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Jorge Pac
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СообщениеДобавлено: Вс Фев 11, 2018 22:22    Заголовок сообщения: Ответить с цитатой

Rolling Eyes Эх, плохо, что не по-русски... Sad
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Valter13
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Жорж, вот скажи честно, как тебя супруга терпит? Smile

Jimmy Smith - Cool Blues (1958) {2012 Japanese BNLT Series Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 487 Mb |
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2012 Blue Note / EMI Music Japan | TOCJ-50291
Jazz / Hard Bop / Soul Jazz / Organ

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Proof that at his start, Jimmy Smith had a greatness that knew no bounds – as the album's one of a few that Blue Note recorded in the late 50s, but never issued until many years later – even though they had already released so many amazing records from this period! The set has Jimmy really cooking away – playing live at Small's Paradise, in a group that has Lou Donaldson's alto on just about every track, and tenor from Tina Brooks on most of the others too. Tunes are tighter and shorter than on the more jam session albums, which makes for a nice change – and titles include "Groovin At Smalls", "Dark Eyes", "Cool Blues", and "A Night In Tunisia" – which begins with an announcement from Babs Gonzales! 8 tracks in all – 4 more than on the 1980 album – with better sound than before as well!

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Personnel:

Lou Donaldson - alto sax
Tina Brooks - tenor sax
Jimmy Smith - organ
Eddie McFadden - guitar
Art Blakey - drums
Donald Bailey - drums

Tracklist:

01 - Groovin' At Small's
02 - Dark Eyes
03 - Cool Blues
04 - Announcement By Babs Gonzales
05 - A Night In Tunisia
06 - What's New
07 - Small's Minor
08 - Once In A While

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Jorge Pac
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Valter13 писал(а):
Жорж, вот скажи честно, как тебя супруга терпит? Smile
Rolling Eyes Которая Confused
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Jorge Pac писал(а):
Valter13 писал(а):
Жорж, вот скажи честно, как тебя супруга терпит? Smile
Rolling Eyes Которая Confused


Ну от куда я знаю сколько их у тебя?
Каждая последующая хуже предыдущей.
У меня пока одна, но я с ней всё равно не разговариваю. Cool Smile
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Cool Ну, тогда поставь ей вот это Arrow [-- Вход на форум --] Very Happy
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Не вариант. Есть бабы, которым нравится Кинчев (и это не самый плохой вариант).

John Coltrane - Lush Life (1958) {2006 Prestige RVG Remasters Series}
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© 2006 Concord / Prestige | PRCD-8103-2 | Prestige RVG Remasters Series | 24-bit remaster | PRLP 7188
Jazz / Hard Bop / Saxophone

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“I was the engineer on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group who have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger.”
—Rudy Van Gelder.

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Lee Morgan - The Rajah (1966) {2014 Japan SHM-CD Blue Note 24-192 Remaster UCCQ-5023}
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© 1966, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | UCCQ-5023
Jazz / Hard Bop / Trumpet

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Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). This long-lost Lee Morgan session was not released for the first time until it was discovered in the Blue Note vaults by Michael Cuscuna in 1984; it has still not been reissued on CD. Originals by Cal Massey, Duke Pearson ("Is That So") and Walter Davis, in addition to a couple of surprising pop tunes ("What Not My Love" and "Once in My Lifetime") and Morgan's title cut, are well-played by the quintet (which includes the trumpeter/leader, Hank Mobley on tenor, pianist Cedar Walton, bassist Paul Chambers and drummer Billy Higgins).

Much of the music is reminiscent of The Jazz Messengers and that may have been the reason that it was lost in the shuffle for Morgan was soon investigating modal-oriented tunes. Despite its neglect, this is a fine session that Lee Morgan and hard bop fans will want.

