Dienstag, 19. September 2017

Dinah Washington - Dinah Jams (1954)

Recorded at the start of Dinah Washington's climb to fame, 1954's "Dinah Jams" was taped live in front of a studio audience in Los Angeles.

While Washington is in top form throughout, effortlessly working her powerful, blues-based voice on both ballads and swingers, the cast of star soloists almost steals the show. In addition to drummer Max Roach, trumpeter Clifford Brown, and other members of Brown and Roach's band at the time - tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow - trumpeters Maynard Ferguson and Clark Terry, alto saxophonist Herb Geller, and pianist Junior Mance also contribute to the session.

Along with extended jams like "Lover Come Back to Me," "You Go to My Head," and "I'll Remember April" - all including a round of solos - there are shorter ballad numbers such as "There Is No Greater Love" and "No More," the last of which features excellent muted, obbligato work by Brown.

And even though she's in the midst of these stellar soloists, Washington expertly works her supple voice throughout to remain the star attraction, even matching the insane, high-note solo blasts trumpeter Ferguson expectedly delivers. A fine disc. Newcomers, though, should start with more accessible and more vocal-centered Washington titles like "The Swingin' Miss D" or "The Fats Waller Songbook", both of which feature top arrangements by Quincy Jones.


Dinah Washington - Dinah Jams (1954) 
(320 kbps, cover art included)

Montag, 18. September 2017

Miriam Makeba - Welela (1989)

A child of apartheid, and an artist who was forced to live in exile, Miriam Makeba has endured decades of struggle, witnessing the ravages of racism and intolerance all her life. However, her music is uplifting and celebratory. Makeba was once quoted as saying, "I'm only happy when I sing."

Clearly, this joy comes across on WELELA, which is influenced by the popular music of Makeba's homeland. "Pata Pata (Touch Touch)" is an exultant tune about dancing, while "A Luta Continua" is a song of resilience that is dedicated to the people of Mozambique.

However, the most moving song here is "Soweto Blues," which recounts the events of June 16th, 1976, when children in the eponymous township decided to protest oppression and apartheid. Their opposition was called a riot, and sparked a government massacre that killed 600. A funky groove complements Makeba's strong, passionate voice on this song, and the lyric, incredibly, retains an air of hope despite the distressing subject matter.                

The album was mixed at Condulmer Recording Studios in Venice, Italy by Allan Goldberg of Phonocomp in 1989, except for "Pata Pata" which was mixed at Psycho Studio in Milan.

Tracklist:

A1 Amampondo
A2 African Sunset
A3 Djiu De Galinha
A4 A Luta Continua
A5 Soweto Blues
B1 Welela
B2 Hapo Zamini
B3 Pata Pata
B4 Saduva
B5 Africa


Miriam Makeba - Welela (1989)
(192 kbps, cover art included)

Sonntag, 17. September 2017

Erich Kästner - gelesen von Werner Schneyder - Zeitgenossen, haufenweise

Erich Kästner, (born Feb. 23, 1899, Dresden, Ger.—died July 29, 1974, Munich) was a German satirist, poet, and novelist who is especially known for his children’s books. He was the most durable practitioner of the style of witty, laconic writing associated with the highbrow cabaret, the Berlin weekly Die Weltbühne (“The World Stage”), and the Neue Sachlichkeit (New Objectivity) movement of the mid-1920s.

Kästner studied at Rostock, Leipzig, and Berlin to become a teacher. Later, as a journalist, he became a free-lance writer (1927). Four volumes of light but fundamentally serious poetry appeared before 1933. He also wrote the remarkable tragic novel Fabian (1931). His children’s books are notable for their humour and respect for the child’s moral seriousness. The most famous of these, Emil und die Detektive (1929; Emil and the Detectives), was several times dramatized and filmed. 

Prevented by the Nazis from publishing in Germany (1933–45), he printed his works in Switzerland. After the war, Kästner became magazine editor of Die Neue Zeitung of Munich and subsequently founded a children’s paper. From 1952 to 1962 he was president of the German branch of PEN, an international organization of writers. His post-World War II works are characterized by a greater emphasis on social philosophy but do not sacrifice their elegance and entertaining qualities. These include Das doppelte Lottchen (1950; “The Double Lottie”); Zu treuen Händen (1950; “Into Faithful Hands”); the play Die Schule der Diktatoren (1956; “The School of Dictators”); and Als ich ein kleiner Junge war (1957; “When I Was a Young Man”). Kästner’s collected works, Gesammelte Schriften, 7 vol., appeared in 1959.

