His Band and the Street Choir (also referred to as Street Choir)[1] is the fourth studio album by Northern Irish singer-songwriter Van Morrison. It was released on 15 November 1970 by Warner Bros. Records. Originally titled Virgo's Fool, Street Choir was renamed by Warner Bros. without Morrison's consent. Recording began in early 1970 with a demo session in a small church in Woodstock, New York.
Morrison booked the A&R Studios on 46th Street in New York City in
the second quarter of 1970 to produce two sessions of songs that were
released on His Band and the Street Choir.
From the album Street Choir
with
John Platania - Guitar .Janet Planet,Ellen Schroer,Martha Velez - Vocals
In the album closer, "Street Choir", Morrison repeats the questions,
"Why did you let me down / And now that things are better off / Why do
you come around". Because of these lyrics Heylin wrote that "such songs
[as "Street Choir"] were spawned by an increasing awareness of just how
badly ripped off he had been". Ken Brooks has said that the lyric "Move On Up" is another reference on the album to a Curtis Mayfield song. The track prominently features Keith Johnson's trumpet and Morrison's harmonica. Writer Brian Hinton described the lyrics as perversely bitter,
while Jon Landau wrote that "Street Choir" was one of the "two or three
finest songs" of Morrison's career because of its "musical and poetic
energy"
Neerkant is de naam van het dorpje in de Brabantse Peel, waar Ernst Jansz en zijn muziekvrienden van CCC Inc. in 1970 een commune beginnen. Zeven jongens met gitaren en lang haar, hippies uit Amsterdam met hun vriendinnen, kinderen en huisdieren. Ze hopen met hun idealen de wereld te verbeteren. Na een paar jaar valt de commune echter uit elkaar en de bandleden verhuizen een voor een weer terug naar de Randstad. Alleen Jansz is tot op de dag van vandaag in de verbouwde boerderij in Neerkant blijven wonen. Zoals hij in zijn nieuwe single zingt een hippie is hij misschien nog steeds.
‘Ik herinner mij het huis, een boerderij in Brabant. Wij reizigers uit Holland, wij voelden ons er thuis. Zo kwamen wij er aan eind zestiger jaren, wat jongens met gitaren, voorgoed van huis gegaan.‘
Na CCC Inc. begint Ernst Jansz diverse bands: Slumberlandband (1975), Rumbones (1977) en vervolgens in 1978 Doe Maar, dat wegens teveel succes in 1984 wordt opgeheven. In 1976 toert Jansz voor het eerst met Boudewijn de Groot en in de jaren daarna zal hij nog regelmatig als begeleider, bandleider en producer met Boudewijn de Groot samenwerken. Ook met Bram Vermeulen gaat Jansz op tournee en ook voor hem produceert hij platen.
CCC inc.
1970 - To Our Grandchildren
1971 - Watching The Evening Sun
1973 - Castle In Spain
1975 - CCC Forever
1984 - Van Beusekom
1990 - Speed & Intensity
2000 - Jan
2007 - 1967-2007 Verzameld Werk. Door Ernst Jansz samengesteld.
2012 - Jack owned a house (CCC volume XIII 2012)
Slumberlandband
1975 - Slumberlandband
Doe Maar
Studioalbums
1979 - Doe Maar
1981 - Skunk
1982 - Doris Day & Andere Stukken
1983 - 4us
2000 - Klaar
2012 - Versies/De Limmen Tapes
Dub-album
1982 - Doe de Dub (Dub-versie van 'Doris Day & andere stukken')
Live-albums
1983 - Lijf aan Lijf
1995 - Het Afscheidsconcert (ook video)
2000 - Hees van Ahoy (ook dvd)
2012 - Doe Maar Symphonica in Rosso (ook dvd)
Verzameld werk
2012 - De doos van Doe Maar, samengesteld door Ernst Jansz.
De Gevestigde Orde
De
Gevestigde Orde was een eenmalig project van Stichting Popmuziek
Nederland waarbij Joost Belinfante, leden van Doe Maar (maar zonder
Henny Vrienten) en Bram Vermeulen & de Toekomst een
gelegenheidsformatie vormden.