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Personnel:

Lee Morgan - trumpet
Hank Mobley - tenor sax
Cedar Walton - piano
Paul Chambers - bass
Billy Higgins - drums

Tracklist:

01 - A Pilgrim's Funny Farm
02 - The Rajah
03 - Is That So
04 - Davisamba
05 - What Not My Love
06 - Once In A Lifetime

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The Brothers Candoli Sextet - 2 For The Money (1959) {2002 Mercury Japan Mini LP UCCM-9122}
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© 1959, 2002 Mercury / Universal Japan | We Dig Mercury! Mini LP Series | UCCM-9122
Jazz / Cool / Bop / Hard Bop / Trumpet

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Japan Mini LP reissue with the latest 24bit/96kHz remastering. Recordings by brothers who play the identical instrument are fairly rarein jazz, but trumpeters Conte and Pete Candoli made several valuable records together without sibling rivalry. The ten selections on this album draw favorites from swing, bop, cool, and hard bop, with an excellent rhythm section (pianist Jimmy Rowles, guitarist Howard Roberts, bassist Max Bennett, and drummer Frank Capp) complementing the brothers.

The high points include a wild "Caravan," with an exotic vamp by Rowles (as well as a daring solo) in support of their unison lines, the catchy blues "Splanky" from Count Basie's band book (with terrific call and response between the trumpeters), and a funny arrangement of Charlie Parker's "Ah-Leu-Cha" that has a disguised Latin introduction. Roberts and Rowles come to the forefront with the muted trumpets playing riffs behind them in "Doodlin'." Rowles' brilliant scoring of "Willow Weep for Me" has a sassy air rather than the typical bittersweet flavor. This album was originally recorded for Mercury, and after being out of print for decades it was reissued on CD by Universal in Japan.

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Personnel:

Pete Candoli - trumpet
Conte Candoli - trumpet
Jimmy Rowles - piano
Max Bennett - bass
Frank Capp - drums
Howard Roberts - guitar

Tracklist:

01 - Splanky
02 - Soak Yo' Sally
03 - Ah-Lue-Cha
04 - Riffs For Rosie
05 - Caravan
06 - Take The ''A'' Train
07 - Doodlin'
08 - Willow Weep For Me
09 - Blueing Boogie
10 - Richard Diamond's Blues

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Неожиданно красиво!!!
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Urbie Green - Urbie: East Coast Jazz Series No.6 (1955) {2014 Japanese Bethlehem Album Collection 1000}
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© 2014 Solid Records / Bethlehem | CDSOL-6128 | LP BCP-14
Jazz / Bop / Trombone

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One of the strongest albums ever cut by trombonist Urbie Green – a player who had a heck of a lot of talent, but who unfortunately could sometimes end up in some schmaltzy settings. Fortunately, this isn't one of them – as the group includes players like Jimmy Lyon on piano, Oscar Pettiford on bass, Osie Johnson on drums, and Ike Horowitz on tenor – actually a nom-du-date for Al Cohn! The arrangements are tight, but never too much so – and there's a good degree of spirit in both the playing, and the compositions – some of which are by arranger Marion Evans. Titles include "Sneaky Pete", "Sassafras", "Melody In Bb", "How About You", and "Mutation".

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Personnel:

Urbie Green - trombone
Doug Mettome - trumpet
Ike Horowitz - tenor, bass clarinet & flute
Danny Bank - flute, clarinet & baritone
Jimmy Lyon - piano
Oscar Pettiford - bass
Jimmy Campbell - drums
Osie Johnson - drums

Tracklist:

01 - Mutation
02 - On Green Dolphin Street
03 - Just One Of Those Things
04 - How About You
05 - When Your Lover Has Gone
06 - Three Little Words
07 - Sneaky Pete
08 - Melody In Bb
09 - Sassafras
10 - Love Locked Out

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Eric Dolphy - Out To Lunch (1964) {2013 Japan SHM-CD Blue Note 24-192 Remaster}
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© 2013 Universal Japan / Blue Note | BN 75th The Masterworks | TYCJ-81013
Jazz / Avant-Garde Jazz / Post Bop

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Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24bit remastering. Includes an alternate take of "Hat and Beard" and a track for the first time in the world. Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals – the jarring Monk tribute "Hat and Beard," the aptly titled "Something Sweet, Something Tender," the weirdly jaunty flute showcase "Gazzelloni," the militaristic title track, the drunken lurch of "Straight Up and Down" – were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom.