Tracklist:
1. "Das war der Krieg" 0:13
2. Die Entwicklung der Menschheit 1:29
3. Der Mensch ist gut 1:40
4. "Der Alte Herr..." 1:28
5. Wie lese ich den Handelsteil 1:54
6. Ansprache an Millionäre 2:18
7. Zeitgenossen haufenweise 1:50
8. Der synthetische Mensch 2:19
9. "Im Ernst, worüber lacht der Mensch..." 1:51
10. Maskenball im Hochgebirge 1:29
11. Winterspoet 1:15
12. Der Humor 0:23
13. Die Fabel von Schnables Gabel 1:28
14. Misanthropologie 1:17
15. Die Wirklichkeit als Stoff 0:28
16. Große Zeiten 1:00
17. Die Deutsche Einheitspartei 1:37
18. Marschliedchen 1:36
19. "Wenn ein kleiner Kaufmann..." 0:40
20. Kämpfe zu Hause 1:19
21. Die andere Möglichkeit 1:25
22. "Sie gingen zu Gaßmeier..." 1:03
23. Fantasie von übermorgen 1:08
24. Aus "Streiflichter aus Nürnberg" 1:01
25. Das letzte Kapitel 1:57
26. Liebe zum Theater 0:25
27. Der konzessionierte Moralbesitzer 0:55
28. Hamlets Geist 1:29
29. "Hausmittel und Außerhausmittel" 1:39
30. Der Handstand auf der Loreley 1:53
31. Der Gesang vom Singen 0:57
32. Die leichte Muse 0:12
33. Ankündigung einer Chansonette 1:13
34. "Theodor Däubler... über die Poesie 0:54
35. Sachliche Romanze 1:12
36. "Fabian war zweiunddreißig..." 1:50
37. Gewisse Ehepaare 1:44
38. "Gedanken eines Hotelgastes" 1:35
39. Hotelsolo für eine Männerstimme 1:19
40. "Mißtraut euren Schulbüchern" 0:35
41. Klassenzusammenkunft 1:23
42. "Es gab damals Lehrer ... 1:48
43. An die beleidigten Lehrer 1:05
44. "Am 1. August 1914" 0:28
45. Kurzgefasster Lebenslauf 1:41
46. Warnung vor Selbstschüssen 0:56
47. Und überhaupt 0:55
48. Man altert nicht von ungefähr 2:12
49. Alter Mann, anno 1970 1:22
50. Dem Revolutionär Jesus zum Geburtstag 1:24
51. Wenn es eine Gärtnerei gäbe... 0:48
52. Die Maulwürfe 3:39
53. Und wo bleibt das Positive? 0:12


Erich Kästner - gelesen von Werner Schneyder - Zeitgenossen, haufenweise
(256 kbps, front cover included)

Samstag, 16. September 2017

Lin Jaldati & Ensembel - Rejsele - Music of the Eastern European Jews Vol. IV

After World War II, there were still artists who performed Yiddish music on both sides of the Berlin Wall. In West Germany these included the folk singer Peter Rohland, the ensembles Zupfgeigenhansel and Espe, and the duo Hai and Topsy Fankl. East Germany had the state-subsidized Synagogue Choir in Leipzig (Leipziger Synagogalchor) and a handful of artists who, like Perry Friedman and Lin Jaldati, devoted themselves to Yiddish song.

Interestingly, Friedman, who immigrated to the GDR in the 1950s from Canada, and Jaldati, who moved to East Berlin from Holland, were devoted Communists and viewed Yiddish songs as vehicles for political statements. Lin Jaldati, venerated in the GDR as the First Lady of Yiddish song, perfomed continuously until 1988, when she gave one of her last concerts at the second festival of Yiddis Culture in East Berlin.

"Rejsele" was record at the Yiddish Folk Festival Zurich 1984, with Lin Jaldati and Jalda Rebling (vocals), Kathinka Rebling (viola) and Eberhard Rebling (piano).


Lin Jaldati & Ensembel - Rejsele - Music of the Eastern European Jews Vol. IV
(256 kbps, cover art included)


Freitag, 15. September 2017

Harry Belafonte – The Many Moods Of Belafonte (1962)

Belafonte's follow-up album to "The Midnight Special" is another record stressing the diversity of world music. This time, a small combo accompanies Belafonte on the various tracks, as opposed to the big band approach of his last album.

Several crowd-pleasers were introduced on this album for the first time: the calypso "Zombie Jamboree," awhich soon replaced "Matilda" as Belafonte's epic audience participation song; and the showtune "Try to Remember," from the off-Broadway show "The Fantasticks".

The two highlights on the album are both songs dealing with American folk music. "Betty an' Dupree" is a classic murder ballad in the tradition of "Frankie and Johnny," performed with the intensity the subject matter commands. Country-western composer Merle Travis' "Dark as a Dungeon," a protest song dealing with the dreary, bitter life of the coal miner was inadvertantly recorded during a thunderstorm, giving the song a dose of ominous spontaneity.

Two of Belafonte's proteges from South Africa are also featured: singer Miriam Makeba and jazz trumpeter Hugh Masekela. Some of the ballads are weak when compared to the more dramatic highlights, but still, this is a very satisfying album.
             
Tracklist:
01. Tongue Tie Baby (B.Eaton)
02. Who’s Gonna Be Your Man (Brookes-Minkoff)
03. ‘Long About Now (Hellerman-Minkoff)
04. Bamotsweri (with Miriam Makeba) (Makeba)
05. I’m On My Way To Saturday (Guryan)
06. Betty An’ Dupree (Calabata Leonard De Paur)
07. Summertime Love (Loesser)
08. Lyla, Lyla (Alterman-Zeira)
09. Zombie Jamboree (Mauge Jr)
10. Try To Remember (Schmidt-Jones)
11. Dark As A Dungeon (Travis)

Harry Belafonte - The Many Moods Of Belafonte (1962)
(192 kbps, front cover included)

Donnerstag, 14. September 2017

Hanns Eisler - Irmgard Arnold singt Eisler

On his return to Europe from the USA in 1948 Eisler had a large stock of vocal compositions "in his bagage", written in exile but as yet virtually unperformed.
Finding suitable artists to interpret this large group of works was exceptionally difficult. Not until 1956 did Eisler find a singr in the person of Irmgard Arnold who had everything he needed for his music - in his own words: "lightness, intelligence, friendliness, strictness, grace and hardness, fun an seriousness." The soprano Irmgard Arnold was born into a Munich family of musicians in 1919 and after engagements in Augsburg and Halle came in 1949/50 to the Komische Oper ensemble in Berlin. She gave her first Eisler concert at the second All-German Music Festival, held in Coburg at the endo of August and beginning of September 1956.

