Samstag, 3. Dezember 2016

Gisela May - Chansons (Amiga, 1968)

[​IMG]Gisela May was a German national treasure, a singing actress (or "diseuse") in the tradition established by Lotte Lenya and Marlene Dietrich and later continued by Ute Lemper. Born to artistic parents, May's career got off to a slow start, working obscure parts in East German films and taking acting lessons in Leipzig. Her singing talents were discovered by composer Hanns Eisler, and in 1962 she joined the Berliner Ensemble, the theatrical group founded by Bertolt Brecht.

May remained a member of the Ensemble for three decades. She is strongly identified with the roles of Mother Courage, which she took over from Brecht's wife Helene Weigel after the latter died in 1971, and of Mrs. Kopecka in Schweyk and the Second World War. In 1992, May decided to leave the Berliner Ensemble and enjoyed a second career starring in German productions of the shows Cabaret and Hello, Dolly! Although the better part of her career was based in Soviet-bloc East Germany, May was able to pursue it on an international basis, touring to Australia and even the United States.

May is considered an expert interpreter of the work of Brecht, Kurt Weill, Eisler, Kurt Tucholsky, and Jacques Brel. She has recorded extensively and has won numerous prizes and awards, including election to the East German Academy of the Arts. May's memoir, "Es wechseln die Zeiten Erinnerungen (The Times Memories Change Around)", was a best seller in Germany when it was published in 2002. She also held master classes and workshops in German on Brechtian theater and cabaret performance.


Seite A:

01 Ankündigung einer Chansonette
02 Frühling
03 Sentimentale Romanze
04 Oktober
05 Abschied
06 Maskenball im Hochgebirge
07 September

Seite B:
08 Padam, padam...
09 Das Lied vom starken Mann
10 So geht die Liebe
11 Rummelplatz der Liebe
12 Überleg`s dir noch mal mit dem Herzen
13 Nein, es tut mir nicht leid

Gisela May - Chansons (Amiga, 1968)
(320 kbps, cover art included)

Gisela May - Die sieben Todsünden

Amongst the many records which Gisela May has made, her recording of Brecht/Weill´s ballet with voice, "Die sieben Todsünden" ("The Seven Deadly Sins") was awarded the "Grand Prix du disque" in Paris 1968.

After a performance of the ballet in Milan in 1971, the critic form the local newspaper "Avanti" had the following to say about Gisela May´s performance of Anna II: "With her diction, she fires hard salvos of syllables and rhythms at the audience, enchanting the spectators with smooth sounds and sweet, melodic passages. The very speical nature of the character is conveyed in every aspect of her singing, her reciting, her style and her gestures."
This commentary could just as well have been written about the songs on this record.

Tracklist:

Prolog
A1Lied der Schwestern: "Meine Schwester und ich stammen aus Louisiana" (Andante Sostenuto)
I. Faulheit (Im Begehen des Unrechts)
A2Lied der Familie: "Hoffentlich nimmt sich unsere Anna auch zusammen" (Allegro Vivace)
II. Stolz auf das Beste des Ichs (Unverkäuflichkeit)
A3.1Lied der Schwester: "Als wir aber ausgestattet waren" (Allegretto, Quasi Andantino)
A3.2Lied der Familie: "Das geht nicht vorwärts" (Allegretto, Quasi Andantino)
III. Zorn über die Gemeinheit
A4Lied der Schwester: "Jetzt geht es vorwärts" (Molto Agitato)
IV. Völlerei (Sättigung, Selberessen)
B1Lied der Familie: "Da ist ein Brief aus Philadelphia" (Largo)
V. Unzucht
B2Lied der Schwester: "Und wir fanden einen Mann in Boston" (Moderato)
VI. Habsucht bei Raub und Betrug
B3Lied der Familie: "Wie hier in der Zeitung steht, ist Anna schon in Baltimore" (Allegro Giusto)
VII. Neid auf die Glücklichen
B4Lied der Schwester: "Und die letzte Stadt der Reise war San Francisco" (Allegro Non Troppo)
Epilog
B5Lied der Schwester: "Darauf kehrten wir zurück nach Louisiana" (Andante Sostenuto)

Gisela May - Die sieben Todsünden
(192 kbps, cover art included)

Gisela May - Singt Erich Kästner (1968)

 





Gisela May (May 31, 1924 in Wetzlar - December 2, 2016) was a distinguished German character actress of theatre and a singer, critically acclaimed for performing the songs written by Bertolt Brecht and Kurt Weill.
"Was aber die May und ihre außergewöhnliche Wandlungsfähigkeit ihren Reichtum an Nuancen und Schattierungen betrifft so wäre man wohl versucht .. von einem Ensemble zu sprechen selbst wenn es in diesem Falle (unser Glück!) nur aus einer Frau besteht - einer Frau die freilich mehr zu bieten hat als sieben andere." (Lothar Kusche)
 
Emil Erich Kästner (23 February 1899 in Dresden – 29 July 1974 in Munich) was a German author, poet, screenwriter and satirist, known for his humorous, socially astute poetry and children's literature.
 
