So. Our next-door-neighbour, the ever-charming Mike, is a massive, totally unreconstructed Stackridge fan. He's been pushing us for months to see them live. Our next-door-neighbour-but-one Dave is ditto an unreconstructed, massive fan. Our next-door-neighbour-but-two is in fact the keyboard player in said Stackridge. At some point we would have to go see them. But I'm insanely busy, it wasn't going to be this time round. And I hadn't had time to acquaint myself of any of their material - I like to at least know what to expect.

10 days ago, Dave suddenly found himself unable to attend and melady Corydora was offered his ticket. The pressure was inevitable. We had to both go. £12 plus booking fee was spent, it was on.

Next problem. Neither of us know ANY of the material. Except God Speed the Plough (a mellotron classic).

So. About a week ago, to make sure we were in the zone in time for the show, Mike brought round 2 CDs - the latest studio album, and a double live album from about 2 years before that, with a somewhat different line-up. We stuck on the live album first, assuming it would be representative of the set and the sound. Yikes! I have to be polite about this, but really, it so didn't work at all for us. Strange mix, everything seemed close miked and lifeless, anaemic drum sound, lots of treble, very clear but no balls at all. It was truly limp. Hmmmm. We were sort of worried about Saturday night. The studio CD was *much* better, but of course studio CDs have all sorts of chop and change and reconstruct and remake/remodel opportunities. Heck, even I could sound good on a studio CD.

So we were worried. We so did not want to disappoint the neighbours, I so did not want to disappoint Glenn, aforementioned keyboard player. And I'm a crap liar. If anyone asks 'How was it' and in fact I hated it, it shows in my eyes that very instant and to paraphrase the Sweet no amount of words can disguise the lies in my eyes.

We were worried ...

Support act came on, sensational acoustic guitarist with a long list of ex-wives and ex-girlfriends who had inspired or even written his back catalog. Funny and dextrous.

Then the lights dimmed.

We were still worried .........

Then they came on, and instantly we were no longer worried. In fact, it was clear that a heck of a tight live band, sounding great, populated by immense talents were up there, 10 feet from us, giving it some. James and Andy are in their 60s now, and yet - unlike Paul McCartney, more like Colin Blunstone - their voices have not diminished a jot. There's a teeny bit of stretch for the very high notes, but they get there, with character, and they soar. James plays bloody complex bass lines while singing up a storm, Andy has a great halfway between Lennon and Harrison voice, and has a VERY Harrison left wrist, and a gorgeous Les Paul. I like a bit of dirty wiggle on the G string through a humbucker when it's done well. Glenn - the neighbour - provides excellent backing vocals, cracking piano via his scarlet Nord, comedy trombone, Jethro flute, excellent pseudo-Hammond noises and sadly inaudible mellotron from his M-Tron / Mainstage powered MacBook on stage. TURN THE MELLOTRON UP! The drummer is so laid back and genuinely cool it's quite silly - he barely moved, barely changed expression, yet was tight and solid and metronomic and thundered when necessary. He couldn't be faulted, and he had a great haircut.

But best of all, we have Clare on violin and singing and 'somebody forgot to unmute her channel on the desk' acoustic guitar. In fact somebody forgot to unmute Andy's mic for the first 2 minutes - hilarity and a VERY long intro ensued. But back to Clare - she's magnificent, and despite being a relatively recent addition to the lineup she's the heart and soul of it now. Taller than me, a proper Scottish warrior princess wielding a fiddle, glorious voice - an Alto she told me, hence the sonorous resonance and warmth, that amazing thing that only Scots seem to have, from Eddi Reader to Sharleen and everyone inbetween - epic fiddling, and placed centre stage as frankly the old blokes aren't too good to look at nowadays. And also, they are English children of the 1940s, hence like Jagger, tending to skinny and malnourished. She's big and fierce and epic. She commands attention and is just fabulous. I don't know where they found her, but they'd better not lose her. So the ingredients are excellent, but the resulting cake is utterly delicious.

And it just got better and better. They did the big Korgis hits, they did the silly English stuff - so, so English this lot, they need a fiery and formidable Scot to balance it all up! - and really, despite having virtually zero familiarity with the entire repertoire, it was one of the best nights out I've had for years. The English thing is hard to put your finger on, but there is no mistaking it - as a non-English anthropologist, Cory kept pointing it out through the show, grinning from ear to ear - they are so utterly, unmistakeably English in their melody and harmony. That 60s pop sensibility, coupled with the whole Python 'eccentric' thing - truly, they are the Beatles Dog Doo-Dah Band.

So, onto God Speed the Plough. I could have shed a little tear it was so good. I was only introduced to the track by Mellotron Martin in the last year, but it's got under my skin since then. And it kicked off halfway into the set with the merest of introductions - 'This is a more serious one' - and the piano intro sounded, and it built, and drums were thumped, and the fiddling got ferocious, and apart from them needing MORE MELLOTRON it was bleeding magnificent.

Red Squirrel rocked, Boots and Shoes even more so.

If you get a chance, go see them. It doesn't matter if you don't know any of the songs, you will by the end.

p.s. it was so good I totally forgot to take any photos!

So.

The stuff I do is all really shiny. Techie, iPads and Raspberry Pis and digital this and synthetic that. It is fuelled by copious quantities of ferociously strong coffee. I run around at 400 mph all day long, and I work 18 hours a day, 6 1/2 days a week. My life is fast and digital. And young and vibrant. Hmmm.

And wrong, and also misleading - I'm kidding myself, that is only half of me.

Because all that digital stuff is in my hands invariably trying to achieve something organic and soft - be it a virtual analog synth with rounded waveforms and squelchy friendly noises, or a lovely creaky mellotron with friendly out-of-tune violins and reassuring levels of tape hiss. I love real, soft, touchy stuff. I walk in the country, I say hello to passing moths (no, really - I do), I insist on stopping and looking at every single buzzard through binoculars. I eat cake on a boat at every possible opportunity. Slowly, bobbing up and down as swans and ducks glide by.

So, there I am, a big old bag of contradictions, internally consistent yet pulled in diametrically-opposed directions by competing internal forces - and that bag of contradictions found himself needing a logo. Obviously, caffeine-fuelled me leaped in feet first, and I was naturally drawn to 'tech' fonts, and was swayed by the rather lovely Corbert - "Go on!" yelled the caffeine internal voice, "make it skinny, and sans serif, and shiny, and make it feel like the kind of logo an iPad would want to have on its Gorilla glass surface - go on, you know you want to!"

Then, mercifully, I had one of those moments of clarity - JUST SAY NO! Acknowledge the fluff, for once just acknowledge it and let it get stage front and centre.

No fake edgy, no fake modern, no fake shiny skinny sans serif BECAUSE YOU HAVE TO bollocks. I will be 54 years old in 2 weeks, I am naturally fluffy and rounded and woolly and am fundamentally not nylon and man-made.

Carbon, not silicon.

So I decided to commission a logo that was the exact opposite of iPads and Raspberry Pis and web bleeding 2.0 or 3.0 or 4.0 and Ruby on Effing Rails - a hand-carved, block-printed logo, with imperfections and uncertainties, and warmth, something real made by real hands that got dirty from real paint, and risked injury on a real cutting tool. The brief was simple - make it beautiful and real and honest.

And here it is. Hand-carved in a linoleum block, hand-printed onto Calico in black ink, a tiny amount of Photoshop pixie dust to bring in the far-from-saturated October night sky blue, and it's quite startlingly beautiful. It looks like the logo of a quality imprint that publishes thoughtful children's stories, or calm poetry to be consumed with cocoa and slippers, with your border collie at your feet. And a mellotron playing in the background.

The artist outdid herself, again. She evoked a long-lost, middle-aged, middle England perfectly, and it is just divine. And it's mine, and I'm so proud I could scream. Loudly, fuelled by caffeine, at 400 mph ...

I had never actually seen a Mellotron (a 60s synth that generates audio by playing back tapes, making it effectively an old school sampler--you can hear one on the beginning of "Strawberry Fields Forever") before. They look like they should be played in a lounge in heaven.

The Dukes of Stratosphear was a pseudonym used by the British rock band XTC in the mid to late 1980s, concurrently with XTC's continued musical activities.[1] The project was intended as a homage to 1960s pop and psychedelic music by groups such as The Beatles, The Byrds, The Kinks, The Zombies, The Beach Boys, The Small Faces, Jefferson Airplane, Pink Floyd and The Pretty Things.[citation needed]

The band released two records under this pseudonym, the mini-album 25 O'Clock (1985), and the full-length album Psonic Psunspot (1987).[1] The two releases were compiled onto a single CD under the title Chips from the Chocolate Fireball: An Anthology, which was released simultaneously with the vinyl issue of Psonic Psunspot. The Dukes were also mentioned in the credits of XTC's 1986 album Skylarking, where they were thanked for the loan of their guitars.

In 1991, Andy Partridge produced two tracks, "It's Snowing Angels" and "Then She Appeared", intended to be released as a hoax flexidisc attached to the cover of Strange Things Are Happening magazine. Although credited to fictional bands "Big Chief Cigar Choc Champion" and "The Golden", these tracks were a continuation of the Dukes recorded oeuvre in all but name. The magazine folded before the single could be pressed, although "Then She Appeared" would later be reworked for the Nonsuch album. "It's Snowing Angels" would be released in 1994 via John Flansburgh's Hello Recording Club (this time credited to the Dukes), and both tracks were included on the Fuzzy Warbles anthology.

Several sequels were proposed but ultimately abandoned, including the mock rock opera The Great Royal Jelly Scandal, an animated feature film of 25 O'Clock, a 'prequel' album as "The Mersey Dukes", and a glam rock parody as "The Stratosphear Band". In 1992, XTC proposed a spiritual successor to the Dukes in the form of The Bubblegum Album, a compilation of mocked-up one-hit-wonder 1970s pop singles. The album was half completed but rejected by Virgin. This rejection was one of the main contributing factors to the seven-year feud between the band and Virgin. Several of these tracks were reworked and released on various XTC albums and compilations.

The 2002 XTC rarities compilation Coat of Many Cupboards premiered a hitherto unheard 20-second section of narration recorded for Psonic Psunspot but not used. This does not appear on any other XTC/Dukes release.

The band briefly reformed in 2003, to record the track "Open A Can (Of Human Beans)" for the MS Society charity compilation album The Wish List. This track later reappeared on the Fuzzy Warbles anthology and the re-release of 25 O'Clock.

In 2008 Andy Partridge recorded a promotional single for Eurostar as The Dukes - "Tin Toy Clockwork Train" - which was given away free at railway stations. This, and a rejected earlier attempt - "Black Jewelled Serpent Of Sound" - were added to 25 O'Clock for its 2009 re-release.

On 20 April 2009 both records were released on CD for the first time in their own right - along with demo recordings, bonus tracks and brand new sleeve notes from the band. These editions are credited to "XTC as The Dukes of Stratosphear" and were released on Andy Partridge's Ape House record label (they are also the first XTC recordings to which Virgin Records have relinquished the rights).

Sir John Johns (Andy Partridge) - singing, guitar, brain buds

The Red Curtain (Colin Moulding) - electric bass, song stuff

Lord Cornelius Plum (Dave Gregory) - mellotron, piano, organ, fuzz-tone guitar

E.I.E.I. Owen (Ian Gregory) - drum set

en.wikipedia.org/wiki/The_Dukes_of_Stratosphear

Normally, when you buy a 5 CD box of your favourite band you get a good mix of greatest hits, obscure B-sides and a few unreleased rarities. Not here. These are 4 hours of 100% previously unreleased music.

The anthology includes the Trout Masc Replica sessions - instrumental tracks played by the Magic Band before Frank dubbed Don's vocals over them. Which is great, but it's not even the highlight. The highlights are "Tupelo" (recorded in 1966, so it's the John Lee Hooker song not the Nick Cave number) and "Black Snake Moan" (by Blind Lemon Jefferson). These are the 2 songs I play when I want to introduce a newcomer to the Captain's world.

Design and layout by Susan Archie. The back cover is here.

The box includes an illustrated booklet of 112 pages, with John 'Drumbo' French's history of the band, some other stories and many photos, all published for the first time. The whole set was released on John Fahey's Revenant label in 1999. Not cheap: I bought it in 2001 for 219 Deutschmark, about 100 US$ at that time, but worth it. It is out of print now and has become a collectors' item. It was even available on vinyl for a short while.

CD 1: Just Got Back From the City (1965 - 1967)

Obeah Man - 2:47

Just got Back from the City - 1:53

I'm Glad - 3:44

Triple Combination - 2:48

Here I Am I Always Am - 3:15

Here I Am I Always Am - 2:32

Somebody in My Home - 3:03

Tupelo - 4:15

Evil Is Going on - 2:33

Old Folks Boogie - 3:15

Call on Me - 3:04

Sure 'Nuff 'n Yes I Do - 2:11

Yellow Brick Road - 1:45

Plastic Factory - 2:57

CD 2: Electricity (1968)

Electricity - 3:42

Sure 'Nuff 'n Yes I Do - 2:57

Rollin n Tumblin - 11:08

Electricity - 3:54

Yer Gonna Need Somebody on Yer Bond - 6:25

Kandy Korn - 4:21

Korn Ring Finger - 7:23

CD 3: Trout Mask House Sessions (1969)

- 4:59

- 8:18

Hair Pie: Bake 1 - 5:04

Hair Pie: Bake 2 - 2:44

- 1:04

Hobo Chang Ba - 3:08

- 1:57

Hobo Chang Ba - 3:08

Dachau Blues - 2:06

Old Fart at Play - 1:23

- 1:01

Pachuco Cadaver - 4:08

Sugar 'n Spikes - 2:40

- 1:00

Sweet Sweet Bulbs - 2:30

Frownland (Take 1) - 2:51

Frownland - 1:52

- 1:10

Ella Guru - 2:33

- 0:08

She's too Much for My Mirror - 1:30

- 0:35

Steal Softly thru Snow - 2:22

- 1:51

My Human Gets Me Blues - 2:53

- 1:05

When Big Joan Sets up - 4:32

- 0:04

- 0:56

China Pig - 4:14

CD 4: Trout Mask House Sessions (continued) (1969)

This CD also includes some CD-ROM-accessible video/audio footage with live performances of "Electricity", "Sure Nuff" (1968), "Click Clack" (1973), "Big Joan," "Woe Is Me," "Bellerin Plain" (1970/1971), "Too Much For My Mirror" and "Human Gets Me Blues" (1969).

Blimp - 5:09

Herb - 1:06

Septic Tank - 0:51

Overdub - 5:26

CD 5: Captain Beefheart & His Magic Band Grow Fins (1969 - 1981)

My Human Gets Me Blues - 3:54

When Big Joan Sets up - 6:12

Woe Is Uh Me Bop - 2:46

Bellerin' Plain - 3:23

Black Snake Moan I - 1:01

Grow Fins - 5:09

Black Snake Moan II - 1:49

Spitball Scalped Uh Baby - 9:12

Harp Boogie I - 1:32

One Red Rose that I Mean - 1:45

Harp Boogie II - 0:53

Natchez Burning - 0:43

Harp Boogie III - 0:50

Click Clack - 2:49

Orange Claw Hammer - 4:36

Odd Jobs - 5:10

Odd Jobs - 5:08

Vampire Suite - 3:46

Mellotron Improv - 1:22

Evening Bell - 0:54

Evening Bell - 2:15

Mellotron Improv - 2:19

Flavor Bud Living - 1:14

Ekseption was een Nederlandse symfonische rockband die vooral actief was in de jaren 60 en 70 van de 20e eeuw. Ekseption had verscheidene hits en won in 1970 een Edison. De groep werd vooral bekend vanwege zijn op klassieke werken geënte, vroeg-progressieve rock met jazzimprovisaties.

