Adler.s

Stingingly sweet slide guitar and barrelhouse piano come to life on this spontaneously authentic and passionate recording from these seasoned blues veterans. "This recording contains thirteen of those songs just as they sounded that Sunday when they were recorded live at Mojo Boneyard Studios. This is how the band sounds at any number of clubs in and around the Pittsburgh area. These are all first takes and a fair representation of the energy and spontaneous creativity that the band exhibits when we’re swinging out in the clubs. I had a good time making music with these fine musicians and I'm glad we captured some of it on this recording. It’s been a long time comin" ~ Jimmy Adler

Wawau Adler calls his new album "I Play With You." He changes playfully between the Selmer No. 828, a classical guitar from the forties, over modern types to the electric guitar. Finally, the title could also refer to the repertoire that is played here: After Adler has interpreted in his earlier recordings mainly standards - his last album "Happy Birthday Django 110", released two years ago, was, for example, explicitly dedicated to his and the great role model of all gypsy jazz guitarists Django Reinhardt. With his own songs you can get to know the whole Wawau Adler on "I Play With You".

After forty years, twenty-eight ODs, three botched suicides, two heart attacks, a couple of jail stints, and a debilitating stroke, Steven Adler, the most self-destructive rock star ever, is ready to share the shattering untold truth in My Appetite for Destruction. …

The music of Samuel Adler – born in Mannheim in 1928 but long since one of the leading figures of American music – has its roots in the Neo-Classical clarity of composers like Copland and Hindemith, who were among his teachers. The works on this album arose from a range of impulses: a Neo-Baroque concerto grosso and a tribute to Bach encase a series of tributes to lost individuals and traditions; and two jeux d’esprit – Ives’ tongue-in-cheek Variations on America and Holst’s ‘Jupiter’ from The Planets – both bring jollity in Adler’s idiomatic arrangements for string orchestra.