Donnerstag, 27. Juli 2017

Memphis Slim & Willie Dixon - In Paris - Baby Please Come Home!

Piano pumper Mephis Slim (1915 - 1988) and bass thumper Willie Dixon (1915 - 1992) were kindred spirits. Both men were commanding vocalists and brilliant songwriters who played key roles in shaping the Chicago blues sound of the 50s, though their roots were in an earlier era.

The tow blues men usually worked separately, but duting the late 50s and early 60s they frequently teamed up for recordings, club dates, and concerts, often in Europe.

This recording of a 1962 show in Paris is a vital document of that accosication. It's not a landmark event in either of the blues legends' distinguished recording careers, but it's a nice enough outing with a friendly, low-key tone. Slim recorded a lot of LPs in the early '60s, often as a solo pianist/vocalist, and this is frankly more lively than his norm for the era, if for nothing else than the fact that he's playing in a band. The Dixon-sung tracks are interesting inasmuch as he didn't record much during this period, though he's really adequate at best as a singer. When Slim sings, he sticks mostly to self-penned material; the Dixon-fronted cuts may stir some curiosity among blues fans due to the inclusion of some of Willie's more obscure compositions, like the novelty-tinged "African Hunch with a Boogie Beat."

Tracklist:

1Rock And Rolling The House4:28
2Baby Please Come Home2:16
3How Make You Do Me Like You Do4:59
4The Way She Loves A Man3:08
5New Way To Love5:30
6Afican Hunch With A Boogie Beat3:35
7Shame Pretty Girls3:24
8Baby-Baby-Baby3:04
9Do De Do2:41
10Cold Blooded5:37
11Just You And I2:55
12Pigalle Love3:59
13All By Myself1:44

Memphis Slim & Willie Dixon -  In Paris - Baby Please Come Home!
(192 kbps, cover art included)

Dienstag, 25. Juli 2017

Dakar Sound Volume 2 - Sorano Singers

It was in the 70s that Dakar-businessman Mass Diokhane, dealer in cars and radio-cassete players, got the idea to produce young talents of his nieghbourhood on a label called "Touba Auto K7". So he hired a technician and they started to record the new sound of booming Dakar.

After the huge success of Etoile 2000 Diokhane´s next idea was to record the Sorano Singers, who are the vocalists of the national ensemble. They practice and perform at the Sorano theatre in Dakar, which is still the breeding-place for new traditional talent. Diokhane taped the music almost without rehearsing, using just two microphones, as the various singers improvise their text on a well known tradtional melody.

The Sorano singers are presented here with a selection of songs from their individual cassettes, all released in the beginning of the eighties. Madiodio makes her entranceon this CD with a song called Xouda Doki. She is accompagnied by a mysterious group called SK7. The orther artists are backed up by non other than Super Etoile.

VA - Dakar Sound Sampler Vol. 2

In Senegal, international capitalism meets traditional African commerce head on. The skyscrapers and colonial buildings of Dakar may be crumbling, but down by the Medina, the city´s original `native quarter´, they´re building vast ultra-modern banks, while, outside, stalls errupt from pavements heaving with hawkers and touts. And evreyone it seems, from the ragged beggars to the sleek-suited executives or the turbanned women in billowing robes and stiletto hells, is radiating pise and self possession - the same nonchalant swagger that underpins mbalax, the rhythm that has come to define Senegalese music.

A collection of classic West African pop music, "Dakar Sound Sampler Vol. 2" showcases some of the "Dakar Sound" label’s finest releases.

Tracklist:

 1. Bolero - Dexter Johnson
2. Mamu Wa Mpoy - African Fiesta
3. Seul - Superstar
4. Am Am - Royal Band
5. Kontar
6. Xouda Doki
7. Kolankoma - Sékou Bembya Diabaté
8. Darou Muxti
9. Tounka - Djanka Diabate,
10. Tama - Sekou Kouyate
11. Mkuki Myoni - Tondo
12. Kyere Wo Do
13. Dowaka
14. Liverpool

VA - Dakar Sound Sampler Vol. 2
(192 kbps, cover art included)

Montag, 24. Juli 2017

Art Bears - Winter Songs

Finding distribution on the Residents' Ralph Records label, the Art Bears' second album consists of 12 songs of various tensions: rest vs. speed, improv vs. pulse, space vs. density, Dagmar Kraus's vocals vs. everyone else.

As usual, Chris Cutler's lyrics tell political allegories through medieval-tinged stories: slaves, castles, and wheels of fortune (and industry) dominate. Fred Frith explores discordance through his guitar, and European folk figures through his always enjoyable violin.

Though not as confrontational as their other work, the centerpiece has to be the frantic "Rats and Monkeys" with three minutes of teeth-gritting, out-of-control insanity as all three players are plugged into a wall outlet and let rip. A guaranteed lease breaker if played often enough.


