ONE LP

EDUCATION | EXHIBITIONS: ONE LP@BAND ON THE WALL

Special thanks to the team at Band on the Wall of Manchester for their support for the One LP Project right from its inception. 

The newly remodelled venue is fabulous -  

What's On 

  • CHRISTIAN-SCOTT-WEB-FF-WORDS
  • {quote}It’s Horace Silver ‘Song for my Father’.   My brother had this record and I was a kid. He had a ton of jazz records. This one stood out to me because my father and I had such a great relationship.  Then, when he played the record for me, the whole record hit me in a way that I really got jazz. I was too young at the time to really get jazz because I wasn’t a musician yet. Then, when I became a musician, I really thought about the impact that it had on me as a kid. It became one of my favourites because we ended up playing those songs and songs from the record and playing that record quite a bit.  Horace Silver became one of my favourite piano players because of his arrangements and his way of creating melodic and harmonic instances that were beautiful.  He’s always been one of my favourite pianists.{quote}Amp Fiddler: Band on the Wall, Manchester, 2nd November 2014Horace Silver: Song For My Father  released 1965Amp Fiddler
  • “It had to be Michael Jackson – then I had a tough time picking which record - but this has my favourite song – ‘Man in the Mirror’ – I love it so much.I narrowed it down from Off the Wall, Bad and Thriller - it was difficult to narrow it down even that far.This record means so much to me.”Becca Stevens: The Bay Horse, Manchester, March 2013Michael Jackson: BadBecca Stevens
  • “So my album of choice - it's a tough one - always a tough one! But if it has to be one then it would be an album called 'Sunlight' by Herbie Hancock which I first heard when I was 13 years old, on the way to Italy actually.  I was in a car and I'd just bought this record on CD and I put it in my little CD player and I remember being sat next to my dad listening to it on my headphones and it was just a kind of epiphany.  I felt like I was finally hearing a sound that I'd kind of always been looking for almost.  There's something about this album, it basically bridges the gap between instrumental groove and improvisation and then full symphonic classical arrangements and orchestrations.  So it's kind of bridging the gap of these two worlds in the most eloquent and groovy and original way I'd ever heard, you know.  And so, yeah, it was kind of like a very significant moment of inspiration.  I felt like this was my kind of template for a sound when I was like 13...14.  It's something I've, ever since, been striving to kind of recreate my own version of (laughs).WE     And were you playing at the time Bill'? were you playing keyboards then already?“¥eah, yes. I'd pretty much been writing since I was really young and trying to find a sound that kind of satisfied me but I was always, you know, trying to categorize myself whether I was like .. jazz - whether I was making a jazz album or a pop album or, you know, an electronic album.  And hearing this kind of made me realize that actually you know you can have all these genres together, they can work side by side and actually that's really exciting when they do you know.  Actually rather than thinking - categorizing yourself is a constructive thing - I think it can actually be limiting, you know... to kind of disregard genre as such and just sort of embrace all the music that I've come to love anyway is what I've started to do and I feel like this album was the initial inspiration of that.The other thing is, just the visual, the kind of artwork itself is just legendary because it's just him and his kind of, you know, 70's attire with a gold chain and looking like really for disco times with his sort of semi Afro on the cover and then on the back you have this kind of laboratory of keyboards.  I remember just seeing it and just like. looking like the end of the rainbow for me.. just all these incredible analogue synthesizers and a Clavinet and just.. I just think it's such a cool way of kind of identifying where all these sounds came from and it's just him in the middle of this little kind of keyboard laboratory ... yeah great stuff.”Bill Laurance: Band on the Wall, Manchester, 8th March 2016Herbie Hancock: Sunshine released 1978Bill Laurance
  • “I choose ‘Ellington at Newport’ - I wish I remember how old I was when I first got it - probably 11 or 12. I’m sure I can’t count the number of times that I’ve listened to it . It has the famous solo by Paul Gonsalves - 27 choruses on the blues on a piece called ‘Diminuendo and Crescendo in Blue’And you can hear the people really start to go nuts and by the end of it, it sounds like there’s a riot and you can feel why because the energy is just relentless.But it was my kind of introduction really to Paul Gonsalves' playing who I’ve always really really love and there’s also an amazing performance of ‘Jeeps Blues’ which features Johnny Hodges - Jeep who was always one of my favourites.For me it’s just one of those really special records that was extremely important to me at a very early time in my study of the horn and familiarity with this music - so I know every note, and I love every note.”Chris Potter: Band on the Wall, Manchester, 15th April 2017Duke Ellington: Ellington at Newport 1956   released 1956Chris Potter
