Monday, May 28, 2012

John McLaughlin - The Heart of Things - Live in Paris

John McLaughlin's 1997 The Heart of Things studio album and subsequent tour saw him returning to the sort of electric band format that most listeners associated with his days in the Mahavishnu Orchestra of the 1970s. This live album features the same group, with the exception of the keyboard player, as Otmaro Ruiz replaces Jim Beard, and three of the selections are drawn from the studio release. "Seven Sisters," which is actually shorter than the studio version, makes for a fairly mellow opening, while the new "Mother Tongue" is full of extremely rapid solos by McLaughlin, Ruiz, bass player Matthew Garrison, and Gary Thomas, who switches saxophones during the course of the nearly 13-minute tune. "Fallen Angels," another song from the studio release, is a slow, contemplative work, while "Divide" makes use of funk rhythms to support some noisy guitar work from McLaughlin and a solo full of electronic burps from Ruiz. The album's showpiece song is "Tony," a stately tribute to the late drummer Tony Williams that, appropriately enough gives drummer Dennis Chambers his chance to shine. One might complain that "Acid Jazz," the fiery closer, has nothing to do with the musical style that goes by that name, but McLaughlin obviously means to suggest an evolution of 1960s acid rock by the title, and he deliberately evokes Jimi Hendrix in playing that brings him as close to the Mahavishnu Orchestra sound as he has been in many years. It makes a powerful ending to an album that should be welcomed by long-time fans. (As if to emphasize that this was only one of his interests, however, McLaughlin simultaneously released both this disc and The Believer, an album with his Indian unit Remember Shakti, on October 3, 2000.) - by William Ruhlmann, AMG

Artist: John McLaughlin
Album: The Heart of the Things - Live in Paris
Year: 1998
Label: Verve (2000)
Runtime: 77:49

1.  Acid Jazz 14:54
2.  Seven Sisters 10:37
3.  Mr D.C. 13:01
4.  Fallen Angels 8:34
5.  Healing Hands 16:45
6.  When Love Is Far Away 13:55
All compositions by John McLaughlin

John McLaughlin (Electric Guitar)
Dennis Chambers (Drums)
Gary Thomas (Tenor and Soprano Saxophone)
Matthew Garrison (Bass Guitar)
Otmaro Ruiz (Keyboards)
Victor Williams (Percussion)

Saturday, May 26, 2012

Nat King Cole - Tell Me All About Yourself/Touch of Your Lips

As he'd done on the thoroughly excellent outing Welcome to the Club (1959), Nat King Cole (vocals/piano) once again teams up with Dave Cavanaugh (orchestral arranger) for a sublime slice of refined vocal-led jazz underscored by an equally sophisticated combo. Unlike their previous collaboration, Cavanaugh isn't directing the Count Basie band, but even a trained ear would be challenged to discern the difference as both the artist and conductor are heard here at the top of their games. The effort obviously translated to listeners, as Tell Me All About Yourself (1960) made it to a respectable number 33 on the Top 40 album survey. The project's title song "Tell Me All About Yourself" benefits from the vocalist's playfulness against the understated swing of the score. As it churns below the surface, Cole maneuvers his lead without ever having to compete with a brash brass section. There is a certain hearkening to a vintage sound on several selections. Among them are Cole's take on the Sammy Cahn staple "Until the Real Thing Comes Along" and the sweet simplicity of "Crazy She Calls Me," "Dedicated to You," and the closer "(I Would Do) Anything for You." Those back-to-basics versions are contrasted by comparatively modern interpretations of Irving Berlin's "What's the Best Thing for You" and the instrumental muted-trumpet regality that Cavanaugh infuses into the distinguished "When You Walked By." Cole ably displays his ability to jump and jive with the best of them. He goes head-to-head with the orchestra on the sassy and refreshingly politically incorrect "You've Got the Indian Sign on Me" and the similarly energized "For You." In 2007, Tell Me All About Yourself was coupled with the aforementioned Welcome to the Club on a two-fer CD by Collectors' Choice Music as part of their restoration of Cole's classic Capitol Records catalog. - by Lindsay Planner, AMG

