Freitag, 27. Juli 2018

Lin Jaldati - Lin Jaldati singt (Eterna, 1966)

Bild anzeigen
Jewish Music in Post-War Germany, Part 2

Lin Jaldati: Communist First, Jewish Second

The first purveyors of Yiddish song in post-war Germany were Jews, but most of them did not actually speak Yiddish natively; they had acquired it some time later. From the very beginning, German interest in Judaism involved transforming real living assimilated Jews into a more exotic Eastern European variant.

Lin Jaldati, a Dutch Jew, was probably the most famous of these Yiddish students. Bron Rebekka Brilleslijper in 1921 in Amsterdam to a Sephardic family, Jaldati was taught Yiddish by a cantor shortly before the war. In 1944 she was deported to Auschwitz; as a Communist and aJew, she had two strikes agaisnt her. But she survived and rejoined the Communist Party soon after being freed. In 1952 she immigrated to East Germany, attracted by the opportunity to help the new socialist state. She took along her songs. In 1964 seh released her first album; by 1966, she had released her first book, a collection of Yiddish songs called Es brennt, Brüder, es brennt. In the introduction she wrote a short history of the Jews in Europe since the Middle Ages; she also noted their early involvement in Communist agitation.

Jaldati´s Jewish identification was secondary to her Communist affiliation, which would have appealed to German audiences who could congratulate themselves on their tolerance without having to feel threatend by someone who indentified above all as Jewish. Jaldati´s daughter, Jalda Rebling, explained that her mother "always said, that I´m Jewish is a fact: I´m not ashamed of it, and I´m also not particularly proud of it, that´s just the way it is".

Lin Jaldati was interned in Westerbork and Bergen-Belsen with Anne Frank and her familiy, and was actually the person who told Otto Frank that his daughters had died in the concentration camps. In the 1980s, Jaldati toured the world with a programme taht commemorated what would have been Frank´s 50th birthday.


Tracklist:

Ist das alles schon wieder vergessen
An meine Landsleute
Lied einer deutschen Mutter
Nichts oder alles
Die Ballade vom Wasserrad
Das Lied der Kupplerin
Song von den träumen
Spanisches Wiegenlied
Lied der Mausmutter
Auf Wiedersehn
Hej zigelech
Motele
Dort balm breg fun weldl
A jiddische mame
Berjoskele
Rabojssaj
Der balagole un sajn ferdl
Es brent
Amol is gewen a jidele
Jüdisches Partisanenlied

Voice: Lin Jaldati
Piano: Eberhard Rebling


Lin Jaldati - Lin Jaldati singt (Eterna, 1966)
(320 kbps, cover art included)

Dagmar Krause - Angebot & Nachfrage (Lieder von Brecht / Weill /Eisler) (1986)

"Supply and Demand: Songs by Brecht / Weill & Eisler" was the first solo album by German singer Dagmar Krause released by Hannibal Records in 1986.
It is a collection of 16 songs by German composers Kurt Weill and Hanns Eisler, with lyrics by Bertolt Brecht and sung by Krause in English.
She also sung the songs in the original German which were released by Hannibal at the same time on a companion album, "Angebot & Nachfrage: Lieder von Brecht / Weill & Eisler".

Although seeking out Krause's work with Slapp Happy, Henry Cow and the Art Bears is worthwhile, ultimately the democracy of a band means less Dagmar to listen to. Therefore, go straight to this amazing solo recording of Krause singing the music of Bertolt Brecht, Kurt Weill and Hans Eisler. It's approachable, accessible ("Mack the Knife" is here under its original title, "Moritat"), beautifully sung (her version of "Surabaya Johnny" is definitive) and very, very moving. Krause's grandiose alto voice was perfectly suited to the emotionally and politically charged music of these German songs. Lyrically they continued the trend of earlier songs of social conscience Krause had performed, for example on Henry Cow's "Living in the Heart of the Beast".

Tracklist

A1 Angebot & Nachfrage (Song Von Der Ware) 2:57
A2 Grabrede 1919 1:59
A3 Deutsche Miserere 1:39
A4 O Falladah, Die Du Hangest! 2:41
A5 Alabama-Song 2:51
A6 Hollywood-Elegien 2:55
A7 Surabaya Johnny 3:59
A8 Moritat (Ballade Von Mackie Messer) 2:39
B1 Matrosen-Tango 3:57
B2 Die Ballade Von Der Höllenlili 2:25
B3 Das Lied Von Der Moldau 1:40
B4 Im Gefängnis Zu Singen 3:00
B5 Ostersonntag 1935 1:24
B6 Zu Potsdam Unter Den Eichen 2:22
B7 Der Song Von Mandelay 2:12
B8 Benares Song 3:52
This is the album with the songs sung in the original german language. You can find cd version mit some added songs in english language here.

Dagmar Krause - Angebot & Nachfrage (Lieder Von Brecht-Weill & Eisler)
(192 kbps, cover art included)

Colin Wilkie & Shirley Hart - Morning (1972) - Outside the City (1974)

The folk revival of the 1960s came to Germany through the playing of British-born singer/songwriter Colin Wilkie and his guitarist/vocalist wife Shirley Hart. The composer of hundreds of songs and stories, Wilkie spent 11 years as resident songwriter for SWF show Tellekolleg and seven years as host of his own weekly radio show. He passed on his unique fingerstyle approach to the guitar to influential German guitarist Franz Josef Degenhardt.

Wilkie's songs, which reflect on family, friends, political, and ecological themes, offer only a hint of his warm, intimate, stage persona. Wilkie and Hart's first album, released in 1965, was recorded with Scottish folksinger Alex Campbell. Musical theater has provided another outlet for Wilkie and Hart's talents. Their appearance as street singers in a production of John Arden's Life and Death at the Wuerttembergi National Theater in Stuttgart, helped to make the show so successful that it ran for several years.


Tracks
1. The Family of Man
2. The Wasteland
3. Morning Colin
4. The Soldier's Song
5. Willow and Rue
6. Portland Town
7. Eppelein von Gallingen
8. Put Your Hand In Mine
9. Icy Acres
10. Wat Tyler
11. When I'm Gone
12. Sunflowers
13. Mr. & Mrs. Ferlinghetti-Smith
14. The Pipelines
15. A Sailor's Life
16. Old 97
17. Ain't It Pretty
18. The Potato Eaters
19. Where Were You In the War?
20. The Unquiet Grave
21. The Märchengarten
22. The Bells of Rhymney


Colin Wilkie & Shirley Hart - Morning (1972) - Outside the City (1974)
(256 kbps, cover art included)

Zupfgeigenhansel - Volkslieder 2 (1977)


Zupfgeigenhansel was a German folk duo founded by Thomas Friz and Erich Schmeckenbecher. They were activ during the 1970s and 1980s. The group took its name from the famous Wandervogel Songbook "Der Zupfgeigenhansl" that appeared in 1909, although the group's repertoire overlaps only partially with the contents of the songbook.

Zupfgeigenhansel initially followed the idea of rediscovering and repopularising German folk songs with libertarian character, partly to be provided with their own melodies. These folk songs were dealing with the lives of "ordinary" people of the past centuries - they were telling stories about love, poverty, and venture, the contempt for authority and priests as well as the resistance against militarism.

Zupfgeigenhansel became a foundation stone - next Ougenweide, Hannes Wader and Liederjan - for an alternative German folk music, beyond traditional folk music occupied by conservatives.

Zupfgeigenhansel performed since 1974 in various folk clubs, mainly in southern Germany. A few radio appearances on the show "Liederladen" at "Südwestfunk" followed. 1976 her first album "Volkslieder I" was published on the Pläne label, "Volkslieder II" followed in 1977. That album was recorded in January 1977 at Conny Plank´s studio in Neunkirchen.



