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)

Leadbelly - Bourgeois Blues - Lead Belly Legacy Vol. 2

This is volume 2 of a projected 3-volume set of Lead Belly's performances recorded by Moses Asch during the 1940s. The original masters now reside in the Folkways Archive at the Smithsonian Institution.
Completely remastered from the best sources in our collections, this recording contains the highest sound quality possible. The liner notes contain extensive annotation and reflections on Lead Belly's music as you've never heard it before. Compiled and annotated by Jeff Place. "The soul expressed is full-fledged and sublime." — New England Folk Almanac


Fannin Street 3:01
Bourgeois Blues 2:17
Easy Rider 2:50
Alabama Bound 2:16
Don't You Love Your Daddy No More? 3:01
Gallis Pole 2:44
Leavin' Blues 1:29
Midnight Special 2:01
T.B. Blues 3:42
Linin' Track 1:14
Julie Ann Johnson 0:40
John Henry 2:24
Jim Crow Blues 3:29
Jim Crow #2 2:42
Good Morning Blues #2 2:08
Abraham Lincoln 3:10
Army Life 1:46
Hitler Song 4:32
Careless Love 2:56
Haul Away Joe 2:48
How Do You Know?/Don't Mind The Weather 2:17
Skip To My Lou 2:10
Red Bird 2:54
Out On The Western Plains 1:30
Cowboy Song 1:43
You Can't Mistreat Me 3:13
Diggin' My Potatoes 2:33
John Hardy 2:42

Leadbelly - Bourgeois Blues - Lead Belly Legacy Vol. 2
(192 kbps, cover art included)

Abiodun Oyewole‎ - 25 Years

One of the original Last Poets, Abiodun Oyewole issued this excellent recording in 1995 on the Rykodisc imprint as part of producer Bill Laswell's Black Arc series. Laswell, who produced the set, gathered together a who's who of New York's downtown best to assist on "25 Years". That cast includes Henry Threadgill, Aiyb Deng, Umar Bin Hassan, Don Babatunde, Brandon Ross, and Ted Daniel, to name a few.

Oyewole offers the dead on proof that he is a rapper of the first order amid drums, fat rumbling basslines, rumbling percussion, reeds, and voices. His themes are related to that of the lifelong revolutionary - a diehard who never gives up hope - the irony of thug life, love and lust, unity, Rastafarianism, and the struggle of living and dying in a racist America where the only real interest of the current system is preservation at all costs no matter how bloodthirsty and cannibalistic the means to that end.

Oyewole is a prophet whose anger is righteous but whose compassion is real. His motivation is spiritual, based on the love of justice and a true equality: where what is equal is not defined by lip service but in the actions caused the removal of ignorance. Dub reggae, steamy funk, hip-hop, poetry and jazz are the means by which these articulations are brought to fruition. It is as consistent as anything by the Last Poets, and the music is as profound and moving as the message. This may be a bit tricky to find, but is well worth any effort one takes to find it.            

  1/  When the Revolution Comes               
  2/  Sample This                              
  3/  Brown Sugar                              
  4/  Dread Brother                            
  5/  Festival                                 
  6/  Son's Rising                             
  7/  Brothers Working                         
  8/  25 Years                                

Abiodun Oyewole‎ - 25 Years
(256 kbps, cover art included)

VA - Folk Roots: The Sound of Americana

An interesting and varied set of folk recordings originally done for Diane Hamilton and Patrick Clancy's "Tradition Records" between 1955 and 1961, "Folk Roots: The Sound of Americana" may not exactly live up to its title but it does feature some striking recordings, most notably Odetta's powerful version of "Chilly Winds," Etta Baker's spry guitar instrumental take on "Goin' Down the Road Feeling Bad," Barbara Dane's stirring "Who's Gonna Shoe Your Pretty Little Foot," and Mrs. Edd Presnell's chiming dulcimer run-through of "Amazing Grace."

Also worth noting is John Jacob Niles' affected vocal (he sounds like Tiny Tim gone dramatically folky) on "The Death of Queen Jane," a recording that is almost perversely fascinating. Lord knows no Appalachian ballad singer ever sounded like that no matter how much moonshine he might have put away.

Folk Roots - The Sound Of Americana
(192 kbps, front cover included)

Eva-Maria Hagen - »Joe, mach die Musik von damals nach ...« - Eva-Maria Hagen singt Brecht

Eva-Maria Hagen died yesterday - rest in peace!

