Dienstag, 4. Oktober 2022

VA - The Revolutionary Hymns (1991)

"Jazz was created in America. Not through any great educational force, but from the Souls of People who were brought here under protest" (Dizzy Gillespie)

Black musicians in the `60s more than in anay previous, and even recent, period, were sharing a sense of community with their fellow blacks and were attempting to unite the black community in its pursuit of self-determination. Because they realized that the cuts alone could´nt replace politics and economics, they demonstrated their political commitment by activities in the community as well as in their music.

In his article in Downbeat, "Racism in Jazz", Brooks Johnson commented on this: "(...) jazz always has been a mirroc of mainstream Americna. Many jazz musicians would like to think that they are above and beyond the current trends, but the truth is that most of the products of their times, and teir works are the essence of the period. But jazz, as a form of expression, must have a background from which to draw substance. Because the principle thrust of jazz is succesfully concernded with capturing the contemporary and the current it manifests and crystallizes the prevailing `isms´ and thei major concers of the day. Thus jazz mirrors much of what is today."

"The Revolutionary Hymns" is a great compilation featuring Albert Ayler, Archie Shepp, Charles Mingus, Charlie Haden, John Coltrane, Max Roach, Ornette Coleman, The Black Voices, The Last Poets and others.


1. Listen - The Black Voices 0:13
2. Black is Chant - The Last Poets 0:56
3. Introduction - Charlie Haden Liberation Orchestra 3:08
4. Pretty Nigger - The Last Poets 2:22
5. Man From South Africa - Max Roach 5:08
6. Hands Off - The Last Poets 4:01
7. Pickaninny - Archie Sheep 7:18
8. I´ll Stop Calling You Niggers - The Black Voices 1:19
9. Clowns All Around - The Black Voices 1:33
10. Change Has Come - Albert Ayler 6:11
11. Black Wish - The Last Poets 1:42
12. Freedom - Charles Mingues 3:38
13. It´s A Trip - The Last Poets 4:45
14. I Got It Bad And That Ain´t Good - Archie Sheep 5:11
15. When The Revolution Comes - The Last Poets 2:28
16. Lonesome Lover - Max Roach 7:00
17. On The Subway - The Last Poets 1:31
18. Sadness - Ornette Coleman 4:05

1. Listen - The Black Voices 0:13
2. Run Nigger - The Last Poets 1:09
3. We Shall Overcome - Charlie Haden Liberation Orchestra 1:17
4. Wake Up Niggers - The Last Poets 2:44
5. It´s Time - Max Roach 6:41
6. Niggers Are Scared Of Revolution - The Last Poets 5:12
7. Attica Blues - Archie Shepp 4:47
8. Just Because - The Last Poetgs 1:30
9. Song For Che - Charlie Haden Liberation Orchestra 9:33
10. The Meek - The Black Voices 0:05
11. Holy Ghost - Albert Ayler 7:27
12. Birds Words - The Last Poets 6:12
13. Nearer My God To Thee - The Black Voices 2:34
14. A Love Supreme - John Coltrane 7:38
15. Jazz Is - The Last Poets 3:21

(320 kbps, cover art included)

Samstag, 1. Oktober 2022

Thommie Bayer Band - Silchers Rache (1978)

Thommie Bayer (Thomas Bayer-Heer, born 22 April 1953) is a German writer, musician and painter.

Bayer was born in Esslingen am Neckar, near Stuttgart (where he attended school). From 1972 to 1978, he studied painting at the "Staatliche Akademie der Bildenden Künste Stuttgart" (Stuttgart State Academy of Art and Design).

From 1974, he was a musician and songwriter, first with the duo Thommie und Tomaske, then with his own band, the Thommie Bayer Band. He often shared the stage with friends Thomas C. Breuer and Bernhard Lassahn. His most successful hit was in 1979 with "Der letzte Cowboy kommt aus Gütersloh". His work is affected by the idea that we all are cowboys (bad!) or indians (good!).

During the 80s he was bound by the divorce from his first wife and lots of individual problems. He reduced his engagement in music and began a career as book author ("Das Herz ist eine miese Gegend").

The album "Silchers Rache" was released in 1978 on the Bellaphon label. Alex Köberlein from the band "Schwoißfuaß" played saxophon and was part of the background singers.

A1 Ich hab das alles mitgemacht Teil 1 3:26
A2 Litanei 2:06
A3 Ich hab Lise gesehn 3:27
A4 Wir, die wir mitten im Leben stehn 2:52
A5 Ich hol dir keine Sterne mehr vom Himmel 3:48

B1 Dann und danach 3:17
B2 Mich juckt’s 2:43
B3 Wenn ... 2:27
B4 Heinrich der Adler 5:29
B5 Brief einer Mutter 3:05
B6 Ich hab das alles mitgemacht Teil 2 2:17

(320 kbps, cover art included)

Freitag, 30. September 2022

The Staple Singers - This Land (1963)

One of the most powerful vocal groups of the '60s and '70s, the Staple Singers embraced an impressive stylistic diversity while always staying true to their roots in gospel harmonies. Led by Roebuck "Pops" Staples, the quartet first rose to stardom in the gospel music community before detouring into folk and a socially conscious gospel and R&B hybrid, then enjoying their greatest success with a handful of soul music hits for Stax Records in the '70s. 

Throughout their evolution, the constants in their work were the rich blend of their vocals, delivered with a churchy mix of joy and restraint, Roebuck's subtle but emphatic guitar textures, and in the Stax era, the glorious lead vocals of Mavis Staples. The compilation "The Best of the Vee-Jay Years" is a superb overview of their early gospel sides, 1965's "Freedom Highway" marks the point where their gospel and folk leanings merged with a growing political consciousness, 1972's "Be Altitude: Respect Yourself" was the high point of their hitmaking years at Stax, and 1984's "Turning Point" was an impressive late-career effort that included an excellent cover of Talking Heads' "Slippery People."

"This Land" was released in 1963. I
n the early 60s the Staples Singers, now with Riverside Records, looked for an audience "beyond the ghetto", recording coffeehouse favourites such as Cotton Fields, Bob Dylan's Blowin' In The Wind and Woody Guthrie's This Land Is Your Land. Such choices were mildly controversial at the time, but Staples was quick to defend them. "I think they're good material. I think it's time for the whole nation to start listening to something that means something, and think that this land belongs to everybody. If they would think like that we'd have a better United States."


A1 This Land 2:39
A2 Old Time Religion 2:29
A3 Blowin' In The Wind 2:26
A4 Wish I Had Answered 2:47
A5 Twelve Gates To The City 2:40
A6 Gamblin' Man 2:39
B1 Didn't It Rain 2:46
B2 Swing Down, Chariot! 2:38
B3 Let That Liar Alone 2:43
B4 Cottonfields 2:10
B5 Motherless Children 3:00
B6 A Better Home 3:18

The Staple Singers - This Land (1963)
(320 kbps, cover art included)

Dmitri Shostakovich - Symphony No. 13, "Babi Yar" (Conductor: Saulius Sondeckis)

Babi Yar (Russian: Ба́бий Яр) or Babyn Yar (Ukrainian: Бабин Яр) is a ravine in the Ukrainian capital Kyiv and a site of massacres carried out by Nazi Germany's forces during its campaign against the Soviet Union in World War II. The first and best documented of the massacres took place 81 years ago on 29–30 September 1941, killing some 33,771 Jews.