Ekseption ontstond in 1967 uit het Haarlemse schoolbandje The Jokers, dat in 1958 was opgericht door Hans Alta (bas), Rob Alta (gitaar), Rein van den Broek (trompet, flugelhorn, saxofoon), Tim Griek (drums) en Huib van Kampen (gitaar/saxofoon). In het eerste jaar speelden ook Ton Heydenrijk (saxofoon) en Hans Timmer (orgel) mee. De groep speelde voornamelijk covers van rhythm & blues-, jazz- en popnummers. In 1965 veranderden The Jokers hun naam in Incrowd, maar door het succes van een andere gelijknamige Nederlandse groep moesten ze weer iets anders verzinnen. In 1967 werd dat Ekseption. Ton Heydenrijk en Hans Timmer verlieten echter de groep. Rob Kruisman kwam erbij en nam de muzikale leiding op zich.

In april 1967 kwam toetsenist Rick van der Linden de groep versterken. In 1968 won Ekseption de eerste prijs op het Loosdrechtse Jazz Festival en raakte daarmee in één klap tot ver over de Nederlandse grenzen bekend. Ze kregen bij Phonogram een platencontract, wat het volgende jaar zou resulteren in hun eerste grammofoonplaat, getiteld Ekseption. Hiermee begon een succesrijke periode van vijf jaar, waarin de band door heel Europa toerde en onder meer speelde in het Olympia in Parijs, de Philharmonie in Hamburg en het Palladium in Londen.

In 1968 verlieten Hans Alta en Tim Griek de groep en werden vervangen door respectievelijk Cor Dekker (basgitaar) en Peter de Leeuwe (drums), beiden ex-The Hottletts. Rob Alta was al eerder opgestapt. Tim Griek zou later producer worden van onder anderen Brainbox en André Hazes.

Koersverandering

In 1969 werd Ekseption door de Engelse band The Nice geïnspireerd om klassieke stukken te bewerken en daarmee de muzikale koers te verleggen naar een mix van rock en klassieke muziek. Rick van der Linden had een conservatoriumopleiding klassieke muziek genoten en had ervaring met het spelen in verschillende pop- en jazzgroepen als het Occasional Swingcombo en het Ferdinand Povel Quartet. Met zijn arrangementen van klassieke werken van onder meer Bach, Albinoni, Beethoven, Mozart, Tsjaikovski en Chatsjatoerjan was hij voor een groot deel verantwoordelijk voor het geheel nieuwe, eigen en energieke geluid van de band.

De eerste single, The 5th of The fifth (een arrangement op Beethovens vijfde symfonie en met fragmenten van andere composities van Beethoven, waaronder de Mondschein-sonate), haalde de derde plaats op de hitlijsten. Ook Rhapsody in blue (naar Gershwin) en Air (naar Bach) waren succesvol. Air en The 5th waren arrangementen ontstaan in samenwerking tussen Van den Broek, Van der Linden, De Leeuwe, Van Kampen en Kruisman. Air stond in 1969 twee weken op de eerste plaats in de Hilversum 3 Top 30.

Ekseptions eerste album, Ekseption, werd uitgegeven in 1969. Datzelfde jaar echter verlieten Rob Kruisman en Huib van Kampen al de band, dit vanwege verschillen van mening over de te volgen muzikale koers. Huib van Kampen ging het (muziek)onderwijs in. Dick Remelink (sax, fluit, ex-Pocomania) verving Rob Kruisman, die zich bij de band Island aansloot.

Ekseptions vaste bezetting bestond begin 1970 uit Rein van den Broek, Rick van der Linden, Cor Dekker, Dick Remelink en Peter de Leeuwe. Zanger Michel van Dijk deed mee op het tweede album van Ekseption, evenals Dennis Whitebread (echte naam: Witbraad), die Peter de Leeuwe tijdelijk verving op de drums. Het succesvolle conceptalbum uit dat jaar, Beggar Julia's time trip, won een Edison. Het album verbeeldt de reis van een vrouw uit het jaar 900 door de tijd van toen naar het heden, die haar in aanraking bracht met allerlei componisten en muziekstijlen. Enkele van de nummers op dit album zijn het rock/jazznummer Pop giant, het barokke Feelings en het vocale nummer Julia. Het album bevat ook een aantal originele, klassiek getinte composities van Rick van der Linden. Het nummer "Concerto" begint met het eerste deel van Tchaikovsky's Pianoconcert, en gaat dan over in het tweede deel van Beethovens Pianosonate nr. 8 in c. Een ander nummer, Italian concerto, werd een hit.

Nog in 1970 werd ook het derde Ekseption-album opgenomen met de simpele titel Ekseption 3. Peter de Leeuwe was weer terug en Michel van Dijk, ontevreden over de nadruk op instrumentale muziek, had de groep verlaten en zou later opduiken als zanger bij Brainbox en Alquin. Hij werd vervangen door Steve Allet, overgekomen van de groep Ginger Ale. Het album, een muzikaal schilderij van het boekje Le petit prince van Antoine de Saint-Exupéry, haalde de eerste plaats op de albumhitlijst. Het nummer Peace planet (naar Bachs Suite no. 2) werd als single een hit. Ekseption 3, met nummers als Morning rose, On Sunday they will kill the world, B 612 en Another history (een jazzy ballade) is het meest vocale van alle Ekseption-albums. Toch nam Van der Lindens instrumentale tweedelige suite Piece for symphonic and rock group in A minor een centrale plaats in en zou dit album het laatste van de groep zijn met vocale solonummers. Op dit album staat als enige in de reeks een quasi-livenummer, Rondo.

In 1971 had zanger Steve Allet de groep verlaten. Rick van der Linden maakte in Londen met het Royal Philharmonic Orchestra opnames voor het nummer Piccadilly sweet - een stuk van 15 minuten. Over deze opnames heen speelden de leden van Ekseption later, in Nederland, hun partijen in. Op het daarna ontstane vierde album, Ekseption 00.04, stonden de inmiddels vertrouwde instrumentale arrangementen op klassieke werken en ook jazzachtige nummers. In het nummer Choral hoort men ook een groep vocalisten. Ook dit album haalde de eerste plaats op de albumverkooplijst.

Het jaar daarop kwam Ekseption 5 uit, een mix van klassiek, rock en jazz, met nummers als À la Turka (gebaseerd op Mozarts Rondo alla Turka, uit de Pianosonate no. 11 in A, K331:3) en arrangementen op J.S. Bachs Sonata no. 2 in e mineur, Siciliano in G en Concerto for violin and orchestra in A minor: 1. Vivace. Wat opvalt is het huilen van Rick van der Lindens zoontje in de ballade My son en een instrumentale versie van For Example van hun voorbeeldgroep "The Nice" onder de titel For Example/For Sure, een nummer dat aanvankelijk gecrediteerd werd als "Emerson/Van der Linden", maar op latere uitgaven als "Keith Emerson/Lee Jackson".[2] Andere nummers zijn Midbar session en het melodieuze Virginal.

Intussen was de band druk met vele tournees in heel Europa; vooral in Scandinavië was ze populair. De druk veroorzaakte echter frictie tussen verschillende groepsleden.

1972 was het laatste grote succesjaar van de groep, waarin interne strubbelingen steeds meer de kop opstaken. Dick Remelink (naar Galaxy Lin) en Peter de Leeuwe verlieten de band. Bij de opnamen van het zesde album, Trinity, waren zij er niet meer bij; Jan Vennik (fluit, sopraan- en tenorsax) en Pieter Voogt (drums, percussie) namen hun plaats in. Opvallend waren op dit album onder meer de bijdragen van fluitist Vennik en van het Nederlands Kamerkoor in het nummer Finale III, alsmede de negen minuten durende jam Improvisation. Rick van der Linden leefde zich uit op piano, pijporgel, spinet, ARP 2600-synthesizer en mellotron. Trinity werd commercieel geen groot succes en hits bleven uit.

Ondanks het feit dat het succes buiten Europa niet groot was, zijn er wel diverse persingen gemaakt van de eerste zes lp's. Ekseption, Beggar Julia's time trip en Ekseption 5 in de Verenigde Staten, alle zes in Canada, het Verenigd Koninkrijk en Israël. Verder diverse persingen in andere Europese en Zuid-Amerikaanse landen. Een Japanse persing bestaat alleen van Beggar Julia's time trip. De hoezen verschillen bovendien van opzet. Met name in Duitsland, waar de groep zeer populair was, zijn zelfs in 1976 napersingen van de lp's gemaakt, omdat er veel vraag naar was.

In 1973 toerde Rick van der Linden met Jaap van Eik (ex-bassist van Cuby and the Blizzards) en ex-Focus-drummer Pierre van der Linden onder de naam Trace door Zweden. Min of meer gedwongen bij Ekseption te vertrekken ging Rick van der Linden verder met Trace.

Bij Ekseption nam Hans Jansen (keyboards, ex-Think Tank) de plaats in van Rick van der Linden. Gastspeler op het zevende album, Bingo, was Hans Hollestelle (gitaar, viool). Zonder de dominerende toetsenist Rick van der Linden klonk Ekseption losser en jazzier, met meer ruimte voor solo's met de andere instrumenten. De meeste nummers voor dit album werden gecomponeerd en gearrangeerd door Vennik, Jansen en Van den Broek. Het album bevat onder meer nummers als Nightwalk en een nieuwe versie van het eerder uitgebrachte Sabre dance (naar Chatsjatoerjan). Het nummer De fietser had als single wel enig succes, maar het album bleef qua notering steken in de middenmoot.

Ook het achtste album, Mindmirror (1975), met zowel klassiek getinte nummers als nummers van Piet Sauer en Ramses Shaffy, deed commercieel gezien niet veel en Ekseption hield het voorlopig voor gezien.

Sommige leden bleven wel zichtbaar in het muziekvak, zoals Rein van den Broek, Jan Vennik, Hans Jansen en Hans Hollestelle, die met Jan Hollestelle (basgitaar) en Cees Kranenburg (drums) de jazzrockgroep Spin vormden.

Cor Dekker vertrok naar Trace.

In 1977 kwam opnieuw een plaat van Ekseption uit, met de veelzeggende titel Back to the Classics, maar de het album had weinig succes. De bezetting van de groep was dezelfde als bij Bingo, echter zonder Hans Hollestelle.

Het gemis aan succes gold ook voor Ekseptions tiende: Ekseption '78, waaraan naast Van den Broek, Dekker, De Leeuwe en Remelink ook Rick van der Linden meewerkte. Naast het opvallende openingsnummer, een uittreksel van Bachs Matthäus Passion, bevatte dit album onder meer Your home van Van der Linden en arrangementen op Impromptu van Schubert, Summertime van Gershwin en The cat van Lalo Schifrin. Ekseption '78 was het enige album van de band dat werd uitgebracht onder het label CNR (en Decca in Duitsland); het zou later als CD worden heruitgebracht onder de titels The very best of Ekseption (1991), Ekseption (1994) en Hollands glorie (2001). Het is het enige album van Ekseption waar Rick zijn Yamaha GX-1-synthesizer laat horen.

Rein van den Broek en Rick van der Linden besloten het in 1980 samen te proberen en brachten een duoplaat uit onder de naam Cum laude.

In 1981 kwamen de oude Ekseption-leden Van den Broek, Van der Linden en Remelink weer bij elkaar, aangevuld met de twee ex-Kayakleden Max Werner (drums, percussie, marimba) en Johan Slager (gitaar, basgitaar). Zij namen het album Danse Macabre op met een verzameling oude successen van de band als Air, Rhapsody in blue, The 5th en Peace planet. Het had echter weinig commercieel succes.

In 1988 kwam een vervolg op de eerste Cum laude, met Van der Linden en Van den Broek, en versterkt met gastmusici, onder anderen Peter de Leeuwe op slagwerk.

Ekseption '89

In 1989 probeerde Ekseption het opnieuw in de oude bezetting (Van der Linden, Van den Broek, De Leeuwe en Remelink). Met medewerking van Frans Muys van de Moer (bas), Johan Zwart (gitaar) en Eddie Conard (percussie) nam de band een tweede reünieplaat op, getiteld Ekseption '89. Maar de formule van enkele oude hits als The 5th, Air en Peace planet, aangevuld met nieuwere nummers, bracht de handen niet meer op elkaar en de groep werd opnieuw ontbonden. Toch kwam ze af en toe weer bij elkaar, bijvoorbeeld bij het evenement Eberhard Schoener in Duitsland in 1991.

Hoewel de band keer op keer ontbonden werd, bleef de naam Ekseption voortbestaan. In 1994 werd dan eindelijk een 'live' cd uitgebracht: The reunion, iets later met de titelnaam Best of Ekseption. De opnames werden in november 1993 gemaakt in het Kurhaus in Eberbach en in de Meistersingerhalle in Neurenberg. De bezetting: Van der Linden, Van den Broek, Remelink, met medewerking van Max Werner en Frans Muys van der Moer.

In 2003 richtte Rick van der Linden een nieuw Ekseption op, waarmee hij in Nederland, België en Duitsland op tournee ging. De groep bestond behalve Van der Linden en zijn vrouw Inez (zang) uit de Canadezen Mark Inneo (drums/percussie), Bob Shields (gitaar), Meredith Nelson (basgitaar) en Peter Tong (toetsinstrumenten).

Met hulp van Rein van den Broek werd in 2003 videomateriaal op DVD gezet met als titel The story of Ekseption. De opnames omvatten interview, clips, documentaire en livemateriaal onder andere uit Israël, Frankrijk en Italië. Deze DVD bevat onder meer een deel niet eerder in het openbaar getoond materiaal. De DVD kwam in zekere oplage met een extra CD, de live-opnames uit Duitsland van 1993. De CD kreeg in deze uitgave de nieuwe titel "Live in Germany".

Overleden groepsleden

Op 13 februari 1988 overleed voormalig drummer Tim Griek op 43-jarige leeftijd bij een auto-ongeluk.

Op 13 mei 2003 overleed gitarist, saxofonist en mede-oprichter Huib van Kampen op 59-jarige leeftijd.

Op 26 oktober 2005 overleed in zijn woonplaats IJmuiden bassist Cor Dekker op 57-jarige leeftijd aan de gevolgen van blaaskanker.

Op 22 januari 2006 overleed Rick van der Linden op 59-jarige leeftijd aan de gevolgen van het herseninfarct dat hem twee maanden eerder had getroffen.

Op 4 februari 2014 overleed Peter de Leeuwe op 66-jarige leeftijd aan de gevolgen van een hartstilstand.

Op 10 mei 2015 overleed Rein van den Broek op 69-jarige leeftijd aan de gevolgen van hartfalen (Wikipedia).

THE BEATLES HELLO GOODBYE 1967 50TH ANNIVERSARY 2 CD

Nov 24 thru early Dec 5, 1967! All audio that is around and new has been compiled here for the first time,

in the best quality and in chronological order! Some new finds! Interviews, TV appearances, radio premieres and mixes!

All pitch - speed - level corrected too! This includes 17 mixes of Hello Goodbye from Barrett mix to 2015 mixes! All have the

placement of instruments in fifferent speakers! 3 versions of All Together on the Wirless Machine, John on Where It's At, Christmas

Time Is Here again sessions, John and Ringo home tapes, George interview with Alan Freedman, In The First Place mixes,

Apple Boutique opening and more! Approx 160 mins. 51 tracks!