Born on October 19, 1934, Eva-Maria Hagen started her stage career in 1953, still under Bertolt Brecht who was then boss of the world-famous Berliner Ensemble theater. When she started a relationship with the ostracized songwriter and poet Wolf Biermann in 1965, the GDR authorities started harassing her, leading to subsequent bans on her work as a performer and actress.
In 1977, after protesting against Biermann's expulsion from the GDR the year before, Hagen was forced to relocate to West Germany herself and settled in Hamburg with her daughter Nina Hagen . From there she started a successful career interpreting songs by Wolf Biermann and Bertolt Brecht. Her debut album, "Nicht Liebe ohne die Liebe" (1979), was a collection of Russian and Gypsy folk songs translated into German by Wolf Biermann. Biermann started to write songs for her which she released on the album "Ich leb' mein Leben" in 1981. On "Das mit den Männern und den Frau'n" (1985) and "Michael, Michael" (1986) she continued the collaboration with Biermann.
After the fall of the wall in 1989, she was finally allowed to perform again in East Germany. Besides many theater and film projects, as well as exhibitions of her paintings, she continued to release CDs: "Wenn ich erstmal losleg" (1996) with new Biermann songs using Baltic folk material, and on the occasion of Brecht's 100th birthday she released "Joe, mach die Musik von damals nach" (1997). Her book "Eva und der Wolf" (1998) about her time together with Biermann was a big success in Germany. In 1999 she released another album with Biermann songs: "Eva Singt Wolfslieder".
Eva-Maria Hagen about her album with songs of Bertolt Brecht:
"This was a present I gave myself to mark the centenary of Brecht the Master, in that I simply delved into his inexhaustible repertoire of songs (with music by Kurt Weill, Hanns Eisler, Paul Dessau) and trilled away free as a bird as far as my beak allowed…
These songs and ballads have been with me almost all my life.
As a special extra, I give a rendering of some Biermann settings of Brecht poems, and sing the Alabama Song with my daughter Nina."


1 Der Bilbao-Song (Weill) 4:38
2 Der Matrosen-Song (Weill) 3:55
3 Die Seeräuber-Jenny (Weill) 3:29
4 Das Lied vom Surabaya-Johnny (Weill) 3:58
5 Pollys Lied (Weill) 0:58
6 Die Ballade von der sexuellen Hörigkeit (Weill) 2:43
7 Der Song von Mandelay (Weill) 2:45
8 Lied eines Freudenmädchens (Eisler) 2:15
9 Lied vom kleinen Wind (Eisler) 1:57
10 Ballade vom Weib und dem Soldaten 3:13
11 Wiegenlied einer proletarischen Mutter (Eisler) 6:02
12 Ballade von der 'Judenhure' Marie Sanders (Eisler) 1:55
13 Lied vom Weib des Nazisoldaten (Eisler) 2:27
14 Deutsches Miserere (Erbarme dich!) (Eisler) 2:02
15 Lied von der belebenden Wirkung des Geldes (Eisler) 3:55
16 Lied vom Förster und der Gräfin (Dessau) 1:32
17 Ostern (Eisler) 1:43
18 Die haltbare Graugans (Eisler) 1:10
19 Herr Brecht (Text und Musik: Biermann) 0:54
20 Wenn das Haus eines Großen (Biermann) 0:54
21 Was an dir Berg war (Biermann) 0:40
22 Gegen die Objektiven (Biermann) 3:05
23 Beim Lesen des Horaz (Biermann) 1:06
24 Ziffels Lied (Biermann) 2:03
25 Denn wie man sich bettet (Weill) 2:50
26 Alabama-Song (Weill)
[Special Guest: Nina Hagen] 3:33
27 Die Moritat vom Mackie Messer (Weill) 2:53

(192 kbps, small cover included)                        

Mittwoch, 17. August 2022

Heiner Goebbels & Heiner Müller - Der Mann im Fahrstuhl (1988)

Happy Birthday, Heiner Goebbles! And thanks a lot for your great work!

This legendary staged concert was originally created for the first Frankfurt Art-Rock-Festival in 1987; between its premiere and 1990 it has been performed in Kassel - Opera, Strasbourg - Festival Musica, Zurich - Taktlos Festival, Vienna - Wiener Festwochen, Brussel - Kaaitheater, Leipzig - Jazz Festival, Berlin - Tempodrom, New York - Next Wave Festival, Frankfurt - Experimenta.

Using the texts of playwright Heiner Muller and collecting a wide range of imaginative musicians, Heiner Goebbels constructed a fascinating music-theater piece that mixes languages and musical styles. The text, read and sung by Arto Lindsay, concerns the thoughts and fears of an employee summoned to his boss' office and has something of a Brazil-like aura about it. Perhaps coincidentally, Lindsay interjects some Brazilian songs into the proceedings. But the highlight is the performance by this stellar ensemble, ranging from free to punkishly tinged jazz-rock to quasi-African. There are outstanding contributions from guitarist Fred Frith, trombonist George Lewis, and the late Don Cherry on trumpet, voice, and the African hunter's guitar known as the doussn'gouni. Goebbels brews a rich stew of overlapping languages and styles in a dense matrix that creates an appropriate feeling of angst, but never loses a sly sense of humor. If anything, some of "The Man in the Elevator" is reminiscent of Carla Bley's better known work and fans of hers as well as curious rock listeners should have no problem enjoying this one.
Brian Olewnick


1 In einem alten Fahrstuhl / In An Old Elevator 2:08
2 Es geht um einen Auftrag / It Concerns A Task 2:31
3 Fünf Minuten vor der Zeit / Five Minutes Too Early 1:49
4 Drei Stufen auf einmal / Three Steps At A Time 1:58
5 No Taboleiro De Baiana 0:56
6 Ein schneller Blick auf die Uhr / Quick Glance At My Watch 1:56
7 Allein im Fahrstuhl / Alone In The Elevator 2:14
8 Wilde Spekulationen / WIld Speculations 4:32
9 Der Chef / The Boss 0:40
10 Sein Selbstmord / His Suicide 2:32
11 Fita Nos Meus Olhos 2:38
12 Ich verlasse den Fahrstuhl / I Step From The Elevator 0:24
13 Ohne Auftrag / Without Any Task 1:36
14 Mitleid in Peru / Compassion In Peru 4:58
15 Trockener Schlamm mit Fahrspuren / Caked Mud With Vehicle Tracks 1:36
16 Heimweh nach dem Fahrstuhl / Homesick For The Elevator 1:24
17 Kalter Schweiß / Cold Sweat 1:32
18 Etwas wie Heiterkeit / Something Like Serenity 1:14
19 Diese Frau ist die Frau eines Mannes / This Woman Is The Wife Of A Man 0:47
20 Auf einem grasüberwachsenen Bahndamm / On A Railway Embankment 1:36
21 Worin besteht mein Verbrechen / What Is My Crime 3:33