Tracks:
01. Ich bin ein freyer Bauern-Knecht (Traditional) 2.41
02. Und in dem Schneegebirge (Traditional) 2.35
03. Papst und Sultan (Traditional/Noack) 2.20
04. Annagret (Traditional) 1.51
05. Mein Michel (Traditional (Friz/Schmeckenbecher) 2.40
06. Mein Vater wird gesucht (Drach/Kohlmey) 2.50
07. Bürgerlied (Traditional) 3.23
08. Soldatenschicksal (Traditional (Friz/Schmeckenbecher) 2.37
09. Die bange Nacht (Traditional(Lyra) 1.43
10. Bibel und Flinte (Traditional) 1.22
11. Es dunkelt schon in der Heide (Traditional) 4.23
12. Die Brombeeren (Traditional) 3.04
13. Der Karmeliter (Traditional) 2.46
14. Ehestandsfreuden (Traditional) 4.16

15. Der Revoluzzer (live, bonus track) 2.28
16. Andre, die das Land so sehr nicht liebten (live, bonus track) 3.11


Max Roach ‎– We Insist! Max Roach's Freedom Now Suite

"We Insist! Max Roach's Freedom Now Suite", co-authored by Max Roach and Oscar Brown, Jr., was a pivotal work in the early-'60s African-American protest movement, and continues to be relevant in its message and tenacity. It represents a lesson in living as to how the hundreds of years prior were an unnecessary example of how oppression kept slaves and immigrants in general in their place. 

Vocalist Abbey Lincoln expresses this oppression as effectively as anyone could with her thespian-based wordless vocals, and lyrics written by Brown that tell the grim story of the struggle of African-American for far too long. Musically, Roach assembled one of the greatest bands, from his own emerging ensemble with trombonist Julian Priester and trumpeter Booker Little, to the legendary Coleman Hawkins and lesser-known, underappreciated tenor saxophonist Walter Benton. Percussionists Ray Mantilla and Michael Olatunji gave the poetic pieces sung by Lincoln enough substance and spice to also refer to Afro-Cuban and South American prejudice and urgency for change. Hawkins is particularly impressive, as his emotional range during the deep and dour, 5/4 slave song "Driva' Man" clearly feeds off of Lincoln's blues singing about quittin' time. 

"Triptych; Prayer/Peace/Protest" is the magnum opus of the set, introduced by Roach's signature drum moves, an eerie operatic vocal or oppressed angst yelling from Lincoln, and a 5/4 beat from the percussionist against a calmer vocal component, all written for interpretive dance. Of the modern jazz that Roach is renowned for, the horns jump into furious hard bop with solos from Little, Benton, and Priester on "Freedom Day" after Lincoln quietly invites you to "whisper/listen," while the obscure bassist James Schenck leads in 6/8 and 5/4 ostinato over Lincoln's sustained tones on "Tears for Johannesburg," with the layered horns in and out of well-wrought harmonies, and another triad of instrumental solos. "All Africa" sports lyrics about being on the beach, or maybe the beach head in the battle for freedom, as chants of tribal names echo similar village beats. 

This is a pivotal work in the discography of Roach and African-American music in general, its importance growing in relevance and timely, postured, real emotional output. Every modern man, woman, and child could learn exponentially listening to this recording - a hallmark for living life.


Tracklist:

Driva' Man  5:10
Freedom Day  6:02
Triptych: Prayer, Protest, Peace  7:58
All Africa  7:57
Tears For Johannesburg  9:36

Max Roach ‎– We Insist! Max Roach's Freedom Now Suite
(320 kbps, cover art included)

Donnerstag, 26. Juli 2018

Victor Jara - Canto Libre

Victor Jara was an impoverished Chilean laborer who became a monk, a soldier, an actor and professor of theater; a political activist, a poet, and a popular folk musician; and ultimately a people's martyr following his brutal murder (along with thousands of his fellow citizens) in 1973 during the U.S.-backed military coup that toppled the government of Chile's democratically elected socialist president Salvador Allende. Amidst widespread global outrage at this gruesome miscarriage of justice, Jara quickly became even more famous than he had been while alive, and his recordings were widely circulated throughout North America on LPs bearing the Monitor and Americanto labels.

"Canto Libre", a collection released during the 1990s, contains material dating back at least as far as 1970. Jara sang beautifully, always expressing his thoughts and viewpoints with unflinching honesty, playing his guitar alone or surrounded by folk musicians from nations and cultures all over Latin America. Jara's egalitarian discipline of cultural solidarity is manifest at various points in this collection, with words and music traceable to Mexico ("The Ballad of Pancho Villa"), Peru ("Inga"), and Bolivia ("El Tinku" and "How Happy Are the Women Workers"). Jara's devotion to socialism must be understood as a call for Chilean self-determination; the best way to put it in context would be to read Pablo Neruda's Memoirs. Jara was incredibly outspoken, and it was typical of him to come up with a title that translates as "Thus They Kill Blacks Today." His greatest achievement was the song "Canto Libre," with its soaring flutes, stirring percussion, and passionately strummed guitars. Victor Jara's spirit transcends all language barriers. Like his voice and the instrumentation, the poetry is tremendously moving and unforgettable: "My singing is a chain without beginning or end, and in each link is found the song of everyone else."       

     

 "Canto Libre" summarizes pretty well Víctor's gift to the good people struggling for justice. These are songs that he had to pay for with his own life, tortured to death one day in the soccer National Stadium in Santiago. His legacy mixes his undeniable Chilean roots and his exploration of other Latin American rythms. You may question his unique voice; however, you will eventually find out that it is that roughness that provides even more meaning to most of this collection.

Tracklist:
 1. Inga
  2. Cancion Del Arbol Del Olvido
  3. La Pala
  4. Venian Del Desierto
  5. Ventolera
  6. El Tinku
  7. Angelita Huenuman
  8. Corrido De Pancho Villa
  9. Caminando, Caminando
  10. Quien Mato A Carmencita
  11. Canto Libre
  12. El Aparecido
  13. El Lazo
  14. Que Alegres Son Las Obreras
  15. Despedimiento Del Angelito
  16. Solo
  17. Ay Mi Palomita
  18. Asi Como Hoy Matan Negros
  19. El Amor Es Un Camino Que De Repente...
  20. Casi, Casi
  21. Cancion De Cuna Para Un Nino Vago
  22. Romance Del Enamorada Y De La Muerte

  23. En Algun Lugar Del Puerto

Victor Jara - Canto Libre
(320 kbps, cover art included)

VA - Encuentro De La Canción Protesta. Casa de las Américas, Cuba (1967)


The term "nueva canción" was first mooted in public at a key event which took place in Cuba from 29 July until 10 August 1967: the "Encuentro de la Canción Protesta". This first international meeting of artist performing protest songs was organized by the "House of Americas"
Fifty musicians from eighteen countries were given the opportunity to hear each other perform, exchange ideas and experiences, discuss the role of singer and song and establish friendships and contacts. Artist from four continents were brought together at a time of political upheavel in different parts of the world.
The appearance of Gerry Wolff, film actor and singer in the GDR, is another clue for the connection between the GDR song movement ("Singebewegung") and international revolutionary artists as mentioned before in the "Canto Libre" posting.
Daniel Viglietti, who participated in those days, said that "the meeting was an opportunity to discover that if you had fallen into the error of thinking we were alone, we were not alone". Singing in many languages, artists from all around the world expressed solidarity with the oppresed people and their fight for a better world.
The various stages reached in the development of movement in individual countries with different economic, social and political conditions and musical cultures had resulted in the usage of different terms: "Canción protesta", "canción comprometida", "canción politica revolucionaria" and "nueva canción". Other names used before and after include "canción folklórica", "cancion popular", "canción politica", "canciones de lucha y esperanze", "canto libre" and "canto nuevo".
Musicians, especially those who are members of, or allied to, the Communist Party, met intermittently before and after the Cuban "Encuentro" at Youth Festivals held every four years in the Socialst countries, as they also do at "International Festivals of Political Songs" held annualy in the GDR, at "Victor Jara Festivals", "Concert for Peace", various solidarity concerts and more recently "Nueva Canción" and "Canto Nuevo" Festivals held in Latin America. At the Cuban meeting, an "Encuentro", not a Festival, it was resolved that song should play an important role in the liberation struggles against North American imperialism and against colonialism, as it was agreed that song possessed enormous strength to communicate with the people and break down barriers, such as those of illiteracy, and taht in consequence it should be a weapon at the service of the people, not a consumer product used by capitalism to alienate them. Protest singers (as they continued to call themselves despite the debate) should be engaged in a constant enriching search for artistic quality, in itself a revolutionary activity. They should work amongst their people, confronting problems within their societies. For some of those involved this merely reflected what they wer doing already.