DISC ONE:

671124 Hello Goodbye/I Am The Walrus released

01 Hello Goodbye 1983 Barrett Mix

02 Hello Goodbye 1993 Blue Mix

03 Hello Goodbye 1993 Video Mix

04 Hello Goodbye 1996 Anthology

05 Hello Goodbye 2000 1 Mix

06 Hello Goodbye 2000 Video Mix

07 Hello Goodbye 2003 Anthology Mix

08 Hello Goodbye 2003 B Front Speakers (single lead vocal)

09 Hello Goodbye 2003 C Center Speaker (vocals, bass & some guitar)

10 Hello Goodbye 2003 D Back Speakers (guitar, backing vocals, organ)

11 Hello Goodbye 2003 E Stereo Vocals

12 Hello Goodbye 2009 Rockband

13 Hello Goodbye 2011 Mono Mix

14 Hello Goodbye 2015 DVD Mix

15 Hello Goodbye 2015 Front Speakers

16 Hello Goodbye 2015 Center Speaker

17 Hello Goodbye 2015 Rear Speakers

TRACKS 15-17 sound close to the 2003 except more instruments in the mix)

18 671125 All Together On The Wireless Machine 1

19 All Together On The Wireless Machine 2

20 All Together On The Wireless Machine 3

21 John with Kenny Everett And Chris Denning - Where It's At

22 671126 Hello Goodbye - The Ed Sullivan Show (Original Soundtrack)

23 671128 E Christmas Time (Is Here Again) Vocals Only

DISC TWO:

01 671128 A Christmas Time Is Here Again Take 1

02 Christmas Time Is Here Again (1234 Mixes)

03 Christmas Time Is Here Again (1985 Sessions Mix)

04 Christmas Time Is Here Again (1995 Anthology Single)

05 Stranger in My Arms - Lost Home Tapes

06 We Can Work It Out - Lucy From Littletown

07 Nonsense over Mellotron & Indian Music

08 Mellotron Nonsense - Unforgettable

09 Some Other Guy - More Nonsense

10 Sped-up tapes nonsense #1

11 Sped-up tapes nonsense #2

12 John & Ringo Chat

13 John & Ringo Skit #1

14 Daddy's Little Sunshine Boy - Nonsense

15 John & Ringo Skit #2

16 John & Ringo Nonsense #1

17 John & Ringo Nonsense #2

18 Take 88 John & Ringo Nonsense #3

19 John & Ringo Skit #3

Late 1967 - Kenwood, Surrey - Unforgettable Remastered CD

20 Chi Chi's Cafe - Lost Home Tapes

21 Down in Cuba

22 Pedro The Fisherman

23 Daddy's Little Sunshine Boy (Alternate)

Late 1967 - Kenwood, Surrey - Lost Home Tapes CD

24 671200 George Interviewed By Alan Freedman - London

25 671200 In The First Place (Abbey Road Mix) - The Remo Four

26 671200 In The First Place (Movie Mix) - The Remo Four

27 671205 Beatles' Apple Boutique Opens - Pathe

28 671205 The Boutique Boys - Movietone

Amazing Blondel / England

Side one:

- Seascape

- Landscape

- Afterglow

Side two:

- A Spring Air

- Cantus Firmus to Counterpoint

- Sinfonia for Guitar and Strings

- Dolor Dulcis

- Lament to the Earl of Bottesford Beck

Eddie Baird - Guitar, Vocals, Dulcimer, 12 String Guitar, Percussion

Terence Alan Wincott - Vocals, Flute, Harmonium, Pipe Organ, Mellotron, Bongos, Percussion

John David Gladwin - Guitar, Vocals, Double Bass, Tabor, Tubular Bells

Recorded at Island Studios, England

sleeve design: cover art by Colin Carr

Label: Island Records / 1972

ex Vinyl-Collection MTP

en.wikipedia.org/wiki/Amazing_Blondel

PAUL McCARTNEY: CHAOS AND CREATIONS IN THE STUDIO 2005 3 CD

All of Paul's appearances, outtakes and performances from the Chaos & Creation release! Radio, Televison, bonus tracks

and some interview material! This has it all!!! Jam packed! Includes Sold on Song, Virgin Breakfast Show, Front Row BBC4,

Zane Lowe, react Concert, French Radio, B-sides, Instrumentals, Radio Promo Mixes, Early Mixes, Adopt-a-Mindfield rehearsal,

London XFM Studios, BBCRadio, Sessions at AOL, BBCRadio Live8, Chaos & Creation at Abbey Road, Ellen and much more!

Approx 225 minutes 81 trackis! All in excellent stereo qulaity!!!

DISC ONE:

SOLD ON SONG BBC RADIO 2

01. Introduction

02. About Recording At Abbey Road

03. Friends To Go

04. In Spite Of All The Danger

05. Twenty Flight Rock

06. Things We Said Today

07. Too Much Rain

08. How Kind Of You

09. Band On The Run

10. Fine Line

11. Lady Madonna

12. English Tea

13. Heartbreak Hotel

14. Jenny Wren

15. Follow Me

16. Blackbird

17. Using The Mellotron

18. Strawberry Fields Forever

19. Anyway

20. Finale

DISC TWO:

ALBUM OUTTAKES

01. Comfort Of Love

02. Growing Up Falling Down

03. She Is So Beautiful

04. Summer Of ’59

05. I Want You To Fly

06. This Loving Game

VIRGIN BREAKFAST SHOW

07. Friends To Go

08. Follow Me

09. Too Much Rain

10. Paul Helps Annabel Part Finish A Song

11. Yellow Submarine

FRONT ROW, BBC RADIO 4

12. How Kind Of You

13. Jenny Wren #1

14. Jenny Wren #2

15. Lady Madonna

16. Anyway

ZANE LOWE, BBC RADIO1

17. Friends To Go

18. Anyway

19. I’ve Got A Feeling

LIVE AT THE REACT CONCERT

20. Fine Line

PROMOTIONAL RADIO EDIT

21. Jenny Wren (promo radio edit)

INSTRUMENTAL VERSIONS

22. Riding To Vanity Fair

23. At The Mercy

24. Anyway

ADOPT-A-MINEFIELD BENEFIT, L.A

25. Comfort Of Love (rehearsal)

EARLY MIX

26. Too Much Rain

LONDON XFM STUDIOS

27. Jenny Wren

28. How Kind Of You

29. Riding To Vanity Fair

L’INSTANT BLEU, FRENCH RADIO

30. How Kind Of You

DISC THREE:

UNKNOWN RADIO SOURCE

01. Jenny Wren vs. Blackbird

BBC RADIO, LONDON

02. How Kind Of You

03. Jenny Wren

04. Friends To Go

05. Riding To Vanity Fair

06. Follow Me

PIANO INSTRUMENTAL

07. I’ve Only Got Two Hands

VIDEO SOUNDTRACK

08. Jenny Wren

SESSIONS AT AOL

09. Fine Line

10. English Tea

11. Let It Be

12. Friends To Go

13. Follow Me

14. The Long And Winding Road

BBC RADIO “LIVE 8”

15. Lady Madonna & interview

ALBUM BONUS DVD

16. Fine Line (‘oopsed’ version)

17. Fine Line (‘mixdown’ version)

18. Chaos Session Snippets

19. Jenny Wren (instrumental)

20. Fine Line (piano intro)

TOUR REHEARSALS, MIAMI

21. Fine Line

22. English Tea

23. Follow Me

‘ELLEN’ TV SHOW

24. How Kind Of You (‘duet’ with Ellen)

25. Fine Line

26. English Tea

27. Get Back

XM SATELLITE RADIO

28. How Kind Of You

29. Fine line

30. Follow me

31. Bouree – Blackbird

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this page without written permission and consent.

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Attualmente festeggia il suo 50° anno come musicista professionista, tastierista, compositore e broadcaster, Rick Wakeman si esibirà in un concerto di solo pianoforte, il 3 maggio al Teatro Manzoni di Milano.

Nato nei pressi di Londra nel 1949 e diplomato all'Opera della capitale, pianista classico passato alle tastiere, Wakeman – soprannominato "la lunga chioma bionda del rock" - ha iniziato la sua carriera negli anni '60 come turnista, arrivando a incidere anche trenta pezzi l'anno. Entrato a far parte di uno dei gruppi precursori del rock sinfonico, gli Strawbs, è poi approdato ai mitici Yes, con i quali, in pratica, inventò un nuovo modo di usare le tastiere e il Minimoog, aprendo letteralmente la strada alle moderne tecniche e ai suoni del progressive-rock.

Da ottobre 2016 Rick Wakeman è impegnato con Jon Anderson e Trevor Rabin con il progetto ARW che ha fatto registrare tutti "sold out" negli Stati Uniti e sarà da marzo 2017 in tour in Europa, Israele, Giappone e poi ancora negli Stati Uniti.

Come solista ha inciso tra l'altro "The Six Wives of Henry VIII", altro successo planetario con i suoi oltre 10 milioni di copie vendute. È stato inoltre, per anni, l'arrangiatore di David Bowie con cui ha scritto la celebre "Life on Mars" e di Elton John e ha realizzato album con numerosi altri artisti, tra i quali Cat Stevens, Black Sabbath e Lou Reed.

Il 13 gennaio è uscito l'album "Piano portraits" ed è già un successo in quanto è stato ed è il primo album solista di pianoforte ad entrare nella Top 10 del Regno Unito.

Il disco è composto da 15 brani partendo da "Life on Mars" di David Bowie – canzone per la quale Rick Wakeman registrò le parti originali di pianoforte - e "Space Oddity", a cui ha contribuito con il mellotron, passando attraverso Beatles, Yes e Led Zeppelin. Oltre a pezzi classici composti da Debussy e Tchaikovsky. Ha anche aggiunto una selezione di alcuni dei suoi pezzi classici preferiti (Berceuse, Clair de Lune e Swan Lake).

Lo show comprenderà almeno otto dei pezzi dell'album, più altre sorprese musicali.

TRANS AM

From their scattered possibilities comes the surging probability of Trans Am.

A transcendent body of sound and surgical persistence survives in the theatre of their critically received new album Sex Change. Nathan, Phil & Seb ride in on a conspiracy of the gods, anoint the confused, and cut it up in an all-scar variety show. From one obscene strategy to the next, they stitch together their operation of patterns...

"Sex Change is typically eclectic but pushes their sound further towards '70s stadium prog, keyboard-driven Krautrock, shredding '80s rock, John Carpenter soundtracks from the late 1970s, super clean and mellow funk-rock, and whatever you call the kind of music they play behind sports play-by-plays." (King Blind)

...the trannies have never seemed more exultant. Time for a return.

Recently touring the US & Canada as guests of TOOL and from that booking appointments on antipodean shores again in 2008...

Consume presents

Australian08 appointments:

THUR 7 FEB - OXFORD ART FACTORY, Sydney

Plus Soft Tigers and Ponyloaf

Tickets from Tickets available from: all Moshtix outlets, ph: 1300 GET TIX or www.moshtix.com.au

and custommade.com.au (ph 1300 762 545)

FRI 8 FEB - GoMA (Gallery of Modern Art), Brisbane 'Andy Warhol Up Late" series

Tickets: $20.00 (includes 'Andy Warhol' exhibition entry). Book through qtix, phone 136 246 or www.qtix.com.au. For program details and further information visit www.qag.qld.gov.au/warhol_uplate

SAT 9 FEB - EAST BRUNSWICK CLUB, Melbourne

Plus guests...

Tickets on sale at the East Brunswick Club box office, 280 Lygon St, PH: 9388 9794 or via the website www.eastbrunswickclub.com

SUN 10 FEB - St Kilda Festival, THE ESPY, St Kilda

Plus others to be announced...

Ticket details from venue.

Trans Am's SEX CHANGE album out now on LTI.

Special Australian edition includes bonus making of documentary.

www.transband.com

www.myspace.com/transbandspace

www.lowtransitindustries.com

TRANS AM bio

Formed in 1993, Trans Am confirms the trio of Nathan Means (bass, keyboards, vocals), Phil Manley (guitar, keyboards, bass, vocals) and Sebastian Thompson (drums, vocals, bass, guitar, programming). Over the course of seven albums and three eps, Trans Am have pleased and confounded critics with their ever-changing music style. From their most Deutsch-influenced self-titled debut to Futureworld, their 80's inspired super-synth pop tunes to the raw rock of Red Line, their musical style has always varied.

After Trans Am’s last album, Liberation – a bleak portrayal of life in a security obsessed imperial capital, the band exploded and abandoned Washington, D.C. for three different continents. The following period of programmed isolation found Nathan Means in Auckland, Phil Manley in San Francisco and Sebastian Thomson splitting time between London and New York. Internal contact was primarily electronic but for a handful of live shows. With two years’ separation fueling them, the band began in June 2006 on a program of sporadic rendezvous, reconvening briefly on several continents to work on what would become the most joyous and upbeat rock album of Trans Am’s chronicle.

Down Under

In June of 2006, Trans Am reunited at MAINZ, a recording school in Auckland, New Zealand, with a few songs and almost no musical equipment. Recording moved forward with a wide range of borrowed instruments, keyboards and other gear, including a 1960’s Mellotron and remarkable vintage amps loaned by iconic New Zealand musician Chris Knox (Tall Dwarfs). The MAINZ session, recorded by a professor and a student who received credit towards graduation, was threatened when photos of the band drinking beer in the on-campus studio were discovered by the administration. Future drinking occurred off campus.

The Other Hemisphere

Two months later, recording continued in Brooklyn, New York at the Okropolis: headquarters of New York band Oneida. Determined to make a break with the past, Trans Am again arrived with almost none of their signature gear - none of the vocoders, keyboards, drums, drum machines and amps that they used on previous albums.

Two weeks later the album was mixed at Tiny Telephone Studios in San Francisco. Compared with previous records such as TA and Liberation, which took months to complete, Sex Change was conceived, written, recorded and mixed in only three weeks.

Obscene Strategies

Although Sex Change marks a break from their past, Trans Am have always embraced unnatural and perverse recording techniques and concepts. In such a crush of time, Trans Am had to rely on traditional time and possibility expanding substances: coffee, yerba mate, et cetera, as well as a codified series of recording techniques called “Obscene Strategies”.

Brian Eno is well known for his “Oblique Strategies” in which studio engineers - faced with an apparent roadblock - draw a card from a deck. The card might suggest, “Take something perfect and make it more human”, with the intention of animating the track through an infusion of randomness. Over many years, Trans Am developed their own Obscene Strategies to provide a less humanist and more time-sensitive set of guidelines for loosening creative blockages. Sample

suggestions include:

#11 Take a nap

#16 Make it sound like Jackson Browne

#18 Rip off black musicians

#19 Invite all your friends over

#20 Check your email

#23 Leave the studio unlocked overnight

#31 Hose down the control room

#43 Pillow fight!

Liberation

Perhaps the band’s geographical liberation was the inspiration for the creation of Sex Change, Trans Am’s most international and exhilarating album to date. Whatever the reason may be, Sex Change is a welcome and forceful return by a band that has been a consistent innovator and touring machine for over a decade.

Medeski Martin & Wood (or MMW) is an American jazz trio formed in 1991, consisting of John Medeski on keyboards and piano, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar.

The band draws on influences from a number of musical traditions, from funk to Hip Hop, and is known for an unconventional style sometimes described as "avant-groove".

MMW has found moderate mainstream success—often working with noted guitarist John Scofield—and touring on the jam band circuit.

History

The band members were introduced to each other by jazz drummer Bob Moses, who had performed with Medeski and Wood, and was Martin's instructor.

Medeski Martin & Wood's first performances together were at the Village Gate, a popular New York jazz club. They were initially an acoustic jazz trio, but Medeski added a Hammond organ when the difficulties of touring with a piano became apparent. Their first album, Notes from the Underground, is a record of their entirely-acoustic era. All of their subsequent albums reveal Medeski's use of a wide variety of keyboards, including mellotron, melodica, and a clavinet. Wood entirely eschewed the electric bass for MMW's first three albums, and still relies heavily on the acoustic upright bass in recordings and during live performances. Their earlier albums reveal a Hip Hop influenced updating of classic soul jazz sounds, which is the primary theme of their well-known 1996 album, Shack-man.

The band received some of their first significant exposure outside of the New York City jazz scene by performing with Phish at their October 14, 1995 concert, which led to the association of the group as a jam band.[1] In addition, their performance on John Scofield's 1997 album A Go Go helped to further their exposure. The band collaborated further with Scofield again in 2006, releasing the album Out Louder under the name Medeski Scofield Martin & Wood. This was the first album released on MMW's own Indirecto Records.

From 1998–2005, MMW were signed to leading jazz label Blue Note Records, and showed them delving deeper into dense, electronic funk than their earlier albums, although the band continued to experiment with free jazz and free improvisation both on their albums and in concert.

Medeski Martin & Wood's live performances are renowned for their exploratory nature. Their concerts usually involve extended improvisations, which may be both arrhythmic and atonal, an aspect of their musicianship that is rarely documented in the studio. They occasionally tour using only acoustic instruments, reverting back to the instrumentation that they began their career with. Their album Tonic is an example of these more contemporary acoustic performances. They have also done short tours of entirely improvisatory performances. These shows usually consisted of two sets of improvisation, followed by an encore of a song from an album.

