3 Dayz Whizkey - Southern / Blues Rock

After three critically acclaimed studio albums comes Live And Let Live the first live album by 3 Dayz Whizkey. Founded in the true spirit of Rock and Roll, this five-piece band has established their own distinctive sound, blending Blues and Rock with catchy songwriting and overdriven guitar riffs. A high-octane brew they've already performed at hundreds of energetic live shows, transforming every venue into a roadhouse. Warren Huart at Spitfire Studios, Los Angeles, utilizing only the finest of vintage analogue equipment, mixed the three studio bonus-tracks. Respecting the past while looking into the future, 3 Dayz Whizkey passionately bridge the gap between the old masters and Southern Blues-Rock for the next generation. Formed in 2012, 3 Dayz Whizkey soon developed into a Blues-driven Southern Rock band. Their debut album The Devil And The Deep Blue Sea was released that same year. The critically acclaimed follow-up Black Water came in 2013 and was nominated for the prestigious Preis der Deutschen Schallplattenkritik, a prize comparable to the Grammy Awards. The recognition allowed them to embark on a massive 70-day nationwide tour, which in turn reinforced their status as a top live act and lead to three national Rock and Pop Awards in the category Best Rhythm and Blues Band. Throughout 2014 the band kept on touring on a near-permanent basis, playing venues, festivals, and sharing the stage with the likes of Henrik Freischlader, Pat Travers, Saxon, Michael Schenker, King King, to name but a handful. They did however take time off to record Steam. Their third album, a 17-track Blues-Rock monument, was recorded in true 70s fashion, live in the studio with hardly any overdubs nor technical trickery. An organic blend of Rock, Southern Rock, and Blues, this was a giant leap forward in the career of 3 Dayz Whiskey, earning them yet another German Rock and Pop Award, followed by a tour which ran all the way into 2015.

Live And Let Live (2016)

Aardvark - Heavy Prog

The group Aardvark remains one of those numerous bands who released a single album in the early seventies and subsequently sunk without a trace. However the band still retain a certain amount of interest amongst progressive rock enthusiasts because of their particular heavy styled progressive rock that was completely keyboard based with the band making do without the use of any guitar. 

The band itself was a studio band with most compositions entrusted to the hand of Dave Skillin and were based in the Midlands. Strangely enough, though the band dispensed with any guitars, they had trouble with the recruitment of a keyboardists and one could say that they were mainly a studio band with very little live dates to their name. 

Because of their very brief history, very little can be said about the band and it is their album that speaks volumes for what they were all about. However, there are a couple of interesting anecdotes related to this band and for those musos who try to connect musicians and bands through the ages, Aardvark had a number of musicians who would later go on to make names for themselves with various other outfits. 

The album was released in 1970 on the Deram Nova label in both mono and stereo versions as (S)DN 17 with a value on today's market of 50.00 British sterling. Though titled Aardvark, it is also known as Put It In Your Pipe And Smoke It. In all probability the title was withdrawn because of its obvious drug references, with the title track reduced to just Put It In You Pipe. 

Steve Milliner previously played keyboards with Black Cat Bones, a London based blues-rock based band who only released one album during their brief tenure together. The band is rather more well-known because both Paul Kossof and Simon Kirke played in the band before leaving to form legendary band, Free. 

Dave Skillin would eventually join prog-band Home, another Forgotten Sons candidate whilst I could not find anything related to Frank Clark. Stan Aldous is also known for the work he had done previously with garage band Odyssey. 

Throughout the brief Aardvark history, the band also went through a number of keyboardists. Amongst these one finds Paddy Coulter, Dave Watts, who would later play with Jackson Heights and Affinity and the late Peter John Wood. Wood would go on to play with Quiver, The Sutherland Brothers, Al Stewart and Natural Gas. 

The band Aardvark are also involved in one of the myths of British psychedelia. The group Tintern Abbey only released one single throughout their recording span, Beeside/Vacuum Cleaner, for Deram (DM 164) in 1967. Considered as one of the most collectable items from this particular musical period, it has long been rumoured that the band had recorded a second single, How Do I Feel Today which was never released yet which was supposedly circulated amongst collectors. 