Tracklist:
01. Me gustan los estudiantes – Ángel Parra
02. A yime yo be Singing – Jean Lewis
03. Canción para mi América – Daniel Viglietti
04. Certainly Lord – Julius Lester
05. Mia cara moglie – Ivan Della Mea
06. Hasta siempre – Carlos Puebla
07. The ballad of Ho Chi Minh – Ewan Mccoll
08. Porque los pobres no tienen – Isabel Parra
09. Epigrama – Luis Cilia
10. The cutty wren – John Faulkner, Sandra Kerr y Terry Yarnell
11. Mi honda es la de David – Oscar Chávez
12. Vous – Martha Jean Claude
13. Bella ciao – Giovanna Marini, Elena Morandi e Ivan Della Mea
14. El pobre y el rico – Los Olimareños
15. Lettera del condennatto a morte – Elena Morandi
16. Juventud – Carlos Molina
17. Le coq chant – Onema Djamba Pascal
18. Lullaby for the times – Sandra Kerr
19. El mensú – Ramón Ayala
20. San Sang Ban – Tran Drung y Pham Duong
21. Der Hammer – Gerry Wolff
22. Coplas al compadre Juan Miguel – Alfredo Zitarrosa
23. Diguem no – Raimon
24. Coplera del viento – Oscar Matus y Armando Tejada Gómez
25. Hitler Ain’t Dead – Peggy Seeger
26. Coplas del pajarito – Rolando Alarcón
27. Hell no – Barbara Dane

(192 kbps, cover art included)

Mittwoch, 25. Juli 2018

Jalal - Mankind (On-U Sound, 1993)

Jalal Mansur Nuriddin, whose work in the spoken-word group the Last Poets helped earn him the title of the “Grandfather of Rap,” died on June, 4. He was 74. 

Nuriddin contributed to the Last Poets’ 1970 debut album as well as the follow-up, This Is Madness. These albums, which paired minimal, driving, percussive accompaniment with emphatic, relentlessly political spoken-word vocals, are widely regarded as crucial early examples of hip-hop.
In 1973, Nuriddin also demonstrated his lyrical dexterity as Lightnin’ Rod on the storytelling solo album Hustlers Convention. 

His musical path crossed that of Adrian Sherwood in the early 1990s. Mankind was originally released as a 10" disco plate via On-U Sound in 1993.
 

Tracklist:

1 Mankind (Part 1) 5:33
2 Mankind (Part 2) 5:10
3 Shade Of The Light (Part 1&2) 6:19
4 Shade Of The Light (Part 3) 4:00
5 Transcendental Twins 8:53


Jalal - Mankind (On-U Sound, 1993)
(320 kbps, cover art included)

Mittwoch, 18. Juli 2018

Sun Ra - Outer Spaceways Incorporated (1968)

This album adds a previously unreleased "Intergalactic Motion" to the original five-piece program. Sun Ra's orchestra was at its most radical during this period, alternating simple chants with very outside playing and dense ensembles.

While the sidemen include such notables as Marshall Allen and Danny Davis on altos, baritonist Pat Patrick, John Gilmore on tenor, bassist Ronnie Boykins and percussionist Clifford Jarvis, most of the other players in the 15-piece band (such as trumpeters Ahk Tal Ebah and Kwame Hadi) have slipped back into obscurity. This music is quite intriguing, although it requires an open mind and a sense of humor to fully appreciate.   

Tracklist:

1 Somewhere There 15:10
2 Outer Spaceways Incorporated 7:02
3 Intergalactic Motion 8:07
4 Saturn 6:08
5 Song Of The Sparer 4:22
6 Spontaneous Simplicity 7:56


Track 3 was previously unreleased, recorded in New York City 1968.

Sun Ra - Outer Spaceways Incorporated (1968)
(256 kbps, cover art included)          

Dienstag, 17. Juli 2018

Hanns Eisler - Vierzehn Arten den Regen zu beschreiben

These variations were written to accompany a documentary film made in 1941 by the Dutch artist Joris Ivens during Eisler's exile in America. They are based on a 12-tone row which contains an anagram of Eisler's teacher Arnold Schönberg (in German nomenclature A - Es - C - H - B - G, which translates to the notes A, E flat, C, B, B flat and G).

In this wonderfully impressionistic piece we can picture the rain beginning to fall amidst trills and tremolos, the dance of splashing droplets, sweet, simple remembrances of other rainy days, the slow streamlets of water draining away. It's up to the imagination of the listener as there are no titles to the sections. The scoring for flute, clarinet, violin, viola, violincello and piano shows the composer's exceptional talent for producing timbres.

These interpretations were recorded in Berlin and Dresden, in the years 1967 and 1987.

Hanns Eisler - Vierzehn Arten den Regen zu beschreiben
(192 kbps, front cover included)

Stefanie Wüst - Kurt Weill - A Musical Portrait

The German soprano, Stefanie Wüst, had worked before her singing studies, first in costume field and as assistant at several major German theaters (Oper und Ballett Frankfurt, Schauspielhaus Hamburg, Staatsoper München), and for several years worked in the films by Alexander Kluge. In addition to her singing studies at the Musikhochschule in Cologne she attended master-classes, including Edith Mathis and Gisela May.

In 1983 Stephanie Wüst appeared at the Kölner Schauspielhaus in the "Dreigroschen-oper" (Director: Jürgen Flimm). In 1989 she founded the ensemble KURZWEIL, in different combinations, especially for interpreting the works of Kurt Weill and Hanns Eisler. In 1993 she released the album "Kurt Weill - A Musical Portrait" and she was the first in Europe to present Weill's long hidden early cycle "Ofrahs Lieder".

The selection chosen for this collection traces Weill´s development on two levels: the situation of his personal life and the evolution of his artistic expression.

Tracks:
1. Im Volkston
2. Ofrah's Lieder: In Meinem Garten Steh'n Zwei Rosen
3. Ofrah's Lieder: Nichts Ist Die Welt Mir
4. Ofrah's Lieder: Er Sah Mir Liebend In Die Augen
5. Ofrah's Lieder: Denkst Du Des Kuhnen Flugs Der Nacht
6. Ofrah's Lieder: Nur Dir Furwahr, Mein Stolzer Aar
7. Julia, Das Schone Kind
8. Die Stille Stadt
9. Berlin Im Licht-Song
10. Klops-Lied
11. Pollys Lied
12. Liebeslied
13. Surabaya-Johnny
14. Es Regnet
15. Der Abschiedsbrief
16. Complainte De La Seine
17. Youkali - Stephanie Wust/Albert Rundel/Thomas Wise
18. Je Ne T'aime Pas
19. J'attends Un Navire
20. Nannas Lied
21. Buddy On The Nightshift
22. Dirge For Two Veterans

Stefanie Wüst - Kurt Weill - A Musical Portrait
(192 kbps)

Bremer Chor "Die Zeitgenossen" & Gruppe Argus - Lieder zur internationalen Solidarität (1978)

Found this album on a record fair some weeks ago. It was recorded in July 1978 at Studio Nord, Bremen, and released in 1978 on the label "Verlag Atelier im Bauernhaus".

