Mittwoch, 28. Juni 2017

VA - Primer festival internacional de la canción popular (1973)

When the socialist politician Salvador Allende dramatically won Chile´s presidential election in 1970, a powerful cultural movement accompanied him to power. Folk singers emerged at the forefront, proving that music could help forge the birth of a new society. As the CIA actively funded opposition media against Allende during his campaign, the New Chilean Song Movement (Nueva Canción) rose to prominence, viscerally persuading voters with its music. Victor Jara, a central protagonist at the time, became an icon in Chile, Latin America, and beyond for his revolutionary lyrics and life. Inti-Illimani, Quilapayun, and other musicians contributed by singing before audiences of workers outside factories or campesinos in Chile´s rural countryside.

Primer festival internacional de la canción popular is a live album released on the DICAP label (Discoteca del Cantar Popular). It features artists from Chile (Isabel Parra, Tito Fernandez, Inti-Illimani, Quilapayun, Aparcoa, from Uruguay (Alfredo Zitarossa), from Argentina (Cesar Isella( and from Finland (Agit-Prop).


A1Unknown ArtistObertura
A2AparcoaQue Se Vayan Del Canal
A3Rolando Ojeda Guantanamera
A4Marcelo Dónde Está La Paz
A5Tito FernándezCuando Sea Grande
A6Alfredo ZitarrosaChamarrita De Los Milicos
B1Isabel ParraEn Esta Tierra Que Tanto Quiero
B2Inti-IllimaniCueca De La CUT
B3Flora MargaritaA Un Ave
B4AgitpropPaz, Amistad, Solidaridad
B5César IsellaSoneto 93
B6aQuilapayúnEl Pueblo Unido Jamás Será Vencido
B6bQuilapayúnLas Ollitas

VA - Primer festival internacional de la canción popular (1973)
(256 kbps, cover art included)

Montag, 26. Juni 2017

VA - New Orleans Rhythm & Blues - Good Rockin' Tonight

Half a century after holding jazz over the baptismal font, New Orleans breathed new life into Black popular music when the time came for rhythm & blues. 

In the wake of the great pianists – from a city whose culture was decidedly rainbow-coloured (Professor Longhair, Archibald, Champion Jack Dupree) –, a new generation of singers appeared post-war and tackled a conjugation of swing and blues with incomparable verve. Along with Fats Domino, who was the figurehead of the new wave, a multitude of creators came to light: shouter Roy Brown, bandleaders Dave Bartholomew and Paul Gayten, crooner Larry Darnell, adolescent duo Shirley & Lee, not to mention Guitar Slim, a flamboyant guitarist capable of electrifying the crowds whose first recordings were made with Ray Charles.

1Mardi Grass in New Orleans (1949)
Professor Longhair2:55
2Heavy Heart Blues
Champion Jack Dupree2:37
3Careless Love
Fats Domino2:22
4Crescent City Bounce
5Her Mind Is Gone
Professor Longhair2:41
6She Won't Leave No More
Little Joe Gaines2:31
7Growing Old
Smiley Lewis2:26
8Good Rockin' Tonight
Roy Brown3:00
9Black Bitin' Woman
Chubby Newsome2:12
10Good Jax Boogie
Dave Bartholomew2:47
11Where You At?
Lloyd Price2:22
12Long About Midnight
Roy Brown3:15
13For You My Love
Larry Darnell2:39
14The Fat Man
Fats Domino2:49
15Country Boy
Dave Bartholomew3:06
163 x 7 = 21
Jewel King1:52
17I'll Never Be Free
Paul Gayten3:09
19Bald Head
Professor Longhair2:34
20Lawdy Miss Clawdy
Lloyd Price2:35
21I'm Gone
Shirley & Lee2:24
22The Things That I Used to Do
Guitar Slim3:05

VA - New Orleans Rhythm & Blues - Good Rockin' Tonight
(192 kbps, cover art included)

Freitag, 23. Juni 2017

Fabrizio De André - Vol. 1 (1967)

Fabrizio Cristiano De André (18 February 1940 – 11 January 1999) was an Italian singer-songwriter.
Known for his sympathies towards anarchism, left-libertarianism and pacifism, his songs often featured marginalized and rebellious people, Romani, prostitutes and knaves, and attacked the Catholic Church hierarchy.