Tracklist:
A1The Bath Of Stars
A2First Things First
A3Gold
A4The Summer Wheel
A5The Slave
A6The Hermit
A7Rats And Monkeys
B1The Skeleton
B2The Winter Wheel
B3Man And Boy
B4Winter / War
B5Force
B63 Figures
B73 Wheels

Art Bears - Winter Songs
(320 kbps, cover art included)

Freitag, 21. Juli 2017

Ras Michael - Rastafari Dub (1972)

As the formerly cassette-only ROIR label continues to slowly reissue its catalog of classic punk, reggae and ska titles on CD, hidden treasures are coming to light again, some for the first time in years.

Ras Michael, one of the foremost exponents of traditional Nyahbinghi drumming and chanting, recorded his "Rastafari" album in 1972, and a dub version of that album was released simultaneously in a limited edition. Scraps of it have turned up from time to time, some on legitimate releases and some not, but ROIR's cassette reissue in 1989 was the first complete and fully licensed release since the original vinyl first came out.

It's too bad the non-dub version isn't included as well (there's plenty of space on the disc), but this CD is still a treasure. Ras Michael and his crew of drummers are joined by reggae demigods Carlton "Santa" Davis (drum set), Robbie Shakespeare (bass), Tommy McCook (flute), Earl "Chinna" Smith (guitar), and others, and the fusion of electric, urban reggae and organic, rural Nyahbinghi drumming is perfect. Particular highlights include the dub versions of "None a Jah Jah Children No Cry" (recommended especially in conjunction with its vocal version) and the very dry and heavy "In Zion."

Tracklist:

A1None A Jah Jah Children No Cry
A2Truth And Right
A3In Zion
A4Sufferation
B1Give Love
B2New Name
B3Birds In The Tree Top
B4No Hoppers


Ras Michael - Rastafari Dub (1972)
(256 kbps, cover art included)            

Donnerstag, 20. Juli 2017

VA - Cajun Vol. 1 - Abbeville Breakdown 1929-1939

A collection of ancient recordings of Cajun music by musicians from the Abbeville area of Louisiana. These songs were all recorded between 1929 and 1939, and are split essentially into two groups. The Breaux Fréres (and brother-in-law Joseph Falcon) provide the earlier half of the works, with an early mastery of the basic Cajun lineup that would become standard -- accordion, fiddle, and guitar. Falcon proves himself a worthy accordionist, paving the way for much of the later music to come from the genre (and simultaneously standing as the first recorded Cajun accordion player). Cleoma Breaux Falcon (his wife) is an able guitarist, and the Breaux Fréres do well on fiddle and accordion, as needed.

The second half of the album is dominated by the Alley Boys of Abbeville, an accordion-less group of youngsters who recorded once for Vocalion and were recorded again on various compilations. The recording quality on the album is admittedly sub-par, and seemingly not remastered completely. Nonetheless, it's an enjoyable album for those looking for the roots of Cajun music, though the rare recordings of Amédé Ardoin would be recommended beforehand, as the branching point for both Cajun and Zydeco forms.    

Tracklist:

 1. Vas Y Carrément  - Amedee Breaux/Cleoma Breaux & Ophy Breaux
2. Poche-Town - Joe Falcon/Cleoma Breaux & Ophy Breaux
3. Prenez Courage (Take Courage) - Cleoma Breaux/Joe Falcon & Ophy Breaux
4. Quand Je Suit Partis Pour Le Texas - Cleoma Breaux/Joe Falcon & Ophy Breaux
5. Aimer Et Perdre (To Love And Lose) - Joe Falcon
6. Egan One Step - Breaux Feres
7. T' As Volé Mon Chapeau (You Have Stolen My Hat) - Breaux Feres
8. Home Sweet Home - Breaux Feres
9. Le One Step A Martin - Breaux Feres
10. La Valse Du Bayou Plaquemine - Breaux Feres
11. Abbeville Breakdown
12. Te A Pas Raison (You Have No Reason)
13. Se Toute Sain Comme Moi Ma Saine (I Wonder If You Feel The Way I Do)
14. Jolie Petite Fille (Pretty Little Girl)
15. Quel Espoire (What's The Use)
16. Moi Et Ma Belle (Me And My Pretty One)
17. Je Vous T' Aime Lessair Pleurer (I'll Never Let You Cry)
18. Es Ce Que Tu Pense Jamais A Moi (Do You Ever Think Of Me)
19. Tu Ma Quite Seul (Prisoner's Song)
20. Jolie Petite Blonde (Small Pretty Blonde)
21. Apres Jengles A Toi (Thinking Of You)
22. Te Bonne Pour Moi Estere (I Don't Care What You Used To Be)


VA - Cajun Vol. 1 - Abbeville Breakdown 1929-1939    
(192 kbps, cover art included)    

Dienstag, 18. Juli 2017

Hugh Masekela - Still Grazing

Released to coincide with Hugh Masekela's autobiography of the same name, "Still Grazing" picks up the Masekela story from Verve's summary of the best of the MGM albums, "The Lasting Impression of Ooga-Booga", and runs through the "Uni" and "Blue Thumb" material. The 1966 tracks are from "The Emancipation of Hugh Masekela", where the trumpeter mixes his florid horn calls and vocals with variations of the boogaloo, township jive, soul-jazz, and in Antonio Carlos Jobim's "Felicidade," a slight pinch of bossa nova into a hip, brightly colored cuisine that no one else was attempting at the time.