We must never forget the heinous crime against humanity that occurred 81 years ago when nearly 34,000 Jews were murdered by the Nazis and their accomplices at Babyn Yar.

This is a recording of Saulius Sondeckis conducting Dmitri Shostakovich´s  Symphony No. 13 ("Babi Yar") from 1994.

In 1961 the then tewenty-nine-year-old Yevgeny Yevtushenko pubished a poem entitled "Babi Yar". This was the name of a ravine on the outskirts of Kiev which in 1941 had been the scene of a mass execution where, within thirty-six hours, 34.000 Jewish men, women and children were shot by a special unit of the German SS. In his poem Yevtushenko used the National Socialists´ act of genocide as the starting-point of an attack on anti-Semitism in general, which he pilloried as a timeless evil that was widespread throughout the world, but which, he implied, was especially rife in Russia.

Shostakovich´s Thirteenth Symphony took a long time to establish itself in the concert hall. The first performance in Moscow on 18 December 1962 was conducted by Kirill Kondrashin and was beset by intrigue until the very last moment; the bass soloist Viktor Nechipaylo, for example, was ordered to report to the Bolshoi on the evening of the concert in order to stand in for an ailing colleague and had to be replaced at the eleventh hour by Vitaly Gromadsky. According to the reports of all the participants, the first-night audience was deeply moved by the work, but the press adopted a hostile tone, directing its fury at Yevtushenko´s words and not at Shostakovich´s generally traditional music. Finally, Yevtushenko saw himself obliged to revise "Babi Yar" and "Fears", a revision that Shostakovich accepted with reluctance. This bowdlerized version was heard a numer of times in 1965/66 and only printed in 1971, in which form the work was later recorded. For the present recording, the original version of Yevtushenko´s words has been restored.

Sergei Baikov, Bass Estonian National Male-Voice Choir St. Petersburg Camerata Saulius Sondeckis, Lithuanian Chamber Orchestra


1 Babi Yar 15:43
2 Humour 7:48
3 In the Store 12:21
4 Fears 11:19
5 Career 12:22

Dmitri Shostakovich - Symphony No. 13, "Babi Yar" (Conductor: Saulius Sondeckis)
(320 kbps, cover art included)

Mittwoch, 28. September 2022

The Selecter – Celebrate The Bullet (1981)

"Celebrate the Bullet" is the second album by British ska band The Selecter, released in February 1981 on Chrysalis Records after the band had left the 2 Tone label. The album was recorded with producer Roger Lomas, who plays bass on some songs, and frequently seeks a more slow, eclectic sound, with new wave influences. Band members Charley Anderson and Desmond Brown, uncomfortable with the new approach, left the band during production and after the release of 1980 single "The Whisper" to form the band The People. They were replaced by keyboard player, James Mackie, and bass player, Adam Williams. Ian Dury and the Blockheads bassist Norman Watt-Roy played bass on the title track and "Washed Up and Left for Dead".

The album's lyrical content is frequently bleak, taking inspiration from early 1980s racial and social conflicts, economic problems and war. Upon release, the album was a critical and commercial failure. The release of the title track as a single unintentionally coincided with the attempted assassination of Ronald Reagan, and "at such a time it would have been a brave radio producer who would have earmarked a track titled 'Celebrate the Bullet' for a prime time slot." As a result, the single and album flopped and the band subsequently split up. Nonetheless, the album has more recently been reappraised, and is considered by lead singer Pauline Black to be among the band's best work.

Celebrate the Bullet is a dark and tense album, featuring a "less lively sound" than previous releases, and is strongly political, with lyrics focusing on social and racial relations, "cold war paranoia and fear for the future." In the words of Martin C. Strong, the album was a "more lugubrious state-of-the-nation musing" than "Too Much Pressure". In the Rough Guide to Rock, Peter Buckley said, "with a title like Celebrate the Bullet, we knew we were in for a serious sit-down talking-to. Sure, it was still pop music, it was still Britska (a term that, thankfully, was never widely used), it was still Pauline and the lads dancing around with lots of brass and a beat you could lean against, but it wasn't happy, not at all." One interviewer, whilst interviewing Black, described it as "a dark, haunting, bluesy iteration of ska that to my knowledge has never been attempted before or since." He said that "at times the songs have a new wave feel via synthesized keyboard melodies that buzz over Neol Davies' blistering, bluesy and soulful guitar solos and riffs. Other times its almost undefinable as the songs are driven by a seamless melting pot of rock, reggae and new wave via memorable melodies that stick in your head."

"Bristol & Miami" concerns the racial riots that had occurred in spring 1980 in Bristol (the 1980 St. Pauls riot) and Miami (the 1980 Miami riots), and is said to slightly predate fellow 2 Tone band the Specials' "Ghost Town", a documentation of UK riots released later on in 1981. The energetic song features "punky ska rhythms", which are "typical of the 2 Tone sound". According to one journalist, "the song can’t be read as encouraging rioting, but there is an eerie embattled exuberance to it, which complements the tension in the lyrics. The strangely uplifting ending reflects this contradiction of styles and thoughts." "Red Reflections" is a "joyous" song. The title song has a "staunch anti-violence, anti war-theme."

"Deep Water" has been interpreted as "the inner monologue of a person here in the U.S. contemplating the loss of their home in the sub-prime mortgage crisis." Black, who sees the song as working "on many different levels," was named after a town that Black saw a highway sign for whilst riding on the band's tour bus during their first American tour. She explained "The name just struck a chord with how I was feeling at the time. That tour was fraught with internal problems among us and I was deeply unhappy for most of the time, so I began to pen a song to reflect those inner feelings. I finished writing the song just around the time that keyboardist Desmond Brown finally walked out of the band for some unknown reason, just prior to the sacking of Charley Anderson. Believe me, it really did feel as though we were in ‘deepwater’ back then."


1 (Who Likes) Facing Situations
2 Deepwater
3 Red Reflections
4 Tell Me What's Wrong
5 Bombscare
6 Washed Up And Left For Dead
7 Celebrate The Bullet
8 Selling Out Your Future
9 Cool Blue Lady
10 Their Dream Goes On
11 Bristol And Miami

Bonus tracks:
12 The Whisper
13 Train To Skaville
14 Last Tango In Dub
15 Train To Skaville (12" Version)

The Selecter – Celebrate The Bullet (1981)
(320 kbps, cover art included)

Dienstag, 27. September 2022

Slime - Der Tod ist ein Meister aus Deutschland (1993)

Slime is a German punk band from Hamburg. Founded in 1979, they became one of the style-defining bands of the 1980s. Slime was one of the most influential German punk bands of the early movement and thus shaped the political attitude of a large part of the German scene. With their anti-fascist texts they influenced the history of the German punk movement. Individual slogans, especially from their early phase, were spread in the autonomous scene. Musically and textually, they changed from a band with simple, catchy songs in the style of British punk rock of the late 1970s to a group with more sophisticated song structures and complex lyrics.Slime was controversial at times. The group was accused of “selling out” in the course of its growing success. Their anti-American texts also caused criticism in the left-wing scene. Several songs, particularly the 1980 "Wir wollen keine Bullenschweine", ("We Want No Bull Pigs" aka cops), have been the subject of investigation.

After the dissolution in 1984, under the impression of xenophobic pogroms, Slime reunited, but only lasted for two albums. It was only then that the band had commercial success. But they disbanded again in 1994. After a break of fifteen years, the group reunited in 2009 for live performances, 30 years after the date of its first formation.