  • {quote}I chose Stevie Wonder's {quote}Songs in the Key of Life{quote} record was one of the first vinyls I've ever heard in my life. And when I heard it, and actually understood what was happening.Musically, it changed my life forever. And the songs now that I listened to it - I still listen to it. And now it has a brand new meaning as a grown man than it did when I was about, you know, maybe eight years old, when I think when I first heard it and lyrically it speaks passed the time it was written - it's so important to what's going on in today's society.The production of the record is, top notch, Stevie Wonder's artistry at this time was going into another, another level, and he was, playing multiple instruments and, you know, he had some of the greatest musicians - Herbie... - so many people are part of this project and this record just means a lot because it shows what can be done when like, you know, when there's a team of people who believe in music and believe in the power of the message of it - {quote}Songs in the Key of Life{quote} stands the test of time. And it will stand the test of time as one of the greatest records ever, in my opinion.{quote}Cory Henry: Band on the Wall, Manchester, 2nd Novemeber 2016Stevie Wonder: {quote}Songs in Key of Life{quote} released 1976Cory Henry
  • “Well this is {quote}A Love Supreme{quote} by John Coltrane. And I just remember being so taken with this record when I heard it.There’s just a deep sense of expression coming from him and the whole group, you know ..its .. they’re kind of at their zenith in terms of their inter play and there’s the depth of his playing ... is just stunning. The combination of emotion and sophistication and soulfulness and rhythm. I mean it’s just everything that’s so compelling about music you know and the message of this record being, you know, so connected to the Devine. Such a passion filled record but also there's so much contemplation in it. I just sort of hear the sort of yearning and the reaching out to The Almighty. So it’s just one that I’ve listened to over and over and over again. It never fails to inspire me.”Donny McCaslin: Band on the Wall, Manchester 30th October 2018John Coltrane: {quote}A Love Supreme{quote} - released 1965Donny McCaslin
  • “Well the album that I decided to choose was one called 'Leadbelly, The Library Of Congress Recordings'.  And it was put out by Electra recordings and there is a three record set. When I picked it up it was actually in connection with Woody Guthrie ‘cos there's another companion set that's called 'Woody Guthrie The Library Of Congress Sessions'.  It has a really great charcoal drawing on the cover and so I saw the Leadbelly one.  And I'd heard about Leadbelly through err actually through 'Song To Woody' by Bob Dylan.  And so I started looking him up and when I picked up this Leadbelly record I mean - it just really gave me a whole blueprint to work within for the repertoire and the idea of the ‘Songster’.  And so like I go and buy The American Songster and it was really routed in getting to know Leadbelly’s material and so that one - it was put together by the great Lawrence Cohn - Larry Cohen - out in LA.  And he did a great job in really sectioning off Leadbelly’s repertoire in a particular way that just showed the depth and the breadth of that repertoire - specifically on the square dance stuff - really just blew me away you know, and on tour here we're doing 'Poor Howard' and that's where I first heard it was on that record there and that was just something that - I mean it just moved me - ‘cos at that time I was familiar with folk music and blues and early jazz but the idea that there was something that kind of fit between all those different styles was something that just really appealed to me, and so this album just , I mean, it gave me the whole thing.  I always call Leadbelly the 'Rosetta Stone' of black folk music and it really is - that compendium really shows that.”Dom Flemons: Band on the Wall Manchester, 11th October 2015Leadbelly: The Library Of Congress Recordings released 1976Dom FlemonsLawrence Cohn
  • “The ‘Donny Hathaway Live’ album is so special because it captures - with full concentration the thing that’s special in live performance. That communication, that exchange of audience and artist.There’s back and forth conversation, the women and the men in the audience are screaming things back to Donny and Donny’s of course responding musically - and responding incredibly musically.You can feel the emotion in the room as soon as the needle hits the record.That communication - it’s not just jazz, it’s not just soul, it’s human to human.That exchange between humanity is just beautiful to see. It happens on Donny Hathaway LIve.”Gregory Porter: Band on the Wall, Manchester, 13th June 2012Donny Hathaway: Live - released 1972Gregory Porter