In fact the single was never recorded and the name of the single was actually an unissued Aardvark single that was meant to be released on independent label as Rubble 12. However the tapes were lost by Deram and the band used the name of the Aardvark title, created a fictitious cover and thus deceived countless numbers of psychedelic fans all over the world!

by Nigel Camilleri

(http://rockasteria.blogspot.com.br/2012/09/aardvark-aardvark-1970-uk-great-heavy.html)

Aardvark (1970)

A. K. Salim - Jazz

Ahmad Khatab Salim or Ahmad Kharab Salim (born Albert Atkinson on July 28, 1922) was an American jazz composer, and arranger. Salim attended DuSable High School with Bennie Green, Dorothy Donegan and Gene Ammons and played alto saxophone in King Kolax's band from 1938 to 1939 before working with Jimmy Raschel and Tiny Bradshaw. He stopped playing after a jaw injury in 1943 and arranged music for the big bands of Lucky Millinder, Cab Calloway, Jimmy Lunceford, Lionel Hampton and Count Basie who recorded his composition "Normania" in 1949, and recorded it again in 1952 as "Blee Blop Blues".[2] Salim left music for a career in real estate from 1949 to 1956 but returned to write and arrange Latin jazz for Tito Puente, Machito, Dizzy Gillespie and others. Salim released three albums under his leadership on Savoy Records in the late 1950s and recorded a further album for Prestige Records in 1964.

A. K. Salim - Savoy Recordings

21st Century Schizoid Band

21st Century Schizoid Band were a King Crimson alumnus group formed in 2002. The name derives from the famous song "21st Century Schizoid Man" from the first King Crimson album, In the Court of the Crimson King. The initial band featured Mel Collins on saxophones, flute and keyboards, Michael Giles on drums, Peter Giles on bass, Ian McDonald on alto saxophone, flute and keyboards, and Jakko Jakszyk on guitar and vocals. All but Jakszyk had previously been members of King Crimson in its early years. Ian Wallace, another former Crimson member from that same period, replaced Mike Giles in early 2003 after the band's Japanese tour. Further international touring followed in 2003/04.

The band played live with sets concentrating on compositions from King Crimson's first four albums and other works from the band members' back catalogues, including McDonald and Giles. They have released four albums, mostly of live work but including newer and/or recent compositions, such as Ian McDonald's "Let There Be Light" (from his solo album Driver's Eyes) and "Catley's Ashes," a Jakszyk instrumental which later appeared on his solo album The Bruised Romantic Glee Club (2006). The band has been inactive since 2004; with members based in different countries, touring proved to be logistically and financially difficult. The possibility of performing again in 2005 was considered following offers from festivals, possibly with Guy Evans (of Van der Graaf Generator) on drums to replace Wallace who had other commitments, but the idea was abandoned. Wallace's death in February 2007 would seem to have closed the lid on the band for good.

Jakszyk and Collins went on to record as a trio with founding Crimson guitarist Robert Fripp (and with rhythmic support from fellow members Tony Levin and Gavin Harrison) on the Scarcity of Miracles album in 2011. This was followed in 2013 by the announcement of a new King Crimson formation including all five, plus two additional members.

Live in West Hollywood (2004)

01.A Man, a City

02.Cat Food  

03.Let there be Light

04.Cirkus 

05.Cadence and Cascade

06.The Court of the Crimson King

07.Ladies of the Road

08.Catley's Ashes 

09.Formentera Lady

10.Sailor's Tale 

11.I Talk to the Wind / Band Introduction

12.Epitaph 

13.21st Century Schizoid Man 

14.Starless

The Band:

Ian McDonald - Alto Sax, Flute, Keys, Vocal and Percussion

Peter Giles - Bass And Vocal

Mel Collins - Baritone, Tenor and Alto Sax, Flute, Keys and Vocal

Ian Wallace - Drums and Vocal 

Jakko Jakszyk - Vocal, Guitar, Flute and Keys

Spids Nøgenhat - Psychedelic rock

Spids Nøgenhat é uma banda psicodélica/acid rock dinamarquesa. O grupo foi formado originalmente como um projeto paralelo em 1998 por Henrik ”Hobbitten” Klitstrøm,  Morten ”Aron” Larsen e Lorenzo Woodrose. A banda lançou um álbum em 2001 e, em seguida, entrou em hibernação. Em 2009 a banda foi restaurado com Anders ”Moody Guru” Skjødt og Anders ”Fuzz Daddy” Grøn.

Spids Nøgenhat - 2013 - Kommer Med Fred

A Witness - Post-Punk/Indie Rock

A Witness are an English post-punk/indie rock band who were originally active in the mid-1980s alternative music scene. Their first EP Loudhailer Songs and début album I am John's Pancreas brought them to the attention of BBC Radio disc jockey John Peel, for whom they recorded four sessions. Their career was brought to a halt with the death of guitarist Rick Aitken in 1989. Founder member and songwriter Vince Hunt revived the band with a new line-up for a series of UK-wide dates in 2014 marking the 25th anniversary of Aitken's death, and the band continues to play live.

A Witness - Threaphurst Lane

A New Place to Live - Symphonic Progressive Rock

Um álbum bem obscuro, com poucas informações. Direto do Canadá, um som meio Prog, meio Krautrock. Encontrei apenas este comentário abaixo...

Yes, this one's credited to A New Place To Live, but for all intents and purposes it's a Robert John Gallo release with studio backing from singer Joey Carbon and guitarist Richard Zito of Sounds of Modification fame.   As an added bonus, radio/television personality John Zacherly  recited the poetic segments.   Written, arranged, conducted, and produced by Gallo 1972's "A New Place To Live" was also  released on Gallo's Mandala label.  Quite an industrious guy !!!  A concept piece seemingly based on American psychic Edgar Cayce and a bizarre mixture of ecological concerns, history, religion, social commentary, and probably way too many illicit substances, the album sported one of the strangest plotlines I've come across. To quote the liner notes:  "Due to recent occurrences in the world, I would like to bring your attention to my concept album " A New Place To Live".  Written by Robert John Gallo more than two year ago.  Its meaning and significance take on a frightening yet truthful aspect now that the earthquakes and other disturbing occurrence of nature have begun."  Some of you will swear I'm makin' this stuff up.

RDTEN1 (http://rateyourmusic.com/release/album/a_new_place_to_live/a_new_place_to_live/)

A New Place to Live (1972)

Conductor, Producer, Written-By – Bob John Gallo* (tracks: A1-A5,B1,B2,B4)

Guitar – Richard Zito*

Narrator [Poems Recited] – John Zacherly*

Vocals – Joey Carbone

A La Ping Pong (Klaus Bloch) - Krautrock

Very rare and very experimental early 80s electronics from Germany in Kraftwerk's style. Apart from being Klaus Bloch's project name, the 'A La Ping Pong' phrase was what he called his tape delay system, which was in essence his variation on the Frippertronic system. His two albums as such bridged ambient and Krautrock instrumental styles akin to Fripp & Eno, Harmonia, etc..

"Hiding behind the moniker of 'A La Ping Pong', Klaus Bloch was a talented amateur guitarist who broke on to the independent scene in a small way in the early '80s. Apart from being the project name, the 'A La Ping Pong' phrase was what he called his tape delay system, which was in essence his variation on the Frippertronic system. Klaus Bloch went on to make two very different albums. The first [Phase I] featured a highly inventive music featuring more recognisably 'Frippertronic' style guitar looping and delays, with multi-tracking and electronics, often comparable to Manuel Göttsching's echo and delay guitar work, early Heldon, or Camera Obscura. Then, in contrast, Phase II took a diversion to Kraftwerk styled electro-pop blending with Frippian touches" 