As in the MGM days, Masekela is obliged to cover the hit tunes of the day, although "Up, Up, and Away" has more life and jazz licks than those earlier attempts. 1968's "The Promise of a Future" was the real commercial breakthrough - thanks to the out-of-the-blue success of the cowbell-beating "Grazing in the Grass," which improbably rose to the number one slot on Top 40 radio in those enlightened times. That triumphant track would be Masekela's last trip to the Top 40, whereupon he promptly used the exposure to shine a harsh light on what was going on in his homeland ("Gold") and America in 1968 ("Mace and Grenades"). The CD then jumps to a percolating, Echoplexed "Languta" from a 1973 session in Lagos, Nigeria, before concluding with a withering account of the South African coal-mining trains ("Stimela").

The package is given extra credibility by the original producer of these tracks, Stewart Levine, who compiled the album and also wrote a fond set of reminiscences. Many of these premonitions of today's world music scene have been gone for decades, and it's good to have at least some of them back in circulation again.  


Tracklist:

1Child Of The Earth
Bass – John CartwrightCongas – Big Black (2)Drums – Chuck CarterPiano – Charlie SmallsProducer – Stewart LevineTrumpet, Vocals – Hugh MasekelaWritten-By – Hugh Masekela
4:42
2Ha Lese Le Di Khanna
Bass – John CartwrightCongas – Big Black (2)Drums – Chuck CarterPiano – Charlie SmallsProducer – Stewart LevineTrumpet, Vocals – Hugh MasekelaWritten-By – Caiphus Semenya
6:45
3Felicidade
Bass – John CartwrightCongas – Big Black (2)Drums – Chuck CarterPiano – Charlie SmallsProducer – Stewart LevineTrumpet – Hugh MasekelaWritten-By – Antonio Carlos Jobim, Vinicius De Moraes
10:12
4Up, Up, And Away
Bass – Henry FranklinDrums – Chuck CarterPiano – Cecil Barnard*Producer – Stewart LevineSaxophone [Tenor] – Al AbreuTrumpet – Hugh MasekelaWritten-By – Jimmy Webb
5:32
5Bajabula Bonke (The Healing Song)
Bass – Henry FranklinDrums – Chuck CarterPiano – William HendersonProducer – Stewart LevineSaxophone [Soprano] – Al AbreuTrumpet, Vocals – Hugh MasekelaWritten-By – Miriam Makeba
6:29
6Grazing In The Grass
Bass – Henry FranklinDrums – Chuck CarterGuitar – Bruce LanghornePercussion – Unknown ArtistPiano – William HendersonProducer – Stewart LevineSaxophone [Tenor] – Al AbreuTrumpet, Vocals – Hugh MasekelaWritten-By – Harry Elston, Philemon Hou
2:37
7Gold
Bass – Henry FranklinDrums – Chuck CarterGuitar – Arthur AdamsPiano – Bill Henderson*Producer – Stewart LevineTrumpet, Vocals – Hugh MasekelaWritten-By – Hugh Masekela
4:10
8Mace And Grenades
Bass – Henry FranklinDrums – Chuck CarterGuitar – Arthur AdamsPiano – Bill Henderson*Producer – Stewart LevineSaxophone [Soprano, Tenor] – Al AbreuSaxophone [Tenor] – Wilton FelderTrombone – Wayne HendersonTrumpet, Vocals – Hugh MasekelaWritten-By – Hugh Masekela
3:54
9Languta
Congas, Flute, Vocals – Nat "Leepuma" Hammond*Congas, Vocals – James Kwaku MortonDrums – Acheampong WelbeckDrums [Talking], Percussion, Vocals – Isaac Asante*Electric Bass, Vocals – Stanley Kwesi Todd*Guitar – Richard Neesai "Jagger" Botchway*Percussion, Vocals – Samuel Nortey*Producer – Stewart LevineTrumpet, Vocals – Hugh MasekelaWritten-By – Hugh Masekela
4:49
10Been Such A Long Time
Congas – James Kwaku MortonCongas, Vocals – Nat "Leepuma" Hammond*Drums – Stix Hooper*Drums [Talking], Percussion, Vocals – Isaac Asante*Electric Bass, Vocals – Stanley Kwesi Todd*Electric Piano – Joe SampleGuitar – Richard Neesai "Jagger" Botchway*Producer – Stewart LevineRattle [Calabash], Bells, Bass Drum – Acheampong WelbeckShekere, Vocals – Samuel Nortey*Trumpet, Flugelhorn, Vocals – Hugh MasekelaWritten-By – Hugh Masekela
3:59
11Stimela (Coaltrain)
Congas – James Kwaku MortonCongas, Vocals – Nat "Leepuma" Hammond*Drums – Stix Hooper*Drums [Talking], Percussion, Vocals – Isaac Asante*Electric Bass, Vocals – Stanley Kwesi Todd*Guitar – Richard Neesai "Jagger" Botchway*Piano – Joe SampleProducer – Stewart LevineRattle [Calabash], Bells, Bass Drum – Acheampong WelbeckShekere, Vocals – Samuel Nortey*Trumpet, Flugelhorn, Vocals – Hugh MasekelaWritten-By – Hugh Masekela
6:28