Charles Hayward - drums, percussion
Fred Frith - guitar, bass
Heiner Goebbels - piano, synthesizer
Ned Rothenberg - saxophone, bass clarinet
George Lewis - trombone
Ernst Stötzner - voice
Arto Lindsay - voice, guitar
Don Cherry - voice, trumpet, strings [doussn' gouni]

Written By Heiner Müller

Heiner Goebbels & Heiner Müller - Der Mann im Fahrstuhl (1988)
(320 kbps, cover art included)

Donnerstag, 4. August 2022

Young Marble Giants - Collosal Youth (1980)

As punk rock was quickly morphing into post-punk at the end of the '70s, Welsh trio Young Marble Giants went against the amplified aggression and stylistic chaos of many of their peers, instead creating new worlds of expression through subtraction. The band's vacuous sound was almost jarringly minimal, with incredibly catchy songs consisting of Alison Statton's stoic vocals, fluid electric bass, unwavering skeletal drum machine rhythms, and the occasional stab of guitar or haunted organ sounds. 

The group were short-lived, leaving behind only a few EPs, demos, and "Colossal Youth", their sole full-length album from 1980, but their influence would ripple out to inform the sounds of future independent music creators from Nirvana to Belle and Sebastian. "Colossal Youth" perfectly captures the band's unique approach, with 15 short songs of their stark but rough-edged pop. 

Before forming Young Marble Giants, Statton and brothers Philip and Stuart Moxham had all played together in a band called True Wheel, who took their name from the title of a song on Brian Eno's 1974 outing Taking "Tiger Mountain (By Strategy)". While Eno's flirtations with funk and Kraftwerk's bare-bones electronic rhythms were reference points for Young Marble Giants' sound, it's hard to locate many other implicit influences on Colossal Youth. The sinister crawl of "N.I.T.A." and lonely riffing of "Music for Evenings" could serve as foundations for the songs of other post-punk bands, but few dared to present something so intentionally empty. The album's most conventionally structured songs -- tunes like atmospheric opener "Searching for Mr. Right" or the would-be rock & roll of "Credit in the Straight World" -- are defined by the sharp tension created by their unfinished-feeling arrangements. That moody tension co-exists with relatively cheery songwriting throughout Colossal Youth, maintaining a strange balance between the two contrasting energies for the entire album. 

Young Marble Giants weren't the only band to explore pop minimalism, but no one else during their time or afterwards quite captured the eerie beauty that floats through every moment of Colossal Youth. Its songs sound like a private party in an empty house, with every facet of the sound aiming to take up as little space as possible. Listening to "Colossal Youth", it's easy to see how this introverted album full of tiny sounds made such an enormous impact.


"Searching for Mr. Right" – 3:03
"Include Me Out" – 2:01
"The Taxi" – 2:07
"Eating Noddemix" (Philip Moxham, Alison Statton) – 2:04
"Constantly Changing" – 2:04
"N.I.T.A." – 3:31
"Colossal Youth" – 1:54
"Music for Evenings" – 3:02
"The Man Amplifier" – 3:15
"Choci Loni" (S. Moxham, P. Moxham) – 2:37
"Wurlitzer Jukebox!" – 2:45
"Salad Days" (S. Moxham, Statton) – 2:01
"Credit in the Straight World" – 2:29
"Brand - New - Life" – 2:55
"Wind in the Rigging" – 2:25

Young Marble Giants - Collosal Youth (1980)
(ca. 192 kbps, cover art included)

Mittwoch, 3. August 2022

Mikis Theodorakis - 18 Little Songs For The Bitter Homeland

Mikis Theodorakis is a renowned Greek troubadour and one of his country's greatest composers. He wrote many symphonies, cantatas, several ballets and operas, plus popular songs including "Zorba the Greek," famous from Herb Alpert's instrumental hit. Born in 1925 on the Greek island of Chios, Theodorakis began writing songs quite early. He formed his own choir and gave his first performance at the age of 17. An active resistance fighter during World War II, he studied at the conservatories in both Athens and Paris (the latter with Olivier Messiaen). Theodorakis wrote several symphonies during the late '50s, but later returned to Greece to apply his musical knowledge to the traditional Greek music he'd grown up with. After several years of film scoring, in 1964 he composed the music for the film adaptation of the Nikos Kazantzakis novel Zorba the Greek. When 1967 brought a fascist government into control of the country, Theodorakis went underground and formed a revolutionary group to combat abuses -- including a ban on playing or even listening to his music. He was later arrested, exiled, and sent to an internment camp, though the work of a global solidarity movement -- led by Leonard Bernstein, Dmitri Shostakovich, Arthur Miller, and Harry Belafonte -- helped secure his release in 1970. Still exiled from his country, Theodorakis served as the greatest ambassador of Greek music during the 1970s, playing thousands of concerts across the world. After the government toppled, he served as a member of the new parliament, also working as general musical director of the symphony orchestra and chorus of the Hellenic Radio and Television. Mikis Theodorakis died on September 2, 2021 at his home in Athens after suffering a cardiac arrest; he was 96 years of age.