1983 - De Gevestigde Orde (live-lp)
Rienne Va Plus
Ernst Jansz en Jan Hendriks vormden na het opheffen van Doe Maar een trio met zangeres Rieany (Rienne) Janssen.
1990 - Rienne Va Plus
1992 - Money Makes Millionaires
Producer
1984 - Drie Heren - Ik Zag Drie Heren...
1985 - Blue Murder - La La Love
1985 - Claw Boys Claw - Indian Wallpaper
1986 - Blue Murder - Talk Talk Talk
1986 - Blue Murder - Stalking The Deerpark
1991 - Bram Vermeulen - Vriend En Vijand
1994 - Bram Vermeulen - Achter Mijn Ogen
1995 - Bram Vermeulen - Tijd/Vrije Tijd
1997 - Bram Vermeulen - Polonaise
1997 - Boudewijn de Groot - Een hele tour: Gent
1998 - Bram Vermeulen - Allemaal
2004 - Boudewijn de Groot - Eiland In De Verte
2005 - Boudewijn de Groot - Een Avond in Brussel, cd/dvd
2007 - Boudewijn de Groot - Lage Landen Tour, cd/dvd
Bibliografie
1983 - Gideons Droom (roman) (Speciale uitgebreide heruitgave verscheen in november 2013)
1985 - De Overkant (roman) (Speciale uitgebreide heruitgave verscheen in 2009)
2006 - Molenbeekstraat (roman)
2010 - Dromen van Johanna (brieven aan een vriend - vertalingen teksten Bob Dylan)
Vinson was born in Houston, Texas. He was a member of the horn section in Milton Larkin's orchestra, which he joined in the late 1930s. At various times, he sat next to Arnett Cobb, Illinois Jacquet, and Tom Archia, while other members of the band included Cedric Haywood and Wild Bill Davis. After exiting Larkin's employment in 1941, Vinson picked up a few vocal tricks while on tour with bluesman Big Bill Broonzy. He then moved to New York and joined the Cootie Williams
Orchestra from 1942 to 1945, recording such tunes as "Cherry Red".
Vinson struck out on his own in 1945, forming his own large band,
signing with Mercury Records, and enjoying a double-sidedhit in 1947 with his R&B chart-topper "Old Maid Boogie", and the song that would prove to be his signature number, "Kidney Stew Blues".[3]
Vinson's jazz leanings were probably heightened during 1952-1953, when his band included a young John Coltrane. In the late 1960s, touring in a strict jazz capacity with Jay McShann, Vinson's career took an upswing. In the early 1960s Vinson moved to Los Angeles and began working with the Johnny Otis Revue. A 1970 appearance at the Monterey Jazz Festival with Otis spurred a bit of a comeback for Vinson. Throughout the 1970s he worked high-profile blues and jazz sessions for Count Basie, Otis, Roomful of Blues, Arnett Cobb, and Buddy Tate. He also composed steadily, including "Tune Up" and "Four", both of which have been incorrectly attributed to Miles Davis.[4]
The aforementioned single-sourced claim is contradicted by the many
times Miles Davis has been credited as composer on numerous recordings.
Vinson recorded extensively during his fifty-odd year career and
performed regularly in Europe and the U.S. He died in 1988, from a heart attack while undergoing chemotherapy,[5] in Los Angeles, California.(Wikipedia)
Eddie "Cleanhead" Vinson (born Edward L. Vinson Jr., December 18, 1917 - July 2, 1988)
` The Theater At Madison Square Garden NYC, NY January 18, 1998
Georgie Fame, Geoff Dunn, Matt Holland, Ronnie Johnson, Nicky Scott,
Pee Wee Ellis, Liam Bradley, Brian Kennedy
"A Change Is Gonna Come" is a song by American recording artistSam Cooke. It initially appeared on Cooke's album Ain't That Good News, released March 1, 1964 by RCA Victor; a slightly edited version of the recording was released as a single on December 22, 1964. Produced by Hugo & Luigi and arranged and conducted by René Hall, the song was the B-side to "Shake".