The vocal works on this recording were presented over the course of many years at her lieder recitals - accompanied by Andre Asriel, who had been top of Eisler´s composition class at the Academy of Arts in East Berlin in 1950/51. The works on the album are presented in chronological order, not as they were originally heard in the concert hall or presented on gramophone records. Irmgard Arnold´s concerts did much to reveal the "unknown" Eisler. Her way of singing Eisler can still be useful for deeper understanding of the difficulties caused to the inquring artist by this side of Eisler - and for the enthusiasm and enjoyment that intensive work can yield.

Hanns Eisler - Irmgard Arnold singt Eisler
(192 kbps, front cover included)

Hanns Eisler – Kleine Sinfonie, Kammer-Sinfonie, Orchesterstücke - Magedeburgische Philharmonie, Mathias Husmann




Hanns Eisler´s life and work as a composer had the character of a fundamental aesthetic confrontation with tradition and the world. Even at the age of sixteen, at the outbreak of World War I, Eisler belonged to a student group of antiwar activists - such membership being completely contrary to the trend of the times.

The Small Symphony op. 29 was composed in 1932. For short movements form a sequence of ten minutes in duration. Twelve-tone techniques are employed along with variation forms, contrapuntal elements, and rhytmical-metrical motivic shifts, and all of this creates the impression of a model exhibition.

The other orchestral works recorded here draw on extramusical sources. Eisler teamed up with the revolutionary filmmaker Joris Ivens in 1938. He composed the music for Ivens film about the legendary Long March of the Chinese communists ("Four Hundred Million"). The film music yielded his Five Pieces For Orchestra.

The Chamber Symphony of 1940 is also based on experiments in the area of film music.
The Overture to a Comedy (Nestroy´s "Höllenangst") of 1948 is much more relaxed than the Chamber Symphony. Eisler convices himself, so to speak, of his sovereign command of the light tone animated by ironic usage in the style of quotations.

The recordings on this album feature the Magdeburg Philharmonic Orchestra conducted by Mathias Husmann.

Tracks:

Kleine Sinfonie, op.29
Drei Stücke für Orchester
Fünf Orchesterstücke
Kammer-Sinfonie, op.69
Ouverture zu einem Lustspiel

Hanns Eisler – Kleine Sinfonie, Kammer-Sinfonie, etc. - Magedeburgische Philharmonie, Mathias Husmann
(256 kbps, cover art included)

Dienstag, 12. September 2017

Inti-Illimani - Chile Resistencia (1977)

The power and resiliency of artists committed to profound social change resound over time and across natural and human-created borders. The music of the Nueva Canción is a testament to how the musical expressions of that commitment can bridge decades and span a hemisphere.

"Chile Resistencia" is the sixths album by Inti-Illimani. It was recorded at Sciascia Sound Studios in December 1976 - January 1977.        

Tracklist:

A1Chile Resistencia2:17
A2Luchin3:00
A3Creemos El Hombre Nuevo2:35
A4Naciste De Los Leñadores5:23
A5Todas Las Lluvias2:49
B1America Novia Mia3:25
B2A Luis Emilio Recabarren2:32
B3No Nos Someteran2:28
B4Juanito Laguna Remonta El Barrilete4:55
B5Alborada Vendrà2:42

Inti-Illimani - Chile Resistencia (1977)
(192 kbps, cover art included)

Montag, 11. September 2017

Inti-Illimani - La Nueva Cancion Chilena (1973)



Originally posted four years ago:

Last night I had the chance to experience a concert by the wonderful group Inti-Illimani Classico from Chile.

September 11, 2013 marks the 40th anniversary of the military coup by General Pinochet against the democratically elected President Salvador Allende. The group dedicated their concert to the rememberance of these events.

Inti-Illimani is an instrumental and vocal Latin American folk music ensemble from Chile. The group was formed in 1967 by a group of university students and it acquired widespread popularity in Chile for their song Venceremos (We shall win!) which became the anthem of the Popular Unity government of Salvador Allende. At the moment of the September 11, 1973 Chilean coup they were on tour in Europe and were unable to return to their country where their music was proscribed by the ruling military junta.
Having heard of the numerous extra-judicial killings of many fellow artists by Chile's army, they took up residence in Italy, resulting in "the longest tour in history" for Inti-Illimani as they lived in de facto exile. They continued their efforts supporting Chilean democracy internationally; magnitizdat copies of their work continued to be widely distributed in Chile. In September 1988, days after they were no longer banned from Chile, they began touring Chile again. They helped organize the voting down of the referendum that would have re-elected Pinochet. Recently, they were actually supported by Chile as representatives of Chilean culture.

In Europe their music took on a multifarious character, incorporating elements of European baroque and other traditional music forms to their rich and colourful Latin American rhythms - creating a distinctive fusion of modern world music. They are perhaps the best internationally known members of the nueva canción movement.