This album features18 quatrains by Yannis Ritsos, 16 of them written on 16/9/1968 in Partheni of Leros, where the poet is in exile from the dictatorial regime, and after receiving a secret message from Theodorakis asking him to set to music unpublished poems of his. Next year, in Karlovassi of Samos, Ritsos writes two more and edits them all.


01. Anavaftisi
02. Kouvnta m' ena louloudi
03. Karterema
04. Laos
05. Mnimosino
06. Avgi
07. De ftani
08. Prasini mera
09. Silitourgo
10. To nero
11. To kiklamino
12. Ligna koritsia
13. T' aspro xoklisi
14. Epitimvio
15. Edo to fos
16. To htisimo
17. O tamenos
18. Ti romiosini mi tin kles

01. Rebaptism
02. Chat with a flower
03. Patience
04. People
05. Memorial
06. Dawn
07. It is not enough
08. Green day
09. Common liturgy
10. The water
11. Cyclamen
12. Lean girls
13. The white chapel
14. Tombstone
15. Here’s the light
16. The building
17. The devoted one
18. Do not cry for Romiosini

Mikis Theodorakis - 18 Little Songs For The Bitter Homeland
(320 kbps, cover art included)

Dienstag, 2. August 2022

VA - Gypsy Knights - Les Grandes Figures Du Jazz Manouche

Jazz manouche, or "traveler jazz", melds elements of traditional Roma (gypsy) music with early swing; this impassioned, rousing music relies mostly on the percussive playing of stringed instruments like the guitar and violin, sans drums. The uncontested master of the art form remains Belgian guitarist Django Reinhardt, who joined with jazz violinist Stéphane Grappelli in the 1930s to form the all-string Quintette de Hot Club de France, thus introducing jazz manouche to the world. Occasionally a jazz manouche band will use a horn player—American jazz greats like Louis Armstrong and Coleman Hawkins played with Django when they toured Europe, and Django shared the bill with Duke Ellington's big band at Carnegie Hall in the 1940s. Such trans-Atlantic exchanges brought Django's musical leverage to the U.S.; American guitarists from Jimi Hendrix to Willie Nelson have cited Django's playing as a formative influence.

Paris-based record company Le Chant du Monde, which specializes in world music, offers a new releases that celebrate the legacy of Django Reinhardt: Gypsy Knights: Les Grandes Figures du Jazz Manouche is a compilation of songs by the greats among Django's disciples and includes three performances by the master himself. The CD explores the full range of jazz manouche expression, from Django and Grappelli on the classic "Djangology, to the moody tango "Davïdo of guitarist Mandino Reinhardt (Django's cousin), to the contemporary swing sound of guitarist Dorado Schmitt's "Balladorado, one of only two ballads on the disc. The CD isn't limited to gypsy guitar: Florin Niculescu turns out a formidable "Lady Is A Tramp" on the violin and accordionists Marcel Loeffler and David Rivière evoke a jazz-age musette on "Pont de Venise" and "A Saint Ouen", respectively. Rivière also performs with the well-known manouche group Les Pommes de Ma Douche on the blues tune "Saint Pierre Blues" and the spry "Fleure Bleue". Also of note: appearances by celebrated gypsy guitarists Angelo Debarre and Biréli Lagrène. - allaboutjazz.com


       1. Djangologie - Django Reinhardt
2. Antsela - Tchavolo Schmitt
3. Entre Amis - Angelo Debarre, Ludovic Beler
4. B.L. - Biréli Lagrène
5. Choukar Gaiga - Mandino Reinhardt
6. Sinti Rhapsodie - Dorado Schmitt, Pierre Blanchard
7. Lady Is A Tramp - Florin Niculescu
8. Pont De Venise - Marcel Loeffler
9. Saint Pierre Blues - Les Pommes De Ma Douche
10. Swing 42 - Django Reinhardt
11. Valse A Dora - Tchavolo Schmitt
12. Come Into My Swing - Angelo Debarre, Ludovic Beler
13. Bireli Hi Gogoro - Biréli Lagrène
14. Davido - Mandino Reinhardt
15. Balladorado - Dorado Schmitt, Pierre Blanchard
16. Romantique Voyage - Raphael Fays
17. Fleur Bleue - Les Pommes De Ma Douche
18. A Saint Ouen - David Rivière
19. Valse A Tchavolo - Angelo Debarre, Tchavolo Schmitt
20. Blues Clair - Django Reinhardt

VA - Gypsy Knights - Les Grandes Figures Du Jazz Manouche
(256 kbps, small cover art included)

Linton Kwesi Johnson - Forces Of Victory (1979)

Having exploded onto the UK scene in 1978 with the dark, angry masterpiece, "Dread Beat & Blood", Brixton Dub Poet Linton Kwesi Johnson returned the following year with second album, "Forces Of Victory". Calling, again, on the talents of the Dennis Bovell Band, this was a calmer, more measured work, packed with both wry observation and political conviction.