Because of an enormous reunion tour success the new band with three founding members Michael Mayer aka ELF, Dirk Jora and Christian Mevs and two new members, bass player Nici and drummer Alex Schwers, decided to release a sixth studio album in 2012, using texts from anarchist, outlaw, writer and poet Erich Mühsam, because their main lyricist and ex-member Stephan Mahler didn't want to be part of the reunion.

The single "Der Tod ist ein Meister aus Deutschland" was released in 1993.


A Der Tod Ist Ein Meister Aus Deutschland 3:59
B Schweineherbst 3:19

(320 kbps, cover art included)

Sonntag, 25. September 2022

Augustus Pablo ‎– Dubbing In A Africa (1975)

As any business person will tell you, the way to success is through the discovery of a niche or a previously unexploited market. Still, few business people, and even fewer musicians, would have believed that there was a market for the sound of the melodica. What next, they would have sniggered, a kazoo? Yet Augustus Pablo would take this child's toy and launch a revolution in Jamaican music. Not only was Pablo's melodica unique, it would sweep the entire island's scene and become an integral part of the music of the era. But Pablo was no one-trick pony, he was also a virtuoso keyboardist and his playing permeated the island across myriad of his own releases and as a session man for others. He was equally talented on the other side of the recording desk and his production work was as inspired as his playing.

Originally released in 1975, "Dubbing in Africa" features arrangements from Charles Reid, while Pablo, playing organ, leads a strong cast of musicians including Sly Dunbar (drums), Robbie Shakespeare (bass guitar) and Melodice Gladdy (piano) on another journey into African-themed dub sound. "Dubbing in Africa" is an essential addition to any dub fan's music library.


A1 Dubbing In A Africa
A2 Nigerian Love Dub
A3 Mount Of Olives Dub
A4 Dub In Ethiopia
A5 I And I Dub
B1 Everlasting Dub
B2 Trench Town Dub
B3 Universal Love
B4 King Of Kings Dub
B5 Herbal Weed Dub

Augustus Pablo ‎– Dubbing In A Africa (1975)
(320 kbps, cover art included)

Samstag, 24. September 2022

Pharoah Sanders – Thembi (1971)

Pharoah Sanders, the giant of spirit-driven jazz, died today at 81. Thanks a lot for all the inspiring music!

"Thembi" is the seventh album by free jazz saxophonist Pharoah Sanders, released in 1971. Recorded with two different ensembles, "Thembi" was a departure from the slowly developing, side-long, mantra-like grooves Pharoah Sanders had been pursuing for most of his solo career. It's musically all over the map but, even if it lacks the same consistency of mood as many of Sanders' previous albums, it does offer an intriguingly wide range of relatively concise ideas, making it something of an anomaly in Sanders' prime period. 
Over the six selections, Sanders romps through a tremendous variety of instruments, including tenor, soprano, alto flute, fifes, the African bailophone, assorted small percussion, and even a cow horn. Perhaps because he's preoccupied elsewhere, there's relatively little of his trademark tenor screaming, limited mostly to the thunderous cacophony of "Red, Black & Green" and portions of "Morning Prayer." 

The compositions, too, try all sorts of different things. Keyboardist/pianist Lonnie Liston Smith's "Astral Traveling" is a shimmering, pastoral piece centered around his electric piano textures; "Love" is an intense, five-minute bass solo by Cecil McBee; and "Morning Prayer" and "Bailophone Dance" (which are segued together) add an expanded percussion section devoted exclusively to African instruments. If there's a unifying factor, it's the classic title track, which combines the softer lyricism of Sanders' soprano and Michael White's violin with the polyrhythmic grooves of the most Africanized material (not to mention a catchy bass riff). 

Some fans may gripe that "Thembi" isn't conceptually unified or intense enough, but it's rare to have this many different sides of Sanders coexisting in one place, and that's what makes the album such an interesting listen.


"Astral Travelling" (Lonnie Liston Smith) - 5:48
"Red, Black & Green" (Sanders) - 8:56
"Thembi" (Sanders) - 7:02
"Love" (Cecil McBee) - 5:12
"Morning Prayer" (Sanders, Liston Smith) - 9:11
"Bailophone Dance" (Sanders) - 5:43

Pharoah Sanders – Thembi (1971)
(320 kbps, cover art included)

Singers & Players - War Of Words (1981)

Singers and Players is a reggae collective formed by Adrian Sherwood and featuring various members of the New Age Steppers, Creation Rebel, the Roots Radics, and other musicians affiliated with the On-U Sound label. 

After a brief period of creativity in the early '80s, the collective was stagnant until 1998's "Revenge of the Underdog", which featured vocals from Bim Sherman and Prince Far I. "Staggering Heights" followed in the spring of 2000.

"War Of Words" is the classic debut album by Singers & Players, a loose collective featuring top Jamaican deejays Prince Far I and Jah Woosh, plus members of the Arabs and Roots Radics. The mic is dominated on this record by the sweet vocals of cover star Bim Sherman.

Whilst very much based on a dub reggae blueprint, the record also features Keith Levene from Public Image Limited on guitar and Ari Up from The Slits on backing vocals. Kingston sound system culture as viewed through the prism of the London post-punk squat scene, and championed by the quintessential downtown NYC no wave record label.


Devious Woman
Quanté Jubila
Sit & Wonder
Fit to Survive
Other Side -
Reaching the Bad Man
World of Dispensation
91 Vibration

(320 kbps, cover art included)

Jackie Mittoo And The Soul Vendors ‎– Evening Time

Featuring a particularly natty cover photo of Mittoo set off by a very mod-looking standup organ, palm trees, and a trio of island lovelies, "Evening Time" further plies its groove exotica theme with bounce-and-grind gems from the rocksteady and early reggae days. The year was 1968, and Mittoo had already risen to the top of the competitive Kingston music scene, first as a member of the Skatalites and then as a the session leader of Clement Dodd's venerable Studio One label. This collection includes 12 tasty instrumentals culled from the slew of material he cut with such Studio One bands as the Soul Syndicate, Sound Dimension, and the Soul Defenders. The top-notch solos and infectious grooves make it clear why Mittoo -- both as an organist and arranger -- helped make Studio One rhythms the most heavily versioned in reggae's long history. And with such highlights as the noirish "Drum Song" and a fine take on the Prince Buster hit "One Step Beyond" topping things off, "Evening Time" qualifies as the perfect record for Mittoo fans in need of something beyond the handful of retrospectives currently available.

Jackie Mittoo's second album for Studio One (credited to Jackie Mittoo and the Soul Vendors) following "JACKIE MTOO IN LONDON", released the previous year is an absolute killer funky Reggae album!

A1 Evening Time
A2 One Step Beyond
A3 Napoleon Solo
A4 Best By Request
A5 Love Is Blue
A6 Hip Hug
B1 Hot Milk
B2 Autumn Sounds
B3 Full Charge
B4 Hot Shot
B5 Rock Steady Wedding
B6 Drum Song

Jackie Mittoo And The Soul Vendors ‎– Evening Time
(320 kbps, cover art included)

Sonntag, 18. September 2022

Singers & PLayers - Leaps & Bounds (1984)

Singers & Players were a reggae collective made up of vocalists and musicians associated with Adrian Sherwood's On-U Sound Records. They recorded five albums between 1981 and 1988.