Kästner was a pacifist and humanist, he wrote for children because of his belief in the regenerating powers of youth. He was opposed to the Nazi regime in Germany that began on 30 January 1933 and was one of the signatories to the "Urgent Call for Unity". However, unlike many of his fellow authors critical of the dictatorship, Kästner did not emigrate. Kästner did travel to Meran and to Switzerland just after the Nazis assumed power, and he met with exiled fellow writers there. However, Kästner returned to Berlin, arguing that he could chronicle the times better from there. It is probable that Kästner also wanted to avoid abandoning his mother. The Gestapo interrogated Kästner several times, and the writer´s guild excluded him. The Nazis burnt Kästner´s books as "contrary to the German spirit" during the infamous book burnings of May 10, 1933, which was instigated by the then Nazi propaganda minister Joseph Goebbels. Kästner witnessed the event in person.

After the Second World War  Kästner remained a pacifist, speaking at the antimilitarist Ostermarsch demonstrations that protested the stationing of nuclear weapons in West Germany. He later also took a stand against the Vietnam War.

He was a critical chronist of his times - this 1968 recording by Gisela May with Henry Krtschil and his studio orchestra gives evidence of his socio-critical humour.

Tracklist:

Side 1:
KOPERNIKANISCHE CHARAKTERE GESUCHT (1940)
MODERNES MÄRCHEN (1928)
ANSPRACHE EINER BARDAME (1928)
HÖHERE TÖCHTER IM GESPRÄCH (1930)
CHOR DER GIRLS (1929)
SACHLICHE ROMANZE (1929)
EINE MUTTER ZIEHT BILANZ (1929)
DAS LIED, GENANNT „ZUR SELBEN STUNDE" (1952)


Side 2 :
DAS LEBEN OHNE ZEITVERLUST (1946)
KLASSENZUSAMMENKUNFT (1928)
DIE DAME SCHREIBT DER DAME (1931)
DAS LIED VOM KLEINEN MANN (1931)
KENNST DU DAS LAND, WO DIE KANONEN BLÜHEN (1928)
FANTASIE VON ÜBERMORGEN (1929) (Musik: Paul Dessau)

Gisela May - Singt Erich Kästner (1968)
(256 kbps, cover art included)

Freitag, 2. Dezember 2016

Maria Farantouri - Ligo Akoma - Lieder aus Griechenland (Pläne, 1980)

Originally posted in September 2015:
Yesterday I had the chance to experience Maria Farantouri live on stage, celebrating the 90th birthday of Mikis Theodorakis. I am still deeply impressed!

A well-known Greek vocalist and political activist, Maria Farantouri is considered one of the foremost interpreters of Greek music, especially the work of composer Mikis Theodorakis. A contralto singer with a deep, resonant voice, Farantouri is sometimes referred to as the Joan Baez of Greece, and over the years has moved from traditional and folk styles to more jazz, classical, and avant-garde works. Born in Athens in 1947, Farantouri first began singing in her youth as a member of the progressive choir of the Society of Greek Music, which worked to support new music based on Greek traditions. By her teens she caught the ear of Theodorakis, who invited her to join his ensemble. This led to a time of great creative and social awakening for Farantouri, who along with Theodorakis´ culturally and politically left-leaning work, helped popularize the writing of many important Greek poets.

From 1967 to 1974, Farantouri was forced into exile after a right-wing military junta staged a coup in Greece. During this time, she and Theodorakis made several protest recordings in Europe and expanded their work to included the writing of Bertolt Brecht and Spanish composer Carlos Puebla, as well as many Greek composers including Eleni Karaindrou and Mikalis Bourboulis. Also during this period she released the anti-fascist recording "Mauthausen Cycle," a work by Theodorakis featuring the writing of poet Iakovos Kambanellis. Often referred to as a hymn to human rights, the cycle would become one of Farantouri's signature recordings. After returning to Greece in 1974, Farantouri resumed her successful recording career and began to expand her sound in a variety of directions, including jazz.
 
Never wavering from her political views, she was elected to the Greek Parliament and served from 1989 to 1993, representing the Panhellenic Socialist Movement. She continued to record from the mid-'90s onward and released a cornucopia of albums in various styles, even including a collection of George Gershwin standards in 2007. While she most often performs works by Greek writers and composers, Farantouri continues to expand herself creatively and can interpret nearly any style of music in her own unique way. In 2011, she appeared on the live album "Athens Concert" with jazz saxophonist Charles Lloyd and his quartet.

Maria Farantouri -Ligo Akoma - Lieder aus Griechenland (Pläne, 1980)
(256 kbp, front cover included)

Gisela May - Singt Brecht - Eisler - Dessau (Wergo, LP 1968)


Gisela May (May, 31 1924 - December, 02 2016) was a distinguished German character actress of theatre and a singer, critically acclaimed for performing the songs written by Bertolt Brecht and Kurt Weil. She also appeared as a film and TV actress in a number of movies between 1951 and 1991.

Gisela May studied at the drama school in Leipzig. She was employed for nine years at various theatres, including the State Theatre of Schwerin and the State Theatre in Halle. From 1951 she was engaged at the Deutsches Theater in Berlin, Max Reinhardt's former workplace. She played a variety of roles from the classics to modern.

In 1962 Gisela May moved to Bertolt Brecht's theatre group, the Berliner Ensemble, to which she belonged for 30 years. Here she played many roles including Madame Cabet in "The Days of the Commune," Mrs Peachum in "The Threepenny Opera,and " Mrs Kopecka in "Schweik in the Second World War." The theatrical highlight in Brecht's stage work was her personification of Mother Courage. This performance was for about 13 years until the end of 1992 central to the repertoire of the Berliner Ensemble. Since 1992, the artist has been freelance, often working at Berlin's Renaissance Theatre.