Hugh Masekela - Still Grazing
(192 kbps, front cover included)            

Sonntag, 16. Juli 2017

Mercedes Sosa Y Gloria Martin‎– Si Se Calla El Cantor (1977)

Mercedes Sosa, the celebrated Argentinian folk singer and political activist, possessed a deep, alto voice and a strong sense of conviction, and had a warm, engaging personality. These qualities helped to make her one of the few Latin American musicians who could, over five decades, command a wide international audience. Described as "the voice of Latin America", she was revered as a commentator on the political and social turmoil that afflicted the region.

Born in San Miguel de Tucumán, the capital of one of Argentina's smallest provinces, to a working-class family of mixed French and Amerindian (Quechuan) ancestry, she began singing and folk dancing as a child. Aged 15, Sosa won a singing concert sponsored by a local radio station. The prize was a two-month contract to perform for the station, and this allowed her to turn professional.
Initially singing a wide variety of popular songs, Sosa gained a local reputation as a rising talent.

After she married the musician Manuel Oscar Matus, the couple began looking to new developments in Latin American music. In the early 1960s, this led them to embrace the nueva canción (new song) movement, which unconsciously mirrored the US folk movement as Chile's Victor Jara and Cuba's Silvio Rodríguez reshaped Latin America's troubadour tradition to reflect the struggles under way across the South American continent.

Sosa and Matus chose nueva canción songs that suited her voice, such as Violeta Parra's Gracias a la Vida (Thanks to Life) and Horacio Guarany's Si Se Calla el Cantor (If the Singer Is Silenced), and her success helped to popularise the movement. Sosa's ability to convey a wide emotional range meant that listeners connected strongly with both songs and singer, and by the mid-1960s she was very popular in Argentina. Nicknamed "La Negra" because of her long, jet-black hair and Amerindian heritage, Sosa issued a series of albums, including Romance de la Muerte de Juan Lavalle (Ballad of the Death of Juan Lavalle) and Mujeres Argentinas (Argentinian Women), that established her as a distinctive artist. By the late 60s, she was drawing material from across the region (including Amerindian communities) and this made her a pan-Latin American star. When Sosa and Matus's marriage ended, Matus forged a respected solo career in Argentina.

In the early 70s Sosa acted in the film El Santo de la Espada (The Saint of the Sword), a biopic of the Argentinian independence hero José de San Martín. Sosa's popularity found her touring internationally, her leftist political sympathies – a 1972 album Hasta la Victoria (Until Victory) celebrated workers' struggles – making her especially welcome in the Soviet bloc. As a champion of the rights of the poor, Sosa became known as "the voice of the voiceless ones". These political leanings caused Sosa trouble when the Argentinian military, under Jorge Videla, staged a coup in March 1976. Initially, only some of Sosa's songs were censored, but as she became seen internationally as a voice of freedom, the harassment increased.

In early 1979, Sosa was performing in the Argentinian university city of La Plata when the military stopped the concert. Humiliating Sosa by searching her on stage, they then arrested her and 350 members of the audience. Sosa was detained for 18 hours until international pressure forced her release (she had to pay a large fine) but this event – alongside increasing numbers of death threats – forced her to flee to Europe, where she lived in Madrid and Paris.

Sosa found exile difficult and returned to Argentina in early 1982. The military junta remained in power, but Sosa's fame excluded her from punishment, and a series of concerts she gave at the Teatro Colón in Buenos Aires, with guest appearances from celebrated Argentinian singers, found her truly welcomed home. A live recording of these concerts was issued after the junta fell. Sosa continued to tour (performing in the UK several times) and to record, her fame growing on an international scale – she shared stages or studios with artists including Luciano Pavarotti, Sting and Shakira. In a career spanning almost six decades, she released 70 albums. She won three Latin Grammy awards and received a huge number of honorary titles including the UN Voluntary Fund for Women (Unifem) prize from the United Nations, in recognition of her defence of women's rights. She remained politically active and vocally opposed Carlos Menem when he was Argentinian president.
"I didn't choose to sing for people," Sosa said in an interview on Argentinian television. "Life chose me to sing." She died in October, 2009.

Gloria Martin was born 1952 in Madrid, Spain.

Tracklist:

01. Si se calla el cantor
02. Cuando tenga la tierra
03. Hasta la victoria
04. El cóndor vuelve
05. Triunfo agrario
06. Canción por el fusil y la flor
07. Mujer
08. Mundo pequeño
09. La canción de alguien que no quería marcharse
10. Eso es así
11. País cultural (G.Martin)
12. El candidato

Mercedes Sosa Y Gloria Martin‎– Si Se Calla El Cantor (1977)
(224 kbps, cover art included)

Samstag, 15. Juli 2017

Violeta Parra - Canciones (Casa de las Américas, Cuba, 1971)

The roots of nueva canción trace to the late 1950s and early ’60s, a notably restive era in Latin American history. Many countries were saddled with ineffective or authoritarian governments, and the gap between the wealthy and the impoverished was widening. Moreover, European and North American cultural influence was becoming increasingly palpable, with musical tastes in particular molded to a significant degree by the commercial-music industry of North America. In that milieu two notable singer-songwriters in neighbouring countries embarked on crusades to reclaim what they perceived as the crumbling social and cultural integrity of their homelands: Violeta Parra in Chile and Atahualpa Yupanqui in Argentina.