Including artists such as Bim Sherman, Prince Far I and Mikey Dread they were regarded as a dub music supergroup. There was never any fixed line up to the group, and many different artists featured on each track and each album.

The fourth Singers & Players album was, in terms of continuity and attack, also the last. Although subsequent albums would appear beginning in 1988, "Leaps & Bounds" marked the end of an era, as Adrian Sherwood mourned the recent murder of Prince Far I by all but abandoning reggae for the next four years.

Far I is a tangible presence on the album, of course. His distinctive growl powers the apocalyptic "Alla-La Dreadlocks Soldier" and the seemingly autobiographical "Dog Park," although the bulk of the vocals are handled by Congo Roy Ashanti, while there's also an appearance from Mikey Dread, whose lightly mocking and gibberish-laden tones give the exhilarating "Autobiography (Dread Operator)" an almost Eek-a-Mouse-y feel, before Congo Roy takes over the same rhythm for the equally ecstatic "Breaking Down the Pressure." (Both tracks, incidentally, are re-recorded from the 1983 single that first paired them.) Other highlights include a gorgeous revamp of "Make a Joyful Noise," and "Striving," with a horn section straight out of some great lost '70s soul puncher. Across the board, then, "Leaps & Bounds" is a mighty album, and one that lives up to its dedication to the late Prince in every way.


A1 Moses
A2 Make A Joyful Noise
A3 Alla La - Dreadlocks Soldier
A4 Autobiography (Dread Operator)
B1 Breaking Down The Pressure
B2 Dog Park
B3 Vegetable Matter
B4 Striving

(192 kbps, cover art included)

Ras Michael & The Sons Of Negus – Freedom Sound (1974)

Michael George Henry (born 1943), better known as Ras Michael, is a Jamaican reggae singer and Nyabinghi specialist. He also performs under the name of Dadawah.

Negus is a title of Ethiopian Emperor Haile Selassie, the Almighty God of the Rastafarian movement, and no one pays him more eloquent homage than Ras Michael and his group, the Sons of Negus. This is the beat of the heart, based on the original "instrument of ten strings," the hand-beaten drum. On 1975's "Dadawah", Michael took a religious ceremonial gathering as the basis for an album of elegant poetry with raw, visceral power. Later, eschewing minimalism, such works as "Promised Land Sounds" added electronics; it produced a primeval neo-psychedelia rivaled only by the experiments of Lee Perry.


A1 Watch And Pray
A2 Written Down There
A3 Holy Mount Zion
B1 I Shall Not Remove
B2 Roll River Jordan Roll
B3 Tenoryestiling

Ras Michael & The Sons Of Negus – Freedom Sound (1974)
(192 kbps, cover art included)

Freitag, 16. September 2022

Sun Ra Arkestra – Sunrise In Different Dimensions (1980)

"Sunrise In Different Dimensions" is a 1980 live jazz album by the Sun Ra Arkestra documenting a concert at the Gasthof Morhen in Willisau, Switzerland from February 24, 1980. The album intermingles a variety of Sun Ra originals with covers of jazz standards.

This was the opening date on a European concert tour. The album was issued  in several different configurations, with tracks dropped on certain reissues.

Critical response to the album has been largely positive, with some dissent. In a 1983 review of the album, The Boston Globe described it as a "tour de force", "one of Sun Ra's best." Scott Yanow in his Allmusic review characterized it as "one of the better examples of [Sun Ra's] late-period band." Ajay Heble, author of "Landing on the Wrong Note: Jazz, Dissonance, and Critical Practice", indicates that the album "does seem to me to do justice to the energy of Ra's performances." 

The album is featured in the 2000 book "The Essential Jazz Records: Modernism to Postmodernism", where contributor Eric Thacker indicates that it is the cover songs that establish the record's "value as a breathless and windswept view astern from a supersonic jazz roadster's dickey-seat". Fred Kaplan, in Slate, described Sun Ra's arrangements here of Duke Ellington, Coleman Hawkins and Jelly Roll Morton as "inspired". But critic Stanley Crouch finds the band in this performance "woefully out of tune and botching the leader's arrangements".


"Light from a Hidden Sun" – 3:52
"Pin-Points of Spiral Prisms" – 4:41
"Silhouettes of the Shadow World" – 7:20
"Cocktails for Two" (Sam Coslow, Arthur Johnston) – 3:21
"'Round Midnight" (Bernie Hanighen, Thelonious Monk, Cootie Williams) – 6:39
"Lady Bird/Half Nelson" (Tadd Dameron, Miles Davis) – 7:58
"Big John's Special" (Horace Henderson) – 3:37
"Yeah Man!" (Fletcher Henderson, Noble Sissle) – 3:29
"Disguised Gods in Skullduggery Rendez Vous" – 9:05
"Queer Notions" (Coleman Hawkins) – 2:44
"Limehouse Blues" (Philip Braham, Douglas Furber) – 3:44
"King Porter Stomp" (Jelly Roll Morton) – 3:32
"Take the "A" Train" (Billy Strayhorn) – 5:07
"Lightin'" (Duke Ellington) – 2:43
"A Helio-Hello! And Goodbye Too!" – 3:12

Sun Ra Arkestra – Sunrise In Different Dimensions (1980)
(320 kbps, cover art included)

Donnerstag, 15. September 2022

The Ex - Disturbing Domestic Peace (1980)

Emerging out of Amsterdam's vibrant squat scene in 1979, The Ex – a name chosen for the ease and speed with which it could be spray-painted onto a wall – have for four decades been an entirely self-sustaining musical entity, charting a course through the global underground with a spirit of freedom and radical exploration.

"Disturbing Domestic Peace", The Ex's debut album, appeared mere months after their first single, 1980's "All Corpses Smell The Same". Originally released on the band's own Verrecords (they made up different label names with each record), the LP falls squarely within a punk idiom and, at the same time, shows this influential Dutch group's restless energy. Terrie Ex's guitar serves up vectors of percussive pulse, fraying the edges of the music's squared-off rhythms. Vocalist G.W. Sok – an anarchist Dziga Vertov with a mic – observes, declaims and condemns across a set of interrelated political concerns that would return in Ex-music for years to come.

While The Ex channel the poise and principled attack of Crass or Flux Of Pink Indians, they create a unique declamatory sound all their own – trailing brilliant flashes of color in the wake of punk's monochrome palette. Offering ten songs in only twenty-two minutes, "Disturbing Domestic Peace" lays bare a vivid snapshot of a truly singular band who (at the time) were just finding their feet.

This album comes with free bonus live 7" "Live~Skive" (on Eh Records).


A1 The Sky Is Blue Again 2:01
A2 Map 1:14
A3 Outlook-Army 0:39
A4 Sucking Pig 1:58
A5 A Sense Of Tumour 4:00
B1 Meanwhile 3:54
B2 Rules 1:41
B3 Squatsong 1:51
B4 Warning-Shot 2:55
B5 New Wars 2:46

C1 Introduction
C2 Human Car
D1 Punk
D2 Horse

The Ex - Disturbing Domestic Peace (1980)
(320 kbps, cover art included)

Samstag, 10. September 2022

Manderley - ...fliegt, Gedanken, fliegt... (1976, Pläne)

The Dortmund based Folkrock ensemble "Manderley" belonged to the best that the german folkscene offered in the seventies. They only recorded this one album, which was released by Pläne Records. Guitarist Pit Budde and violinist Klara Brandi went ahead and founded the more famous Cochise band - probably the hottest political folk rock band in Germany from the late seveties to the mid-eighties.   