Gisela May's second career as a chanteuse ran parallel to her acting. The composer Hanns Eisler valued her particularly for her command of Brecht's style, and worked with her.
In addition to song interpretation Gisela May has experience in the Musicals: in Hello Dolly, she performed as the title character at the Metropol Theatre in Berlin, as well as Fraulein Schneider in "Cabaret" at the “Theater des Westens”.

Here´s the albmum "Gisela May singt Brecht -Eisler - Dessau", collecting songs with words by Bertolt Brecht, including selections from his theatrical works. It was released on the ETERNA label in the GDR in 1967 and licensed on the Wergo label (West Germany) in 1968. It was recorded March to May, 1966, with Gisela May (vocals) accompanied by orchestra (conducted by Henry Krtschil) or piano.

Tracks:
01. Aus 'Der gute Mensch von Sezuan' - Das Lied vom achten Elefanten
02. Aus 'Herr Puntila und sein Knecht Matti' - Ballade vom Forster und der Grafin
03. Aus 'Die Rundkopfe und die Spitzkopfe - Kuppellied
04. Kleines Lied
05. Aus 'Der kaukasische Kreidekreis' - Grusches Lied~Vier Generale
06. Moderne Legende
07. Lied einer deutschen Mutter
08. An meine Landsleute
09. Aus 'Die Rundkopfe und die Spitzkopfe' - Lied eines Freudenmadchens
10. Aus 'Die Rundkopfe und die Spitzkopfe' - Lied von der belebenden Wirkung des Geldes
11. Vier Wiegenlieder einer proletarischen Mutter
12. Ballade von der Judenhure Marie Sanders
13. Aus 'Schweyk im zweiten Weltkrieg' - Das Lied von der Moldau
14. Aus 'Schweyk im zweiten Weltkrieg' - Das Lied vom kleinen Wind
15. Aus 'Schweyk im zweiten Weltkrieg' - Das Lied vom Kelch
16. Aus 'Schweyk im zweiten Weltkrieg' - Und was bekam des Soldaten Weib

Gisela May - Singt Brecht - Eisler - Dessau (Wergo)
(224 kbps, cover art included)

Gisela May - Die sieben Todsünden (Brecht & Weill, vinyl rip, 1966)

Gisela May died today, aged 92. Rest in peace!
 
Here are the classic recordings featuring Gisela May and the Rundfunk Sinfonie Orchester Leipzig, released on Deutsche Grammophon.

This recording of "Die sieben Todsünden" made in 1966, remains the most authentic interpretation (along with the 1956 recording featuring Lotte Lenya) despite later versions starring Julia Migenes, Milva, Elise Ross, Ute Lemper and others. The high-powered reading given by Herbert Kegel and the Leipzig Radio Symphony Orchestra and the superbly cast male quartet would by themselves have ensured the internatinal success of this recording (which earned the Grand Prix du Disque in 1968), but the crownig glory is Gisela May´s vocal performance in the part of Anna.


Tracklist:
Prolog
A1 Lied Der Schwestern: "Meine Schester Und Ich Stammen Aus Louisiana" (Andante Sostenuto)
I. Faulheit (Im Begehen Des Unrechts)
A2 Lied Der Familie: "Hoffentlich Nimmt Sich Unsere Anna Auch Zusammen" (Allegro Vivace)
II. Stolz Auf Das Beste Des Ichs (Unverkäuflichkeit)
A3.1 Lied Der Schwester: "Als Wir ABer AUsgestattet Waren" (Allegretto, Quasi Andantino)
A3.2 Lied Der Familie: "Das Geht Nicht Vorwärts" (Allegretto, Quasi Andantino)
III. Zorn Über Die Gemeinheit
A4 Lied Der Schwester: "Jetzt Geht Es Vorwärts" (Molto Agitato)
IV. Völlerei (Sättigung, Selberessen)
B1 Lied Der Familie: "Da Ist Ein Brief Aus Philadelphia" (Largo)
V. Unzucht
B2 Lied Der Schwester: "Und Wir Fanden Einen Mann In Boston" (Moderato)
VI. Habsucht Bei Raub Und Betrug
B3 Lied Der Familie: "Wie Hier In Der Zeitung Steht, Ist Anna Schon In Baltimore" (Allegro Giusto)
VII. Neid Auf Die Glücklichen
B4 Lied Der Schwester: "Und Die Letzte Stadt Der Reise War San Francisco" (Allegro Non Troppo)
Epilog
B5 Lied Der Schwester: "Darauf Kehrten Wir Zurück Nach Louisiana" (Andante Sostenuto)


Gisela May - Die sieben Todsünden (Brecht & Weill)
(192 kbps, front & back cover included)

Mikis Theodorakis - Liturgie Nr. 2 "Den Kindern, getötet in Kriegen" / Liturgy No. 2 "For the Young Killed in Wars" (ETERNA, 1985)

The Liturgy No.2, written in 1982 to a commission from the Dresden Kreuzchor, is thematically related to the Third Symphony.

Theodorakis adapted his song cycle "Ta Lirika", originally with instrumental accompaniment, for a cappella chorus, which explains the occasional strange combination of plain homophony and melismatic, polyphonic writing.

