Sonntag, 9. November 2014

Leipziger Synagogalchor - Jewish Chants And Songs - Jüdische Gesänge

Today we remember the anti-Jewish pogrom in Nazi Germany and Austria on 9 to 10 November1938, also known as "Novemberpogrome", "Reichskristallnacht", "Reichspogromnacht" or "Pogromnacht" in German.

Within living memory music always played a key role as mediator between the nations.
The Synagogue Choir of Leipzig sees its goal in the preservation of synagogue music as well as of Yiddish and Hebrew folk songs by performing the compositions in free arrangements.
The ensemble, which consists of singers of non-Jewish origin, is unique in Europe. It celebrated its 40th anniversary in 2002.
Today as well as in the future the dedication of the Synagogue Choir will be the support of peace, tolerance, and cultural communication between the nations by giving converts all over the world.

The Leipziger Synagogalchor was founded in 1962. Its aim is to cultivate the Jewish music tradition, in particular that of synagogal music of the 19th and 20th centuries as well as Yiddish and Hebrew folklore. Its extensive repertoire of historical literature preserves a cultural heritage which is performed by no other European ensemble in this form. Thus the choir is often called upon to present this part of the cultural and musical history of the Jewish folk to audiences not only in Germany but also world-wide. Increasingly, concert programs also include contemporary compositions of composers such as Joseph Dorfman, Bonia Shur and Siegfried Thiele.
Four records produced by ETERNA, two by MDR and a CD recorded by Berlin Classics offer a representative cross-section of repertoire and demonstrate the professional format of the ensemble.
The combination of artistic and political expression, both weighted equally, in the works interpreted by the Leipziger Synagogalchor under the direction of Kammersänger Helmut Klotz has established the ensemble as a concert-choir which is celebrated world-wide and which serves as a politico-cultural embassador of considerable importance for the city of Leipzig and the state of Saxony.
The Leipziger Synagogalchor has received the golden award “Stern der Völkerfreundschaft“ and the “Kunstpreis“ of the city of Leipzig.
The choir became a registered association in 1991 and receives subsidies from the city of Leipzig and the state of Saxony.
The ensemble has approximately 30 members who are not professional singers but who for the most part have received some professional training. They have diverse occupations and dedicate a large part of their free time to choral music. The personal commitment and idealism of every single member contribute in large part to the success of the ensemble.
In the 30 years Helmut Klotz has been artistic director, he has succeeded in forming the choir into a semi-professional ensemble with a professional artistic scope. This is evident when one sees where the ensemble performs internationally and which acclaimed soloists and orchestras it works with. This choir has the special privilege to perform with solists of the Leipzig, Berlin and Zurich Operas and with members of the Gewandhaus Orchestra and the Radio Orchestra of Middlegermany (MDR) in concert halls such as that of the Berlin Philharmonic, the Berlin “Schauspielhaus“, the “Gasteig“ in Munich, the Leipzig “Gewandhaus“ and the “Alte Oper“ in Frankfurt. Furthermore, the choir has been on concert tours to Israel, South Africa, Spain, Portugal, Belgium, Brazil, Slovakia and several times in Poland and the U.S.A. The choir has performed at international festivals for Jewish culkture and music in Odessa, Leverkusen and Munich. A special occasion for the choir was the performance of the international opera production “Der Weg der Verheißung“ of Kurt Weill in Chemnitz, New York and Tel Aviv.
In its hometown Leipzig the ensemble performs twice a year in the series “Leipziger Ware“. Here it is presented through the Ephraim Carlebach Foundation in the “Alte Handelsbörse“. For 25 years it has also taken part in the annual ecumenical service in the Leipzig Church of St. Thomas in memory of the victims of the “Reichsprogromnacht“ November 9, 1938.

This album features recordings from 1983.
Tracklist:

01. Tauraß adaunoj 3:54
02. Ham'chabe eß hamer 6:27
03. Lochen ßomach libi 2:54
04. Ez chajim 2:52
05. Schir hamaalauß 2:26
06. Towau l'fonecho 2:39
07. Naariz'cho 7:36
08. Lomir sich iberbetn 1:52
09. Scha, still 4:10
10. Nigun g-moll 0:56
11. Du sollst nischt gehn 3:20
12. Her nor, du schejn Mejdele 3:43
13. Hages 1:14
14. Itzik hat schojn Chaßene gehot 3:32
15. Wie trinkt der Keßer Tee 5:17

Leipziger Synagogalchor - Jewish Chants And Songs - Jüdische Gesänge
(256 kbps, front cover included)

Donnerstag, 18. September 2014

Louis Killen - Ballads & Broadsides (Topic, 1965)

A dynamic singer of great individuality and integrity, Louis Killer has long been regarded as one of the most influential musicians of the mid-Twentieth century British folk revival.