The choir "Die Zeitgenossen" from Bremen/Germany, conducted by Hartmut Emig, is accomapnied by some musicians, called "Gruppe Argus". They are singing and playing international solidarity songs from Greece, Chile, South Africa ,Germany, USA and Portugal. "Die Zeitgenossen" were seeing themselves as a part of an emanzipatoric choir movement, according to the Hanns Eisler slogan: "Unser Singen muss ein Kämpfen sein!"

These protest songs are beautiful folk music with a big choir of up to 100 singers according to the infos in the booklet scans. Sometimes even too beautiful if you consider the tragic songs and lyrics.

Tracklist:
01. Die ganze Erde uns (Greece) 03:00
02. Ich bin die Front (Greece) 02:53
03. Venceremos (Chile) 03:32
04. Das neue Leben (Chile) 03:12
05. Lied für unsere Gefallenen (Chile) 05:54
06. Nougqougqo (South Africa) 02:19
07. Ndodemnyama (South Africa) 02:48
08. Grândola, Vila Morena (Portugal) 02:47
09. Hold the fort (USA) 03:36
10. Und schon morgen (Germany) 03:59
11. Oh freedom (USA) 02:04

Musicians:
Bremer Chor Die Zeitgenossen

Gruppe Argus:
Wiebke Rendigs: vocals
Stephan Uhlig: guitar, vocals
Christian Uhlig: bass, vocals
Dietz Koldewey: guitar, vocals

Soloists:
Wiebke Rendigs: alto (1,6)
Rotraud Schalipp: soprano (5)
Ivesa Lübben: flute (5)
Achim Klug: bass (8)
Frank Drecoll, Heiner Borcherding: tenors (8)
Wilhelm Meerkamp: announcer (9)

Guests:
Alexander Ahrens: cello (5)
Rolf Wieneck: banjo (9)
Levi Gioro & the Athenians: bouzoukis (1,2)


Bremer Chor "Die Zeitgenossen" & Gruppe Argus - Lieder zur internationalen Solidarität (1978)
(ca. 256 kbps, cover art included)

VA - Scots In The Spanish Civil War - ¡No Pasaran!

'This is no ordinary CD you hold in your hands. This is history, tribute and as you will hear love, affection, defiance and most importantly solidarity between Scotland and Spain and in memory of the contribution of the International Brigades defending Spain from fascism. Scots more than played their part in this noble struggle'.
Written by Cllr. Gordon Munro (Leith Ward Labour) in his piece for the CD.


'When Spain called, Scotland answered. Well over 500 Scottish men and women served in the Spanish Civil War. A third of them remain in the country, sleeping beneath the soil they volunteered to fend from fascism. As the last of that golden red generation dies away, our job is to remember, commemorate and oppose prejudice today. This album is then a souvenir, to be enjoyed and a clarion call to be heeded.'
From the album introduction by Daniel Gray, author of 'Homage to Caledonia', published by Luath Press.


"A collection of songs and a poem principally about the many Scots who volunteered to fight in Spain on the side of the elected Republican Government against General Franco and the fascists. The Scots volunteers fought mainly with The International Brigade which included, as the name suggests, volunteers from many other countries of the world. Some tracks were recorded specially for this album and others were licensed from other companies and individuals.
When research for songs with a mainly Scottish perspective was undertaken it became immediately apparent that some very fine songs existed, but as the project advanced songwriters came forward with new and quite excellent material. Eventually fifteen songs and a poem were selected. This is a wonderful companion to the best-selling Greentrax World War 1 album "Far, Far From Ypres" and Greentrax is proud to release the album in memory of the Scots who fought and died in the fight against fascism in Spain.
As with the Far, Far From Ypres collection, Ian McCalman got behind the new project and recorded six of the songs, including Dick Gaughan’s unbeatable version of Jamie Foyers. Others recorded specially by Ian at his Kevock Studio include Si Me Quieres Escribir (sung in Spanish by Christine Kydd), Graves In Spain (a Mary Brooksbank poem, set to music and sung by Eileen Penman) and Robin Laing’s latest descriptive piece of writing Picasso Paints Guernica.
Ian McCalman also searched his archive of multi-track tapes of McCalmans recordings and unearthed The Peatbog Soldiers, recorded live in 1979 by the original lineup of Ian, Derek Moffat and Hamish Bayne. This is as good as any version of this often-recorded marching song adopted by The International Brigades.
Greentrax was fortunate to obtain a licence for The Laggan’s spirited Jarama Valley / Bandiera Rosa from the Lochshore label. Alison McMorland and Geordie McIntyre recorded Geordie’s Viva Los Brigadistas, accompanied by piper Allan MacDonald, also at Kevock Studio, and a licence was granted by The Living Tradition for their recording of Another Valley, also from Geordie’s prolific pen.
Carlos Arredondo kindly licensed Viva La 15 Brigada / Viva Nicaragua from his earlier Debo Cantar Bonito album. Neon Music licensed the late John Watt’s Owt For Nowt, a contemporary look at Spain after the war. The Glasgow Irish folk ‘n’ roll band The Wakes provide the very stirring These Hands. We were pleased to include the late Jim Brown’s song Salud International Brigade, penned from stories told to Jim by ex-Brigaders working on the Clyde shipyards. Frank Rae’s unusual take on one volunteer, Hasta Luego, was from the Lanarkshire Songwriters album From Blantyre To Barcelona. Edinburgh’s Gallo Rojo provided the high energy ¡No Pasaran! sung in Spanish.
The poet and author Alistair Findlay submitted a poem late in the production of the album, When The Call Comes. Ian McCalman put music to it and enlisted the help of George Archibald, a member of the group Ragged Glory, to record a demo for Alistair, who was most impressed. Ian and George then recorded the track for inclusion on the album.
The album ends with the remarkable piece of poetry Hasta La Vista Madrid by the late Bob Cooney, a hugely admired poet and songwriter from Aberdeen. Bob, a leading Brigader, was brought to the attention of Greentrax by Dick Gaughan. The poem is excellently interpreted by BBC Radio Scotland’s Iain Anderson.

Thanks to Gavin MacDougall, who first suggested the idea to Greentrax, Daniel Gray and Gordon Munro for their fine contributions, Ian McCalman for his recording work and support for the project, Geordie McIntyre who was such a fountain of knowledge, mastering engineer Peter Haigh, designer John Slavin (including the stunning front cover image) and to all the labels and artists whose contributions are gratefully acknowledged."

Tracklist:
1. The Peatbog Soldiers (The McCalmans)
2. Jamie Foyers (Dick Gaughan)
3. Jarama Valley / Bandiera Rosa (The Laggan)
4. Another Valley (Geordie McIntyre)
5. Si Me Quieres Escribir (If You Want To Write) (Christine Kydd)
6. These Hands (The Wakes)
7. Owt For Nowt (John Watt)
8. Viva La 15th Brigada / Viva Nicaragua (Carlos Arredondo)
9. Picasso Paints Guernica (Robin Laing)
10. Graves In Spain (Eileen Penman)
11. When The Call Comes (George Archibald & Ian McCalman)
12. Salud International Brigade (Jim Brown)
13. Viva Los Brigadistas (Alison McMorland & Geordie McIntyre)
14. Hasta Luego (Frank Rae)
15. ¡No Pasaran! (Gallo Rojo)
16. Hasta La Vista - Poem (Iain Anderson)

VA - Scots In The Spanish Civil War - ¡No Pasaran!
(320 kbps, front cover included)

Montag, 16. Juli 2018

Jackie Mittoo - Macka Fat (1972)


Keyboard virtuoso Jackie Mittoo was among the true legends of reggae -- a founding member of the Skatalites and an extraordinarily prolific songwriter, he was perhaps most influential as a mentor to countless younger performers, primarily through his work as the musical director at the famed Studio One.