Flanked by an evening and a morning prayer, the poems of Tasos Livadhitis take on the form of an all-night vigil, a common feature of Greek Orthodox liturgy.

Tasos Livaditis (Athens, 1922-1988) was a Greek poet. Livaditis studied law at Athens University, but soon his gift for creating poetry was discovered. He had a strong political commitment in the political left movement, and because of that he was condemned, led to exile and has been kept in prison from 1947 till 1951, among others on the island of torture Makronisos, together with Yannis Ritsos, Mikis Theodorakis and Manos Katrakis.

Central to this work is the elegy for the Jewish girl, Anne Frank, based on words written by the composer himself.
The world premiere of the Liturgy No.2 – For the Young Killed in Wars was during the Dresden Music Festival, on 21.5. 1983, sung by the famous Dresdner Kreuzchor under the direction of Kantor Martin Flämig.

This album was recorded in 1983 at Studio Lukaskirche Dresden with the Dresdner Kreuzchor and the conductor Martin Flämig.

Tracklist:

Abendgebet2:48
Cherubengesang Für Die Brüder Des Regens2:49
Das Gebet Des Windes3:02
Psalm Für Die Heilige Stadt3:11
Klagetrommel Aus Asphalt2:22
Der Heilige Che2:06
Psalm Für Die Heiligen Musiker2:51
Anne Frank - Ibrahim - Emiliano1:52
Der Tag Der Apokalypse2:09
Die Heilige Mutter2:08
Halleluja - Kalamatianos Für Die Märtyrer Partisanen2:29
Totem Sohne1:50
Gloria2:31
Morgengebet · Psalm Für Die Liebe1:52


01. Vespers
02. Cherub’s Chant to the Brothers and Sisters of the Rain
03. The Prayer of the Wind
04. Psalm for the Holy State
05. Dirge of the Rain
06. The Holy Che
07. Psalm for the Holy Musician
08. Anne Frank – Ibrahim – Emiliano
09. The Day of the Apocalypse
10. The Holy Mother
11. Kalamata Hallelujah for the Partisan Martyrs
12. To a Dead Son
13. Gloria
14. Matins – Psalm to Love

Poems: 01.-07. / 09.-11.: Tasos Livaditis – Poems: 08./12.-14.: Mikis Theodorakis

Mikis Theodorakis - Liturgie Nr. 2 "Den Kindern, getötet in Kriegen" / Liturgy No. 2 "For the Young Killed in Wars" (ETERNA, 1985)
(256 kbps, front cover included)

Gisela May - Singt Tucholsky (Amiga, 1967)


Gisela May (born May, 31 1924) was a distinguished German character actress of theatre and a singer, critically acclaimed for performing the songs written by Bertolt Brecht and Kurt Weill. She also appeared as a film and TV actress in a number of movies between 1951 and 1991.

Gisela May studied at the drama school in Leipzig. She was employed for nine years at various theatres, including the State Theatre of Schwerin and the State Theatre in Halle. From 1951 she was engaged at the Deutsches Theater in Berlin, Max Reinhardt's former workplace. She played a variety of roles from the classics to modern.

In 1962 Gisela May moved to Bertolt Brecht's theatre group, the Berliner Ensemble, to which she belonged for 30 years. Here she played many roles including Madame Cabet in "The Days of the Commune," Mrs Peachum in "The Threepenny Opera,and " Mrs Kopecka in "Schweik in the Second World War." The theatrical highlight in Brecht's stage work was her personification of Mother Courage. This performance was for about 13 years until the end of 1992 central to the repertoire of the Berliner Ensemble. Since 1992, the artist has been freelance, often working at Berlin's Renaissance Theatre.

Gisela May's second career as a chanteuse ran parallel to her acting. The composer Hanns Eisler valued her particularly for her command of Brecht's style, and worked with her.

In addition to song interpretation Gisela May has experience in the Musicals: in Hello Dolly, she performed as the title character at the Metropol Theatre in Berlin, as well as Fraulein Schneider in "Cabaret" at the “Theater des Westens”.

Tours through Europe, across America and Australia have taken her to New York at Carnegie Hall, to the Sydney Opera House and La Scala, Milan. In 1989 she performed in London at a celebration of the 40th anniversary of the DDR.

May has been internationally acclaimed as First Lady of the Political Song and Best Brecht Interpreter. She has performed all over the world for the past forty years. May was one of the leading artists in the former DDR from the early fifties onward. She enjoyed an intensive collaboration with composer Hanns Eisler and was attached as an actress to the Berliner Ensemble for thirty years, until she was fired in 1990, after the fall of the Berlin Wall.


Tracklist:

A1 Augen In Der Gross-Stadt
A2 Lamento
A3 Sie Zu Ihm
A4 Die Nachfolgerin
A5 Das Lied Von Der Gleichgültigkeit
A6 Das Lächeln Der Mona Lisa
A7 Chanson - Japanlied

B1 Das Leibregiment
B2 Wenn Eena Jeborn Wird
B3 Wenn Eena Dot Is
B4 Mutterns Hände
B5 Der Graben
B6 Rote Melodie
B7 Krieg Dem Kriege


Gisela May - Singt Tucholsky (Amiga, 1967)
(320 kbps, cover art included)

Donnerstag, 1. Dezember 2016

Lee Perry - Megaton Dub Vol. 2 (1984)

Opinions (mine included) run hot and cold over this hard-to-find two volume set of Scratch dub. I don't think it is as excellent and crucial as many of its supporters claim, nor do I think it's as awful as its detractors insist. File it under odd and occasionally wonderful (but, ultimately not essential), especially if you like your Perry mix so loaded with echo it sounds as if it was recorded in a canyon. Extremely difficult to find.     - allmusic.com

More near nuclear versions, recorded at Black Ark Studio, Kingston, Jamaica. Maybe one should have no fear of atomic energy but this second round of word sound power plants deserve maximum respect. Upsetter at the apogee.
         