Born and raised in the heart of the industrial North East of England of Irish descent, Killen grew up in a musical family and carne early to a love of folk music. In 1958 he founded "Folk Song and Ballad, Newcastle" - one of the first folk clubs in Britain. He recorded two EPs for Topic in 1962 - and Northumbrian Garland. The following year he participated in the Trade Union sponsored "Centre 42" concerts, which led to an invitation from A L Lloyd to contribute to the important themed collections "The Iron Muse", "Farewell Nancy" and "Tommy Armstrong of Tyneside".

Louis Killen's first full-length solo recording, "Ballads & Broadsides", was published in 1965. The recording sessions look place in Bill Leader's Camden Town flat, when Killen was just thirty and had been a professional musician for two years. The album is a classic; one of the first solo recordings from Killen's generation of revivalists and has been an important influence on younger singers for over four decades.

Tracklist:
01 Young Edwin in the Lowlands
02 As we were a-saìling
03 The flying cloud
04 All things are quite silent
05 One may morning
06 The cock
07 The bramble briar
08 Thorneymoor woods
09 The banks of sweet Primeroses

Louis Killen: vocals, concertina

Louis Killen - Ballads & Broadsides (1965)
(ca. 192 kbps, cover art included)

Freitag, 8. August 2014

Gone Fishin!

…so, no blog posts in the next two weeks.  Have a good time, greetings!

Donnerstag, 31. Juli 2014

Harun Farocki is dead - Rest in peace!

Renowned German filmmaker and video artist Harun Farocki died on Wednesday at 70-years-old. Galerie Ropac confirmed the artist’s passing to the German magazine Monopol.The gallery has represented Farocki since 2007.
 
Born in 1944 in present day Czechoslovakia, but what was then part of Germany, the artist make over 90 films during his lifetime. He studied at the German Academy of Film and Television from 1966 to 1968, developing a unique documentary style that was deeply critical of the media and ways in which images have shaped contemporary life and ideology.
 
From 1974 to 1984 Harocki served as the editor of Munich-based film journal Filmkritik. He moved to California during the 1990s where he taught at UC Berkeley. Farocki began greater engagement with the art world in the 2000s. He took part in Documenta 12, presenting Deep Play (2007), which broke down footage from the 2006 World Cup, held in Germany, across 12 monitors.
 
He has enjoyed solo museum shows at Berlin’s Hamburger Bahnhof, the Tel Aviv Museum of Art, New York’s MoMA, Cologne’s Museum Ludwig, and London’s Tate Modern, among others.
Aside from Galerie Ropac, Farocki is represented by Galerie Barbara Weiss in Berlin and Greene Naftali Gallery in New York.
 
Maybe you want to check out some of his films on the wonderful Arsenevich blog.

Sonntag, 27. Juli 2014

Word, Brass & Steel - Same (1976)

The disco group Wood, Brass & Steel recorded a selftitled album for Turbo/All Platinum Records, the label of Sylvia and Joe Robinson, in 1976.

The album spawned a pair of minor hits in the form of "Always There" (a Ronnie Laws cover that did well in the U.K.). Bassist Doug Wimbish and guitarist Skip McDonald played a lot of music together, in clubs and colleges around New York, New Jersey, Connecticut and Massachusetts.

Three years after that, Skip and Doug teamed up with Keith LeBlanc and they became the house band for the Robinsons’ new label, Sugar Hill Records. The trio subsequently played on seminal early rap hits such as The Message and White Lines (Don’t Do It) with Grandmaster Flash.
Later they relocated to the U.K. and formed Tackhead as well as Fats Comet with Adrian Sherwood.   

Tracklist:

Funkanova5:35
My Darling Baby4:00
Theme Song3:00
Working On A Dream3:04
Say What You Want To Say3:37
Same Ol' Me3:25
My Lady3:25
Without You6:30
Welcome To The Party3:30
Always There5:25


Word, Brass & Steel - Same (1976)       
(320 kbps, front cover included)       

Dienstag, 22. Juli 2014

Reneshoua

Jillem, thanks a lot for all your musical gifts, we miss you and your wonderful blog! Hope to see your blog again soon!

The Legendary Sir Lancelot - Calypso of the West Indies and Ballads of the Caribbean


Chances are that unless you're an old movie buff, you've never heard of Sir Lancelot. Beginning in 1940, however, and for the next 16 years until Harry Belafonte came along, he was the most popular calypso singer in the world and a singing star in the United States. Belafonte himself has described Sir Lancelot as a major influence on his own work and career, and as his inspiration.