The song was inspired by various personal events in Cooke's life,
most prominently an event in which he and his entourage were turned
away from a whites-only motel in Louisiana. Cooke felt compelled to write a song that spoke to his struggle and of those around him, and that pertained to the Civil Rights Movement and African Americans. The song contains the refrain, "It's been a long time coming, but I know a change is gonna come."
Though only a modest hit for Cooke in comparison with his
previous singles, "A Change Is Gonna Come" is widely considered Cooke's
best composition and has been voted among the best songs ever released
by various publications. In 2007, the song was selected for preservation
in the Library of Congress, with the National Recording Registry deeming the song "culturally, historically, or aesthetically important.
On this day 51 years ago, The Beatles made their first live American television appearance on The Ed Sullivan Show.
At 8 o’clock on February 9th 1964, America tuned in to CBS and The Ed
Sullivan Show. But this night was different. 73 million people gathered
in front their TV sets to see The Beatles’ first live performance on
U.S. soil. The television rating was a record-setting 45.3, meaning
that 45.3% of households with televisions were watching.
At last, John, Paul, George and Ringo came onto the stage, opening with “All My Loving” to ear-splitting screeches from teenaged girls in the audience. The Beatles followed that hit with Paul McCartney taking the spotlight to sing, “Till There Was You.” During the song, a camera cut to each member of the band and introduced him to the audience by displaying his first name on screen.
All My Lovin (February 9th 1964)
A week later, the February 24th issue of Newsweek magazine’s cover
featured a picture of The Beatles with the title, “Bugs About Beatles.”
Inside, the review of The Beatles debut on The Ed Sullivan Show began,
“Visually, they are a nightmare: tight, dandified, Edwardian/Beatnik
suits and great pudding bowls of hair. Musically, they are a
near-disaster: guitars and drums slamming out a merciless beat that does
away with secondary rhythms, harmony, and melody. Their lyrics
(punctuated by nutty shouts of “yeah, yeah, yeah!”) are a catastrophe, a
preposterous farrago of Valentine-card romantic sentiments.” The
article ended with the following prediction, “…the odds are they will
fade away, as most adults confidently predict.”
Help ( September 12th, 1965)
On September 12th, 1965, The Fab Four returned to the Ed Sullivan stage
one last time. They played “I Feel Fine,” “I’m Down,” “Act Naturally,”
“Ticket to Ride,” “Yesterday,” and “Help!” This performance was taped
in New York on August 14th, 1965, just one day before The Beatles kicked
off their North American Tour with a concert at Shea Stadium that set
the attendance record for an outdoor show at the time.
More than any other contemporary artists, Ry Cooder has
rediscovered, and reintroduced, the rich musical traditions of America
with a body of work that both celebrates those traditions and reshapes
them into a sound distinctly his own. Jazz is one of Cooder's
most ambitious and satisfying works - a paean to the glorious days of
jazz that captures both the spirit and the genius of the pioneering jazz
men of the '20s and early '30s.
Until 1978, Ry had already let us take a look at the sources of American and other roots music.Bues, R&B, gospel, folk, minstrel, calypso, Tex-Mex and Hawaiinmusic, this multi-instrumentalist turns his hand for nothing.The album Jazz added yet another aspect to Ry Cooder's musical quest. Jazz music from the early 1920s and 1930s interpreted inimitable Ry.
Shortly after this album came out, Ry gave a few legendary concerts with mainly songs from this album.the images and sound are not great, but Arthur thinks this is very beautiful ...
Ry Cooder
November 16, 1978 "Soundstage" Chicago, Illinois, U.S.A.
Big Bad Bill Is Sweet William Now (Milton Ager and Jack Yellen)
The Dream(Jack The Bear /Jess Pickett)
Ry about this song...,,The Dream,, is a slowdrag,whore house number,popular with the musicians of the generation before Morton.They called it ,,Spanish,,because of its tango or Habaniera beat.