Tracklist:                                                     
A1Traveling In Dub
A2Fisherman Dub
A3Zion In Dub
A4Groovy Dub
B1Dub Crisis
B2Green Bay Killing
B3Big Neck Dub
B4Living In Dub

Lee Perry - Megaton Dub Vol. 2
(192 kbps, cover art included)

Hugh Masekela - Grrr (1966)

The South Afican-born trumpeter Hugh Masekela was playing world music before it had a name. On this album, recorded shortly after he moved to the United States and shortly before he became a worldwide star, he seamlessly fuses jazz ideas with the emotionally direct, rhythmically complex South African music known as Mbaqanga.

Masekela as a young trumpeter from the mid-'60s. Rare, but clearly his best format and playing.  - allmusic.com               

Tracklist:

01. U, Dwi (Masekela) (3:14)
02. Zuul and the Mexican (Masekela) (3:22)
03. Emavungweni (Xaba) (3:08)
04. Ntjilo-Ntjilo (Makeba) (4:12)
05. Sharpville (Masekela) (3:29)
06. Umaningi Bona (Nkabinde) (3:17)
07. Sipho (Mrwebi) (3:44)
08. Kwa-Blaney (Gwangwa) (2:12)
09. Mra (Christopher) (3:08)
10. Phatsha-Phatsha (Mabaso) (2:55)

Hugh Masekela - Grrr (1966)
(320 kbps, cover art included)

Miriam Makeba - The Queen Of African Music Vol. 2 (Pläne)


Miriam Makeba (4 March 1932 – 10 November 2008), nicknamed Mama Africa, was a Grammy Award-winning South African singer and civil rights activist.

In the 1960s she was the first artist from Africa to popularize African music in the U.S. and around the world. She is best known for the song "Pata Pata", first recorded in 1957 and released in the U.S. in 1967. She recorded and toured with many popular artists, such as Harry Belafonte, Paul Simon, and her former husband Hugh Masekela.

She actively campaigned against the South African system of apartheid. As a result, the South African government revoked her citizenship and right of return. After the end of apartheid she returned home. She died on 10 November 2008 after performing in a concert in Italy organized to support writer Roberto Saviano in his stand against the Camorra, a mafia-like organisation local to the region of Campania.

The Queen Of African Music Vol. 2 is a 15-track compilation album by Miriam Makeba, released by Theo König, Verlag Pläne in 1991.

Miriam Makeba - The Queen Of African Music Vol. 2 (Pläne)
(192 kbps, front & back cover included)

Mittwoch, 30. November 2016

Mikis Theodorakis - Z (Soundtrack, 1969)

Directed and produced by Greek director Costa Gavras, starring Yves Montand and Irene Papas, Z is a real masterpiece of a movie. While the film is set in an unspecified country (and filmed in Algeria) it is clear it refers to the 1963 murder of the Greek left-wing parliamentary deputy Grigoris Lambrakis. Costas Gavras tells this story with great mastery in a film adapted from the book by Greek writer Vasilis Vasilikos. Released in 1969, Z immediately became a kind of a cult hit among cinema lovers.

The music is by Mikis Theodorakis, and FM Records provides us here with the fifth cd of their recent six disc tribute to the composer. It's a very good package with digitally remastered sound and quality standards equal to that of the Serpico soundtrack (again by Mikis Theodorakis through FM Records). There are some rare photos from the movie (and one of the composer) along with interesting information about the film and the soundtrack, provided by the composer himself and Ninos Fenek Mikelidis.

Costas Gavras wanted Theodorakis to score this film from the very beginning, but it was impossible for him to have his scenario sent to the composer, as the latter was at that time in internal exile in Zatouna. So the director choose music from Theodorakis' other works A Hostage and Mauthausen, from which they compiled the Z soundtrack.

'Main Title' recalls a military parade performed by bouzouki, harpsichord, trombones and 'busy' percussion instruments which introduce the audience immediately to the politically charged atmosphere and mood of the movie. 'To yelasto pedi' offers the marvelous main theme by the bouzouki, guitar and the symphony orchestra. It's an outstanding piece which may take a little effort to appreciate initially, but soon grows compellingly; fortuitously given the theme is given may repetitions in asorted variations throughout the whole movie.

Tension rises with 'La course de Manuel', music used for a chase scene. This is very late 60's style music, with overdriven, reverb soaked electric guitar, electric bass, organ, strings, an intense beating of the snare drum and nice percussion work. ' To palicari echei kaimo' is a very different in mood, a song with vocals by well known Greek female singer Maria Farandouri; a very Greek-sounding song with bouzouki, drums and percussion that reminds us of another very well-known work by Mikis Theodorakis Zorba The Greek. It has a very uplifting mood that may really make you want to get up and dance!