Their song "End of the World Party" was featured on the show Grey's Anatomy and can be found on the show's soundtrack.

Side projects

Each of the trio's three members are involved in a large music community, and have participated in numerous side projects over the years.

In 2001 John Medeski collaborated with the North Mississippi Allstars and slide-guitarist Robert Randolph; together, these five musicians formed The Word, a bluesy gospel band. They released one self-titled album and toured extensively.

Beginning around 2005 Chris Wood formed The Wood Brothers with his brother, blues guitarist Oliver Wood. They have released several albums to date and continue to tour and record together.

In 2007 John Medeski and Billy Martin released an album as a duo, called Mago. They performed that material together at the 2007 Bonnaroo Music Festival.[2]

Una foto que me gusta mucho mucho, de la formacion clasica de Genesis, hacia 1973 aproximadamente.

Genesis, son :

Arriba : Phil Collins (bateria, percusion, segundas voces) y Tony Banks (teclados, mellotron).

Abajo: Mike Rutherford (bajo 12 cuerdas), Peter Gabriel (voz lider), Steve Hackett (guitarra principal).

saludos y a escuchar mas Genesis, el mundo esta lleno de musica basura y descartable.

Kill GIl

Nahuel

Tangerine Dream: Rubycon 1975

1. Rubycon Part 1 (17'16)

2. Rubycon Part 2 (17'35)

Edgar Froese: mellotron, guitar, VCS 3 synth, organ, gong

Chris Franke: double moog, synthi A, organ, elka organ, prep. piano, gong

Peter Baumann: e-piano, organ, synthi A, voice, arp2600

Cover photo: Monique Froese

LP Virgin V2025

Bought the LP 12.12.1975 30 mk

Genre: Electronic

Fantastic trip through the space. New musical genre.

Never forget the day I heard 1st time this on the radio. - It was/is magic!

Traffic: Mr. Fantasy 1967

1 Heaven Is in Your Mind (Winwood-Capaldi-Wood) 4:21

2 Berkshire Poppies (Winwood-Capaldi-Wood) 2:57

3 House for Everyone (Mason) 2:05

4 No Face, No Name, and No Number (Winwood-Capaldi) 3:34

5 Dear Mr. Fantasy (Winwood-Capaldi-Wood) 5:41

Side 2

6 Dealer (Capaldi) 3:15

7 Utterly Simple (Mason) 3:19

8 Coloured Rain (Winwood-Capaldi-Wood) 2:45

9 Hope I Never Find Me There (Mason) 2:09

10 Giving to You (Winwood-Capaldi-Wood-Mason) 4:14

(total length 33:54)

Steve Winwood vocals, guitar, piano, harpsichord, organ, bass, percussion

Dave Mason vocals, guitar, sitar, tamboura, shakkai, Mellotron, bass

Chris Wood vocals, flute, saxophone, organ

Jim Capaldi vocals, drums, percussion

Released December, 1967

Recorded April - November 1967 Olympic Studios, London

Genre psychedelic rock

LP Label Island Records ILPS 9061

Producer Jimmy Miller

Bought the LP 27.5.1984 37 mk Fazu Alex Helsinki

Traffic was formed when Steve Winwood left Spencer Davis Group and wanted to do something new. The psychedelic rock was in the air and this LP is the child of that era. Some eastern influence (sitar, tabla), long improvised blues solos, psychedelic sound effects, jazz - and the fantastic singing of Steve.

My favourites are No Face, No Name, No Number and Dear Mr. Fantasy and Giving to You, with great flute and guitar solos.

LE ORME Diario di un concerto – 19.04.2008

Teatro Centro ASI; Solofra (AV)

E la giornata s’intona, s’intona magnificamente: i lampioni accesi su questo fine pomeriggio nel suo crepuscolo da luna piena che sembra una copertina da vinile,ha già un che di Paul Whitehead tutto questo. In questi giorni non ho fatto altro che ascoltare Van Der Graaf, King Crimson, Emerson Lake & Palmers come se gli ascolti abituali in i-pod dei Genesis ai tempi di Trespass,Nursery Cryme e Selling England By The Pound non bastassero. Progressive rock a profusione in sorta di preludio.

Che qui, in provincia di Avellino il progressive è una parola d’ordine,un’istituzione.

E’ un feudo progressive questo qui: con quei dischi cult che nella vetrina dello storico negozio di dischi di Avellino non mancano mai dai Jethro Tull a Le Orme.

E stasera voglio sentire che sapore ha questo spirito progressive sondato da vicino,toccato oltre i paraventi, si,perché oggi devi andarlo a sondare il progressive, perché un po’ si nasconde, si nasconde in quei giovani cresciuti a pane e vinile nascosti come gli elfi dietro qualche capello grigio,quegli occhiali dalle montature blu, quelle camice bianche con su i maglioni. E’ una meraviglia visto da fuori, dai miei vent’anni che fanno del progressive un “back catalog”,ma essendo il mio genere preferito,è ovvio che rappresenti molto di più. Parlano di dischi di trent’anni fa come se fossero usciti ieri, si parla del Banco e Della Pfm, c’è chi rimarca le strofe delle canzoni ricordando le note e gli accordi. Gli accenti campani si impastano con quelli veneti dello staff, è una bella sensazione.

E’ una bella atmosfera che non comprendo dove vada a finire: siamo in una piccola sala da auditorium,quasi una sala congresso in questa Solofra industriale.

Il fumo del palco invade gli occhi con la sua fragranza al sandalo. Ci sono pur intenditori qui dentro, pochi giovani di oggi ma l’ambiente ne recupera in qualità,perché questi giovani degli anni 70’ stasera si daranno proprio da fare, il che già di per sé è uno spettacolo entusiasmante e un po’ inedito per una generazione come la mia che troppo spesso se la vive in sordina. Non sto scherzando, qui dentro c’è un tizio che di concerti de Le Orme ne ha visti 100 e chi 250, (vi faccio anche i nomi,Massimo Forti e Oronzo Barzano,tra l’altro saliti sul palco)

ci sono anche gli Epoca, che sono la cover band ufficiale di Aldo Tagliapietra e soci.

IL CONCERTO

Eccoli sul palco, alle 21.30 già si comincia. Sembra una rimpatriata tra amici, un concerto in un casolare toscano tra fedelissimi. Al solo parlare della strumentazione (fate un giro sul sito ufficiale per capirne il culto particolare), si ha già dell’incredibile: sul palco ci sono il fido Aldo Tagliapietra in forma smagliante con una chitarra a dodici corde e un basso,tutti e due insieme in un corpo a doppio manico “Manne” rigorosamente artigianale, poi c’è Michi Dei Rossi che alla batteria è un vero talento con i suoi fraseggi e i suoi intrattenimenti con il pubblico e infine c’è Michele Bon che con la sua tastiera da organo Hammond, tiene nascosto un computer che caccia dal cilindro una miriade di effetti sonori tra campionatori, mellotron e tutto quello che vi serve per dire, Le Orme alla massima potenza. Due ore di concerto,informali e senza sosta.

E’ un crossover tra ieri e oggi, un unicum in ordine sparso dagli anni 70’ on poi.

Il concerto si apre con Uno Sguardo Verso Il Cielo,il loro biglietto da visita. Basso alla massima potenza,sinthy sottile e una grancassa portentosa: sono in tre ma sembrano molti di più, un virtuosismo sopraffine e dirompente che sonoricamente si smussa via via in un ritmo ridondante mentre è divertente vedere questi tre uomini davanti a me che con le mani rimarcano ogni sorta di movimento:suonano batterie invisibili e chitarre invisibili mentre le dita fanno delle ginocchia una tastiera e quando c’è una strofa,la comincino a cantare molto prima, una sorta di coro greco il loro, sembrano una guida all’ascolto.

E’ tutto è già indimenticabile ed è tutta una leggenda che Le Orme vogliono tenere a portata di mano. Comincia poi una suite, un collagene da concepì che racchiude gli ultimi tre dischi: Il Fiume (1996), Gli Elementi (2001) e L’Infinito (2004) ed eccole le tre canzoni di questo mix: si inizia piano con Il Vecchio con quel suo piano rock e si finisce con L’Infinito e la sua marcia rullante con quel velo sinthy.

Poi uno sguardo al passato e arriva l’energia di Sera che è la canzone manifesto della serata. E tutto ormai ha un risvolto più caldo e familiare, c’è feeling e non esiste barriera tra palco e realtà e scivolano così una dietro l’altre grandi emozioni a mezz’aria: c’è la ballata inspirata al vento californiano dalla sabbia rossa di Amico Di Ieri e lo showgaze di La Porta Chiusa di Felona E Sorona inciso negli anni 70’ al fianco di Peter Hammill.

E poi c’è il lato acustico per far vibrare tutte quelle dodici corde: Il Frutto Acerbo e Verità Nascoste e poi comincia la collaborazione con il pubblico, tutta un’ovazione per battere le mani a tempo e darsi da fare con i cori a cappella.Ed esordisce così la grande squalificata di sanremo 82’, è Marinai. C’è poi L’Uomo Di Pezza strabiliante e sognante e poi ecco che Michi Dei Rossi comincia a fare il matto: divide la sala in gruppi per battere le mani in settori divisi, ma per sincronizzarsi sotto false indicazioni è un’impresa e si ride tutti quanti fin quanto non parte Cemento Armato. C’è poi un’atmosfera da pathos, quella di La Solitudine Di Chi Protegge Il Mondo e alla fine riecco Michi con i suoi giochetti che stavolta con le sue bacchette si mette a fare il capo indiano prima di ripartire con il suo accompagnamento alla grancassa ai ritmi improvvisati che riusciamo a mettere in piedi ma con i soliti tranelli!!

Poi Felona E Sorona capeggia ancora con il sound di Sospesi Nell' Incredibile brulla e sofisticata in tutta la sua solennità…e poi spariscono, ma è inutile, la serata è cosi calda che sono richiamati a gran voce e per il finale da un’atmosfera da sitar elettronicheggiante fatto da un lungo assolo di Michele Bon ne nasce poi un vorticoso medley sonoro strumentale.

Ma se,forse è mezzanotte e se ne sono andate via due ore piene piene di concerto, nessuno va via, nemmeno loro, che non spariscono nel fumo che intanto è dappertutto, bazzicano li a fronte palco mentre tutti si avvicinano. E tra qualche birra e quattro chiacchiere è una festa di autografi,foto e discorsi tra amici, come se nulla fosse. Bellissimo. Come quel tipo della SIAE che si fatto autografare tutta la discografia in vinile e un merchandaising che era un vero memorabilia da Aldo rigorosamente vestito di bianco dalla testa ai piedi…

Che dire? Senza parole…e pensare che è il mio primo concerto de Le Orme…pare che in zona siano quasi di casa,quindi….alla prossima avventura. Superlativo da non credere!

mellotron playlist 10/28/6 (snapshot)

56 songs, 4.4 hours, 290.5 MB

Nina Simone / Feeling Good

Hint / Count Your Blessings

Thievery Corporation / Indra

American Analog Set / Immaculate Heart

Bowerly Electric / Floating World

RJD2 / Smoke & Mirrors

Gorillaz / O Green World

Tricky / For Real

Amon Tobin / Sultan Drops

William Orbit / Ogive Number 1 (Erik Satie)

Porno for Pyros / Pets

Jens Buchert / Bug In Mind

Depeche Mode / Precious

Kruder + Dorfmeister / Useless (Depeche Mode)

Zero 7 / In the Waiting Line

Nina Simone / Lilac Wine (The Album Leaf remix)

The Cure / Plainsong

Bloc Party / Blue Light

Chris Thomas King / Hard Time Killing Floor Blues

Kevin Shields / Are You Awake?

Kid Loco / Flyin' On 747

Aphex Twin / Mookid

Tom Waits / Jockey Full Of Bourbon

Tosca / Annanas

Frou Frou / Let Go

Bright Eyes / Lua

Ulrich Schnauss / Clear Day

Underworld / Trim

clip - Nobody Fucks With The Jesus

Wilco / Radio Cure

Inspector Jay's Big Score (Bombay 2: Electric Vindaloo)

Dan Hicks / I Scare Myself

Amon Tobin / Down & To The Left

Tricky / Bad Things

Velvet Underground & Nico / Venus in Furs

Kenji Kawai / Making Of A Cyborg

PJ Harvey / Shame

American Analog Set / The Hatist

Underworld / 8 Ball

Colin Hay / I Just Don't Think I'll Ever Get Over You

Bobby Darin / If I Were A Carpenter

The Cure / Love Song

Thievery Corporation / Tomorrow

RJD2 / Here's What's Left

Nina Simone / I Put A Spell On You

Tosca / Busenfreund [Walkner.Moestl Dub]

DJ Shadow / Midnight in a Perfect World

The Church / Under the Milky Way

Underworld / Dirty Epic

Thom Yorke / The Eraser

Underworld / Luetin

Tom Waits / Anywhere I Lay My Head

Death In Vegas / Girls

Fila Brazillia / July 23

Kruder + Dorfmeister / Million Town [K&D Session] (Strange Cargo)

Scott Bomar (of Impala and the Bo-Keys) at Ardent Studios, Memphis, with the Mellotron used on Big Star's records. The Mellotron was an early synthesizer, contained short tape loops of recorded sound. Princess Margaret and L Ron Hubbard were early enthuasiasts. Scott's latest work, recorded at Ardent, is the soundtrack album to Craig Brewer's Black Snake Moan, in which Samuel L Jackson plays a Mississippi bluesman.

The delightfully annotated Inner gatefold from "The Six Wives of Henry VIII" (A&M, 1973). Wakeman goes on to list nine pieces of equipment not pictured here, and that's not including recording equipment. There are also five vocalists and thirteen additional musicians, including Chris Squire, Steve Howe, Alan White, Bill Bruford, and Dave Cousins on electric banjo. You can't make this stuff up, kids.

Medeski Martin & Wood (or MMW) is an American jazz trio formed in 1991, consisting of John Medeski on keyboards and piano, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar.

The band draws on influences from a number of musical traditions, from funk to Hip Hop, and is known for an unconventional style sometimes described as "avant-groove".

MMW has found moderate mainstream success—often working with noted guitarist John Scofield—and touring on the jam band circuit.

History

The band members were introduced to each other by jazz drummer Bob Moses, who had performed with Medeski and Wood, and was Martin's instructor.

Medeski Martin & Wood's first performances together were at the Village Gate, a popular New York jazz club. They were initially an acoustic jazz trio, but Medeski added a Hammond organ when the difficulties of touring with a piano became apparent. Their first album, Notes from the Underground, is a record of their entirely-acoustic era. All of their subsequent albums reveal Medeski's use of a wide variety of keyboards, including mellotron, melodica, and a clavinet. Wood entirely eschewed the electric bass for MMW's first three albums, and still relies heavily on the acoustic upright bass in recordings and during live performances. Their earlier albums reveal a Hip Hop influenced updating of classic soul jazz sounds, which is the primary theme of their well-known 1996 album, Shack-man.

The band received some of their first significant exposure outside of the New York City jazz scene by performing with Phish at their October 14, 1995 concert, which led to the association of the group as a jam band.[1] In addition, their performance on John Scofield's 1997 album A Go Go helped to further their exposure. The band collaborated further with Scofield again in 2006, releasing the album Out Louder under the name Medeski Scofield Martin & Wood. This was the first album released on MMW's own Indirecto Records.

From 1998–2005, MMW were signed to leading jazz label Blue Note Records, and showed them delving deeper into dense, electronic funk than their earlier albums, although the band continued to experiment with free jazz and free improvisation both on their albums and in concert.

Medeski Martin & Wood's live performances are renowned for their exploratory nature. Their concerts usually involve extended improvisations, which may be both arrhythmic and atonal, an aspect of their musicianship that is rarely documented in the studio. They occasionally tour using only acoustic instruments, reverting back to the instrumentation that they began their career with. Their album Tonic is an example of these more contemporary acoustic performances. They have also done short tours of entirely improvisatory performances. These shows usually consisted of two sets of improvisation, followed by an encore of a song from an album.

