Samstag, 21. April 2018

Pete Seeger - American Industrial Ballads (1957)


Pete Seeger presents a history of the Industrial Revolution and its impact on working people on "American Industrial Ballads", a collection of 24 songs (over half of them shorter than two minutes each) sequenced in chronological order by date of composition, to the extent that this can be determined, from the early-1800s appearance of "Peg and Awl," in which a worker struggles to keep up with a machine, to songs written by Woody Guthrie and Les Rice in the 1940s.

Only a couple of songs are well known, and those don't fit the concept perfectly. "The Buffalo Skinners," an account of cowboys who kill their overseer after he refuses to pay them, and "Casey Jones," the famous tale of a train wreck, are both somewhat tangential to industrial concerns, though they do fit themes heard throughout the album: first, employers' abuse of workers, who then must fight back (although usually by starting unions and going out on strike); and second, the relationship between an individual worker and the system of machinery he encounters.

As the album goes on, the workers' complaints about ill treatment and low pay become more extreme, and eventually the need for unions to represent them seems overwhelming. Even then, the bosses respond with violence, as Seeger documents in such songs as Jim Garland's "The Death of Harry Simms" and Della Mae Graham's "Ballad of Barney Graham," both true stories of murdered union men. Accompanying himself mostly on banjo and sometimes guitar, Seeger presents the songs straightforwardly with only occasional flourishes, intent on getting the meanings across, although occasionally his desire to lead singalongs comes out, such as in "Raggedy," when he provides cues to sing each verse, even though he's performing alone in a recording studio. Many of these songs are too harrowing to sing along to, though. Taken together, they chronicle a century and a half of the efforts of farmers, textile workers, and miners, primarily, to get what they deserve from increasingly rich and powerful captains of industry.     

Tracklist:

A1 Peg And Awl
A2 The Blind Fiddler
A3 Buffalo Skinners
A4 Eight Hour Day
A5 Hard Times In The Mill
A6 Roll Down The Line
A7 Hayseed Like Me
A8 The Farmer Is The Man
A9 Come All You Hardy Miners
A10 He Lies In The American Land
A11 Casey Jones
A12 Let Them Wear Their Watches Fine
A13 Weave Room Blues
B1 Cotton Mill Colic
B2 7c. Cotton And 40c. Meat
B3 Mill Mother's Lament
B4 Fare Ye Well, Old Ely Branch
B5 Beans, Bacon And Gravy
B6 The Death Of Harry Simms
B7 Winnsboro Cotton Mills Blues
B8 Ballad Of Barney Graham
B9 My Children Are Seven In Number
B10 Raggedy, Raggedy Are We
B11 Pittsburgh Town
B12 60% Parity

Pete Seeger - American Industrial Ballads (1957)
(256 kbps, cover art and booklet included)         

Freitag, 20. April 2018

Sun Ra & His Intergalactic Research Arkestra ‎– Black Myth / Out In Space (1970)

Although portions of the "Black Myth/Out in Space" were previously issued as "It's After the End of the World", this two-disc set is far and away the definitive release of the material in question, compiling two 1970 festival appearances documenting Sun Ra at the peak of his considerable creative powers.

"Black Myth", recorded at the Donaueschingen Music Festival, is the real find here, with a series of compositions and solos written specifically for performance on that evening -- the Arkestra, including John Gilmore and Pat Patrick, is in excellent form throughout, and the music is consistently inventive and galvanizing.

The same sentiments apply to "Out in Space" as well - a set comprised primarily of cosmic journeys like "Walkin' on the Moon," "Outer Space Where I Came From" and "Theme of the Stargazers," it climaxes with a powerful rendition of "We Travel the Spaceways."               

Tracklist:

Disc One:
  1. "Black Forest Myth" - 3:58
  2. "Friendly Galaxy No. 2" - 5:25
  3. "Journey Through the Outer Darkness" - 12:58 
  4. "Strange Worlds/Black Myth/It's After the End of the World" - 15:18
  5. "We'll Wait for You" - 10:13 
  • Recorded at the Stadthalle as part of the Donaueschingen Musik Festival on October 17, 1970
Disc Two:
  1. "Out in Space" - 37:45 
  2. "Discipline Series" - 3:28 
  3. "Walkin' on the Moon..." - 9:02 
  4. "Outer Space Where I Came From" [recitation] - 0:23 
  5. "Watusa" - 2:44
  6. "Myth Versus Reality" - 14:59
  7. "Theme of the Stargazers" - 0:42 
  8. "Space Chants Medley: Second Stop Is Jupiter/Why Go to the Moon/Neptune" - 5:42 
  9. "We Travel the Spaceways" - 3:02 

  • Recorded at the Kongresshalle as part of the Berlin Jazz Festival on November 7, 1970.


