyboards, Timmy Moore – guitar, Daniel J Kyle – guitar, & Pete Shaw – bass. ©


Nicky Moore: was the lead vocalist of heavy metal band Samson, for many years . He was also the vocalist for Tiger, the jazz-rock band led by Big Jim Sullivan, a top English session guitarist . 1) Nigel Bagge: lead guitar in '92. 2) Andy: lead guitar '97 3) Richard Studholme: lead guitar (on 1997 album) (to West Weston's Bluesonics). 4) Nigel Bagge: lead guitar (again?)(to The Mighty 45s). 5) Tommy Allen: lead guitar (on 1999 album) (from Marcus Malone's Red House) (also to Dr J J's Blues Band in July 2000. Then rapidly to The Producers and then formed his own band!). 6) Tim Moore: Nicky's son on lead guitar from 2001 onwards - when Tommy Allen was unavailable due to other duties. Colin Goody: harp (new in band in '99 - but succeeded by Julian Webster-Greaves in 2001). Grant 'Cheeky' Tunbridge: bass. Stewart Childs, succeeded by Ed Collins (2001): drums



Incognito - Blues Alive! - 1995 - Incognito Music Ltd

Incognito is a Canadian west coast rock band who are very well respected in British Columbia. Their music is mainly blues rock, although they incorporate funk and latin rhythms into their sound. This is a good, no frills, "get down and rock" album, with great playing and vocals. This album was recorded live at the popular Yale Hotel, Vancouver, BC, on May 26th, 1995, where the band really rocked for an appreciative audience. Buy their great 1999 "Bitter Sweet" album.


01.Checkin' Up On My Baby 4:25
02.Funky Thing 4:35
03.You Don't Have To Go 4:20
04.Driftin' and Driftin' 7:35
05.Caldonia 4:55
06.Train Comin' 4:25
07.Born in Chicago 3:55
08.Little Red Rooster 5:30
09.Worried About My Baby 4:05
10.Homework 3:50
11.Turn On Your Lovelight 4:20
12.Blue Angel 5:40
13.Good Man 4:40
14.Sweet Home Chicago 4:22


Sherman Doucette - Lead Vocals & Harp
Rob Montgomery - Guitar, Vocals
Bob Popowich - Bass, Vocals
Bob Woods - Drums, Vocals


Vancouver's best loved blues and soul band. After 20 years and five albums, Incognito has honed its special blend of original funky blues and classic R and B, along with a dynamic stage show which has made them a favorite for festivals, special events and bars. These boys come to play!! In 20 years of rocking the west coast Incognito has earned its reputation in the upper echelon of Vancouver’s sizzling R and B scene. With four CD’s and countless miles of touring on the clock, this skin-tight blues machine just keeps gathering steam. Their current release “Four”, [Oct.,2001] finds the band stretching in new directions, adding elements of classic soul and funk to their blues stew. In 2003 Incognito toured mainly in Western Canada and the Pacific Northwest including club festival, and convention dates in Alberta, Saskatchewan, BC and Washington State as well as opening shows for Johny Winter, and Delbert McLinton, and a couple of TV appearances on Edmonton’s “Great Big Breakfast”. The coming year sees the band recording live and studio tracks for their new CD and continuing to perform before audiences in music venues, clubs and at festival dates in British Columbia and Washington state. Incognito also continues to be the weekly hosts of the famed Yale Hotel Saturday Blues Jam. Incognito came together in 1984 under the leadership of blues guitar prodigy Rob Montogmery and westcoast harmonica legend Sherman Doucette. Together they recruited arguably the best blues rhythm section on the coast: Bob Woods from the Matt Minglewwod Band, and Bob Popowich from 6 Cylinder. Incognito was an immediate hit with their hard driving boogie, and rocking blues style. 14 years and countless road miles took their toll on Sherman and in '98 he was replaced by harp player, guitarist and lead vocalist, Oliver Conway, from Oliver and the Elements. Oliver is a showman known for his soulful voice, funkifized playing, and his way with an audience. In 2003 veteran drummer Darrell Mayes has taken on the majority of work from "New Dad" Bob Woods. Darrell brings 10 years experience with the Colin James Band and a powerful style to Incognito. Together the band has been exploring some cool directions in writing and recording and their last release "Four" has been impressing old fans and winning new ones. Although nominally a four piece, many of the band's recent dates have included their horn section, keyboard player, and guest vocalists, for a really exciting live show. © www.sonicbids.com/epk/epk.aspx?epk_id=8790&poll_id=&name=&skin_id=&submission_id=&lv=1


In 20 years of rocking the west coast Incognito has earned its reputation in the upper echelon of Vancouver's sizzling R and B scene. With four CD's and countless miles of touring on the clock, this skin-tight blues machine just keeps gathering steam. In 2003 Incognito toured mainly in Western Canada and the Pacific Northwest including club festival, and convention dates in Alberta, Saskatchewan, BC and Washington State as well as opening shows for Johny Winter, and Delbert McLinton, and a couple of TV appearances on Edmonton's "Great Big Breakfast". The coming year sees the band recording live and studio tracks for their new CD and continuing to perform before audiences in music venues, clubs and at festival dates in British Columbia and Washington state. Incognito also continues to be the weekly hosts of the famed Yale Hotel Saturday Blues Jam. Incognito came together in 1984 under the leadership of blues guitar prodigy Rob Montogmery and westcoast harmonica legend Sherman Doucette. Together they recruited arguably the best blues rhythm section on the coast: Bob Woods from the Matt Minglewwod Band, and Bob Popowich from 6 Cylinder. Incognito was an immediate hit with their hard driving boogie, and rocking blues style. 14 years and countless road miles took their toll on Sherman and in '98 he was replaced by harp player, guitarist and lead vocalist, Oliver Conway, from Oliver and the Elements. Oliver is a showman known for his soulful voice, funkifized playing, and his way with an audience. In 2003 veteran drummer Darrell Mayes has taken on the majority of work from "New Dad" Bob Woods. Darrell brings 10 years experience with the Colin James Band and a powerful style to Incognito. Together the band has been exploring some cool directions in writing and recording and their last release "Four" has been impressing old fans and winning new ones. Although nominally a four piece, many of the band's recent dates have included their horn section, keyboard player, and guest vocalists, for a really exciting live show. © http://cdbaby.com/cd/incognitoband

