French music legends Magma’s new critically acclaimed album “Kartëhl” is now available on all Digital Platforms and on Apple Music in a Dolby Atmos Version!
The new album has been receiving rave reviews worldwide!
“For those who thought Zess would be Magma’s grand studio finale, the good news is that it isn’t. In fact this crazy French band from another planet that sings in their own made-up language still has a lot of energy and power remaining in their collective starship, as evidenced by Kãrtëhl. Kärtëhl offers another solid entry in the Magma canon that certainly won’t disappoint longtime fans of the band.” - Expose
“This is an album with a newer direction, but containing enough of Magma’s uniqueness to be readily identifiable. With each play through the songs grow in stature. These songs definitely demonstrate what Magma can do so well and will sit comfortably alongside older pieces within the live setting. Magma have given us what I believe will be a well-received album which should please their dedicated legions of fans – and maybe win a few more. Who knows?!” - The Progressive Aspect
“Many legacy artists lose the plot by this stage of their careers, but Magma have been charting their own path for so long that they always seem to know where they’re going—and Kãrtëhl is an exciting new entry in their oeuvre.” - Chicago Reader
“Kãrtëhl has proven that Magma aren’t backing down, without a fight. And the result on this bad boy, has more continuations of the classical, soulful, and jazzy-like approach that’ll keep the machine going, forever and ever.” - Echoes and Dust
“Three years ago, Zëss showed that Magma can still produce work operatic in its scope and ambition; now Kãrtëhl reveals a collective that is very comfortable in its own skin. What Magma do in the next few years will determine whether Kãrtëhl comes to be seen as their well-executed swansong, or the start of a definitive new period.” - The Quietus
2020/2021. More than 18 months without being able to do a concert. This space of time, this imposed “pause”, was used to prepare a new album, a group album, like Magma hadn’t done for a long time.
Following the creation of a new line-up in 2020, Magma once again offered to musicians to bring compositions, Christian Vander having never made the deliberate choice to be Magma’s sole composer. But de facto, none of the dozens of musicians who participated in this adventure had offered a new song for decades!
After “ZËSS”, which hinted at a rather bleak future, this luminous and resolutely optimistic new album is the result of collective work, an “Operation Kartëhl”.
“Kartëhl” was recorded and mixed by Francis Linon at UZ studio between March 7 and June 12, 2022. Mastered at Greasy records studio by Marcus Linon. Produced by Stella Vander Linon.
Line-up – Christian Vander : drums, solo vocals, tambourine / Stella Vander : solo vocals, vocals, chime / Hervé Aknin : solo vocals, vocals / Isabelle Feuilleboi s: vocals / Sylvie Fisichella : vocals / Caroline Indjein : vocals / Laura Guarrato : vocals / Rudy Blas : guitar / Thierry Eliez : piano, Fender Rhodes, keyboards / Simon Goubert : piano, Fender Rhodes, keyboards / Jimmy Top : bass
Magma’s “Kartëhl” is available on CD and 3-sided DBL vinyl LP
Mike Starrs is the former lead singer of jazz rock fusionists Colosseum II, Lucifer’s Friend and the German band Lake. This is the first ever re-release of his only solo album, Electric Garden, with four bonus tracks added.
When it was first released in 1973, Electric Garden was only available in six European countries and the non-album singles, now included as bonus tracks, were only available in three European countries. This re-release is a ‘catch-all’ of his 1970s solo releases.
The album has been re-mastered by band member Gerry Morris and approved by Mike Starrs and original producer Tony Atkins. The booklet includes two sets of liner notes; the original 1973 notes and retrospective notes newly written by Mike Starrs.
All the tracks feature Geoff Whitehorn of Procol Harum on guitar and all but one track includes John Richardson of The Rubettes on drums.
Mike Starrs said of the re-release: “A young man who had his whole life / career in front of him. I remember hearing my first single Love Song on Juke Box Jury and they all voted it a hit. Who could ever have imagined that I would be sitting here talking about and reminiscing about my very first album Electric Garden…?”
The Gatekeepers is a narrative concept album that explores the whole creative process from beginning to end. In this 12 song (and 3 interlude) cycle, the cynical aspects of marketing art and the pressure to appeal to mainstream audiences are explored, culminating in the battle for artistic freedom. A whimsical and bizarre feel pervades the satisfying blend of progressive and left-field rock, jazz, and folk that accompanies the precise and biting lyric.
The Gatekeepers album creates a captivating musical contrast with a strong DIY lo-fi ethos. Occasionally hypnotic, sometimes turbulent, the eclectic mix is reminiscent of The Lamb Lies Down Broadway, Of Montreal, Kurt Weill, Canterbury prog such as National Health and Hatfield & The North, all with a nod to Zappa.
The album’s composer and mastermind Alex Wroten is joined by an array of highly acclaimed and unconventional vocalists to bring the story to life: The Residents, Shawn Phillips, Brian Poole (Renaldo & The Loaf), R. Stevie Moore, Elaine di Falco (Yugen, Caveman Hughscore), Mont Campbell (Egg, National Health), Bob Drake, Amy Denio, Deborah Perry (Thinking Plague) and CHEER-ACCIDENT.
Other performers in this musical’s ensemble include: drummers Morgan Ågren (Mats/Morgan Band, Frank Zappa), Jacopo Costa (Loomings), Brian Wnukowski (Salvation, Haymarket Riot), Rob Allum (Add N To (X)); guitarists Frédéric L'Épée (Shylock, Philharmonie, Yang), Alan Jenkins (Deep Freeze Mice, Ruth's Refrigerator), Bill Brovold (Larval, Rhys Chatham Ensemble, East Village Orchestra), Paul Lai (Upsilon Acrux), Ty Citerman (Gutbucket); multi-instrumentalists Dave Willey (Hamster Theatre), Robert Webb (England), Dan Britton (Deluge Grander, Birds & Buildings); flautist Emily Hay (U Totem, 5uu’s); keyboardist Duncan Mackay (Cockney Rebel, 10cc); violinist Matthew Parmenter (Discipline); and additional vocalists Molly Harvey (The Residents), Wally Scharold (miRthkon), and Blaine Reininger (Tuxedomoon).
2020/2021. More than 18 months without being able to do a concert. This space of time, this imposed “pause”, was used to prepare a new album, a group album, like Magma hadn’t done for a long time.