Sun Ra & His Intergalactic Research Arkestra ‎– Black Myth / Out In Space (1970)
(320 kbps, cover art included)

Montag, 16. April 2018

Ruth Brown - Black Is Brown And Brown Is Beautiful (1969)

They called Atlantic Records "the house that Ruth built" during the 1950s, and they weren't referring to the Sultan of Swat. Ruth Brown's regal hitmaking reign from 1949 to the close of the '50s helped tremendously to establish the New York label's predominance in the R&B field. Later, the business all but forgot her — she was forced to toil as domestic help for a time — but she returned to the top, her status as a postwar R&B pioneer (and tireless advocate for the rights and royalties of her peers) recognized worldwide.

Young Ruth Weston was inspired initially by jazz chanteuses Sarah Vaughan, Billie Holiday, and Dinah Washington. She ran away from her Portsmouth home in 1945 to hit the road with trumpeter Jimmy Brown, whom she soon married. A month with bandleader Lucky Millinder's orchestra in 1947 ended abruptly in Washington, D.C., when she was canned for delivering a round of drinks to members of the band. Cab Calloway's sister Blanche gave Ruth a gig at her Crystal Caverns nightclub and assumed a managerial role in the young singer's life. DJ Willis Conover dug Brown's act and recommended her to Ahmet Ertegun and Herb Abramson, bosses of a fledgling imprint named Atlantic. Unfortunately, Brown's debut session for the firm was delayed by a nine-month hospital stay caused by a serious auto accident en route to New York that badly injured her leg. When she finally made it to her first date in May 1949, she made up for lost time by waxing the torch ballad "So Long" (backed by guitarist Eddie Condon's band), which proved to be her first hit.

Brown's seductive vocal delivery shone incandescently on her Atlantic smashes "Teardrops in My Eyes" (an R&B chart-topper for 11 weeks in 1950), "I'll Wait for You" and "I Know" in 1951, 1952's "5-10-15 Hours" (another number one rocker), the seminal "(Mama) He Treats Your Daughter Mean" in 1953, and a tender Chuck Willis-penned "Oh What a Dream," and the timely "Mambo Baby" the next year. Along the way, Frankie Laine tagged her "Miss Rhythm" during an engagement in Philly. Brown belted a series of her hits on the groundbreaking TV program Showtime at the Apollo in 1955, exhibiting delicious comic timing while trading sly one-liners with MC Willie Bryant (ironically, ex-husband Jimmy Brown was a member of the show's house band).

After an even two-dozen R&B chart appearances for Atlantic that ended in 1960 with "Don't Deceive Me" (many of them featuring hell-raising tenor sax solos by Willis "Gator" Jackson, who many mistakenly believed to be Brown's husband), Brown faded from view. After raising her two sons and working a nine-to-five job, Brown began to rebuild her musical career in the mid-'70s. Her comedic sense served her well during a TV sitcom stint co-starring with MacLean Stevenson in Hello, Larry, in a meaty role in director John Waters' 1985 sock-hop satire film Hairspray, and her 1989 Broadway starring turn in Black and Blue (which won her a Tony Award).

There were more records for Fantasy in the '80s and '90s (notably 1991's jumping Fine and Mellow), and a lengthy tenure as host of National Public Radio's Harlem Hit Parade and BluesStage. Brown's nine-year ordeal to recoup her share of royalties from all those Atlantic platters led to the formation of the nonprofit Rhythm & Blues Foundation, an organization dedicated to helping others in the same frustrating situation. In 1993 Brown was inducted into the Rock and Roll Hall of Fame and 1995 saw the release of her autobiography, Miss Rhythm. Brown suffered a heart attack and stroke following surgery in October 2006 and never fully recovered, passing on November 17, 2006.

Here´s her 1969 album "Black Is Brown And Brown Is Beautiful".

Tracklist:

A1 Yesterday 4:02
A2 Please Send Me Someone To Love 2:57
A3 Looking Back 4:07
A4 Try Me And See 2:08
B1 Miss Brown's Blues 7:00
B2 My Prayer 3:49
B3 Since I Fell For You 4:57
B4 This Bitter Earth 3:54

Ruth Brown - Black Is Brown And Brown Is Beautiful (1969)
(192 kbps, cover art included)

Dienstag, 3. April 2018

Oliver "Tuku" Mtukudzi - Ndega Zvangu (1997)

Oliver "Tuku" Mtukudzi (born 22 September 1952 in Highfield, Harare) is a Zimbabwean musician, businessman, philanthropist, human rights activist and UNICEF Goodwill Ambassador for Southern Africa Region. Tuku is considered Zimbabwe's most renowned and internationally recognised cultural icon of all time.

Mtukudzi began performing in 1977 when he joined the Wagon Wheels, a band that also featured Thomas Mapfumo. Their single Dzandimomotera went gold and Tuku's first album followed, which was also a major success. Mtukudzi is also a contributor to Mahube, Southern Africa's "supergroup".
With his husky voice, he has become the most recognised voice to emerge from Zimbabwe and onto the international scene and he has earned a devoted following across Africa and beyond. A member of Zimbabwe's KoreKore group, with Nzou Samanyanga as his totem, he sings in the nation's dominant Shona language along with Ndebele and English. He also incorporates elements of different musical traditions, giving his music a distinctive style, known to fans as Tuku Music. Mtukudzi has had a number of tours around the world. He has been on several tours in the UK, US and Canada to perform for large audiences.
Unlike Mapfumo, Mtukudzi has refrained from directly criticising the government of President Robert Mugabe.

