Thank you so much!!!!!

Thank you so much!!!!!

Thank you so much!!!!!

Thank you so much!!!!!

Thank you so much!!!!!

Thank you so much!!!!!

Thank you so much!!!!!

Thank you so much!!!!!

Thank you so much!!!!!

Thank you so much!!!!!

Спасибо! Большая работа!

I love Delius :))
Track 3 is original of Fenby's famous String Orchestra version and track 5 & 6 are 1st version (Delius didn't discard it but it doesn't seem complete, Original 2nd movement is so different and so fascinating).
2 other String Quartets were lost.
Performance ...
Thanks

In June 1994 over three extraordinary nights at the celebrated Blue Note in New York City, Keith Jarrett's Standards Trio took American jazz to new heights. Keith Jarrett At The Blue Note - The Complete Recordings (six CDs) captures every tune from every set from every night - a unique documentation of one of this decade's greatest performances. 'Jarrett makes each new note sound like a discovery ... The music whispered and glimmered, seeking a pure, incorporeal song.'
New York Times, June 6, 1994

Tyran Grillo:

Keith Jarrett Trio
At The Blue Note – The Complete Recordings

Keith Jarrett piano
Gary Peacock bass
Jack DeJohnette drums
Recorded June 3–5, 1994, New York
Engineer: Jan Erik Kongshaug
Produced by Manfred Eicher

When Keith Jarrett opens Dave Brubeck’s “In Your Own Sweet Way,” the first off this monumental document of a weekend’s Blue Note concerts in June of 1994, we feel right at home. Sharing the stage with Gary Peacock and Jack DeJohnette, he epitomizes balance of fire and grace in the famed jazz club’s intimate and hallowed confines. But there is, of course, nothing confining about the 7-hour journey on which the listener has just embarked, for as Peacock spreads his fingers wide, fanning the flames over DeJohnette’s never-hackneyed rat-a-tat-tat, we understand that this is something more than music. It’s art, pure and simple.

So begins the first of three glorious nights of (mostly) standards from the trio that rewrote them all. What follows is a veritable train of the tried and true, which lets off the Gershwins at one station with “How Long Has This Been Going On,” Charlie Parker at another (“Now’s The Time”), and J. J. Johnson at still another (“Lament”). Peacock’s improvisational arc is their running spine, binding page after page of archival paper with insoluble glue. Jarrett manages to float throughout the livelier locks of “While We’re Young,” “Oleo,” and “If I Were A Bell,” the latter of which requires a pair of binoculars to spot DeJohnette, so high does he soar. The second Friday set also proves fertile ballad ground, tugging at the heartstrings “In The Wee Small Hours Of The Morning.” Here Peacock eases in almost unawares—a gradation of sunset from pink to orange—and turns drums into whispers. “Things Ain’t What They Used To Be” is another highlight, closing out the night with a gospel edge.

“Autumn Leaves,” which for my money no one plays better, kicks off Saturday’s tour de force at the astronomical length of nearly 27 minutes. But make no mistake: not a single note is wasted. Between Peacock’s beautifully ascending lines and Jarrett’s open O of ecstatic communication with the gods of improvisation, to say nothing of the fine swinging of the sticks from DeJohnette, there is always something to admire with each new listen. “Days of Wine and Roses” spreads one royal jazz flush across the poker table, giving us some of the set’s most unified moments, while a likeminded rendition of “When I Fall in Love” underscores Peacock, who is every bit as deft as Jarrett at unpacking the motives at hand for all they’re worth. “How Deep Is The Ocean” is a perfect example of Jarrett’s skills as an introducer, bringing us as he does into the atmosphere of the piece before the vamp rears its familiar head. Fresher moments abound in “I’ll Close My Eyes.” A crisp joint that snaps like a snow pea, its affirming energies feed Jarrett’s most phenomenal solo of the entire package. Spinning his chromatic staircases as if he were a lighthouse builder in a parallel night, he adds flesh to every bone. As Friday ended in Pentacost, so Saturday ends in the blues with “Things Ain’t What They Used To Be.”

Which leads us into the dynamic visions of Sunday’s closing sets. The first takes the smooth (“My Romance”) with the tempestuous (“La Valse Bleue”), the flustered (“You’d Be So Nice To Come Home To”) with the thrilling (“Straight, No Chaser”). The second adopts a more meditative approach, melting in Jarrett’s own “Desert Sun.” One of a smattering of originals, it unfolds like a solo concert piece, made all the richer for the presence of his incomparable sidemen. Like “Partners” (appearing twice on the album) and “Bop-Be,” it is a standalone story, a new chapter in a book that may never be finished. “No Lonely Nights” is another personal trip and finds its composer pouring on the starlight like syrup over pancakes. The remaining half of his tunes grow out of shorter standards, turning, for example, “On Green Dolphin Street” into a 21-minute jam with the addition of “Joy Ride.” So, too, with “You Don’t Know What Love Is” (augmented by Jarrett’s “Muezzin”) and “I Fall In Love Too Easily,” which submits to “The Fire Within.” And where else could such sustained brilliance come from?