Following the creation of a new line-up in 2020, Magma once again offered to musicians to bring compositions, Christian Vander having never made the deliberate choice to be Magma’s sole composer. But de facto, none of the dozens of musicians who participated in this adventure had offered a new song for decades!
After “ZËSS”, which hinted at a rather bleak future, this luminous and resolutely optimistic new album is the result of collective work, an “Operation Kartëhl”.
In addition to the 6 tracks recorded in 2022, the album contains as a bonus, two demos recorded “at home” from Christian Vander’s personal collection.
Hakëhn Deis 7:12 (Christian Vander) Do Rïn Ïlï üss 4:38 (Hervé Aknin) Irena Balladina 5:11 (Christian Vander) Walömëhndêm 7:36 (Thierry Eliez) Wiï Mëlëhn Tü 8:54 ( Simon Goubert) Dëhndë 6:55 (Christian Vander) *
Bonuses Hakëhn Deis 6:11 (Christian Vander) Recorded in 1978 - Christian Vander: Piano, vocals – René Garber: vocals
Dëhndë 6:38 (Christian Vander) * Recorded in 1978 - Piano, vocals: René Garber
“Kartëhl” was recorded and mixed by Francis Linon at UZ studio between March 7 and June 12, 2022. Mastered at Greasy records studio by Marcus Linon. Produced by Stella Vander Linon.
Line-up – Christian Vander : drums, solo vocals, tambourine / Stella Vander : solo vocals, vocals, chime / Hervé Aknin : solo vocals, vocals / Isabelle Feuilleboi s: vocals / Sylvie Fisichella : vocals / Caroline Indjein : vocals / Laura Guarrato : vocals / Rudy Blas : guitar / Thierry Eliez : piano, Fender Rhodes, keyboards / Simon Goubert : piano, Fender Rhodes, keyboards / Jimmy Top : bass
*The royalties will be donated in full to the Fondation Initiative Autisme
Magma’s “Kartëhl” will be released on CD (Sept. 30) and 3-sided DBL vinyl LP (Oct. 7)
Bass virtuosos Alberto Rigoni (solo, BAD As, Kim Bingham, Vivaldi Metal Project etc.) and Michael Manring (solo, Alex Skolnic, Steve Morse etc,) are glad to announce the release of their new album “Grains of Sand” on September 15th.
The album, fully instrumental, spans from prog to fusion, jazz, ambient and features Mark Zonder (Fates Warning, A-Z) on drums. Also, on some tracks the duo invited some bassists as special guests such as Billy Sheehan, Stuart Hamm, Adam Nitti and more.
Alberto Rigoni says: “After the release of ‘Song for Souls’ in memory of my father I said I was going to retire (at least for a bit) but well… I could not resist making an album with one of the best bass players in the world like Michael. Hope you will enjoy it!”
Michael Manring says: “Alberto is a prolific artist with a deep love of the bass. His enthusiasm is inspiring and it’s always a pleasure to work with him.”
“Grains of Sand” will be available in digital, Digipack CD and limited edition tape/cassette! You can pre-order “Grains of Sand” at http://albertorigoni.bandcamp.com
Brian Woodbury is a Los Angeles songwriter, composer and bandleader, who has just released his 9th solo album Rhapsody & Filigree, the Final Volume of his Anthems & Antithets tetralogy, each volume in a distinct musical mood: comic, personal, political & arty.
Brian Woodbury is also the name of a Utah-based jazz trombonist, who last year released his first solo album Dream Feeder.
Except, according to the streaming platforms, they’re both the same person.
When Utah Brian put out his album, LA Brian found his own music and artist profile on Spotify, YouTube, etc. conflated with Utah Brian’s. LA Brian tried to sort out the mess, and reached out to Utah Brian to enlist his help. They figured if they both contacted the streaming platforms, it would be simple to disentangle their online identities.
Not so simple, in fact. Even getting through to someone at the streaming platforms was a challenge. And once they got through, the process for disentangling their identities was frustratingly difficult.
As a joke, LA Brian suggested they really confuse the algorithms by making a song together. They both thought this was a funny idea but then they actually did it.
LA Brian wrote lyrics for “The Other Brian Woodbury,” the true tale of being mistaken for somebody with the same name. In the style of pre-war swing jazz, LA Brian wrote music for an Intro and a Verse and then handed it off to Utah Brian to write music for a Bridge. Together they created an extended Instrumental section, indulging their experimental sides.
They arranged it together, but recorded it in separate studios, with LA Brian singing and bringing in pianist David Witham, bassist Edwin Livingston and drummer Andy Sanesi; and Utah Brian overdubbing himself on 8 trombones, creating a big band horn choir.
LA Brian says, “It’s really a song for anyone about whom misinformation has been perpetuated on the internet. Which, I think, is just about everyone.”
The resulting song is now out as the second track on LA Brian’s newly-released Rhapsody & Filigree album. And since the collaboration worked out so well, LA Brian invited Utah Brian to play trombone on 3 other songs that appear on the album.
“Not since... the wondrous works of young Brian Wilson... have I heard sound of this romantic design. Indispensable.” – Van Dyke Parks
“Now it’s official – Brian Woodbury is a multi-talented musician, bordering on genius. …he should be up there with Zappa and Beefheart.” - BBC Radio 3 Mixing It
“…An extraordinary confection. Surprise your dinner guests; flummox the music anoraks; and enjoy.” - John Bungey, The Times (London)
“A cleverly lyrical, deviously funny kitchen-sink songwriter.” - New York Daily News
“An authentic pop gem that lovers of XTC and the like should absolutely not miss.” - Ondarock (Italy)
“Brian Woodbury is a particularly beautiful example of a maverick in the mainstream and double agent in the pop industry.” - Bad Alchemy (Germany)
Jeff Cotton of Captain Beefheart and his Magic Band fame will be releasing his first ever solo album “The Fantasy of Reality” on Madfish on August 12, 2022.
After playing guitar, lap steel and vocals with the legendary Captain Beefheart and his Magic Band, appearing on the ground breaking album “Trout Mask Replica” (under the pseudonym Antennae Jimmy Semens), as well as playing on “Strictly Personal” & “Mirror Man,” Cotton withdrew from the commercial music business for nearly 50 years. Using the island state of Hawaii as a home base, he emerges from his seclusion in 2022 with his first ever solo album; “The Fantasy of Reality.”