Their song "End of the World Party" was featured on the show Grey's Anatomy and can be found on the show's soundtrack.

Side projects

Each of the trio's three members are involved in a large music community, and have participated in numerous side projects over the years.

In 2001 John Medeski collaborated with the North Mississippi Allstars and slide-guitarist Robert Randolph; together, these five musicians formed The Word, a bluesy gospel band. They released one self-titled album and toured extensively.

Beginning around 2005 Chris Wood formed The Wood Brothers with his brother, blues guitarist Oliver Wood. They have released several albums to date and continue to tour and record together.

In 2007 John Medeski and Billy Martin released an album as a duo, called Mago. They performed that material together at the 2007 Bonnaroo Music Festival.[2]

The Mellotron is an electro-mechanical polyphonic tape replay keyboard, originally developed and built in Birmingham, UK in the early 1960s.

Contained inside the instrument is a bank of parallel linear magnetic audio tape strips. Playback heads underneath each key enable the playing of pre-recorded sounds. Each of the tape strips has a playback time of approximately eight seconds, after which the tape stops and rewinds to the start position.

This unit features grey-blue chipboard casing with small keyboard and effects dials on left hand side. The unit can be wheeled around on casters. Tapes in this machine were loaded with pre-reocrded sound effects used in TV drama production. A description of each effect is written in red pen on masking tape positioned above keyboard.

Manufactured in Australia, circa 1970.

NFSA title ID: 556404

Photographer, Brooke Shannon

Focus / Hamburger Concerto

Side one:

- "Delitæ Musicæ" (Jan Akkerman) - 1:12

- "Harem Scarem" (Thijs van Leer) - 5:51

- "La Cathedrale de Strasbourg" (Thijs van Leer) - 4:59

- "Birth" (Jan Akkerman) - 7:46

Side two:

- "Hamburger Concerto

I. Starter (Trad. arr. by van Leer)

II. Rare (Akkerman)

III. Medium I (van Leer, Akkerman)

IV. Medium II (Akkerman)

V. Well Done (van Leer)

VI. One for the Road (Akkerman)" - 20:20

Thijs van Leer – Hammond organ, flute, piano, harpsichord, moog, ARP synthesizer, recorder, mellotron, non-lexical vocables, vocals, accordion, pipe organ

Jan Akkerman – guitar

Bert Ruiter – bass guitar

Colin Allen – drums

Recorded: January–March 1974 at Olympic Sound Studios, London

sleeve design: Wade Wood Associates

Label: Atco Records / 1974

ex Vinyl-Collection MTP

en.wikipedia.org/wiki/Hamburger_Concerto

Here's a scrapbook / collage-style picture, wrapping up all of team Ellatron's great Mellofest memories into one place.

Highlights - too many to mention, but Jordan's presentation was awesome, the delightful (and officially 'The Next Big Thing') Gary Go popped by just to meet team Ellatron and have a chat, despite being insanely busy with a) a documentary film crew in his studio, and b) a handful of stadium shows coming up within the month supporting the wonderful Take That. And he and Rieko are mighty photogenic between them!

Martin Orford was quite amazing, the 'here is the innards of a Tron' was really cool (and thanks to Andy from Planet Mellotron for both that and the Rick Wakeman impersonation on Space Oddity), the interview with Moody Blues producer Tony Clarke was informative and funny, and the rousing Stylophone-powered Space Oddity finale made for a perfect Mellotron sandwich with the King Crimson / Genesis excerpts that opened the show. Both Space Oddity and Nights in White Satin were sung masterfully by Mark Rae, who apparently was formerly in a top-ranked Genesis tribute band. Hence he knew all the Mellotron parts by heart!

And a personal highlight was meeting one of my teenage rock and roll heroes, the wonderfully talented Knox of The Vibrators, who was gifted our last Ellatron shirt. He said "Don't worry, if somebody cooler comes later I'll give it back to you" and I reassured him "No danger of that sir". Lovely man, brilliant evening, and thanks to Nick (top left in the shot, and interviewing Tony Clarke, top centre) for organizing it all.

Flickr's 90 second video limit was too much to bear for such a great event, so check out our Mellofest videos on YouTube.

Medeski Martin & Wood (or MMW) is an American jazz trio formed in 1991, consisting of John Medeski on keyboards and piano, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar.

The band draws on influences from a number of musical traditions, from funk to Hip Hop, and is known for an unconventional style sometimes described as "avant-groove".

MMW has found moderate mainstream success—often working with noted guitarist John Scofield—and touring on the jam band circuit.

History

The band members were introduced to each other by jazz drummer Bob Moses, who had performed with Medeski and Wood, and was Martin's instructor.

Medeski Martin & Wood's first performances together were at the Village Gate, a popular New York jazz club. They were initially an acoustic jazz trio, but Medeski added a Hammond organ when the difficulties of touring with a piano became apparent. Their first album, Notes from the Underground, is a record of their entirely-acoustic era. All of their subsequent albums reveal Medeski's use of a wide variety of keyboards, including mellotron, melodica, and a clavinet. Wood entirely eschewed the electric bass for MMW's first three albums, and still relies heavily on the acoustic upright bass in recordings and during live performances. Their earlier albums reveal a Hip Hop influenced updating of classic soul jazz sounds, which is the primary theme of their well-known 1996 album, Shack-man.

The band received some of their first significant exposure outside of the New York City jazz scene by performing with Phish at their October 14, 1995 concert, which led to the association of the group as a jam band.[1] In addition, their performance on John Scofield's 1997 album A Go Go helped to further their exposure. The band collaborated further with Scofield again in 2006, releasing the album Out Louder under the name Medeski Scofield Martin & Wood. This was the first album released on MMW's own Indirecto Records.

From 1998–2005, MMW were signed to leading jazz label Blue Note Records, and showed them delving deeper into dense, electronic funk than their earlier albums, although the band continued to experiment with free jazz and free improvisation both on their albums and in concert.

Medeski Martin & Wood's live performances are renowned for their exploratory nature. Their concerts usually involve extended improvisations, which may be both arrhythmic and atonal, an aspect of their musicianship that is rarely documented in the studio. They occasionally tour using only acoustic instruments, reverting back to the instrumentation that they began their career with. Their album Tonic is an example of these more contemporary acoustic performances. They have also done short tours of entirely improvisatory performances. These shows usually consisted of two sets of improvisation, followed by an encore of a song from an album.

Their song "End of the World Party" was featured on the show Grey's Anatomy and can be found on the show's soundtrack.

Side projects

Each of the trio's three members are involved in a large music community, and have participated in numerous side projects over the years.

In 2001 John Medeski collaborated with the North Mississippi Allstars and slide-guitarist Robert Randolph; together, these five musicians formed The Word, a bluesy gospel band. They released one self-titled album and toured extensively.

Beginning around 2005 Chris Wood formed The Wood Brothers with his brother, blues guitarist Oliver Wood. They have released several albums to date and continue to tour and record together.

In 2007 John Medeski and Billy Martin released an album as a duo, called Mago. They performed that material together at the 2007 Bonnaroo Music Festival.[2]

Medeski Martin & Wood (or MMW) is an American jazz trio formed in 1991, consisting of John Medeski on keyboards and piano, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar.

The band draws on influences from a number of musical traditions, from funk to Hip Hop, and is known for an unconventional style sometimes described as "avant-groove".

MMW has found moderate mainstream success—often working with noted guitarist John Scofield—and touring on the jam band circuit.

History

The band members were introduced to each other by jazz drummer Bob Moses, who had performed with Medeski and Wood, and was Martin's instructor.

Medeski Martin & Wood's first performances together were at the Village Gate, a popular New York jazz club. They were initially an acoustic jazz trio, but Medeski added a Hammond organ when the difficulties of touring with a piano became apparent. Their first album, Notes from the Underground, is a record of their entirely-acoustic era. All of their subsequent albums reveal Medeski's use of a wide variety of keyboards, including mellotron, melodica, and a clavinet. Wood entirely eschewed the electric bass for MMW's first three albums, and still relies heavily on the acoustic upright bass in recordings and during live performances. Their earlier albums reveal a Hip Hop influenced updating of classic soul jazz sounds, which is the primary theme of their well-known 1996 album, Shack-man.

The band received some of their first significant exposure outside of the New York City jazz scene by performing with Phish at their October 14, 1995 concert, which led to the association of the group as a jam band.[1] In addition, their performance on John Scofield's 1997 album A Go Go helped to further their exposure. The band collaborated further with Scofield again in 2006, releasing the album Out Louder under the name Medeski Scofield Martin & Wood. This was the first album released on MMW's own Indirecto Records.

From 1998–2005, MMW were signed to leading jazz label Blue Note Records, and showed them delving deeper into dense, electronic funk than their earlier albums, although the band continued to experiment with free jazz and free improvisation both on their albums and in concert.

Medeski Martin & Wood's live performances are renowned for their exploratory nature. Their concerts usually involve extended improvisations, which may be both arrhythmic and atonal, an aspect of their musicianship that is rarely documented in the studio. They occasionally tour using only acoustic instruments, reverting back to the instrumentation that they began their career with. Their album Tonic is an example of these more contemporary acoustic performances. They have also done short tours of entirely improvisatory performances. These shows usually consisted of two sets of improvisation, followed by an encore of a song from an album.

Their song "End of the World Party" was featured on the show Grey's Anatomy and can be found on the show's soundtrack.

Side projects

Each of the trio's three members are involved in a large music community, and have participated in numerous side projects over the years.

In 2001 John Medeski collaborated with the North Mississippi Allstars and slide-guitarist Robert Randolph; together, these five musicians formed The Word, a bluesy gospel band. They released one self-titled album and toured extensively.

Beginning around 2005 Chris Wood formed The Wood Brothers with his brother, blues guitarist Oliver Wood. They have released several albums to date and continue to tour and record together.

In 2007 John Medeski and Billy Martin released an album as a duo, called Mago. They performed that material together at the 2007 Bonnaroo Music Festival.[2]

Medeski Martin & Wood (or MMW) is an American jazz trio formed in 1991, consisting of John Medeski on keyboards and piano, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar.

The band draws on influences from a number of musical traditions, from funk to Hip Hop, and is known for an unconventional style sometimes described as "avant-groove".

MMW has found moderate mainstream success—often working with noted guitarist John Scofield—and touring on the jam band circuit.

History

The band members were introduced to each other by jazz drummer Bob Moses, who had performed with Medeski and Wood, and was Martin's instructor.

Medeski Martin & Wood's first performances together were at the Village Gate, a popular New York jazz club. They were initially an acoustic jazz trio, but Medeski added a Hammond organ when the difficulties of touring with a piano became apparent. Their first album, Notes from the Underground, is a record of their entirely-acoustic era. All of their subsequent albums reveal Medeski's use of a wide variety of keyboards, including mellotron, melodica, and a clavinet. Wood entirely eschewed the electric bass for MMW's first three albums, and still relies heavily on the acoustic upright bass in recordings and during live performances. Their earlier albums reveal a Hip Hop influenced updating of classic soul jazz sounds, which is the primary theme of their well-known 1996 album, Shack-man.

The band received some of their first significant exposure outside of the New York City jazz scene by performing with Phish at their October 14, 1995 concert, which led to the association of the group as a jam band.[1] In addition, their performance on John Scofield's 1997 album A Go Go helped to further their exposure. The band collaborated further with Scofield again in 2006, releasing the album Out Louder under the name Medeski Scofield Martin & Wood. This was the first album released on MMW's own Indirecto Records.

From 1998–2005, MMW were signed to leading jazz label Blue Note Records, and showed them delving deeper into dense, electronic funk than their earlier albums, although the band continued to experiment with free jazz and free improvisation both on their albums and in concert.

Medeski Martin & Wood's live performances are renowned for their exploratory nature. Their concerts usually involve extended improvisations, which may be both arrhythmic and atonal, an aspect of their musicianship that is rarely documented in the studio. They occasionally tour using only acoustic instruments, reverting back to the instrumentation that they began their career with. Their album Tonic is an example of these more contemporary acoustic performances. They have also done short tours of entirely improvisatory performances. These shows usually consisted of two sets of improvisation, followed by an encore of a song from an album.

Their song "End of the World Party" was featured on the show Grey's Anatomy and can be found on the show's soundtrack.

Side projects

Each of the trio's three members are involved in a large music community, and have participated in numerous side projects over the years.

In 2001 John Medeski collaborated with the North Mississippi Allstars and slide-guitarist Robert Randolph; together, these five musicians formed The Word, a bluesy gospel band. They released one self-titled album and toured extensively.

Beginning around 2005 Chris Wood formed The Wood Brothers with his brother, blues guitarist Oliver Wood. They have released several albums to date and continue to tour and record together.

In 2007 John Medeski and Billy Martin released an album as a duo, called Mago. They performed that material together at the 2007 Bonnaroo Music Festival.[2]

ARTIST: John Lennon

TITLE: Walls and Bridges

COMPOSERS: Lennon

YEAR: 1974

LABEL: Apple

TIME: 46'02

PRODUCER: Lennon

COVER: Lennon childhood drawing

PHOTO: Bob Gruen

COUNTRY: US/UK

BOUGHT: 26.4.2011, 10 € FleaMarket

GENRE: rock

FORMAT: LP

1. Going Down on Love 3:54

2. Whatever Gets You thru the Night 3:28

3. Old Dirt Road 4:11

4. What You Got 3:09

5. Bless You 4:38

6. Scared 4:36

Side Two

7. #9 Dream 4:47

8. Surprise, Surprise (Sweet Bird of Paradox) 2:55

9. Steel and Glass 4:37

10. Beef Jerky 3:26

11. Nobody Loves You (When You're Down and Out) 5:08

12. Ya Ya 1:06

John Lennon: lead, harmony and background vocals; lead, rhythm

and acoustic guitar; piano, whistling and percussion.

Ken Ascher: electric piano, clavinet and mellotron.

Jim Keltner: drums.

Arthur Jenkins: percussion.

Nicky Hopkins: piano.

Klaus Voormann: bass.

Bobby Keys: tenor saxophone

Jesse Ed Davis: lead and acoustic guitar

Eddie Mottau: acoustic guitar

All songs by Lennon except:

3. Lennon-Nilsson

12. Dorsey-Levy-Lewis-Robinson

1st time I hear this classic album! Some tracks are known

from his compilations, but it's always interesting to hear

the compete story. - Thanks to the local flea market!

Line up:

Sofie Tollefsbøl - Gesang

Andreas Rukan - Bass

Ola Øverby - Schlagzeug

Lyder Øvreås Røed - Flügelhorn, Mellotron u. a.

Jørgen Kasbo - Gitarre, Vibraphon u. a.

Solveig Wang - Klarinette, Background-Gesang u. a.

Kai Heløe Von der Lippe - Keyboards

Thea Arnesdotter - Bkg Vocals

Spring, Neon Records UK, 1971 with Pat Moran, originally in a tri-fold cover - and lots of mellotron!

Claudio Kleiman

Periodista

- En1976 fue miembro fundador de la recordada revista "Expreso Imaginario", donde se desempeña hasta el cierre de la misma en 1983

- Colabora con la revista "Cantarock" desde su aparición en 1983 hasta el cierre en 1988

- Entre los años 1984-88 dirige la colección "Super Cantarock", de números especiales unitarios de la revista "Cantarock"

- En 1987 realiza junto a Claudio Gabis un seminario sobre Rock como parte del ciclo "Las Músicas Populares de Buenos Aires", en el marco de las V Jornadas sobre Educación, Arte y Creatividad, organizadas por la Dirección General de Educación Artística y Especial, de la Secretaría de Cultura. Expusieron entre otros Andrés Calamaro, León Gieco, Ricardo Mollo, Gloria Guerrero, Pipo Lernoud y Daniel Ripoll.

- Entre los años 1986-1999 participa de la revista "El Musiquero", donde llega a desempeñarse como Jefe de Redacción durante los últimos cinco años de la publicación

- Ha colaborado con gran cantidad de publicaciones dedicadas a la música popular, el rock y la cultura, entre otras, "Rock & Pop", "Pan Caliente", "Cerdos & Peces", "El Porteño", "Vos (En Todas)", "Guitarristas del Mundo", "Mutantia", "Uno Mismo", "Fierro", "La Contumancia", "Blues Special", "Music Expert", "El Biombo", "Zona De Obras" (de España), y muchas más.