"La Nueva Canción Chilena" (New Chilean Song) is the musical voice of a social/political movement that lived in Chile in the 1960s and early 70s. Musically, it revived the sounds of native Andean music and blended them with American folk and popular music. Politically, the movement championed labor organization, land reform, anti-racism, and anti-imperialism. It supported the Vietnamese in their struggle against the U.S. Pinochet and the Fascist military junta seized power in Chile on Sept. 11, 1973. The New Chilean Song movement (along with most leftist political and social organizations) was destroyed, and its leaders murdered or exiled. The CIA and other U.S. agencies were heavily involved in installing Pinochet and keeping him in power.

Inti-Illimani - La Nueva Cancion Chilena (1973)
(192 kbps, cover art included)

Sonntag, 10. September 2017

Georg Kreisler - Die alten bösen Lieder

"Composer and cabaret singer Georg Kreisler entered my life as a dictation in a German class. It was in 1996, early in my time in Vienna, and a spirited teacher at the Volkshochschule Brigittenau decided to challenge the students in the B2 class with the irresistible verses of “Tauben vergiften im Park” (Poisoning Pigeons in the Park) – one of Kreisler’s trademark bits of black humour that made him a cabaret legend in 1950s Vienna. It was hard-going for an intermediate German class. Still, you knew people were getting it, as suppressed giggles rippled about the room.

This first encounter led to the discovery of Kreisler’s “best of” song collection Everblacks, where I received important lessons in the culture of my new home: For example “Der Tod, das muss ein Wiener sein” (“Death must surely be a Viennese”) as “he” understands the importance of punctually at the Gates of Heaven, or, my favorite, the deliciously scathing “Wie schön wäre Wien ohne Wiener” (“How beautiful Vienna would be without the Viennese”). This gleeful revenge fantasy gives voice to the bottomless sense of betrayal of the Vertriebenen, those who had been driven out of their beloved city after the Anschluss.

With transcendent merriment, Kreisler sings of his beautiful Vienna that, “like a sleeping woman,” is presumably better to look at than to have to deal with. He sings of empty streets and unspoiled parks that would be a boon for tourism. And think! No more construction sites! No more folk bands! And not a blessed thing on television! And in this paradise, he muses, anti-Semitism would finally be consigned to the dusty shelves of a second-hand bookshop.

Born in Vienna in 1922 in a middle-class Jewish family, Kreisler and his parents were forced into exile in 1938, emigrating to the U.S., where he became a citizen in 1943. He returned to Europe with the army, acting as a translator and with opera scholar Marcel Prawy, writing and performing songs for the troupes. In Hollywood after the war, he performed in nightclubs and film studios, serving, for example, as ghost pianist for Charlie Chaplin in Monsieur Verdoux. Record companies were less receptive, finding the biting wit of his songs “un-American,” according to his biographers, and he returned to Vienna in 1955.

Here he became a fixture of the legendary Wiener Kabarett, alongside Helmut Qualtinger, Gerhard Bronner and Peter Wehle, then went independent, performing solo with his then-wife Topsy Küppers at the Marietta-Bar. He wrote songs and verses, stage and radio plays, cabaret sketches and musicals, including the highly successful Heute Abend, Lola Blau, and the television series, Die heiße Viertelstunde.

His relationship to Vienna was an uneasy one, however. As popular as he was with critics and his cabaret audiences, his increasingly biting political humor also led to censorship on both television and radio. His critiques of Austrian politics, made all the more powerful by his dazzling lyric gift, may have simply pushed too far in a country still in such deep denial about its role in the war. He was never invited to reclaim his Austrian citizenship, nor did the City of Vienna choose to honor him, as it did, for example, for Marcel Prawy.

“This city never lifted a finger for me,” he was quoted recently in the German news weekly Der Spiegel. “Rather than welcomed, I was chased away with bared teeth.” Kreisler became a man without a country, moving to Munich in 1958, then Berlin (1976), Salzburg (1988) and Basel (1992), finally returning to Salzburg in 2007.

He never lived in Vienna again.

Still, he visited from time to time on a series of “Farewell Tours,” the last in 2001. After that, he concentrated on poetry, publishing Zufällig in San Francisco: Unbeabsichtete Gedichte (Accidentally in San Francisco: Unintentional Poems), awarded the 2010 Friederich Hölderlin Prize.
It was to read from these and other lyrics that Kreisler was back in Vienna last January, at the venerable Kabarett Simpl. Bent over and clearly frail, he shuffled onto the stage on the arm of his wife, actress Barbara Peters, and seated himself awkwardly behind a desk. As he began to read, the years fell away, his resonant voice filling the hall, answering with hers, ringing with perfect clarity to the back of the house, the music of words, the masterful marriage of sound and sense.

Georg Kreisler died on 22 Nov. in Salzburg at the age of 89. Perhaps it mattered to him after all to die in Austria, even if not in Vienna. “Your homeland remains your homeland,” he once said, “even when you have been clobbered with it.” "- http://www.viennareview.net/

Tracklist:

1My psychoanalyst is an idiot3:20
2Please, shoot your husband2:20
3Bidla Buh3:05
4Das Triangel4:07
5Das Mädchen mit den drei blauen Augen2:17
6Der guate alte Franz3:25
7Die Wanderniere3:29
8Taubenvergiften2:25
9Lied für Kärntner Männerchor5:02
10Mütterlein4:53
11Zwei alte Tanten tanzen Tango4:57
12Der Bluntschli4:02
13Max auf der Rax4:50
14Der Musikkritiker6:46
15Zu leise für mich3:41


Georg Kreisler - Die alten bösen Lieder
(320 kbps, cover art included)

Samstag, 9. September 2017

Dollar Brand & Johnny Dyani - Good News from Africa (1973)

The extraordinary South African pianist meets his countryman, the late, very great bassist Johnny Dyani, and the result is one of the single most beautiful recordings of the '70s. The duo mix in traditional African and Islamic songs and perform with a fervor and depth of feeling rarely heard in or outside of jazz.