According to the sleeve notes, "Ndega Zvangu" means "All Alone" and Mutukudzi is all alone, apart from his acoustic guitar, throughout. This gives a sound completely different from the faster, more percussion-based Zimbabwean music I'd heard before.
Instead, the sound is stripped-down, sometimes melancholy, but always beautiful. The album doesn't suffer from over-polished production, which makes it feel as though Mutukudzi is right there in the room with you. A wonderful album!

Tracklist:
1Cheka Ukama
2Mwana Wamambo
3Andinzwi
4Unodada Nei?
5Chirimundari
6Zivai Nemoyo
7Handiende
8Neria
9Kwawakabva
10Ndima Ndasakura
11Ndakuneta


Oliver "Tuku" Mtukudzi - Ndega Zvangu (1997)
(256 kbps, cover art included)

Jacques Brel - Quand On N'a Que L'amour (1957)

Jacques Brel was on tour when he learned that a song from his most recent EP release, "Quand on N'a Que l'Amour," had hit number three on the French chart. The song fell like a hand grenade into the comfortable world of French pop in the mid-1950s -- not through its sentiments (the best known English version, "If We Only Have Love," is as worthy a translation as any) or through its delivery, but via an almost intangible sense that in Jacques Brel, France had finally been gifted a hero as relevant to its modern culture as Elvis Presley was to America, or Tommy Steele to Britain. Maybe even more so.

Since the release of his debut album, Brel had launched into a period of considerable musical experimentation, pairing himself with a string of different accompanists in an attempt to find that which most suited his material. Neither Michael Legrand nor Andre Popp matched his standards, however, and Brel finally returned to Francois Raubert, with whom he had recorded the earlier mini-hit "Sur la Place." The wisdom of his decision became immediately apparent, as "Quand on N'a Que l'Amour" soared up the chart and work immediately began on completing Brel's next album. "Jacques Brel 2" can scarcely be expected to match up to either the brilliance of his debut or the magnificence of the hit. Acting to strike while the commercial iron was hot, Philips chose to draw its contents from the stockpile of material Brel had recorded over the past two years, ensuring just one other Raubert recording, the initially eerie, and utterly hymn-like "L'Air de la Betise" made the set. Other cuts were drawn from the Popp and Legrand sessions, with the occasionally less-than-sympathetic results Brel had already noted.

Nevertheless, some undisputed masterpieces emerged. "Pardons" is a slight song raised to unexpected heights by its smoky jazz club backing, while "J'en appelle" could easily have competed with the broad pop ballads which would soon be unleashed by the English likes of Billy Fury and Cliff Richard. "La Bourree Du Celibataire," better known to English audiences as "Bachelor's Dance," is a bawdily infectious singalong, while the raw violin which opens "Heureux" elucidates a pain which Brel's haunted delivery stretches to panoramic proportions. The melodic similarity to "Quand on N'a Que l'Amour," incidentally, was surely deliberate, bookending the eight-song heart of the original album release, before the set closed with the only true (but nevertheless enjoyable) throwaway in sight, "Les Bles."                


Tracklist:
01. Quand On N'a Que L'Amour
02. Qu'Avons-Nous Fait Bonnes Gens ?
03. Les Pieds Dans Le Ruisseau
04. Pardons
05. La Bourrée Du Célibataire
06. L'Air De La Bêtise
07. Saint-Pierre
08. J'en Appelle
09. Heureux
10. Les Blés
11. Quand On N'a Que L'Amour


01 to 10: from the album "Quand On N'A Que L'Amour", 1957
11: recorded on January 25th 1960

Jaques Brel - Quand On N'a Que L'amour (1957)
(320 kbps, cover art included)

Samstag, 17. März 2018

Tom Robinson Band - The Winter Of 89

This album was recorded live in 1990 by a re-formed version of the band without either Dolphin Taylor, who was playing with STIFF LITTLE FINGERS at the time or Charlie Morgan who was playing with ELTON JOHN. Basic tracks recorded at Central TV Studios for the Bedrock programme, which has subsequently been released on DVD. Studio post production by Tom.

"Motorway - Live In Concert" is a pirate version of 'The Winter of 89' thanks to an unscrupulous record company called Merlin exploiting a loophole in EU law. Having licensed the album for £3000 they sold it on to other dodgy record companies around the world. The album has now been pirated variously under the titles 'Motorway', '2-4-6-8 Motorway' and even (incredibly) 'Power In The Darkness' using different covers, crap photographs and duff or nonexistent liner notes. In some cases even the song titles have been altered. The band receive no royalties from sales of these albums.