Jim Kahr

Jim Kahr - Back To Chicago - 1993 - Atmos

The unfamiliar Chicago blues guitarist Jim Kahr is worthy of more attention. He played with Bobby 'Blue' Bland for many years, and has worked with some of the blues greats. Having lived in Germany, he is a well respected bluesman there, but his music really needs promotion worldwide, as the guy has so much talent, both as a vocalist, composer, and ace guitarist.. If you are into the blues of Robert Cray, Bobby "Blue" Bland, Albert King, or Paul Butterfield, you may like this album. Jim composed seven of the tracks on this album, and he also does great covers inclding Marvin Gaye's "Don't Mess With Mister T." His solo recorded output is not prolific, but the four or five albums he has recorded are all well worth hearing. Buy his great "Incredibly Live!" album, and give this guy some credit.


01. As The Years Go Passing By - D.Malone
02. Breaking Up Somebody's Home - A.Jackson/T.Matthews
03. Keep' Em Hot - Jim Kahr
04. Broken Man - Jim Kahr
05. Where We Goin'? - Jim Kahr
06. Off The Wall - M.W.Jacobs
07. If Loving You Is Wrong - M.Rice/L.Ingram
08. Chicago! (Doin' It To Me) - Jim Kahr
09. Ain't Nobody's Business - I.Taylor
10. You Oughta Know - Jim Kahr
11. Don't Mess With Mister T. - Marvin Gaye
12. Roughin' It - Jim Kahr
13. Miss That Ol' Feelin' - Jim Kahr


Jim Kahr: Vocals & Guitar
Bob Stroger: Bass
Jesse Green: Drums
Ron Sorin: Blues Harp
Bill Lupkin Blues Harp, Steve Lupkin Bass, Jorge "Rifa" Percussion, & Tim Tintary Keyboards - on Track 4, "Broken Man"


This sensational guitarist / vocalist hailing from the great city of Chicago presents his powerful Southside Urban Jam…an awesome refreshing creation of his own. This unique blend has reached far beyond any musical boundaries or limitations to date. JIM KAHR "Chicago Jim" is right in touch with the times while setting the pace for the future with his contributions. An accomplished songwriter and arranger as well…have established this gifted artist as a true identity, leaving his signature on each and every song performed. "Chicago Jim" is an explosive artist indeed…cutting loose each time with remarkable expressions unleashing unforgettable guitar work and vocals! He has become a legend in his own time appearing on several albums (as featured guitarist) with other major recording artists. Consistency has earned him devotion and respect amongst fans and fellow artists alike. He constantly receives outstanding reviews worldwide for his sensational efforts and his projection of true virtuosity. A true professional in every sense and meaning of. "Chicago Jim" simply burns up the guitar whenever and wherever he goes. Jim Kahr is a legendary established artist hailing from the Chicago scene... having performed in all types of major music venues. JK has reached numerous audiences of every music genre gaining worldwide attention and loyal fan support. JIM KAHR received the highest recording honorary award ("Preis der Deutschen Schallplatten") in Germany for his "Incredibly live" album release on AMR records. His latest Memphis album production...Nothin To Lose... with renown producer Jim Gaines has recently been released throughout Europe. It's a very powerful "crossover" album featuring eleven original refreshing tracks with top Memphis players and background singers around in collaboration for a fine album. Jim Gaines has engineered and or produced Carlos Santana, Stevie Ray Vaughan, Huey Lewis, Coco Montoya, Luther Allison, Steve Miller, Bruce Hornsby...to mention a few. JIM KAHR BAND is actively and energetically touring in support of the new album © www.jimkahr.de/english/home/frame.htm

BIO (Wikipedia)

Jim Kahr (b. 11 October 1952 in Chicago) is a US-American guitarist and singer. He played with Bobby Blue Bland for many years before he became acquainted with Willie Dixon, Buddy Guy, Sunnyland Slim, James Cotton, Koko Taylor and Jimmy Rogers. He got his first job as Bandleader from the harmonica player Junior Wells. He has played with greats like Joe Cocker, John Lee Hooker and Freddie King. Kahr was based in Mannheim and Ludwigshafen im the mid seventies and in 1992 he returned the USA. Today the guitar Virtuose lives alternately in the USA and Europe, where he plays sensational concerts and gigs. Jim Kahr is nt a prolific studio artist, having released onlt four or five albums..His 2002 album, "Nothin' to Lose" received great critical acclaim in Germany.