Much of the work of Parra and Yupanqui involved collecting old songs from the countryside and reworking - or rejuvenating - them to become “new songs” in a more contemporary, broadly accessible format. Parra commonly cast her song in well-established local poetic forms, and, perhaps most significant, she introduced Andean instruments into the accompanying ensemble. Meanwhile, Yupanqui’s semisung lyrics, intoned atop expressive guitar playing, vividly evoked the hardships of life in the Andes. By developing and promoting a body of popular songs that were grounded in local traditions and that addressed the experiences and concerns of ordinary people, both Parra and Yupanqui helped democratize music in their countries; their songs spoke both to and for the populace.

Tracklist:
01. - Gracias a la vida - 4:26"
02. - Qué dirá el Santo Padre - 2:47"
03. - Hace falta un guerrillero - 3:34"
04. - Arauco tiene una pena - 2:48"
05. - A la una - 3:15"
06. - La jardinera - 2:53"
07. - Y arriba quemando el Sol - 2:45"
08. - La carta - 2:48"
09. - Paloma ausente - 3:06"
10. - Según el favor del viento - 2:18"
11. - Maldigo del alto cielo - 3:47"

Violeta Parra - Canciones (Case de las Americas, Cuba, 1971)
(256 kbps, cover art included)

Freitag, 14. Juli 2017

Willem Breuker Kollektief - Live In Berlin

Willem Breuker (4 November 1944, Amsterdam – 23 July 2010 Amsterdam) was a Dutch jazz bandleader, composer, arranger, saxophonist, and (bass) clarinetist. In 1974, he began leading the 10-piece Willem Breuker Kollektief, which performed jazz in a theatrical and often unconventional manner, drawing elements from theater and vaudeville. With the group, he toured Western Europe, Russia, Australia, India, China, Japan, the United States, and Canada.
He was also known as an authority on the music of Kurt Weill. In 1997, he produced, with Carrie de Swaan, a 48-hour, 12-part radio documentary on the life of Weill entitled Componist Kurt Weill.

Recorded about a month after their BASF release "The European Scene", "Live in Berlin" is almost as fine an example of their earliest roots. The basic elements are all here, from the shameless purloining of themes from all conceivable genres (especially those not normally associated with the avant-garde) and their conflation with free jazz soloing to the revitalization of schmaltzy pop standards. There's still a certain roughness to the arrangements and performance, but Breuker's determination to set himself apart from the European free jazz scene as represented by the work of musicians with whom he collaborated early on, like Peter Brötzmann and Evan Parker, is very clear. As they and others moved more and more into abstract and non-idiomatic improvisation, Breuker attempted to balance those ideas with a structure that relied on song forms (especially those of composers like Kurt Weill) and the more classically influenced compositions of musicians like Carla Bley. He also insisted on the injection of large doses of humor, an anathema to most of his contemporaries. The Kollektief's spirited rendition of "Our Day Will Come" shows how successful this approach can be, and the album as a whole makes a good case for Breuker's stance. There is a somewhat muted recording quality here and, of the two earliest examples of this band, one would have to give the nod to the BASF release for musical and audio quality, but both are essential to a full understanding of Breuker's music.    


The album was recorded live during the "Total Music Meeting" at the Quartier Latin, Berlin, November 5th, 1975.      
  
Tracklist:

A1Introduction1:17
A2Oratorium18:18
A3Jan De Wit8:24
B1Jalousie-Song5:56
B2Jail-Music9:57
B3Remeeting7:25
B4Our Day Will Come   5:14

Willem Breuker Kollektief - Live In Berlin    
(320 kbps, cover art included)

Mittwoch, 12. Juli 2017

Lecuona Cuban Boys - Lecuona Cuban Boys (1965)

The Lecuona Cuban Boys was a popular Cuban orchestra which toured the world for over forty years.

The band was founded by Ernesto Lecuona, whose role was that of a patron-entrepreneur. He did not actually play with the band, but sometimes gave a piano recital before the band played. The core of the band was put together in 1931 as Orquesta Encanto; the band changed name early in 1934. On tour in Europe, in 1934, Lecuona returned to Cuba, and Armando Oréfiche took charge of the band in Europe. Ernesto gave them the gift of his name, which, at the time, was a property well worth having, and the right to use a number of his compositions.