Artists:
TR(bs), Danny Kustow (gtr), Mark Ambler(kyb), Steve Creese (drs) EXCEPT tracks 11 and 12 which feature Paul Harvey (gtr) Winston Blisset (bs) James McMillan (tpt) Mark Ramsden (sax) and on Track 12 Steve Laurie (dr)

Tracklist:
1. Number One: Protection
2. The Winter Of '89
3. You Gotta Survive
4. Too Good To Be True
5. Martin
6. We Didn't Know What Was Going On
7. Up Against The Wall
8. Glad To Be Gay
9. Power In The Darkness
10. 2-4-6-8 Motorway
11. Atmospherics: Listen to the Radio
12. War Baby

Tom Robinson Band - The Winter Of 89
(256 kbps, front cover & alternative covers included)

Freitag, 9. März 2018

David Bowie in Bertolt Brecht´s "Baal" (1982) - Rest in peace!

Baal is an EP by David Bowie, comprising recordings of songs written for Bertolt Brecht’s play Baal. It is also referred to as David Bowie in Bertolt Brecht’s Baal, as credited on the sleeve.

In August 1981, Bowie had begun rehearsals to appear in the BBC version of Baal. The lyrics to the songs were all translated by Ralph Manheim and John Willett. Dominic Muldowney provided all new musical settings, except for "The Drowned Girl", which was a setting by Kurt Weill done originally for Das Berliner Requiem.
In September 1981, Bowie and Tony Viscontireturned to the Hansa studios in Berlin to re-record the five songs Baal performed in the play.

“Baal’s Hymn” is a combination of the vignettes spread throughout the play, and establishes Baal’s amoral character. “Remembering Marie A” concerns Baal’s reminiscences of a past conquest, where he can remember a cloud drifting overhead, but not the face of the girl he was with. “Ballad of the Adventurers” is Baal’s aggressive lament to the death of his mother. “The Drowned Girl” relates the suicide of one of Baal’s conquests – a video clip for this song was shot by David Mallet at the same time as the one for “Wild is the Wind”. “The Dirty Song” is a short number, with Baal humiliating his lover Sophie.

His performance as Baal was transmitted on February 2, 1982, and RCA issued the EP to coincide with this. Both the play and EP were well received, with the latter reaching #29 in the UK chart, commendable considering the unconventional tracks. As well as the 7" edition (which came packaged in a double gatefold sleeve containing extensive notes pertaining to the musical content and a short biography of Bertolt Brecht) the EP was released as a 12" which gained it some play in clubs as well as radio airplay.


Tracks:

A1) Baal's Hymn
A2) Remembering Marie A
B1) Ballad Of The Adventurers
B2) The Drowned Girl
B3) Dirty Song

David Bowie in Bertolt Brecht´s "Baal" (1982)
(320 kbps, cover art included)


Mittwoch, 7. März 2018

Paul Robeson - Spirituals (1945)

Born on April 9, 1898, in Princeton, New Jersey, Paul Robeson went on to become a stellar athlete and performing artist. He starred in both stage and film versions of The Emperor Jones and Show Boat, and established an immensely popular screen and singing career of international proportions. Robeson spoke out against racism and became a world activist, yet was blacklisted during the paranoia of McCarthyism in the 1950s. He died in Pennsylvania in 1976.

When he was 17, Robeson earned a scholarship to attend Rutgers University, the third African American to do so, and became one of the institution's most stellar students. He received top honors for his debate and oratory skills, won 15 letters in four varsity sports, was elected Phi Beta Kappa and became his class valedictorian.

Increasing political awareness impelled Robeson to visit the Soviet Union in 1934, and from that year he became increasingly identified with strong left-wing commitments, while continuing his success in concerts, recordings, and theatre. In 1950 the U.S. State Department withdrew his passport because he refused to sign an affidavit disclaiming membership in the Communist Party. In the following years he was virtually ostracized for his political views, although in 1958 the Supreme Court overturned the affidavit ruling. Robeson then left the United States to live in Europe and travel in countries of the Soviet bloc, but he returned to the United States in 1963 because of ill health.

Robeson appeared in a number of films, including Sanders of the River(1935), Show Boat (1936), Song of Freedom (1936), and The Proud Valley (1940). His autobiography, Here I Stand, was published in 1958.
Tracklist:

Go Down Moses2:44
Balm In Gilead2:13
By An' By2:29
Sometimes I Feel Like A Motherless Child2:31
John Henry2:27
Water Boy2:30
Nobody Knows The Trouble I've Seen2:41
Joshua Fit De Battle Of Jericho1:53
 
Paul Robeson - Spirituals (1945)   
(320 kbps, cover art included)               

Samstag, 3. März 2018

Doc Watson - Southbound (1966)

"Southbound" is the second studio album by the American folk music artist Doc Watson, released in 1966.