The Oliver White Group

The Oliver White Group - Control - 2008 - Overdrive Records

Awesome, top-shelf, soul-powered bluesy heavy guitar rocker from Texas featuring Special Guests Lance Lopez and Wes Jeans. 12 tracks (60 minutes) of outstanding, killer blues/rock riffage with tons of serious six-string "Texas Attitude". An excellent diverse & dynamic debut disc from this Texas axeslinger affair that will burn your good jam house down to the ground. Excellently produced by Mister Don Moore and Highly recommended to fans of SRV, Doyle Bramhall, Ian Moore, Wes Jeans & Lance Lopez. © 2008 Grooveyard Records - All Rights Reserved

"Control" is a good straightforward Texas Blues Rock album. This is the band's first release, and it really shows what the band can do. If you like Hendrix, SRV, or Peter Green, you may like this album. "Troublesome Feelin'" and "I Always Lose" are great tracks. Watch out for future releases from this great band.


03:42 Retribution
06:35 You Love Me
03:58 I'll Be Your Man
03:17 What's In Store
05:15 Last Minute Love
07:22 Troublesome Feelin'
03:47 Upside Down
07:37 Just Can't Leave
04:46 Control
04:36 I Always Lose
03:33 Just A Shame
05:26 Mountainside


Oliver White - Guitar, Vocals
Jim Choate - Bass
Mike Baysden - Drums
Jayson Starkey - Keyboards
Lance Lopez - Lead Guitar on Track 1
Wes Jeans - Guitar and Vocals on Tracks 6 and 8
Sean Dawson - Drums on Tracks 1, 2, 3, 9, 11 and 12


The Oliver White Group delivers on Control, which of course features guitarist Oliver White, an awesome, top-shelf, soul-powered bluesy heavy guitar rocker from Texas. Special guest guitarists on Control include Lance Lopez and Wes Jeans. The disc offers twelve tracks (60 minutes) of outstanding, killer blues/rock riffage with tons of serious six-string "Texas Attitude". An excellent diverse and dynamic debut disc from this Texas axeslinger that will burn your good jam house down to the ground. Excellently produced by Don Moore and highly recommended to fans of SRV, Doyle Bramhall, Ian Moore, Wes Jeans and Lance Lopez. Hard Rock/Blues. © www.myspace.com/oliverwhitegroup [homepage]


Oliver White grew up in Marietta, Oklahoma, a small town just a few miles north of the Oklahoma/Texas state line. Both of his parents taught at the local school, his father was the band director, and his mother was the choir director. The White house was always enriched with all types of music, from Beethoven to Blood, Sweat, & Tears. Oliver's father eventually retired from teaching to get involved in a music ministry with his church. This part of Oliver's childhood included playing southern gospel music with his parents in churches all across the south. A little later in life, Oliver played the trumpet in the school band, but it wasn't long before boredom set in and he picked up his first guitar. After graduating from Marietta High School, he attended college at Southeastern Oklahoma State University in Durant, Oklahoma with the intention of becoming a band director like his father. It didn't take long, however, for Oliver to realize he'd much rather MAKE music than teach it. A short time later, he and some friends put together a blues band called "Little Brother" with Oliver on lead guitar and lead vocals. He learned the ropes and honed his guitar chops before leaving the band and taking his music in his own direction. And so, "The Oliver White Group" was born. The OWG, as they have come to be known, have covered many styles of music, such as Stevie Ray Vaughan, Chris Duarte, Buddy Guy, Ian Moore, and Doyle Bramhall II. However, their true strength is their original material. These songs are enriched with a blend of blues, roots, and modern folk that defy the boundaries of any genre. Songs about real life, real problems, real love, and real people. The Oliver White Group is currently riding the success of their album "Control", released early 2008 by Overdrive Records. © www.lonestarmusic.com


Pork Pie

Pork Pie - Transitory - 1974 - Mps Records

Pork Pie were only in existence from 1973 until 1976, and released very few albums, under the Pork Pie name. "Transitory" from 1974 is one of the great jazz rock/fusion albums, and is often regarded as the best recording from the great keyboardist Jasper van t Hof'. "Transitory" covers ethnic and free jazz fusion, with Indian and Latin influences. At times, there are touches of psychedelic progressive jazz. The album is a great example of seventies progressive jazz rock, and one you should hear. It should especially appeal to fans of the great Focus band. Phillip Catherine who replaced Jan Akkerman in Focus in the late seventies, plays guitar on this album. Phillip is mainly responsible for the rock element on this album. If you can find it, listen to the "Focus - Live at BBC" album from 76/77 which features Phillip Catherine. Check out Pork Pie's great "Operanoia" album, and it is also worthwhile listening to the classic Mingus album, "The Black Saint And The Sinner Lady" which features Charlie Mariano. And if you have time check out Jan Akkerman's amazing "Live (Montreux) album where he plays "Transitory(Part 2)" from this Pork Pie album.

In 1983, the late Aldo Romano, and Philip Catherine made the brilliant "Alma Latina"album. I better stop here before I write a novel! (A.O.O.F.C)


A1 Epoch - Jasper van't Hof
A2 Transitory Part 1 - Jasper van't Hof
A3 Transitory Part 2 - Jasper van't Hof [ Dedicated to German bassist Peter Trunk [1936-1973] who died in an automobile accident ]
A4 Angel Wings - Philip Catherine

B1 Pudu Kkottai - Trad/Arr Charlie Mariano
B2 Something Wrong - Jasper van't Hof
B3 Bassamba Part 1 - J.F. Jenny-Clarke
B4 Bassamba Part 2 - Aldo Romano (R.I.P)
B5 March Of Oil-Sheikhs - Jasper van't Hof


Charlie Mariano - Flute, Arranger, Saxophone, Duet, Bamboo Flute, Soloist, Sax (Soprano), Nagaswarm, Sax (Alto)
Philip Catherine - Guitar (Acoustic), Guitar, Soloist, Guitar (Electric)
Jasper van't Hof - Keyboards
J.F. Jenny-Clarke - Bass
Aldo Romano - Drums, Soloist
Ivanir "Mandrake" Do Nascimento - Percussion