The LCB was exceptionally strong in arrangements, compositions and instrumental quality (most of them could play two or three instruments). Their only weak spot was the lack of a really first-rate Cuban singer, but that was not so important as might seem because they played so often to non-Latin audiences. Some of their pick-up singers could sing in English, and many of their numbers were instrumentals. The band played the full range of Cuban popular music, but their speciality was the conga. Though it was perhaps Eliseo Grenet who first composed a conga in its ballroom dance style, it was certainly the LCB who took it round the world and made it famous. The LCB was therefore the first conjunto to use the conga drum regularly in its performances, and not Arsenio Rodríguez, as is often supposed.

The band initially organized itself as a collective, but in practice Armando Oréfiche (composer, arranger, pianist) was the leader. Other band members were Ernesto 'Jaruco' Vázquez (trumpeter, guitarist, composer, arranger); Adalberto 'Chiquito' Oréfiche (tenor sax and bongo); Agustin Bruguera (timbales, conga, voice); Gerardo Bruguera (tenor sax and clarinet); Jesús Bertomeu (trombone); Jorge Domínguez (alto sax, clarinet, violin); Daniel González (alto sax, clarinet, violin); Guillermo Hernández (guitar, tumba, guiro, maracas); Enrique López Rivero (trumpet) 1932 34; Alberto Rabagliati (voice) engaged 1934; later Fernando Díaz and Luis Escalante were engaged as replacement trumpeters. In 1947 Bob (Irv) Mesher joined the group after a brief stint with Tito Puente, Tito Rodriguez and Pupi Campo. Irv took over the lead chair when Jaruco Vazquez left the band...

The band toured throughout the world: the USA, Latin America and Europe were the main tours. When World War II broke out, the band went to Latin America and continued their touring there. After WWII there was a dispute within the band, which ended in a split. Armando Oréfiche left with a few members, and started the Havana Cuban Boys; the rest stayed under the old name, based in New York until 1960. The Lecuona Cuban Boys continued to tour, and finally retired in 1975.

Tracklist:
Mama Inéz (Rumba)
La Cumbia Del Amor (Cumbia)
Solamente Una Vez (Bolero)
El Bodeguero (Merengue)
My Shawl (Bolero-Cha-Cha)
Rumba Mirinda
Organito De La Tarde (Mambo)
Caribia (Afro)
Anita (Cha-Cha)
Choce (Cumbia)
Lamento Borincano (Bolero)
Campanitas De Cristal (Porqué) (Cumbia)
Chivirico (Merengue)
La Comparsa (Cumbia)


Lecuona Cuban Boys - Lecuona Cuban Boys (1965)
(192 kbps, cover art included)

Mary Hopkins - Earth Song / Ocean Song (1971)

It was the British supermodel Twiggy who alerted Paul McCartney to the Welsh singer Mary Hopkin when Apple Records was looking for talent in 1968. The waifish soprano scored a huge worldwide smash with her first Apple single, the melancholy but rabble-rousing ballad "Those Were the Days," in late 1968; it actually knocked the Beatles' own "Hey Jude" out of the number one position in the U.K. Paul McCartney lent Hopkin a further hand by producing her first album and writing her second single, "Goodbye," which was also a hit. More comfortable with refined, precious ballads and folky pop than rock, Hopkin scored several more hit singles in the U.K., although she never entered the American Top 40 again. Her commercial success diminished as Apple's fortunes dwindled in the early '70s.    

More folk-oriented than her first effort, Mary Hopkin's lilting voice soothes the listener like hot tea with honey. Included in this set, which was produced by Tony Visconti, are her interpretations of Ralph McTell's "Streets of London," Cat Stevens' "The Wind," and Gallagher & Lyle's "International."    

Tracklist:
01 - International
02 - There's Got To Be More
03 - Silver Birch And Weeping Willow
04 - How Come The Sun
05 - Earth Song
06 - Martha
07 - Streets Of London
08 - The Wind
09 - Water, Paper And Clay
10 - Ocean Song

Mary Hopkins - Earth Song / Ocean Song (1971)         
(320 kbps, cover art included)

Montag, 10. Juli 2017

VA - Chile Pueblo. En el 2º año del Gobierno Popular (1972)

This album was released in Santiago de Chile to celebrate the second anniversary of the Unidad Popular government.

It includes performances by some of the most important songwriters and folk musicians of the era, such as Victor Jara, Quilapayun, Inti-Illimani, Angel Parra and Patricio Manns. Between the songs there are narrations by Cesar Aguilera accompanied by Pancho Navarro on guitar.

The album was released in 1972 by the IRT label.

Tracklist:

01. Chile Pueblo – César Aguilera & Pancho Navarro
02. Cuando amanece el día – Ángel Parra
03. Chile Cobre – César Aguilera & Pancho Navarro
04. Nuestro cobre – Quilapayún
05. Chile Carbón – César Aguilera & Pancho Navarro
06. En Lota la noche es brava – Patricio Manns
07. Chile Mar – César Aguilera & Pancho Navarro
08. Boga, boga – Manguaré
09. Chile Textil – César Aguilera & Pancho Navarro
10. Obreras del telar – Víctor Jara
11. Chile Tierra – César Aguilera & Pancho Navarro
12. Chacarero – Quilmay
13. Chile Banco – César Aguilera & Pancho Navarro
14. Ni pocos, ni muchos – Amerindios
15. Chile América - César Aguilera & Pancho Navarro
16. Venceremos  – Inti-Illimani and the voice of Salvador Allende

VA - Chile Pueblo (1972)
(256 kbps, cover art included, vinyl rip)

VA - Todo El Folklore, Vol. II (Demon LPD-022)

"Demon" was a Chilean label founded by producer Camilo Fernández in 1962 and run by Corporación De Radio De Chile, S.A.. In the middle 60s, "Demon"was renamed "Arena Producciones" because that name was previously registered in Japan.