If the front cover of the album, a close-up photograph of a young woman, her eyes closed, her red lips ready for a kiss, her cheek being brushed by a young man (both of them white, incidentally), didn't get the point across, the note on the back cover, beginning, "In the romantic mood of The Very Thought of You and Love Is the Thing...," surely did. Nat King Cole's first LP of 1961, The Touch of Your Lips, was another in a series of ballad collections devoted to the wonders of love. Arranger/conductor Ralph Carmichael supported Cole with a buoyant sea of strings and kept the tempos very slow, the better for the singer's rich tone to convey the bedroom ambience. This was music for the adults of 1961, adults who remembered many of these songs as swing standards of the 1930s and '40s when they were performed by the likes of Ray Noble (the title song and "You're Mine, You!"), Jimmy Dorsey ("I Remember You"), Glenn Miller ("A Nightingale Sang in Berkeley Square"), and Ozzie Nelson ("Lights Out"). Those were all bandleaders, of course, and Cole had little trouble putting his own stamp on songs sung earlier by band singers Al Bowlly, Bob Eberly, and Ray Eberle. But he also borrowed no less than three selections ("Poinciana [Song of the Tree]," "Sunday, Monday, or Always," "Only Forever") from the repertoire of Bing Crosby, and that was more of a challenge, one he did not entirely meet. Still, The Touch of Your Lips succeeded in taking its place alongside Cole's other effective ballad albums.- by William Ruhlmann, AMG

Artist: Nat King Cole
Album: Tell Me All Abou Yourself (1-12)/Touch of Your Lips (13-24)
Year: 1960/1961 (Capitol)
Label: EMI (1997)
Runtime: 69:27

1.  Tell Me About Yourself (Mel Leven/Hub Atwood) 2:08
2.  Until The Real Thing Comes Along (Sammy Cahn/Saul Chaplin/L.E. Freeman/Mann Holiner/Alberta) 3:10
3.  Best Thing For You (Irving Berlin) 2:01
4.  When You Walked By (Johnny Burke/Joe Bushkin) 2:49
5.  Crazy She Calls Me (Bob Russell/Carl Sigman) 2:37
6.  You've Got The Indian Sign On Me (Johnny Burke/Joe Bushkin) 1:49
7.  For You (Joe Burke/Al Dubin) 2:21
8.  Dedicated To You (Sammy Cahn/Saul Chaplin/Hy Zaret) 2:53
9.  You Are My Love (Bass/Sherman) 1:56
10.  This Is Always (Mack Gordon/Harry Warren) 2:57
11.  My Life (Nat King Cole/Nat Simon) 2:11
12.  (I Would Do) Anything For You (John Hill/Claude Hopkins/Bobby Williams) 1:47
13.  The Touch Of Your Lips (Ray Noble) 3:52
14.  I Remember You (Victor Schertzinger/Johnny Mercer) 3:13
15.  Illusion (Sol Parker/Lillian Moss/Barry Iver) 2:54
16.  You're Mine You (Johnny Green/Edward Heyman) 3:22
17.  Funny (Not Much) (Philip Broughton/Robert Merrill/Marcia Neil/Hughie Prince) 3:05
18.  Poinciana (Nat Simon/Buddy Bernier) 3:56
19.  Sunday Monday Or Always (Johnny Burke/James VanHeusen) 2:21
20.  Not So Long Ago (Fred Tobias/Al Frisch) 4:07
21.  A Nightingale Sung In Berkeley Square (Eric Maschwitz/Manning Sherwin) 4:46
22.  Only Forever (Johnny Burke/James V. Monaco) 3:19
23.  My Need For You (Allan Roberts/Al Frisch) 3:24
24.  Lights Out (John Hill) 2:29

Nat King Cole (Piano, Vocals)
David Cavanaugh (Arranged) - 1-12
Ralph Carmichael (Arranged) - 13-24

Thursday, May 24, 2012

Nueva Manteca - Afro Cuban Sanctus

The founder of Nueva Manteca is Jan L. Hartong who started the band in 1983. In the 90′s, journalist Raul Rico of the authoritative Latin Beat Magazine, praised the group as “Europe’s finest in Latin Jazz”. Many have followed him over the years, and not without reason. The group belongs to the top of the Latin scene as can be judged from USA radio playlists which regularly show a top ranking position for Nueva Manteca’s CD’s Nueva Manteca creates a synergy between Cuban music and Jazz music “pur sang”. The group is not “just another good latin jazz band” as there are so many these last few years, they are unique in performance, style and repertoire. Their – mostly own – arrangements and compositions show inventively, creativity and most all a musical spirit that’s really something! Nueva Manteca is the living example that the sum is more than the parts. And considering the parts resemble an international caliber and equally convincing soloist capacities of the individual member expect a sizzling and swinging show! Nueva Manteca shows what musical synergy is all about. - from