Born Lancelot Victor Edward Pinard in Cumuto, North Trinidad, the son of a government official, he began singing at the age of six in a one-hour recital. By the time he was finished with high school, his voice had matured into a perfect tenor instrument, but music didn't seem to be available to him as a career choice - rather, his father sent him to New York to study medicine. By sheer chance, he was heard singing and invited to try a two-week engagement at the Village Vanguard, which turned into a year-long booking. In 1941, he went out west to play engagements at colleges in California and Oregon, and following a concert in Los Angeles, Sir Lancelot was contracted to make his first screen appearance, in the Pat O'Brien/Janet Blair vehicle Two Yanks in Trinidad. This appearance, in turn, led to his being booked on tours of Mexico, South America, and the Caribbean.

His first credited film appearance was in the atmospheric Val Lewton chiller "I Walked with a Zombie", where his songs provided ironic commentary on the action of the movie. He later played a dramatic role in Lewton's "The Ghost Ship" and "Curse of the Cat People"; "Eve Knew Her Apples", starring Ann Miller, "To Have and Have Not" with Humphrey Bogart and Lauren Bacall, and "Brute Force" starring Burt Lancaster. He was well-known enough by then to play characters simply known as "Sir Lancelot" in pictures as different as the comedy "Linda Be Good" and "The Unknown Terror".

Sir Lancelot's singing appearances on radio and television, on shows hosted by Ray Anthony, Ed Sullivan, and Dinah Shore (where he sang the praises of sponsors Ford, Elgin watches, Coca-Cola, and Borden's Milk, and often got more fan mail than Shore herself) planted the seeds of the calypso boom that led the way to Belafonte's rise to fame at the end of the '50s. In 1955, he left the United States for an extended tour of Europe and the Middle East, but returned to Hollywood three years later to appear in "The Buccaneer", a big-budget widescreen historical drama starring Yul Brynner and directed by Anthony Quinn. He continued singing and recording, and made occasional television appearances as late as 1968, when he turned up in a non-singing role in an episode of The Andy Griffith Show, and continued to record at least through 1973.

The album "Calypso of the West Indies and Ballads of the Caribbean" is a Caribbean music treasure, 14 songs from Trinidad, Puerto Rico, Barbados, Haiti, Cuba, and Martinique, sung in Sir Lancelot's pleasing, rich tenor voice, in high spirits and boundless joy, backed by everything from a simple guitar to a steel band. Recorded between 1946 and 1973, in surprisingly good sound (only 1946's "Ugly Woman" - track 12 - sounds compressed, transferred off of a 78 rpm disc). The 1958 tracks (tracks 1 - 9, recorded in Hollywood) feature the Mac Niles Caribe Carnival Band, Steel Drummers, and Singers, and the repertory includes the originals "Jump in the Line" and "Tied-Tongue Mopsy," classics like "Run Joe," "Matilda," and "Jamaica Farewell". Amazingly, the 1973 vintage track, "Double Indemnity" (track 10 - as charming and delightful as the movie of that name is dark and depressing), shows Lancelot's voice in astonishingly good shape, and hardly different at all from its 1946 incarnation.

The Legendary Sir Lancelot - Calypso of the West Indies and Ballads of the Caribbean
(192 kbps, no cover art included)

Montag, 21. Juli 2014

Mighty Ryeders - Help Us Spread The Message

A funky treasure from the 70s - a record that hardly made waves at the time, but which has lived on strongly for years - thanks to a great sample history and key interest from generations of groove diggers! Coming on like a black hippie missionary cult (a belief bolstered by the cover photo of the band sitting atop several globes featuring each of the continents), the Ryeders' sole album is chock full of killer creative tracks mixing funk, soul and boogie-disco arrangements.

Image

Mighty Ryeders have a sound that's clearly influenced by Earth Wind & Fire - funk with a good dose of jazz, often done with some righteous undercurrents in the lyrics - but their groove is also a bit more rough-edged too, sharing some funky 45-levels of excitement, and showing a great ear for sharply jazzy changes! This last aspect has really helped the group's sound stay fresh over the years - and the album's a treasure trove of killer cuts - from the famous "Evil Vibrations" (sampled by De La Soul on "A Rollerskating Jam Named Saturday"), right on down through other gems like "The Mighty Ryeders", "Let There Be Peace", "Lovely", "Help Us Spread The Message", "Fly Away With Me", "Sar Children", and "I've Really Got The Feeling".

Mighty Ryeders - Help Us Spread The Message
(192 kbps, small cover included)

Samstag, 21. Juni 2014

The Best Of Chess Rock´n´Roll (1989)

"The Best of Chess Rock & Roll" gives a good portrait of the seminal record label's massive contributions to rock & roll.