Whimsical, playful and tongue-in-cheek – Cotton delivers a psychedelic journey that will delight Beefheart devotees while bringing plenty of new ideas to the table across the sprawling 22 track, 66-minute runtime. “Trout Mask Replica” cover designer Cal Schenkel collaborates once again as he returns to contribute to the internal artwork of the album to continue the Captain Beefheart canon into the 2020s.
Across the decades, the Magic Band’s power and influence has only grown in might, and the cult following of 1969’s “Trout Mask Replica” still excites fans to this day, in part due to the mystery and enigma of members such as Antennae Jimmy Semens (aka Jeff Cotton). In 1967, Cotton was scoped by Don Van Vliet – Captain Beefheart himself, replacing Ry Cooder on guitar. He then went one to help craft some of Captain Beefheart and the Magic Band’s most vibrant recordings and later contributed to the cult band MU.
Now blending together musical strands such as jazz, delta blues, Hawaiian and the avant-garde to create a melting pot of ideas, Cotton will astonish fans with his comeback.
Track List: 1. Does It Work For You 2. It Never Ceases To Blow My Mind 3. Ivy 4. Green Bamboo 5. He Made The Eagle 6. Elvirus 7. This Gentle Earth 8. All Things New 9. Crusin` Hamakua 10. Together We Sail 11. The Space Between Us All 12. On The Thread 13. Aloha 14. The Liberation Song 15. The Breeze Of Oblivion 16. Heavy 17. The Season Of The Awakening 18. Mother Earth Needs Healing 19. Together 20. Hear The Word 21. It Would Take An Angel 22. Clean In Nature`s Stream
Composer of the original score to the Academy Award Nominated film “Super Size Me” Steve Horowitz releases “Old Monsters Trio” and “Mr. E”
A creator of odd but highly accessible sounds and a diverse and prolific musician, Steve Horowitz is perhaps best known for his original Score to the Academy Award Nominated film “Super Size Me.” The artist behind Twenty Nine albums of mind bending original music, a Grammy, Webby and Kid Screen award winning composer producer, he currently resides in San Francisco.
Steve is now releasing two new albums “Old Monsters Trio” and “Mr. E”
“Old Monsters Trio”
“Old Monsters Trio” is an album featuring Jim Bove on drums, Scott Looney on piano and features the compositions and bass playing of Steve Horowitz. Recorded January of 2022 at studio 43 in SF.
The band New Monsters recorded three albums, the first one featuring the music of Dan Plonsey. The second album recorded live at studio 55 in San Rafael, and the third album “Point Cloud.”
For this album Steve reached back into his substantial back catalog of twenty-nine albums from different periods in his career and brought them to the band to recompose, rearrange and reimagine. The theme of this recording is transformation, where old becomes new again.
Let me explain…
The opening piece “Happy Eating Theme” is a reimagining of the theme from the academy award nominated indie hit documentary film “Super Size Me.” The second track “Aesthetic Nourishment'” is a trio version of a chamber piece written for the Red Desert Ensemble. “I Am No Ordinary Mortal,” the third cut, is a re-examination of a tune that was written for the television show “I Bet You Will” which ran on MTV. The fourth cut “Quasi-Eternity” is a re-orchestration of a graphic score from the 1990’s called “Party Of Four,” originally released on Steve’s third album San Francisco chronicled. “Bad Taste For High culture” the fourth cut on the album, is taken from a tune that Steve wrote in high school, a simple angular melody that he gave to Scott and he put new chords and new harmony to it. Number five “Strength Through Embarrassment” is another early 90s graphic score. “Wild Man The Throne God” is another tune from I Bet You Will, and the last piece on the album “The Expendable Man” is a trio exploration of concert music written for string quartet and trumpet.
And for the very first time, Steve is experimenting with releasing this album in a brand new way, in three different flavors. The first is the Deluxe Blend (Green) which features all the tracks and switches back and forth between monk-esq jazz and abstract contemporary compositions. The Jazzy Blend (Purple) features only the four jazzy cuts in an EP format. And the Abstract Blend (Orange) features only the contemporary compositions in EP format. Now listeners can experience the music from different angles and different points of view and listen based on taste and preference. Some people will only like the jazz stuff and some people will only like the abstract weird stuff and others will love them mixed together in a strange funky brew.
The album covers feature the artwork of Joseph Guillette also known as JTA, the amazing artist who has worked with Steve on most of his album covers since they met in early 2000s working together with Morgan's Spurlock on “I Bet You Will” and “Super Size Me.”
The album “Mr. E,” recorded at the same time was made in homage to the amazing percussionist drummer madman and visionary Michael Evans who passed away tragically last year. The album features Michael’s voice from a phone machine message and several interviews mixed together into one twenty-two minute composition. The track features Steve Horowitz on bass Jim Bovy on drums Scott Looney on piano and Michael Evans spoken word.
The cover artwork is by Michael Evans. In the latter parts of his life Michael was working in visual art and multimedia and this piece featuring a log cabin, witch hat and other multimedia elements serves as the cover. “Mr. E” the title, refers to Mr. Evans and also to the mystery of life and the tragedy and mystery of his sudden death. The music features heavy use of percussion improvisation and music concrete to create a pastiche of wanton musical madness that is rich and satisfying to listen to.
All the album titles are in homage to the amazing percussionist drummer mad man and visionary Michael Evans who passed away tragically and suddenly last year. The names come from a phone machine message that was left by Mr Evans and all the profits from the sale of this album will go to the Michael Evans memorial fund at Roulette in NYC. Next Release is an album of Steve’s chamber music for the Red Desert Ensemble. Titled “Side Scroller,” it will be released worldwide in August 2022
Karen Ann Hunter could have coined the phrase “Paying my Dues.”
For over 50 years and from the age of 17 her life has been filled with music and artistic endeavors.
Beginning with band work in the UK covering hotels, bars, jazz clubs and tv, moving on to a wide range of experience as a session singer. Her first label signing was with disco king Giorgio Moroder in Munich, Germany in 1976, this included a single release called “Dr Funk (with Smiley)” plus a session for Giorgio on one of his own disco hits “I Wanna Funk with you Tonight.”