Just when you think you’ve picked a favorite guide out of this trio for these sentimental journeys, another swoops in to take his place. In spite of their seemingly unstoppable flow, they always know when to take pause, to let the air breathe with the heads and tails of something new. And while I’d never recommend limiting oneself to a single recording by this groundbreaking group, for deep-end swimmers you can’t go wrong with this dive. As a live document alone, it will stand the test of time. The only downside is that you may feel sad at not having been there when all of this went down. Thankfully, through this treasure of a recording, we can trick ourselves into thinking that we were. The only standards worth sharing, says Jarrett in his liner notes, are the highest ones, and at the Blue Note you’ll find nothing but. This is where it’s at.:

I see the Amazon site says
Record Company Required Metadаta: Music file metadata contains unique purchase identifier.

I wonder if this has been remastered.

Studio Album, released in 1978

Songs / Tracks Listing
1. The Poke (5:06)
2. Masques (3:17)
3. Black Moon (4:48)
4. Deadly Nightshade (10:54)
5. Earthdance (6:10)
6. Access to Data (8:04)
7. The Ghost of Mayfield Lodge (10:08)

Total Time: 48:27

Line-up / Musicians
- John Goodsall / guitar
- Peter Robinson / keyboards
- Percy Jones / bass
- Chuck Bürgi / drums
- Morris Pert / percussion, Fender piano (3)

With:
- Norman Choir / credited on track 1 but unidentifiable (?), possibly a joke

Releases information
ArtWork: A D Design with Chris Kutschera (photo)

LP Charisma - 1138 (1978, UK)

CD Charisma ‎- CASCD 1138 (1989, UK)
CD Universal Music ‎- UICY76415 (2014, Japan) Remastered SHD-CD

P. McKenna
5.0 out of 5 stars Brand X at it's peak!
Reviewed in the United States on September 22, 2004
Compositionally, this has got to be the strongest Brand-X outing, each song has such strong melodic content complimented by the typically sly British wit that had long been their trademark.

The band's sound here is a bit punchier and a bit more colorful, owing to the presence of keyboardist Peter Robinson and all his cool textures, as well as percussionist Morris Pert contributing more compositionally and adding even more cool sounds and various metallic objects. Veteran session drummer Chuck Burgi adds a punchier sound as well, sounding nothing like Phil Collins (who by this point had no time to devote to Brand-X).

All throughout, for me the real star is bassist Percy Jones, not only with his unique stuttering/guttural fretless style but also his compositions. If the disc has one tune that stands head and shoulders above the rest, it would be Percy's "Ghost of The Mayfield Lodge" with its alternately whimsical and spooky melodies and textures. The fun part of this tune is the middle section where Percy and Morris bat spooky phrases back and forth as Peter Robinson conjures up all kinds of cool spook sounds on his synths.

"Deadly Nightshade" is easily my other favorite track here, with the whole band just firing on all cylinders, spinning out colorful melodies, witty interjections and a rip snortin' last few minutes of sheer fusion bliss with a grand ending!

All the other tracks are great fun as well (love that spooky intro to "Earth Dance" a ton!), not a bad one in the bunch.

After this, it would be diver down, as "Product" would demonstrate a year later.