Johnson's poetry, with its emphasis on rhythm, was ideally suited to the sparse, jazz-tinged backings of UK dub. Opener "Want Fi Go Rave" is as cool and confident as anything by Gregory Isaacs or Prince Buster, while "It Noh Funny", a homage to the realities of youth, gives Bovell plenty of room for the interaction of drum and delay.

"Sonny's Lettah - a deeply affecting tale of injustice - is a favourite among veteran activists, but "Independent Intavenshan"'s bouncing bassline and scornful lyrics (bemoaning the abundance of right-minded organisations attempting to speak for the black community) make the more resonant statement. "Fight Dem Back" rallies against the racists behind a mocking sing-song refrain, while "Reality Poem", with its haunting chorus-drenched guitar motif, advocates sober atheism at a time when such viewpoints were far from welcome.

Some have criticised Johnson for making Caribbean culture palatable to a predominantly white left-wing audience, but such criticism is to be expected by any artist who transcends their genre. And while the clean understated Bovell production is more suitable for the coffee bar than the sound system, it marks one of many high points in a distinguished career. "Forces of Victory" is not simply one of the most important reggae records of its time, it's one of the most important reggae records ever recorded.


"Want Fi Goh Rave" – 4:20
"It Noh Funny" – 3:42
"Sonny's Lettah (Anti-Sus Poem)" – 3:50
"Independent Intavenshan" – 4:20
"Fite Dem Back" – 4:27
"Reality Poem" – 4:44
"Forces of Viktry" – 4:56
"Time Come" – 3:28

(ca. 224 kbps, cover art included)

VA - KZ Musik - CD 5 - Encyclopedia of Music Composed in Concentration Camps (1933 - 1945)

In light of the unspeakable atrocities that occurred in the various concentration camps, gulags, death camps, and forced labor camps during the Second World War, it is entirely remarkable that such an abundance and variety of music should emerge.

Many of these works, such as Olivier Messiaen's Quartet for the End of Time, have survived as part of the modern canon while others have all but fallen into oblivion. To prevent this, KZ Musik is releasing a spectacular series of discs featuring all of the known music composed in these camps. This disc, Volume 5, features the Eighth Symphony of Erwin Schulhoff in its original piano score version. While Schulhoff did not survive to complete the Finale, the disc also includes a version completed by Francesco Lotoro, who also performs. The piano's sound is not one of a marvelous, rich instrument, but that seems to be the point. Rather, the instrument sounds a bit distant, a bit tinny, and a bit sparse; these characteristics only enhance Schulhoff's rather bleak score and put listeners in mind of the circumstances surrounding its composition.

Lotoro continues the program with selections from Karel Berman's Terezín Suite. Although Berman was to continue working on this piece once he was liberated, this disc provides listeners with the original score composed while incarcerated. Both Berman's writing and Lotoro's playing are gripping and powerful. Combined with well-written liner notes that include a brief history of each composer's stay in the camps, this album - and indeed all of the volumes in the set - are must-haves.

VA - KZ Musik - CD 5 - Encyclopedia of Music Composed in Concentration Camps (1933 - 1945)
(320 kbps, small front cover included)       

"Wer hat denn 1933 an Auschwitz gedacht?" - Sinti und Roma - Alltag und Diskriminierung im NS-Staat

Sinti and Roma, popularly known as gypsies, are the largest ethnic minority group in Europe, and have endured racism and discrimination for centuries. The Nazis killed some 500,000 of them in concentration camps and in raids.
Today former concentration camp prisoners, representatives of Romani organizations, and others commemorated the 70th anniversary of the liquidation of the so-called "gypsy camp" in the Nazi extermination camp of Auschwitz. During the night of 2 August and the morning of 3 August 1944, the last ca. 2800 Sinti and Roma detainees - among them children, women, and the elderly - left in the camp were murdered in the gas chambers there.

"For us Sinti and Roma, both concentration camps constitute a symbol of the affliction and death of hundreds of thousands of our relatives," said Roman Kwiatkowski, chair of the Polish Union of Sinti and Roma. "We, Sinti and Roma from all Europe, are united by the memories of the crimes committed by the Nazi dictatorship against our people."
Kwiatkowski and other Roma leaders called on European governments to protect Sinti and Roma against continuing racism, and to support economic development of the group.
The discrimination Roma face was evident at the Aug. 2 ceremony itself. The event was nearly cancelled after the Polish government withdrew a grant of 25,000 euros. It was saved by the Polish Jewish community.

Between 1933 and 1945 and Roma (“Gypsies”) suffered greatly as victims of Nazi persecution genocide. Building on long-held prejudices, the Nazi regime viewed Gypsies both as “asocials” (outside “normal” society) and as racial “inferiors” - believed to threaten the biological purity and strength of the “superior Aryan” race. During World War II, the Nazis and their collaborators killed tens of thousands of Sinti and Roma men, women, and children across German-occupied Europe.