Back in the UK Karen got signed to a producer and through Chas Chandler’s record label and under the name Yuka with her own song “Who Would Believe a Young Man” had ‘record of the week’ on BBC Radio 1, and she did a number of high profile TV advert sessions. In 1984/85 she sang background vocals on two tours with Gary Numan. Then came two children but the jazz gigs continued.
In 2004 under her maiden name Karen Taylor she released an album of her own songs called “Kickin’ Up Dust,” an eclectic mix of jazz and blues.
She performed live on the Paul Jones BBC Radio ‘Best of British Blues’ show and regards Paul as a longtime supporter of both her and her husband.
In 2007 Karen married renowned guitar player Steve Hunter (Peter Gabriel, Lou Reed, Alice Cooper) and moved to the USA. Regarding her singing career as over and now very happily married it was her husband that encouraged more writing and recording.
In 2010 Steve produced an album for her called “Empty Spaces” and since then his encouragement has brought forth many new recordings. Also in 2010 Karen recorded backing vocals for the 2 Cellos hit “Supermassive Black Hole.”
Now living in Spain, Steve and Karen continue to record both covers and new compositions. In April this year Karen released a cover of the Gary Numan song “Don’t Call My Name” for charity along with other ex Numan musicians and some loyal fans.
On May 31st Steve and Karen celebrate their 15th wedding anniversary, she has written this song “Sweet Love of Mine” as a declaration to the love of her life Steve Hunter.
Joe Doblhofer is a Linz/Austrian based guitar player with musical roots in both European Classical and American Blues and Rock music, fused with a deep dedication to Jazz and other related forms of improvisational and interactive music. Working with German Jazz-Metal crossover band Panzerballett since 2010 he has now released his own trio's debut album with his trio FS3 titled “Cats ‘n’ Strats”, a well-balanced mix of composition and improvisation, stylistically drawing from both traditions in Jazz and Blues as well as conceptional approaches found in contemporary classical music.
The idea behind “Cats ‘n’ Strats” was to combine all the aspects of making music that matter the most to Joe into one project. He wanted to make music that would balance composed parts with space for interaction and improvisation, and satisfy his need for both sophistication and savageness.
Says Joe, “‘Cats ‘n’ Strats’ blends together my affection for the possibilities of expression that the electric guitar provides with my love for Blues and Rock as well as my interest for intellectually demanding approaches known from Jazz and Contemporary Classical Music. The tunes are supposed to work equally well live in a trio setting as well as produced tracks on the album.”
Being born into a musical family Joe experienced education in classical music from an early age on taking his first steps into making music with the violin. It was not until the age of 14 when he first discovered the electric guitar as his means of expression, and with it a musical culture diametrically opposed to the one he had been exposed to so far.
While first being fascinated by the rawness and power of guitar based music he later discovered the limitless possibilities of the guitar in terms of creating a distinct musical language by combining its dynamic and expressional abilities with the offerings that an academic approach to music theory and composition were able to contribute. It is this dialectic between savageness and sophistication that has been driving his musical journey ever since, resulting in his long time engagement with German Jazz-Metal act Panzerballett as well as his own trio project FS3. As a sideman he has worked with Ian Paice (Deep Purple), Randy Brecker, Mathias “IA” Eklundh (Freak Kitchen), Trilok Gurtu and others.
Says Joe, “The music to this album was written over the course of several years. After being exposed to a lot of different approaches to composition during my studies of Jazz at the university and as a sideman for projects ranging from Jazz/Metal Crossover to classical Orchestra I had to figure out what in particular would work for the music I had in mind. The basic tracks were recorded live at a studio to get some musical interaction going. After that a lot of time went into developing parts around the original recordings as I love enhancing a track by creating little arranged details around obvious interactive parts. I want listeners to be aware though that this is a band record with real people interacting and taking musical risks. The music is supposed to be played live which was the reason to make the record in the first place.”
FS3 is: Florian Kasper - Drums Gerald Kiesewetter - Bass Joe Doblhofer – Guitars
The basic tracks were recorded Feb. 14th - 16th, 2020 at Anton Bruckner Privatuniversität Linz. Additional recordings March till May, November 2020.
Produced by FS3, engineered by Matthias Kronsteiner, mixed by Tobi Wöhrer, mastering by Michael Haider @AlphaMastering & Alphakustik.
Cover Design by Edith Gappmaier. Pics by Reinhard Winkler.
New York, NY – CIRCUS MIND is a New York-based rock outfit and the brainchild of singer/songwriter and keyboardist Mark Rechler. The band is about to celebrate its 20th year and will soon unveil their fourth release BIOLUMINATE, an eclectic collection of ’70s rock and funk with modern takes on N’awlins swamp rock mixed with Beatles pop. The first BIOLUMINATE single “BABY COME BACK DOWN” (featuring guitarist Marc Paradis of Johnny Sketch and The Dirty Notes) will be released online March 18, 2022. The single has a funky driving Caribbean backbeat mixed with rock and soul vibes amped up and synthesized through the CIRCUS MIND rainbow love machine.
CIRCUS MIND is a camouflaged Cephalopod that can change colors, moods and styles in an instant, swimming from jazzy groove rock to funky reggae roots with ease. Their last release JOY MACHINE featured Nels Cline, Marc Ribot, Ivan Neville, Walter Wolfman Washington, Scott Metzger, and more. The first JOY MACHINE single “Are You Ready?” featured guest guitar phenom Brandon “Taz” Niederauer, and its music video was well received by critics and fans alike.
Their earlier release “Silver Flower” was voted one of the Best Indie Albums of 2006 by Newsday and put a modern take on influences such as Traffic, Steely Dan, Little Feat, and Mott the Hoople while mixing in NoLa vibe influences like Dr. John, The Meters and The Neville Brothers. The CIRCUS MIND single “Jazzfest Time” was released as an ode to the New Orleans Jazz & Heritage Festival. CIRCUS MIND is quite versatile and has opened for national acts (Toots & The Maytals, The Neville Brothers, The Radiators) and had many notable guests sit in on their recordings and live performances (Soulive, Rebirth Brass Band, Cyril Neville).
CIRCUS MIND’s members are diverse in their influences and playing styles. Lead vocalist, songwriter and keyboardist Mark Rechler performs with multiple projects and has played, toured, and recorded with members of The Meters, The Neville Brothers, The Radiators, Soulive, The Brandon “Taz” Niederauer Band, Rebirth Brass Band, Ivan Neville, and more. Spending five years in New Orleans studying music, art, & architecture helped influence his style and direction, and he always keeps his listeners salivating and wanting more.