Not only are landmarks like Chuck Berry's "Johnny B. Goode" and Bo Diddley's "Bo Diddley" covered, but cult favorites like the Moonglows and the Students are also featured. With "Johnny B. Goode," "Maybelline," "Who Do You Love," "Ain't Got No Home," "Rocket 88," and "Susie Q", it is one of the most essential single-disc rock collections ever assembled.
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The Best Of Chess Rock´n´Roll (1989)

(192 kbps, full cover art included)

Samstag, 24. Mai 2014

Franz Josef Degenhardt - Junge Paare auf Bänken - Franz Josef Degenhardt singt Georges Brassens (1986)


The songs on Degenhardt's 1986 album "Junge Paare Auf Den Bänken" ("Young Couples on the Benches") are his translations into German of chansons by the French singer-songwriter Georges Brassens, spiritually perhaps one of Degenhardts closest musical allies.

Georges Brassens ( 22 October 1921 – 29 October 1981), was a French singer-songwriter and poet.
Brassens was born in Sète, a town in southern France near Montpellier.
Now an iconic figure in France, he achieved fame through his elegant songs with their harmonically complex music for voice and guitar and articulate, diverse lyrics; indeed, he is considered one of France's most accomplished postwar poets.
He has also set to music poems by both well-known and relatively obscure poets, including Louis Aragon (Il n'y a pas d'amour heureux), Victor Hugo (La Légende de la Nonne, Gastibelza), Jean Richepin, François Villon (La Ballade des Dames du Temps Jadis), and Guillaume Apollinaire, Antoine Pol (Les Passantes).

During World War II, he was forced by the Germans to work in a labor camp at a BMW aircraft engine plant in Basdorf near Berlin in Germany (March 1943). Here Brassens met some of his future friends, such as Pierre Onténiente, whom he called Gibraltar because he was "steady as a rock." They would later become close friends.
After being given ten days' leave in France, he decided not to return to the labour camp. Brassens took refuge in a slum called "Impasse Florimont," in the 14th arrondissement of Paris, where he lived for several years with Jeanne Planche, a friend of his aunt. Planche lived with her husband Marcel in relative poverty: without gas, running water, or electricity. Brassens remained hidden there until the end of the war five months later, but ended up staying for 22 years.

This album was recorded january 1986 in 'Musikstudio M 1, Studio Hamburg', Germany, with
Franz Josef Degenhardt (translation of the George Brassens lyrics, lyrics track 10, vocals,guitar), Lech Wieleba (bass), Jan Reimer (guitar), Steve Baker (harp), produced by Jimmy Bowien, engineered by Gert Hauke.

Tracklisting:

1. Junge Paare auf Bänken (Les amoureux des bancs publics)
2. Marinette
3. Ich mach mich ganz klein (Je me suis fait tout petit)
4. Mit einer Hacke auf der Schulter (Pauvre Martin)
5. Das Testament (Le Testament)
6. Margot (Brave Margot)
7. Vorsicht Gorilla (Le Gorille)
8. König Großkotz (Le Roi)
9. Weltkrieg Nr. 1 (La guerre de 14 - 18)
10. Au pere eternel (für George Brassens)

Franz Josef Degenhardt - Paar auf Bänken  
(192 kbps, front cover included)

Mittwoch, 14. Mai 2014

Greetings!

We will be back in some days.

Greetings!

Montag, 31. März 2014

T-Bone Walker - I Get So Weary (1961)

Modern electric blues guitar can be traced directly back to this Texas-born pioneer, who began amplifying his sumptuous lead lines for public consumption circa 1940 and thus initiated a revolution so total that its tremors are still being felt today.

Few major postwar blues guitarists come to mind that don't owe T-Bone Walker an unpayable debt of gratitude. B.B. King has long cited him as a primary influence, marveling at Walker's penchant for holding the body of his guitar outward while he played it. Gatemouth Brown, Pee Wee Crayton, Goree Carter, Pete Mayes, and a wealth of other prominent Texas-bred axemen came stylistically right out of Walker during the late '40s and early '50s. Walker's nephew, guitarist R.S. Rankin, went so far as to bill himself as T-Bone Walker, Jr. for a 1962 single on Dot, "Midnight Bells Are Ringing" (with his uncle's complete blessing, of course; the two had worked up a father-and-son-type act long before that).

"I Get So Weary" is one more LP of Walker's elegant guitar and smooth vocals.    