Fabrizio De André was in many ways already a seasoned veteran when he released his first album in 1967. He was 27 years old, he had a wife and child, and he had been writing and recording singles for the small Karim label since 1961. While recognition took a while, by late 1966 De André was hot news. His last singles had done well, Mina was about to record one of his songs, and Karim was quick to put out an LP compilation of his early songs, "Tutto Fabrizio De André". In the meantime, De André broke with Karim and signed a record deal with renowned producer Antonio Casetta, who offered him much better production values, as well as proper national distribution. De André was even given his choice of musical producers, and he picked top Ricordi arranger Giampiero Reverberi. Casetta's gamble paid off, with "V.1" reaching number two in the Italian charts, and winning the Italian Music Critics' Album of the Year award. Since most of his early material was being released almost simultaneously in the Karim compilation, De André was forced to write entirely new material for his debut album - something that didn't always came easy for the hardly prolific Genovese songwriter. Indeed, "V.1" included two Georges Brassens translations and a previously released song co-written with Paolo Villaggio to complement the seven brand new De André originals.

Having to come up with new material may ultimately have made the album stronger, since many of the new songs shared similar themes and De André was always at his best when making concept- or theme-based albums. Whether it was intended or not, the album seemed designed for maximum controversy, with every song questioning or mocking established values of the Italian conservative bourgeoisie, notably on the issues of religion and sex. Even the sequencing contributes to this impression, as "V.1" seems to comprise two mini-suites: songs one through four deal with Catholic doctrine's taboos (including suicide, the desacralization of marriage, and the humanity of Christ), while songs five through eight propose casual sex and prostitution as better, or more sincere, alternatives to the stifled sexuality of bourgeois marriage. Among the latter songs are the classics "Bocca di Rosa" and "Via del Campo," both offering a glimpse into one of De André's favorite galleries of characters, the world of prostitutes, their customers, and the town's zealous bigots. The first is a raucous tarantella and the second a solemn waltz: these two songs constitute an excellent example of De André's range of expression as he manages to examine the same subject from the compassionate to the farcical. The highlight of the record, however, is a stunning rendition of Georges Brassens' "La Marche Nuptiale." In his exquisite Italian translation, De André replaces the gentle irony of the original with a mixture of world-weariness and sympathy for humanity that renders the song achingly moving. De André was the first to recognize that he had a veritable Brassens obsession, and the influence of the legendary French songwriter in De André's early work is unmistakable. In this light, "Marcia Nunziale" is one of those instances when the disciple surpasses the master.

Uncommon in Italy at the time, "V.1's" sleeve included the songs' full lyrics, thus reinforcing the image of De André as a "singer-poet." Again, this was pretty much an unheard of concept in Italy back then, where music, and particularly, vocal prowess (a heritage of opera) normally took precedence over lyrics. While not the only one starting to work in that vein, (the names of Gino Paoli, Francesco Guccini, or Luigi Tenco also come to mind; Tenco committed suicide; one of the songs on "V.1" is dedicated to him). De André's provocative yet cultivated style was immediately perceived as uniquely different, if not revolutionary. If controversy was his original goal for his debut album, he more than successfully achieved it, as several of his pieces were banned by the RAI. Furthermore, the song "Carlo Martello" was briefly brought to trial on charges of obscenity because of its irreverent portrait of the hapless King Charles Martel coming back from the war horny as a toad. Nothing came out of the trial but excellent publicity for De André as the enfant terrible of the new Italian song. In fact, "V.1" was instrumental in modernizing Italian popular music and establishing the singer/songwriter (cantautori) genre that would dominate the 1970s and beyond.    


Preghiera In Gennaio
Marcia Nuziale
Si Chiamava Gesù
La Canzone Di Barbara
Via Del Campo
Caro Amore
Bocca Di Rosa
La Morte
Carlo Martello Ritorna Dalla Battaglia Di Poitier
Fabrizio De André -  Vol. 1 (1967)
(320 kbps, cover art included)    

Donnerstag, 22. Juni 2017

Count Ossie‎ - Remembering Count Ossie: A Rasta "Reggae" Legend

With club owner and producer Harry Mudie picking up almost all songwriting credits and adding "overdub percussion and sound effects," it seems like something fairly fishy could be going on here. But here's the big warning: this music is way far removed from any early preview of the Mystic Revelation of Rastafari grounantion chants that would make Count Ossie a rasta reggae legend. Call it proto-ska if you like, with Ossie as the lead drummer on roughly recorded, 2 1/2-3-minute songs that include 13 unreleased tracks. They were probably cut in the pre-Skatalites late-'50s or early-'60s, since the copyright is 1961, and recognizable '50s R&B touches pop up in some vocal tracks.