'Café Rock' is a fast dance piece, pure 60's in style with drums, groovy bass, the overdrive guitar again and bells that is little odd and strange for our musical tastes today. 'Arrival of Helen' offers a slow and sad rendition of the beautiful main theme, with the bouzouki, strings and a lovely, melancholic melody by the violin at the end.

'Batucada' is an odd percussion piece, evocative of the African jungle. 'To Yelasto Pedi (Bouzouki version)' is a faster and more uplifting version of the main theme with bouzouki and marching snare drum in the background. 'To yelasto pedi' despite it's title, is a really dark and weird musical piece for cello, percussion instruments and keyboard sounds which induces a real sense of discomfort, while 'Pios den mila yia ti Labri ' is a fast militaristic piece with loud marching snare drum, bouzouki, harpsichord, guitar and trombones, similar in style to the 'Main Title'.


The 'Finale' is a sad and very beautiful piece for full symphony orchestra, guitar, bouzouki and harpsichord, built around almost unrecognizable renditions of melodies heard in the 'Main Title'. 'To palikari echi kaimo' is the same song we previously heard by Maria Farandouri, only this time the composer himself plays the piano and sings. The cd ends with 'Safti ti gitonia' which is another song, similar in style with piano and vocals by Mikis Theodorakis again.

Z may make for a very short album and is not for everyone's taste, but it is a really compelling and interesting collection with a fabulous main theme that perfectly matches the movie's powerful, intense and politically - charged atmosphere and mood.

Demetris Christodouides

Tracklist:
A1Main Title (O Andonis)
A2To Yelasto Pedi (Life Goes On) (Orchestral Version)
A3La Course De Manuel (Chase)
A4To Palikari Echi Kaimo (Free World)
A5Cafe Rock
A6Arrivee D'Irene (Arrival)
A7Batucada
B1To Yelasto Pedi (Life Goes On) (Bouzouki Version)
B2Idep Otsaley Ot
B3Pios Den Mila Yia Ti Lambri (Hidden Truth)
B4Finale (To Yelasto Pedi) (Life Goes On)
B5To Palikari Echi Kaimo
B6Safti Gitonia


Mikis Theodorakis - Z (Soundtrack, 1969)
(320 kbps, cover art included)

Dienstag, 29. November 2016

Pablo Milanés‎ – Versos José Marti Cantados Por Pablo Milanés

On this 1973 record, Pablo Milanés sings selections by 19th century Cuban poet and revolutionary José Martí, drawing primarily on Versos Sencillos (1891) and the posthumously published Versos Libres (1913).

Although this was Milanés' first album, by the time of its release he was already an accomplished artist. Following early-'60s stints with El Cuarteto del Rey and los Bucaneros, Milanés pursued a solo career; by the end of the decade he was collaborating with Silvio Rodríguez and others, first at El Centro de la Canción Protesta de la Casa de las Américas and then as a member of El Grupo de Experimentación Sonora. Milanés began developing these arrangements for Martí's work while he was in El Grupo de Experimentación Sonora and the resulting solo debut remains a foundational recording of the nueva trova Cubana.

Milanés' simple acoustic guitar accompaniment offers an evocative setting for Martí's words, but his voice is the crucial instrument; his smooth tenor captures the cadences, tone, and emotional power of Martí's writing, from its quiet, contemplative passages to its spirited, passionate flourishes. Milanés' adaptation of section one of Versos Sencillos and his stirring versions of "Amor de Ciudad Grande" and "Banquete de Tiranos" are breathtaking. Particularly noteworthy is the brief "Eramos," a rendering of a passage from Martí's famous essay "Nuestra América" which masterfully conveys the musicality of his prose.

It's impossible to divorce the nueva trova from its ideological context and to separate Milanés' art from his role in Castro's Cuba. But while that political backdrop is divisive, Cubans on opposite sides of the debate, at home and in exile, embrace José Martí as a hero; likewise, whatever your allegiances, it's hard not to concede that this album is a stunning musical achievement. Pop music lyrics seldom qualify as poetry, but Milanés shows how poetry can inspire phenomenally powerful popular music.                


Tracklist:

Yo Soy Un Hombre Sincero
Mi Verso Es Como Un Puñal
Banquete De Tiranos
Al Buen Pedro
Si Ves Un Monte De Espumas
Vierte, Corazón, Tu Pena
Eramos... De Nuestra America
Amor De Ciudad Grande
Poetica
El Principe Enano
El Enemigo Brutal
Es Rubia: El Cabello Suelto


Pablo Milanés ‎– Versos José Marti Cantados Por Pablo Milanés            
(320 kbps, cover art included)                       

Montag, 28. November 2016

VA - Album De La Revolucion Cubana

Wiki says about this album:


Album de la Revolución Cubana is a publication on the history of the Cuban Revolution. It consists of two parts: comic book and music CD. The comic book was released circa 1960s. The music compilation "Album de la Revolucion Cubana" was released in 2000 by Cuba Soul. It consists of fifteen Cuban propaganda songs in a danceable Latin rhythm, including the famous song from Carlos Puebla, "Hasta siempre", written after Che Guevara's death.