For centuries Europeans regarded Gypsies as social outcasts — a people of foreign appearance, language, and customs. In modern Germany, persecution of the Sinti and Roma preceded the Nazi regime. Even though Gypsies enjoyed full and equal rights of citizenship under Article 109 of the Weimar Constitution, they were subject to special, discriminatory laws. A Bavarian law of July 16, 1926, outlined measures for “Combatting Gypsies, Vagabonds, and the Work Shy” and required the systematic registration of all Sinti and Roma. The law prohibited Gypsies from “roam[ing] about or camp[ing] in bands,” and those “[Gypsies] unable to prove regular employment” risked being sent to forced labor for up to two years. This law became the national norm in 1929.

When Hitler took power in 1933, anti-Gypsy laws remained in effect. Soon the regime introduced other laws affecting Germany’s Sinti and Roma, as the Nazis immediately began to implement their vision of a new Germany — one that placed “Aryans” at the top of the hierarchy of races and ranked Jews, Gypsies, and blacks as racial inferiors. Under the July 1933 “Law for the Prevention of Offspring with Hereditary Defects,” physicians sterilized against their will an unknown number of Gypsies, part-Gypsies, and Gypsies in mixed marriages. Similarly, under the “Law against Dangerous Habitual Criminals” of November 1933, the police arrested many Gypsies along with others the Nazis viewed as “asocials” – prostitutes, beggars, chronic alcoholics, and homeless vagrants – and imprisoned them in concentration camps.

The Nuremberg racial laws of September 15, 1935, (“Law for the Protection of German Blood and Honor” and “Reich Citizenship Law”) did not explicitly mention Gypsies, but in commentaries interpreting these laws, Gypsies were included, along with Jews and “Negroes,” as “racially distinctive” minorities with “alien blood.” As such, their marriage to “Aryans” was prohibited. Like Jews, Gypsies were also deprived of their civil rights.

In June 1936, a Central Office to “Combat the Gypsy Nuisance” opened in Munich. This office became the headquarters of a national data bank on Gypsies. Also in June, part of the Ministry of Interior directives for “Combating the Gypsy Nuisance” authorized the Berlin police to conduct raids against Gypsies so that they would not mar the image of the city, host of the summer Olympic games. That July, the police arrested 600 Gypsies and brought them, in 130 caravans, to a new, special Gypsy internment camp (Zigeunerlager) established near a sewage dump and cemetery in the Berlin suburb of Marzahn. The camp had only three water pumps and two toilets; in such overcrowded and unsanitary conditions, contagious diseases flourished. Police and their dogs guarded the camp. Similar Zigeunerlager also appeared in the 1930s, at the initiative of municipal governments and coordinated by the quarters of a national data Council of Cities (reporting to the Ministry of Interior), in Cologne, Düsseldorf, Essen, Frankfurt, Hamburg, and other German cities.
SS chief Himmler’s circular reveals the Nazis’animosity to Gypsies and, in the final paragraph, their rationale for seeking “a final solution of the Gypsy question.” The document also demonstrates the Nazis’ muddled thinking about “pure” versus “part” and “settled” versus “unsettled” Gypsies. The regime never produced the general “Gypsy Law” of the sort which Himmler envisioned near the end of this circular.
After Germany incorporated Austria into the Reich in March1938, the regime applied the Nuremberg laws to Austria’s Gypsies. Two special internment camps opened, one for 80 to 400 Gypsies, in Salzburg, in October 1939, and a second, in November 1940 for 4,000 Gypsies at Lackenbach, in the Burgenland, the eastern Austrian state bordering Hungary. Conditions at Lackenbach, which existed until the end of the war, were particularly atrocious, and many individuals perished there. Both camps concentrated Gypsies for police registration and forced labor and served as assembly centers for deportations to Nazi extermination and concentration camps.

A December 1937 decree on “crime prevention” provided the pretext for major police roundups of Gypsies. In June 1938, 1,000 German and Austrian Gypsies were deported to concentration camps at Buchenwald, Dachau, Sachsenhausen, and Lichtenburg (a camp for women). A year later, several thousand other Austrian and German Gypsies became inmates at Mauthausen, Ravensbrück, Dachau, and Buchenwald concentration camps. In the camps, all prisoners wore markings of various shapes and colors, which allowed guards and camp officers to identify them by category. Gypsies wore the black triangular patches, the symbol for “asocials,” or green ones, the symbol for professional criminals, and sometimes the letter “Z.”

Dr. Robert Ritter, a psychiatrist who directed genealogical and genetic research on Gypsies, played a key role in the identification of Sinti and Roma prior to their arrest by the police. In 1936 Ritter became head of a research unit located within the Ministry of Health and later in the Central Police Office. Ritter and his assistants, in cooperation with the Criminal Police (detective forces) and their sub-office to “Combat the Gypsy Nuisance,” moved to Berlin in May 1938, worked to locate and classify by race all Gypsies in Germany and Austria.

It was probably Ritter’s “race-biological research” that SS chief Heinrich Himmler invoked in his circular on “Combating the Gypsy Nuisance” of December 8,1938, recommending “the resolution of the Gypsy question based on its essentially racial nature.” He ordered the registration of all Gypsies in the Reich above the age of six and their classification into three racial groups: Gypsies, Gypsy Mischlinge [part-Gypsies], and nomadic persons behaving as Gypsies. Himmler, who oversaw the vast security empire that included the Criminal Police, stated that the “aim of measures taken by the State to defend the homogeneity of the German nation” included the “physical separation of Gypsydom from the German nation.”