It wouldn't be surprising if Count Ossie was just part of the backing band on many songs, since the drums don't dominate the set, and Rico Rodriguez's trombone and Big Bra Gaynair's tenor sax are the chief solo voices. It is pretty fascinating, though, to hear proto-Rasta lyrics so early in the Jamaican music game on "So Long (The Negus Call You)" and "One Bright Morning." "Leaving This Land" hits the religious theme again with percussion driving, and "Swinging for Joy" is actually "Swing Low, Sweet Chariot" done Rasta/JAH-style done with a very strong Rodriguez solo and nice responses from Gaynair. You can almost hear the Mystic Revelation stage coming in the ragged vocal celebration and repeated chorus of "Going Home to Zion Land" or the devotional lyric to "Serve Him and Live" with its '50s R&B melody quote.

"Hello Sharon" continues in that vein (someone even shouts out "Do it, Dadd-i-o!" before the solos) but it's teen romance all the way, and "I Would Give My Life" doo wops on out JAH-style with smooth Gaynair and brassy Rodriguez. (You gotta wonder what Count Ossie would think of these songs being released now under his name). Mudie's maneuvers on the effects' front don't really damage "Fire Engine" or "Gun Fever (Remix)," but they do cheapen "Herb I Feel" in its obvious quest for the ganja anthem audience. On balance, Remembering Count Ossie is no lost treasure trove for casual listeners or seekers of early Nyabinghi percussion chants. The music has some historical value, and it's a pleasant enough listen, but is probably best left to historians of Jamaican music.      


African Shuffle
So Long (Negus Can Call You)
Air Horn Shuffle
Gun Fever
Fire Escape
One Bright Morning
First Gone
Babylon Gone
Music Go Round And Round
Leaving This Land
Swinging For Joy
Going Home To Zion Land
Count Ossie Special
Sodom And Gomorrah
Serve Him And Live
Herb I Feel
Hello Sharon
I Would Give My Life
Gun Fever (Remix)

Count Ossie‎ - Remembering Count Ossie: A Rasta "Reggae" Legend    
(320 kbps, cover art included)

Mittwoch, 21. Juni 2017

Eddie Harris - Live At Newport (1971)

Eddie Harris hit the 1970 Newport Jazz Festival head on with his satchel of electronic sax gear, funky soul/jazz track record, and a quartet with Jodie Christian now anchored on electric piano.

Naturally there would be some funk on display ("Carry on Brother") and guest vocalist Eugene McDaniels, composer of "Compared to What," comes up with a lame, hectoring sequel, "Silent Majority." Yet a good deal of this truncated edition of Harris' Newport set is pitched at a more abstract level. "Don't You Know the Future's in Space," with its tumbling drums and outbreaks of near freeform reed trumpet (a Harris invention), is already in progress when we fade into the track, and "South Side" is a rough-and-tumble jazz sprint, with Harris delivering a complex cerebral solo.

These advanced tracks didn't win him any points with the critics of the time but hindsight reveals that harmonically as well as electronically, Harris was ahead of most of the pack. As a bonus, the LP includes a short post-set speech in which Harris prophesizes that his reed trumpet will be a godsend for brass players (who, alas, completely ignored it). 

A1Children's Song6:00
A2Carry On Brother5:07
A3Don't You Know The Future's In Space8:07
B1Silent Majority5:46
B2Walk Soft4:10
B3South Side8:52

Eddie Harris - Live At Newport (1971)
(320 kbps, cover art included)          

Sonntag, 18. Juni 2017

VA - American Folk Blues Festival '65

From 1962 until 1971, the American Folk Blues Festival was responsible for bringing dozens of the most celebrated American blues artists to audiences from England to Poland. For many of the musicians, these were the largest audiences they'd ever played to, and the first (and often only) decent money they ever made.

This album is a collection of studio sessions, recorded in Hamburg October 7, 1965, on the occasion of  "The American Folk Blues '65" concert tour produced and presented by Lippmann and Rau-


A1Fred McDowellHighway 61
A2J.B. LenoirSlow Down
A3Big Walter "Shakey" Horton    Christine
A4Roosevelt SykesCome On Back Home
A5Eddie BoydFive Long Years
A6Eddie BoydThe Big Question
B1Lonesome Jimmy LeeRosalie
B2John Lee HookerKing Of The World
B3John Lee HookerDella May
B4Buddy BoyFirst Time I Met The Blues
B5Big Mama ThorntonHound Dog
B6Doctor RossMy Black Name Is Ringing

VA - American Folk Blues Festival '65 
(320 kbps, cover art included)

Donnerstag, 15. Juni 2017

Youssou N'Dour‎ - Set

Some of the most exciting sounds to come out of Africa in the late '80s and 1990s were produced by Senegal-born vocalist Youssou N'Dour. Although rooted in the traditional music of his homeland, N'Dour consistently sought new means of expression. In addition to recording as a soloist, N'Dour collaborated with a lengthy list of influential artists including Paul Simon, Peter Gabriel, Neneh Cherry, and Branford Marsalis.                