Manderley was found in 1975 in Dortmund. The band played folk and rock music with political lyrics. In 1976 they recorded in just two weeks at "Ton am Dom", Cologne the album "...fliegt, Gedanken, fliegt...", which was releasd on the Pläne label.

The re-release on CD contained two bonus tracks that were recorded Jan. 1986 live at the Fritz-Henssler-Haus, Dortmund.


1 Sagt mir, wer sie sind
2 Bluhs
3 No. 6
4 Der Traum des Schmieds
5 Eine andere Frau
6 Fliegt Gedanken, fliegt
7 Da muss doch wohl ein Ausweg sein
8 Ballade vom kleinen Florestan
9 Erinnerungen an Les Saintes Maries de la Mer
10 Sacco's Brief
11 Komm mit mir
12 You'd better listen
Bonus Tracks:
13 You'd better listen (live)
14 Jeder Traum (live)

Manderley - ...fliegt, Gedanken, fliegt... (1976, Pläne)
(320 kbps, cover art included)

Klaus Lenz - Für Fenz (Amiga, 1970)

Klaus Lenz (born March 22, 1940 in Berlin ) is a German jazz musician , band leader and composer, mainly in the modern jazz style . He lived in the GDR until 1977 and is considered the nestor of the GDR jazz scene. 

Many well-known performers such as Manfred Krug, Günther Fischer, Reinhard Lakomy, Henning Protzmann ( Karat ), Günter "Baby" Sommer and Ulrich Gumpert learned the musical craft from him and recorded successful albums with him. Klaus Lenz played with constantly changing line-ups, a testament to his constant search for new musical forms of expression. With every formation he achieved a high standard. In addition to his engagement as a jazz musician, he composed in the pop area, he arranged for well-known orchestras and wrote film and theater music, including for the DEFA films Wedding Night in the Rain (1967), Käuzchenkuhle (1968), Not with me, Madam! (1969), Sleeping Beauty (1970), Hey, You! (1970) and Stülpner legend (1972/1973).

Due to problems with the authority he left East Germany in 1977 and settled down in the western part of Germany where he would record only two more albums (both with another giant, Zbigniew Namyslowski). 


01. Glückliches Mädchen (2:55)
02. Weselmy sie (3:33)
03. Warum willst du denn anders sein? (2:38)
04. Tornado (2:24)
05. Es steht ein Haus in New Orleans (4:37)
06. Zottos (3:20)
07. Sei so, daß ich dich lieben kann (3:17)
08. Grashalme (3:20)
09. Goldocker (2:27)
10. Lachen oder weinen (3:05)
11. Nanette (3:22)
12. Pimo (2:34)

(320 kbps, cover art included)

Cochise - Rauchzeichen (1979)

Cochise from Dortmund played folk music with mostly political lyrics inspired by left wing perspective.The band was founded in 1979 and became one of the musical voices of the alternative movement in Germany.
They developed an unique lyrical and musical language connecting the political contents of the 70s and 80s with powerfull, delightfull music and the rebellious attitude of a whole generation.

"Rauchzeichen" was their debut album, recorded in August 1979 at Ton Studio St. Blasien, Northeim.
These are the lyrics of the title track of the album, a cover of "Rauchzeichen" by Ape, Beck & Brinkmann.


Wenn ihr den letzten Baum zerstört
Dem letzten Fluss die Klarheit nehmt
Den letzten Wilden habt bekehrt
Der Vogel nicht mehr singt
Die letzte Straße angekommen
Der letzte Wald zum Parkplatz wird
Der letzte Krieg endlich gewonnen
Der letzte Strand mit Öl verschmiert

Werdet ihr erst dann einseh'n
Dass ihr euer schönes Geld
Auf der Bank nicht essen könnt –
Welch Menge ihr auch nennt?

Wenn ihr den letzten Fisch gefangen
Die letzte Erde aufgeteilt
Die letzte Bombe hochgegangen
Die letzten Ernten sind verseucht
Die letzte Mutter Kinder liebt
Der letzte Mensch durch Folter stirbt
Der letzte Gott den Segen gibt
Der letzte Hitler für sich wirbt

Werdet ihr erst dann einseh'n
Dass ihr euer schönes Geld
Auf der Bank nicht essen könnt –
Welch Menge ihr auch nennt?

Wenn das letzte Meer voll Abfall ist
Die letzte Erde ausgehöhlt
Der letzte Tanker langsam bricht
Das letzte Paradies zerstört
Die letzte Menschlichkeit besiegt
Das letzte Hochhaus hoch genug
Die letzte Lüge Beifall bringt
Die letzte Blume fault im Wind

Werdet ihr erst dann einseh'n
Dass ihr euer schönes Geld
Auf der Bank nicht essen könnt –
Welch Menge ihr auch nennt?

Werdet ihr erst dann einseh'n
Dass ihr euer schönes Geld
Auf der Bank nicht essen könnt –
Welch Menge ihr auch nennt?"


1 Rolltreppe abwärts 4:13
2 Was kann schöner sein...! 5:13
3 Ballade von der Hester Jonas 4:26
4 Der bitterböse Friederich 3:44
5 Das Anarchistenschwein 2:46
6 Kannst Du das mitansehen 5:02
7 Rauchzeichen 4:22
8 Im Laufe der Woche 7:14
9 Jeder Traum 3:55

Cochise - Rauchzeichen (1979)
(192 kbps, cover art included)

Dienstag, 6. September 2022

Hanns Eisler - Septett Nr. 2, Nonett Nr. 1 & 2 (Nova, 1973)

Hanns Eisler died 60 years ago, September 6, 1962. Thanks a lot for all the inspriring music!

As a Schoenberg pupil, political musician, peripatetic travellerand emigrant, musical and administrative visionary, and Brecht‟s closest musical collaborator, Hanns Eisler (1898-1962) inhabited many worlds. As a composer, he constantly sought to bridge the gaps between popular and “classical,” between the street and the concert hall, and between music for the masses and music for private, individual experience. He accompanied his prolific musical output with a steady of stream of writings and interviews characterized by the same sharp wit and dialectical thinking found in his music. 

For Eisler, a committed Marxist, these different spheres were all part of the same conceptual universe, and sprang from his lifelong aim to create music useful to Socialism. Any composer, he believed, should be able to compose a marching song for a political demonstration, easy piano pieces for children, music for a Hollywood film, a large-scale symphony for chorus and orchestra, a lyrical song cycle, or a string quartet, depending on need and circumstances.

Eisler´s deportation from the U.S. after hearings before the House Committee on Un-American Activities as well as his status as East Germany‟s leading composer have colored his reception in western countries. Although Eisler has received increasing attention in recent years, his output of 15 orchestra works, 50 choruses, 23 chamber music works, 20 cantatas, c. 250 Lieder, 37 stage works und 39 film scores was largely neglected in the West during the Cold War, when the composer was known primarily as the composer of the East German naional anthem, “Auferstanden aus Ruinen.”


Septett Nr. 2 "Zirkus", aufgenommen 1965
Nonett Nr. 1 , aufgenommen 1967
Nonett Nr. 2, Suite für neun Instrumente, aufgenommen 1967

Hanns Eisler - Septett Nr. 2, Nonett Nr. 1 & 2 (Nova, 1973)
(256 kbps, cover art included)

Sonntag, 4. September 2022

Víctor Jara - El Derecho De Vivir En Paz (1971)

Chileans are voting today in a referendum on whether to adopt a progressive new constitution that would enact broad institutional reforms, transforming a market-driven society into one that is more welfare-based.