From the opening traditional Xhosa song, "Ntsikana's Bell," the rich, sonorous approach of these two musicians is evident, both singing in stirring fashion, Ibrahim guttural and serious, Dyani as free and light as a swallow. Ibrahim treats the listener to some of his all-too-rarely heard flute work on the following track, using Kirk-ian techniques of sung overtones in a gorgeous original. Dyani's bass playing is simply astonishing, never indulging in mere virtuosic displays but always probing, always deep - what Mingus might have sounded like had he been born in South Africa. His whipsaw arco work on "Good News" provides an incredibly roiling yet solid framework for some inspired piano from Ibrahim.

The Islamic prayer-song "Adhan/Allah-O-Akbar" is sung with such heartfelt intensity so as to melt the heart of the unbeliever and lay waste to countless quasi-spiritual attempts by lesser talents. The final two pieces are a fascinating pair. "The Pilgrim" is an Ibrahim special, based on a slow, irresistible loping groove, one that reaches its end lingering for a second or two before repeating, on and on like a luxurious desert caravan. The musicians embroider it exquisitely before reluctantly letting it go on its way after ten minutes. The next composition, Ibrahim's "Moniebah," begins in a stately manner, proceeding along for a minute or two until, as if drawn in by its ineluctable gravity, they return to "The Pilgrim," unable to resist its pull. It's an amazing, joyful moment that sends chills down one's spine.

"Good News From Africa" was the shining, transcendent release by both of these great musicians and one that should grace every listener's collection.    

This album was recorded December 10, 1973 at Studio Bauer, Ludwigsburg.          

Tracklist:

1Ntsikana's Bell6:15
2Msunduza4:37
3Good News (Swazi, Waya-Wa-Egoli)7:25
4Adhan & Allah-O-Akbar4:15
5The Pilgrim9:50
6Moniebah (The Pilgrim)12:00

  
Dollar Brand & Johnny Dyani - Good News from Africa (1973)     
(320 kbps, cover art included)

39 Clocks - 13 More Protest Songs (1987)

The 39 Clocks were a Psychedelic group from Hannover, Germany. The band was formed in 1977 under the name Killing Rats, split after an appearance at "Psychotic Splash Festival" in Hannover (18 June 1983) and was briefly reformed for a comeback album in 1987.    

The first public appearance pairing Christian Henjes and Juergen Gleue (inspired by and with names derived from LSD-25, they would become CH-39 and JG-39) was in 1976, at the Dada Nova (a space occupied by Otto Mühl’s AAO commune) in midtown Hannover, Germany. Dada Nova would be a space of enduring clash. From the subtlety of a shat upon organ to the ejection from communal meetings by bodily force, the AAO would display that the presence of the 39 Clocks was one of their constant grief.

Known for pranksterism and the destruction of the clubs in which they would perform, friction in every form would continually follow the band. In 1979 they were thrown out of a show in Kassel at Dokumenta (their sounds had disturbed Joseph Beuys). They created an outrage (they wrote a tune with the title “Art Minus Idiots”) at the Filmtage Hannover with their avant-garde Super 8 movies made under the disguise of director Zachius Lipschitz. Rumour claims that at a Hannover show at the Cafe Glocksee, they played the vacuum cleaner and a circular saw instead of guitars, and there was even a knife throwing incident in Bremen              

This album was recorded in 1987 in Ilten, Germany. It is dedicated to Rolf-Ulrich Kaiser, Reg Presley, Chet Baker, Jack Grunsky and Ilona Staller.           

Tracklist:

Eternal Yesterdays2:40
What Never Happened4:10
Eve Of Destruction2:50
You Can't Count The Bombs (It's Zero)3:41
But You Know7:08
Mr. Diamond3:06
My Tears Will Drown The World2:42
Il Ne Porte Pas Ses Nylons Négligés4:28
Shake Ghaddafi's Blues4:30
I'm Not Alone Without You (Ce N'est Pas Pervers)1:50
(They Don't Dance Much) The Violent Ones4:51

39 Clocks - 13 More Protest Songs
(ca. 192 kbps, cover art included)

Freitag, 8. September 2017

Dick Farina & Eric Von Schmidt - Dick Farina & Eric Von Schmidt (1963)

This obscure album, recorded in January 1963 at Dobell's record shop in London, is known primarily for a very famous session musician playing under a pseudonym. Blind Boy Grunt, aka Bob Dylan, contributed harmonica and backup vocals to half a dozen of the tracks (using that pseudonym, most likely, as he was under contract to a different label at the time).

Farina and Von Schmidt, already noted performers in the American coffeehouse folk scene, are the principal figures on this pretty typical '60s folk revival LP. The material and delivery are rooted in traditional folk forms, including jug band, blues, and Appalachian music, and are neither too dry nor too exciting. Certainly Farina, the more talented of the front line pair, shows few flashes of the first-rate songwriting and arrangements that would flower on the albums he did in the mid-'60s with his wife Mimi Farina.