Artist: Nueva Manteca
Album: Afro Cuban Sanctus - Missa Salsa
Year: 1997
Label: Azucar
Runtime: 47:55

1.  Introitus 0:55
2.  Intro Rumba De Cajon 1:16
3.  Sanctus 1 4:33
4.  Kyrie 4:53
5.  Gloria 3:45
6.  Praise Song For Yemayea 4:48
7.  Credo 6:04
8.  Piano Intro De Crusificus 1:00
9.  Crusificus 3:21
10.  Togue De Bata Para Osun 0:46
11.  Praise Songs For Obatala 4:31
12.  Padre Nuestro 4:12
13.  Agnus Dei 5:18
14.  Sanctus 2 2:25

Mirjam Verheem (Vocals)
Delia Gonzalez (Vocals)
Miguel Montenegro (Vocals)
Hartog Eysman (Vocals)

Wim Both (Trumpet)
Rini Swinkels (Trumpet)
Jarmo Hoogendijk (Trumpet)
Ben van den Dungen (Tenor Saxophone)
Jan Laurens Hartong (Piano)
Leslie Lopez (Bass)
Claus Toft (Percussion)
Nils Fischer (Percussion)
Lucas van Merwijk (Drums and Percussion)
Guest musician:
Bart Platteau (Flute)

Saturday, May 19, 2012

Mike Nock - Ondas

At the time of this recording, New Zealand's Mike Nock was one of the great, unsung pianists in European stlyed jazz. His elegant phrasing and wildly inventive melodicism fly in the face of all notions that claim improvisation must be outside Western musical parameters and structures. On Ondas, Nock has assembled a rhythm section that, while never having played together before shared the ability to create the bedrock, however flexible, for the artist's crystalline compositions and solos. Eddie Gomez was a wise choice for this session because of his experience with Bill Evans, who is an obvious influence on Nock's own composing -- as is Keith Jarrett. His pizzicato flourishes and shifting timbres on "Forgotten Love" and "Visionary," while retaining an elemental sense of meter, are remarkable. Christensen is the greatest of all the drummers in the ECM stable. His style is one of paucity and sparse riffs, but his cymbal "dancing" is a trademark favorite of pianists and saxophonists everywhere. He has the ability to open up time, creating a window for improvisers to stretch each note, each interval, each mode, for all it's worth, suspending notions of time and space for the listener. Evidence is on the title track and "Land of the Long White Clouds." For his part, Nock is a magician of lyrical invention. His compositional architecture is created of minor modes and subtle textures. His chords are small enough to be their own rhythm section and large enough to fit all the notes in between them and the next octave in combinatory gestures of shimmering beauty. He does all of this in a manner in which tension and its resolution are in constant flux, never out of balance with one another. His solo on "Forgotten Love," that is based upon Gomez', is a case in point: towering ivy clusters of notes flex over darkened minor chords, up and through the middle and then upper registers of the instrument before inviting Gomez back in. In all, this is a glorious recording by a crack batch of musicians. It is also a stellar example of what Manfred Eicher's label and production offer to the world. - by Thom Jurek, AMG

"Manfred (Manfred Eicher) wrote me a letter after hearing In Out and Around, saying he wished that album had been on ECM and telling me he wanted to make a trio recording with Gomez, Christensen and myself.
I played quite often with Gomez on recordings and tours, but never with Christensen.
The first day in the studio the trio played quite differently - free high energy jazz, which was erased before I even heard it!  I loved the session but Manfred seemed disinterested.
The next morning he got up at dawn and we began recording around 9am.  By 11am we were finished as he knew he had what he wanted.
It was a very collaborative session.  The first piece; ‘Shadows of Forgotten Love’ was on In Out and Around but Manfred had his own vision for the piece, suggesting I just play the first 16 bars and forget about the bridge section.  We finished the first take and I saw Manfred gesticulating wildly in the control room for us to continue - which we did and which you can actually hear on the recording.  It was all very spontaneous and a wonderfully unusual collaborative experience for me.
I was very much into Brazilian music and culture at the time ('Ondas' means 'waves' in Portuguese) but interestingly enough I came up with the title while on one of my frequent visits to Nelson NZ, situated on Golden Bay.
Manfred loved the title, as apart from the sound of the word it also had a somewhat enigmatic quality, as he felt very few people would know what it actually meant". by Mike Nock - September 15, 2010

