Dienstag, 31. Mai 2016

Cornel Campbell - Money (1983)

Perhaps best known for the series of "Gorgon rock" records he cut with legendary producer Bunny Lee, reggae singer Cornel Campbell was born in Jamaica in 1948. As a teen he recorded his first material for Studio One, cutting a series of ska sides both as a solo artist and as one half of a duo with Alan Martin; from 1964 to 1967 Campbell seemingly disappeared from the music business, finally resurfacing as a member of the short-lived rocksteady harmony trio the Uniques. As the decade ended, he helmed the Eternals, scoring a number of Studio One-generated hits including "Queen of the Minstrels" and "Stars," but in 1971 he again went solo after teaming with Lee, a pairing which spotlighted Campbell's distinctive falsetto to stunning effect.

Despite earning acclaim for a self-titled LP issued on Trojan two years later, in 1975 he shifted from the lovers rock sensibility of recent efforts to the more explicitly Rastafarian approach of records like "Natty Dread in a Greenwich Farm" and "Natural Fact," both of which emerged among his biggest hits to date. Later that year, Campbell and Lee also launched "The Gorgon," a boastful smash which yielded a series of hit sequels.

While 1977's "The Investigator" heralded a successful return to lovers rock, Campbell's commercial clout waned in the years to come, and in 1980 he and Lee parted ways; subsequent pairings with producers including Winston Riley, Niney the Observer, and King Tubby failed to re-create the excitement of past sessions. In 2005, his career experienced a renaissance when he joined the German techno-dub team Rhythm & Sound on their single "King in My Empire." In 2013 he teamed the London-based dub band Soothsayers for the album Nothing Can Stop Us, part of the Strut label's collaborative series Inspiration Information.                

"Money" was released in 1983, produced by Delroy Wright and Junjo Lawes, recorded and mixed in Channel One.

Tracklist:

You're My Lady3:15
Mister D. J.3:39
Your Love3:49
Stranger In Love4:00
Oh Rastaman3:26
You Need Sympathy3:56
Don't Try To Break3:33
Money3:05

Cornel Campbell - Money (1983)
(192 kbps, front cover included)

Bunny Striker Lee - The Cool Operator

One of the most influential and prolific producers in reggae history, Bunny "Striker" Lee pioneered the art of the dub — expanding the parameters of studio technology like no Jamaican producer before him, he and his engineeer, the equally-legendary King Tubby, maximized the creative possibilities of each and every rhythm to generate a seemingly endless series of mixes spread across literally thousands of recordings.
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Edward O'Sullivan Lee was born in Jamaica on August 23, 1941; he entered the music industry in 1962 via his brother-in-law, the great reggae singer Derrick Morgan, landing a job as a record plugger for Duke Reid's famed Treasure Isle label. By the mid-1960s, Lee was working with Ken Lack's Caltone imprint, producing his first record, Lloyd Jackson and the Groovers' "Listen to the Beat," in 1967. His first significiant hit, Roy Shirley's "Music Field," followed later that year on WIRL, and upon founding his own Lee's label, he reeled off a series of well-received sides including Morgan's "Hold You Jack," Slim Smith's "My Conversation" and Pat Kelly's "Little Boy Blue."
As the decade drew to its close, Lee was among the most successful producers in reggae, and by 1971 he was working side-by-side with engineer King Tubby, who almost singlehandedly invented dub by taking existing master tapes and — after cutting out vocals, bringing up the bass lines and adding and subtracting other instruments — creating new rhythm tracks for sound system DJs to voice over. Later adding delays, fades and phasing to his sonic arsenal, Tubby was already renowned throughout the Jamaican music industry by the time he began collaborating with Lee, but together, the duo produced the finest music of their respective careers — unlike most of his producer peers, Lee recorded his celebrated studio band the Aggrovators with Tubby's remixing skills firmly in mind, crafting deep, dense rhythms strong enough to survive even the most strenuous studio reworking, and together they unleashed some of the most enduring dub versions ever cut. At the peak of his career — essentially the period from 1969 to 1977 — Lee produced thousands of records, forging a labyrinthine discography of vocal sides, DJ records and dub versions, each disc seemingly spun off from another. Among Lee's most influential projects was a 1974 collaboration with singer Johnny Clarke which yielded a series of roots-reggae classics including "None Shall Escape the Judgement" and "Move Out of Babylon"; that same year, he also helmed Owen Grey's smash "Bongo Natty," while the 1975 Cornell Campbell hit "The Gorgon" launched a number of like-minded "Gorgon rock" records. At one time or another, Lee also worked with everyone from Jackie Edwards to Alton Ellis to Ken Boothe, and for all of his experimental instincts, he also possessed a commercial flair equal to any of his contemporaries.

By the early 1980s, however, Tubby was running his own studio and producing his own records, and although they continued to collaborate on occasion, both the quality and quantity of Lee's recordings began to slide; he later purchased producer Joe Gibbs' former Kingston-area studio, making a few half-hearted attempts at working with digital technology but otherwise easing into retirement as the years passed, his place in reggae history assured.

Here we have a compilation with 20 tracks from the vaults of Bunny Lee. Containing hit upon hit & works from some the biggest and also finest names in 1970's reggae. Including Cornell Campbell's "The Gorgon" and U-Roy's "Gorgonwise" flipside. Also the battling 'Straight to Jazzbo Head" from I-Roy and later on Jazzbo's good humoured response "Straight to I-Roy Head". Another highlight is the wonderful "Mr Chatterbox" from The Wailers complete with a DJ intro from the man called Bunny Lee.

Bunny Striker Lee - The Cool Operator
(192 kbps, front cover included)

Cornel Campbell - Natty Dread In A Greenwich Farm (1975)

Born 1948 in Kingston, Jamaica, Cornel Campbell got his start in the early 1960s at Studio One. In 1967 he became a member of short-lived Uniques. By 1969, Cornel had his own group called the Eternals.