Trackliste
1 Babe Of The Day 6:40
2 Angelicus 5:43
3 Elder Wings 6:33
4 Tough Crowd 7:45
5 Her Corner 6:06
6 Save The World 5:33
7 Page One 6:27
8 Oprah Mode 6:36
9 True Story (For Toru Takemitsu) 4:34
Mitwirkende
Bass – Gary Peacock (tracks: 3, 5, 8), Will Lee (tracks: 1, 2, 4, 7)
Bass Trombone – Dave Taylor* (tracks: 2, 7)
Cello – Warren Lash (tracks: 3, 5)
Clarinet, Bass Clarinet, Tenor Saxophone, Soprano Saxophone – Bob Mintzer (tracks: 1, 3, 4, 5)
Composed By, Arranged By, Conductor – Vince Mendoza
Drums, Percussion – Peter Erskine (tracks: 1 to 8)
Engineer – Malcolm Pollack
Engineer [Assistant] – Matthew Lamonica*, U.E.Nastassi*
Engineer [Synth] – Scott Gordon
French Horn – Bob Carlisle (tracks: 2, 7), Dave Jolly* (tracks: 2, 7), Jerry Peel (tracks: 2, 3, 5, 7)
Guitar – John Scofield (tracks: 1, 2, 4, 7), Ralph Towner (tracks: 3, 5, 6, 8)
Mastered By – Bernie Grundman
Performer [Electronic Valve Instrument] – Judd Miller (tracks: 7, 8)
Piano – Jim Beard (tracks: 1, 2, 4, 7), Marc Cohen (tracks: 3, 5, 8)
Producer – Vince Mendoza
Programmed By – Judd Miller
Sequenced By – Vince Mendoza
Soprano Saxophone, Alto Saxophone, Flute – Lawrence Feldman (tracks: 3, 5)
Soprano Saxophone, Tenor Saxophone – Joe Lovano (tracks: 6, 8)
Tuba – Dave Braynard (tracks: 2, 7)
Violin – Lee Kwang Bay (tracks: 3, 5)
Anmerkungen
Recorded on November 13 and 14, 1989 at Power Station, New York, NY
Digitally mixed at Skyline Studios, New York, NY
Synth recorded at Devonshire, Hollywood, California

Vince Mendoza: Start Here

John Kelman By JOHN KELMAN
December 30, 2014
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Vince Mendoza—Start HereVince Mendoza
Start Here
World Pacific
1990

In the fall of 1990, I was visiting Amsterdam for four days between business engagements in other European countries and, as usual, the first order of the day was to scope out a good music store. Luckily, there was one within walking distance of the hotel, and amongst the goodies I bought that day was Vince Mendoza's second recording as a leader, first to be released outside of Japan ... and today's Rediscovery: Start Here.

I'd already begun to encounter Mendoza's name as a composer of no small promise on albums by Peter Erskine, John Abercrombie, Gary Burton and Michael Brecker—pretty damn good credentials for a composer/arranger who was relatively fresh out of school and some experience in Los Angeles as a scorer for film and television—and so his name already bore significant weight. Start Here's lineup largely alternated between two star-studded groups: one, with John Scofield, Bob Mintzer, Jim Beard and Erskine; the other, featuring guitarist Ralph Towner, pianist Marc Cohen (soon to change his name to Marc Copland), bassist Gary Peacock and, again, Erskine. As intrigued as I was by a full album of Mendoza's music, his choice of musicians is what turned the record from curiosity to "must have."

With both ensembles, Mendoza often added a variety of instruments ranging from reeds (in addition to Mintzer, Joe Lovano and Lawrence Feldman), horns and string to synths (often played/programmed by Mendoza) and EVI (Electronic Valve Instrument, played here by Judd Miller). The ensembles were also broken down, at times, into smaller subsets as on "Save the World," where Mendoza's synth-programmed arpeggios creates a foundation over which Lovano, Towner and Erskine can layer their collective improvisational forays.

The result? An album of remarkable diversity that still speaks with Mendoza's singular voice, from the knottily buoyant and harmonically ambiguous opener, "Babe of the Day," and "Elder Wings"—which begins with Mendoza's darker- hued synths and Feldman and Peacock solos that ultimately turn more joyous for Towner's nylon-string guitar solo—to the elegiac French horn, bass trombone and tuba driven "Angelicus," still, nearly a quarter century later, one of Mendoza's most beautiful compositions.

There's plenty of solo space, but always within the context of Mendoza's information-rich writing. These are not quick heads that open up into soloing; instead, they are detailed compositions where improvisational elements are just another integrated component of Mendoza's overall approach.

Mendoza would subsequently go on to become an composer and/or arranger of choice for everyone from bassist Jimmy Haslip—a full half of whose Arc (GRP, 1993) seemed like a continuation of Start Here and its equally impressive 1991 follow-up, Instructions Inside (EMI-Manhattan), and featured one of the composer's best pieces of writing (and best Scofield solos) ever, "Orange Guitars"—Joe Zawinul and Charlie Haden to Joni Mitchell, Mary Chapin Carpenter and Björk.

But it all began with Start Here, a most impressive leader debut and one well worth revisiting and, with its multitude of musical layers, rediscovering.

So, what are your thoughts? Do you know this record, and if so, how do you feel about it?


[Note: You can read the genesis of this Rediscovery column here .]