- Es co-autor de la enciclopedia "Rock Nacional 30 Años", realizada en 1996 acompañando la Exposición del mismo nombre.

- Colaboró con los diarios "Clarín", "Perfil", "La Nación" (suplemento Espectáculos y suplemento Vía Libre), "Página 12" (sección Espectáculos y Suplemento Radar) y "El País"(España).

- Colaboró en el sitio de Internet, "El Foco.com"

- Realizó trabajos vinculados a la prensa y difusión de grupos y solistas como Javier Martínez, Ratones Paranoicos, La Mississippi, Claudio Gabis y La Rusa. Participó en trabajos de producción y traducción junto a gran cantidad de artistas que visitaron nuestro país, como B.B. King, Albert Collins, Buddy Guy, John Hammond, Tributo a Miles Davis, Jon Anderson, James Cotton, Peter Hammill, Jimmie Vaughan, Los Lobos, Taj Mahal, Robben Ford, Robert Cray, Lyle Mays, Joe Pass, Mike Stern y muchos otros.

- En radio, se desempeñó como musicalizador de FMR (la FM de Radio Rivadavia) entre los años 1984-86. Durante los años 1987-1993 realizó el programa "Piso 93" en la FM Rock & Pop junto al conductor Rafael Hernández, con quien también llevó a cabo el programa "Mundo Feliz" en el año 1996, en la misma emisora. Participó como columnista del programa "Tribulaciones" en FM La Tribu, realizando el prestigioso espacio "Héroes de la Guitarra", que continúa actualmente en su programa de Radio Nacional Faro FM, "Algo Está Pasando", que comenzó a emitirse en el año 2000.

- En 2004 realiza en Artilaria, junto al periodista Sergio Marchi, un taller de tres meses titulado "The Beatles", analizando a fondo vida y obra del cuarteto británico.

- Durante el mismo año, escribe y edita el libro "De Ushuaia A La Quiaca",

en colaboración con León Gieco y Gustavo Santaolalla, con fotografías de Alejandra Palacios, publicado por Retina Editores.

- En la actualidad, se desempeña como Redactor Especial de la revista "Rolling Stone", donde colabora desde su fundación.

Escribe colaboraciones para los diarios "La Nación", "Página 12"

(donde también colabora en la producción de las ediciones discográficas del diario), y las revistas "Mellotron" y "La Mano".

En radio, conduce, produce y musicaliza el programa "Algo Está Pasando", que sale al aire en su sexta temporada consecutiva. Durante los años 2000 y 2001 en FM Supernova 96.7 (FM de Radio Nacional) de lunes a jueves de 23 a 0.30 hs, y desde el año 2002 hasta el presente en Radio Nacional Faro FM 87.9 (Fm de Radio Nacional), actualmente en el horario de los sábados de 18 a 20 hs.

Medeski Martin & Wood (or MMW) is an American jazz trio formed in 1991, consisting of John Medeski on keyboards and piano, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar.

The band draws on influences from a number of musical traditions, from funk to Hip Hop, and is known for an unconventional style sometimes described as "avant-groove".

MMW has found moderate mainstream success—often working with noted guitarist John Scofield—and touring on the jam band circuit.

History

The band members were introduced to each other by jazz drummer Bob Moses, who had performed with Medeski and Wood, and was Martin's instructor.

Medeski Martin & Wood's first performances together were at the Village Gate, a popular New York jazz club. They were initially an acoustic jazz trio, but Medeski added a Hammond organ when the difficulties of touring with a piano became apparent. Their first album, Notes from the Underground, is a record of their entirely-acoustic era. All of their subsequent albums reveal Medeski's use of a wide variety of keyboards, including mellotron, melodica, and a clavinet. Wood entirely eschewed the electric bass for MMW's first three albums, and still relies heavily on the acoustic upright bass in recordings and during live performances. Their earlier albums reveal a Hip Hop influenced updating of classic soul jazz sounds, which is the primary theme of their well-known 1996 album, Shack-man.

The band received some of their first significant exposure outside of the New York City jazz scene by performing with Phish at their October 14, 1995 concert, which led to the association of the group as a jam band.[1] In addition, their performance on John Scofield's 1997 album A Go Go helped to further their exposure. The band collaborated further with Scofield again in 2006, releasing the album Out Louder under the name Medeski Scofield Martin & Wood. This was the first album released on MMW's own Indirecto Records.

From 1998–2005, MMW were signed to leading jazz label Blue Note Records, and showed them delving deeper into dense, electronic funk than their earlier albums, although the band continued to experiment with free jazz and free improvisation both on their albums and in concert.

Medeski Martin & Wood's live performances are renowned for their exploratory nature. Their concerts usually involve extended improvisations, which may be both arrhythmic and atonal, an aspect of their musicianship that is rarely documented in the studio. They occasionally tour using only acoustic instruments, reverting back to the instrumentation that they began their career with. Their album Tonic is an example of these more contemporary acoustic performances. They have also done short tours of entirely improvisatory performances. These shows usually consisted of two sets of improvisation, followed by an encore of a song from an album.

Their song "End of the World Party" was featured on the show Grey's Anatomy and can be found on the show's soundtrack.

Side projects

Each of the trio's three members are involved in a large music community, and have participated in numerous side projects over the years.

In 2001 John Medeski collaborated with the North Mississippi Allstars and slide-guitarist Robert Randolph; together, these five musicians formed The Word, a bluesy gospel band. They released one self-titled album and toured extensively.

Beginning around 2005 Chris Wood formed The Wood Brothers with his brother, blues guitarist Oliver Wood. They have released several albums to date and continue to tour and record together.

In 2007 John Medeski and Billy Martin released an album as a duo, called Mago. They performed that material together at the 2007 Bonnaroo Music Festival.[2]

Barclay James Harvest / Live

Treck listing:

- Summer Soldier - 10:17

- Medicine Man - 10:26

- Crazy City - 4:59

- After The Day - 7:28

- The Great 1974 Mining Disaster - 6:30

- Galadriel - 3:18

- Negative Earth - 6:20

- She Said - 8:34

- Paper Wings - 4:19

- For No One - 5:53

- Mockingbird - 7:37

Les Holroyd - Bass Guitar, Rhythm Guitar, Vocals

Mel Pritchard - Drums

John Lees - Mellotron, Electric Piano, SynthesLead Guitar, Recorder, Vocals

Woolly 'Wooly' Wolstenholme - Mellotron, Electric Piano, Synthesizer [Moog], Baritone Vocals

Recorded at Theatre Royal, Drury Lane

and Liverpool Stadium; England

sleeve design: Photography by Alex Agor, Tim Brown

Label: Polydor Records / 1974

ex Vinyl-Collection MTP

en.wikipedia.org/wiki/Barclay_James_Harvest

Medeski Martin & Wood (or MMW) is an American jazz trio formed in 1991, consisting of John Medeski on keyboards and piano, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar.

The band draws on influences from a number of musical traditions, from funk to Hip Hop, and is known for an unconventional style sometimes described as "avant-groove".

MMW has found moderate mainstream success—often working with noted guitarist John Scofield—and touring on the jam band circuit.

History

The band members were introduced to each other by jazz drummer Bob Moses, who had performed with Medeski and Wood, and was Martin's instructor.

Medeski Martin & Wood's first performances together were at the Village Gate, a popular New York jazz club. They were initially an acoustic jazz trio, but Medeski added a Hammond organ when the difficulties of touring with a piano became apparent. Their first album, Notes from the Underground, is a record of their entirely-acoustic era. All of their subsequent albums reveal Medeski's use of a wide variety of keyboards, including mellotron, melodica, and a clavinet. Wood entirely eschewed the electric bass for MMW's first three albums, and still relies heavily on the acoustic upright bass in recordings and during live performances. Their earlier albums reveal a Hip Hop influenced updating of classic soul jazz sounds, which is the primary theme of their well-known 1996 album, Shack-man.

The band received some of their first significant exposure outside of the New York City jazz scene by performing with Phish at their October 14, 1995 concert, which led to the association of the group as a jam band.[1] In addition, their performance on John Scofield's 1997 album A Go Go helped to further their exposure. The band collaborated further with Scofield again in 2006, releasing the album Out Louder under the name Medeski Scofield Martin & Wood. This was the first album released on MMW's own Indirecto Records.

From 1998–2005, MMW were signed to leading jazz label Blue Note Records, and showed them delving deeper into dense, electronic funk than their earlier albums, although the band continued to experiment with free jazz and free improvisation both on their albums and in concert.

Medeski Martin & Wood's live performances are renowned for their exploratory nature. Their concerts usually involve extended improvisations, which may be both arrhythmic and atonal, an aspect of their musicianship that is rarely documented in the studio. They occasionally tour using only acoustic instruments, reverting back to the instrumentation that they began their career with. Their album Tonic is an example of these more contemporary acoustic performances. They have also done short tours of entirely improvisatory performances. These shows usually consisted of two sets of improvisation, followed by an encore of a song from an album.

Their song "End of the World Party" was featured on the show Grey's Anatomy and can be found on the show's soundtrack.

Side projects

Each of the trio's three members are involved in a large music community, and have participated in numerous side projects over the years.

In 2001 John Medeski collaborated with the North Mississippi Allstars and slide-guitarist Robert Randolph; together, these five musicians formed The Word, a bluesy gospel band. They released one self-titled album and toured extensively.

Beginning around 2005 Chris Wood formed The Wood Brothers with his brother, blues guitarist Oliver Wood. They have released several albums to date and continue to tour and record together.

In 2007 John Medeski and Billy Martin released an album as a duo, called Mago. They performed that material together at the 2007 Bonnaroo Music Festival.[2]

Medeski Martin & Wood (or MMW) is an American jazz trio formed in 1991, consisting of John Medeski on keyboards and piano, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar.

The band draws on influences from a number of musical traditions, from funk to Hip Hop, and is known for an unconventional style sometimes described as "avant-groove".

MMW has found moderate mainstream success—often working with noted guitarist John Scofield—and touring on the jam band circuit.

History

The band members were introduced to each other by jazz drummer Bob Moses, who had performed with Medeski and Wood, and was Martin's instructor.

Medeski Martin & Wood's first performances together were at the Village Gate, a popular New York jazz club. They were initially an acoustic jazz trio, but Medeski added a Hammond organ when the difficulties of touring with a piano became apparent. Their first album, Notes from the Underground, is a record of their entirely-acoustic era. All of their subsequent albums reveal Medeski's use of a wide variety of keyboards, including mellotron, melodica, and a clavinet. Wood entirely eschewed the electric bass for MMW's first three albums, and still relies heavily on the acoustic upright bass in recordings and during live performances. Their earlier albums reveal a Hip Hop influenced updating of classic soul jazz sounds, which is the primary theme of their well-known 1996 album, Shack-man.

The band received some of their first significant exposure outside of the New York City jazz scene by performing with Phish at their October 14, 1995 concert, which led to the association of the group as a jam band.[1] In addition, their performance on John Scofield's 1997 album A Go Go helped to further their exposure. The band collaborated further with Scofield again in 2006, releasing the album Out Louder under the name Medeski Scofield Martin & Wood. This was the first album released on MMW's own Indirecto Records.

From 1998–2005, MMW were signed to leading jazz label Blue Note Records, and showed them delving deeper into dense, electronic funk than their earlier albums, although the band continued to experiment with free jazz and free improvisation both on their albums and in concert.

Medeski Martin & Wood's live performances are renowned for their exploratory nature. Their concerts usually involve extended improvisations, which may be both arrhythmic and atonal, an aspect of their musicianship that is rarely documented in the studio. They occasionally tour using only acoustic instruments, reverting back to the instrumentation that they began their career with. Their album Tonic is an example of these more contemporary acoustic performances. They have also done short tours of entirely improvisatory performances. These shows usually consisted of two sets of improvisation, followed by an encore of a song from an album.

Their song "End of the World Party" was featured on the show Grey's Anatomy and can be found on the show's soundtrack.

Side projects

Each of the trio's three members are involved in a large music community, and have participated in numerous side projects over the years.

In 2001 John Medeski collaborated with the North Mississippi Allstars and slide-guitarist Robert Randolph; together, these five musicians formed The Word, a bluesy gospel band. They released one self-titled album and toured extensively.

Beginning around 2005 Chris Wood formed The Wood Brothers with his brother, blues guitarist Oliver Wood. They have released several albums to date and continue to tour and record together.

In 2007 John Medeski and Billy Martin released an album as a duo, called Mago. They performed that material together at the 2007 Bonnaroo Music Festival.[2]

The Mellotron is an electro-mechanical polyphonic tape replay keyboard, originally developed and built in Birmingham, UK in the early 1960s.

Contained inside the instrument is a bank of parallel linear magnetic audio tape strips. Playback heads underneath each key enable the playing of pre-recorded sounds. Each of the tape strips has a playback time of approximately eight seconds, after which the tape stops and rewinds to the start position.

This unit features grey-blue chipboard casing with small keyboard and effects dials on left hand side. The unit can be wheeled around on casters. Tapes in this machine were loaded with pre-reocrded sound effects used in TV drama production. A description of each effect is written in red pen on masking tape positioned above keyboard.

Manufactured in Australia, circa 1970.

NFSA title ID: 556404

Photographer, Brooke Shannon

ARTIST: John Lennon

TITLE: Mind Games

COMPOSERS: Lennon

YEAR: 1973 (the orig. print) - this is a later print, date unknown

LABEL: Music For Pleasure EMI MFP 50509 (origin. Apple)

PRODUCER: Lennon

TIME: 40'41

COUNTRY: UK

BOUGHT: 22.8.2008 - Flee market, 8.50 €

COVER art: orig. by Lennon

GENRE: pop - rock

FORMAT: 30 cm LP

STARS: ****

RECORD BEFORE THIS: A-ha: Stay On These Roads

RECORD AFTER THIS: Lennon: Double Fantasy

11 TRACKS:

1. Mind Games 4:13

2. Tight A$ 3:37

3. Aisumasen (I'm Sorry) 4:44

4. One Day (at a Time) 3:09

5. Bring on the Lucie (Freeda Peeple) 4:12

6. Nutopian International Anthem" (Silent track of 3 sec.)

Side 2

7. Intuition 3:08

8. Out the Blue 3:23

9. Only People 3:23

10. I Know (I Know) 3:49

11. You Are Here 4:08

12. Meat City 2:45

John Lennon: vocals, guitars, clavinet and percussion.

Ken Asher: piano, Hammond organ and mellotron.

Jim Keltner and Rick Marotta: drums.

Gordon Edwards: bass.

David Spinozza: lead guitar.

Sneaky Pete Kleinow: pedal steel guitar.

Michael Brecker: saxophone.

Rec. Record Plant Studios New York Jul– Aug 1973

Released 16 November 1973

Lennon's 8th album. #13 UK and #9 US

Surprised! this is the 1st time I'm listening to Lennon's legendary Mind Games. Only knew the title track before. Nothing revolutionary (comparing to Strawberry Fields or Tomorrow Never Knows). Quite ordinary songs...

(a bit disappointed? - maybe) but the feeling is just great, nostalgic...

(trivia: the original cover had only one horizontal face in the background and only one Lennon standing in the middle of brown field - wonder who did this "new cover art")

Medeski Martin & Wood (or MMW) is an American jazz trio formed in 1991, consisting of John Medeski on keyboards and piano, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar.

The band draws on influences from a number of musical traditions, from funk to Hip Hop, and is known for an unconventional style sometimes described as "avant-groove".

MMW has found moderate mainstream success—often working with noted guitarist John Scofield—and touring on the jam band circuit.

History

The band members were introduced to each other by jazz drummer Bob Moses, who had performed with Medeski and Wood, and was Martin's instructor.