  • I was very sad to hear of the passing of Jack Bruce and would like to share with you my recollections of once meeting him when he kindly agreed to be in the project and how he has been an inspiration to me from an early age.I’ve played electric bass since I was around 15 when a school friend who was having guitar lessons asked if I would like to try and get a band together.I got a Hofner Senator bass for Christmas and set about learning to play Willie Dixon tunes – twelve bar blues and rock and roll.I had no knowledge of bass except for noticing Paul McCartney only had four strings on his guitar…As my interest in the instrument grew I became aware of other players – Jack Bruce was at the forefront. Even with my very limited outlook I knew he was like nobody else and he became my bass hero with Cream.I heard that he was playing at Band on the Wall in Manchester I decided to approach him with the help of friends at the wonderful venue to invite him to be in the One LP Project.It didn’t start well, Jack’s response to the invitation was not positive – in fact he thought it a stupid idea.I wouldn’t give up and decided as he was on tour - and quite understandably perhaps he hadn't had the time to get the full information so I wrote again clarifying things and emphasising the key interview aspect.It turned out Jack’s initial impression was that it was just a photograph of him with the record.So I understood his initial reticence – particularly from the point of view of a man who had survived everything and every situation thrown at him through the sixties and beyond and wouldn’t waste his time on stupid ideas.He kindly agreed and we arranged that the shoot and interview would take place during the first set when his 'Big Blues Band' with another bassist were playing and Jack would have time to get in, relax and do the session.So I set the light up - in a white room, tested and waited for Jack to arrive, soon he came downstairs with his road manager. I introduced myself to the road manager and was told that Jack would do the shoot after the show, which was not good news in as much as I knew he would be tired and perhaps less inclined to go ahead.I had brought along a mounted print of Charles Mingus’ beautiful carved Barbary Lion bass head for him as a gift and gave it to his road manager, who was so helpful, I'm sorry I can't remember his name. He took the picture into the dressing rooms to give it to Jack who almost instantly he flew out of the room asking me in the manner of a barrister: “Who had the bass?”I was surprised at this question and replied (and quickly I can tell you) - that Sue Mingus had it and I’d photographed it after a performance in the Old Fruit Market in Glasgow.Acquitted of implied charges he thanked me and returned to his dressing room.Exciting times - I’ve no idea why he asked except perhaps in a protective way concerned about who had access to such a unique historic instrument.I stripped the light - a Bron pack and ring-flash, and went up to the concert as Jack was preparing to go on at the side of the stage, I took a few frames but was being very careful not to get in his way.After he went onstage I noticed his spare bass and I thought – now or never – I asked if I could hold Jack’s spare bass – his road manager obviously could spot that I was an absolute fan and said ok.I feel a bit silly telling you this but it's part of the story of how special - and challenging the evening was from my perspective.I held it and silently for a moment then played a couple of notes and handed it back before the spell was broken. I don’t know whether he told Jack what had happened, I think he would have smiled - actually I think he would have laughed.I took some photographs during the performance and a few minutes before the end I went to set the light up again and wait. Shortly afterwards the guys came down the stairs and Jack headed for his dressing room.After around 10 minutes I knocked on the door, really not knowing what to expect. I know it’s tough on the road and every moment you can relax is important, I wouldn’t have blamed him had he finally declined but thankfully when we spoke he was still up for it.The session is usually done in 3 – 4 minutes, I like to work fast to capture the energy as thoughts and emotions come to mind when people connect with and talk about an album that’s very dear to them.Back to Jack, we were at the last crucial stage and I felt we'd been through quite alot together in a couple of hours.I felt somehow and we might be right on the cusp of something special when Jack said: “Do you mind if I’m in disguise?” “No,” I answered, “not at all.”He was offering to do a lot more than he needed to do; he was collaborating with me to create the picture.Jack left for a moment then came back into the white room and stood just as you see him in the portrait, hands just so.The Rock Star - or maybe it was a disguise. Throughout his career he had always played the music he wanted to and if that meant being a rock star from time to time he did it.He spoke about his One LP:-{quote}It's called “L'ascension” by Olivier Messiaen who was a French composer I have loved for most of my life. Why I love his compositions is he shows that music has always existed. Humans only stole it. We borrowed it but it's in nature. It holds the universe together; ask any skylark or ask any blackbird they'll tell you.{quote}I was mesmorized when I heard this prose from a truly great artist. He had transformed what at times had seemed a hopeless quest into an unforgettable touching experience which I shall always treasure - working with a boyhood musical hero of mine who was heroic in his life’s art in so many ways.Jack Bruce: 1943 - 2014Jack Bruce© William Ellis