Cornel sings in a falsetto style and made his mark as a lovers rock singer (although he did record a string of rasta hits in the mid 70s). He recorded 'Stars' and 'Queen of the Minstrels' at Studio One during the late 60s and moved on to Bunny Lee's studios in 1971. By 1984 their relationship ended and Cornel's career and output slowed considerably.                   

"Natty Dread in A Greenwich Farm" was produced by Bunny Lee, mixed by King Tubby and backed by the Aggrovators.

Tracklist :
Why Did You Leave Me To Cry
I Am Just A Country Boy
Somebody Has Stolen My Girl
King's Heart
I Wonder Why
Lost In A Dream
Duke Of Earl
Natural Facts
The Sun
Girl Of My Dreams
Dance In A Greenwich Farm
Natty Dread In A Greenwich Farm

Cornel Campbell - Natty Dread In A Greenwich Farm (1975)
(192 kbps, cover art included)

Montag, 30. Mai 2016

Mack The Knife - Original Soundtrack (Kurt Weill / Bertolt Brecht)

This is the soundtrack to the film "Mack The Knife", written and directed in 1989 by Menahem Golan. The film is based on "The Threepenny Opera" by Bertolt Brecht and Kurt Weill. The cast includes Raul Julia, Richard Harris, Julia Migenes, Roger Daltrey, and Julie WaltersCast includes: Roger Daltrey, Richard Harris, Raul Julia, Julia Migenes.

This movie is an accessible version of the "Threepenny Opera", a great introduction to Brecht's work with a well-cast ensemble. It makes a good double feature with "The Beggars Opera" starring none other than Roger Daltrey- nice to explore the 20th century alterations Brecht made in his adaptation of John Gay's original play. As far as the complaints about "Mack the Knife" being untrue to the "original" script- even during Brecht's time the play underwent constant revision (he found it acceptable to have his actors on stage reading the newly-altered script in their hands on opening night!) - when it comes to Brecht it's time to throw out the canon and get the social message, tap your toes and enjoy.

Mack The Knife - Original Soundtrack (Kurt Weill / Bertolt Brecht)
(192 kbps, front cover included)

Tracklisting:
1. Mack The Knife 2. Peachum's Morning Chorale 3. I Prefer Duet 4. Wedding Song 5. Army Song 6. Love Song 7. Perpendicular Song, The 8. Sexual Dependency 9. Uncertainty Of Human Condition, The 10. Polly's Song 11. Pirate Jenny 12. Memories (Tango Ballad) 13. Ballad Of Pleasant Living 14. Jealousy Duet 15. Ballad About What Keeps A Man Alive 16. Mack The Knife Overture/Chase 17. You'd Better Use Your Head 18. Call From The Grave 19. Solomon Song 20. Death Message 21. Riding Messenger, The 22. Mack The Knife (reprise)

Mance Lipscomb - Trouble In Mind


Like Leadbelly and Mississippi John Hurt, the designation as strictly a blues singer dwarfs the musical breadth of Mance Lipscomb.

Born on April 9, 1895 in Navasota, TX, Lipscomb was a sharecropper/tenant farmer all his life who didn't record until 1960, "songster" fits what Lipscomb did best. A proud, yet unboastful man, Lipscomb would point out that he was an educated musician, his ability to play everything from classic blues, ballads, pop songs to spirituals in a multitude of styles and keys being his particular mark of originality.

He appeared at numerous blues and folk festivals throughout the '60s, released several albums on Arhoolie and even one for a major label, Reprise, in 1970. Four years later, Lipscomb retired from the festival circuit and passed away on January 30, 1976 in his hometown of Navasota, TX. He was 81.

With a wide-ranging repertoire of over 90 songs, Lipscomb may have gotten a belated start in recording, but left a remarkable legacy to be enjoyed.        


Tracklist:

Corrina, Corrina
Rock Me Mama
Mama Don't Allow
Get Away Blues
Shine On Harvest Moon
Good As I Am To You
Baby Please Don't Go
Get Away Blues
Trouble In Mind
Going Down Slow
Night Time Is the Right Time
Long Way To Tipperary
So Different Blues
Ella Speed
See You Mama Every Night
Late Hours Blues
Nobody Cares For Me
Shorty George Cut Down


These recordings wer done in 1964 at Mance Lipscomb's home in Navasota, TX.

Mance Lipscomb - Trouble In Mind
(192 kbps, cover art included)

Mack The Knife - Songs Of Kurt Weill

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From the Weimar Republic to Broadway, Kurt Weill was unique in achieving Transatlantic success with his satirical, witty, often biting and sometimes very beautiful songs. Many have achieved lasting fame outside their original theatrical contexts. These 20 tracks are performed by Lotte Lenya, Bertolt Brecht, Walter Huston, Gertrude Lawrence, Danny Kaye, Mary Martin, Kenny Baker, Jascha Heifetz, Emanuel Bay, Benny goodman & His Orchestra, Johhny Mercer, Buddy Clark, Greta Keller, Cy Walter, Louis Armstrong and, of course, Kurt Weill himself. It’s obviously fascinating to peep into the past and hear the sleazy sound of Theo Mackeben’s Jazz Orchestra, to listen to Bertold Brecht himself recounting Mackie Messer (Mack the Knife) in a manner at once laid back and venomous, with incredible rolled “Rs” at the end of every word that finishes with that letter. Fascinating, too, to find that Lotte Lenya had a high, girlish sort of voice in those days, pretty but scarcely able to convey emotion.