"El derecho de vivir en paz" ("The right to live in peace") is an album by Víctor Jara released in 1971.

The title song from this album,"El derecho de vivir en paz" (The right to live in peace), was originally dedicated to the Vietnamese communist leader Ho Chi Minh, as the United States waged war in Vietnam. After the Pinochet regime took power in Chile, Victor Jara was subsequently tortured and murdered. 

In the wake of Jara’s death, “El Derecho de Vivir en Paz” has since served as a chilling memento for the Chilean people. 

The song was widely sung by protesters during the 2019 Chilean protests including by a people's ensemble of almost a thousand guitarists. Subsequently to lend their support to the protesters, Chilean musicians living around the world released their own version on Facebook. Another rendition of the song was released by a Chilean all-stars ensemble with artists including Francisca Valenzuela, Mon Laferte and Gepe to show their support for the Chilean resistance.

"El derecho de vivir en paz" [The right to live in peace] – 4:34
"Abre la ventana" [Open your window] – 3:55
"La partida" [The departure] – 3:26
"El niño yuntero" [Boy of the Yoke] (Miguel Hernández, Jara) – 3:44
"Vamos por ancho camino" [Making our way via broad avenues] (Jara, Celso Garrido Lecca) – 3:17
"A la molina no voy más" [I won't go back to the mill] (popular Peruvian song) – 3:13
"A Cuba" [To Cuba] – 3:59
"Las casitas del barrio alto" [lit. Uptown neighbourhood, adap. of Little Boxes] (Malvina Reynolds, Jara) – 2:30
"Con el alma llena de banderas" [Our hearts are full of banners] – 4:00
"Ni chicha ni limoná" [Nor fish nor fowl] – 3:23
"Plegaria a un labrador" [Prayer to a laborer] – 3:16
"B.R.P." [Brigada Ramona Parra] (Jara, Víctor Rojas, Lecca) – 3:14

(256 kbps, cover art included)

Freitag, 2. September 2022

Davy Graham - Large As Life and Twice As Natural (1968)

Original sleeve notes by Ray Horricks:

"This is Davy Graham's third adventure on an LP …and along roads that are folk, blues, jazz, Arabic, Indian-and one or two more things. Travelling with a guitar and also Danny Thompson, bass Jon Hiseman, drums, Harold McNair, flutes, and Dick Heckstall-Smtih, saxophones. Travelling like Baudelaire's travellers; 'who move simply to move'. The man himself is equally at home in Edinburgh ('a stately city'); Glasgow ('such warm acid'); or in Athens ('gold and purple in the evening. Smooth as marble hollow solid eyes of panthers. So exhausting for strangers.') But he is never at home in any one place for very long. And this seems to be in exact parallel with his music. For he cannot be pigeonholed: fortunately.

He is a life-member on the roundabout of alteration. Like his deep-down blues, and you have to accept his setting of a 1000 year old Romeo and Juliet story. Go with him on a musical flight to Morocco ('Jenra' : pavilion'd in splendour) and the return journey will be via an extended raga. But always-I should add-in the company of originality. For after introducing North African music to Western guitar, he has now done the same for India. It's a bit like Dr Bannister running his 4-minute mile and then going off in search of another distance. All of which is quiet disparate, but also very thorough and exciting and satisfying. In the past few years Davy has played his folk at the Edinburgh Festival, his jazz in some of the best clubs in London, his Arabic interpretations in Tangier and his ragas to people who know Ravi Shankar's records. (Unlike those who have gone to India for a 3-week Sitar course, he has investigated the form of ragas.) So far nobody who has listened has found his music a disappointment. And certainly not the many who have brought his two previous LPs.

Following this later collection I know have no idea where his next stop will be. He might take a bicycle to Mexico or slip inside a carrier pigeon's message to Senegal. Or it could be Canterbury. At least I know it will be fascination though as his producer of records, apart from supervising the sessions, I have found myself becoming more and more an editor of the ideas, which zoom out from him like flying saucers, with there origins just as mysterious. He will sometimes break off in the middle of a 'take' that another guitarist might become a Faust for, to tell me about three points of recording and it is preserved there for everyone to buy-he rarely performs it before an audience again. "I have to avoid the cliche," he says. "I want to keep them on the move…"

Well on behalf of those of us who have done cur best to keep up with him. I hope he does."


01. Both Sides Now (Mitchell)
02. Bad Boy Blues (Trad.; Arr. Graham)
03. Tristano (Graham)
04. Babe, It Ain't No Lie (Trad.; Arr Graham)
05. Bruton Town (Trad.;Arr Graham)
06. Sunshine Raga (Graham)
07. Freight Train Blues (McDowell)
08. Jenra (Graham)
09. Electric Chair (Unknown)
10. Good Moring Blues (Trad.; Arr. Ledbetter)
11. Blue Raga (Graham)

Davy Graham - Large As Life and Twice As Natural (1968)
(256 kbps, cover art included)

Donnerstag, 1. September 2022

Karen Dalton - In My Own Time (1971)

"In My Own Time" is the second and final studio album by Karen Dalton, released by Paramount Records in 1971. The album was produced by Harvey Brooks and was the last of Dalton's work to be released before her death in 1993.

Writing for AllMusic, Thom Jurek praised the album "a more polished effort than her cozy, somewhat more raw debut... If one can only possess one of Karen Dalton's albums, In My Own Time is the one. It creates a sound world that is simply unlike any other; it pushes the singer outside her comfort zone and therefore brings listeners to the place Dalton actually occupied as a singer. Without apology or concern for technique, she could make any song her own, creating a personal narrative that could reach outside the song itself, moving through her person and becoming the truth for the listener." 

Steven M. Deusner of Pitchfork Media wrote the album "reveals a demanding, intuitive, eccentric singer and arranger who never sang her own words but clearly and confidently expressed herself with others'."


Something On Your Mind 3:20
When A Man Loves A Woman 2:56
In My Own Dream 4:15
Katie Cruel 2:20
How Sweet It Is (To Be Loved By You) 4:41
In A Station 3:48
Take Me 4:38
Same Old Man 2:38
One Night Of Love 3:10
Are You Leaving For The Country 3:08

(192 kbps, cover art included)

Dienstag, 30. August 2022

Pharoah Sanders – Karma (1969)

Pharoah Sanders' third album as a leader is the one that defines him as a musician to the present day. After the death of Coltrane, while there were many seeking to make a spiritual music that encompassed his ideas and yearnings while moving forward, no one came up with the goods until Sanders on this 1969 date. 

There are only two tracks on "Karma", the 32-plus minute "The Creator Has a Master Plan" and the five-and-a-half-minute "Colours." The band is one of Sanders' finest, and features vocalist Leon Thomas, drummer Billy Hart, Julius Watkins, James Spaulding, a pre-funk Lonnie Liston Smith, Richard Davis, Reggie Workman on bass, and Nathaniel Bettis on percussion. 