  • {quote}So this album is a Keith Jarret album called Facing You. It's his first solo piano album ever and obviously we know Kieth Jarrett as a solo piano God almost. You know he had this whole genre he almost created in the 70's of improvising concerts came - I feel like, from this album. But this album is essentially a series of short pieces, you know, short compositions that he composed.  I think it was released in 1972.  It's his first time with ECM and for me I feel this rush of youth from Keith Jarrett in this album and obviously Jarrett's had a very long career - but there's something about the way he plays the piano for me which has defined my own piano playing. But this rush of ideas - of possibility - of taking risks -of stretching time -of experimenting with articulation and sound but it's such a vivid album.It has such a vivid taste in my mouth - and I think yeah for me as a lover of music for flavour that is one of those flavoursome recordings I've ever heard and it stays with me.  I keep returning to it cos it's such a special one.{quote}Jacob Collier: Band on the Wall, Manchester, 30th November 2017Keith Jarrett: Facing You released 1971Jacob Collier
  • “Well, it's an album by the Pogues called ‘If I Should Fall From Grace With God' . They made some great albums - perhaps this is their best known one.  I just think it captures a band at their brilliant best.  I mean .. we were lucky to go off on tour with them and play support to them around Germany and Europe and so on.  And they were always by their very nature exciting live - hit and miss.  But I think it was Steve Lillywhite, or somebody like that,  produces it and I think they just distill a lot of what they were about.  The album manages to sound good and hold your attention but it's exciting at the same time and I think it contains some fantastic songs.  Not just, you know, MacGowan at his best with Fairy Tale of New York but I mean it starts off with, to me, one of the greatest opening songs 'If I Should Fall From Grace With God'. They used to open with and when you play sort of wild rebellious Celtic rock and folk rock like that you always want to grab the audience at the beginning.  I still try and do that you know with something like 'When I'm up and I can't get down'.  But their song just did that, I saw it - and you could hear it and it was just something about it that - it got the mosh pit going - it got everything going - it was just electric!  The tunes that they play, Irish tunes that they play - just fabulous the way that they just get it together you know.  And much as I might have envied them at certain points - and you tend to be very competitive in the music business, I valued them and I just thought it was fantastic and it's not just MacGowan because there's a Phil Chevron song called 'Thousands Are Sailing' and it's brilliant.  For ever there was a song about exile, being abroad and trying to make something of your life that was where it encapsulates that superbly.  Some fantastic lines.  It's a great song.”John Jones: Band on the Wall, Manchester, 15th January 2015The Pogues: If I Should Fall From Grace With God released 1988John Jones - Oysterband
  • “There was a woman I heard in 1959 - a woman called Elizabeth Cotten L-I-B-B-A - Libba Cotten and she played a thing called 'Wilson Rag' but also played 'Freight Train'.She was the person who gave the world Freight Train and I heard her name when when she a representative of hers sued Chaz McDavitt and Nancy Whisky because they claimed to have written it - and she wrote it and she won the law suit.  And then I heard the record and bought this record. It was on Folkways Records and it was on 'Negro Folksongs and Tune's... it was of its time!And its second track was Freight Train and I just remember listening to that - listening to it - and thinking - I want to one day play as lyrically as that - that's how I would love to play. I didn't understand until later on that she played left handed and upside down. She always wanted to play and her brother had a guitar and he wouldn't allow her to use it c'os it meant having to switch the strings all round - so she just learned to play upside down and fashioned this way of playing that was just beautiful, beautiful beautiful thing, very delicate and beautifully lyrical and I thought ‘if I can ever play like that I'll be a happy man’. And that's one of the people on my record.”The other two were singers, one of them was a Yarmouth fisherman called Sam Larner. He was about 80 when I saw him singing - he was just amazing..WE - “When was that Martin?”