Guitarist Jaime Scott has toured the world as a guitarist and engineer, with renowned ensemble John Lurie and the Lounge Lizards. In doing so he followed the lineage of the legendary and influential Lounge Lizard’s guitarists who came before him. “Baby Come Back Down” also features late and long-time CIRCUS MIND bassist Chris Crosby, who had studied with Oteil Burbridge of The Allman Brothers Band and Dead & Co.
The band’s rhythm section features drummer Dan Roth, a driving force of funky world influences and percussionist Steve Finkelstein, who has worked recorded and performed with pop icons from Ray Charles as well as jam band giants including members of the Dead, Allman’s, and Neville’s, and Tower of Power. Steve is also a founding member of the Funk Filharmonik.
New Member Saxophonist Michael Amendola holds a BA in Arranging from The Berklee College of Music. Credits include touring, film scores, jingles, and Broadway shows. Michael was a member of The Tony Trischka Band for 7 years, producing 2 recordings on Rounder Records and as a leader, released the jazz recording "Big Sunflower" on CDC Records. Also joining the party is Leandro Da Silva, a multi-faceted bassist from São Paulo, Brazil who brings elements of Samba and Funk that can be heard in his diverse playing style.
The CIRCUS MIND single “BABY COME BACK DOWN” will be released online March 18, 2022.
“All You Need Is Love” is a landmark production that first aired in the 1970s.
Director Tony Palmer’s 17-part documentary covers the history of modern popular music, from its earliest origins through the mid-70s. Among the included genres are folk, ragtime, musical theatre, swing, jazz, blues and of course rock ‘n’ roll.
Palmer interviewed more than 300 subjects, and he enlisted the help of experts and personalities in the music field, including Stephen Sondheim, Leonard Feather and Nik Cohn, to provide the background for each episode. The documentary’s title is taken from the 1967 Beatles song written by John Lennon, a friend of Tony’s.
The Box Contains: 1) A hand signed by Tony Palmer certificate 2) All 17 one hour episodes on 5 DVDs of the classic TV series 3) 322 page long out-of-print original book with black & white and colour photos 4) 28 page brochure with all the background 5) A complete facsimile of Tony Palmer’s diary for 1975 showing where and when the films were made... 6) A reproduction of the “A monumental achievement. Thank you” telegram sent by JOHN LENNON personally to Tony Palmer
Here’s what the press has said about Tony Palmer’s “All You Need Is Love”:
“It’s subtitled ‘The Story of Popular Music,’ and it really is, in nearly 15 hours, on five discs… How great must this be? See for yourself.” (EW Pick, “A” Rating) - Ken Tucker, ENTERTAINMENT WEEKLY
“Calling this five-disc, 17-episode walk through history of pop music ‘comprehensive’ is like calling the Bible ‘important’… All You Need Is Love is a musical education in a box.” - Ryan Dombal, BLENDER
“There's no shortage of ambition in this 17-episode series directed in 1977 for British TV by music journalist and filmmaker Tony Palmer. Subtitled 'The Story of Popular Music,' this is the closest we will ever get to a definitive portrait of such a sprawling topic.” - Sean Axmaker, MSN.com
“This rigorous and compelling documentary series is a one-stop shop for the wisdom and development of pop.” - Andrew Perry, MOJO (UK)
“For an entertaining and informative history of popular music up through the mid-70’s, you could not do any better than this engrossing series.” - Curt Fields, WASHINGTON POST
“The idea of documenting the entire in-depth history of something as mercurial as popular music is the kind of epic task that could make even Ken Burns blanch. And yet that’s exactly what British journalist and filmmaker Tony Palmer did in the mid-’70s, with the impossibly expansive 'All You Need Is Love: The Story of Popular Music.'” - Bilge Ebiri, TIME OUT NEW YORK
“Tony Palmer’s 'All You Need Is Love' was hailed in its day and looks even better now, thanks to Palmer's blend of stock footage, electrifying performances and thoughtful narration.” - Noel Murray, LA TIMES
“…an impressive achievement, scholarly, opinionated and entertaining, seamlessly blending archive and fresh footage with an impressive cast of talking heads.” - Peter Kane, Q MAGAZINE (UK)
“…Undeniably the most ambitious attempt to document the changing face of popular music ever to reach the TV screen.” - Terry Staunton, CLASSIC ROCK MAGAZINE
“…An astute, fine-tooth-combing through popular music in all its hues and ages.” - Linda Laban, BOSTON GLOBE
“…Holds your interest throughout – though you’ll certainly need more than one viewing to absorb it all.” (4 stars) - Gillian G. Gaar, GOLDMINE
“Live” takes you on a 75-minute long musical journey and leads you into the cosmos of Swiss-based AKKU Quintet led by drummer and composer Manuel Pasquinelli (also known for his work with Sonar & David Torn). It contains five songs from different stages of the group's history, recorded at various locations between 2016 and 2020. You’ll hear the touch and character of each player, acting as a part of the ensemble to create this atmospheric, minimalistic yet livingly driving music.
Says Manuel, “Playing this music live is always an intense and beautiful experience. While not perfect, live versions often have a certain quality and spirit, which are hard to achieve in the studio. We want to share some live moments we captured on different occasions with this album, especially in this challenging time for live music. We didn’t do any editing. So you will hear truly handmade music. This album might be a good introduction to our work, and maybe one gets curious about the four studio albums we released before.”
“They take the Swiss zen maximalist/minimalist approach of Nik Bärtsch’s Ronin, Sonar, Schnellertollermeier to a different, but utterly logical conclusion. Fabulous stuff. Recommended!” - Steve Feigenbaum, Cuneiform Records
AKKU Quintet is based in Berne (Switzerland), from where they dispense a minimalistic jazz groove to great effect. Drummer Manuel Pasquinelli, who is also responsible for the compositions, founded the band in 2010. Their first concert took place in 2011. Since then, the band has released four studio albums and is playing live regularly. Their latest studio album, “Depart,” was the first one released with 7d Media. Manuel Pasquinelli is also known as the drummer of Sonar, who are collaborating with David Torn and Bill Laswell.