Hardy Kukuk (synthesizer, sequencer), Hucky Thoss (drums), Karsten Recke (electric piano, sequencer, electronic drums), Matthias Romann (bass, gong, 12-string acoustic guitar), Thomas Wasiliszczak (guitar, gong), Klaus Bloch (guitar, bass, [Ping Pong System] tape loops, percussion, vocals)

Extrem Musik A La Ping Pong Phase 1 (1980)

Phase II - Go Go Pongs (1981)

A Fleeting Glance - Rare Psych Folk Rock

One of the most astonishing British private pressing rarities, only two copies have surfaced of this 1970 concept album. Telling the story of a woman's life from her own conception to giving birth, the LP was put together by a variety of musicians at a social club, and allegedly includes an uncredited appearance by Billy Fury. Linked by narration and sound effects, the music runs the gamut from heavy space-rock jamming (including a snatch of 'Interstellar Overdrive') to folk rock (an acoustic cover of 'Light My Fire' & a stunning version of 'Watch The Stars') avante-garde choirs, krautrock-styled interludes and even trad jazz. The result is among the trippiest albums I have ever heard, comparable only to Jumble Lane in terms of eccentricity, although the music is infinitely better, with a strong Pink Floyd spacy edge. Indeed, had Syd Barrett remained with the Floyd, one could well imagine 'Dark Side of The Moon' might have sounded thus."

http://www.2ozofplastic.com/

A Fleeting Glance (1970)

1860 Band - Progressive Funk

The 1860 band was a New Zealand group who took their name from the establishment they held residency at.(The 1860 Tavern in Wellington). Their sole LP released in 1978. Formed by Rodger Fox (The Rodger Fox Big Band, Quincy Conserve) the band also included Dave Pearson and other Quincy Conserve members Peter Blake, Billy Brown, Geoff Culverwell and Martin Winch (Espresso Guitar). Quincy Conserve Group recorded from 1968 to 1975. Rodger Fox is a New Zealand jazz trombonist, big band leader, jazz educator, arranger and producer. 

Group Members: Rodger Fox (Trombone) - Martin Winch (Guitar) - Geoff Culverwell

(Trumpet, Flugal, Vocals) - Peter Blake (Keys) - Billy Brown (Drums) - Rob Winch (Bass) 

1860 Band (1978)

145th Street Deluxe Blues Band

145th Street is a five-piece blues band that plays pubs, clubs, casinos, and festivals around San Diego. The group was founded in 2002 by singer/harpist Steve Bulger, aka Stevie B, and Marco Marrewa on guitar as the Bossmen.

“We added bass and drums, and all of the sudden, we had a band,” says Bulger. The winning lineup includes Mike Bullard on bass and a sax player from New Orleans by way of Southeast San Diego named Walter Gentry. The sax man’s dad owned a barbershop in Southeast. When he died, Walter came home and worked the shop for a while. (“He doesn’t cut hair anymore,” says Bulger.)

While Gentry was playing New Orleans gigs, he met Tony Peterson, a drummer who would also come to San Diego and eventually join 145th Street.

Their debut CD, 145th Street Deluxe Blues Band, was nominated Best Blues Album at the 2005 San Diego Music Awards. Joe Walsh heard a copy and liked it. “He said it was pretty fucking good,” says Bulger.

The group has opened for acts such as B.B. King, Bobby "Blue" Bland, Charlie Musselwhite, Tommy Castro, and others. They’ve had a residency at Patrick’s II in the Gaslamp for years and Bulger says they’ve played Humphrey’s Backstage, the House of Blues, 4th&B, “and all the local festivals.”

But 145th Street has otherwise been off the local radar. Why? “That’s a good question.” Bulger puts the blame on lack of self-promotion. “When people hear us, they say, ‘Holy shit, are you guys from around here?’”

Bulger, who lives in Serra Mesa and is a distant relative of ex-mobster Whitey Bulger, explains the band’s name: one-four-five describes the chord changes in the 12-bar blues. “We added ‘Street’ because that’s where everything happens.” They carry an old-school wallop redolent of the 1960s, when rock bands were romancing traditional blues. “We don’t play the usual blues covers.”