The one vivid flash of that brilliance is on the instrumental "Old Joe's Dulcimer," in which he unveils his considerable talents on the instrument. With its almost Indian-like drones, it could just about fit as one of the instrumentals on the Richard & Mimi Farina albums, although the absence of Mimi Farina's guitar accompaniment creates (if only in retrospect) a sonic gap. "Wobble Bird" (derived from the standard "Cuckoo") and "Wildwood Flower" (a vocal number which has some dulcimer) aren't bad, but really this is just another folk album of its time, notable primarily as a collector's item.

If you're picking this up just for Dylan's contributions, be advised that those are pretty low-key; he doesn't contribute any songwriting or lead vocals. Also lending a hand on these sessions is Ethan Signer of the Original Charles River Valley Boys.      - www.allmusic.com          


Tracklist:

Side One:
1.) JOHNNY CUCKOO (4:27) adaption of a children's game song learned from Bessie Jones, a negro woman from St. Simon's Island, Georgia
2.) JUMPING JUDY (3:55) an ax song, sometimes called "Drive it On," from the unaccompanied singing of convicts, Cummins State Farm, Arkansas, 1934. Played in an open G-tuning.
3.) GLORY, GLORY (2:34) traditional negro hymn, the tune relating closely to the Southern white hymn, "Will the Circle Be Unbroken?"
4.) OLD JOE'S DULCIMER (2:55) a medley of dance tunes including "Old Joe Clark," "Swing and Turn," "Darlin' Corey," etc.
5.) WOBBLE BIRD (2:44) a variation on "The Cuckoo," in 3/4 time.
6.) WILDWOOD FLOWER (1:56) instrumental on the well known Carter song.
7.) OVERSEAS STOMP (2:43) in the spirit of the 1927 Memphis Jug Band.

  Side Two:
1.) LONZO N'HOWARD (3:30) learned from Tom Shoemaker of Harlan, Kentucky, who heard it there from a mountain fiddler called Blind Jim. This is probably its first recording.
2.) YOU CAN ALWAYS TELL (3:00) a tune based on Furry Lewis' "Dry Land Blues," with additional verses.
3.) XMAS ISLAND (3:18) a twelve-bar written by Fariña.
4.) STICK WITH ME BABY (3:32) played in an open G-tuning, adapted from the 1928 Lewis, "I Will Turn Your Money Green."
5.) RIDDLE SONG (1:10) traditional, with new answers to fit the old questions.
6.) COCAINE (4:03) learned from Rev. Gary Davis at Indian Neck, 1960.
7.) LONDON WALTZ (3:10) a blues in 3/4 time, music by Fariña, words spontaneous.

Dick Farina & Eric Von Schmidt - Dick Farina & Eric Von Schmidt (1963)
(320 kbps, cover art included)

Donnerstag, 7. September 2017

Lonnie Smith - Move Your Hand

Lonnie Smith (born July 3, 1942), styled Dr. Lonnie Smith, is an American jazz Hammond B3 organist.

"Move Your Hand" was recorded live at Club Harlem in Atlantic City on August 9, 1969. Organist Lonnie Smith led a small combo - featuring guitarist Larry McGee, tenor saxist Rudy Jones, bari saxist Ronnie Cuber, and drummer Sylvester Goshay - through a set that alternated originals with two pop covers, the Coasters' "Charlie Brown" and Donovan's "Sunshine Superman."

Throughout, the band works a relaxed, bluesy, and, above all, funky rhythm; they abandon improvisation and melody for a steady groove, so much that the hooks of the two pop hits aren't recognizable until a few minutes into the track. No one player stands out, but "Move Your Hand" is thoroughly enjoyable, primarily because the group never lets their momentum sag throughout the session. Though the sound of the record might be somewhat dated, the essential funk of the album remains vital.                

Tracklist:

  1. "Charlie Brown" (Jerry Leiber, Mike Stoller) - 8:26
  2. "Layin' in the Cut" - 10:11
  3. "Move Your Hand" - 9:01
  4. "Sunshine Superman" (Donovan Leitch) - 10:16
  5. "Dancin' in an Easy Groove" - 11:56


Lonnie Smith - Move Your Hand
(320 kbps, cover art included)

Dienstag, 5. September 2017

VA - Chile no se rinde, Chile vencerá (1975)


In the 1970s, the demonstrations of solidarity with the Chilean people roamed throughout Latin America and Europe. An interesting example for this broad solidarity is the "Festival Latinoamericano De La Cancion En Solidaridad Con Chile".
This live album features recordings from the concerts that took place in San José de Costa Rica in solidarity with Chile, in the late seventies. Several Central and South American artists performed at this event.