Track List:
01 Waves Recorded live on October 15, 2017 at bee-flat im Progr, Bern Album version on “Aeon”
02 Polar Recorded live on May 8, 2019 at bee-flat im Progr, Bern Album version on “Aeon”
03 Deep Sleep I Recorded live on February 18, 2020 at City Pub, Bern Album version on “Stages of Sleep”
04 Schneemann 05 Deep Sleep II Recorded on April 10, 2016 at Cully Jazz Festival, Cully Album versions on “Molecules” and “Stages of Sleep”
AKKU Quintet: Manuel Pasquinelli - Drums Michael Gilsenan - Sax & Fx Maja Nydegger - Grand Piano, Keys Markus Ischer - Guitar Andi Schnellmann - Bass
Music written by Manuel Pasquinelli No edits loops or overdubs on this record
Here’s what the press has said about AKKU Quintet:
“The group connect and lock together yet remain constantly in motion, maintaining a balletic poise and grace that skillfully builds and adds line upon line of long, sonorous notes. Though each one on its own might be gossamer-thin, when combined, they create something strong and enduring, something substantial and memorable” - Sid Smith
“There is a spaciousness in these zeros and ones that AKKU Quintet allows to speak for itself. There is no unnecessary noodling to fill the gaps, every note has its place.” - Roger Trenwith, The Progressive Aspect
“I had the great, great pleasure to see them on their final US show in 2018 and they take the ‘Swiss zen maximalist/minimalist approach’ of Ronin, Sonar, Schnellertollermeier to a different, but utterly logical conclusion. Fabulous stuff. Recommended!” - Steve Feigenbaum, Cuneiform Records
“Taking a type of minimalist and mathrock, slowing it down with postrock atmosphere, bringing a tight clean jazz element to it, and creating a set of dreamscape styled equal balance between classical and progressive rock and you have the formula for Switzerland's unique Akku Quintet.” - Lee Henderson, Big Beautiful Noise
“Groove becomes a compositional element, beauty an act of concentration, improvisation never a sure-fire success, but a dramaturgical stylistic device.” - Ane Hebeisen
Andy Ostwald is a San Francisco Bay area-based performer, teacher, and author of the book Play Jazz, Blues, Rock Piano by Ear. He performs as a band leader, sideman, solo pianist, and as a member of Jeff Sanford’s Cartoon Jazz Orchestra. Now with his own ANDY OSTWALD TRIO he is proud to present their debut full-length release FIELD GUIDE on March 18, 2022. The album is a true Field Guide for that meadow we’ve seen before but never traversed, featuring intimate and intensely focused improvised musical travels through overlooked gardens and orchards of sound. Grab a copy of the Field Guide and enjoy your trip!
Andy Ostwald has toured the US and abroad with singer Diane Witherspoon and has performed at many of the San Francisco Bay Area’s notable venues, including the SF Jazz Center, Yoshi’s Oakland & SF, Kuumbwa, and the Great American Music Hall. In 2011, Andy Ostwald began performing with fellow Bay Area musicians Ravi Abcarian (bass) and Bryan Bowman (drums), and the ANDY OSTWALD TRIO was born. They largely developed their group sound while performing at Bocce Café in the North Beach district of San Francisco, an engagement that lasted for five years until 2016. It was during this run that the musicians honed their ability to interact freely and play off one another’s musical ideas.
As a fellow member of Jeff Sanford’s Cartoon Jazz Orchestra, trumpeter Eric Wayne knew the trio and offered to help them record and release their debut album through his own Digital Victrola label. Andy was prepared with a fully formed album concept, including the title FIELD GUIDE, which allowed them to get straight to the business of finding the best material for the release. Recorded during the pandemic, resources were scarce, and it was difficult to find a studio with a worthy piano; they decided to record in Andy Ostwald’s own home with his personal piano on an 8-track HD recorder. They were able to make the most of the home studio environment, with the craftsman-style wood house giving the recording a warm and full sound.
“Since starting Digital Victrola I’ve always had a desire to record a trio album,” says Eric Wayne. “Even though I’m a trumpet player I’ve always felt that the trio format is the distilled essence of jazz and improvisatory music. Every player has to be fully committed, has to listen with their entire body and mind. It was an honor to work with such musicians under the difficulties of a pandemic and limited resources and space, but I’m very happy to have ‘my trio album’ and I hope you will enjoy listening as much as I have.”
Andy Ostwald’s father played a key role in his early musical development. “My dad made a point of introducing me to his favorite early jazz and classical recordings,” says Andy. “He would also pick up his violin and improvise melodies over the scales that I was practicing on the piano; Dad could breathe life into those scales.” By age 12 Andy began improvising over rock songs, and a couple of years later he attended a clinic by jazz pianist Dan Hearle, who introduced him to recordings by three towering figures of jazz piano: Herbie Hancock, Ahmad Jamal, and Oscar Peterson. “The music these musicians created both moved and mystified me,” notes Ostwald, “and in the end, contributed to steering me in the direction of jazz.”
Ostwald received a BA in music from San Jose State University. While there he focused on performing contemporary jazz, classical compositions, and the Gamelan music of Java, and a few years later he spent a year in New York studying with renowned jazz pianist Harold Mabern. Following his stay in New York, Andy returned to his native San Francisco Bay Area to teach and play music. Soon thereafter he met singer Diane Witherspoon and became her piano accompanist. They performed locally on tour in the States, and then on several occasions in Tokyo. Currently Ostwald is a member of Jeff Sanford’s Cartoon Jazz Orchestra and freelances as both a band leader and sideman.
Andy teaches piano at his home in Oakland. He’s also an instructor at Oaktown Jazz Workshops, where Ravi Abcarian is also an instructor and the executive director. Ostwald’s book/audio series Play Jazz, Blues, Rock Piano by Ear was published by Mel Bay Publications in 2004. It remains in print today.
Limited edition of 2000 individually numbered copies on copper-colored vinyl. The album is housed in a gatefold sleeve with a copper foil finish on the front of the sleeve.
The only survivors of the previous formation, Christian VANDER and Klaus BLASQUIZ, surrounded by a renewed team of musicians, invested in the studios of the Manor in Oxford in 1973, to record their “MEKANIK DESTRUKTIW KOMMANDOH,” the album considered by many to be the conductor of work of MAGMA. A long piece articulated in seven movements, “MDK” went through a long gestation period before reaching its final state of achievement. The progress made between the short 45rpm version of the previous formation, where brass work predominated, and the one presented on this album, is considerable. All the credit goes to Christian VANDER who, now alone, will irreversibly take charge of MAGMA’s artistic destiny.