The title tune "Set" became the anthem of Senegalese youth in 1990. This is the first album N'Dour hasn't re-recorded for the international market. It's very African and his best recorded work to date.                

1Set (Clean)2:45
8Xale (Our Young People)4:17
9Fenene (Another Place)5:17
10Fakastalu (Watch Your Step)3:52
11Hey You!3:38
12One Day (Jaam)3:26
13Ay Chono La (Love Is)3:12

Youssou N'Dour - Set                                   
(256 kbps, cover art included)

Sun Ra - St. Louis Blues (Solo Piano, Vol. 2) (1977)

On July 3, 1977, Sun Ra shared a bill with Paul Bley at Axis-In-Soho as part of the Newport in New York Festival, which was recorded by Bley’s "Improvising Artists" label. A portion of Sun Ra’s set was released on LP in 1978 as St. Louis Blues: Solo Piano, Volume 2. If Solo Piano, Volume 1 was an introspective studio album, Sun Ra is in an expansive, playful mood in front of a live audience. As Szwed points out in his biography, “Bley was surprised to see that once he was alone on stage, ‘Sonny was a ham who liked to clown and surprise the audience’” (Szwed p.343) and there is a bit of that to be found here.

This set finds the normally forbidding keyboardist digging not only into four fairly accessible originals, but "St. Louis Blues," "Three Little Words" and "Honeysuckle Rose." By this time, Ra was starting to reinvestigate his roots in Fletcher Henderson's music and in swing, but these occasionally traditional interpretations remain full of surprises. There is definitely a charm to Sun Ra's solo piano sets.

01 - Ohosnisixaeht (05:50)
02 - St. Louis Blues (05:00)
03 - Three Little Words (05:40)
04 - Honeysuckle Rose (03:20)
05 - Sky and Sun (06:05)
06 - I Am We Are I (06:15)
07 - Thoughts on Thoth (06:27)

Sun Ra - St. Louis Blues (Solo Piano, Vol. 2) (1977)
(320 kbps, cover art included)

Paul Robeson - Ol´ Man River (1990)

Paul Leroy Robeson was born on April 9, 1898 in Princeton, New Jersey. He was the youngest son of five children born to Presbyterian minister Reverend William Drew Robeson (1845-1918) and former schoolteacher Maria Louisa Bustill Robeson (1853-1904). He was the grandson of slaves and the son of a minister who escaped slavery and became one of Rutgers University's most famous and accomplished alumni.

In 1915, Robeson was awarded a four-year academic scholarship to Rutgers University. He was inducted into the Phi Beta Kappa Society and Rutgers' Cap & Skull Honor Society. He was valedictorian of his graduating class in 1919. Rutgers awarded Robeson honorary Master of Arts degree in 1932 and an honorary Doctorate of Humane Letters on his 75th birthday in 1973.

In addition to his academic achievements, Robeson had an outstanding athletic career as the first Black football player at the University winning 15 varsity letters in baseball, football, basketball, and track and field. He was named to the All American Football Team twice in spite of open racism and violence expressed by his teammates. In 1995, he was inducted posthumously into the College Football Hall of Fame.

In 1923, Robeson earned a law degree from the Columbia Law School. There, he met his wife Eslanda Cordoza Goode, the first black woman to head a pathology laboratory. Robeson took a job with a law firm after graduation, but left the firm and the practice of law when a white secretary refused to take dictation from him. He decided to use his artistic talents in theater and music to promote African and African-American history and culture.

What followed was a brilliant career as an actor and concert singer which spanned nearly four decades. Robeson made his concert debut in 1925 with a highly successful program of Black music. He went on to such stage successes in Show Boat, Porgy and Bess and Othello, which was hailed by some critics as the play's greatest interpretation. He starred in 13 films between the 1920s and the early 1940s, but decided to stop making movies until there were better opportunities for blacks.

Paul Robeson used his deep baritone voice to promote black spirituals, to share the cultures with other countries, and to support the social movements of his time. He sang for peace and justice in 25 languages throughout the United States, Africa, Asia Europe, and the Soviet Union.

Robeson became known as a citizen of the world, as comfortable with the people of Moscow and Nairobi as with the people of Harlem. Wherever he traveled, Robeson championed the cause of the common person. Among his friends, he counted future African Leader Jomo Kenyatta, India's Nehru, anarchist Emma Goldman and writers James Joyce and Ernest Hemingway.