In late 2011, the band won a series of elimination rounds to end up as Blues Lovers United of San Diego’s (BLUSD) designated hometown choice for the International Blues Challenge in Memphis at the end of January, 2012. The International Blues Challenge is the world’s largest battle of the blues bands. It takes place over five days. More than 748 musicians from 13 countries compete. Oceanside’s Nathan James & Ben Hernandez won the solo/duo title in 2007.

145th Street Deluxe Blues Band (2005 )

The Black Keys by Dead

21 DE NOV DE 2012

The Black Keys "Rubber Factory" by Lucy

Se tem uma coisa que gosto é de uma idéia.

Acho idéias fantásticas, outras nem tanto, uma vez em outra vida alguém me disse que as grandes idéias acabam sempre no mesmo lugar......no vaso!!!

Credo, mas é verdade e se não forem aproveitadas pra nada servem.

Já tive idéias que iriam revolucionar o mundo, mas como não as apliquei a esta altura nem sei mais o que ou pra que serviriam e o mundo escapou ileso.

Qdo abri o Som Mutante, o primeiro nome seria "Lar de Maravilhas", numa alusão ao Netinho e seu Casa das Máquinas e tb ao que considero isso aqui, uma fábrica de idéias, um lar pra maravilhas que ficariam guardadas se não viessem pra cá, afinal nossos colaboradores são exclusivos e especiais.

Nada que fosse menos que isso pra mim não serve.

Sempre quis o melhor, e luto pra isso, e sou consciente que não atinjo essa perfeição mas sempre a persigo prq é o mínimo que exijo de mim e cada postagem é uma forma de vê-la por perto...umas dão um puta ibope,rs

Outras nem tanto, mas to me lixando prq estão aqui até sei lá qdo, mas fizeram parte da história de muita gente e da minha principalmente, o que me deixa extremamente satisfeito por ter conseguido alcançar.

Nessa época que começam os festejos de fim de ano (é já começaram sim, o congresso tá tentando taxar o 14º e o 15º afinal são tributáveis, mas tá difícil decidir o que fazer com o nosso dinheiro e eu nem 10º tenho,rs) e muitos esperam melhoras, desejam um futuro agradável no mínimo e lutam com suas vidas como sempre dia após dia.

Não espero nada.

Já tive, tenho e luto o meu reme reme pra ir em busca do que quero, do meu lar de maravilhas ao som mutante dessa loucura que se chama internet, e se já chegamos até aqui me sinto realmente satisfeito, prq chegamos juntos.

Até qdo?

Até a próxima curva da estrada........

Akron, cidade de mais ou menos 200 mil habitantes na região dos Grandes Lagos, no Estado americano de Ohio, já foi conhecida como a capital mundial da borracha -- a Goodyear ainda é um dos seus dez maiores empregadores.

As manchetes dão conta de uma reputação pouco lisonjeira de violência e centros de distribuição de metanfetamina.

Mas de Akron também saíram alguns dos maiores craques da NBA, entre eles LeBron James, e uma das melhores bandas de blues rock que uma garagem americana já produziu, The Black Keys.

A banda é um power duo: Dan Auerbach (guitarra e vocais) e Patrick Carney (bateria).

Este "Rubber Factory", de 2004, é o terceiro disco deles. 

E leva o nome (fábrica de borracha) porque foi gravado no andar de cima de uma antiga fábrica de pneus que eles alugaram por US$ 500,00 o mês.

Compraram um console de mixagem no eBay, a gravadora (Fat Possum, do Mississippi) enviou fitas recicladas e eles meteram a mão na massa, sem acústica e sem poder abrir as janelas mesmo com um calor de lascar.

Os dois primeiros discos tinham sido gravados no porão da casa do baterista. Mas depois que o dono vendeu o prédio, eles ficaram sem ter onde produzir, se viraram como deu.