This album is a compilation of folk songs interpreted by Isabel Parra, Ángel Parra, Víctor Jara, Las Voces Andinas, Los Cuatro de Chile, Las Cuatro Brujas, Patricio Manns and Los Gatos.  It was released in 1966.




Tracklist:

01. Cuartetas por diversión - Isabel & Angel Parra) (3:05)
02. El cigarrito (Víctor Jara) (2:37)
03. La noche (Las Voces Andinas)(3:16)
04. Arranca arranca (Isabel Parra) (2:17)
05. El pelusa (Angel Parra) (2:04)
06. Eres la novia del viento (Los Cuatro de Chile) (3:14)
07. Muy triste (Las Cuatro Brujas) (2:33)
08. La cocinerita (Víctor Jara) (2:23)
09. A la madre (Los Cuatro de Chile) (2:32)
10. Cachimbo (Isabel & Angel Parra) (1:57)
11. Vai peti nehe nehe (Patricio Manns) (4:09)
12. Yo vengo de San Rosendo (Los Gatos) (3:12)


VA - Todo El Folklore, Vol. II (Demon LPD-022)
(320 kbps, front cover included)

Sonntag, 9. Juli 2017

Alice Coltrane - Journey In Satchidananda (1970)

Alice Coltrane's landmark "Journey to Satchidananda" reveals just how far the pianist and widow of John Coltrane had come in the three years after his death. The compositions here are wildly open and droning figures built on whole tones and minor modes. And while it's true that one can definitely hear her late husband's influence on this music, she wouldn't have had it any other way.

Pharoah Sanders' playing on the title cut, "Shiva-Loka," and "Isis and Osiris" (which also features the Vishnu Wood on oud and Charlie Haden on bass) is gloriously restrained and melodic. Coltrane's harp playing, too, is an element of tonal expansion as much as it is a modal and melodic device. With a tamboura player, Cecil McBee on bass, Rashied Ali on drums, and Majid Shabazz on bells and tambourine, tracks such as "Stopover Bombay" and the D-minor, modally drenched "Something About John Coltrane" become an exercise in truly Eastern blues improvisation. Sanders plays soprano exclusively, and the interplay between it and Coltrane's piano and harp is mesmerizing.

With the drone factor supplied either by the tamboura or the oud, the elongation of line and extended duration of intervallic exploration is wondrous. The depths to which these blues are played reveal their roots in African antiquity more fully than any jazz or blues music on record, a tenet that exists today, decades after the fact. One last note, the "Isis and Osiris" track, which was recorded live at the Village Gate, features some of the most intense bass and drum interplay - as it exists between Haden and Ali - in the history of vanguard jazz. Truly, this is a remarkable album, and necessary for anyone interested in the development of modal and experimental jazz. It's also remarkably accessible.

Alice Coltrane - Journey In Satchidananda (1970)
(320 kbps, cover art included)


Tracklist:

A1  Journey In Satchidananda
6:33
A2  Shiva-Loka
6:33
A3  Stopover Bombay
2:50
B1  Something About John Coltrane
10:40
B2  Isis And Osiris
11:32










Samstag, 8. Juli 2017

Tom Robinson - Sector 27 - Complete

There were few punk-era, major-label performers as intensely creative and controversial as Tom Robinson. Cutting his teeth with folk-rockers "Café Society" (who released a Ray Davies-produced record on the head Kink's Konk label in 1975), Robinson roared into the spotlight in 1978 with a great single ("2-4-6-8 Motorway") and a much-ballyhooed contract with EMI. What was remarkable about this was that Robinson was the kind of politically conscious, confrontational performer that major labels generally ignored -- he was openly gay and sang about it ("Glad to Be Gay"); he was vociferous in his hatred for then-British Prime Minister Margaret Thatcher; he helped form Rock Against Racism; and he generally spoke in favor of any leftist political tract that would embarrass the ruling ultraconservative Tory government.