This album collects 20 original recordings from the years 1929 to 1956 from the collections of David Lennick, Peter Doyle, James Kidd & Houston Maples. The earlier recordings in this collection are exceedingly rare. Some were eight inch discs, known to exist only in a few pressings.


Tracks:

01 -Die Moritat von Mackie Messer (The Ballad Of Mack The Knife) From Die Dreigroschenoper (The Threepenny Opera) (Kurt Weill–Bertolt Brecht) Orchestrola 2131, mx 1239/A8473. Recorded May 1929, Berlin

02 Bilbao Song From Happy End (Kurt Weill–Bertolt Brecht) Orchestrola 2311, mx A8718. Recorded c. October 1929, Berlin

03 Die Ballade von der Unzulänglichkeit (The Ballad Of The Futility Of All Human Endeavour) From Die Dreigroschenoper (The Threepenny Opera) (Kurt Weill–Bertolt Brecht) Orchestrola 2131, mx 1240/A8474. Recorded May 1929, Berlin

04 Alabama Song From Aufstieg und Fall der Stadt Mahagonny (Rise and Fall of the City of Mahagonny ) (Kurt Weill–Bertolt Brecht) Ultraphon A 371, mx 10710. Recorded 24 February 1930, Berlin

05Surabaya Johnny From Happy End (Kurt Weill–Bertolt Brecht) Bost 5019, mx 1229. Recorded c. 1942, New York

06 Wie man sich bettet (As You Make Your Bed) From Aufstieg und Fall der Stadt Mahagonny (Rise and Fall of the City of Mahagonny ) (Kurt Weill–Bertolt Brecht) Bost 5019, mx 1232-C. Recorded c. 1942, New York

07 September Song From Knickerbocker Holiday (Kurt Weill–Maxwell Anderson) Decca 40001, mx L 3666B and Brunswick 8272, mx B 23732-1. Recorded 31 October 1944, Los Angeles and 24 November 1938, New York

08 My Ship From Lady In The Dark (Kurt Weill–Ira Gershwin) Victor 27330, mx BS 060682-2. Recorded 23 February 1941, New York

09 Tchaikovsky (And Other Russians) From Lady in the Dark (Kurt Weill–Ira Gershwin) Columbia 36025, mx CO 29836-1. Recorded 28 January 1941, New York

10 The Saga Of Jenny From Lady In The Dark (Kurt Weill–Ira Gershwin) Victor 27330, mx BS 060683-1. Recorded 23 February 1941, New York

11 Lost In The Stars From Ulysses Africanus & Lost In The Stars (Kurt Weill–Maxwell Anderson) Bost 5017, mx 1240. Recorded c. 1942, New York

12 Lover Man (Trouble Man) From Ulysses Africanus & Lost In The Stars (Kurt Weill–Maxwell Anderson) Bost 5017, mx 1235-B. Recorded c. 1942, New York

13 Speak Low (I) From One Touch Of Venus (Kurt Weill–Ogden Nash) Heritage H-0051. From demo recording c. 1942, New York

14 Speak Low (II) From One Touch Of Venus (Kurt Weill–Ogden Nash) Decca 23296, mx 71493-A. Recorded 7 November 1943, New York

15 Moderato Assai From The Threepenny Opera (Kurt Weill, arr. Stefan Frenkel) Decca DL 8521, mx W 73199. Recorded 30 November 1945, New York

16 Moon-Faced, Starry-Eyed From Street Scene (Kurt Weill–Langston Hughes) Capitol 376, mx 1619-4. Recorded 30 January, 1947, Hollywood

17 Here I'll Stay From Love Life (Kurt Weill–Alan Jay Lerner) Columbia 38294, mx CO 38583-1. Recorded 20 December 1947, New York

18 Green-Up Time From Love Life (Kurt Weill–Alan Jay Lerner) Atlantic ALS 405, mx ALP11289. Recording January 1956, New York

19 Pirate Jenny From The Threepenny Opera (Kurt Weill–Bertolt Brecht–Marc Blitzstein) MGM E 3121, mx 54-MG-560. Recorded March 1954, New York

20 Mack The Knife (A Theme From The Threepenny Opera) (Kurt Weill–Bertolt Brecht–Marc Blitzstein) Columbia 40587, mx CO 53818-1. Recorded 28 September 1955, New York

Mack The Knife - Songs Of Kurt Weill
(192 kbps)

Samstag, 28. Mai 2016

Max Collie's Rhythm Aces - Stomp Off, Let's Go

Trombonist John Maxwell "Max" Collie was born on February 21, 1931, in Australia but relocated to England in 1963. A fine trad player, he has led Dixieland-oriented combos ever since, usually under the name of the Rhythm Aces

He played with several different jazz band before forming his own group Max Collie's Rhythm Aces in February 1966.

They released their first record in 1971 and in 1975 they won a world championship in traditional jazz against 14 North American jazz band.





Tracklist:                           
A1Stomp Off, Let'S Go4:32
A2Chimes Blues4:58
A3Doctor Jazz4:00
A4Brownskin Mama2:40
A5High Society4:09
B1Snag It6:20
B2Moarie3:20
B3Baby Brown3:00
B4Cakewalking Babies From Home6:52


Max Collie's Rhythm Aces -  Stomp Off, Let's Go
(256 kbps, cover art included)

Monty Sunshine's Jazzband - The Glory Of Love

Monty Sunshine (9 April 1928 – 30 November 2010) was an English jazz clarinetist, who is known for his clarinet solo on the track "Petite Fleur", a million seller for the Chris Barber Jazz Band in 1959. Sunshine variously worked with the Eager Beavers, the Crane River Jazz Band, Beryl Bryden, George Melly, Chris Barber, Johnny Parker, Diz Disley and Donegan's Dancing Sushine Band.