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Much has been written about Dolphy's odd time signatures, wide-interval leaps, and flirtations with atonality. And those preoccupations reach their peak on Out to Lunch, which is less rooted in bop tradition than anything Dolphy had ever done. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes. Dolphy uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant – they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble – trumpeter Freddie Hubbard, vibist Bobby Hutcherson, bassist Richard Davis, and drummer Tony Williams – takes full advantage of the freedom Dolphy offers, but special mention has to be made of Hutcherson, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile, Dolphy's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves. Just as the title Out to Lunch suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes.

Personnel:

Eric Dolphy - alto sax, flute & bass clarinet
Freddie Hubbard - trumpet
Bobby Hutcherson - vibes
Richard Davis - bass
Tony Williams - drums

Tracklist:

01 - Hat And Beard
02 - Something Sweet, Something Tender
03 - Gazzellioni
04 - Out To Lunch
05 - Straight Up And Down
06 - Hat And Beard (alt. take) (bonus track)
07 - Something Sweet, Something Tender (alt. take) (bonus track)

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Lee Morgan & Clifford Jordan Quintet - Live In Baltimore 1968 (2014) {Fresh Sound Records 24-bit Remaster}
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© 2014 Fresh Sound Records | FSR-CD 824
Jazz / Hard Bop / Trumpet / Saxophone

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Lee Morgan’s first meeting on record with Clifford Jordan was in June 1957, when Morgan was about to turn nineteen and Jordan had just begun making a name for himself. After their first collaboration, the precocious Morgan occasionally called Jordan to play tenor on his recordings; thus they recorded together twice in 1960 and once in January 1962.

Although they went their separate ways, they were reunited in July 1968 as part of the quintet presented here for a gig organized by Baltimore’s Left Bank Jazz Society. The program consisted of long, straightforward performances of well-known jazz tunes like Straight No Chaser, Solar, The Vamp, and the popular standard Like Someone In Love. Although they were not a regular group, and despite limited rehearsal time, they delivered a stimulating and engaging concert, with both frontliners soloing consistently well.

The ensemble playing is also strong, backed by an impressively tight rhythm section in which John Hicks, piano, Reggie Workman, bass, and Ed Blackwell, drums, completed what could well be considered a dream line-up! The buoyancy, virtuosity and imagination of these outstanding jazzmen are reflected all the way through this fine jazz session.

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Personnel:

Lee Morgan - trumpet
Clifford Jordan - tenor sax
John Hicks - piano
Reggie Workman - bass
Ed Blackwell - drums

Tracklist:

01 - Introduction
02 - Straight No Chaser
03 - Like Someone In Love
04 - Solar
05 - The Vamp
06 - The Theme and Announcements

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Hampton Hawes - The Green Leaves Of Summer (1964) {Contemporary/OJC}
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© 1990 Contemporary / OJC / Fantasy | OJCCD-476-2 (S-7614)
Jazz / Bop / Hard Bop / Piano

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Pianist Hampton Hawes' first recording after serving five years in prison finds Hawes evolving a bit from a Bud Powell-influenced bop pianist to one familiar with more modern trends in jazz. Reissued on CD, this trio date finds Hawes interacting closely with bassist Monk Montgomery and drummer Steve Ellington (making his recording debut). Hawes had lost nothing of his swinging style while in prison, as can be heard on such numbers as "Vierd Blues," "St. Thomas" and "Secret Love," and he was just starting to hint at moving beyond bop. Recommended.