Having rode the conveyor belt from spokesman to also-ran with the Tom Robinson Band (TRB), Robinson did the logical thing. He sidestepped the fray for nearly a year, ditching the old fist-in-the-air righteousness for a series of reflective songs propelled by new collaborator Jo Burt's trebly, overdriven bass. Not surprisingly, Robinson's music-business experiences provided a tempting, if obvious target. "Looking at You" twits impersonal rock stars, while "Take It or Leave It" wryly finds no difference between major and indie labels' business ethics ("Do as we say the alternative way, remember who's running the show"). However, Robinson's lyrical view had grown past his profession to jab faceless welfare bureaucracies ("Total Recall") and closeted gays ("Not Ready"). "Where Can We Go Tonight" examines life from a bored teen couple's viewpoint, and "Bitterly Disappointed" is a caustic father-to-son address. The album's production inevitably sounds dated, especially for the harsh, metallic chicken-scratch guitar sound that was so in vogue at the time, but the material is solid and did much to reassure TRB fans of their man's commitment to gut-punching, yet thoughtful rock & roll. However, "Sector 27" couldn't shake off TRB's legacy and split after a year of marginal gigging, while Robinson resumed his solo career, which gradually assumed a more middle-of-the-road flavor than his previous work. This album is the last stand of a man deciding where he fits among his peers and acquitting himself well in the process.          

    

The album was reissued in 1996 as "Complete" with some bonus tracks.

Tracklist:
  1. Can’t Keep Away
  2. Invitation: What Have We Got to Lose?
  3. Not Ready
  4. Mary Lynne
  5. Looking At You
  6. Five 2 Five
  7. Totall Recall
  8. Where Can We Go Tonight?
  9. Take It Or Leave It
  10. Bitterly Disappointed
  11. One Fine Day
  12. Stornoway
  13. Dungannon
  14. Day After Day
  15. Won’t You Tell Me How I Feel
  16. Martin’s Gone
  17. Christopher Calling 
  18. Shutdown

Tom Robinson - Sector 27 - Complete
(320 kbps, cover art included)

Donnerstag, 6. Juli 2017

The Chad Mitchell Trio And The Gatemen ‎– In Concert - Everybody's Listening (1964)

This is one of those concert albums that isn't. The Chad Mitchell Trio departed Colpix for Kapp in 1961, leaving Colpix with just four outtakes by the group in the can from its 1960 debut album, "The Chad Mitchell Trio Arrives". Cherry-picking two tracks ("I Do Adore Her" and "Sally Ann") from that album and adding in the four unreleased songs, the label then dubbed in audience noise to make a faux live set. This still didn't add up to an album, so six songs from a forgettable quartet known as the Gatemen were grafted on, again with fake crowd noise, and the end result is a disserve to all involved, especially those who actually purchased the record.

The CMT do shine on the Irving Burgie chestnut "I Do Adore Her," but the exact same recording had already been on Arrives (minus the badly dubbed crowd effects), and although the version here of "Vaya con Dios" is also pretty good, it only proves that some performances can't be ruined no matter what one does to them.

The Gatemen portion of the set is even worse, complete with subpar vocals, a piano player who seems to have wandered in from the nearest lounge bar, some misplaced electric guitar licks, and a drummer who appears to be auditioning for a surf band. - allmusic.com           

This album consists of selections from the Chad Mitchell Trio's studio sessions for Colpix from 1960, twelve of which were released on the "Arrives" album (CP/SCP-411). From those sessions remained four rejected songs ("Herbie Spear," "Devil Road," "Rodger Young," and "Vaya Con Dios"). With the trio signed to Kapp, Colpix did not have enough material to issue a second album, so they decided to build a "live" album around the four tunes, dubbing in poorly EQ'd audience applause, guitar tuning, and even coughing to simulate a live concert. In addition to the four unreleased tracks, Colpix added the released versions of "I Do Adore Her" and "Sally Ann" from the Arrives album to round out side one. As for the unreleased tracks, "Devil Road" is simply a reworked version of "Wayfaring Stranger" with new lyrics, while "Rodger Young" features a rare solo by original member Mike Pugh. "Vaya Con Dios" is actually a beautiful and tender rendition of the ballad made famous by Les Paul & Mary Ford. Side two of the album features an unknown folk quartet called the Gatemen singing songs that could have been sung by the Mitchell Trio (folk staples "Jesse James" and "Wabash Cannonball"). The problem is, these guys couldn't sing. In addition, the group made the unfortunate decision to include a piano and a ponderous rock & roll wannabe drummer in the group. It results in some very painful listening. On top of these abysmal performances, Colpix adds the same phony applause used on the Mitchell tracks. No clue is given as to the Gatemen's identity (it's just as well). A photo on the cover shows six teenagers sitting in what looks like a run-down bohemian apartment room. ~ Cary Ginell, Rovi

Tracklist
A1Chad Mitchell Trio, The                Herbie Spear2:01
A2Chad Mitchell Trio, TheDevil Road2:35
A3Chad Mitchell Trio, TheI Do Adore Her3:07
A4Chad Mitchell Trio, TheRodger Young2:32
A5Chad Mitchell Trio, TheSally Ann2:24
A6Chad Mitchell Trio, TheVaya Con Dios2:43
B1Gatemen, TheJesse James2:34
B2Gatemen, TheGreen Leaves Of Summer2:39
B3Gatemen, TheThe Klan2:13
B4Gatemen, The500 Miles2:53
B5Gatemen, TheWhat Have You Got To Show?2:45
B6Gatemen, TheWabash Cannonball2:20


The Chad Mitchell Trio And The Gatemen ‎– In Concert - Everybody's Listening (1964)
(256 kbps, cover art included)