Recorded May 17 & 18, 1974 at Conny's Studio, Neunkirchen, Germany: Remixed June 13 & 14, 1974 at by Conny Plank: Produced by Achim Hebgen: Released by MPS/BASF (Germany) 21 22099-0


Funky electric fusion in the best 70s MPS tradition -- tight, choppy, and filled with loads of quick jazzy changes! The group here is the Porkpie combo of keyboardist Jasper Van't Hof -- who plays electric piano, celeste, and "prepared organ" with some really great sounds -- and this version of the group also features the great Charlie Mariano guesting on reeds -- playing some of his best post-Japan solos on alto, soprano sax, flutes, and nagaswaram! Mariano's sense of soul really helps deepen the record past just another fusion outing -- providing rich tones and flavors that keep things interesting throughout, and which almost have a similarly electric feel to Jasper's keyboards. Other players include Philip Catherine on guitars, JF Jenny Clarke on bass, and Aldo Romano on drums -- and titles include "Bassamba", "Pudu Kkottai", "Epoch", "Transitory", and "Angel Wings". (Amazing LP sleeve edition -- with full notes in English and German, new mastering, and even a paper wrap-around jacket over the gatefold sleeve!) © 1996-2008, Dusty Groove America, Inc.

Until the present day Jasper van’t Hof, the Dutch primary rock of keyboard wizardry, keeps coming back as a surprise with a diversity of projects. The man from Enschede has just formed his band HotLips, featuring different long time companions of his curriculum, furthermore he joined again with sax player Bob Malach, outed himself as a football fan with DJ Charles Petersohn and released an elaborated solo CD. But looking back over the three and a half decades of his career, it is his short but extremely intense period with the band Pork Pie (1973 -1976) that expresses his philosophy in the most striking way - even more than the invention of Pili Pili’s ethno fusion in the late 1980s - and also influenced many musicians at that period. Pork Pie wasn’t formed, it rather developed out of a process. After leaving the progressive band Association P.C. in 1972, Jasper played with a plethora of jazz musicians, including Jean-Luc Ponty, George Gruntz and Archie Shepp. To continue the electronic fusion path he had begun with the Association he also experimented with a group of colleagues that eventually crystallized as the legendary band with the allusion to the famous Lester Young standard in their name. With Charlie Mariano and Philip Catherine by his side and Aldo Romano as well as J.F. Jenny-Clark in the rhythm section, the newcomer soared up towards an astonishing artistry within this project. In which, by the way, he took the role of the bandleader - although being the youngest musician of the quintet with just 27 years of age. ”Transitory”, the group’s first output, shows van’t Hofs diverse qualities in every single track, reflecting his flexibility and readiness to break down barriers between rock, electronic, psychedelia and free elements, and gracing them all with metric complexity. But it’s also thanks to the extraordinary skills of van’t Hofs four band members, each of them in the heyday of their career, and their capacity of interaction hardly to be matched by any collective at that time, that this recording became one of the most important jazz rock classics of all times. The rocking side of “Transitory” can be immediately felt in the full attack opener “Epoch” with breathtaking solos by Mariano and van’t Hof and at a more melancholic and melodious way in “Angel Eyes” which shows Philip Catherine with amazing inventiveness on his guitar. In “Something Wrong” and “March of The Oil-Sheikhs” the band leader shows his wit when experimenting with complex rhythm patterns, which he never uses in a pure academical way but with humour and even commenting on recent political issues like the oil crisis. Van’t Hof shares his love for strange rhythms with Mariano who delivers a meditative insight into his studies of South Indian music in “Pudu Kkottai”, which develops from exotic improvisation into a full-fledged jazz rock piece. A “world music” touch is also woven in by drummer Aldo Romano and guest musician Mandrake from Brazil when they imitate a samba school from a jazzy point of view. Most astonishing although is the title track which shows Jasper van’t Hof as a spooky soundscaper on the keyboard, creating psychedelic and symphonic effects ahead of his time. A revolutionary work which marks the first giant step in the discography of Jasper van’t Hof. © BY PROMISING-MUSIC.COM / 2007

It's reissues like this that give every fusion fan goose-bumps, and justify the reason why those still into CD's are hardcore collectors of fine art at heart. Transitory, the 1974 release from Jasper van't Hof's supergroup fusion ensemble Pork Pie, is an amazing slice of Dutch jazz-rock, easily as exciting as what acts were producing over here in America at the time (Return to Forever, Weather Report, Mahavishnu Orchestra), and an album that has held up quite well over the years. Never heard of Pork Pie? Well, don't feel bad, I'm sure many other fusion lovers haven't either, and that's a real shame. Jasper van't Hof is a well known keyboard player on the jazz and fusion scene in the Netherlands, and he put together Pork Pie with guitarist Philip Catherine, sax/flute player Charlie Mariano, bassist J.F. Jenny-Clark, percussion player Ivanir "Mandrake" Do Nascimento, and drummer Aldo Romano in 1973. Pork Pie is presented in a wonderful mini-lp gatefold sleeve design, with a thick booklet containing extensive liner notes and some photos. The 24-Bit remaster treatment is astounding-this is easily one of the best sounding 70's fusion releases I have heard in some time. "Epoch" blasts through your speakers with plenty of sonic force, Mariano's squonking sax interrupted by plenty of spacey Fender Rhodes lines from van't Hof (recalling Corea at his most adventurous), all the while the blistering drum work of Romano flailing away in the background. The two-part title track features lots of spooky keyboard effects, flute, and soul searching sax, while "Angel Wings" is a more melodic, groove laden jazz piece, Jenny-Clark's rumbling bass lines providing a solid groove for Catherine's stinging guitar lines and Mariano's soaring flute. Elements of free-jazz pop up on the raucous "Pudu Kkottai", recalling Ornette Coleman's early work, which is followed by the intoxicating sounds of "Something Wrong", littered with swirling electric piano, husky sax work, and slippery bass lines. Sort of like a mix of Weather Report and Mahavishnu Orchestra on that one. The two-part "Bassamba" is a wild vehicle for Jenny-Clark on the acoustic bass (man, this guy can play!), which quickly morphs into a funky fusion vamp with all the players locked in. The album ends with the rocking "March of the Oil Shieks", an almost King Crimson meets Weather Report barnburner, Catherine laying down shards of Frippian guitar licks over tight fusion rhythms and spacey electric piano. Pretty remarkable stuff all around, from the packaging to the actual music itself, so if you are a fan of 70's fusion, this will be a must have in your collection. © Pete Pardo, www.seaoftranquility.org