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Personnel:

Hampton Hawes - piano
Monk Montgomery - bass
Steve Ellington - drums

Tracklist:

01 - Vierd Blues
02 - The Green Leaves Of Summer
03 - Ill Wind
04 - St. Thomas
05 - Secret Love
06 - Blue Skies
07 - The More I See You
08 - G.K. Blues

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Miles Davis - Live At The Fillmore East (March 7, 1970). It's About That Time [2CD] {2014 Japan Jazz Collection 1000 Columbia-RCA Series}
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© 2014 Columbia / Sony Music Japan | SICP 4184~85
Jazz / Fusion / Jazz Rock / Jazz Funk / Trumpet

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Special priced-down reissue available only for a limited period of time until December 21, 2015. Comes with liner notes. Finally, a non-bootleg issue of one of Miles Davis' greatest electric performances ever. In fact this is the very first of the Miles Davis Quintet's electric gigs – it was also one of the last four performances of this great band. Not just recorded, but performed. The band, consisting of Davis, Wayne Shorter on soprano and tenor, Chick Corea on Fender Rhodes, Dave Holland on both acoustic and electric bass, and Jack DeJohnette on drums. With percussionist Airto Moreira providing color and texture, the band became a sextet.

This night is auspicious because audiences – most of which were there to see the Steve Miller Band or Neil Young and Crazy Horse (Davis' group opened for both) – were familiar with the electric side of Davis because In a Silent Way had been issued late in 1969 and had introduced the world to John McLaughlin. Bitches Brew, which had been recorded the summer before, would be released a month after these concerts, and an unsuspecting rock audience had no idea what to expect. If they were expecting In a Silent Way – played by an octet that included three keyboardists – that's not what they got here. This is the most muscular, hard, and funky of Davis' early electric outfits. His own playing is stunning, punching out the footlights on Joe Zawinul's "Directions" or his own rambling deep-in-the-modal blues tune "Spanish Key." Whatever Davis thought about John Coltrane, Ornette Coleman, and the avant-garde was allowed full play in this band as long as the intense, deep funk of the rhythm section was adhered to. Davis himself follows Shorter, smattering out notes in outrageous harmonic signatures on "Masqualero." This band has a drive, and their playing reveals that they have something here, something new to bring to the table that has never been heard before. And indeed, even now, since this particular band never recorded in the studio as a unit, this sounds new even. Yes, it sounds like jazz, but it's got energy, drive, and pumped up, intricate polyrhythms – thanks to the otherworldly percussion stylings of Moreira. When Davis takes out the first set with "It's About That Time"/"The Theme," listeners are hearing these tunes as if for the very first time. The sextet's arrangements have been shoved to the margins and new elements of harmony and counterpoint are brought in to account for the driving tempos and amplification of the instruments. Davis screeches through his solo at a blinding tempo as Chick Corea paints it with huge, extended, and augmented sevenths and flatted ninths, touching off a solo himself so full of knotty arpeggios that it's difficult to know what to make of it except that it smokes. Shorter's solo is so passionate and full of fire you would never have guessed he would be gone from the band four nights later, jumping ship to create Weather Report with Zawinul. The second set gets off to a moodier, darker start with Zawinul's "Directions." Spare keyboards and drums DeJohnette plays like a dancer who has the power of a bulldozer on this night – ease in the mode before Shorter slips in a note or two and then Davis himself cuts into the center of things with a blur of notes and a riff picked up on by Moreira. After this band enters into the melody line it becomes a Corea-Davis fest, trading fours, eights, and twelfths – no matter how fast Corea can lay it down, Davis is already in response mode and harmonically alters his framework so Corea has to shift too. The sound of the band is so dirty, so raw, it comes off as guttersnipe jazz with the overdrive of the best rock & roll. Without a guitar, this band is clearly blowing the doors off the room and making it very hard for Miller or Young to come out and play afterward. The rest of the set is almost a medley, beginning with "Miles Runs the Voodoo Down," collapsing all previous notions of modalism contextual freedoms, then traveling deep into a "Bitches Brew" that could have been played by James Brown's Flames, so hard and skittish is it's funk with a starker, more dissonant reading of "Spanish Key" before taking it out with "It's About That Time?"/ "Willie Nelson." (Perhaps a tribute to Nelson's battles to get Charley Pride a gig at the Grand Ole Opry as its first black performer.). In any case, so much of this is wasted on the audience at the Fillmore, responding with a confused, bewildered applause, with a couple of rowdies calling for an encore. It doesn't matter. The historical significance of this record is paramount. It is unedited and released as the gig happened on that day – which makes it virtually unique from every other electric Davis live performance. This is music is as exciting, revelatory, and dangerous today as it was on March 7, 1970. It's about that time.