Tracklist:
  1. Celeste Mendoza – Cuba corazón de nuestra América
  2. Celina González y Reutilio – Décimas de la Revolución
  3. Esther Borja – Despertar
  4. Merceditas Valdés – A coger la guampara
  5. Celina González y Reutilio – Que viva Fidel
  6. Las D'aida – El cohete americano
  7. Pío Leyva – Rumba de mi patria
  8. Carlos Puebla – Hasta siempre
  9. Amelita Frades – Pensamiento
  10. Ramón Veloz – Nueva vida
  11. Esther Borja – Dejame estrechar tu mano
  12. Ojedita Y Coro – La canción de los niños
  13. Niño Rivera – Nuevo son
  14. Omara Portuondo – Junto a mi fusil mi son
  15. Ela Calvo y Orquesta Aragón with Los Papines – Cuba, qué linda es Cuba

 VA - Album De La Revolucion Cubana
(192 kbps, front cover included)

Sonntag, 27. November 2016

Rainer Lemke - Daffke - Jiddische Lieder

This is a fine album with recordings of "Jiddische Lieder" with Enrique Ugarte (accordion), Claudio Puntin (clarinet), Dimitry Reznik (violin), Bettina Kahl (recorder), Werner Hucks (guitar), Helmut Kandert (percussion), Karl-Friedrich Wahler (double bass), Katarina Malzew (cello), Rainer Lemke (vocals), Johannes Nitsch (piano), Peter Schneider (guitar), Johannes Nitsch (accordion).
 
The subtitle is an important comment: "dennoch, trotzdem, jetzt erst recht".
 
The album was released in 1995 on Hänssler.


Tracklist:


Rainer Lemke - Daffke - Jiddische Lieder
(256 kbps, front cover included)

Samstag, 26. November 2016

VA - 1962 - Chants De La Revolution Cubaine

Fidel Castro, Cuba's leader of revolution, died today at 90. More than half a century ago, his guerrilla army of “bearded ones” replaced Fulgencio Batista’s corrupt dictatorship with communist rule which challenged the US and turned the island into a cold-war crucible.
He fended off a CIA-backed invasion at the Bay of Pigs in 1961 as well as many assassination attempts. His alliance with Moscow helped trigger the Cuban missile crisis in 1962, a 13-day showdown with the US that brought the world closer to the brink of nuclear war than it has ever been.

He first tried to overthrow General Batista in 1953, was imprisoned, exiled to Mexico, and then returned in 1956. He succeeded on January 1, 1959 and has dominated Cuba ever since – surviving 638 documented attempts by the CIA to kill him, and living through ten US presidencies.

Resigning due to ill health in February 2008, Castro handed over to his brother Raul and is now rarely seen in public. But he continues to loom large in Cuba - writing regular columns for Granma, the Communist Party newspaper, and meet visiting dignitaries.



"Chants De La Revolution Cubaine" collects some historic recordings relatetd to the revolution in Cuba in 1959.

Tracklist:

  • 1. - Fidel Est Arrivé [Rolando La Serie Y Et Son Orchestre] - 2:57"
  • 2. - Partisans [Choeurs De Révolutionnaires Cubains] - 2:10"
  • 3. - Vive La Revolution [Raúl Luzardo Et Le Trio Los Titanes] - 3:11"
  • 4. - Sierra Maestra [Daniel Santos Et Son Ensemble] - 3:37"
  • 5. - Parlons De La Revolution [Celina Et Reutillo] - 3:08"
  • 6. - Les "Barbudos" [Orchestre Fajardos] - 2:30"
  • 7. - Au Commandant Camacho [Los Yayaberos] - 3:07"
  • 8. - Hymne De La Milice [Fanfarre De L'armée Rebelle] - 2:30"

VA - 1962 - Chants De La Revolution Cubaine
(192 kbps, cover art included)

Freitag, 25. November 2016

Martin Carthy - Martin Carthy (1965)

If the English folk revival of the 1960s had a single "father" and guiding spirit, then Martin Carthy was it. Carthy's influence transcends his abilities, formidable though those are - apart from being one of the most talented acoustic guitarists, mandolinists, and general multi-instrumentalists working the folk clubs in the 1960s, he was also a powerful singer with no pretensions or affectations, and was an even more prodigious arranger and editor, with an excellent ear for traditional compositions. In particular, he was as much a scholar as a performer, and frequently went back to the notes and notebooks of folk song collectors such as Percy Grainger, scouring them for fragments that could be made whole in performance - no "second hander," he used the earliest known transcriptions and recordings of many of the oldest folk songs known in England as his source, and worked from there. By 1966, at the time he was cutting his first two albums, Carthy was already an influence on Bob Dylan and Paul Simon, and by the end of the 1960s was de facto mentor to virtually every serious aspiring folk musician in England. At least three major English folk-rock bands, Fairport Convention, Steeleye Span, and the Albion Band, were formed either directly or indirectly with his help and influence.               

Carthy's debut album rates a place alongside the album by Bob Dylan, as the debut work of a man who ultimately revolutionized folk music performance in England (Carthy is mentioned as an influence on the notes to Dylan's Freewheelin' album). This is Carthy's purest and simplest folk effort, an all-acoustic recording done in barely an afternoon that includes his version of "Scarborough Fair," awhich Paul Simon learned from Carthy (including the chords and changes from Carthy's arrangement) and transformed into a hit of his own. Also here is "Two Magicians," a song that later entered the repertory Steeleye Span, and "Lovely Joan," a folk song that is most familiar to classical listeners as the source of the counter-melody to Ralph Vaughan Williams' "Fantasia on Greensleeves." The playing and the interpretations are somewhat less ambitious and rather rougher than subsequent efforts, with Dave Swarbrick guesting on fiddle on about half the tracks, and Carthy's guitar covering all but the acapella tracks.      