Tracklist:
A1 Here In The Dark
A2 I Miss You Baby
A3 Life Is Too Short
A4 I Get So Weary
A5 You Just Wanted To Use Me
A6 When The Sun Goes Down
A7 Everytime Pony Tail
B1 Thorough With Women
B2 Street Walking Woman
B3 Party Girl
B4 High Society
B5 Lollie You
B6 Got No Use For You
B7 Wanderin' Heart


T-Bone Walker - I Get So Weary (1961)
(192 kbps, front cover included)           

Montag, 27. Januar 2014

RIP Pete Seeger

Legendary folk singer, activist and icon to those that believe and fight for peace, justice, and good music, Pete Seeger passed away today at the age of 94. It's difficult to sum up a career that encompassed the better part of a century, guided some of the greatest songwriters of the 60s and 70s, and, until his death, continued to join in marches and other non-violent resistance working toward the utopian world that he dreamed of. Seeger's contributions to folk music include the seminal "Turn, Turn, Turn" and "Where Have all the Flowers Gone?" But beyond on that, it was through Seeger's voice and banjo that he kept alive centuries of folk. Seeger's father was an ethnomusicologist and Seeger was a living embodiment of the commitment to the music and the people of the United States. Because, it's through music that our despair, heartbreak, joy, resistance, languished cries, and cries of freedom are given voice and heard.
 
Seeger's path wasn't easy, though. In the 1960s, he was being persecuted by the House Un-American Activities for his politics. But, Seeger carried on, performing for communities and at schools.
 
The world just got one step further away from utopia today. Rest in peace, Pete.
 
(Thanks to http://welistenforyou.blogspot.de/ for these wonderful words.)


LaserGuidedWhiteHouse wrote in the comment section:

"Off topic, bit it's already later than yesterday (it always is)....I wanted to say here some kind of thank you to Peter Seeger, who passed away yesterday in New York. He was a great man, and I'll remember him always as a most uncommon sort of person, a person who believed in the power of every single person to change the world, to make it a better place, a more humane place where every man, woman, and child would have enough. A single voice singing some meaningful and passionate words can become 20 voices, a thousand voices, 100 million voices, and he was one of the very first people to show that to everybody in this age of mass-communication. Sometimes just knowing that a person will bravely stand up to speak for you, when you don't think you have a voice, can really change your mind. You know you're not alone, that there are others; and you realize as your voices are borne aloft that no matter how much someone may be trying to squash you from above, you have the power to fight back, and win. It's just as much your world as theirs, and kindness and caring and the union of humanity are what it's all about in the end, as long as everyone speaks up, as long as everyone sings out. So let us always remember his message, especially in this new age of what appears to be some sort of quietly creeping global crypto-fascism. Lift your voices. Rest in Peace Pete."

Samstag, 18. Januar 2014

The Beginning Of The End - Funky Nassau

The Beginning of the End was a funk group from Nassau, Bahamas. The group formed in 1969 and consisted of three brothers (Frank, Ray and Roy Munnings), a fourth member on bass (Fred Henfield), and a fifth on guitar (Livingston Colebrook). They released an album entitled Funky Nassau in 1971 on Alston Records (a subsidiary of Atlantic Records), and the track "Funky Nassau - Part I" became a hit single in the U.S.

This album is a true classic, an absolutely perfect blending of soul, calypso, funk, salsa and afro beat that is impossible not to stay still while listening to! It will always put a smile on your face and is constantly entertaining throughout. This album is heavily sampled in hip hop, for good reason!

A monster bit of funk that's unlike anything else we can think of! Beginning Of The End hailed from The Bahamas, but don't hold that against them – because instead of being a Caribbean cliche, they took the best part of the island rhythms, and used them to forge an incredible approach to funk! They've got a choppy sound that's the result of some incredibly dexterous guitar, bass, and drums – and which you'll recognize instantly from their one-time hit "Funky Nassau", a killer funk track that never gets old, no matter how many bands cover it over the years! That gem kicks off the album, which then rolls into the monster funky "part 2", which is even better! Other titles are equally wonderful – and include "Come Down", "Surrey Ride", "Monkey Tamarind", and "In The Deep".

Found the album a few month ago on the strongly missed Renshoua blog. Jillem, hope you will come back!

Tracklist:
1 Funky Nassau (Part 1) (3:10)
2 Funky Nassau (Part 2) (3:20)
3 Come Down (2:20)
4 Sleep On Dream On (3:00)
5 Surrey Ride (4:29)
6 Monkey Tamarind (3:10)
7 In The Deep (4:50)
8 Pretty Girl (4:52)
9 When She Made Me Promise (4:11)

The Beginning Of The End - Funky Nassau (1971)
(320 kbps, cover art included)