Shine ( Ford Dabney & Cecil Mack)
Ry about this song...,,Shine,, has been recorded over the years by nearly everybody,but rarely in its original form.,,Shine,, passed into the jazz tradition mostley without the introductory verse that really explains what the song ia all about.The idea here was to reconstruct it in a 52nd Street -small band -setting.
Davenport Blues
Flashes
In A Mist Bix Biederbecke, of Davenport, Iowa, learned cornet from
some of the earliest jaz records and first-hand from the first jazz
players to come north from New Orleans. By the time of his death in
1931 at 29, he was a legend among his fellow musicians for his beautiful
cornet music. But he was also interested in concert piano and
particularly in the impressionistic style that Gershwin later became
associated with. "Davenport Blues", "Flashes" and "In A Mist" are represented here in a salon-jazz context that brings out the atmosphere of Bix's strange music.(Ry Cooder)
Nobody The great Bert Williams was the first black artist to
reach crossover stardom in Vaudeville. He would appear on stage in a
broken-down tuxedo and black face, (as if to mark the passing of Coon
songs and minstrelsesy), and recite his sardonic, double-edged
monologues. He got star billing with Ziegfield, incredible for the
times (c. 1910-1920), and his Columbia records like "Nobody" and "Samuel the Night Porter" were big sellers.(Ry Cooder)
Maria Helena(Lorenzo Barcelata )(not on this album)
De song was een eerbetoon aan María Elena, de vrouw van de Mexicaanse President Emilio Portes Gil
Orchestra arranged and conducted by Joseph Byrd
Ry Cooder - acoustic guitar and vocals with: David Lindley - mandolin Art Baron - trombone Joe Wilder - trumpet Phillip Bodner - reeds Walter Kane - reeds Harvey Pittel - reeds Tom Collier - vibraphone Phillip Namenworth - piano George Duvivier - bass Mark Stevens - drums
Gospel vocal quartet: Bill Johnson Jimmy Adams Clifford Givens Simon "Pico" Payne
The idea behind this album was that there has always been
a lot going on in the periphery of popular jazz trends. We wanted to
provide a thread of alternative jazz settings to some great music that
falls within the one hundred year scope of jazz in America.
R.C.
Ryland Peter (Ry) Cooder (Los Angeles, 15 maart1947) is een Amerikaansgitarist en producer.
Aanvakelijk werkte hij als slide gitarist. Cooder heeft veel gewerkt
als studiomuzikant waarbij hij aan vele film-soundtracks heeft
meegewerkt.
Live at the Auditorium Parco della Musica, Roma, Italy (June 27 2009 ) Ry Cooder: Vocals, Electric Guitar Nick Lowe: Vocals, Bass Guitar, Acoustic Guitar Joaquim Cooder: Drums Juliette Commagere: Vocals, Percussion Alex Lilly: Vocals, Percussion
Ballerina – 5:42 (Astral Weeks)
Streets Of Arklow – 5:13 (Veedon Fleece)
Just Like A Woman – 5:28 (cover of the Bob Dylan song from Blonde On Blonde)
Try For Sleep – 5:27 (later released on The Philosopher’s Stone)
Into The Mystic – 5:38 (Moondance)
I Just Want To Make Love To You – 3:59 (cover of the Willie Dixon blues song that also appeared on It’s Too Late To Stop Now)
Moondance – 5:40 (Moondance)
These Dreams Of You – 3:35 (Moondance)
Listen To The Lion – 9:04 (St Dominic’s Preview)
Wonderful Remark – 5:07 (a song that missed the cut for Moondance and finally appeared on The Best Of Van Morrison)
Warm Love – 3:00 (Hard Nose Down The Highway)
Help Me – 3:19 (a cover of the Sonny Boy Williamson II song)
Here Comes The Night – 3:43 (a song Van Morrison first recorded with Them)
Gloria – 3:34 (a song Van Morrison first recorded with Them)
Caravan – 8:14 (Moondance)
Cyprus Avenue – 10:07 (Astral Weeks)
Het Amsterdamse Bostheater bleek de ideale prachtige locatie voor het
optreden van Graham Nash en zijn vrienden.Ook de af en toe laag
overvliegende vliegtuigen konden de pret niet drukken.Graham kan putten
uit een uigebreid repertoir,van The Hollies,natuurlijk CSN&Y.en
eigen werk.Tussendoor mooie anekdotes over Crosby en het toeren met CSN
&Y.en dat allemaal met die karakterstieke stem waar totaal geen
sleet op zit.