“When was that... I reckon it was 1958 or 1959. So I was 17 - I might have been 18 - and I just heard this old man singing and he sang a music I couldn't have dreamed of. Just absolutely beautiful stuff because English folk music - the real thing- is very, very odd, it's really odd and I kept thinking 'nobody can sing a tune like that - that's the weirdest tune I've ever heard in my entire life. It was his way with a song called 'Henry .... he didn't call it ' Henry Martin' but it was his way a Henry Martin story and it was just beautiful and I walked home thinking 'it's crazy - nobody can sing a tune like that and I was Lah lah -ing the tune to myself as I went along thinking ‘'nah.... you can't sing a tune like that' .... I didn't see the joke for 20 years you know. ( laughs).And the other one was this - he's a traveller a Scotts traveler/singer you know called Davy Stuart (Hutchison) who I used to do lots of gigs when I used to tour up in Scotland a lot - lovely bloke - he was a traveller and he was wonderfully bonkers and he played a huge piano accordion when he sang and his chording was from another planet. It was just - when I first heard it I thought it was all wrong but as I got used to it I thought it can't be done any other way - it's got to be his way or the highway. (Laughs).WE - “Created his own kind of .......MC - “Absolutely, absolutely, absolutely right. What he did was right for him and he was another one of those old men who had a passion about his singing. I hear it now and I'm just .. I still get.... I still get goose pimples - every hair on my body stands on end - I haven't got much left but what there is stands up to attention when he starts to sing. And my favourite song of his is a thing called ‘MacPherson’s Farewell’ about a fiddler who's being hanged and err, they wind the clock on a quarter of an hour because they know the reprieve is coming. So they put the clock on a quarter of an hour. So they hanged him and before they hanged him he took his fiddle and he smashed it saying 'no one else shall play this and whack! - smashed it. This bloke sings that song - absolutely beautiful - Davy Stuart.”WE - “Martin - that’s so wonderful to hear, thank you - so special.”MC - “Put those three names on that record - ‘Libba Cotten with Sam Larner and Davy Stuart’.No such album - never will be - unless I do a sensational remix! Nothing’s impossible these days!”WE - “Martin is it a big tour?”MC - “Well - it's been going on for about 54 years so far ... it's not over yet!”Martin Carthy: Band on the Wall, Manchester, 3rd July 2015Libba Cotten: Negro Folksongs and Tunes released 1957Martin CarthySam Larner
  • {quote}It turns out to be the very first album I ever bought - it was Donovan's 'What's Bin Did and What's Bin Hid' and it was his first album  - so that was very special.I'd just heard - like everybody else 'Catch The Wind' on the radio and never heard anything quite like that and I was playing a little bit of electric guitar at the time - and it (the record) just made the acoustic guitar seem more exciting, and you know - pictures of Donovan with a guitar on his back seemed to spell freedom and you could be unplugged and go anywhere you like.That's really what happened. And when I met Donovan for the first time a few months ago we played the Lunar Festival in Nick Drake's home place and I got chatting to Donovan over breakfast and said, you know - 'thanks very much Don for setting me off on the right road.{quote}Leo O'Kelly: Band on the Wall, Manchester, 20th September 2015Donovan: What's Bin Did And What's Bin Hid  released 1965Tir na nOg
  • {quote}It's an album I got many years ago by Taj Mahal and, err, it's called 'Music Fuh Ya”.and it also has a subtitle called 'Musica Para Tu’.It's a sparkly sort of collection of songs, er, Taj Mahal playing his unique style -  of guitar playing and singing but also with - keyboards adnd stuff a band that consists of marimbas and saxophones and the normal sort of band set up of bass and a lot of vocals.  But its an album I got many years ago and it's really hard to find now... nowadays.. but it exists and err I just find it very tuneful and humurous.   Like one of the songs is just the word {quote}curry{quote} repeated over and over again over this lovely riff of saxophones and marimbas playing together and steel drums.  So it's just beautiful.It was sort of outside my sphere of music really so I don't know whether it inspired me in anyway to - for my writing but I just found it a comfort you know.{quote}Sonny Condell: Band on the Wall, Manchester, 20th September 2015Taj Mahal: Music Fu Yah (Musicas Para Tu) released 1976Tir na nOg