Widely, and justly, regarded among the most important fusion recordings of its era, this 1974 album waited almost 35 years before finally making it onto CD and the first thing that strikes you is, just how warm the whole thing still sounds. So many of Pork Pie's early 70s pioneering peers sound weak and thin today, but Transitory is just as electrifying now as it was at the time. Philippe Catherine's guitar playing is largely responsible for this; under-rated even by the people who acknowledge his genius, Catherine cuts through his bandmates with such finesse and imagination that, even when you're sure you know where everything is leading, the guitar is on hand to reroute your expectations. The two part title track is especially revelatory, while we all crack a smile at the final cut, "March of the Oil Scheikhs. When Transitory was originally released, the west was reeling from a massive oil shortage. It returns to the shelves all these years later -- and the west is reeling from another one. This is one of the albums that will help you get through it. © Dave Thompson, All Music Guide

Fusion is perhaps progressive rock's more white collar cousin. Arising from the jazz scene at the tail end of the 1960's, fusion co-opted the energy and electricity and volume of rock and roll and added it to an already diverse set of influences and styles. While one might be forgiven in thinking that fusion was primarily an English and American phenomenon (bands like Mahavishnu Orchestra, Weather Report, Return to Forever and the electric Miles Davis bands come to mind immediately), the continental European scene featured some smoking hot fusion groups as well. Dutch meyboard maestro Jaspar van't Hof had just left the progressive band Association P.C. in 1972, having also worked with such luminaries as Archie Shepp, Jean Luc-Ponty and George Gruntz. Piecing together a band to carry on the electric/fusion angles he had been exploring, van't Hof brought together Charlie Mariano (saxes. flutes), Philip Catherine (guitar), J.F. Jenny-Clark (bass) and Aldo Romano (drums) under the Pork Pie aegis, alluding to the famous Lester Young jazz standard. Though Transitory would be the first release by this short lived combo (Pork Pie remained together ffrom 1973 to 1976), it features a band fully formed in its style, bridging the gaps between rock and jazz, psychedelia, Indian and Brazilian musics, and doing so effortlessly. The 2008 re-issue of Pork Pie's debut release on Promising Music is an eye-opener. The album is packaged in the currently popular mini-LP fomat, complete with gatefold cardboard sleeve. Furthermore, the CD itself is printed to look like a vinyl LP, and packaged in a jacked that mimics the traditional sleeve that LPs would have. The album has been carefully mastered, keeping in mind the importance of dynamics and sound quality. You'll not get any brick wall remastering here...quiet passages retain their gentle quiet, while heavier segments pop from the speakers without inducing ear fatigue. This is the way reissues and remasters should be done...taking utmost care to maintain the integrity of the original source. Jazz fans will find this release much to their liking, but it also serves as a great appetizer for rock listeners interested in dipping their toes into the fusion pool. © 2008 Music Street Journal