Trackliste Verberge Mitwirkende
1 Carlos
Soloist, Alto Saxophone – Paul van der Feen
Soloist, Guitar – John Scofield
9:00
2 Jung Parade
Soloist, Guitar – John Scofield
Soloist, Trumpet – Ruud Breuls
7:38
3 Polo Towers
Soloist, Alto Saxophone – Marc Scholten
Soloist, Guitar – John Scofield
6:53
4 Honest I Do
Soloist, Guitar – John Scofield
Soloist, Tenor Saxophone – Leo Janssen
4:25
5 Twang
Soloist, Guitar – John Scofield
Soloist, Trombone – Bart van Lier
9:24
6 Imaginary Time
Soloist, Drums – Martijn Vink
Soloist, Guitar – John Scofield
Soloist, Tenor Saxophone – Leo Janssen
6:21
7 Peculiar
Soloist, Guitar – John Scofield
Soloist, Organ [Hammond] – Hans Vroomans
Soloist, Tenor Saxophone – Leo Janssen
7:40
8 Say We Did
Soloist, Guitar – John Scofield
Soloist, Piano – Hans Vroomans
Soloist, Tenor Saxophone – Leo Janssen
8:30
9 Out Of The City
Soloist, Guitar – John Scofield
Soloist, Piano – Hans Vroomans
Soloist, Trombone – Bart van Lier
5:34
Unternehmen usw.
Phonographic Copyright (p) – Sco Biz, Inc.
Copyright (c) – Sco Biz, Inc.
Recorded At – Muziekcentrum van de Omroep (MCO)
Mixed At – Wisseloord Studios
Mastered At – Abbey Road Studios
Mitwirkende
Arranged By – Florian Ross (tracks: 6), Jim McNeely (tracks: 9, 10), Vince Mendoza (tracks: 1 to 5, 7, 8)
Bass – Aram Kersbergen
Bass Trombone – Martin van den Berg
Cello – Annie Tangberg*, Bastiaan van der Werf, Emile Visser, Jascha Albracht
Composed By – John Scofield (tracks: 1, 3 to 7, 9), Vince Mendoza (tracks: 2, 8)
Conductor [Conducted By] – Vince Mendoza
Contrabass – Arend Liefkes, Erik Winkelmann, Tjerk de Vos
Coordinator [Project Co-ordinator] – Susan Scofield
Design [CD Design] – HessDesignWorks
Design [Graphic Design] – Mark Hess
Design Concept – Susan Scofield
Drums – Martijn Vink
Engineer [Assistant] – Frank Mathijssen, Gerald Chermin
Executive-Producer – Wulf Muller*
Featuring – John Scofield
Flute – Janine Abbas, Mariël van den Bos
French Horn – Pieter Hunfeld
Guitar – Peter Tiehuis
Harp – Joke Schonewille
Mastered By – Geoff Pesche
Mixed By [Monitor Mixer] – Dirk Overeem
Oboe – Willem Luijt
Percussion – Eddy Koopman, Murk Jiskoot
Piano – Hans Vroomans
Producer – Vince Mendoza
Recorded By, Mixed By – Jonathan Allen
Saxophone, Clarinet – Jos Beeren, Leo Janssen, Marc Scholten, Max Boeree, Paul van der Feen
Trombone – Bart van Lier, Jan Bastiani, Jan Oosting
Trumpet – Erik Veldkamp, Jan Hollander, Jelle Schouten, Ruud Breuls
Viola – Iris Schut, Isabella Petersen, Julia Jowett, Mieke Honingh, Norman Jansen
Violin [1st Violin] – Alida Schat, Arlia de Ruiter, David Peijnenborgh, Denis Koenders, Erica Korthals Altes, Feyona van Iersel, Pauline Terlouw, Seija Teeuwen
Violin [2nd Violin] – Elizabeth Liefkes-Cats*, Herman van Haaren, Lucja Domski, Marianne van den Heuvel, Merijn Rombout, Vera van der Bie, Wim Kok
Anmerkungen
John Scofield compositions: Scoway Music, BMI.
Vince Mendoza compositions: Suspended Music/ASCAP.

Recorded between 9 - 13 March, 2009 in MCO Studio, Hilversum, NL.
Mixed at Wisseloord Studios, Hilversum, between 5 - 8 May, 2009.
Mastered at Abbey Road Studios, London.

℗ © 2010 Sco Biz, Inc.

Many thanks for lossless.

Many thanks for lossless.

Track 5 is "The Whistler and his Dog" of Arthur Pryor ?
But is it the Hymn ?
Thanks

Many thanks.

Many Thanks.

Many thanks for lossless.

Many thanks.

Many thanks.

Many thanks.

Many thanks for lossless.

Thank you for the Flac.

Thank you for the Flac.

Many thanks for lossless.