If the group’s instrumental performance has gained even more power, notably with the arrival at the bass of Jannick TOP, whose playing is revealed in perfect symbiosis with the spirit of the music of Christian VANDER, what strikes above all on “MDK” is the epic breath that emerges from the masterful work accomplished by the section vocal. Propelled by an inexorable rhythm and reinforced by a female choir where Stella VANDER appears for the first time, the voices of Klaus and Christian come to haunt our minds with these magnificent songs that seem straight from our collective memory, giving MAGMA’s music a timeless and universal character.
Christian VANDER drums, vocals, organ, percussions Jannick TOP bass Klaus BLASQUIZ vocals, percussions Jean-Luc MANDERLIER piano, organ René GARBER clarinet, bass, vocals Claude OLMOS guitar Teddy LASRY saxophone, flute Stella VANDER vocals, choirs Muriel STREISFELD, Evelyne RAZYMOVSKI, Michèle SAULNIER, Doris REIHNARDT choirs
A double album of 50 epic compositions inspired by cinematic artists such as Hans Zimmer, Howard Shore, Rick Wakeman and Vangelis
Athens, Greece - Experimental musician and author Billy Yfantis, releases his 4th solo album entitled “Cinematic Works, Vol. I”. The double album consists of 2 disks featuring 50 instrumental cinematic tracks inspired by the soundtracks of Epic movies such as “The Lord Of The Rings” and “Stars Wars”. The album is the first part of a series of cinematic music albums that Billy intends to release in the next years.
Disc 1 includes compositions that capture the sound design of dramatic, epic scenes of Fantasy Adventure and Sci-Fi movies. Symphonic Classical Music is used as a medium to create a heroic and atmospheric soundtrack for sophisticated listeners. Disc 2 continues the trip of Epic sounds and operatic influences however, there are additional tracks with Jazz and Ambient music elements to complete the puzzle of the atmospheric music soundtrack.
Promotional video (The Empire):
Promotional video (New Planet):
Cinematic Works, Vol. I Track list
Disc 1 1. Hail to the King of Wrath 2. Entering the City of Gold 3. The Dragon 4. New Planet 5. Beauty of the New Land 6. Knights of the New Revolution 7. Coming by the Sea 8. The Barbarians 9. Dreaming of the King 10. Hero's Quest 11. Exploring the Field 12. Above the Tower 13. Among the Trees 14. Flag of the New Empire 15. Preparing the Spaceship 16. Neoclassical Runes 17. Reaching the Promised Land 18. Riding the Horses of Heaven 19. Ship 20. The Battle of Sparta 21. The City of Gold 22. Royal Wedding 23. The Dynasty 24. The Kingdom of the Elfs 25. The Empire
Disc 2 26. Age of Innocence 27. At the Church 28. At the Luna Park 29. At the Movies 30. At the Opera with Friends 31. Atmospheric Sunrise 32. Beyond the Clouds 33. Beyond the Mountain 34. Chinese Beauty 35. Drama 36. Fairytale Stories 37. Family Memories 38. Happiness of Yesterday 39. In the Streets of London 40. Jazzy and Nostalgic 41. The Land of Hope 42. The Magic Ring 43. The March of the Elfs 44. The Royal Temptation 45. The Ship of the Pirates 46. The Soldiers 47. The Village 48. The Warrior's Path 49. Trip to the Stars 50. Dreaming the Sky
Billy Yfantis, except his solo recording career, has a very busy schedule with other related activities. On Jan. 27, 2021 he participated as a guest presenter at the Hollywood Music in Media Awards (HMMA) by presenting the nominees/winners of the “Best World Music” and “Best Lyrics/Lyricist” awards. You can watch the whole event here: https://vimeo.com/505567704 Moreover, later in 2021 he remixed a track from the Desert rockers Sons of Alpha Centauri which was included as a bonus 3-inch CD on the vinyl format of the recent album “Sky Island” by the Yawning Sons (project by members of the Yawning Man and Sons of Alpha Centauri). Billy Yfantis plans to experiment with new instruments and technologies for the recording of his 5th full album with a release schedule in mid-2022. Stay tuned for more information!
About Billy Yfantis Vasileios (Billy) Yfantis holds 2 Master Degrees in Information Technology and is a Ph.D. candidate in the University of West Attica by conducting research on e-government. Billy has been working on music since the late 1990s by experimenting with tape mixing and sound design. Billy is playing digital keyboards, but prefers to express his artistic dream through the electronic sounds that come from unusual machines. He has experimented with the recording of vacuum cleaners, electric blenders and other strange sounds that have resulted in musical releases. Moreover, Billy has authored books on music, business and science while from times to times he speaks about the electronic governance at scientific conferences all over Europe.
Famous Quotes (What Others Have Said) Krautrock legend Harald Grosskopf (Ash Ra Tempel, Klaus Schulze, Cosmic Jokers): “I always like electronic music made by younger musicians who consequently follow their personal instinct, rather than trying to copy what’s already been made in the past, in the spirit of: Whenever you meet Buddha kill him. Keep on tracking Billy!”
Tom McLoughlin (Director of the movie “Friday the 13th Part VI: Jason Lives”): “I really dug his music!! VERY cool stuff!!”
Phil Lanzon (Uriah Heep): “I like the track 'Waiting for the battle.' Great riff. I can see this as soundtracks to Psycho - punk movies and the like.”
Bobby Borg, (Music Business Author, Consultant, Professor): “This is fkn bad ass music that everyone needs to hear… imagine the coolest meditation music out there and the coolest sci-fi movie soundtrack rolled into one! Stream it and trip out today.”
Steve Whitfield (Producer and engineer of The Cure, The Mission UK): “This music is crying out to be used in films but at the same time it's great to just sit back listen and immerse yourself in them without any moving images and let your imagination run wild!”