EPOCH - Transitory opens with an upbeat, percolating little number written by band leader van't Hof. Charlie Mariano's sax playing is right on the brink of chaos, while the main theme, reiterated several times through the composition as a sort of waypoint and launching pad for each solo section, is eminently memorable and hummable. Van't Hof's electric piano chops are incredible; if you thought Rick Wakeman had some pretty dexterous moments on piano, you need to hear van't Hof's playing on this piece. Philip Catherine adds some brief bursts of electric guitar that almost seem to come out of nowhere, yet add just enough that their absence would be felt strongly. Not over-long at 7:45, this is an impressive lead off composition for this album. TRANSITORY (PART 1) - An ominous low-pitched rumble and some odd, not quite identifiable sounds (I think it's slide guitar, but I can't be one hundred percent sure) lead into the first part of the album's title piece. Mariano's flute playing is keening, not gentle as one often expects flute work to be. One would be excused for thinking this piece might fit well on a 1973-1974 Hawkwind album, as the combination of flute playing and ambient/space sounds would not at all be out of place on an album like Hall of the Mountain Grill or Warrior on the Edge of Time. Three minutes in sax playing almost evokes a bagpipe sound comparison, with backing that sounds somewhat like a Fripp soundscape... TRANSITORY (PART 2) - Part II arises from the same ambient backing that was the foundation for the first half of "Transitory." Mariano's sax playing is darker, lower in timbre and richer, mixing well with treated organ from van't Hof. Taken together, parts I and II are almost two sides of the same coin, showing light and shade, exploring the vast possibilities of musical colour and shape and sound that the same set of instruments are capable of creating. "Transitory" is about as far away from rock as one can get compared to album opener "Epoch," yet the piece fits the exploratory, searching nature this album seeks to provide. ANGEL WINGS - Written by guitarist Philip Catherine, this piece sees a return to more rock based song structures. The rhythm section (Aldo Romano and J.F. Jenny-Clark) practically percolates along, their playing bubbly and almost joyful. Catherine gets an extended opportunity to show off some fluid guitar playing skills, his instrument heavily treated and sounding as itf it could have been lifted from some early 1960's garage band classic, but with far more skill and ability than any garage band could muster. Ivanir Do Nascimento guests here, contributing hand percussion that only adds to the bubbling rhythm that drives this composition along. PUDU KKOTTAI - This traditional was arranged by Charlie Mariano, and features him on bamboo flute. Originally the opening track on side 2 of Transitory, this piece sees the group moving in a more free jazz direction, with the opening 3 to 4 minutes having next to no rhythmic or tonal center to hold on to. A foundation finally begins to rise, almost organically, from the musical chaos, introducing some significant eastern/Indian musical influences to Pork Pie's bubbling musical pot. SOMETHING WRONG - Van't Hof's gentle electric piano intros this composition, which sounds as if it has been placed here as a direct reaction to the chaos that typified "Pudu Kkottai." Quieter, gentler, "Something Wrong" is still a showcase for some almost psychic instrumental interplay. The second half of this song would not at all be out of place on one of Frank Zappa's instrumental/jazz based albums of similar vintage, showing that he was far from the only musician making this kind of music at the time. BASSAMBA (PART 1) - Pork Pie moves to South America for the next two tracks, two parts making up a piece called "Bassamba." As the name implies, this first part is a showcase for bassist J.F. Jenny-Clark, and his playing does not disappoint. This first part is mostly bass solo, with some drumming and keys to tie everything together. One hears very little samba in the track. – at least the half presented here. BASSAMBA (PART 2) - Suddenly the listener is transported south of the equator, where Latin percussion and bet-you-can't-not-dance-to-it grooves drag you out of your seat and onto the dance floor. Charlie Mariano contributes some tasty alto sax, and the band simmers along behind him. MARCH OF THE OIL-SHEIKS - This is such an appropriate title, even today - perhaps especially today. One can't help but visualize puppets or marionettes being jerked wildly back and forth on their strings to the jerky rhythms coaxed out by van't Hof and his group. There's an edgy, almost avant-garde feel to this composition, with choppy guitar, pulsing bass, and skittering electric piano playing. Bursts of sax and flute add to the chaos, and one is left wondering...is this jazz? Is this rock? Does it matter? It's impressive how a piece that sounds so chaotic can actually tie together nicely, and under less skilled hands, it might not have happened. Van't Hof and his group show that they can handle anything thrown at them over the course of this debut album, and "March of the Oil-Sheiks" is a daring and impressive closer for this release. © 2008 Music Street Journal

ABOUT PORK PIE / "Transitory"