Born in Stepney, London, he along with Lonnie Donegan, Jim Bray and Ron Bowden, formed the back line of what was the embryo Chris Barber Band. Ken Colyer was the first trumpet player, with Sunshine on clarinet, and the original 1953 band took the Colyer name until there was a split from Colyer in May 1954. Pat Halcox - who only turned the band down originally as he wanted to carry on his studies - took over the spot, and the band formally adopted the Chris Barber Jazz Band as its title.
The band quickly made an international reputation following their inaugural tour of Denmark, before their professional debut in the United Kingdom. Sunshine stayed with the band for several years, until he left around 1960, to be replaced by Ian Wheeler. He formed his own band, staying true to the original six man line up, whilst Barber expanded his band membership to seven, then eight and finally to eleven.

In January 1963, the British music magazine NME reported that the biggest trad jazz event to be staged in Britain had taken place at Alexandra Palace. The event included George Melly, Diz Disley, Acker Bilk, Chris Barber, Kenny Ball, Ken Colyer, Alex Welsh, Bob Wallis, Bruce Turner, Mick Mulligan and Sunshine.

Sunshine returned to play a reunion concert with the original Chris Barber Band at the Fairfield Halls, Croydon in June 1975. This was well received, and the band reformed once again for an international reunion tour in 1994. Sunshine retired from music around 2001.

Monty Sunshine's discography is extensive, and CDs have been issued of recordings with Colyer and Barber, as well as with his own band.

He died in November 2010, at the age of 82.


Tracklist:

A1Wolverine Blues4:45
A2Yellow Dog Blues4:13
A3Sweet Sue3:30
A4Bugle Boy March3:40
A5Wild Cat Blues2:59
A6Margie2:30
B1The Glory Of Love5:28
B2Put On Your Old Grey Bonnet2:50
B3Riverboat Shuffle4:16
B4Mood Indigo3:27
B5What's The Reason4:00

        
Monty Sunshine's Jazzband - The Glory Of Love
(256 kbps, cover art included)

Bertolt Brecht - Klaus Kinski singt und spricht Brecht

Klaus Kinski, born Klaus Günter Karl Nakszynski (18 October 1926 – 23 November 1991), was a German actor, director and writer.
He appeared in over 130 movies including: "A Time to Love and a Time to Die" (1958), "Die Schwarze Kobra" (The Black Cobra) (1963), "Kali Yug, Die Göttin der Rache" (Goddess of Vengeance) (1963), "Doctor Zhivago" (1965), "Aguirre, der Zorn Gottes" (Aguirre, the Wrath of God) (1972), "Jack the Ripper" (1976), "Nosferatu – Phantom der Nacht" (Nosferatu the Vampyre) (1979) "Buddy, Buddy" (1981), "Fitzcarraldo" (1982), "Cobra Verde" (1988) and sixteen Edgar Wallace movies. He was married thrice and is father of the actresses Pola Kinski, Nastassja Kinski and actor Nikolai Kinski. His ashes where scattered near San Francisco.

Living jobless in Vienna at the end of the 50s, and without any prospects for his future, Kinski reinvented himself as a monologist and spoken word artist. He presented the prose and verse of François Villon, William Shakespeare and Bertolt Brecht among others. His famous performance at Vienna Townhall, 1959, has been recorded by Kinskis label Amadeo, but publication was forbitten by Helene Weigel, because of Kinskis variations from Brechts text. In the year 2003, the tapes have been found again and published first.

Tracklist:
[01] Und was bekam des Soldaten Weib? 6:16
[02] Der Anstreicher spricht von 0:56
kommenden großen Zeiten (Intro)
[03] Der Barbara-Song oder die Ballade 10:58
vom Nein und Ja
[04] O du Falada, da du hangest... 7:06
[05] Ballade vom Weib und 6:17
dem Soldaten
[06] An die Nachgeborenen 6:39
[07] Kinderkreuzzug 1939 14:05
[08] An meine Landsleute 3:50
[09] Vier Aufforderungen an einen 1:36
Mann von verschiedener Seite zu
verschiedenen Zeiten
[10] Vom Sprengen des Gartens 0:54

Bertolt Brecht - Klaus Kinski singt und spricht Brecht
(192 kbps, front cover included)

Heiner Goebbels & Ensemble Modern & Josef Bierbichler - Eislermaterial


Versatile German composer Heiner Goebbels conceived this tribute to Hanns Eisler, combining some of his most famous chamber music and songs with jazz-inspired improvisations and audio collages.

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The songs, mostly to texts by Brecht, are expressively interpreted by actor Josef Bierbichler. The recording is based on a "staged performance" that has introduced a new generation of music lovers to Eisler's music.

"Don't illustrate your feelings but comment on them musically. Be objective" (Eisler). This is precisely what Heiner Goebbels provides with his uplifting "Eislermaterial", one of the musical high points of the late 1990s and one of my favourite Eisler interpretations. "Eislermaterial"combines the best elements of music theatre with an inward brand of drama normally associated with chamber music. It's a genuine class production, a concept album of the highest order, superbly performed and vividly engineered. I cannot imagine that any sensitive listener will fail to respond.

Goebbels takes Eisler at his word, "commenting" by allusion, gesture, violent musical juxtapositions and some ingenious sound painting. Nothing is tawdry or gratuitous and the texts, mainly by Bertholt Brecht, have a biting, straight-to-the-heart quality that cries out for the sort of tangy treatment Goebbels gives them. Eisler-Goebbels switches from Twenties-style ferocity to understated melancholy, often segueing on the back of instrumental squawks, shudders or scrapes. Think in terms of Kurt Weill visited by Michael Nyman and Uri Caine, then refined and refashioned in a style that is very much Goebbels' own. Rather than employ a trained singer for the various songs Goebbels opts for an actor, Josef Bierbichler, whose tender but frail vocalising invariably suits the mood.