  • {quote}Kind of Blue has obviously captured a lot of people hearts, it's a huge success in terms of getting out there and people hearing the music - and for good reason.It just has an amazing an balance of a lot of space and a lot information too. Man - 'Trane and Cannonball play their asses off on it!And of course Bill Evans and Wynton Kelly are both on the record - and Jimmy Cobb - I love getting the chance to play with him - and actually this whole band - this particular band (Four Generations of Miles) with Sonny Fortune and  Buster Williams – who are phenomenal musicians and really great people too. And of course Jimmy.Buster was telling me when Paul Chambers died he was called to play in the Wynton Kelly Trio with Jimmy, and then when Kelly died three months later....I hear a lot of stories now with this band - there's a whole bunch of history these cats run down.But this record just really knocked me out, it's really hard to pick your favourite record  - there a million of 'em, and I don't really have a favourite but this is certainly one of the greatest records ever I think and for obvious reasons.And Miles of course just played his heart out all the time - he just played from the heart and everybody on that record did. So they gave amazing performances, amazing amazing beautiful record.{quote}Mike Stern: Photographed at Band on the Wall, Manchester, March 2011 Interviewed at Birdland, New York, February 2014Miles Davis: Kind of Blue released 1959Mike Stern
  • “Miles at his height in the 50's before jazz took another turn - this album, along with the other Miles' of this period was really at the height of the elegant era of jazz: Then it went somewhere else that was equally amazing.But I really love how the combination of soulfulness and intelligence that these guys played with - 'Trane and Red Garland, Paul Chambers, Philly Joe, Cannonball and Miles - just an unbelievable group and this record is just - Philly Joe - Paul Chambers - they're just killin’ on this record.{quote}Marcus Miller: Band on the Wall, Manchester, November 2011Miles Davis: {quote}Milestones{quote} released 1958Marcus Miller
  • It is special for a couple of reasons.  When I was asked to pick my favourite record I sat at dinner – Mike Chadwick told me about it – and I sat at dinner for about an hour trying to think of it and I couldn’t come up with anything - like my singularly favourite record.  So I decided to pick like a record that was one of my favourite somethings.So this is my favourite bass record, actually, as a bass player.  I think every track, the bass playing and the key bass playing to me is like absolutely perfect, like everything that  I ever have wanted to be as a bass player, you know is on this record, both key bass and electric bass.  The other reason why it is special to me because this dude is the mentor of my mentor, Bernard Wright.So Bernard is the guy who kind of totally shaped the way that I think about music and play and Don Blackman was Bernard’s mentor, growing up together in Jamaica, Queens.  So I feel that there is kind of like, you know, maybe a little bit of that kind of lineage sentimentality, I guess, you know, about it but yeah  absolutely, just an incredible record from back to front - you got it!Michael League: Band on the Wall, Manchester, July 2013Don Blackman: Don Blackman 1982Michael League: Bandleader Snarky Puppy
  • “Well I studied when I was fifteen years of age for about three years with the Reverend Gary Davis when he was living up in the Bronx. And his old recordings were not available then – the old 78’s had not been reissued, in fact practically none of the old blues  material had been reissued.But he had made one record for Riverside which had one side of himself and the other side Pink Anderson .And then he made his first record for Prestige/Bluesville and that was called ‘Harlem Street Singer’ - and that was absolutely life changing for me. His guitar playing - his singing. And I would take that album and use it as source material for what I wanted him to teach me and then obviously he started to teach me many many other tunes that weren’t on that album.But that album was the lynch pin.”Stefan Grossman: Band on the Wall, Manchester, 12th April 2015Reverend Gary Davis: Harlem Street Singer released 1961Harlem Street Singer - bio movieStefan GrossmanAbout the album - by Matt FinkDigitally remastered by Phil De Lancie (1992, Fantasy Studios, Berkeley, California).Recorded during a three hour session on August 24, 1960, Gary Davis laid down 12 of his most impassioned spirituals for Harlem Street Singer. Starting off the session with a version of Blind Willie Johnson's {quote}If I Had My Way I'd Tear That Building Down,{quote} here renamed {quote}Samson and Delilah,{quote} Davis is in fine form. His vocals are as expressive as Ray Charles' while similar in richness to Richie Havens' work. Harlem Street Singer features his inspired country blues fingerpicking as well. Many moods color the selections, from the gentle {quote}I Belong to the Band{quote} to the mournful {quote}Death Don't Have No Mercy,{quote} only to be followed by the joyous shouting of {quote}Goin' to Sit Down on the Banks of the River.{quote} Overall, the collection is well worth the purchase and should be considered essential listening for fans of country blues or gospel.