There are a dozen nice sultry instrumentals on this LP, released in the early '70s, though as always with vintage reggae albums, that doesn't necessarily indicate that all of the material was recorded then. Certainly it has the sound of the best rocksteady music, some of its trancier grooves hinting at the dub era. Bubbly organ riffs are heard throughout, of the sort that, with some tweaks, would be popularized in the U.S. by Timmy Thomas´ 1973 hit "Why Can't We Live Together."

Tracks:

Henry The Great
Good Feeling
Macka Fat
Lazy Bones
Fancy Pants
Something Else
Happy People
Purple Heart
Whoa Whoa
Division One
Ghetto Organ
Dad Is Home

Produced by C.S. Dodd at Studio 1 (Kingston, JA)

Jackie Mittoo - Macka Fat (1972)
(192 kbps, front cover included)

Sonntag, 15. Juli 2018

Nina Simone And Her Friends (1959)

Nina Simone and Her Friends is an album released by the Bethlehem Records label that compiled songs by Jazz singers Nina Simone, Carmen McRae and Chris Connor.

All three artists had left the label and signed with other companies by the time Bethlehem released this album. The songs of Nina Simone were previously unissued “left overs” from the recording sessions for her debut album Little Girl Blue (1958) and released without her knowing.

The tracks by Chris Connor and Carmen McRae were already issued together this way as Bethlehem's Girlfriends in 1956 accompanied by the debut recording session of Julie London.

Tracklist:

01.  He's Got The Whole World In His Hands
02.  Cottage For Sale
03.  Old Devil Moon
04.  I Loves You, Porgy
05.  Try A Little Tenderness
06.  You Made Me Care
07.  For All We Know
08.  What Is There To Say
09.  Too Much In Love To Care
10.  African Mailman
11.  Good Bye
12.  Last Time For Love

Nina Simone And Her Friends (1959)
(320 kbps, front cover inlcuded)

Samstag, 14. Juli 2018

Dave Van Ronk - Sunday Street (1976)

This album, originally released in 1976, may or may not be, as annotator (and former Dave Van Ronk guitar student) Elijah Wald claims, "Dave's greatest single album" (frankly, Van Ronk has made so many albums for so many fly-by-night labels that it is hard to endorse so sweeping a statement), but it is certainly a very good one.

Van Ronk had made various efforts in recent years to accommodate pop and rock music on his albums, but this one was a return to his usual repertoire of folk-blues tunes and jazz and ragtime transcriptions for guitar, with one Joni Mitchell song ("That Song About the Midway") and an original, the title song, thrown in.

And it was a solo album on which Van Ronk sang and accompanied himself on acoustic guitar. Thus, it approximated what a good set in a club by this artist would sound like, minus the singer's witticisms, of course. Van Ronk never hid his influences, but he never sounded exactly like them, either, and on this album he was very much himself. Maybe it is his greatest single album; it is certainly one of his most representative.  

Tracklist:
A1 Sunday Street 3:27
A2 Jesus Met The Woman At The Well 5:34
A3 Nobody Knows The Way I Feel This Morning 3:51
A4 Maple Leaf Rag 3:59
A5 Down South Blues 4:35
B1 Jivin' Man Blues 3:03
B2 That Song About The Midway 3:33
B3 The Pearls 4:29
B4 That'll Never Happen No More 3:48
B5 Mamie's Blues 4:19
B6 Would You Like To Swing On A Star? 2:38


Dave Van Ronk - Sunday Street (1976)
(192 kbps, cover art included)

Sun Ra - The Singles (2 CDs)


Had the chance to see a wonderful Sun Ra concert this week with bandleader Marshall Allen.
Of all the jazz musicians, Sun Ra was probably the most controversial. He did not make it easy for people to take him seriously, for he surrounded his adventurous music with costumes and mythology that both looked backward toward ancient Egypt and forward into science fiction. In addition, Ra documented his music in very erratic fashion on his Saturn label, generally not listing recording dates and giving inaccurate personnel information, so one could not really tell how advanced some of his innovations were. It has taken a lot of time to sort it all out (although Robert L. Campbell's Sun Ra discography has done a miraculous job). In addition, while there were times when Sun Ra's aggregation performed brilliantly, on other occasions they were badly out of tune and showcasing absurd vocals.

Sun Ra consistently maintained he came from another planet - and his taste in clothes and harmonies lent some credence to the claim - but he also felt he could connect with a broad terrestrial audience, which is why he continually released singles on his Saturn label. Some of these singles were his trademark space-jazz, but most of them were more down-to-earth-doo-wop, blues, R&B vocals, swing standards, novelty songs and big-band dance numbers. Yet they all had the Sun Ra touch, which made them weird and worldly all at once.



Back in the mid-'50s, bandleader Sun Ra decided to get his music to his audience through a more direct process by starting his own label, Saturn Records. Equal parts creative futuristic vision and small-time Southern R&B bandstand hustle, these 45s were pressed in unbelievably small quantities (sometimes in runs of only 50 copies), making them the holy grail of Sun Ra collectibles. The collection of singles runs a neat 30-year time-frame and features everything from Sun Ra with an embryonic form of his Arkestra doing backup duties behind doo-wop groups and R&B slopbucket singers like 'Space Age Vocalist' Yochannon to wild-ass sonic experiements from the late '70s into the early '80s that would have atmospherically fit on any of his avant-garde albums. Pieced together for this release from the contributions of private collectors around the world -- and sonically cleaned up far beyond the audio capabilities of the original vinyl they were pressed on -- these 49 three-minute opuses will alternately confuse, astound, confound, delight, and illuminate Sun Ra fans of all stratas of involvement. A major piece of puzzle that is the man, now in place.

Sun Ra - The Singles CD 1
Sun Ra - The Singles CD 2
(192 kbps, cover art included)


Dave Van Ronk - Gambler´s Blues (1965)


Guitarist, singer, songwriter, and native New Yorker Dave Van Ronk inspired, aided, and promoted the careers of numerous singer/songwriters who came up in the blues tradition.



"Not infrequently I am taken to task for the manner in which I approach my material," folk singer and guitar player Dave Van Ronk (1936-2002) wrote in the liner notes to Ballads, Blues, and a Spiritual. A white New Yorker singing traditional Southern black songs, he distinguished himself from others who adopted this repertoire by imitating the way he heard black musicians perform. "Although I can appreciate the ‘white approach’ to Negro folksongs and enjoy the work of many of its adherents, I still reserve the right to sing these songs in the style to which I am accustomed, partly because of habit, and partly, I confess, because I feel that my way is the ‘right way'."

Tracklist:

A1 Duncan And Brady 2:50
A2 Black Mountain Blues 3:50
A3 In The Pines 3:05
A4 My Baby's So Sweet 2:30
A5 Twelve Gates To The City 3:10
A6 Winin' Boy Blues 2:30
A7 If You Leave Me Pretty Momma 3:05
B1 Backwater Blues 3:99
B2 Careless Love 2:55
B3 Betty And Dupree 3:34
B4 K.C. Moan 2:56
B5 Gambler's Blues 2:25
B6 John Henry 2:24
B7 How Long 3:45


Dave Van Ronk - Gambler´s Blues (1965)
(192 kbps, cover art included)

Freitag, 13. Juli 2018

David Peel & The Apple Band - The Battle For New York

“My records are a music history and biography in truth and fiction on how I see myself, the world and its people. The songs speak for themselves. David Peel is real – forever David Peel – yes!!” - David Peel

"The Battle for New York" marks the nadir of David Peel's recording career, one of the few moments where this unique artist compromised his music in the service of something too small - in this case, Howard Stern's stillborn 1994 campaign for governor of New York, which ended when the radio personality balked at the financial disclosure forms that he would have to file. Even if you didn't agree with the idea, battling for the reform of marijuana laws was something worthy of his attention and broad and personal enough to invite songwriting of a certain wit and scope - the Vietnam War, Watergate, the murder of John Lennon, and the ascent of Reagan to the White House and its consequences were similarly inviting and appropriate subjects, and even the rioting on New York's Lower East Side was a worthy subject, if only because Peel was a longtime denizen of the neighborhood, even if the results weren't the most listenable of his career. But the opening song here is "Howard Stern for Governor," and two of the following songs had previously appeared on earlier, better albums - that pretty much defines the problem with this album, which is too limited in scope and has little new to say. For serious David Peel enthusiasts, it will still suffice, but "The Battle for New York" isn't much more than a bridge between more important albums.