"Creator" begins with a quote from "A Love Supreme," with a nod to Coltrane's continuing influence on Sanders. But something else emerges here as well: Sanders' own deep commitment to lyricism and his now inherent knowledge of Eastern breathing and modal techniques. His ability to use the ostinato became not a way of holding a tune in place while people soloed, but a manner of pushing it irrepressibly forward. Keeping his range limited (for the first eight minutes anyway), Sanders explores all the colors around the key figures, gradually building the dynamics as the band comps the two-chord theme behind with varying degrees of timbral invention. When Thomas enters at nine minutes, the track begins to open. His yodel frees up the theme and the rhythm section to invent around him. At 18 minutes it explodes, rushing into a silence that is profound as it is noisy in its approach. Sanders is playing microphonics and blowing to the heavens and Thomas is screaming. They are leaving the material world entirely. When they arrive at the next plane, free of modal and interval constraints, a new kind of lyricism emerges, one not dependent on time but rhythm, and Thomas and Sanders are but two improvisers in a sound universe of world rhythm and dimension. There is nothing to describe the exhilaration that is felt when this tune ends, except that "Colours," with Ron Carter joining Workman on the bass, was the only track that could follow it. You cannot believe it until you hear it.


01. The Creator Has A Masterplan
02. Colors

Pharoah Sanders – Karma (1969)
(192 kbps, cover art included)

Jorge Ben‎ - Fôrça Bruta (1970)

The combination of Jorge Ben and Trio Mocotó had already produced great things when "Força Bruta" first appeared in 1970. Ben's self-titled album of the year before had reeled off a succession of Brazilian hits, including "País Tropical" and "Cadê Teresa," and made the four musicians very busy as a result.

"Força Bruta" was a slightly different album, a slice of mellow samba soul that may perhaps have been the result of such a hectic schedule during 1969. One of the hidden gems in Jorge Ben's discography, it's a wonderful album because it kept everyone's plentiful musical skills intact while simply sailing along on a wonderful acoustic groove that may have varied little but was all the better for its agreeable evenness. The songs may have been more difficult to distinguish - virtually every one began with acoustic guitar, similar instrumentation, and Ben's caressing vocals over the top - but it made the record one of the best in Ben's hearty career.   


A1Oba, Lá Vem Ela
A2Zé Canjica
A3Domenica Domingava Num Domingo Linda Tôda De Branco
A4Charles Jr.
A5Pulo, Pulo
B1Apareceu Aparecida
B2O Telefone Tocou Novamente
B3Mulher Brasileira
B5Fôrça Bruta

Jorge Ben‎ - Fôrça Bruta (1970) 
(192 kbps, cover art included)         

Sonntag, 28. August 2022

VA - Kill The Nation With A Groove (Buback, 1992)

After the German reunification in 1990, there was a growing wave of racism. This became a major theme of the early German hip hop.

During 1992–93 many acts of protest occurred in the wake of rising anti-immigration sentiment in Germany. Amongst the angst of this period, the content of German hip hop started to become more politicized. Additionally, the language of the music started to reflect a more local voice. The group Advanced Chemistry has been noted as one of the first to incorporate social critiques of growing prejudice and racism in Germany. "…the newly emerging hip hop movement took a clear stance for the minorities and against the marginalisation of immigrants who, as the song said, might be German on paper, but not in real life"

Advanced Chemistry was a prominent hip hop group because of the ethnic diversity of the members. Torch, the leader of the group for instance is both of a Haitian and German ethnic background.[ Advanced Chemistry exploded onto the German hip hop scene in November 1992 with their first mixed single entitled "Fremd im eigenen Land" (Foreign in Your Own Country). This song was immensely popular because it directly addressed the issue of immigrants in Germany: "In the video of the song, a band member brandishes a German passport in a symbolic challenge to traditional assumptions about what it means to be German. If the passport is not enough, the video implies, then what is required? German blood?".


1 Deep Coloured - High
2 Absolute Beginner - K.E.I.N.E.
3 Readykill - War Theatre Of Operations '91
4 EazyBusiness - Save The Kids(Remix)
5 No Remorze - Killa Squad
6 AJ, Big Talks & The DJ - Soul Prologue
7 Cora E - Swift
8 2BIAS - Hier im Viertel
9 2Lo - How To Kill A Sucka
10 Advanced Chemistry - Fremd im eigenen Land
11 IQ - Sensimilla(Remix)

VA - Kill The Nation With A Groove (Buback, 1992)
(320 kbps, cover art included)

Samstag, 27. August 2022

Weep Not Child - From Hoyerswerda To Rostock (Buback, 1992)

Germany is marking one of the worst xenophobic attacks in its postwar history. Thirty years ago, a far-right mob gathered in the East German city of Rostock and attacked a housing complex for asylum-seekers and immigrants.

There is one notable mistake that can be made in remembering the pogrom: Rostock-Lichtenhagen 1992 is not a singular event, but one of the culminations of a series of events that have been forgotten in places. In addition to the attacks in Mölln, Solingen, Hoyerswerda and other places, there were countless racist, anti-Semitic and anti-Gypsy motivated attacks throughout the reunified Federal Republic at the beginning of the 1990s (and also later), which, however, received hardly any media attention. Viewing Lichtenhagen as a singular event and not consciously linking it to all of these events at the beginning of the 1990s would probably be trivializing.

Today there is a memorial demonstration in Rostock with a nationwide mobilization commemorating the pogrom at Rostock-Lichtenhagen 30 years ago. Supporting this demonstration we post "From Hoyerswerda To Rostock" from Weep Not Child. This was one of the first hip hop crews - together with Advanced Chemistry and others - which reflected racism in the reunified Germany.

The album was recorded at VOLLTON Studio in Oberhausen, Oktober 1992.

Adegoke Odukoya, better known as Ade Bantu (born 14 July 1971 in Wembley, London), is a Nigerian-German musician, producer and social activist who is the front man of the 13 piece band BANTU and the creator of the monthly concert series and music Festival Afropolitan Vibes which holds in Lagos, Nigeria. Ade Bantu is also the founder of the Afro-German musical collective Brothers Keepers. His band BANTU received the Kora Award (the Pan-African equivalent of the Grammy) for their album Fuji Satisfaction in 2005.

In 1992 he was approached by Fonk Free aka Moreno (Oliver Freyman) and DJ An-dré (André Schröter) and together they founded the band "Weep Not Child" releasing "From Hoyerswerda to Rostock" (Buback Records, 1992) and "Liberation thru Music & Lyrics" (Groove Attack, 1994). Their music clip "Je Ka Bere" was featured in the European campaign of Media Against Racism.


01 From Hoyerswerda To Rostock
02 Introduction To Jazz
03 Reperation
04 Weep Not Child
05 You Know How To Get Down
06 He's Lost It All

Weep Not Child - From Hoyerswerda To Rostock (Buback, 1992)
(320 kbps, cover art included)

Freitag, 26. August 2022

Dobrek Bistro - Bistro Live (2003)

It was love at first tune. When Polish accordionist Krzysztof Dobrek and Russian violinist Aliosha Biz first met during the rehearsals for “Fiddler on the Roof”at the Vienna Theatre, it was clear that their future artistic direction would be a common one. First, Aliosha and Krzysztof refined their emphatic interplay in the Burgtheater ensemble, accompanying Maria Bill and in the “Acoustic Drive Orchestra.”The time arrived to find a common musical language which would be uniquely theirs.

Supported by percussionist Luis Ribeiro and Sascha Lackner (bassist) they founded “Dobrek Bistro." The name of the French restaurant comes from the Russian word bystro (fast). With its name, the quartet describes the virtuoso speed of its performances as well as the melancholic elegance Dobrek, the composer of all the pieces, admires so much in the Parisian musette.