Mesmo no perrengue, "Rubber Factory" foi o disco de virada que fez o blues rock da banda conhecido fora de Ohio e cercanias, levando o duo a tocar em festivais importantes como Coachella e Lollapalooza.

Foi o primeiro disco deles a alçar posições na Billboard e várias músicas foram usadas em trilhas sonoras de filmes, campanhas publicitárias e videogames. "Alguém sabe a música que toca no comercial da Victoria's Secret?" Essas coisas caem na internet e se espalham como fogo. É como as coisas acontecem no século 21.

"Rubber Factory" voltou às paradas agora em 2012 (em posição melhor que à época de seu lançamento), impulsionado pelo sucesso do mais recente "El Camino", lançado no ano passado.

Já são mais de 2 milhões de discos vendidos só nos Estados Unidos, dão conta as estatísticas mais recentes.

O Black Keys já gravou sete discos de estúdio.

Em todos, eu consigo ouvir aquele "raw sound" do início.

Vale a pena ouvir desde as origens e conferir o que tem no YouTube, entre festivais e gigs live in the studio para a BBC e outras rádios. Para dois caras da poeirenta Akron, Dan e Patrick construíram, ao longo de uma década, um respeitável arsenal de blues rock.

Como bem notou a New Yorker, que considerou "Rubber Factory" um dos melhores discos de 2004, além do som intoxicante, as letras são fabulosas.

Você pode ser tão ruim
Não consigo ver um meio termo
A gente entende para que serve o sol
Quando as luzes se apagam

"When the lights go out"
http://www.youtube.com/watch?v=h6pg-srf0Xs

Você tem dores como um adicto
Estou te deixando
Você tem dores como um adicto
10 da manhã, automático
"10 A.M. automatic"

Enjoy!!!!!!!!!!!

LINK

3rd Force - Smooth Jazz

3rd Force is a smooth jazz band on the EMI Higher Octave label, consisting of trio William Aura, Craig Dobbin, and Alain Eskinasi.[1] Founded in 1994 by William Aura after a prolific solo career in new-age music, he, Dobbin, and Eskinasi immediately set out working on their self-titled debut album, 3rd Force which was released that same year. After the album's commercial success, the trio continued the studio project with their next release, Force of Nature in 1995. This album garnered an even bigger success than their debut spawning the popular single Here Comes the Night featuring guest guitarist Peter White. After a two-year break, 3rd Force released their 3rd album Vital Force in 1997. The album gained 3rd Force's second hit single You Gotta Be Real once again featuring guest guitarist Peter White. The 4th album, called Force Field, was released in 1999 resulting in another of the band's singles Revelation of the Heart, with guest saxophonist Paul Taylor. In 2000 Higher Octave released a best-of compilation of 3rd Force, entitled Collective Force, which featured the band's best hits in both radio and fan favorites,along with two new songs, Dance With Me and Sweet Surrender. 2002 saw the release of their 5th studio album, Gentle Force, which showcased a mellower jazz sound than the band's usual output. Three years later,3rd Force released Driving Force in 2005. Their latest release showcases a completely opposite style than the previous Gentle Force album which was almost lounge-style mellow jazz in sound. Driving Force, however, features a funky lively jazz mix never before heard in 3rd Force's music. The most popular singles from their latest release are Believe In Me, featuring the trumpeter Greg Adams, keyboardist Jeff Lorber, and guitarist Brian Hughes, and You Got It, featuring guitarist Marc Antoine. After more than a 10 year hiatus, 3rd Force reunited to release "Global Force" in 2016. Throughout the course of their career, 3rd Force has performed with numerous guest musicians including guitarists Peter White, Marc Antoine, Acoustic Alchemy, Grant Geissman, Brian Hughes, Craig Chaquico, Earl Klugh, Shahin Shahida of Shahin and Sepehr, and saxophonists Paul Taylor, Tom Scott, Dave Koz, Eric Marienthal, Jimmy Sommers, Bryan Savage, Richard Elliot, Boney James, Eric Darius, Ozzie Ahlers, Euge Groove, Rick Braun, and Lawson Rollins.