"Southbound" was a pivotal record for Doc Watson. Upon its 1966 release, it demonstrated that Watson was capable of more than just dazzling interpretations of folk songs, but that he could also write excellent original material and rework new country songs in a fascinating manner.

"Southbound" also marked the recorded debut of Merle Watson, Doc's astonishingly talented son.               

Tracklist:

A1Walk On Boy3:19
A2Blue Railroad Train2:41
A3Sweet Georgia Brown1:52
A4Alberta2:40
A5Southbound2:44
A6Windy And Warm2:11
A7Call Of The Road2:16
B1Tennesse Stud3:33
B2That Was The Last Thing On My Mind2:44
B3Little Darling Pal Of Mine2:40
B4Nothing To It2:00
B5Riddle Song2:34
B6Never No More Blues3:09
B7Nashville Pickin'1:50

Doc Watson - Southbound (1966)
(192 kbps, cover art inlcuded)

Montag, 19. Februar 2018

Josh White - The Story of John Henry - 25th Anniversary Album (1957)

Josh White had a talent for self-reinvention, and his career - which began in the 1920s and stretched essentially uninterrupted all the way into the '60s - is an amazing story of adaptability and survival.

Slick, sly, and fiercely intelligent, White began as a Piedmont blues player, but became a sort of pre-Harry Belafonte black sex idol, complete with a leftist social and political agenda, during his so-called cabaret blues period in the late '40s, and when the McCarthy era led to his blacklisting, he rebounded into the folk revival with several carefully assembled albums for Jac Holzman's newly created Elektra label that recast him as a folk balladeer. 

This set, originally released as an LP in 1957, was the first of those albums for Elektra. Few performers could make the folk-blues straddle the line between being rustic on the one hand and artfully urbane on the other like White was able to do, and while to some extent it was a stage act, there is no doubting White's ultimate devotion to his material. 
The key track here is the first one, an epic 23-plus-minute version of "John Henry" that was the center of White's live performances during his folk period and was somewhat of a signature song for him. Although some doubted White's authenticity as a folk-blues performer (they really shouldn't have), the fact remains that White was an excellent acoustic guitar player and a subtle and versatile singer who carefully selected his material, well aware of how it made him appear. 

Listeners should definitely check out some of White's early Piedmont-styled 78s from the '20s, though, like "Blood Red River" and "Silicosis Is Killin' Me," to really hear this intelligent performer at his best.


Tracklist:
1. The Story Of John Henry... a musical narrative   23:33
2. Black Girl   2:58
3. Free And Equal Blues   3:49
4. Live The Life   2:22
5. Sam Hall  2:58
6. Where Were You, Baby?   3:38
7. Delia's Gone   3:49
8. Run, Mona, Run   1:37
(320 kbps, cover art included)

Freitag, 16. Februar 2018

Woody Guthrie - Songs to Grow on for Mother and Child (1956)

Some of the last songs written and recorded by Woody Guthrie were his children's songs.
Their strength, shown in "Songs to Grow on for Mother and Child", is an unusually strong identification with actually being a child, in all its simplicity and charm, along with the ability to win over listeners. Good examples here are "Rattle My Rattle" and "I Want My Milk." Guthrie is an acquired sonic taste worth acquiring. Ages 3-5.

Tracklist:
1Grassy Grass Grass (Grow, Grow, Grow)1:35
2Swimmy Swim1:53
3Little Sugar (Little Saka Sugar)1:22
4Rattle My Rattle1:11
5I Want My Milk (I Want It Now)2:17
61,2,3,4,5,6,7,81:11
7One Day Old1:33
8Wash-y Wash Wash (Warshy Little Tootsy)1:34
9I'll Eat You, I'll Drink You1:40
10Make A Blobble2:05
11Who's My Pretty Baby (Hey Pretty Baby)1:43
12I'll Write And I'll Draw2:27
13Why, Oh Why3:27
14Pick It Up1:51
15Pretty And Shiny-O1:28
16Needle Sing2:15
17Bling-Blang2:41
18Goodnight Little Arlo (Goodnight Little Darlin')3:16

Woody Guthrie - Songs to Grow on for Mother and Child (1956)
(Ca. 145 kbps, cover art included)

Sonntag, 28. Januar 2018

Utah Phillips - We Have Fed You All A Thousand Years

"These are songs and stories of the Industrial Workers of the World (Wobblies), a union to which I have belonged for over forty years. Recorded live in front of a group of striking Telecommunications Worker s in British Columbia, this is what I wanted to sing and say about our working class culture and why we should teach, study, and cherish it all the time, using it to build class solidarity and a better future for all workers. By the way, these workers I was singing for really joined in, and they all knew what we were singing about too!"

Utah Phillips was an amazing advocate for workers' rights, and he made it his life's mission to keep alive the songs of the working class. Here, in his 1993 recording, he collected the songs of Joe Hill and others as preserved through the Industrial Workers of the World (IWW) Songbook. Folks interested in learning more about the plight of the labor movement, and the history of the songs that have accompanied it, would appreciate this well-performed collection.