Artist: Mike Nock
Album: Ondas
Year: 1981
Label: ECM (1982)
Runtime: 51:10

1.  Forgotten Love 15:59
2.  Ondas 9:11
3.  Visionary 11:37
4.  Land Of The Long White Cloud 7:58
5.  Doors 6:23
All compositions - by Mike Nock 

Mike Nock (Piano)
Eddie Gomez (Double Bass)
Jon Christensen (Drums)

Tuesday, May 15, 2012

Steve Coleman - Def Trance Beat

This is certainly one of the best jazz records I've heard in the past 10 years. This band just smokes through these rhythmically complex, odd metered songs with an incredible energy while remaining tempered with melody, nuance and soul. They never turn into a soullessly technical machine like so many bands intent on showing off their chops. Coleman is the most innovative and technically awesome saxophone player working in jazz today but he is also one of the best composers. And it goes without saying that he refuses to make the neo-traditinalist records everybody else is churning out. - by a customer,

"Music is for me first and foremost a form of communication. Music can also communicate emotions in a direct and abstract manner. In all of these cases what is understood by anyone experiencing this music depends on that listener's personal experience. Improvisation in music allows the musician to communicate or express in real time in the same manner as one person talking to another (or to a group of people)". This quote from Steve Coleman exemplifies the approach of Steve Coleman and Five Elements. Since 1981 this group has been involved in a personal extension of the musical language of the Afrikan Diaspora. It is their aim to communicate these experiences to today's listeners. The group's current album Def Trance Beat documents the groups latest efforts in this arena. Following upon the success of the Five Elements' last release The Tao of Mad Phat, Def Trance Beat's musical form progresses with an intuitive flow while displaying insight into an ancient science, all within definitive creative musical structures. This particular way of expressing music and musical improvisation comes from the combination of individual and collective experiences and the general way the musicians vibrate spiritually in their environment. The compositions on the album are the result of the "collective meditations" approach that the group has explored on its last two releases. This recording represents the final phase in that cycle. At the time of this recording the concept of the group was already heading in a new direction, that of realizing in musical form, some of the developments of ancient Kam (Egypt). Some of the compositions on Def Trance Beat lead the way in this development (Dogon, Multiplicity Of Approaches, The Khu and The Mantra). The primary focus of the album is what Steve calls "Modalities of Rhythm", an attempt to rediscover the science of psychic energy and knowledge of the Ancients through specific rhythmic processes. The improvisations are then built through the musician's understanding of their common experiences, a documentation of the living process organically expressed through music. "Flint is from the movie Our Man Flint and is simply a melody that I liked and rearranged in our own peculiar style. In its own way it provides a bridge for the audience to enter into the more serious music to follow. Verifiable Pedagogy is a combination of drummer Gene Lake's imagination and saxophone great Charlie Parker's composition Confirmation, again with the Five Element stylistic stamp of approval! Dogon is named for a Sudanese people (in the Upper Niger region in present-day Mali) called by the name Dogon who possess an extraordinary cosmology. Multiplicity Of Approaches (The Afrikan Way Of knowing) is a composition which through music describes the cyclic approach towards knowledge demonstrated in ancient Africa. The Khu is the Universal Divine Will which in ancient Kamitic traditions initiates the manifestation of all things. Pad Thai is a noodle dish, the shape and quality of the lead melody reminded me of this dish. In Jeannine's Sizzling a composition called Jeannine (something I've heard performed by saxophonist Cannonball Adderly) is merged with a Five Elements' song called Fire Revisited. Patterns Of Force is a composition by our pianist Andy Milne. The Mantra is an Intonation Of Power drawing on the strength of the combined focus of the musicians. Salt Peanuts again is a Five Elements' arrangement of a Dizzy Gillespie & Kenny Clarke composition". - from

Artist: Steve Coleman & Five Elements
Album: Def Trance Beat (Modalites of Rhythm)
Year: 1994
Label: BMG (1995)
Runtime: 68:33