Tracklist:                           
High Germany2:31
The Trees They Do Grow High3:31
Sovay2:09
Ye Mariners All1:47
The Queen Of Hearts2:21
Broomfield Hill2:51
Springhill Mine Disaster4:21
Scarborough Fair3:25
Lovely Joan1:49
The Barley And The Rye1:39
The Wind That Shakes The Barley4:26
The Two Magicians3:23
The Handsome Cabin Boy3:24
And A-Begging I Will Go2:54

    
Martin Carthy - Martin Carthy (1965)    
(320 kbps, cover art included)

Donnerstag, 24. November 2016

Slapp Happy & Dagmar Krause - Ultra Rare Trax

Slapp Happy was formed in 1972 when British keyboardist and avant-garde composer Anthony Moore met New York guitarist/artist/cartoonist/poet Peter Blegvad. The two were living in Hamburg at the time, and Moore had already released several albums of “new music” for Polydor. When Polydor rejected one of his albums outright, he proposed a pop-oriented project instead. Local girl Dagmar Krause, a former member of the folk-rock group The City Preachers, was recruited as vocalist and Slapp Happy was born.

This terrific collection was released in 1996.


Tracklist:

          Casablanca Moon EP:
                Casablanca Moon (single edit)
                Me and Pavarti (single edit)
          City Preachers:
                Hey, La La La
                Who are you
                Any Day in Wonderland
                Sometimes the Sky is filled with Rain
                Canada
                On a Train Ride
                Betty Dupree
                Wenn Abendlichter Glanzen
                Penelope
                Golden Yesterdays
                Come Back
                Franky and Johnny
                Old Shanty Town
          Commuters:
                The Ventriloquist
                The Young Lieutenant
                The Architect
                The Poet
                The Man on the Island
                The Acrobat
                The Organist
                The Philosopher
                The Gentlemen on the Stairs
                The Priest
          Sort Of EP:
                Alcohol
          Anthony Moore EP:
                Judy (single edit)
                Lucia (single edit)
          Slapp Happy Including Anthony Moore EP:
                Johnny's Dead
                Mr. Rainbow


Slapp Happy & Dagmar Krause - Ultra Rare Trax
(320 kbps, cover art included)

Mittwoch, 23. November 2016

Newport Folk Festival 1963 - The Evening Concerts Vol. 2

This is an album of exceptional vintage folk performances from the Newport Folk Festival in 1963 called "The Evening Concerts: Volume 2" on the Vanguard label

Here's what the notes have to say: "No one who attended the Newport Folk Festival of 1963 would soon forget the three memorable nights and days of music-making. At the end, Seeger called to the stage all the festival singers he could find and led them in the singing of a song by another great contributor to American Folk Music, Woodrow Wilson Guthrie; the song? "This Land is Your Land" - known by many as the "American Folk National Anthem." 

Some of the artists include: Bessie Jones, Jackie Washington, Bob Davenport, Judy Collins, Theodore Bikel, Dave Van Ronk, Jean Redpath, Jean Carignan, and Pete Seeger.

Tracklist:
Bessie Jones
- My God Is A Rock In The Weary Land
- The Buzzard Lope
Jackie Washington
- One Man's Hands
- Bill Bailey
Bob Davenport
- With My Pit Boots On
Judy Collins & Theodore Bikel
- Greenland Whale Fisheries
Theodore Bikel
- Little Star
- Coplas

Dave Van Ronk
- Candy Man
- Hold On
Jean Redpath
- The Muckin' O' Geordie's Byre
- Song Of The Seals
Jean Carignan
- Le Violon Monte En Viele
- Le Reel Du Diable
- Le Reel De Rimouski
Pete Seeger
- Cripple Creek; Old Joe Clark; Leather Britches
Festival Finale
- This Land

Recorded live at the Newport Folk Festival, July 26-28, 1963.

(256 kbps, cover art included)

Newport Folk Festival 1963 - The Evening Concert Vol. 1

PhotobucketFrom the liner notes:

"Freebody Park in Newport, R. I., is a vast, rambling, open piece of real estate bounded on one side by a large stage which is surrounded on all sides by music lovers.
There, under the stars, have been held the evening concerts of the three Newport Folk Festivals in the summers of 1959, 1960 and 1963.
The peninsula on which this historic city is situated - it was a center of trade and smuggling in colonial days, and then a famous resort - just out into Narragansett Bay, and fogs are frequent. The sight of a performer on the stage as the fog billows and eddies around him beneath the colored lights, often adds to the impact of the performance.
But foggy weather or clear, the relaxed atmosphere and open-air sourroundings at the park lend themselves well to a folk concert.
"Contrast" and "variety" are the first words which come to mind in describing the performers on this disk. Their backgrounds are as diverse as the United States population. This is true of the entire roster of singers at these festival concerts, which included intellectuals, primitives, students, teachers, farmers and professional musicinans."

The album presents live recordings by Mississippi John Hurt, Jack Elliott, Ian & Sylvia, The Freedom Singers, Sam Hinton and Bob Dylan.

Newport Folk Festival 1963 - The Evening Concert Vol. 1
(256 kbps, cover art included)