  • {quote}My favourite recorded series of works - it's an extensive collection of beautiful beautiful music that was written in the 11th century.It was written by a woman by the name of Hildegard Von Bingen and the greatest performance of those particular works is by a vocal group called Sequentia.These are Gregorian chants and it's just  some of the most beautiful spiritual music you've ever heard.{quote}Pat Martino: Band on the Wall, Manchester, 23rd May 2013Hildegard Von BingenSequentiaPat Martino
  • “Columbia Records made a fantastic anthology which was drawn together by Harry Smith way way back - am talking about the 1950’s - '50, ’51, ’52.It contained a small sample of something like four or five dozen folk singers - real folk singers - not like me - I’m a singer of folk songs - but they’re the real ones; from allover the United States. From way down in the bayous of Florida and from up in Minnesota and it had just a snapshot kind of of each one of them.And I still remember a lot of those (sings snippet) ‘He Got Better Things For You’  which was gospel. Then you had (sings snippet) 'Fishing Blues' - wonderful songs.So - Harry Smith - 'The Anthology of American Folk Music'.”Peggy Seeger: On stage, Band on the Wall, Manchester, 18th June 2015Peggy Seeger: The Anthology of Amercian Folk Music- released 1952Peggy Seeger
  • Mr Bailey had to chose two - what can I say? I love these too.Return to Forever - Romantic WarriorWeather Report - Heavy Weather“The two favourite records I have are Heavy Weather by Weather Report and Romantic Warrior by Return to Forever, and I can’t pick one over the other. It’s not anything that complicated, those records spoke to who I really I am which is sort in between being a jazz guy and a funk guy.I love jazz but I love the groove too both those records have incredibly high level of musicianship but always nice feeling.The music after a while got real technical and a lot of guys who had a lot of technique but not the soul, the feeling and the groove.And those two bands had feeling and groove and soul. The compositions were good music – the difference between being heavy and (just) trying to be heavy.Those guys were heavy weight musicians if you look at a record like Heavy Weather none of those songs are complicated and none of them are technical - it’s just really great music.A lot of the Return to Forever music on Romantic Warrior was technically complicated but still good melodies, good music.And of course Stanley Clarke and Jaco were just phew - way beyond.I was already playing like that – playing melodically, playing solos - exploring possibilities on the instrument and Stanley and Jaco and Alphonso Johnson - who was my other favourite were doing exactly the same thing I was doing - but a thousand times better.So the combination of those guys playing bass and the great music and of course everybody else’s performances – Chick, Lenny White and Al Di Meola on the Return to Forever and then with Weather Report – Zawinul, Wayne Shorter, Manolo, Alex Acuña on the drums – just great great music.I like the exploration that goes on in jazz - but still with the groove and with some feeling and some soul and those two records for me do it more than anything else – so that’s it!”Victor Bailey: Band on the Wall, Manchester, 4th November 2011Weather Report: Heavy Weather released 1977Return to Forever: Romantic Warrior released 1976Victor Bailey
  • ABOUT
  • ONE LP PORTRAITS
    • ARTISTS of BLUE NOTE RECORDS
    • ARTISTS
      • ANGIE STIMSON
      • BRENDAN DAWES
      • CAROLINE PM JONES
      • COLIN FRASER GRAY
      • DAVID EDDINGTON
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        • RUTH PRICE
      • S - Z
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        • TOMASZ STANKO
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        • VICTOR BROX
        • VICTOR LEWIS
        • VINCE MENDOZA
        • WALT WHITMAN
        • WARREN VACHE
        • WAYLAND ROGERS
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