Tracklist:
1Boss0:19
2We Have Fed You All A Thousand Years1:59
3Sheep And Goats1:02
4Timberbeast's Lament1:41
5Dump The Bosses Off Your Back4:15
6Lumberjack's Prayer1:48
7Mr. Block4:27
8Preacher And The Slave4:12
9Popular Wobbly2:04
10Casey Jones2:57
11Where The Fraser River Flows2:53
12Bread And Roses2:56
13Joe Hill4:14
14Union Burying Ground3:31
15Two Bums1:02
16Hallelujah, I'm A Bum5:28
17Solidarity Forever4:19
18There Is Power In A Union3:42

Here´s a link to a nachruf in german language:
http://www.linksnet.de/de/artikel/23569

Utah Phillips - We Have Fed You All A Thousand Years
(320 kbps, front cover included)

Samstag, 27. Januar 2018

John Zorn - Kristallnacht (1993)

Today is the Holocaust Memorial Day, dedicated to the remembrance of the victims of the Holocaust. The chosen date is the anniversary of the liberation of Auschwitz concentration camp by the Soviet Army in 1945.

This release documents an intense musical representation of Kristallnacht, or the Night of Broken Glass, a coordinated attack on Jews throughout the German Reich that occurred on November 9, 1938, during which Nazis, SS members, and Hitler youth broke into Jewish homes and businesses, assaulting the people and their property. The official German report tallied 7,500 businesses destroyed, 267 synagogues burned (with 177 totally destroyed), and 91 Jews killed.

John Zorn has created a musical work that powerfully represents the different stages of this historical event. "Shtetl (Ghetto Life)" is beautiful yet apprehensive klezmer, interspersed with sound bites of German rallies and speeches that become more frequent, increasingly crowding the life from the music. This segues into "Never Again," which, Zorn warns in the liner notes, "contains high frequency extremes at the limits of human hearing and beyond, which may cause nausea, headaches and ringing in the ears." While nearly unbearable, it is a fitting sound representation of Kristallnacht, as thousands of layers of shattering glass assault the ears. "Never Again" is both effective and affecting, if you can listen. This onslaught is followed by the loud silence and emptiness of "Gahelet (Embers)," a walk through the immediate aftermath of wind, darkness, and destruction. Alley echoes are heard as sound is overwhelmed by a dread and horror beyond expressing, and no words can contain what might begin to form in the midst of shock. This is a heavy silence. Strings have gone haggard on the next composition, and from this point the album becomes less literal and explicit, moving away from poignancy and focus into more chaos.

Zorn's forceful undertaking is realized through the expert and passionate musicianship of violinist Mark Feldman, guitarist Marc Ribot, keyboardist Anthony Coleman, bassist Mark Dresser, and percussionist William Winant, as well as guest trumpeter Frank London and clarinetist David Krakauer.

Tracklist:

1 Shtetl (Ghetto Life) 5:51
2 Never Again 11:41
3 Gahelet (Embers) 3:25
4 Tikkun (Rectification) 3:02
5 Tzfia (Looking Ahead) 8:46
6 Barzel (Iron Fist) 2:01
7 Gariin (Nucleus - The New Settlement) 7:58

John Zorn - Kristallnacht (1993)
(320 kbps, cover art included)
               

Mittwoch, 24. Januar 2018

Hugh Masekela & The Union Of South Africa - Same (1971) - Rest In Peace!

Hugh Masekela, the legendary trumpeter, composer, singer and anti-apartheid activist, lost his battle with prostate cancer for which he had been receiving treatment since 2008. “The father of South African jazz” as he had been dubbed, died on Tuesday, January 23 2018.


Hugh Masekela & the Union of South Africa is an inspired mix of soul, highlife, and even New Orleans jazz. This works excellently on the old-fashioned "Goin' Back to New Orleans" and the fast-moving "Ade" and "Dyambo" where horn lines, call-and-response singing, and funky guitars, together with African rhythms, create furious dance music. But some of the slower numbers seem to be left without direction, a fact that is only partly covered by Masekela's trumpet playing. The closing "Hush (Somebody's Calling My Name)," though, is a great exception to that, with simple basslines and chorus, and slow-building energy. But if the mix of cultural influences is the strength of Hugh Masekela & the Union of South Africa, it may also be the weakness of the album; the difference between the groove-based "Ade," jazzier numbers like "Caution," and African highlife songs like "Shebeen" and "Johannesburg Hi-Lite Jive" is so big you'd think they belong on separate albums, and they may not appeal to the same audience. Hugh Masekela & the Union of South Africa was originally released on Masekela's own label, Chisa, and was re-released in 1994 on Motown. 