From sideman to bandleader — from the unbridled, exuberant talent to the mature, sovereign musician, fully aware of all his capabilities — Jasper van't Hof has come a long way in the past year and a half since leaving the Association P.C. at the end of 1972 (the group in which he, virtually coming from nowhere, played his way up to one of the most celebrated new keyboard-players) until founding PORK PIE. In this period he gathered valuable experience in numerous encounters with jazz greats from Europe and overseas. For him they presented constantly changing, forever-new challenges. Apart from gigs with the Jean Luc Ponty Experience, the Chris Hinze Combination, with Peter Trunk's Sincerely P.T., Manfred Schoof's New Jazz Trio, George Gruntz' Piano Conclave, or with Archie Shepp, Jasper van't Hof also gave concerts with groups under his own name, from which then developed the present personnel of PORK PIE. The long selection process yielded good results. One need not be an expert to recognize the "outstanding names" — thus the music magazine SOUNDS — whom Jasper van't Hof has grouped around him. More important yet, the musical relations within PORK PIE are so strongly defined that no member of the group can be exchanged without destroying essential characteristics of PORK PIE. There doesn't seem to be any other group in Europe which accomplishes in such exemplary fashion as PORK PIE the synthesis between the most different musical categories and styles, so symptomatic for the 1970s. If we call CHARLIE MARIANO the outstanding musician of this group, then this will hardly be a put-down for any other member. Charlie Mariano is now 51 years old. He was born in 1923 in Boston, Mass., and is of Italian descent. No more than a handful of musicians of that generation have kept step with the ever-changing forms of jazz — Phil Woods and Albert Mangelsdorff, for example — but beyond Miles Davis I know of no other musician who has continued to remain so "young". Jasper van't Hof says: "Compared to Charlie I sometimes feel old!" Charlie Mariano combines the assurance and maturity of his many years of active jazz-playing with the feeling of the 20- to 30-years olds. (After all, he did play with rock groups, e.g. the German "Embryo" and the Dutch "Supersister".) Charlie Mariano's musical activities cover such a wide range that it is necessary to recall for today's audience: he made his contribution to jazz history back in the '50s with Stan Kenton's Orchestra and with Charles Mingus, as one of the most important alto saxophonists of the post-Charlie Parker era. Conversely it has to be pointed out to some of his older fans that he is no longer the "bebopper" they used to know: today he combines contemporary modal playing and Indian meditativeness with traces of Charlie Parker. His instruments have been added to: the flute, the nagaswaram (a sort of South-Indian oboe), and the soprano saxophone, on which he has found a very personal and exceptionally beautiful tone. "Tears of sound", as Charles Mingus once called Charlie Mariano's alto saxophone playing, would be even more appropriate to his soprano tone. Born in Italy in 1941 and a long-time resident of Paris, drummer Aldo Romano, in the '60s, was regarded as one of the leading free-jazz drummers in Europe (a.o. he played with the groups of Gato Barbieri, Don Cherry — whom he also accompanied in the US — and Joachim Kühn). In 1971 he founded in Paris the pop group "Total Issue" (with bassist Henri Texier and George Locatelli), with which he had a certain degree of success as a singer and songwriter. One of the things that won him over again to the jazz scene was his enthusiasm for Jasper van't Hof's piano playing. Today, he combines both experiences and overlays it with a dash of Brazilian samba rhythms: a combination that lends charm and elegance to his drumming. Charm and elegance — they also describe Aldo Romano's bearing and appearance. Bassist J.F. Jenny-Clark, born in 1944 in France, must be counted among the leading practitioners of his instrument — on the jazz scene as well as in the realm of classical music. In 1969 he won a competition as best bassist in Europe in the classical field. Contemporary composers of concert music, as for instance Stockhausen, Boulez and Berio, continuously call on him. Thus he could not make himself available for a jazz concert at last year's Donaueschingen Music Festival because he had already been engaged for the first performance of a composition by Globokar. As jazz bassist, J.F. Jenny-Clark belongs to that select group of Europeans who are also in demand for record sessions in the US — several times for instance, with Gato Barbieri. He also took part in Barbieri's latest tour of Europe. Furthermore J.F. Jenny-Clark — like Aldo Romano — has a special empathy for Brazilian music. His collaborations with Baden Powell and Egberto Gismonti attest to it. The Belgian guitarist PHILIP CATHERINE (born 1942 in London) today is living in Brussels. His professional career started with the group of Lou Bennett. He became well known as a member of the Jean Luc Ponty Experience (1970-1972). Almost all European big bands of the last few years had his services as guitarist, Peter Herbolzheimer's Rhythm Combination & Brass being one of them. His versatility also made him a much-demanded studio musician. Philip Catherine joins the rich tradition of the jazz guitar with the legacy of Jimi Hendrix: his playing, through its charm, melodiousness and balance, provides a pleasant contrast to the Mahavishnu syndrome from which so many jazz-rock guitarists are suffering today. Only 27 (born 1947 in the Netherlands), JASPER VAN'T HOF is the youngest musician of PORK PIE as well as its leader: this, too, speaks for the recognition which he is enjoying from the other musicians. The handicaps of his auto didacticism have long been overcome (today he is a personality of professional versality), the advantages he has kept: spontaneity (George Gruntz says: "Creative every minute!") and unmistakable originality. Jasper van't Hof has a special aptitude for unsymmetrical and tricky meters: where others have to practice hard and must count, he plays with the same easy self assurance as on 4/4 meters (which, incidentally are in the minority on TRANSITORY). Jasper van't Hof is one of the great originals on the current scene, more musical than most of his rock colleagues, who were built up by the music industry; and he's more modest: instead of tons of equipment he is using only an organ/electric piano combination with a number of attachments. With this instrumentation he has such a variety of electronic sound-colors at his command, that one actually does presume "tons of keyboards". Since he uses the most diverse and polyphonic sounds in his playing, it offers a refreshing alternative to the almost modish and usually cliché-bound sounds of the synthesizer. Needless to say that Jasper van't Hof, the Dutchman, possesses the humor for which his fellow-countrymen in general and Dutch jazz musicians in particular (Han Bennink, Willem Breuker) are known. Once again George Gruntz about Jasper: "A man with a great sense of humor and impeccable taste!" EPOCH is the slightly rock-inclined opener, which also makes clear that PORK PIE does not necessarily intend to follow the well-trodden paths of faddish jazz/rock patterns: through the light, Brazilian-inspired drumming of Aldo Romano and through the combination of acoustic and electric instruments. The electronic achievements in this way yield a more "humane" quality, and the group sound in general has more warmth and depth. Several times, in Charlie Mariano's alto saxophone solo, there appear sudden Charlie Parker phrases: "Bird symbols" which signalize: "Charlie Parker Lives!" TRANSITORY was written by Jasper van't Hof upon hearing about the death of German bassist Peter Trunk, who had a fatal accident New Year's Eve 1974: It is an unusual composition of transcendental character. In Part I, which is again subdivided in two parts, Jasper and Charlie improvise in sensitive dialogue, Jasper on organ/electric piano and Charlie at first on flute, then on soprano saxophone. Part II is an impressive demonstration of the possibilities of combining acoustic and electronic instruments: a sound as big as the Berlin Philharmonic, and yet there are only three players: soprano, prepared organ and bowed bass. No symphony orchestra, no tricks in the studio, no over-dubbing. Charlie's soprano saxophone reminds us of another Mingus quote: "Charlie is love and soul." Transitory leads into the romantic rocking ANGEL WINGS, in which Philip Catherine plays one of the most beautiful solos of his career, a solo of fascinating logic and perfect construction as if it were indeed floating on angel wings. Side 2 begins with PUDU KKOTTAI, a traditional melody from South India, in 5/8 + 5/8 + 4/4 + 3/4. In the past years Charlie Mariano repeatedly spent several months there to study Indian folk music. Charlie introduces Pudu Kkottai on a bamboo flute and then switches over to the nagaswaram, whose penetrating tone requires a proportionate amount of physical exertion. If we disregard the jazz accompaniment, we could feel transferred to an Indian street scene. With a further switch to the soprano, Charlie Mariano returns us to more familiar jazz surroundings. SOMETHING WRONG is a short, romanticizing statement with an electric piano introduction by Jasper van't Hof. The piece takes its name from the rhythm: 11/8 = 3/3/3/2. Every time we are beginning to feel comfortable in the ternary meter, suddenly there is a beat missing . . . After what has been said about the subject of Brazil, it is obvious how the feature number of J.F. Jenny-Clark and Aldo Romano will sound: BASSAMBA Part I is the exact title: a bass solo played in samba rhythm plus drums; BASSAMBA Part II is an "electrified" Escola do Samba with rock overtones, a co-equal percussion collective by all six musicians. MARCH OF THE OIL SHEIKHS is Jasper van't Hof's musical contribution to overcoming the oil crisis, which of course hit the Netherlands the hardest last year. A typical Jasper van't Hof composition: broken rhythm (5/4), a shot of humor, and a strange mixture of different influences which he can't identify himself. [ FROM LINER NOTES [Liner notes by Achim Hebgen, translated by O.E. Syman : © hepcat 1950, Mar 20, 2008, www.charliemarianotribute.de/ln197406.html ]