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Personnel:

Miles Davis - trumpet
Wayne Shorter - soprano sax and tenor sax
Chick Corea - Fender Rhodes electric piano
Dave Holland - acoustic and electric bass
Jack DeJohnette - drums
Airto Moreira - percussion

Tracklist:

CD1
01 - Directions
02 - Spanish Key
03 - Masqualero
04 - It's About That Time-The Theme

CD2
01 - Directions
02 - Miles Runs the Voodoo Down
03 - Bitches Brew
04 - Spanish Key
05 - It's About That Time-Willie Nelson

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Thelonious Monk - At Newport 1963 & 1965 [2CD] {2003 Sony Music Japan Mastersound}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 312 + 213 Mb |
Full Artwork @ 300 dpi (jpg) | 5% repair rar
© 2003 Sony Music Japan / Columbia | SICP 5069~70
Jazz / Bop / Hard Bop / Piano

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Thelonious Monk's 1963 Newport Jazz Festival set has been released in whole or part on several different Columbia releases, but this 2002 reissue is the best version yet. One finally gets to hear nothing but Monk on this edition, with the added bonus of a previously unreleased and undocumented appearance from the 1965 festival. The earlier material, with Charlie Rouse, Butch Warren, and Frankie Dunlop, is already very familiar to serious Monk devotees, particularly the inspired addition (due to the suggestion of festival producer George Wein) of clarinetist Pee Wee Russell on two songs.
Russell's dissonant lines fit right in, and it is unfair to criticize him for temporarily losing his footing when Monk suddenly ducks out of "Nutty" in the middle of his guest's solo, since there were no rehearsals prior to the performance and it was also unlikely (but not impossible) that Russell was very familiar with Monk's recordings. Russell has no problems during "Blue Monk," a more straightforward blues that seems to inspire the veteran, who is usually lumped into Dixieland or Chicago-style jazz, even though his approach to the instrument seemed to stretch beyond those boundaries. Monk's quartet versions of "Criss Cross," "Light Blue," and "Epistrophy" are all first rate. Bassist Larry Gales and drummer Ben Riley join Monk and Rouse for the relatively brief 35-minute set from 1965, with a long but impassioned "Off Minor" standing out from the remainder of the performance. It's hard to say that this previously unavailable music breaks any new ground, as Monk is documented on stage within a number of earlier Columbia discs. While this two-CD set isn't the best place for a newcomer to jazz to start, true Monk fanatics will want to add this release to their libraries.

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Personnel:

Thelonious Monk - piano
Pee Wee Russell - clarinet
Charlie Rouse - tenor sax
Butch Warren, Larry Gales - bass
Ben Riley, Frankie Dunlop - drums

Tracklist:

CD1
01. Criss Cross
02. Light Blue
03. Nutty
04. Blue Monk
05. Epistrophy

CD2
01. Off Minor
02. Ruby, My Dear
03. Hackensack
04. Epistrophy

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Arti Kraaijeveld - Ram Man 1977(Netherlands)
Blues Rock
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