Heiner Goebbels was born in Neustadt, Germany, on August 17, 1952, relocating to the Frankfurt area at age 20 to study music and sociology. He first achieved notoriety in 1976 upon premiering a number of works, including "Rote Sonne," "Circa," and "Improvisations on Themes by Hanns Eisler," most performed in conjunction with the "Sogenanntes Linksradikales Blasorchester".

Concurrently, Goebbels also collaborated with Alfred Harth and beginning in 1982, he served as a member of the longstanding art rock trio "Cassiber".
He further expanded his growing oeuvre with a series of theatrical, film, and ballet scores and during the mid-'80s began writing and directing audio plays of his own, seeking his initial inspiration in the texts of Heiner Mueller.
Beginning in 1988, Goebbels also turned to authoring chamber music with the Ensemble Modern, and in 1994 completed "Surrogate Cities," his first major composition for symphony orchestra.

Heiner Goebbels & Ensemble Modern & Josef Bierbichler -Eislermaterial
(192 kbps)

Der Brecht und ich - Hanns Eisler in Gesprächen und Liedern

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Bertolt Brecht (February 10, 1898 - August 14, 1956) was a German poet, playwright, and theatre director. A seminal theatre practitioner of the twentieth century, Brecht's achievement is equally significant in dramaturgy and in theatrical production, the latter particularly through the seismic impact of the tours undertaken by the Berliner Ensemble - the post-war theatre company operated by Brecht and his wife and long-time collaborator, the actress Helene Weigel - with its internationally acclaimed productions.

From his late twenties Brecht remained a life-long committed Marxist who, in developing the combined theory and practice of his 'epic theatre', synthesized and extended the experiments of Piscator and Meyerhold to explore the theatre as a forum for political ideas and the creation of a critical aesthetics of dialectical materialism. Brecht developed a technique known as "Verfremdungseffekt" or "alienation effect", which was designed to encourage the audience to retain their critical detachment.

On the album "Der Brecht und ich - Hanns Eisler in Gesprächen und Liedern" the componist Hanns Eisler reports in 25 short episodes about his cooperation with Brecht. Artist like Ernst Busch, Gisela May, Ekkehard Schall, Sonja Kehler and Eisler himself are interpreting some of the most beautiful songs of Brecht and Eisler.

Der Brecht und ich - Hanns Eisler in Gesprächen und Liedern
 

Bertolt Brecht - Lehrgedicht von der Natur der Menschen (Helene Weigel, Ekkehard Schall, LITERA 1967)

These readings of Brecht´s "Lehrgedicht von der Natur der Menschen" were recorded at the 150. birthday of Karl Marx, May 5, 1968.

The poems were read by Helene Weigel and Eckehard Schall.

Tracks:
1. Vorbemerkung
2. Aus dem ersten Gesang „Über die Schwierigkeit, die es bereitet, sich in der Natur der Gesellschaft zurechtzufinden“
3. Der zweite Gesang„Das Manifest“
4. Aus dem vierten Gesang „Über die ungeheuerlich gesteigerte Barbarisierung der Gesellschaft“

.

Bertolt Brecht - Lehrgedicht von der Natur der Menschen (LITERA 1967)
(192 kbps, cover included)

Zebra – Live Rock mit Brecht/Weill Songs und Balladen (Amiga, 1987)

 
The band Zebra was established in the early eighties as a follow up to the band "Klinik - Formation" in the GDR. Members were Ekkehard Kind (voc), Uli Ackermann (g), Matthias Nilius (keyboards), Milo Herrmann (sax, fl), Jens Streifling (sax) Willi Reichert (dr) and Achim Gerber (bg). Later Albrecht Neumann (dr), Elmar Schwenke (keyb, ex-Logo), Larry Brödel (voc) and Olaf Mehl (voc) joined the project.

Zebra recorded in 1986 an live LP with rock versions of Brecht/Weill-songs, which was released in 1987.  In this and in the following year the band toured in the UdSSR. The band broke in 1989, Jens Streifling went to West Germany and played later with BAP, and Elmar Schwenke served at the army.


Side 1:
1. Erstens vergeßt nicht ... Ballade vom angenehmen Leben
2. Ballade von der Unzulänglichkeit menschlichen Strebens
3. Ruf aus der Gruft – Vision in Weiß
4. Ballade von der Höllenlili
5. Lied von der harten Nuß

Side 2:
1. Ballade von den Seeräubern
2. Alabama-Song
3. Die Moritat von Mäckie Messer
4. Anstatt-daß-Song
5. Erstens vergeßt nicht ... Kanonensong
6. Song von Mandeley

Zebra - Live Rock mit Brecht/Weill Songs und Balladen (Amiga)
(320 kbps, vinyl rip, front and back cover included)

Alice Coltrane - Huntington Ashram Monastery (1969)

Music obviously ran in Alice Coltrane´s family; her older brother was bassist Ernie Farrow, who in the '50s and '60s played in the bands of Barry Harris, Stan Getz, Terry Gibbs, and especially Yusef Lateef.

Alice McLeod began studying classical music at the age of seven. She attended Detroit's Cass Technical High School with pianist Hugh Lawson and drummer Earl Williams. As a young woman she played in church and was a fine bebop pianist in the bands of such local musicians as Lateef and Kenny Burrell. McLeod traveled to Paris in 1959 to study with Bud Powell. She met John Coltrane while touring and recording with Gibbs around 1962-1963; she married the saxophonist in 1965, and joined his band - replacing McCoy Tyner - one year later.
Alice stayed with John's band until his death in 1967; on his albums "Live at the Village Vanguard Again!" and "Concert in Japan", her playing is characterized by rhythmically ambiguous arpeggios and a pulsing thickness of texture.