Tracklist:

1 Howard Stern For Governor
2 FCC - Don't Censor Me
3 Stan The Man
4 I Love New York
5 John Lennon Forever
6 David Peel's Dream
7 Uptight Manhattan
8 All The Homeless People
9 The Battle For New York
10 Howard Stern For Governor (Live)
11 FCC - Don't Censor Me (Live)
12 Libertarians For Freedom (Live)
13 Goodbye Mario (Live)
14 He's A Groovy Head (Live)
15 Marijuana Chant (Live)
16 David Peel Speech (Live)
17 Woodstock Nation

David Peel  & The Apple Band - The Battle For New York
(320 kbps, cover art included)

VA - Wir singen ein neues Lied (Eterna, 1970)

"Singe-Bewegung" and "Oktoberklub" in East Germany, part 10.

The "Werkstattwochen der FDJ-Singeklubs" were an important communication platform for the East German "Singe-Bewegung". They took place every year between 1967 and 1988 in another town in the GDR and were an annual meeting point for the scene with hundreds of participants from all over the GDR. Establishd ensembles and solist presented their new programms, new "Singeklubs" introduced themselves. The artists practised songwriting, composing and interpetation in workshops.

The album "Wir singen ein neues Lied" is a live recording from the final event of the "III. Werkstattwoche der FDJ-Singeklubs" at the wonderful Babylon film theatre in East Berlin, July 11, 1969.


Tracks:
A1 Singeklub "Livia Gouverneur" der BBS "Neues Leben" Dresden - Hört doch mal zu
A2 Singegruppe der NVA Neubrandenburg -  Links, zwei, drei, vier
A3 Singeklub der EOS Hoyerswerda - Lied der neuen Zeit
A4 Singeklub "Geschwister Scholl" Wismar - Hiring, Aal un Kabeljau
A5 Singeklub der EOS "Humboldt" Leipzig - Lied der Neulandfahrer
A6 Singeklub vom "Haus der Jugend" Cottbus - Bergen op Zoom
A7 FDS-Singe-Club der EOS Bützow - Lied von der blauen Fahne


B1 Stephan / Gruppe "pasaremos" Dresden - Der Weg
B2 Heiner und Stephan / Gruppe "pasaremos" Dresden - Lorelei 1969
B3 Mikis Theodorakis-Klub Berlin - Wenn der Krieg vorbei ist
B4 Katja / Oktober-Klub Berlin - Die Taube
B5 Magdeburger Singeklub beim Klubhaus "Junge Talente" - Elektrischka
B6 Singegruppe "Kurt Barthel" Rostock - Vagel Kran
B7 Michael / Singeklub "Geschwister Scholl" Wismar - Der Wal
B8 Joan & José (Spanien) - Wenn du eines Tages willst...
B9 FDJ-Singe-Club der EOS Bützow - Brüder, seht, die rote Fahne
(320 kbps, vinyl rip, front & back cover included)

Nancy Dupree - Ghetto Reality (Folkways, 1970, vinyl rip)

“…Nancy Dupree’s 1969 album Ghetto Reality, essentially an inner city version of the Langley Schools Music Project, but with the kids writing their own songs rather than covering contemporary pop hits.” – Mike McGonigal

In 1969 Nancy Dupree was running an after school music program in Rochester, New York. She helped the kids in the program write songs that related to there own experiences and feelings. The results are presented on this LP, and they are really something else. There are black power anthems, odes to stealing candy, a beautiful tribute to James Brown and an even more beautiful tribute to Martin Luther King. Not a novelty record with kids being goofy but rather a heartfelt work of art, Nancy Dupree sensitively accompanying the kids singing on piano. A real classic.
Nancy Dupree initially found her elementary school music students in Rochester, NY resistant to participation in class.

Once she dropped the standard literature (which asked "Mr. Bear" to "come and") and began composing music that bore relevancy to contemporary society and to their very tuned-in and grownup interests, she found they immediately took to performing.

Her songs addressed, for example, the contributions icons James Brown and Jelly Roll Morton (aka "Docta King") made to society, the intangible assets each child naturally possessed ("What do I have? Guts...heart...and soul") and fighting for civil rights ("I want my freedom; I want it now"). Not only did singing about meaningful issues in real musical styles reveal the immense talents the students had, but it gave all a critical lesson in empowerment.


Tracks:

1 What Do I Have? 3:01
2 James Brown 2:48
3 Bag Snatchin' 2:46
4 Docta King 5:35
5 Virgin Mary 3:00
6 I Want 3:34
7 Frankenstein 0:55
8 Cold 2:16
9 Jingle Bells 3:48
10 Call Baby Jesus 4:12


Nancy Dupree - Ghetto Reality (1970)
(320 kbsp, front cover included)

Donnerstag, 12. Juli 2018

David Peel - War & Anarchy

For this 1994 album, David Peel returned to his roots, releasing what amounted to an audio newspaper, built on then-recent events such as the Los Angeles riots; his singing style is no more sophisticated than it ever was, but the playing is surprisingly deft and solid, with a suitably jagged punk-influenced guitar part on "Riot in America," and similar flourishes throughout. 

"Riot Rock" is strangely spellbinding in its mix of rage, nostalgia, and travelogue, and displays a crude but compelling honesty in its mix of amateurish vocalizing and solid music-making; and it hardly matters that it's a thematic repeat of the preceding track. One begins here to understand the modern appeal of Peel's work: in the early '70s he was a novelty act, but he was willing to express anger and rage in unbridled terms yet, in a manner better than a lot of more celebrated bands, turns it into something hypnotically compelling with just the right musical trimmings.



Tracklist:

1  Riot In America  5:17
2  Riot Rock  4:34
3  Life Above The Law  6:03
4  Anarchy In The U.S.A.  4:23
5  Who Killed J.F.K.  6:20
6  Hells Of Fire  6:43
7  Stop Aids Forever  4:32
8  No More Nukes  6:05
9  Ground Zero  4:26
10 The Invasion  5:41
11 World War III  6:33
12 Stop The War [ Poem ]  6:34



(320 kbps, cover art included)

Mittwoch, 11. Juli 2018

Richie Havens - Something Else Again

As a little thank you for all the nice comments related to the earlier Richie Havens postings, here´s one more of his albums: "Something Else Again".

The sound here is more keyboard-heavy than its predecessor "Mixed Bag", but Richie Havens continues in a similar vein with his distinctive smoky voice and thumb-fretted open-tuned guitar.

"No Opportunity Necessary, No Experience Needed" and "Don't Listen to Me" are propelled by Warren Bernhardt's percussive electric piano, while "Inside of Him" and "Sugarplums" are pretty ballads featuring the flute of Jeremy Steig. "The Klan" and "Run Shaker Life" are cut from the same mold as "Handsome Johnny," the Woodstock show-stopper from "Mixed Bag". The melody of "New City" has attractive, expansive intervals, and "From the Prison" is an intense piece of balladry built around a riff on the guitar's bass strings. Finally, the title track is seven-and-a-half minutes of sitar, flute, tamboura, and tabla, very much of its time, when George Harrison's interest in Ravi Shankar led many musicians to experiment with Indian instruments, rhythms, and melodies. This cut could be the soundtrack to a flower-power dance in the park or an incense-laced gathering around a hookah beneath posters and black lights.