Tracklist:

01. Canto indoamericano – Arnulfo Briceño (Colombia)
02. Pelea, hombre, pelea – Conjunto Mahu Cutah (El Salvador)
03. La enfermedad del dollar – Santos Díaz (Panamá)
04. Uno, dos … – Dionisio Cabal (Costa Rica)
05. Rodolfo Aguilar Delgado – Taller sonoro Víctor Jara (Panamá)
06. Cuando tenga la tierra – Julio Lacarra (Argentina)
07. Cuba, qué linda es Cuba (Carlos Puebla) – Los Cañas (Cuba)
08. A Chile – Gerardo Guzmán (El Salvador)
09. Chile no se rinde – Rubén Pagura (Costa Rica)
10. Chile vencerá (Luis Enrique Mejía Godoy) – Grupo Tayacán (Costa Rica)
11. El pueblo unido jamás será vencito – Todos los artistas y público

VA - Chile no se rinde, Chile vencerá (1975)
(320 kbps, cover art included)

Freitag, 18. August 2017

Sonja Kehler - Singt Brecht, Eisler, Dessau (Recordings 1972 - 1978)


"Sonja Kehler grew up in the German Democratic Republic and started her career as an actress who also landed roles that required singing. She played Eliza Doolittle in "My Fair Lady" for a long time and was also selected for Brecht roles. Towards the end of the 1960s she gradually left the theatre to concentrate on a career as a solo artist – also internationally. Hers was a typical Brechtian voice: flexible, unsentimental, excellent enunciation, a bit distanced in approach. The ageing Lotte Lenya’s ‘speak-song’ had become a kind of norm and Sonja Kehler belongs to that school, as does the roughly ten years older Gisela May. This disc with recordings from the 1970s was issued to coincide with her 75th birthday in 2008 as a tribute to a great artist.

Bertold Brecht and Kurt Weill are for many, I suppose, the inseparable radar couple in German music theatre. In fact their collaboration was short-lived. On the other hand, Dessau and especially Eisler worked with Brecht for many years. Eisler chalked up nearly thirty years collaboration with Brecht. There is, no doubt, a kinship between the three composers: in the straightforward approach, a kind of aggression, the rhythmic patterns, the often blunt ends, the adaptation of elements from jazz and popular music. But whereas Weill has a melodic directness that he was to hone and develop when he moved to the USA to fit into mainstream popular songs and Broadway musical theatre, both Eisler and Dessau are bolder, more experimental, drawing on sometimes harsh harmonies and melodic material based on speech. In particular Paul Dessau was quite avant-garde. The differences can generally be heard both in the theatre songs and the Lieder, where Eisler is sometimes ingratiatingly catchy, Dessau is more evasive. What they have in common is the gift to let Brecht’s lyrics speak – the melodies are not ends in themselves. They fit Brecht’s aesthetics: the epic theatre, the Verfremdungseffekt. This doesn’t imply that there is any kind of monotony. Within the concept there is variation aplenty. Among my personal favourites I would single out the melodically inventive songs from Herr Puntila … (Eisler) and Dessau’s Lied der Mutter Courage, where we hear soldiers marching relentlessly.

The Lieder, many of them quite short, are charmingly jazzy (tr. 17), catchy Schlager-melodies (tr. 18) or intimate ballads (tr. 24). Not all of them are Brecht settings. Dessau’s Tierverse are amusing miniatures and each of them starts like a fairy-tale: Es war einmal … One of them, Das Pferd (The Horse), was composed specifically for Sonja Kehler.

The accompaniments are varied, spanning from simple guitar-chords to full ensemble with winds and percussion, often with witty or illustrative instrumental solos. The arrangements are by Manfred Grabs and Helge Jung. The sound quality is excellent with wide stereo spread. The booklet has an interview with Sonja Kehler but unfortunately no sung texts. The message is central and even though Kehler’s articulation is spotless non-German natives at least would have been greatly helped by the printed words.

Whether this is a disc with universal appeal is debatable. The texts are political, even controversially so to some listeners, but provided one accepts Brecht’s point of view it is hard to imagine a better advocate for these songs than Sonja Kehler. A timely issue. Many Happy Returns of the Day! "

Göran Forsling


  
Tracklist:

Hanns EISLER (1898–1962): Die Rundköpfe und die Spitzköpfe

1. Das Lied von der Tünche [1:45]

2. Die Ballade vom Knopfwurf [4:44]

3. Das “Vielleicht”-Lied [1:53]

Paul DESSAU (1894–1979): Der Gute Mensch von Sezuan

4. Das Lied vom achten Elefanten [2:44]

5. Arioso der Shen Te [1:42]

Hanns EISLER: Herr Puntila und sein Knecht Matti

6. Das Puntila-Lied [4:23]

7. Ala die Pflaumen reif geworden [1:19]

8. Die Gräfin und der Förster [1:44]

Paul DESSAU: Mutter Courage und ihre Kinder

9. Lied der Mutter Courage [5:58]

10. Lied von der Bleibe [1:50]

11. Lied vom Fraternisieren [3:35]

Der Kaukasische Kreidekreis

12. Lied der Grusche (Vier Generäle) [1:35]

13. Liebster mein [1:26]

Hanns EISLER: Die Tage der Commune

14. Margot ging auf den Markt heut früh [1:21]

15. Resolution [3:27]

16. Ostern ist Bal sur Seine [1:03]

Lieder von Hanns Eisler / Lieder von Paul Dessau

Hanns EISLER

17. Considering everything [2:34]

18. Der Butterräuber von Halberstadt [2:24]

Paul DESSAU

19. Das Zukunftslied [3:05]

20. Der Pflaumenbaum [1:19]

21. Vom Kind, das sich nicht waschen wollte [1:28]

Hanns EISLER

22. Willem hat ein Schloss [0:54]

23. Lied vom kriegrischen Lehrer [0:45]

Paul DESSAU

24. Bitten der Kinder [1:06]

25. Kriegslied [3:12]

26. Sieben Rosen hat der Strauch [0:47]

27. Als ich nachher von dir ging [0:56]

Hanns EISLER

28. Hast am Feldrain geblüht, lieber Birnbaum [1:07]

Paul DESSAU

Tierverse (Brecht)