Een mooie zwoele zomeravond in het Amsterdamse bos.
Hieronder de setlist..
1 Wasted On The Way (Crosby,Still & Nash song) filmed by info4allat
"Wasted on the Way" is a 1982 song by American folk rock band Crosby, Stills & Nash, featuring harmony vocals by Timothy B. Schmit. It was their first top 10 hit in five years, and peaked at #9 on the Billboard Hot 100 singles charts in August 1982.[1]
On the Adult Contemporary chart, "Wasted on the Way" was the group's
biggest hit on the chart, peaking at number two for five weeks.[2] It appeared on the band's 1982 album Daylight Again. The B-side was the David Crosby composition "Delta".
2 Marrakesh Express (Crosby,Still & Nash song)
“Marrakesh Express” is a song written by Graham Nash and performed by the band Crosby, Stills and Nash (CSN). It was first released in May 1969 on the self-titled album, Crosby, Stills and Nash, and released on a 45-RPM single in July of the same year, with another CSN song, "Helplessly Hoping,"[1] as its backing side. The single reached No. 28 on the Billboard Hot 100 on August 23, 1969.[2] It reached the same position on the Easy Listening chart.[3]
3 Bus Stop (The Hollies) filmed by Arthur
Bus Stop is the fourth U.S. album by the British pop band the Hollies, released on Imperial Records
in mono (LP-9330) and rechanneled stereo (LP-12330) in October 1966. It
features songs ranging from both sides of the band's then-current hit
single to material recorded in the Hollies' early days on the UK's Parlophone Records in 1963, 1964 and 1965. The song "Oriental Sadness" had previously been issued in the U.S. on the Hollies' album Beat Group! earlier in 1966.
This Path Tonight is the new studio album and
collection of 10 original songs from Graham Nash. Produced by Shane
Fontayne, this is Nash's first solo record of new music in fourteen
years. The album is one of reflection and transition of a
singer-songwriter whose career (the Hollies, CSN, CSNY) has spanned more
than five decades and counting.
“Military Madness” helped to get a lot of things off my chest. England
had been bombed by the Germans, and when I moved to America I realized
that the same issues were going on in Vietnam. The battle was raging,
and I wanted to say something about the madness of the military agenda
waging preemptive war – which is what happened later in Iraq and
Afghanistan.(Graham Nash)
9 To the last Whale A Critical Mass B Wind on the Water
10 A Day in the Live (The Beatles cover) filmed by Ruby Tuesday
--------------------
11 Right Between The Eyes
Over The Years… highlights songs from the iconic CSN debut album
(“Marrakesh Express”) and its successor album Déjà Vu, for which Neil
Young joined forces with CSN (“Our House” and “Teach Your Children”) as
well as songs from subsequent CSN albums (“Just A Song Before I Go” and
“Wasted On The Way”). In addition, the collection highlights songs that
Nash recorded for his 1971 solo debut, Songs For Beginners, including
“Military Madness” and “Simple Man,” and includes unreleased mixes for
two other songs from that album: “Better Days” and “I Used To Be King.”
The most recent recording on the compilation is “Myself At Last” from
Nash’s 2016 solo album This Path Tonight.
12 Lady of the Island filmed by Arthur
"Lady of the Island" is a folk song written by Graham Nash in the late 1960s. The song appears on Crosby, Stills & Nash's critically acclaimed, self-titled debut album. The song is notable for taking its inspiration from fellow folk musician Joni Mitchell, with whom Nash was romantically involved at the time. Although the album contains another love song to Mitchell, David Crosby's "Guinnevere", Nash told Mojo
magazine in April 2009 that this potentially tricky situation did not
create any problems. He explained: "The way that we went about our lives
did not entail jealousy and it didn't entail raging about somebody
being with somebody else's woman. Me and David and Joan didn't think
anything of it, that's for sure.