Tracklist:

Goin' Back To New Orleans5:07
Ade3:47
To Get Ourselves Together2:55
Johannesburg Hi-Lite Jive3:57
Mamani5:20
Shebeen4:00
Dyambo3:48
Caution!5:45
Hush (Somebody's Calling My Name)3:32

Hugh Masekela & The Union Of South Africa - Same (1971)       
(192 kbps, cover art included)   

Samstag, 20. Januar 2018

Erich Kästner - Muttersohn im Vaterland

Erich Kästner (February 23, 1899 - July 29, 1974) was one of the most famous German authors, screenplay writers, and satirists of the 20th century. His popularity in Germany is primarily due to his humorous and perceptive children's literature and his often satirical poetry.
Kästner was a pacifist and was opposed to the Nazi regime in Germany. Unlike many of his fellow authors critical of the dictatorship, Kästner did not emigrate. The Gestapo interrogated Kästner several times, and the writers' guild excluded him. Fanatic mobs burnt Kästner's books as "contrary to the German spirit" during the book burnings of 1933.

"Muttersohn im Vaterland" is a literary and musical voyage through the time, life and dreams of Erich Kästner.

With it´s well selected collection of the satirists poems, notes and fragments of novels this lecture by Ulrich Ritter leads us authentic and in a high tempo through Erich Kästner´s world.

Erich Kästner - Muttersohn im Vaterland
(192 kbps, ca. 88 MB)

Samstag, 6. Januar 2018

Mississippi John Hurt ‎– The Best Of Mississippi John Hurt - Ain't No Tellin'

No blues singer ever presented a more gentle, genial image than Mississippi John Hurt. A guitarist with an extraordinarily lyrical and refined fingerpicking style, he also sang with a warmth unique in the field of blues, and the gospel influence in his music gave it a depth and reflective quality unusual in the field. 

Coupled with the sheer gratitude and amazement that he felt over having found a mass audience so late in life, and playing concerts in front of thousands of people - for fees that seemed astronomical to a man who had always made music a sideline to his life as a farm laborer - these qualities make Hurt's recordings into a very special listening experience. 

"Ain´t No Tellin´" is a compilation album of live recordings from various performances.

Tracklist:
1Rich Woman Blues
2Trouble I Had All My Days
3Chicken Blues
4Coffee Blues
5Monday Morning Blues
6Frankie & Albert
7Talking Casey
8Here I Am, Oh Lord Send Me
9Hard Times In The Old Town
10Spike Drivers Blues
11Candy Man
12My Creole Belle
13Make Me A Pallet On Your Floor
14Shake That Thing
15I'm Satisfied
16Salty Dog
17Nobody's Business
18The Angels Laid Him Away
19Casey Jones
20Baby What's Wrong With You
21Lonesome Blues

(320 kbps, cover art included)

Donnerstag, 9. November 2017

VA - Klangdenkmal für die Opfer des Holocaust - A Monument in Sound for the Victims of the Holocaust (2004)

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

Twenty six variations on a subject that one finds difficult to put into words. The incomprehensibility and the magnitude of the Holocaust can perhaps be described in facts, dates and figures - but the suffering of the victims, the regret about what happened, the consequence is especially difficult to "grasp" in terms of one´s owen life. Perhaps this is the reason for music as music is "the ability to communicate where speech has ended" (R. M. Rilke) and gives us the possivility of combining emotions and reason without a verbal setting, to allow grief and hope to flow into each other and in this manner to remember the victims in a very special way.

The "Monument in Sound for the Vicitms of the Holocaust" has been "built" by 27 composers who belong to the "Deutsche Komponistenverband" (German Association of Composers). The project was initiated in 1999 following a unanimous resolution passed by the associations´s state branch in Berlin. Composers from a variety of generations and artistic origins are involved and the starting point was the theme of a song by Coco Schumann. He was persecuted as the son of a Jewish mother and deported to the concentration camps Theresienstadt, Auschwitz and Dachau - he survived these camps and still performs on stage to this very day.

The theme of his compositon was arranged for a string quartet setting and sent to all the project´s participants in alphabetical order, one after another. Each artist then had the possibility, whilst taking the opening theme into consideration, to take up from his predecessor in terms of compostion or to carry on independatly ins or her own way. As such, after two years work, an astonishingly homogeneous musical piece of contemporary history came into being, contrary to all doubts, created by artist from a variety of musical fields - from jazz, avant garde and serious music. A musical work in which past and present flow into a spiritual entirety, as the sum of the involved composers´ personal and subjecitve experiences, each being treated in their own individual artistic manner.


VA - Klangdenkmal für die Opfer des Holocaust (2004)
(256 kbps, cover art included)

Mittwoch, 11. Oktober 2017

Gil Scott-Heron & Brian Jackson - Secrets (1978)

Gil Scott-Heron and Brian Jackson made a lot of incredible music together and "Secrets" is no exception. Soul and Jazz come together with the brilliance that is Gil Scott-Heron's mind and the result is truly inspiring. This 1978 album from the poet/musician, an album that continues the journey started on the 1977 album, "Bridges".