The children of Sinti and Roma were also victims, interned with their families in the municipal camps and studied and classified by racial scientists. Between 1933 and 1939, authorities took many Sinti and Roma children from their families and brought them to special. homes for children as wards of the state. Gypsy school-children who were truant were deemed delinquent and sent to special juvenile schools; those unable to speak German were deemed feebleminded and sent to “special schools” for the men-tally handicapped. Like Jewish children, Gypsy boys and girls also commonly endured the taunts and insults of their classmates, until March 1941 when the regime excluded Gypsies from the public schools.

As was the case for Jews, the outbreak of war in September 1939 radicalized the Nazi regime’s policies towards Gypsies. On Sep-tember 21; 1939, a conference on racial policy chaired by Reinhard Heydrich, head of the Reich Security Main Office in Berlin, discussed the removal of 30,000 German and Austrian Gypsies to occupied Poland, along with the deportation of Jews. The “resettlement to the East” followed by the mass murder of Sinti and Roma in reality closely paralleled the systematic deportations and killings of Jews. The deportations of German Gypsies, including men, women, and children, began in May 1940 when 2,800 Gypsies were transported to Lublin, in occupied Poland. In early November 1941, 5,000 Austrian Gypsies were deported to the Lódi ghetto and from there to Chelmno, where they were among the first to be killed by gassing in mobile vans beginning in late December 1941 and January 1942. Similarly, in the summer of 1942, German and Polish Gypsies imprisoned in the Warsaw ghetto were deported to Treblinka, where they were gassed. German Gypsies were also deported to ghettos in Bialystok, Cracow, and Radom.

During the war, some minor differences of opinion arose at the highest levels of government regarding the “final solution to the Gypsy question.” Himmler toyed with the idea of keeping a small group of “pure” Gypsies alive on a reservation for the ethnic study of these racial “enemies of the state,” but the regime rejected this idea. In a decree dated December 16, 1942, Himmler ordered the deportation of Gypsies and part-Gypsies to Auschwitz–Birkenau. At least 23,000 Gypsies were brought there, the first group arriving from Germany in February 1943. Most of the Gypsies at Auschwitz-Birkenau came from Germany or territories annexed to the Reich including Bohemia and Moravia. Police also deported small numbers of Gypsies from Poland, Hungary, Yugoslavia, France, Belgium, the Netherlands, and Norway.

At Auschwitz-Birkenau, officials set up a separate “Gypsy family camp” for Gypsies in Section BIIe of Birkenau: From the wooden barracks, the gas chambers and crematoria were clearly visible. During the seventeen months of the camp’s existence, most of the Gypsies brought there perished. They were killed by gassing or died from starvation, exhaustion from hard labor, and disease (including typhus, smallpox, and the rare, leprosy-like condition called Noma.) Others, including many children, died as the result Of cruel medical experiments performed by Dr. Josef Mengele and other SS physicians. The Gypsy camp was liquidated on the night of August 2-3, 1944, when 2,897 Sinti and Roma men, women, arid children were killed in the gas chamber. Some 1,400surviving men and women were transferred to Buchenwald and Ravensbrück concentration camps for forced labor.

After Germany invaded the Soviet Union in June 1941, special SS squads (Einsatzgruppen) and units of the regular army and police began shooting Gypsies in Russia, Poland, and the Balkans, at the same time they were killing Jews and Communist leaders. Thousands of Sinti and Roma men, women, and children are believed to have been killed in these actions, often carried out under the pretext that the victims were “spies.”

In western and southern Europe, the fate of Sinti and Roma varied from country to country, depending on local circumstances. Across German-occupied Europe, Gypsies, like Jews, were interned, killed, or deported to camps in Germany or eastern Europe. The collaborationist regime of Vichy France interned 30,000 Gypsies, many of whom were later deported to Dachau, Ravensbrück, Buchenwald, and other camps. In Croatia, members of the local fascist Ustasha movement killed tens of thousands of Gypsies; along with Serbs and Jews. In Romania in 1941 and 1942, thousands of Gypsies were expelled, alongside Jews, to Transnistria (western Ukraine) where most of the deportees died from disease, starvation, and brutal treatment. In Serbia, in the fall of 1941, German army firing squads killed almost the entire adult male Gypsy population, alongside most adult male Jews, in retaliation for German soldiers killed by Serbian resistance fighters. In Hungary, Germans and Hungarian collaborators began deporting Gypsies in October 1944.

The unreliability of pre-Holocaust population figures for Sinti and .Roma and the paucity of research, especially on their fate outside Germany during the Holocaust, make it difficult to estimate the number and percentage who perished. Scholarly estimates of deaths in the Sinti and Roma genocide range from 220,000 to 500,000.

After the war discrimination against Sinti and Roma in Europe continued. In the Federal Republic (West Germany) the courts agreed to compensate Sinti and Roma for racial persecution only for deportations which occurred in 1943 and latter. They did not push the date back to 1938 until the early 1960s. Today, with the rise of strident nationalism in many of the eastern European nations and unemployment throughout Europe, Sinti and Roma continue to face widespread public prejudices and official discrimination.