Musette and Latin American styles such as salsa, tango and bossa nova, jazz, gypsy swing, classical influences, music of the Balkans, the orient, of the gypsies and eastern European Jews as well as Slavic folk music are the ingredients of this mixture of styles. To brand it ‘fusion’or ‘crossover’would be hackneyed. Perhaps Dobrek Bistro will enter the annals of musical history as its own genre: too playful, head-on and improvised to count as chamber music, while paying too much respect to traditional forms to be considered as jazz - and with too many influences from modern classical and classical jazz movements merely to count as ethnic chamber music.

The secrets of its kitchen are best discerned by its Maître de cuisine, Krzysztof Dobrek, himself. “Our Salsa sounds gypsy-like, the Tango Viennese, the jazz Yiddish, and the mussette has a Russian touch.”Yes; and one could add that the musical provinces sound like the big wide world, and that the big wide world does not deny its cultural roots: at Dobrek Bistro.


1. Unterwegs
2. Sahara
3. Jahrmarkt
4. Tango Nr.9
5. Musettka
6. Tanz der Schatten
7. Dans le Brouillard
8. Odessa
9. Dumka

Dobrek Bistro - Bistro Live (2003)
(ca, 224 kbps, cover art included)

Mittwoch, 24. August 2022

Roots Control - Dread Western (WordSound, 1996)

Do not be alarmed by the album title, by the faux-Western cover design (yes, those are blunts tucked up next to the cowboy boot) or by song titles like "Tumbleweed" and "The Dub Posse Rides Again." Try to bear in mind that Lee "Scratch" Perry Himself once mined themes like these and somehow managed to produce immortal reggae as a result. 

It didn't sound quite like this, however. Roots Control (C Skiz and Likkle Jer) ride for the Brooklyn brand, so whereas the Upsetter put Western themes to the service of an elastic, loping rock steady groove, these guys are all about bass. 

"Great Train Robbery" is pretty much nothing but sloppy drums and a simplistic, but surprisingly effective, bassline; "Medicine Man Dub" is built on a slow rockers beat with a few shreds of keyboard and the occasional disembodied voice thrown in; "Tuff Gong" varies the percussion texture but maintains a slow, shuddering bass sound. Likkel Jer's voice is a bit whiny, but he doesn't use it much-mostly he's content to just lay down good, solid, meat-and-potatoes reggae and to dub it up tastefully. 

The result is some of the best reggae ever to come out of Brooklyn.

1 North 11th Skank 5:20
2 Great Train Robbery 5:14
3 High Plains Drifter 4:56
4 Theme From Dread Western 5:28
5 The Dub Posse Rides Again 4:41
6 Tumbleweed 6:59
7 Medicine Man Dub 4:55
8 Tuff Gong 3:11
9 For A Few Dubs More 3:45
10 The Dub Also Rises 5:44
11 Roots Control 5:57

Roots Control - Dread Western (WordSound, 1996)
(320 kbps, cover art included)

Jaimie Branch died on Monday - RIP!

Jaimie Branch, jazz composer and trumpeter, died aged 39 on Monday.

Signed to International Anthem, Branch released two solo albums and her voracious collaborations included the likes of TV on the Radio, Spoon and Alabaster dePlume.

Thanks a lot for the wonderful music - RIP!

Jaimie Branch - Theme 001 (Live at Moods 1/23/2020)

Boogu Yagga Gal - Jamaican Mento

Mento is traditional Jamaican Folk Music, it came about before reggae, dancehall or ska. It's played on simple folk instruments, usually a guitar, a banjo or fiddle, hand drums or shakers and a rumba box (a very large mbira or thumb piano in the low bass register).


The songs are traditionally chock-full of bawdy double entendres and poorly veiled sexual humor, which makes them rowdy and fun. Some people refer to this music as Jamaican Calypso, but its different in rhythm, instrumentation and lyrical content than Trinidadian Calypso.

The songs included in this 22 track compilation are well-chosen and present a really nice picture of the mento sound, feel and, very importantly, the humor of this almost-lost genre of folk music.


1 Count Lasher– Calabash
2 Count Lasher– Miss Constance
3 Count Lasher's Calypso Quintet– Dalvey Gal-Parson
4 Count Lasher's Calypso Quintet– Slide Mongoose
5 Charlie Binger And His Calypsonians– Talking Parrot
6 Charlie Binger And His Calypsonians– Cinemascope
7 The Jamaican Calypsonians– Dr. Kinsey
8 The Jamaican Calypsonians– Etheopia
9 Local Calypso Quintet– No Money No Music
10 Local Calypso Quintet– Rough Rider
11 Chin's Calypso Sextet– Boogu Yagga Gal
12 Chin's Calypso Sextet– Depression
13 Chin's Calypso Sextet– Big Boy And Teacher
14 Chin's Calypso Sextet– Red Tomato
15 Chin's Calypso Sextet– Calypso Pepperpot
16 Chin's Calypso Sextet– Woman Tenderness
17 Calypso Quintet– Walk And Talk
18 Calypso Quintet– Night Food
19 Bedasse– Look Out Fe You Tongue
20 Bedasse– Jamaica Gal
21 Lord Power & His Calypsonians– Mambo La-La
22 Lord Power & His Calypsonians– Special Amber Calypso

Boggu Yagga Gal - Jamaican Mento
(192 kbps, cover art included)

Samstag, 20. August 2022

Ton Steine Scherben - Warum geht es mir so dreckig? (1971)

Rio Reiser, the frontman of Ton Steine Scherben, died 26 years ago. We miss you!

Ton Steine Scherben (TSS) are regarded as one of the first genuine German-language rock groups. The band´s frontman Rio Reiser is credited with cementing the positive connection between rock music and German lyrics.

The group´s name translates as "Clay Stones Shard", thus both indicating the city´s architecture and suggesting the post-punk "return to concrete". TSS took a strong anti-capitalist stance and became the musical spokespeople of West Berlin´s left wing. They produced and distributed their work on their own "David (re. Goliath) Volskmund (people´s voice)" label, had links with the squatter scene, the Rote Armee Fraktion in its early days and the Green Pary.

Their single "Macht kaputt, was euch kaputt macht" became a youth portest motto in the early 1970s and the song "Keine Macht für niemand" ("No power for no-one") was a familiar graffiti slogan. Rio Reiser preferred to identify with worker´s interests than with those of the intellectual left wing and the band were frequently invited to play for political rallies and demonstrations.

TSS´s lyrics demonstrated a commitment to a utopian anarchy of "Solidarity" ("Mein Name ist Mensch", "Der Traum ist aus"), a lifestyle which the group attempted to live out with friends and supporters, first in a Berlin commune then in a group-repaired farmhouse in Nordfriesland. What is prominet is the urgently declaimed idealist lyrics delivered by Reiser´s emotional but arresting voice and the band´s obvious sincerity.                                                                           


A1 Ich will nicht werden, was mein Alter ist
A2 Warum geht es mir so dreckig
A3 Der Kampf geht weiter
A4 Macht kaputt, was euch kaputt macht

B1 Mein Name ist Mensch
B2 Sklavenhändler
B3 Alles verändert sich

Ton Steine Scherben - Warum geht es mir so dreckig? (1971)
(320 kbps, cover art included)