1.  Flint (Jerry Goldsmith) 10:44
2.  Verifiable Pedagogy (From Pedagogy And Confirmation) (Gene Lake/Charlie Parker) 3:34
3.  Dogon (Steve Coleman) 8:22
4.  Multiplicity Of Approaches (The Afrikan Way Of Knowing) (Steve Coleman) 6:20
5.  The Khu (Divine Will) (Steve Coleman) 8:19
6.  Pad Thai (Steve Coleman) 5:15
7.  Jeannine's Sizzling (From Fire Revisited And Jeannine I Dream Of Lilac Time) (Steve Coleman/Gilbert/Shilkret) 6:09
8.  Patterns Of Force (Andy Milne)  12:50
9.  The Mantra (Intonation Of Power) (Steve Coleman) 3:36
10.  Salt Peanuts (Dizzy Gillespie/Kenny Clarke)  3:19

Steve Coleman (Alto Saxophone)
Andy Milne (Piano and Keyboards)
Reggie Washington (Bass Guitar) - 1-4,6-10
Gene Lake (Drums and Percussion)
Ravi Coltrane (Tenor Saxophone) - 1,3,5
Craig Handy (Tenor Saxophone) - 8
Matthew Garrison (Bass Guitar) - 5
Michael Wimberly (Djembe, Cowbell) - 1,5
Jalal Sharriff (Djun Djun) - 5
Kwe Yao Agyapan (Bongo, Congas, Djun Djun and Djembe) - 1,5
Ronnie Roc (Bongo and Talkin Drum) - 5

Tuesday, May 8, 2012

Hancock, Brecker, Hargrove - Directions in Music

A double-milestone year for jazz, 2001 marked the 75th anniversary of the births of both Miles Davis and John Coltrane. With that in mind, Herbie Hancock went on tour with a quintet modeled after his V.S.O.P. bands of the '70s and '80s and the Tribute to Miles band of the '90s, which in turn were modeled after the 1965-1968 Miles Davis Quintet. The question this disc proposes: Can you go home yet again? Hancock preferred to dodge that one, saying that he was attempting to push the music onward in the Davis/Coltrane spirit of adventure rather than play for nostalgia. But essentially, despite the often unblinkingly hard-nosed soloing and the sometimes radical reworking of the old tunes, the conception of this idiom is that of Miles, and Michael Brecker's often brilliant, searching tenor sax work owes its soul to the example of Trane. Although the quintet's Los Angeles gig on October 11, 2001, was rather disappointing, the Toronto concert recorded here was a big improvement, with two weeks of roadwork evidently having the desired tightening effect. Though Hancock's piano gradually became more abstract and disconnected with its surroundings over the years, here he is in touch with his colleagues. Brecker provides the most fervent individual statement with an unaccompanied rendition of "Naima" that amounts to a virtual encyclopedia of tenor saxophone technique. Roy Hargrove does a serviceable job on trumpet and flügelhorn, trying to fill some heavy shoes, and as accomplished as the rhythm team of John Patitucci (bass) and Brian Blade (drums) is, you miss the irreplaceable combustion of Ron Carter and especially the late Tony Williams (compare the original Davis recording of "The Sorcerer" with this inward, less dynamic, less driving version). The most strikingly reworked cover tune is a slow, drawn-out, mournful take on "Impressions," almost an elegy for Coltrane, and Brecker delivers the eulogy with fire in the belly. There is new material from Hargrove ("The Poet"), Brecker ("D Trane"), and the three headliners ("Misstery"), none of which expands much beyond the parameters of the Davis and Coltrane models. While this quintet does not kick over old boundaries, it does make good, uncompromisingly intelligent music. - by Richard S. Ginell, AMG

Artist: Herbie Hancock, Michael Brecker, Roy Hargrove
Album: Directions in Music: Live at Massey Hall
Year: 2001
Label: Verve (2002)
Runtime: 78:26

1.  The Sorcerer (Herbie Hancock) 8:54
2.  The Poet (Roy Hargrove) 6:36
3.  So What/ Impressions (Miles Davis/John Coltrane) 12:50
4.  Misstery (Herbie Hancock/Michael Brecker/Roy Hargrove) 8:16
5.  Naima (John Coltrane) 7:29
6.  Transition (John Coltrane) 10:25
7.  My Ship (Kurt Weill/Ira Gershwin) 8:41
8.  D Train (Michael Brecker) 15:10

Herbie Hancock (Piano)
Michael Brecker (Tenor Saxophone)
Roy Hargrove (Trumpet)
John Patitucci (Bass)
Brian Blade (Drums)