Subsequently, she formed her own bands with players such as Pharoah Sanders, Joe Henderson, Frank Lowe, Carlos Ward, Rashied Ali, Archie Shepp, and Jimmy Garrison. In addition to the piano, Alice also played harp and Wurlitzer organ. She led a series of groups and recorded fairly often for Impulse, including the celebrated albums Monastic Trio, Journey in Satchidananda, Universal Consciousness, and World Galaxy. She then moved to Warner Brothers, where she released albums such as Transcendence, Eternity, and her double live opus Transfiguration in 1978.

Long concerned with spiritual matters, Coltrane founded a center for Eastern spiritual study called the Vedanta Center in 1975. Also, she began a long hiatus from public or recorded performance, though her 1981 appearance on Marian McPartland's Piano Jazz radio series was released by Jazz Alliance. In 1987, she led a quartet that included her sons Ravi and Oran in a John Coltrane tribute concert at the Cathedral of St. John the Divine in New York City. Coltrane returned to public performance in 1998 at a Town Hall Concert with Ravi and again at Joe's Pub in Manhattan in 2002.

She began recording again in 2000 and eventually issued the stellar Translinear Light on the Verve label in 2004. Produced by Ravi, it featured Coltrane on piano, organ, and synthesizer, in a host of playing situations with luminary collaborators that included not only her sons, but also Charlie Haden, Jack DeJohnette, Jeff "Tain" Watts, and James Genus. After the release of Translinear Light, she began playing live more frequently, including a date in Paris shortly after Hurricane Katrina in 2005, and a brief tour in fall 2006 with Ravi. Coltrane died on January 12, 2007, of respiratory failure at Los Angeles' West Hills Hospital and Medical Center.

"Huntington Ashram Monastery" is the second solo album by Alice Coltrane. Here, the High Priestess is joined by Ron Carter and Rashied Ali for this kind of cosmic jazz.

Tracklist:
A1Huntington Ashram Monastery5:30
A2Turiya4:16
A3Paramahansa Lake4:29
B1Via Sivanandagar6:03
B2IHS8:44
B3Jaya Jaya Rama6:25

Alice Coltrane - Huntington Ashram Monastery (1969)
(320 kbps, cover art included)

John Coltrane - Soultrane (1958)

In addition to being bandmates within Miles Davis' mid-'50s quintet, John Coltrane (tenor sax) and Red Garland (piano) head up a session featuring members from a concurrent version of the Red Garland Trio: Paul Chambers (bass) and Art Taylor (drums).

This was the second date to feature the core of this band. A month earlier, several sides were cut that would end up on Coltrane's "Lush Life" album. "Soultrane" offers a sampling of performance styles and settings from Coltrane and crew. As with a majority of his Prestige sessions, there is a breakneck-tempo bop cover (in this case an absolute reworking of Irving Berlin's "Russian Lullaby"), a few smoldering ballads (such as "I Want to Talk About You" and "Theme for Ernie"), as well as a mid-tempo romp ("Good Bait"). Each of these sonic textures displays a different facet of not only the musical kinship between Coltrane and Garland but in the relationship that Coltrane has with the music.

The bop-heavy solos that inform "Good Bait," as well as the "sheets of sound" technique that was named for the fury in Coltrane's solos on the rendition of "Russian Lullaby" found here, contain the same intensity as the more languid and considerate phrasings displayed particularly well on "I Want to Talk About You." As time will reveal, this sort of manic contrast would become a significant attribute of Coltrane's unpredictable performance style. Not indicative of the quality of this set is the observation that, because of the astounding Coltrane solo works that both precede and follow "Soultrane" - most notably "Lush Life" and "Blue Train" - the album has perhaps not been given the exclusive attention it so deserves.  

Tracklist:     

A1Good Bait12:26
A2I Want To Talk About You11:10
B1You Say You Care6:25
B2Theme For Ernie5:03
B3Russian Lullaby5:42

John Coltrane - Soultrane (1958)
(256 kbps, cover art included)    

Alice Coltrane - World Galaxy (1972)

Alice Coltrane had become a musical world unto herself by the time she issued "World Galaxy", recorded in late 1971. With jazz-rock fusion taking over the mainstream and the terminal avant-garde heading over to Europe, Coltrane stubbornly forged an insistent, ever-evolving brand of spiritual jazz that bore her own signature as much as it did her late husband's influence.

On the two days in November when "World Galaxy" was recorded, Coltrane chose drummer Ben Riley, bassist Reggie Workman, violinist Leroy Jenkins, saxophonist Frank Lowe, and timpanist Elayne Jones in addition to a string orchestra of 16 to help her realize her latest vision. Coltrane herself plays piano, harp, and organ on this date, sometimes within a single track, as she does on her glorious post-modal reworking of "My Favorite Things." This was a gutsy move, considering it was one of John Coltrane's signature tunes, but Alice has it firmly in hand as she moves from organ to harp to piano and back, turning the melody inside out wide enough for the strings to whip up an atmospheric texture that simultaneously evokes heaven and hell and skewers the prissy nature of the tune in favor of bent polyharmonics that allow the entire world of sound inside to play. The jazz modalism Coltrane presents on "Galaxy Around Olodumare" is quickly undone by Lowe in his solo and reconstructed into polyphony by the string section; it's remarkable. The harp work on "Galaxy in Turiya" (Alice's religious name) is among her most beautiful, creating her own wash of color and dynamic for the strings to fall like water from the sky into her mix. As colors shift and change, the rhythm section responds, and focuses them in the prism of Coltrane's textured harpistry. The album closes with another John Coltrane signature, "A Love Supreme," here given an out of this world treatment by the band with Jenkins playing full force through the middle of both channels.