"Just a Song Before I Go" is a song by Crosby, Stills and Nash that appeared on the 1977 album CSN. It was also released as a single and reached number seven on the Billboard
singles charts, becoming the band's highest charting hit. It is also
one of the band's shortest songs, with a running time of only 2:14. In
Canada, it peaked at number 10.
The song was written by Graham Nash
about leaving loved ones behind before going on a concert tour. It was
written in Hawaii in about 20 minutes at the piano while Nash and Leslie
Morris were staying with a friend, waiting for the rain to stop before
leaving the house. The opening line came from the question: "You've got
half an hour, why don't you just write a song before you go?"[1]
15 Golden Days - 16 Missippi Burning -17 Back Home
This Path Tonight is the new studio album and
collection of 10 original songs from Graham Nash. Produced by Shane
Fontayne, this is Nash's first solo record of new music in fourteen
years. The album is one of reflection and transition of a
singer-songwriter whose career (the Hollies, CSN, CSNY) has spanned more
than five decades and counting.
CSN is the fifth album by Crosby, Stills & Nash, released on Atlantic Records in 1977. It is the group's third studio release, and their first since their debut album without Neil Young. It peaked at #2 on the Billboard Top Pop Albums chart; two singles taken from the album, Nash's "Just a Song Before I Go" and Stills' "Fair Game" peaked at #7 and #43 respectively on the Billboard Hot 100. It is currently the trio configuration's best selling record, outselling 1969's Crosby, Stills & Nash by 200,000 copies.[4] It has been certified quadruple platinum by RIAA.[5]
20 Our House (Deja Vu) filmed by Arthur
Our house is a song by Crosby, Stills, Nash & Young written by Graham Nash. They released it in 1970 on a single with Carry on on the B-side. In addition, it appeared that year on the album Déjà vu.
21 Chicago
"Chicago" (often listed as "Chicago / We Can Change the World") is a song written by Graham Nash for his solo debut Songs for Beginners. As a single, it reached number 35 on the US Billboard Hot 100 chart and 29 on the Cash Box Top 100.[1] It is his highest charting single. In Canada, "Chicago" peaked at number 19.[2] The song also made the Dutch Charts in 1971, peaking at number 5.
Encore
22 Every Day (Buddy Holly cover)
23 Teach Your Children
"Teach Your Children" is a song by Graham Nash. Although it was written when Nash was a member of the Hollies, it was never recorded by that group in studio (a live recording does exist), and first appeared on the album Déjà Vu by Crosby, Stills, Nash & Young released in 1970.
Into the Music is the 11th studio album by Northern Irish singer-songwriter Van Morrison,
and was released in August 1979. The record received widespread acclaim
that year, and was named by critics as one of the year's best albums.
And the healing has Begun
Live at the Hollywood Bowl 21 April 2006
John Allair,Robin Aspland-keyboards,Crawford Bell - Acoustic guitar,trumpet,backing vocals
Cindy Cashdollar-steelguitar,Ned Edwards - guitar.David Hayes -bass,Kate Kissoon-backingvocals,
Jason Robert -violin. Neil Wilkinson -drums.
Biographer Brian Hinton calls it the central song in the album and perhaps in Morrison's whole career: "It starts just like 'Cyprus Avenue',
no coincidence as the line about 'songs from way back when' hints, and
with a walk down the avenue (of dreams), to the sound of a haunted
violin. A song of full, blazing sex as well as revelation. The
healing here is like that in Arthurian myth, the wounded King restored
through the action of the Holy Grail, but it is also through as graphic a
seduction, almost, as the original live version of "Gloria"'. Author Clinton Heylin concludes that "what makes the song, and indeed Into the Music
work is its self-awareness. Gone is the awkward self-consciousness...
It is replaced by a newly assured tone, born of a genuine awareness of
what he (Morrison) was attempting