Medeski Martin & Wood's first performances together were at the Village Gate, a popular New York jazz club. They were initially an acoustic jazz trio, but Medeski added a Hammond organ when the difficulties of touring with a piano became apparent. Their first album, Notes from the Underground, is a record of their entirely-acoustic era. All of their subsequent albums reveal Medeski's use of a wide variety of keyboards, including mellotron, melodica, and a clavinet. Wood entirely eschewed the electric bass for MMW's first three albums, and still relies heavily on the acoustic upright bass in recordings and during live performances. Their earlier albums reveal a Hip Hop influenced updating of classic soul jazz sounds, which is the primary theme of their well-known 1996 album, Shack-man.

The band received some of their first significant exposure outside of the New York City jazz scene by performing with Phish at their October 14, 1995 concert, which led to the association of the group as a jam band.[1] In addition, their performance on John Scofield's 1997 album A Go Go helped to further their exposure. The band collaborated further with Scofield again in 2006, releasing the album Out Louder under the name Medeski Scofield Martin & Wood. This was the first album released on MMW's own Indirecto Records.

From 1998–2005, MMW were signed to leading jazz label Blue Note Records, and showed them delving deeper into dense, electronic funk than their earlier albums, although the band continued to experiment with free jazz and free improvisation both on their albums and in concert.

Medeski Martin & Wood's live performances are renowned for their exploratory nature. Their concerts usually involve extended improvisations, which may be both arrhythmic and atonal, an aspect of their musicianship that is rarely documented in the studio. They occasionally tour using only acoustic instruments, reverting back to the instrumentation that they began their career with. Their album Tonic is an example of these more contemporary acoustic performances. They have also done short tours of entirely improvisatory performances. These shows usually consisted of two sets of improvisation, followed by an encore of a song from an album.

Their song "End of the World Party" was featured on the show Grey's Anatomy and can be found on the show's soundtrack.

Side projects

Each of the trio's three members are involved in a large music community, and have participated in numerous side projects over the years.

In 2001 John Medeski collaborated with the North Mississippi Allstars and slide-guitarist Robert Randolph; together, these five musicians formed The Word, a bluesy gospel band. They released one self-titled album and toured extensively.

Beginning around 2005 Chris Wood formed The Wood Brothers with his brother, blues guitarist Oliver Wood. They have released several albums to date and continue to tour and record together.

In 2007 John Medeski and Billy Martin released an album as a duo, called Mago. They performed that material together at the 2007 Bonnaroo Music Festival.[2]

Medeski Martin & Wood (or MMW) is an American jazz trio formed in 1991, consisting of John Medeski on keyboards and piano, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar.

The band draws on influences from a number of musical traditions, from funk to Hip Hop, and is known for an unconventional style sometimes described as "avant-groove".

MMW has found moderate mainstream success—often working with noted guitarist John Scofield—and touring on the jam band circuit.

History

The band members were introduced to each other by jazz drummer Bob Moses, who had performed with Medeski and Wood, and was Martin's instructor.

Medeski Martin & Wood's first performances together were at the Village Gate, a popular New York jazz club. They were initially an acoustic jazz trio, but Medeski added a Hammond organ when the difficulties of touring with a piano became apparent. Their first album, Notes from the Underground, is a record of their entirely-acoustic era. All of their subsequent albums reveal Medeski's use of a wide variety of keyboards, including mellotron, melodica, and a clavinet. Wood entirely eschewed the electric bass for MMW's first three albums, and still relies heavily on the acoustic upright bass in recordings and during live performances. Their earlier albums reveal a Hip Hop influenced updating of classic soul jazz sounds, which is the primary theme of their well-known 1996 album, Shack-man.

The band received some of their first significant exposure outside of the New York City jazz scene by performing with Phish at their October 14, 1995 concert, which led to the association of the group as a jam band.[1] In addition, their performance on John Scofield's 1997 album A Go Go helped to further their exposure. The band collaborated further with Scofield again in 2006, releasing the album Out Louder under the name Medeski Scofield Martin & Wood. This was the first album released on MMW's own Indirecto Records.

From 1998–2005, MMW were signed to leading jazz label Blue Note Records, and showed them delving deeper into dense, electronic funk than their earlier albums, although the band continued to experiment with free jazz and free improvisation both on their albums and in concert.

Medeski Martin & Wood's live performances are renowned for their exploratory nature. Their concerts usually involve extended improvisations, which may be both arrhythmic and atonal, an aspect of their musicianship that is rarely documented in the studio. They occasionally tour using only acoustic instruments, reverting back to the instrumentation that they began their career with. Their album Tonic is an example of these more contemporary acoustic performances. They have also done short tours of entirely improvisatory performances. These shows usually consisted of two sets of improvisation, followed by an encore of a song from an album.

Their song "End of the World Party" was featured on the show Grey's Anatomy and can be found on the show's soundtrack.

Side projects

Each of the trio's three members are involved in a large music community, and have participated in numerous side projects over the years.

In 2001 John Medeski collaborated with the North Mississippi Allstars and slide-guitarist Robert Randolph; together, these five musicians formed The Word, a bluesy gospel band. They released one self-titled album and toured extensively.

Beginning around 2005 Chris Wood formed The Wood Brothers with his brother, blues guitarist Oliver Wood. They have released several albums to date and continue to tour and record together.

In 2007 John Medeski and Billy Martin released an album as a duo, called Mago. They performed that material together at the 2007 Bonnaroo Music Festival.[2]

Medeski Martin & Wood (or MMW) is an American jazz trio formed in 1991, consisting of John Medeski on keyboards and piano, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar.

The band draws on influences from a number of musical traditions, from funk to Hip Hop, and is known for an unconventional style sometimes described as "avant-groove".

MMW has found moderate mainstream success—often working with noted guitarist John Scofield—and touring on the jam band circuit.

History

The band members were introduced to each other by jazz drummer Bob Moses, who had performed with Medeski and Wood, and was Martin's instructor.

Medeski Martin & Wood's first performances together were at the Village Gate, a popular New York jazz club. They were initially an acoustic jazz trio, but Medeski added a Hammond organ when the difficulties of touring with a piano became apparent. Their first album, Notes from the Underground, is a record of their entirely-acoustic era. All of their subsequent albums reveal Medeski's use of a wide variety of keyboards, including mellotron, melodica, and a clavinet. Wood entirely eschewed the electric bass for MMW's first three albums, and still relies heavily on the acoustic upright bass in recordings and during live performances. Their earlier albums reveal a Hip Hop influenced updating of classic soul jazz sounds, which is the primary theme of their well-known 1996 album, Shack-man.

The band received some of their first significant exposure outside of the New York City jazz scene by performing with Phish at their October 14, 1995 concert, which led to the association of the group as a jam band.[1] In addition, their performance on John Scofield's 1997 album A Go Go helped to further their exposure. The band collaborated further with Scofield again in 2006, releasing the album Out Louder under the name Medeski Scofield Martin & Wood. This was the first album released on MMW's own Indirecto Records.

From 1998–2005, MMW were signed to leading jazz label Blue Note Records, and showed them delving deeper into dense, electronic funk than their earlier albums, although the band continued to experiment with free jazz and free improvisation both on their albums and in concert.

Medeski Martin & Wood's live performances are renowned for their exploratory nature. Their concerts usually involve extended improvisations, which may be both arrhythmic and atonal, an aspect of their musicianship that is rarely documented in the studio. They occasionally tour using only acoustic instruments, reverting back to the instrumentation that they began their career with. Their album Tonic is an example of these more contemporary acoustic performances. They have also done short tours of entirely improvisatory performances. These shows usually consisted of two sets of improvisation, followed by an encore of a song from an album.

Their song "End of the World Party" was featured on the show Grey's Anatomy and can be found on the show's soundtrack.

Side projects

Each of the trio's three members are involved in a large music community, and have participated in numerous side projects over the years.

In 2001 John Medeski collaborated with the North Mississippi Allstars and slide-guitarist Robert Randolph; together, these five musicians formed The Word, a bluesy gospel band. They released one self-titled album and toured extensively.

Beginning around 2005 Chris Wood formed The Wood Brothers with his brother, blues guitarist Oliver Wood. They have released several albums to date and continue to tour and record together.

In 2007 John Medeski and Billy Martin released an album as a duo, called Mago. They performed that material together at the 2007 Bonnaroo Music Festival.[2]

Medeski Martin & Wood (or MMW) is an American jazz trio formed in 1991, consisting of John Medeski on keyboards and piano, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar.

The band draws on influences from a number of musical traditions, from funk to Hip Hop, and is known for an unconventional style sometimes described as "avant-groove".

MMW has found moderate mainstream success—often working with noted guitarist John Scofield—and touring on the jam band circuit.

History

The band members were introduced to each other by jazz drummer Bob Moses, who had performed with Medeski and Wood, and was Martin's instructor.

Medeski Martin & Wood's first performances together were at the Village Gate, a popular New York jazz club. They were initially an acoustic jazz trio, but Medeski added a Hammond organ when the difficulties of touring with a piano became apparent. Their first album, Notes from the Underground, is a record of their entirely-acoustic era. All of their subsequent albums reveal Medeski's use of a wide variety of keyboards, including mellotron, melodica, and a clavinet. Wood entirely eschewed the electric bass for MMW's first three albums, and still relies heavily on the acoustic upright bass in recordings and during live performances. Their earlier albums reveal a Hip Hop influenced updating of classic soul jazz sounds, which is the primary theme of their well-known 1996 album, Shack-man.

The band received some of their first significant exposure outside of the New York City jazz scene by performing with Phish at their October 14, 1995 concert, which led to the association of the group as a jam band.[1] In addition, their performance on John Scofield's 1997 album A Go Go helped to further their exposure. The band collaborated further with Scofield again in 2006, releasing the album Out Louder under the name Medeski Scofield Martin & Wood. This was the first album released on MMW's own Indirecto Records.

From 1998–2005, MMW were signed to leading jazz label Blue Note Records, and showed them delving deeper into dense, electronic funk than their earlier albums, although the band continued to experiment with free jazz and free improvisation both on their albums and in concert.

Medeski Martin & Wood's live performances are renowned for their exploratory nature. Their concerts usually involve extended improvisations, which may be both arrhythmic and atonal, an aspect of their musicianship that is rarely documented in the studio. They occasionally tour using only acoustic instruments, reverting back to the instrumentation that they began their career with. Their album Tonic is an example of these more contemporary acoustic performances. They have also done short tours of entirely improvisatory performances. These shows usually consisted of two sets of improvisation, followed by an encore of a song from an album.

Their song "End of the World Party" was featured on the show Grey's Anatomy and can be found on the show's soundtrack.

Side projects

Each of the trio's three members are involved in a large music community, and have participated in numerous side projects over the years.

In 2001 John Medeski collaborated with the North Mississippi Allstars and slide-guitarist Robert Randolph; together, these five musicians formed The Word, a bluesy gospel band. They released one self-titled album and toured extensively.

Beginning around 2005 Chris Wood formed The Wood Brothers with his brother, blues guitarist Oliver Wood. They have released several albums to date and continue to tour and record together.

In 2007 John Medeski and Billy Martin released an album as a duo, called Mago. They performed that material together at the 2007 Bonnaroo Music Festival.[2]

Some days, I imagine myself grooving away on a Mellotron...

Source: Rolling Stone, December 20, 1973

Medeski Martin & Wood (or MMW) is an American jazz trio formed in 1991, consisting of John Medeski on keyboards and piano, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar.

The band draws on influences from a number of musical traditions, from funk to Hip Hop, and is known for an unconventional style sometimes described as "avant-groove".

MMW has found moderate mainstream success—often working with noted guitarist John Scofield—and touring on the jam band circuit.

History

The band members were introduced to each other by jazz drummer Bob Moses, who had performed with Medeski and Wood, and was Martin's instructor.

Medeski Martin & Wood's first performances together were at the Village Gate, a popular New York jazz club. They were initially an acoustic jazz trio, but Medeski added a Hammond organ when the difficulties of touring with a piano became apparent. Their first album, Notes from the Underground, is a record of their entirely-acoustic era. All of their subsequent albums reveal Medeski's use of a wide variety of keyboards, including mellotron, melodica, and a clavinet. Wood entirely eschewed the electric bass for MMW's first three albums, and still relies heavily on the acoustic upright bass in recordings and during live performances. Their earlier albums reveal a Hip Hop influenced updating of classic soul jazz sounds, which is the primary theme of their well-known 1996 album, Shack-man.

The band received some of their first significant exposure outside of the New York City jazz scene by performing with Phish at their October 14, 1995 concert, which led to the association of the group as a jam band.[1] In addition, their performance on John Scofield's 1997 album A Go Go helped to further their exposure. The band collaborated further with Scofield again in 2006, releasing the album Out Louder under the name Medeski Scofield Martin & Wood. This was the first album released on MMW's own Indirecto Records.

From 1998–2005, MMW were signed to leading jazz label Blue Note Records, and showed them delving deeper into dense, electronic funk than their earlier albums, although the band continued to experiment with free jazz and free improvisation both on their albums and in concert.

Medeski Martin & Wood's live performances are renowned for their exploratory nature. Their concerts usually involve extended improvisations, which may be both arrhythmic and atonal, an aspect of their musicianship that is rarely documented in the studio. They occasionally tour using only acoustic instruments, reverting back to the instrumentation that they began their career with. Their album Tonic is an example of these more contemporary acoustic performances. They have also done short tours of entirely improvisatory performances. These shows usually consisted of two sets of improvisation, followed by an encore of a song from an album.

Their song "End of the World Party" was featured on the show Grey's Anatomy and can be found on the show's soundtrack.

Side projects

Each of the trio's three members are involved in a large music community, and have participated in numerous side projects over the years.

In 2001 John Medeski collaborated with the North Mississippi Allstars and slide-guitarist Robert Randolph; together, these five musicians formed The Word, a bluesy gospel band. They released one self-titled album and toured extensively.

Beginning around 2005 Chris Wood formed The Wood Brothers with his brother, blues guitarist Oliver Wood. They have released several albums to date and continue to tour and record together.

In 2007 John Medeski and Billy Martin released an album as a duo, called Mago. They performed that material together at the 2007 Bonnaroo Music Festival.[2]

Claudio Kleiman

Periodista

- En1976 fue miembro fundador de la recordada revista "Expreso Imaginario", donde se desempeña hasta el cierre de la misma en 1983

- Colabora con la revista "Cantarock" desde su aparición en 1983 hasta el cierre en 1988

- Entre los años 1984-88 dirige la colección "Super Cantarock", de números especiales unitarios de la revista "Cantarock"

- En 1987 realiza junto a Claudio Gabis un seminario sobre Rock como parte del ciclo "Las Músicas Populares de Buenos Aires", en el marco de las V Jornadas sobre Educación, Arte y Creatividad, organizadas por la Dirección General de Educación Artística y Especial, de la Secretaría de Cultura. Expusieron entre otros Andrés Calamaro, León Gieco, Ricardo Mollo, Gloria Guerrero, Pipo Lernoud y Daniel Ripoll.

- Entre los años 1986-1999 participa de la revista "El Musiquero", donde llega a desempeñarse como Jefe de Redacción durante los últimos cinco años de la publicación

- Ha colaborado con gran cantidad de publicaciones dedicadas a la música popular, el rock y la cultura, entre otras, "Rock & Pop", "Pan Caliente", "Cerdos & Peces", "El Porteño", "Vos (En Todas)", "Guitarristas del Mundo", "Mutantia", "Uno Mismo", "Fierro", "La Contumancia", "Blues Special", "Music Expert", "El Biombo", "Zona De Obras" (de España), y muchas más.

- Es co-autor de la enciclopedia "Rock Nacional 30 Años", realizada en 1996 acompañando la Exposición del mismo nombre.

- Colaboró con los diarios "Clarín", "Perfil", "La Nación" (suplemento Espectáculos y suplemento Vía Libre), "Página 12" (sección Espectáculos y Suplemento Radar) y "El País"(España).

- Colaboró en el sitio de Internet, "El Foco.com"

- Realizó trabajos vinculados a la prensa y difusión de grupos y solistas como Javier Martínez, Ratones Paranoicos, La Mississippi, Claudio Gabis y La Rusa. Participó en trabajos de producción y traducción junto a gran cantidad de artistas que visitaron nuestro país, como B.B. King, Albert Collins, Buddy Guy, John Hammond, Tributo a Miles Davis, Jon Anderson, James Cotton, Peter Hammill, Jimmie Vaughan, Los Lobos, Taj Mahal, Robben Ford, Robert Cray, Lyle Mays, Joe Pass, Mike Stern y muchos otros.