There is a narration by Coltrane's guru inside it, a poem really, spoken by the great guru Satchidananda, which no doubt would have moved John Coltrane, but the real news is Alice's killer, funky breakbeat organ solo that covers the tune top to bottom in blues, in stark contrast to Jenkins' improvisation. This set may take some getting used to for some, but it's easily one of the strongest records Alice Coltrane ever released, and one of the finest moments in jazz from the early '70s.

Tracklist:
My Favorite Things6:22
Galaxy Around Olodumare4:15
Galaxy In Turiya9:55
Galaxy In Satchidananda10:25
A Love Supreme9:58

Alice Coltrane - World Galaxy (1972)
(320 kbps, cover art included)

Gil Evans - New Bottle, Old Wine (1958)

Gil Evans' second album as a leader (a World Pacific set that has been reissued by Blue Note) features his reworking of eight jazz classics including "St. Louis Blues," "Lester Leaps In" and "Struttin' with Some Barbecue."

Evans' charts utilize three trumpets, three trombones, a french horn, a prominent tuba, one reed player, altoist Cannonball Adderley and a four-piece rhythm section. Most memorable is a classic rendition of "King Porter Stomp" featuring the exuberant altoist Cannonball Adderley, who is the main soloist on most of the selections. Other key voices include Evans' piano, guitarist Chuck Wayne and trumpeter Johnny Coles.

This is near-classic music that showed that Gil Evans did not need Miles Davis as a soloist to inspire him to greatness.    

Tracklist:
St Louis Blues5:26
King Porter Stomp3:17
Willow Tree4:40
Struttin' With Some Barbeque4:30
Lester Leaps In4:16
'Round About Midnight4:07
Manteca5:16
Bird Feathers6:54


Gil Evans - New Bottle, Old Wine (1958)          
(192 kbps, cover art included)

Harry Belafonte - Jump Up Calypso (1961)


Harry Belafonte was an established all-around entertainer and actor by the time of this album, so it could be seen in a sense as a return to "roots" styles.

In any case, it's all-out calypso, with backing by the Trinidad Steel Band, and qualifies as one of his most energetic albums, even getting rambunctious at times.

Tracklist:
                
Sweetheart From Venezuela 3:28
Go Down Emanuel Road 3:07
The Baby Boy 3:22
Gloria 3:08
Land Of The Sea And Sun 2:55
Goin' Down Jordan 3:34
Jump In The Line 3:39
Kingston Market 3:11
Monkey 3:58
These Are The Times 3:14
Bally Mena 3:25
Angelina 3:53
    

Harry Belafonte - Jump Up Calypso (1961)
(256 kbps, cover art included)

Chambers Brothers - Now (1966)


This nine-song, 41-minute album, originally released on the Vault label, was recorded live at performances at the Unicorn in Boston and the Ash Grove in Los Angeles.

The shows, from 1965, pre-dated the Chambers Brothers' signing to Columbia by more than a year, and capture the group just coming up as a major discotheque attraction, still retaining elements of their gospel roots on songs such as "Baby Don't Cry" and even "High Heel Sneakers."

The set includes a some basic rock & roll, "Long Tall Sally" and "Bonie Maronie," both highly animated in the playing as well as the singing, and stirring despite some moments of sloppiness, such as wrong notes, etc., but there's also some slow blues ("It's Groovin' Time," "C.C. Rider") present, which gives the group a chance to stretch out. The closing number, "So Fine," is about as perfect a song as the group generated during the early part of their history, showcasing their fine harmony singing, bluesy guitar work, and a rock steady beat in a performance that soars and surges for six solid minutes. This is one of the better-sounding live rock or soul documents of its period, captured in decent fidelity right down to the twisting guitar part in "Long Tall Sally" and about half of the vocals up fairly close as well. The band's sound is divided between the two channels, drums one on side, bass on the other, and the voices split between the two.              


Tracklist:
A1 Introduction To
A2 High Heel Sneakers
A3 Baby Please Don't Go
A4 What'd I Say
A5 Long Tall Sally
B1 Bony Maronie
B2 It's Groovin' Time
B3 You Don't Have To Go
B4 C.C. Rider
B5 So Fine


Chamber Brothers - Now (1966)
(256 kbps, cover art included)

Chuck Willis - Let´s Jump Tonight! - The Best Of Chuck Willis 1951 - 56


Before he donned his jeweled turban as "The King of the Stroll" and topped the charts with rock & roll hits like "C.C. Rider" and "It's Too Late," Chuck Willis was a bona fide R&B star and one heck of a songwriter to boot. Let's Jump Tonight contains Willis's essential R&B tracks from that period (1951-56), along with some exciting previously unissued tracks.

Willis was a master vocalist who could swing effortlessly from heartrending ballads to rollicking jump blues. His plaintive singing and intuitive phrasing on songs like "My Story," "I Feel So Bad," and "You're Still My Baby" showcase a soulful jukebox balladeer in his prime.

Willis delivers a stirring interpretation of Fats Domino's style on "Going to the River," and on wild tunes like "Rule My House" and "Blow Freddy Jackson" his full-throated shouting is every bit as powerful as the roof-raising sax solos he sets up. Thrilling music from a very influential R&B stylist.