29. Das Schwein [0:22]

30. Die Ziege [0:51]

31. Der Hund [0:33]

32. Der Elefant [0:33]

33. Das Kamel [0:26]

34. Die Kellerassel [1:06]

35. Der Rabe [0:44]

36. Das Pferd [0:39]


Artists: Sonja Kehler (vocals), Helge Jung with instrumental ensemble (1, 5-9, 11-19, 22-24, 28-36); Bernd Wefelmeyer with instrumental ensemble (2-4); Werner Pauli (guitar) (10, 20, 21, 26, 27); Ernst Rentner (accordion) (12, 14-16, 28); Gundula Sonsalla (guitar) (6-8); Gerald Schleicher (clarinet)(6-8); Bernd Wefelmeyer (piano) (25)

rec. 1972 (26, 27); 1973 (1, 6-8, 14-18, 22, 23, 28); 1976 (5, 9-13, 19-21, 24, 29-36); 1978 (25, 2-4)

Sonja Kehler singt Brecht, Eisler, Dessau (Recordings 1972 - 1978)
(192 kbps, front cover included)

Donnerstag, 17. August 2017

Hanns Eisler - Klingende Dokumente II

The historical recordings featured on the four LPs "Klingende Dokumente" offer valuable clues to the life and work of one of the most versatile and influential composers of the 20th century. Alongside Alban Berg and Anton von Webern, Hanns Eisler was the third of Arnold Schoenberg´s pupils to be acknowledged as a "master" by his mentor. He was the first Marxist-inspired musician of talent and stature to succeed, from the late 1920s onwards, in overcoming the social isolation of bourgeois musical art through politically intelligent and socially relevant music written in an advanced idiom.

The included performance of his "Serious Songs" ("Ernste Gesänge") was not directed by Eisler himself. It has been included in this set because the composer made comments on this work in a conversation taped shortly before his death ("To win the future you must come to terms with the past" / "Wer die Zukunft haben will, muss die Vergangenheit bewältigen", from a conversation with Hans Bunge, 14 August 1962). These songs represent his last compositional effort. He did not live to see them performed. 

"Klingende Dokumente II" was released in 1974 on the NOVA label.

Tracklist:

A1Unterricht bei Schönberg
A2Die Tage der Kommune
A3Inhalt und Form
A4Schwejk im Zweiten Weltkrieg
A5Über moderne Musik
B1Bei Prominenten zu Gast
B2Wer die Zukunft haben will, muß die Vergangenheit bewältigen
B3Ernste Gesänge für Bariton und Streichorchester

(320 kbps, cover art included)

Gisela May - Brecht-Songs - Eisler - Dessau

Gisela May was, along with Helene Weigel and Lotte Lenya, one of the definitive postwar interpreters of the music composed for Bertolt Brecht by Kurt Weill, Hanns Eisler and Paul Dessau. The husky simplicity of her voice particularly suited Eisler - who despised sentimentality and valued clarity of expression. The power of Brecht's poetry shines through her delivery of songs like the astonishing "O Falladah, die du hangest" - written from the angle of an exhausted horse lying helplessly on a busy street as a mob of desperate Depression-era Berliners carve up her living body for meat. 

This is not a comfortable image - but Brecht is showing us that economic injustice has uncomfortable consequences. Compare "O Falladah" with the "Song of the Invigorating Effects of Money" and the listener begins to understand that Brecht and Eisler deserve to be remembered not only as talented agitators for Marxist revolution but also as acute observers of human nature. One cannot say if the results of the famous Brecht-Eisler collaboration are timeless, but they certainly have a long shelf life.

Also noteworthy in this album are the "Song of the Moldau" and two anti-war hits  - "Song of the Woman and the Soldier" and "Song of a German Mother." Note also the contrast between Eisler's lively, jazz-influenced style and Dessau's sometimes plodding treatment of songs from Brecht's later plays, which constitute the second half of the CD.


Like other albums in Edel's "Berlin Classics" series, the Gisela May CD offers digitally-remastered analog recordings from the GDR (East German) recording industry. 



Tracklist:


       Hanns Eisler (1898-1962):
1Lied Eines Freundenmädchens
2Lied Von Der Belebenden Wirkung Des Geldes
3Kuppellied
4Das Frühjahr
5Mutter Beimlein
6O Falladah, Die Du Hangest!
7Ballade Von Der Judenhure Marie Sanders
8Das Lied Von Der Moldau
9Das Lied Vom Kleinen Wind
10Das Lied Vom Kelch
11Und Was Bekam Des Soldaten Weib
12Ballade Vom Weib Und Dem Soldaten
13Lied Einer Deutsches Mutter

 Paul Dessau (1894-1979):
14Lied Der Mutter Courage
15Lied Vom Fraternisieren
16Salomon Song
17Lied Von Der Grossen Kapitulation
18Als Ich Nachher Von Dir Ging
19Sieben Rosen Hat Der Strauch
20Das Pferd
21Der Rabe
22Der Igel
23Die Kellerassel
24Lied Vom Achten Elefanten
25Ballade Vom Forster Und Der Grafin
26Kleines Lied
27Grusches Lied Vier Generäle
28Lied Einer Deutsches Mutter
29An Meine Landsleute

Gisela May - Brecht-Songs - Eisler - Dessau
(320 kbps, cover art included, missing track now included)