JASPER VAN'T HOF was born in Enschede, Holland on June 30, 1947. The child of a jazz trumpeter and a classically trained singer and pianist, his great interest in music became evident at an early age. The groundwork was laid with private piano lessons. At the age of fourteen he wrote his first compositions and became increasingly interested in jazz. His parents would have liked to send him to a conservatory, but JASPER VAN'T HOF preferred to play live. At nineteen he was already participating in various jazz festivals and raking in prizes. He celebrated his first great European success with the band ASSOCIATION P. C., founded in 1969 by VAN'T HOF along with the Dutch drummer Pierre Courbois and the German guitarist Toto Blanke. The bassist was sometimes the Dutchman Peter Krijnen, sometimes the German Sigi Busch. The band produced a synthesis of jazz and rock never before heard in such high quality and acclaimed as a sensation at the Berlin Jazztage of 1971. "Eighty percent of ASSOCIATION P. C. was electronics", JASPER recalls, and he accordingly soon belonged to the circle of jazz musicians interested in exploring the sound possibilities newly created by the electronic instrumentarium. This he undertook in a formation founded in 1973 with Charlie Mariano and Philip Catherine, the group’s name - PORK PIE - alluding to an old Lester Young number. Of the two excellent albums that came out of this collaboration, the second one, TRANSISTORY, was dedicated to the bassist Peter Trunk who had died in a car accident in New York in 1974. It was also very much in the Trunk spirit that PORK PIE merged the technical-artistic virtuosity of jazz with the dynamic extroversion of rock. JASPER VAN'T HOF recorded his first solo album, THE SELF KICKER, in 1976, following the dissolution of PORK PIE, and it was already a clear avowal of faith to fully developed melody and precisely conceived music; it is still one of JASPER’s favourite albums today. This period also witnessed a number of duo contacts with musicians like Archie Shepp, Manfred Schoof, Wolfgang Dauner, Zbigniew Seifert, Toto Blanke, Stu Martin, Alphonse Mouzon and Bob Malach. And solo performances by JASPER VAN'T HOF were also not rare during those years: as a keyboarder with "all the works,” but often alone at the concert grand as well. Interestingly and curiously enough, the readers of a jazz magazine elected JASPER VAN'T HOF as "Europe's second-best synthesiser player" in 1978, despite the fact that he had played piano, e-piano and organ exclusively until that time - albeit frequently connected to various kinds of electrical effect devices. The year 1984 marked the founding of the Afro-European formation PILI-PILI. Its first album was a major success, above all in the dance and pop scene. The legendary fifteen-minute title track "Pili Pili", which gave the band its name, resounded from the approximately 160,000 copies sold of this firstling, raising it to the status of a cult number. VAN'T HOF worked primarily in Germany, due perhaps to the proximity of the border, perhaps also to his marriage to a German woman of Hamelin. PILI-PILI's success has taken VAN'T HOF on eighteen concert tours to date; the band appears on stage in Germany twenty to thirty times a year. PILI-PILI was a stepping stone for Angelique Kidjo, now an internationally successful ethnopop singer who worked with JASPER VAN'T HOF in his band for four years and recorded a number of CDs with him. The members of PILI-PILI include Marion Klein (Bielefeld), also a musician in the ethno band Dissidenten, the bassist Frank Itt of Hamburg and the trumpeter Eric Vloeimans. The band is VAN'T HOF's most continuous project and celebrate its twentieth anniversary in 2004. Under the title OPERANOIA, PORK PIE underwent a revival in 1992 with Philip Catherine, Charlie Mariano and Don Alias. JASPER VAN'T HOF has published his some seventy albums almost exclusively with German record companies. It was not until recently - on the occasion of his fiftieth birthday - that major tribute was paid him in Holland for the first time, in the form of the renowned BIRD AWARD. The two organ CDs recorded in Italy two years ago received wide recognition, and in the meantime VAN'T HOF has played the church organ at well-known classical music festivals. In April 2003, twenty-five years after his first piano solo CD, a new studio solo CD appeared finally. It was recorded in November 2002 in the broadcasting hall of Radio Bremen. The main theme is the explainable, mathematical and recurrent aspect of music, inspired by Gödel, Escher and Bach, who traced this formula back to its origins in mathematics, painting and music, respectively. The title of the new CD is AXIOMA (JARO 4250-2) - also an anniversary album for JARO, namely our 150th! © www.jaspervanthof.com/index.php?id=9 All rights reserved