"Wer hat denn 1933 an Auschwitz gedacht?" - Sinti und Roma - Alltag und Diskriminierung im NS-Staat
(256 kbps, cover art included)

Montag, 1. August 2022

Joan Baez - Joan Baez (1960)

At the time of its release, Joan Baez's debut album was something of a revelation. The folk music revival was beginning to gather steam, stoked on the popular side by artists such as the Kingston Trio and the Easy Riders, as well as up-and-coming ensembles such as the Highwaymen, and on the more intense and serious side by the Weavers. 

The female singers on the scene were mostly old-time veteran activist types like Ronnie Gilbert and Malvina Reynolds, who was in her sixties. And then along comes this album, by a 19-year-old who looked more like the kind of co-ed every mother dreamt her son would come home with, displaying a voice from heaven, a soprano so pure and beguiling that the mere act of listening to her - forget what she was singing - was a pleasure. 

Baez's first album, made up primarily of traditional songs (including a startling version of "House of the Rising Sun"), was beguiling enough to woo even conservative-leaning listeners. Accompanied by the Weavers' Fred Hellerman and a pair of session singers, Baez gives a fine account of the most reserved and least confrontational aspects of the folk revival, presenting a brace of traditional songs (most notably "East Virginia" and "Mary Hamilton") with an urgency and sincerity that makes the listener feel as though they were being sung for the first time, and opening with a song that was to become her signature piece for many years, "Silver Dagger." The recording was notable for its purity of sound.


A1 Silver Dagger
A2 East Virginia
A3 Ten Thousand Miles
A4 House Of The Rising Sun
A5 All My Trials
A6 Wildwood Flower
A7 Donna Donna
B1 John Riley
B2 Rake And Rambling Boy
B3 Little Moses
B4 Mary Hamilton
B5 Henry Martin
B6 El Preso Numero Nueve

(320 kbps, cover art included)

VA - KZ Musik - Encyclopedia Of Music Composed In Concentration Camps (1933 - 1945) - CD 3

It goes almost without saying that any musical composition worthy of the name must be judged on its intrinsic worth irrespective of the circumstances attending its genesis. This can be an almost impossible exercise when considering, say, Gideon Klein’s Sonata for piano. It was written in Theresienstadt concentration camp. Born in Czechoslovakia in 1919, Klein was only 25 years old when, as slave labourer in a coalmine, he died in January 1945.

Francesco Lotoro gives a magnificently authoritative account of Klein’s Sonata. There is a defiant assertiveness in the outer movements – and Lotoro does wonders in evoking this powerful mood in a performance that seizes the attention in a vice-like grip.
Murdered in his prime, Klein’s tragically early death calls that of Schubert to mind. Certainly, the epitaph on Schubert’s tombstone could apply to Klein: “The art of music here entombed a rich possession but far fairer hopes”.
Lotoro  is no less impressive in three sonatas by Viktor Ullmann. Sonata No 5,  intended as a draft for his Symphony No 1, makes for absorbing listening. Lotoro does wonders with the first movement, seeming to positively relish coming to grips with  its trills and strong rhythmic underpinning. The brief Toccatina with its spiky, staccato theme is no less impressively essayed, the finale calling to mind some of Prokofiev’s more engaging essays in pianistic grotesquerie.
Lotoro is wondrously persuasive in the Sonata No 7 with insistent repeated notes in the opening Allegro and a second movement that calls Mussorgsky to mind.
Cadenzas that Ullmann wrote for Beethoven’s 1st and 3rd piano concertos are fascinating inclusions. They are strikingly original, powerfully dense- textured utterances that Lotoro  plays as if to the manner born.
Ullmann and his wife died in an Auschwitz gas chamber a day after being deported in October 1944.
The visionary intensity that Lotoro brings to his work cannot be too highly prasied. Certainly, the care lavished on the minutiae of performance is on a par with Lotoro’s ability to convey the grand sweep of whatever work he happens to be playing.
This is a recording that ought to be heard by as many people as possible, not least to marvel at how the creative impulse flourished even in an environment of appallingly murderous cruelty. - Neville Cohn

VA - KZ Musik CD 3
(256 kbps, cover art included)


GIDEON KLEIN (1919-1945):

SONATA (piano)

1. Allegro con fuoco 4:46
2. Adagio 2:32
3. Allegro vivace 2:58

VIKTOR ULLMANN (1898-1944):

SONATA N. 5 OP. 45 (piano)
4. Allegro con brio - Meno mosso 4:48
5. Andante 4:20
6. Toccatina. Vivace 0:48
7. Serenade. Comodo - Meno mosso 2:27
8. Finale fugato. Allegro molto 3:19

SONATA N. 6 OP. 49 (piano)
9. Allegro molto - Andante poco adagio 4:00
10. Allegretto grazioso 2:26
11. Presto ma non troppo - Tempo primo 5:27

SONATA N. 7 (piano)
12. Allegro. Gemächliches Halb 3:43
13. Alla marcia, ben misurato 2:19
14. Adagio, ma con moto 4:27
15. Scherzo. Allegretto grazioso - Trio - Scherzo 3:48
16. Variationen und Fuge über ein hebräisches Volkslied 6:45
(Allegro giocoso energico, martellato sempre)

17. Cadenza to Piano Concerto n. 1 op. 15 3:03
18. Cadenza to Piano Concerto n. 3 op. 37 3:48
ZIKMUND SCHUL (1916-1944):
19. A Fugue (piano) 3:11