Saturday, May 5, 2012

Dick Heckstall-Smith - Live 1990

DHS, R.I.P, is in fine form here and in good company. John Etheridge's guitar is the perfect foil for Mr. Heckstall-Smith's jazz-blues-bop blowing and the rhythm section of Rainer Glas and Joe Nay keep it all swinging along nicely. The live recording is clean and sounds as if you're in the room with them (a small room by the sound of it, lucky punters) - no overdubs or tidying up here! The music ranges from angular and restrained to full blast blowing sessions over four tunes including a great 'Woza Nasu' and 'Mongoose', with its stuttering rhythms at the start that then slides effortlessly into a free flowing session led by Mr. Etheridge, who's album this is as much as it is DHS's. DHS then climbs out of a short but dynamic drum solo with some intense and building blowing that always brings a smile to my face. A great album and a worthy one for any fan of DHS. - by Noel Hodda,

Dick Heckstall-Smith - English tenor saxophonist, educated at Dartington/Devon, studied at Cambridge University, than freelancing with Ronnie Smoth, the drummer Ginger Baker. Later he played blues and blues-rock, with groups conducted by Alexis Korner (Alexis Korner's Blues Incorporated 1962-3), Graham Bond (The Graham Bond Organization 1963-7) and John Mayall (John Mayall's Bluesbreakers 1967-8) and with Jon Hiseman's Colosseum (1967-8); later he studied for a doctorate in sociology, he played with Bo Diddley, again freelancing with musicians like Jack Bruce. In his playing he is influenced by Sydney Bechet, Wardell Gray, Lester Young and other, "was one of the first musicians to commute successfully between jazz and blues-rock, at a time when such a move was less fashionable than it later became" (after Digby Fairweather). as you find it on the inner sleeve of his autobiography - what he calls a "personal history of British rhythm & blues" - Heckstall-Smith not only evokes, economically and hilariously, this period, but also illuminates it, reflecting on the "blues boom" in Britain, involving Alexis Korner, Graham Bond, Georgie Fame, John Mayall et al., it is of seminal importance both in turning its growing audience's attention to the music's American roots and in paving the way for R&B-influenced rock groups like Fleetwood Mac, the Yardbirds, the Animals and the Rolling Stones. Dick Heckstall-Smith, a very respected saxophonist, witnesses zhe whole of this fascinating period from its very heart. - from the CD cover

Artist: Dick Heckstall-Smith
Album: Live 1990
Year: 1990
Label: Bellaphon (1991)
Runtime: 50:49

1.  Venerable Bede (John Etheridge) 9:00
2.  Woza Nasu (Dick Heckstall-Smith) 18:43
3.  Moongoose (Dick Heckstall-Smith) 13:42
4.  Baire (John Etheridge) 9:23

Dick Heckstall-Smith (Saxophones)
John Etheridge (Guitar)
Rainer Glas (Bass)
Joe Nay (Drums)

Wednesday, May 2, 2012

Bert Jansch - Heartbreak

Herbert "Bert" Jansch (3 November 1943 – 5 October 2011) was a Scottish folk musician and founding member of the band Pentangle. He was born in Glasgow and came to prominence in London in the 1960s, as an acoustic guitarist, as well as a singer-songwriter. He recorded at least 25 albums and toured extensively from the 1960s to the 21st century. - from

Speaking personally I think this is one of the finest Bert albums, presenting his inimitable style and folk roots very well. His song selection is awesome, they are all about love and relationships, and definitely from the heart. Its a simply beautiful album, and i would highly recommend it. - by Superb, AMG

Artist: Bert Jansch
Album: Heartbreak
Year: 1981
Label: Hannibal
Runtime: 38:47

1.  Is It Real (Bert Jansch) 3:59
2.  Up To The Stars (Bert Jansch) 3:00
3.  Give Me The Time (Bert Jansch) 3:30
4.  If I Were A Carpenter (Tim Hardin) 2:53
5.  Wild Mountain Thyme (Traditional)  4:53
6.  Heartbreak Hotel (Elvis Presley/Mae Boren Axton/Tommy Durden) 2:37
7.  Sit Down Beside Me (Bert Jansch) 3:06
8.  No Rhyme Or Reason (Bert Jansch) 2:36
9.  Blackwater Side (Traditional)  3:38
10.  And Not A Word Was Said (Bert Jansch) 8:34

Bert Jansch (Acoustic Guitar, Vocal)
Albert Lee (Acoustic and Electric Guitar, Mandolin)
Randy Tico (Bass Guitar)
Matt Betton (Drums) - 1-5,7,8,10
Jack Kelly (Drums) - 6,9
Jennifer Warnes (Vocals) - 5


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