- En radio, se desempeñó como musicalizador de FMR (la FM de Radio Rivadavia) entre los años 1984-86. Durante los años 1987-1993 realizó el programa "Piso 93" en la FM Rock & Pop junto al conductor Rafael Hernández, con quien también llevó a cabo el programa "Mundo Feliz" en el año 1996, en la misma emisora. Participó como columnista del programa "Tribulaciones" en FM La Tribu, realizando el prestigioso espacio "Héroes de la Guitarra", que continúa actualmente en su programa de Radio Nacional Faro FM, "Algo Está Pasando", que comenzó a emitirse en el año 2000.

- En 2004 realiza en Artilaria, junto al periodista Sergio Marchi, un taller de tres meses titulado "The Beatles", analizando a fondo vida y obra del cuarteto británico.

- Durante el mismo año, escribe y edita el libro "De Ushuaia A La Quiaca",

en colaboración con León Gieco y Gustavo Santaolalla, con fotografías de Alejandra Palacios, publicado por Retina Editores.

- En la actualidad, se desempeña como Redactor Especial de la revista "Rolling Stone", donde colabora desde su fundación.

Escribe colaboraciones para los diarios "La Nación", "Página 12"

(donde también colabora en la producción de las ediciones discográficas del diario), y las revistas "Mellotron" y "La Mano".

En radio, conduce, produce y musicaliza el programa "Algo Está Pasando", que sale al aire en su sexta temporada consecutiva. Durante los años 2000 y 2001 en FM Supernova 96.7 (FM de Radio Nacional) de lunes a jueves de 23 a 0.30 hs, y desde el año 2002 hasta el presente en Radio Nacional Faro FM 87.9 (Fm de Radio Nacional), actualmente en el horario de los sábados de 18 a 20 hs.

Medeski Martin & Wood (or MMW) is an American jazz trio formed in 1991, consisting of John Medeski on keyboards and piano, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar.

The band draws on influences from a number of musical traditions, from funk to Hip Hop, and is known for an unconventional style sometimes described as "avant-groove".

MMW has found moderate mainstream success—often working with noted guitarist John Scofield—and touring on the jam band circuit.

History

The band members were introduced to each other by jazz drummer Bob Moses, who had performed with Medeski and Wood, and was Martin's instructor.

Medeski Martin & Wood's first performances together were at the Village Gate, a popular New York jazz club. They were initially an acoustic jazz trio, but Medeski added a Hammond organ when the difficulties of touring with a piano became apparent. Their first album, Notes from the Underground, is a record of their entirely-acoustic era. All of their subsequent albums reveal Medeski's use of a wide variety of keyboards, including mellotron, melodica, and a clavinet. Wood entirely eschewed the electric bass for MMW's first three albums, and still relies heavily on the acoustic upright bass in recordings and during live performances. Their earlier albums reveal a Hip Hop influenced updating of classic soul jazz sounds, which is the primary theme of their well-known 1996 album, Shack-man.

The band received some of their first significant exposure outside of the New York City jazz scene by performing with Phish at their October 14, 1995 concert, which led to the association of the group as a jam band.[1] In addition, their performance on John Scofield's 1997 album A Go Go helped to further their exposure. The band collaborated further with Scofield again in 2006, releasing the album Out Louder under the name Medeski Scofield Martin & Wood. This was the first album released on MMW's own Indirecto Records.

From 1998–2005, MMW were signed to leading jazz label Blue Note Records, and showed them delving deeper into dense, electronic funk than their earlier albums, although the band continued to experiment with free jazz and free improvisation both on their albums and in concert.

Medeski Martin & Wood's live performances are renowned for their exploratory nature. Their concerts usually involve extended improvisations, which may be both arrhythmic and atonal, an aspect of their musicianship that is rarely documented in the studio. They occasionally tour using only acoustic instruments, reverting back to the instrumentation that they began their career with. Their album Tonic is an example of these more contemporary acoustic performances. They have also done short tours of entirely improvisatory performances. These shows usually consisted of two sets of improvisation, followed by an encore of a song from an album.

Their song "End of the World Party" was featured on the show Grey's Anatomy and can be found on the show's soundtrack.

Side projects

Each of the trio's three members are involved in a large music community, and have participated in numerous side projects over the years.

In 2001 John Medeski collaborated with the North Mississippi Allstars and slide-guitarist Robert Randolph; together, these five musicians formed The Word, a bluesy gospel band. They released one self-titled album and toured extensively.

Beginning around 2005 Chris Wood formed The Wood Brothers with his brother, blues guitarist Oliver Wood. They have released several albums to date and continue to tour and record together.

In 2007 John Medeski and Billy Martin released an album as a duo, called Mago. They performed that material together at the 2007 Bonnaroo Music Festival.[2]

Claudio Kleiman

Periodista

- En1976 fue miembro fundador de la recordada revista "Expreso Imaginario", donde se desempeña hasta el cierre de la misma en 1983

- Colabora con la revista "Cantarock" desde su aparición en 1983 hasta el cierre en 1988

- Entre los años 1984-88 dirige la colección "Super Cantarock", de números especiales unitarios de la revista "Cantarock"

- En 1987 realiza junto a Claudio Gabis un seminario sobre Rock como parte del ciclo "Las Músicas Populares de Buenos Aires", en el marco de las V Jornadas sobre Educación, Arte y Creatividad, organizadas por la Dirección General de Educación Artística y Especial, de la Secretaría de Cultura. Expusieron entre otros Andrés Calamaro, León Gieco, Ricardo Mollo, Gloria Guerrero, Pipo Lernoud y Daniel Ripoll.

- Entre los años 1986-1999 participa de la revista "El Musiquero", donde llega a desempeñarse como Jefe de Redacción durante los últimos cinco años de la publicación

- Ha colaborado con gran cantidad de publicaciones dedicadas a la música popular, el rock y la cultura, entre otras, "Rock & Pop", "Pan Caliente", "Cerdos & Peces", "El Porteño", "Vos (En Todas)", "Guitarristas del Mundo", "Mutantia", "Uno Mismo", "Fierro", "La Contumancia", "Blues Special", "Music Expert", "El Biombo", "Zona De Obras" (de España), y muchas más.

- Es co-autor de la enciclopedia "Rock Nacional 30 Años", realizada en 1996 acompañando la Exposición del mismo nombre.

- Colaboró con los diarios "Clarín", "Perfil", "La Nación" (suplemento Espectáculos y suplemento Vía Libre), "Página 12" (sección Espectáculos y Suplemento Radar) y "El País"(España).

- Colaboró en el sitio de Internet, "El Foco.com"

- Realizó trabajos vinculados a la prensa y difusión de grupos y solistas como Javier Martínez, Ratones Paranoicos, La Mississippi, Claudio Gabis y La Rusa. Participó en trabajos de producción y traducción junto a gran cantidad de artistas que visitaron nuestro país, como B.B. King, Albert Collins, Buddy Guy, John Hammond, Tributo a Miles Davis, Jon Anderson, James Cotton, Peter Hammill, Jimmie Vaughan, Los Lobos, Taj Mahal, Robben Ford, Robert Cray, Lyle Mays, Joe Pass, Mike Stern y muchos otros.

- En radio, se desempeñó como musicalizador de FMR (la FM de Radio Rivadavia) entre los años 1984-86. Durante los años 1987-1993 realizó el programa "Piso 93" en la FM Rock & Pop junto al conductor Rafael Hernández, con quien también llevó a cabo el programa "Mundo Feliz" en el año 1996, en la misma emisora. Participó como columnista del programa "Tribulaciones" en FM La Tribu, realizando el prestigioso espacio "Héroes de la Guitarra", que continúa actualmente en su programa de Radio Nacional Faro FM, "Algo Está Pasando", que comenzó a emitirse en el año 2000.

- En 2004 realiza en Artilaria, junto al periodista Sergio Marchi, un taller de tres meses titulado "The Beatles", analizando a fondo vida y obra del cuarteto británico.

- Durante el mismo año, escribe y edita el libro "De Ushuaia A La Quiaca",

en colaboración con León Gieco y Gustavo Santaolalla, con fotografías de Alejandra Palacios, publicado por Retina Editores.

- En la actualidad, se desempeña como Redactor Especial de la revista "Rolling Stone", donde colabora desde su fundación.

Escribe colaboraciones para los diarios "La Nación", "Página 12"

(donde también colabora en la producción de las ediciones discográficas del diario), y las revistas "Mellotron" y "La Mano".

En radio, conduce, produce y musicaliza el programa "Algo Está Pasando", que sale al aire en su sexta temporada consecutiva. Durante los años 2000 y 2001 en FM Supernova 96.7 (FM de Radio Nacional) de lunes a jueves de 23 a 0.30 hs, y desde el año 2002 hasta el presente en Radio Nacional Faro FM 87.9 (Fm de Radio Nacional), actualmente en el horario de los sábados de 18 a 20 hs.

Medeski Martin & Wood (or MMW) is an American jazz trio formed in 1991, consisting of John Medeski on keyboards and piano, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar.

The band draws on influences from a number of musical traditions, from funk to Hip Hop, and is known for an unconventional style sometimes described as "avant-groove".

MMW has found moderate mainstream success—often working with noted guitarist John Scofield—and touring on the jam band circuit.

History

The band members were introduced to each other by jazz drummer Bob Moses, who had performed with Medeski and Wood, and was Martin's instructor.

Medeski Martin & Wood's first performances together were at the Village Gate, a popular New York jazz club. They were initially an acoustic jazz trio, but Medeski added a Hammond organ when the difficulties of touring with a piano became apparent. Their first album, Notes from the Underground, is a record of their entirely-acoustic era. All of their subsequent albums reveal Medeski's use of a wide variety of keyboards, including mellotron, melodica, and a clavinet. Wood entirely eschewed the electric bass for MMW's first three albums, and still relies heavily on the acoustic upright bass in recordings and during live performances. Their earlier albums reveal a Hip Hop influenced updating of classic soul jazz sounds, which is the primary theme of their well-known 1996 album, Shack-man.

The band received some of their first significant exposure outside of the New York City jazz scene by performing with Phish at their October 14, 1995 concert, which led to the association of the group as a jam band.[1] In addition, their performance on John Scofield's 1997 album A Go Go helped to further their exposure. The band collaborated further with Scofield again in 2006, releasing the album Out Louder under the name Medeski Scofield Martin & Wood. This was the first album released on MMW's own Indirecto Records.

From 1998–2005, MMW were signed to leading jazz label Blue Note Records, and showed them delving deeper into dense, electronic funk than their earlier albums, although the band continued to experiment with free jazz and free improvisation both on their albums and in concert.

Medeski Martin & Wood's live performances are renowned for their exploratory nature. Their concerts usually involve extended improvisations, which may be both arrhythmic and atonal, an aspect of their musicianship that is rarely documented in the studio. They occasionally tour using only acoustic instruments, reverting back to the instrumentation that they began their career with. Their album Tonic is an example of these more contemporary acoustic performances. They have also done short tours of entirely improvisatory performances. These shows usually consisted of two sets of improvisation, followed by an encore of a song from an album.

Their song "End of the World Party" was featured on the show Grey's Anatomy and can be found on the show's soundtrack.

Side projects

Each of the trio's three members are involved in a large music community, and have participated in numerous side projects over the years.

In 2001 John Medeski collaborated with the North Mississippi Allstars and slide-guitarist Robert Randolph; together, these five musicians formed The Word, a bluesy gospel band. They released one self-titled album and toured extensively.

Beginning around 2005 Chris Wood formed The Wood Brothers with his brother, blues guitarist Oliver Wood. They have released several albums to date and continue to tour and record together.

In 2007 John Medeski and Billy Martin released an album as a duo, called Mago. They performed that material together at the 2007 Bonnaroo Music Festival.[2]

Medeski Martin & Wood (or MMW) is an American jazz trio formed in 1991, consisting of John Medeski on keyboards and piano, Billy Martin on drums and percussion, and Chris Wood on double bass and bass guitar.

The band draws on influences from a number of musical traditions, from funk to Hip Hop, and is known for an unconventional style sometimes described as "avant-groove".

MMW has found moderate mainstream success—often working with noted guitarist John Scofield—and touring on the jam band circuit.

History

The band members were introduced to each other by jazz drummer Bob Moses, who had performed with Medeski and Wood, and was Martin's instructor.

Medeski Martin & Wood's first performances together were at the Village Gate, a popular New York jazz club. They were initially an acoustic jazz trio, but Medeski added a Hammond organ when the difficulties of touring with a piano became apparent. Their first album, Notes from the Underground, is a record of their entirely-acoustic era. All of their subsequent albums reveal Medeski's use of a wide variety of keyboards, including mellotron, melodica, and a clavinet. Wood entirely eschewed the electric bass for MMW's first three albums, and still relies heavily on the acoustic upright bass in recordings and during live performances. Their earlier albums reveal a Hip Hop influenced updating of classic soul jazz sounds, which is the primary theme of their well-known 1996 album, Shack-man.

The band received some of their first significant exposure outside of the New York City jazz scene by performing with Phish at their October 14, 1995 concert, which led to the association of the group as a jam band.[1] In addition, their performance on John Scofield's 1997 album A Go Go helped to further their exposure. The band collaborated further with Scofield again in 2006, releasing the album Out Louder under the name Medeski Scofield Martin & Wood. This was the first album released on MMW's own Indirecto Records.

From 1998–2005, MMW were signed to leading jazz label Blue Note Records, and showed them delving deeper into dense, electronic funk than their earlier albums, although the band continued to experiment with free jazz and free improvisation both on their albums and in concert.

Medeski Martin & Wood's live performances are renowned for their exploratory nature. Their concerts usually involve extended improvisations, which may be both arrhythmic and atonal, an aspect of their musicianship that is rarely documented in the studio. They occasionally tour using only acoustic instruments, reverting back to the instrumentation that they began their career with. Their album Tonic is an example of these more contemporary acoustic performances. They have also done short tours of entirely improvisatory performances. These shows usually consisted of two sets of improvisation, followed by an encore of a song from an album.

Their song "End of the World Party" was featured on the show Grey's Anatomy and can be found on the show's soundtrack.

Side projects

Each of the trio's three members are involved in a large music community, and have participated in numerous side projects over the years.

In 2001 John Medeski collaborated with the North Mississippi Allstars and slide-guitarist Robert Randolph; together, these five musicians formed The Word, a bluesy gospel band. They released one self-titled album and toured extensively.

Beginning around 2005 Chris Wood formed The Wood Brothers with his brother, blues guitarist Oliver Wood. They have released several albums to date and continue to tour and record together.

In 2007 John Medeski and Billy Martin released an album as a duo, called Mago. They performed that material together at the 2007 Bonnaroo Music Festival.[2]

Line up:

Sofie Tollefsbøl - Gesang

Andreas Rukan - Bass

Ola Øverby - Schlagzeug

Lyder Øvreås Røed - Flügelhorn, Mellotron u. a.

Jørgen Kasbo - Gitarre, Vibraphon u. a.

Solveig Wang - Klarinette, Background-Gesang u. a.

Kai Heløe Von der Lippe - Keyboards

Thea Arnesdotter - Bkg Vocals

ARTIST: Jean Michel Jarre

ARP Synthesizer, EMS Synthi AKS, VCS 3 Synthesizer, RMI Harmonic Synthesizer, Farfisa Professional Organ, Eminent 310U, Mellotron and the Rhythmin' Computer (later revealed to be a Korg Minipops-7 rhythm machine)

TITLE: Oxygene

COMPOSERS: Jarre

YEAR: 1976

LABEL: Dreyfus Jar 1

TIME: 39'44

PRODUCER: Jarre

Cover painting: Michel Granger

COUNTRY: France

BOUGHT: 16.4.10 - 7€ FleaM.

GENRE: electro pop

FORMAT: LP