Tracklist:

A1 No Opportunity Necessary, No Experience Needed 2:58
A2 Inside Of Him 4:27
A3 The Klan 4:31
A4 Sugarplums 2:54
A5 Don't Listen To Me 4:25
B1 From The Prison 3:40
B2 Maggie's Farm 4:35
B3 Somethin' Else Again 7:26
B4 New City 2:50
B5 Run, Shaker Life 5:45


Richie Havens - Something Else Again
(320 kbps, cover art included)

Dienstag, 10. Juli 2018

The John Coltrane Quartett - Africa / Brass (1961)

John Coltrane's debut for the Impulse label was a bit unusual, for the great tenor and his quartet were joined by a medium-sized backup group on Eric Dolphy arrangements of "Africa," "Greensleeves," and "Blues Minor." "Africa" in particular is quite memorable although Coltrane would not pursue any further recordings in this direction in the future, making this a change of pace in his discography.

"Africa/Brass" is the eighth studio album by jazz musician John Coltrane, released in 1961 on Impulse! Records, catalogue A-6. The sixth release for the fledgling label and Coltrane's first for Impulse!, it features Coltrane's working quartet augmented by a larger ensemble to bring the total number of participating musicians to 21. Its big band sound, with the unusual instrumentation of French horns and euphonium, presented music very different from anything that had been associated with Coltrane to date.
In 1961, Coltrane came into his own as a front-rank force in jazz, his influence growing from years of live performances with Thelonious Monk, Miles Davis and leading his own groups, and from the impact of the albums Giant Steps and My Favorite Things. Impulse Records executive Creed Taylor bought out Coltrane's contract with Atlantic Records, making Coltrane the first artist to be signed to the new company's roster. It was the best contract a jazz musician had ever received after Davis with Columbia, one year followed by two-year options for two albums per year with a $10,000 advance against royalties the first year rising to a $20,000 advance for the second and third years. Backed by the resources of ABC Records and set up to be an instant major player in the jazz market, Impulse! offered him greater scope. Coltrane would remain with Impulse! the rest of his life, and to inaugurate his move to the new label he planned a large-group recording.
Coltrane had not been in a recording studio as a leader since the October 1960 sessions for My Favorite Things, although on March 20 and 21, 1961, he had made a last recorded contribution for Davis, guesting on two tracks for Someday My Prince Will Come. Earlier in 1961, Coltrane had invited multi-instrumentalist Eric Dolphy to join his band, making it a quintet. Around the same time, bassist Steve Davis departed, replaced by Reggie Workman, at times Coltrane pairing him with a second bassist, Art Davis. With this group in tow, on May 23 Coltrane entered the new Van Gelder Studio in Englewood Cliffs, New Jersey, for the first time; Rudy Van Gelder had been the sound engineer for most of his earlier sessions with Prestige Records. Coltrane would make the bulk of his recordings at the Van Gelder studio for the remainder of his career.
Apparently, Coltrane had initially contacted Gil Evans to assist with the arrangements; however nothing came of this and Coltrane called on Dolphy and Tyner to orchestrate. Originally credited to Dolphy alone on the initial release, that has been corrected with the appearance of the 1995 reissue.  Coltrane chose the traditional English folk ballad "Greensleeves," done in a similar major/minor contrast as his popular "My Favorite Things." For the two original pieces, "Africa" and "Blues Minor," Dolphy and Coltrane adapted Tyner's piano voicings for the orchestra. A second set of recording sessions for the album took place on June 7.
In 1974, Impulse released a second album culled from the same sessions, The Africa/Brass Sessions, Volume 2. Two additional outtakes appeared on another posthumous Coltrane compilation, Trane's Modes. On October 10, 1995, Impulse released the complete sessions on a two-disc set entitled The Complete Africa/Brass Sessions. Rather than placing the original album on one disc and the outtakes on the other, it divides the disc content by session, with the May 23 results on the first disc and those from June 7 on the second disc.
In a contemporaneous review that appeared in the January 18, 1962, issue of Down Beat magazine critic Martin Williams had this to say: "In these pieces, Coltrane has done on record what he has done so often in person lately, make everything into a handful of chords, frequently only two or three, turning them in every conceivable way..."


Tracklist:
A Africa 16:26
B1 Greensleeves 9:55
B2 Blues Minor 7:20
The John Coltrane Quartett - Africa / Brass (1961)(320 kbps, cover art included)               

Montag, 9. Juli 2018

Alles Lalula - Songs & Poeme - Originalaufnahmen von Valentin über Schwitters bis zur Beat-Generation

This is the first half of a four cd set spanning compilation presenting poems, songs and litaruture beyond the mainstream. The first set brings original recordings from Karl Valentin to dada artists like Kurt Schwitters and Richard Huelsenbeck to the Beat Generation.

Strongly recommended!

CD 1:
01 Richard Huelsenbeck / Hans Richter - Prolog
02 Wladimir Majakowski - Würden Sie denn
03 Filippo Tommaso Marinetti - La Battaglia di Adrianopoli
04 Karl Valentin - Valentin singt und lacht selbst dazu
05 Karl Valentin & Liesl Karlstadt - Liesl Karlstadt singt chinesisch
06 Kurt Schwitters - Die Sonata in Urlauten
07 Kurt Schwitters - An Anna Blume
08 William Butler Yeats - The Song of the Old Mother
09 Gertrude Stein - If I Told Him: A completed Portrait Of Picasso
10 Camille Bryen - Tete de Coq
11 Alexej Krutschonych Frühling mit Beköstigung?
12 - 14 Raoul Hausmann - bbbb /fmsb / kp´erioum
15 Murice Lemaitre - Lettre Rock
16 Francois Dufrene - Batteries vocales
17 Brion Gysin - I Am That I Am
18 Ezra Pound ´- Mouers contemporaines
19 - 23 H. C Artmann - blauboad 1 &2 / kindafazara / etc.
24 Allen Ginsberg - Footnote to Howl
25 William S. Burroughs / Brion Gysin - Recalling All Active Agents
26 Hans Arp - Aus der "Pyramidenrock"
27 Brion Gysin - Come To Free the Words
28 - 29 Henri Chopin - Indicatif 1 / La fusée Interplanétaire
30 Konrad Bayer - der sechste sinn (Ausschnitt)

CD 2:
01 Mimmo Rotella - 7 Poèmes Phonétiques
02 LeRoi Jones - Sweet - Black Dada Nihilismus
03 William S. Burroughs - Burroughs called the law
04 Ernst Jandl - auf dem land
05 Napoleon XIV - They're Coming to Take Me Away, Ha-Haaa!
06 Richard Huelsenbeck - Kapitän Kuckjohns Lautgedicht
07 Richard Huelsenbeck - Chorus sanctus
08 Ermst Jandl - falamaleikum
09 Ermst Jandl - talk
10 Ernst Jandl - schtzngrmm
11 John Lennon, Yoko Ono - No Bed for Beatle John
12 Joseph Beuys - Ja Ja Ja Ja Ja, Nee Nee Nee Nee Nee (Ausschnit)
13 Taj Mahal - A Little Soulful Tune
14 Wolfgang Bauer - Tornado
15 Wolfgang Bauer - November
16 Otto Nebel - Generalverrammlung
17 Sten Hanson - Railroad Poem
18 Benno Höllteuffel - xangl
19 Benno Höllteuffel - schbas muas sei ...
20 Benno Höllteuffel - jawarum
21 Benno Höllteuffel - as resal
22 Benno Höllteuffel - de groskobfadn griang nia gnua
23 Benno Höllteuffel - anschdendige nama
24 Benno Höllteuffel - schbruch
25 Erst Jandl - ottos mops
26 Charles Amirkhanian - Each 'LL
27 John Giorno - Suicide Sutra
28 Bernhard Heidsieck - Canal Street 35
29 Don van Vliet - Apes-Ma

Alles Lalula - Songs & Poeme Vol. 1 - cd 1
Alles Lalula - Songs & Poeme Vol. 1 - cd 2
(320 kbps, cover art included)

Sonntag, 8. Juli 2018

Bluegrass At Newport - Newport Folk Festivals 1959, 1960 & 1963

Bluegrass is one of America´s original root music forms, one which originated in the traditional mountain music of the Kentucky and Virginia hills. The ringing banjos, lively fiddles and mandolins, and booming upright bass tones set toes to tapping and hands to clapping in rural mountain communities throughout the early and mid 1950s.