3rd Force - Vital Force (1997)

101 North (with George Duke)

In 1987, George Duke formed a R&B group called "101 North", whith Lynn Davis and the big fellows George Duke Band members Josie James, Napoleon Murphy Brock, and Carl Carwell (of Earth, Wind, and Fire). The group released their self-titled debut album in August 1987.

 101 North (1988)

George Duke (Synthesizer)

Paulinho Da Costa (Percussion)

Byron Miller (Bass)

John Robinson, Leon "Ndugu" Chancler (Drums)

Dawilli Gonga (Keyboards)

Carl Carlwell, Ellis Hall, Josie James (Lead Vocals)

Carl Carwell, George Duke, Josie James, Lynn Davis, Napoleon Murphy Brock (Backing Vocals).

The Keyboard Circle - First Class JAZZ!

In 1976, the pianists Rob Franken en Jan Huydts both lived in Soest (Netherlands). They hung out together a lot, and shared their love for newly developed key instruments. Both of them were Fender Rhodes electric piano pioneers. Rob Franken's piano virtuosity is to be recognized on as many as four hundred records. In 1976, he had his own trio and performed with the Dutch funk fusion formation ‘Scope’ from the city of Zwolle. In this band, he met with drummer Henk Zomer, whom he was very impressed with.

At the end of 1975, Rob Franken came to the idea to start a new formation based on the combination of different consonance colors by combining Fender pianos with synthesizers, string cabinets and other electronic key instruments. Jan Huydts, who was experienced in making experimental music through his formations ‘Basic Train’ and ‘Third Eye’, thought this was a good idea. They decided to arrange their key instruments in a circle during their performances and so the ‘The Keyboard Circle’ was born.

The two musicians composed their own repertoire out of their own compositions and music covers. For example, on this record we find the Scopesong ‘Tamotua’, Kenny Dorham’s ‘Blue Bossa’ and Eddie Henderson’s ‘The Kumquat Kids’. They decided to play the bass lines themselves, one by one, on a bass synth, while the other was playing his solo. The drums of Henk Zomer, clearly inspired by Jack DeJonetthe and Tony Williams, became the driving force.

Soon after a few rehearsals the first performances took place. One of these first performances is to be found on this CD, recorded on February 8, 1976 in youth centre ‘De Trucker’ in Pijnacker, near The Hague. Han Reiziger, producer for VPRO radio had a craze for special jazz music and was not afraid to show his admiration for Rob Franken's work. He is the instigator of this special recording, that for reasons that aren't clear were never broadcasted. Whilst researching for a radio documentary the maker ran up against these tapes, which everyone had forgotten existed.

To begin with, the soundscape that reveals itself to you when listening to ‘The Keyboard Circle’ is a unique product of its time. Grounded in the mid seventies it’s no less than the works of Herbie Hancock and Chick Corea of those days. Exuberant swing and virtuous solos will find their way through your core. At the same time, the music is subdued in a typically Dutch manner. Most importantly, this music has its own sound, which can't compare to anything you’ve ever heard before.

Unfortunately, ‘The Keyboard Circle’ died at a young age. While Franken was Jean ‘Toots’ Thielemans' regular pianist, he had multiple radio and television performances, taught at the conservatory and above all, he was one of the most frequently programmed Dutch musicians during the seventies. Because of the immense amount of gigs Rob Franken was offered, performances were frequently cancelled at short notice. For this reason, Jan Huydts decided to quit after a while. This became irreversible by the sudden death of Rob Franken in 1983. Unfortunately, no record was ever released. Now this time has come. By listening to the CD you finally have the chance to get to know ‘The Keyboard Circle’. This rectification in the history of Dutch jazz music was a necessary one. And so: the circle is round. 

https://www.reddit.com/r/listentothis/comments/4a3a64/the_keyboard_circle_the_kumquat_kids_jazz_1976/

The Keyboard Circle (1976)