"Angel Dust" warns of the dangers of drug abuse. "Show Bizness" is a hilarious look at the perils of the music business ('they'll take care of everything for only 95%'), whilst "Madison Avenue" talks of the over commercialization of western society ("buying is all that's asked of you..."). "Better Days Ahead" and "Prayer For Everybody" see Gil in a more optimistic light hoping for a better future.

Gil Scott Heron was rapping and telling it like it is long before hip hop even thought about running its course. This album was a good example of Gil's finest works.

Tracklist:
1. Angel Dust
2. Madison Avenue
3. Cane
4. Third World Revolution
5. Better Days Ahead
6. 3 Miles Down
7. Angola Louisiana
8. Show Bizness
9. A Prayer For Everybody To Be Free


Gil Scott-Heron & Brian Jackson - Secrets
(192 kbps, front cover included)

Freitag, 29. September 2017

Sun Ra - Dancing Shadows

"Dancing Shadows" is a mid-'80s German bootleg disc gathering material that had been recorded some two decades earlier for the ESP-Disk indie label. It should also be noted that the same eight sides can be found as both "Nothing Is" (1970) and the somewhat erroneous "Heliocentric Worlds, Vol. 3" (1966). In terms of the contents, the cuts were documented at various stops on the Arkestra's 1966 spring tour of state universities of New York. The instrumental free jazz improvisations surrounding the more discernible melodies from Ra (piano/clavioline) and company serve as the primary impetus for this collection.

From out of the free-for-all introduction "Dancing Shadows," Ra's keyboards are incisive and direct as he rides the band into a swinging and inventive jam sporting the same brand of advanced arrangements and tricky time signatures that are associated with the likes of Pharoah Sanders and Thelonious Monk. Longtime Arkestra stalwarts Marshall Allen (alto sax/flute/piccolo/oboe), John Gilmore (tenor sax), and Pat Patrick (baritone sax/flute) entwine their Eastern-influenced interjections and effuse interaction over the solid rhythm section of Ronnie Boykins (bass/tuba), Clifford Jarvis (drums), Carl Nimrod [aka Carl S. Malone/Nimrod Hunt] (sun horn/gong), and James Jacson (flute/log drums).

While no traditional drum kit performers are credited, they are evident throughout. Sandwiched between "Dancing Shadows" and "Exotic Forest" is the spoken or (perhaps more accurately) chanted chorus of "the second stop is Jupiter." Keen-eared enthusiasts might recall this extract, which hails from "Rocket #9." There is an entrancing and almost intoxicating quality to "Exotic Forest." Allen's oboe solo is bound to some equally heady percussive expressions. This release can be recommended for this track alone, as it exemplifies the unquestionable beauty that the Arkestra created from seeming sonic chaos. After "Sun Ra and His Band from Outer Space" - a brief piano solo interlude - the final extended piece is "Shadow World." Here, Patrick's opening solo is met head-on with a hard-hitting and edgy assault from Allen on oboe. This eventually leads into a full Arkestra meltdown prior to Ra's "Theme of the Stargazers" and a final chorus of "Next Stop Mars" - another spoken/sung chant. The audio quality of this specific incarnation is less than favorable when compared to either of the previously mentioned releases "Nothing Is" or "Heliocentric Worlds, Vol. 3" - both of which are available on CD. All manner of free jazz fans are encouraged to locate "Dancing Shadows", as it provides an unabashed glimpse into what makes this era of the Arkestra so highly lauded among listeners.               

Tracklist:

1. Dancing Shadows / Imagination / Exotic Forest (20:15)

2. Sun Ra And His Band From Outer Space / Shadow World / Theme Of The Stargazers / Outer Spaceways Incorporated / Next Stop Mars (17:54)



Sun Ra - Dancing Shadows
(192 kbps, cover art included)

Dienstag, 19. September 2017

Dinah Washington - Dinah Jams (1954)

Recorded at the start of Dinah Washington's climb to fame, 1954's "Dinah Jams" was taped live in front of a studio audience in Los Angeles.

While Washington is in top form throughout, effortlessly working her powerful, blues-based voice on both ballads and swingers, the cast of star soloists almost steals the show. In addition to drummer Max Roach, trumpeter Clifford Brown, and other members of Brown and Roach's band at the time - tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow - trumpeters Maynard Ferguson and Clark Terry, alto saxophonist Herb Geller, and pianist Junior Mance also contribute to the session.

Along with extended jams like "Lover Come Back to Me," "You Go to My Head," and "I'll Remember April" - all including a round of solos - there are shorter ballad numbers such as "There Is No Greater Love" and "No More," the last of which features excellent muted, obbligato work by Brown.

And even though she's in the midst of these stellar soloists, Washington expertly works her supple voice throughout to remain the star attraction, even matching the insane, high-note solo blasts trumpeter Ferguson expectedly delivers. A fine disc. Newcomers, though, should start with more accessible and more vocal-centered Washington titles like "The Swingin' Miss D" or "The Fats Waller Songbook", both of which feature top arrangements by Quincy Jones.


Dinah Washington - Dinah Jams (1954) 
(320 kbps, cover art included)