It was at the very first Newport Folk Festival, back in 1959, that bluegrass got its initial exposure to the young urban audiences who flocked to Rhode island each July to see and hear the red hot pickers and singers who were among the legendary figures of bluegrass.

In some cases these performers were making theri first-ever trips out of the South. Artists like Flatt and Scruggs, Doc Watson, and Jim & Jesse McReynold beace, if not quite household words, at least well enough known to contiinue to pursue active careers on the bluegrass festival, college, coffeehouse and concert circuit for many years after their Newport Folk Festival appearances.

Bluegrass At Newport - 2 CDs:
Bluegrass At Newport - Newport Folk Festivals 1959, 1960 & 1963
(256 kbps, cover art included)

Samstag, 7. Juli 2018

Ras Michael: Dadawah - Peace and Love (1974)


Nyahbingi music in its purest form ist the music played at Rastafarian meetings or "grounations", and is based around a style of relentless drumming and chanting. Sometimes a guitar or horns are used, but no amplification at all is employed.

Though serious musicologists had made occasional field recordings of nyahbingi sessions, the first album to give the music the studio time it deserved, while remaining as true to its original forms are possible, was the triple LP set "Grounation" from Count Ossie & The Mystic Revelation Of Rastafari. This historic set has never been superseded, but the establishment of Rastafari as the dominant reggae ideology in the mid-1970s, plus the emergence of an audience for reggae albums that were more than collections of hit singles, created a climate in which more sets of nyabingi-based music could be produced.


The most noteworthy of these were by Ras Michael & The Sons Of Negus. In 1975, Ras Michael´s group were joined by some of Kingston´s top studio musicians for the retrieving album "Dadawah - Peace & Love". Unique in its synthesis of musical forms and the length of its tracks, it uses traditional Rasta chants as its basic material, but subjects it to elements from the reggae mainstream, US funk and even rock.

"Dadawah" was a revelation, a stunning album that, across a mere four numbers, wove together a grounation feel, thick roots atmospheres, blues, rock, psychedelia, and deep Rastafarian devotion. Brilliantly produced by Lloyd Charmers, who also provided keyboards, with stunning work from guitarist Willie Lindo and the rhythm section of Paul Williams and Lloyd Parks, "Dadawah" remains one of the most exceptional albums of its, or any other, day. It is one of our favourite albums for the more quiet and thoughtful hours of the day:



Tracklist:
1. Run Come Rally
2. Seventy-Two Nations
3. Zion Land
4. Know How You Stand

Ras Michael - Dadawah - Peace And Love (1974)
(256 kbps, cover art included)

Fela Kuti - Shuffering And Shmiling (1977)

After the 1977 police attack on Fela's Kalakuta Republic, where his mother and about 80 members of his entourage and band were injured and arrested, he set out to light a fire underneath the authority figures and his various other enemies that were causing him and, in his eyes, the people of Nigeria to suffer in the form of harassment, oppression, and economic devastation.

"Shuffering and Shmiling" is one of those comments. While continuing along in his tradition of savvy instrumental innovation, "Shuffering and Shmiling" plays out with the same intensity and voracious soloing that mark other great Africa 70 performances like "Confusion", "Gentleman", and "No Agreement"; but the point of departure here is the outward remarks he makes on a touchy topic: religion. Fela had become increasingly concerned about the growing influence of non-traditional religions fracturing African countries. He believed that these divisions had created a population unable to unify and stand up for themselves and instead had them living in conditions that forced "them go pack themselves in like sardine (into a bus): Suffering and smiling," and without trying to change things he says they "Suffer suffer for world/Enjoy for heaven."

"Shuffering and Shmiling" is another highly recommended Fela Kuti and Africa 70 release.               
Tracklist:
  • "Shuffering and Shmiling (Vocal)" - 12:12
  • "Shuffering and Shmiling (Instrumental)" - 9:47

  • Fela Kuti - Shuffering And Shmiling (1977)
    (192 kbps, cover art included)

    Freitag, 6. Juli 2018

    Hanns Eisler´s 120th birthday - "Gegen die Dummheit"

    Today we celebrate the 120th birthday of composer Hanns Eisler.

    Hanns Eisler was born in Leipzig on 6 July 1898 and went to school in Vienna. After two years as a common soldier in the first world war, he became a student of Arnold Schoenberg in 1919, dedicating his Sonata for Piano op. 1 to his teacher in 1923. He moved to Berlin 1925, where he composed for workers’ choruses and agitprop groups, collaborating with Brecht (Die Maßnahme, Die Mutter) from 1928. 

    From 1933, Eisler initially resided in Paris, Svendborg, and London, before taking exile in America from 1938, where he created his most significant chamber music works (including Fourteen Ways to Describe Rain). Alongside music for eight Hollywood pictures, Eisler also composed his Hollywood Songbook to texts by Brecht, Hölderlin, and others while in California.

    In 1948, Eisler returned to Europe, initially to Vienna and Prague and ultimately to East Berlin. Although he wrote the National Anthem of the GDR to a text by Johannes R. Becher, conflict arose with GDR cultural bureaucracy when he published his libretto Johann Faustus in late 1952. Up until 1955, Eisler predominantly worked in Vienna for the Scala Vienna and Vienna Film at Rosenhügel. In the GDR, he wrote works for the Berliner Ensemble and DEFA. In 1959, he witnessed the premiere of his Deutsche Symphonie, mostly composed while in exile, at the State Opera Unter den Linden. Hanns Eisler died in East Berlin on 6 September 1962. 

    The album "Gegen die Dummheit" with Peter Siche (vocals) and Klaus Schäfer (piano) was released in 1998 on Edition Apoll. Besides well-known Eisler songs it contains Die Götter, Zuckerbrot und Peitsche, Und endlich stirbt die Sehnsucht doch and Goethe-Fragment.

    Tracklist:


    1 Die Götter 0:44
    2 Zuckerbrot und Peitsche 2:30
    3 Rückkehr zur Natur 2:06
    4 Die Spaziergänge 2:18
    5 Feldfrüchte 2:29
    6 O Fallada, da du hangest 2:53
    7 Stempellied 4:08
    8 Lob des Lernens 2:01
    9 Die Ballade vom Wasserrad 3:20
    10 Kälbermarsch 2:00
    11 An den kleinen Radioapparat 0:59
    12 Der Kirschdieb 1:19
    13 An eine Stadt 3:55
    14 Elegie II - An die Überlebenden 2:32
    15 Der Graben 2:59
    16 Friedenslied 2:37
    17 Das ferne Lied 1:43
    18 Und endlich 1:25
    19 Goethe-Fragment 1:21
    20 Ardens sed virens 1:02
    21 Lied von der Moldau 1:34
    22 Anmut sparet nicht noch Mühe 1:43
    23 (Schluß-)Spruch 0:56


    Hanns Eisler - Gegen die Dummheit - Gesang: Peter Siche, Klavier: Klaus Schäfer
    (320 kbps, cover art included)