Snowy Shaw (ex-King Diamond, Therion, Mercyful Fate): “I didn't know what to expect when I had this album sent to me by the composer Billy Yfantis. To be perfectly honest, 9 times out of 10 when people send me their new album it makes me feel a bit uneasy and awkward. Firstly because I don't listen an awful lot to contemporary music and secondly, even less to other metal & hard rock artists due to lack of interest and I don't wanna hurt their feelings. I don't mean that in any rude, disrespectful or arrogant way, but I'm into creating my own music, not so much into consuming music of my peers. However, this was something entirely different. I'm not even sure it's considered music, but it's the kind of atmospheric and meditative type of sounds that I've been listening a helluva lot over the past few years to try relax and cope with my stressful, turbulent life, constantly on the verge of being burnt out. That being said, I liked it and it made me calm, mindful and sleepy. Presumably the worst kind of reaction my metalhead peers would wanna hear about their new album but in this case it's probably the best sort of compliment one could get.”
Discography 1. Cinematic Works, Vol. I (Full album, 2021) 2. Noises from the Outer Space (Full album, 2021) 3. Entering the Solar System (Full album, 2020) 4. The Noisy Whispers Compilation (Full album, 2019) 5. The Mysterious Trip (Digital single, 2018) 6. Dust Not Found (Digital single 2017) 7. Crossing The Line (Digital single 2016) 8. The Electric Blender Session (Digital single, 2016) 9. The Missing Link (Digital single, 2015)
Bibliography 1. Power Ballads And The Stories Behind (2021) 2. Is Prog Rock Really Progressive? (2020) 3. Hip Hop Goes Science: Volume I – Extended Version (2020) 4. Hip Hop Goes Science: Volume I (2019) 5. Metal Goes Science: The Academic Metal Bibliography (2017) 6. Disadvantaged Populations And Technology In Music (2017) 7. City Streets Of Europe (2017) 8. Punk Goes Science: The Academic Bibliography Of Punk (2015) 9. The Lost Lyrics (2013) 10. The Commercial Exploitation Of Color As A Consumer Stimulus (2013)
This high quality recording carried out on March 14th, 1974 in the London BBC studios, is here carefully remastered for a vinyl release. This double LP includes two Magmaian masterpieces in unique versions, performed by the group that was at the origin of their creation. If the completed versions played by the MAGMA of 75-76 are most familiar to us, those offered us here present a major interest on several levels: their structure first of all, which at that time was not yet finalized, and comprised sequences which were subsequently either re-arranged, thereafter in a different way, or deleted: THEUSZ HAMTAAHK whose pseudo-slowness of tempo is matched only by the contained violence that inhabits it, and KÖHNTARKÖSZ where the magic of the keyboards brings to this work an alternative just as bewitching as the one engendered at the Taverne de l'Olympia the following year, by the divine soaring of Didier LOCKWOOD’s violin.
California multi-instrumentalist and composer Rachel Flowers will be releasing her eagerly awaited new solo album on October 1, 2021. Rachel demonstrates with her latest effort that she truly is, as the title suggests, “Bigger on the Inside.” As a composer, Rachel seamlessly weaves together elements of progressive rock, jazz, classical, and pop music with cinematic orchestrations, soaring melodies, and virtuosic playing. Top this off with Rachel's 3 1/2 octave vocal range and her uncanny ability to explore universal themes ranging from love, joy, and hope to depression, bullying, and fear of an uncertain future with sensitivity and optimism, and you have an album that is destined to stand the test of time.
Says Rachel, “I was inspired by composers and bands like Ambrosia, Frank Zappa, and Keith Emerson while writing the songs on ‘Bigger on the Inside.’ Some songs were inspired by or even heard in dreams. Others were improvised during the recording process. Sometimes just hearing a new piano sound can lead to inspiration. Some of my lyrics just come from my imagination and others come from real experience.”
Rachel Flowers is recognized worldwide as a multi-instrumentalist and composer whose music spans multiple genres.
She first gained recognition for her talent as a young child and has been admired and mentored by those at the top of their field including Greg Lake, Keith Emerson, Dweezil Zappa, Conductor Terje Mikkelson, and a series of jazz greats, most notably Herbie Hancock. As a teenager she won numerous awards as a pianist and flutist, and has matured to perform and record on the global stage.
The award winning documentary “Hearing Is Believing” was produced about her unusual life and talents.
Among Rachel’s recording credits are her solo albums “Listen” (2016) and “Going Somewhere” (2018), “Music From the Soundtrack: Hearing is Believing” (2017), collaborations with Michael Sadler of Saga and fusion band Stratospheerius, and appearances on the albums of Telergy and Marcelo Paganini. Rachel is prominently featured on “Keith Emerson - Beyond the Stars,” and the much awaited CD and DVD set, “Fanfare For The Uncommon Man: The Official Keith Emerson Tribute Concert.”
Rachel continues to defy expectations, refusing to be pigeonholed by genre or by instrument. Her classical piano training started when she was only 4 years old. At 9 she discovered jazz and was immediately transfixed by the music of John Coltrane, Miles Davis, Herbie Hancock, and Ella Fitzgerald. As varied as her musical background had already been, hearing Emerson, Lake & Palmer proved to be a turning point. Rachel was captivated by keyboardist Keith Emerson's innovative integration of classical and jazz elements in a rock setting, and he became a musical role model.
While her favorite instruments continue to be piano and organ, she is also classically trained on the flute and plays the guitar, bass, saxophone, and Chapman Stick.
Says Rachel, “I’ve always wanted to create music that had those big sounds that I love. I was excited to incorporate more of the organ on this album, using my Nord C2D and Electro 4D as well as pipe organ sound libraries to get that iconic tone I was looking for. There is also a lot of electric guitar on this album. I was inspired by Steve Vai, John Mayer, Steven Wilson, and of course Adrian Belew, who was a direct inspiration for the opening track.”
In support of Rachel’s new album release she will be performing at ProgStock on October 1 - 3, 2021 (https://www.progstock.com/2021/). On November 6, 2021 Rachel opens for Asia featuring John Payne at the Union County Performing Arts Center in Rahway, New Jersey, and she is slated to perform at Synthplex, the “All Things Synthesizer” electronic music festival & gear expo, on October 27 - 30, 2022 at the Los Angeles Burbank Airport Convention Center.
Rachel’s future plans include completion of a jazz album, and a jazz/hip-hop fusion album, both started during the pandemic. There are no release dates as yet. Plans to record with a live orchestra are currently in discussion.
In closing Rachel has this to impart to her listeners, “The message I would like my listeners to come away with is that there will be darkness, but you can fly, you can love, you can be loved, and the darkness is only temporary.”