Tracklist:
1 Be Good Or Be Gone
2 Let's Jump Tonight
3 Can't You See
4 It's Too Late Baby
5 I Rule My House
6 My Baby's On My Mind
7 Loud Mouth Lucy
8 My Story
9 Wrong Lake To Catch A Fish
10 Don't Deceive Me (Please Don't Go)
11 My Baby's Coming Home
12 Going To The River
13 I Feel So Bad
14 You're Still My Baby
15 What's Your Name
16 Keep A Knockin'
17 If I Had A Million
18 My Heart's Been Broken Again
19 I Don't Mind If I Do
20 Blow Freddy Jackson
21 If I Were You
22 Lawdy Miss Mary
23 Search My Heart
24 One More Break
25 Bless Her Heart
26 Charged With Cheating

Chuck Willis - Let´s Jump Tonight!
(256 kbps, front cover included)

Donnerstag, 26. Mai 2016

Barbara Dane & the Chambers Brothers - Same (1966)


It must have seemed strange to some fans during the folk era (late '50s to the mid-'60s) that soulful singers like the Chambers Brothers could get by with using electric guitars even before Dylan brought one to Newport in 1965. Acoustic guitars, however, pretty much faded into the background when a powerful vocal group like the Chambers Brothers cut loose, and this was also true of any singer with a deep, resonate voice like Barbara Dane.


The joining of Dane and the Chambers Brothers in 1966 as the revival was fading from sight was an inspired pairing. Dane's a gutsy vocalist, and the addition of a backing vocal group, keyboards, and tasteful guitar work ripens her presentation to a new fullness. This is immediately obvious on both the album's opener, "It Isn't Nice," and its follow-up, "You've Got to Reap What You Sow." Both songs are deeply anchored to the civil rights movement, and while a few references to current politicians date the material, the power of the music is undeniable. With Dane's voice pouring out of the left speaker and the soulful harmony of the Chambers Brothers pouring out of the right speaker, the music blends, builds, and finally expresses both spiritual breadth and depth. Listening to "You Can't Make It By Yourself," one hears how Dane's voice benefits from lots of cushioning, of how her compatriots allow her a safe place from which to launch her vocals. Certain pieces like "Pack Up Your Sorrows" work less well, mostly because the quick timing works against both artists' strengths. Overall, though, "Barbara Dane & the Chambers Brothers" is a wonderful album that surpasses its historical status by offering a lovely blend of good songs, spare arrangements, and superb singing.

The simple arrangements prominently feature Barbara Dane’s strong voice backed by the warm harmonies of the Chamber’s Brothers with only light accompaniment by acoustic and electric guitars, occasional harmonica, and some hand percussion. It is that simplicity which is the strength of the album. It allows the songs to truly speak for themselves and the singers to focus their emotions about the struggles and the events taking place around them into dynamic vocal performances.

The track “It Isn’t Nice” that opens the album is such a gorgeous song about such ugly events in our nation’s history. The tune was originally written and performed by Malvina Reynolds but Barbara Dane added and adjusted some of the lyrics to make the song’s message even more biting. When Barbara sings “They murdered folks in Alabama / they shot Medgar in the back” it makes me cry every time.

Barbara Dane and the Chambers Brothers managed to capture the spirit of a movement on this record. The album is a true artistic gem of the civil rights struggle that stands strong like an oak tree against time.

These songs, mostly civil rights era anthems, were powerful and very contemporary when they were first recorded in 1965. Four decades later, they serve to remind us that freedom is a constant struggle.

Barbara Dane And The Chambers Brothers - Same (1966)
(256 kbps, cover art included)

With special greetings to Feilimid O'Broin - thanks a lot for your very nice comment! Hope you enjoy the Chambers Brothers alongside Barbara Dane.

Harry Belafonte - The Midnight Special (1962)


Looking forward to see a documentary film about Harry Belafonte tomorrow at "Berlinale", here´s another one of his wonderful albums:

Known to rock collectors as being the first album to feature Bob Dylan (he plays harmonica on the title track), "The Midnight Special" is also a record that best exemplifies Harry Belafonte's uniqueness as a recording artist. Belafonte's main strength as a performer has been his ability to effect unique interpretations of traditional material. Combining blues, big band, gospel, and soul, Belafonte utilizes mainly traditional material on one of his best programmed albums of the sixties.

The folk warhorse "On Top of Old Smokey" becomes a bluesy, supercharged six-minute epic which generates excitement as it increases in intensity, only to fade away in its denouement. "Muleskinner" is country music legend Jimmie Rodgers' "Blue Yodel No. 8," made all the more exciting by the Belafonte Folk Singers' whistles, shouts, and slaps.
Other highlights include "Makes a Long Time Man Feel Bad," a prison work song transformed into an after hours blues and the folk standard "Crawdad Song," which becomes a rousing big band stomp. Belafonte's notorious perfectionism in the studio apparently didn't sit well with the 20-year old Dylan, who walked out on the session after recording only one title.

Fresh link:
 
Harry Belafonte - The Midnight Special (1962)
(256 kbps, complete cover art included)

Ella Fitzgerald & Louis Armstrong - Ella And Louis (1956)


"Ella and Louis" is an inspired collaboration, masterminded by producer Norman Granz.

Both artists were riding high at this stage in their careers, and Granz assembled a stellar quartet of Oscar Peterson (piano), Buddy Rich (drums), Herb Ellis (guitar) and Ray Brown (bass). Equally inspired was the choice of material, with the gruffness of Armstrong's voice blending like magic with Fitzgerald's stunningly silky delivery.

Outstanding are Irving Berlin's "Cheek to Cheek" and "Isn't This a Lovely Day," and everything else works like a dream, with the golden star going to the Gershwin brothers' "They Can't Take That Away from Me." Gentle and sincere, this is deserving of a place in every home.            

Tracklist:
Can't We Be Friends
Isn't This A Lovely Day
Moonlight In Vermont
They Can't Take That Away From Me
Under A Blanket Of Blue
Tenderly
A Foggy Day
Stars Fell On Alabama
Cheek To Cheek
The Nearness Of You
April In Paris


Ella Fitzgerald & Louis Armstrong - Ella And Louis (1956)
(256 kbps, cover art included)