During the McCarthy Era of the 1950s, every attempt was made to silence and discredit Paul Robeson because of his political views and dedication to civil rights. In 1958, he embarked on a successful three-year tour of Europe and Australia. Unfortunately, illness ended his professional career in 1961. He lived the remainder of his years as a private citizen in his sister's home in Philadelphia. He died on January 23, 1976 at the age of 77.

For his steadfast commitment to his social conscience, Paul Robeson - activist, scholar, artist, athlete - was shunted from the center of America's cultural stage to its wings. For a generation, his memory was obscured and his achievements forgotten, but the centennial of his 1989 birth has sparked new debate about his place in our history.


01 - Ol' Man River
02 - My Old Kentucky
03 - Lazy Bones
04 - My Lindy Lu
05 - Poor Old Joe
06 - Old Folks At Home (Swanee River)
07 - Just Keepin' On
08 - Little Pal
09 - Water Boy
10 - Shenandoah
11 - Swing Low, Sweet Chariot
12 - Joshua Fit The Battle Of Jericho
13 - Wagon Wheels
14 - Got The South In My Soul
15 - St Louis Blues
16 - Rockin' Chair
17 - River Stay 'Way From My Door
18 - Canoe Song
19 - Congo Lullaby
20 - Love Song
(192 kbps, cover art included)

Ewan MacColl - The Songs Of Robert Burns (Folkways, 1959)

Robert Burns (1759–1796) is generally considered the national poet of Scotland, not only for his poems but for his songs. He avidly collected traditional melodies and composed lyrics to them if these did not exist; if they did exist, he passionately fought to preserve them in their original Scots form rather than Anglicize them. In this album, Ewan MacColl, one of the leaders of the British folk revival, presents a faithful and engaging interpretation of Burns’ great work.

This was the first LP, of many, featuring Ewan MacColl on the USA Folkways label.


Side One

Green Grow the Rashes, O
Landlady, Count the Lawin
I Maun Hae a Wife
O That I Had Ne'er Been Married
Galloway Tam
I Hae a Wife O' My Ain
There's Cauld Kail in Aberdeen
A Braw Wooer
The Rantin Dog, The Daddie O't
Ay Waukin, O
Duncan Grey
Wha'll Mow Me Now?

Side Two

Rattlin Roarin' Willie
Hey Ca' Thro'
To Daunton Me
Jumpin John
What Can a Young Lassie Do Wi' an Auld Man
The Dusty Miller
Tibbie Dunbar
The Cooper O' Cuddy
She's Fair and Fause
The Deil's Awa Wi' Th' Exciseman
A Man's a Man for A' That

Ewan MacColl - The Songs Of Robert Burns (Folkways, 1959)
(256 kbps, front cover inlcuded)

Freitag, 2. Juni 2017

Eric Andersen - Avalanche

"Avalanche" was Andersen's first album for Warner Bros. after a fairly long stint at Vanguard. It was consistent with his prior efforts in that, while it found him operating at a respectable level, it couldn't break him into the upper echelon of singer/songwriters, in terms of either sales or art. It's diverse and diffuse, qualities which neither work strongly for or against him on this particular effort.

If he was worried about the constant new Dylan comparisons, he did himself no favors with the opening "It's Comin' and It Won't Be Long," a fair but derivative sounding Dylan-esque cut in both its composition and vocal phrasing. Yet, it's not typical of the record, which largely examines romantic ups and downs - a timeworn subject of popular music, true - in intelligent, reflective fashion that admits some humor, and goes into some good-time vaudevillian and country-rock music besides the expected folk-rock-influenced singer/songwriting.

Major session dudes Chuck Rainey, Bruce Langhorne, J.D. Maness, Eric Gale, and Lee Crabtree were on hand to provide a professional yet reserved sound. He broached pop territory on "Think About It" and "So Hard to Fall," which really wouldn't have sounded bad on AM radio, female vocals and orchestration included. "(We Were) Foolish Like the Flowers" and the son-lost-to-war lament "For What Was Gained" were more in line with what listeners usually expected from Andersen: gentle, almost fragile, introspective mild folk-rock.                

A1It's Comin' And It Won't Be Long5:15
A2An Old Song4:30
A4Think About It3:40
A5So Hard To Fall3:18
B1It's So Good To Be With You3:08
B2(We Were) Foolish Like The Flowers5:35
B3Avalanche 3:53
B4For What Was Gained8:07

Eric Andersen - Avalanche
(320 kbps, cover art included)