Samstag, 24. September 2016

Mills Blue Rhythm Band - 1933 - 1936

This fine big band was originally formed by drummer Willie Lynch as the Blue Rhythm Band in 1930 and as the Coconut Grove Orchestra, provided backup to Louis Armstrong on some records. In 1931, Irving Mills became their manager and the group was renamed the Mills Blue Rhythm Band.

Lynch's departure later that year resulted in Baron Lee fronting the band until Lucky Millinder took over in 1934. The big band recorded frequently during 1931-1937 (all of the recordings have been reissued on five Classics CDs) and, although the orchestra never really caught on or developed its own personality, its recordings did document many fine performances.

Among the sidemen were pianist Edgar Hayes, altoist Charlie Holmes, Joe Garland on tenor, drummer O'Neil Spencer, and by 1934, trumpeter Red Allen, trombonist J.C. Higginbotham, and clarinetist Benny Bailey. Later editions included altoist Tab Smith, pianist Billy Kyle, and trumpeters Charlie Shavers and Harry "Sweets" Edison. When the group broke up in 1938, Lucky Millinder formed his own big band.    

Many of the Mills Blue Rhythm Band's recordings are now considered jazz classics by collectors. Original records regularly appear on auction lists (which indicates that they did sell records over their lifespan), and recent reissue and remastering projects have made their recordings more widely available.

Mills Blue Rhythm Band - 1933 - 1936 pt. 1
Mills Blue Rhythm Band - 1933 - 1936 pt. 2
(256 kbps, front cover included)
       

Mittwoch, 21. September 2016

Country Joe McDonald - Thinking Of Woody Guthrie (1969)

During the reigning years of San Francisco headband Country Joe and the Fish, singer and songwriter Joe McDonald took some time out to head to Nashville and record a pair of solo albums with the city’s top session men.

Released on the iconic Vanguard Records, these two albums saw McDonald take a broad left turn, away from psychedelia and deep into the traditional folk and country music that had helped inform his earlier years as a radical-political folksinger.

Indeed, the first of these two albums, Thinking of Woody Guthrie, was a heartfelt, play-it-straight tribute to the daddy of them all (the radical-political folksingers, that is). It is an album that does justice to the man who wrote all of the songs on it. Joe McDonald conveys all of the ranges of Woody's line of sight, from the migrant's resigned take on life ("Pastures Of Plenty"), to the dust-storm-beset people of Gray, Oklahoma ("So Long, It's Been Good To Know Yuh")to a guarded endorsement of the (then) major strides in technology for the greater good ("Roll On Columbia"). McDonald sings all of them with conviction and is backed by Nashville pros with talent to burn. Even "This Land Is Your Land" gets a vitality to it that's totally unexpected but great to hear.

 
(256 kbps, front cover included)

Montag, 12. September 2016

Woody Guthrie - The Early Years (feat. Cisco Houston & Sonny Terry)


Woody Guthrie was the most important American folk music artist of the first half of the 20th century, in part because he turned out to be such a major influence on the popular music of the second half of the 20th century, a period when he himself was largely inactive. His greatest significance lies in his songwriting, beginning with the standard "This Land Is Your Land" and including such much-covered works as "Deportee," "Do Re Mi," "Grand Coulee Dam," "Hard, Ain't It Hard," "Hard Travelin'," "I Ain't Got No Home," "1913 Massacre," "Oklahoma Hills," "Pastures of Plenty," "Philadelphia Lawyer," "Pretty Boy Floyd," "Ramblin' Round," "So Long It's Been Good to Know Yuh," "Talking Dust Bowl," and "Vigilante Man." These and other songs have been performed and recorded by a wide range of artists, including a who's who of folksingers.

The tracks found on this collection (which also features Cisco Houston and Sonny Terry) were recorded in the mid-'40s for Folkways Records and have been available in countless configurations over the years under varying titles, including editions for the Tradition, Legacy, Prism, and Collectables record labels. The best way to get this material is through the four-volume "Asch Recordings" from Smithsonian Folkways, which has the most thorough annotation. But anyway, this is a nice introduction into the inspiring music of Woody Guthrie.

Tracklist:

1 Hey Lolly Lolly 2:45
2 Buffalo Skinners 3:24
3 John Henry 2:42
4 Gypsy Davy 2:51
5 Worried Man Blues 3:03
6 More Pretty Girls Than One 2:18
7 Ain't Gonna Be Treated That Way 3:29
8 Rangers Command 2:55
9 Poor Boy 2:51
10 Lonesome Day 2:53
11 Pretty Boy Floyd 3:05
12 Hard, Ain't It Hard 2:43
13 Stackolee 2:43
14 Cumberland Gap 2:18
15 Old Time Religion 2:32
16 Sourwood Mountain 2:57
17 Long John 2:35
18 Lost John 4:06
19 Columbus Stockade 2:25
20 Bury Me Beneath The Willow 2:45

Woody Guthrie - The Early Years (feat. Cisco Houston & Sonny Terry)
(192 kbps, cover art included)

The Clancy Brothers - The Rising Of The Moon - Irish Songs Of Rebellion (Tradition, 1956)


"The Rising of the Moon" was the Clancy Brothers and Tommy Makem's first appearance on wax as a group. Recorded in 1959, in the kitchen of Kenneth S. Goldstein (co-creator of the Tradition label with Paddy Clancy), the album is a largely austere collection of fight songs and ballads that trace the fighting history of Ireland.

It features the singing of Paddy, Liam, and Tom Clancy; Makem sings as well, adds his tin whistle, and even plays rousing, military-style percussion on tracks like "Men of the West." While Makem and the Clancys' vocals are rich and melodic throughout the set, "Rising of the Moon" might be most striking for its instrumentation. Besides the input of Makem, the album features expressive guitar and harp, courtesy of Jack Keenan and Jack Malady, respectively. Both musicians help to lend "Rising of the Moon" its intimate, fireside feel; it's a sound that the Clancys and Makem would move away from on later, more crowd-pleasing releases, but here it helps imbue these songs with a respectful air.

 "Eamonn an Chniuic" is supported by the plucked harp like raindrops on a stubbornly wavering flower petal, while the instrument adds color to the guitar's urgent rhythm during "Foggy Dew." "Whack fol the Diddle" introduces one of the group's most famous singing techniques, while Makem's whistle livens up the title track's melody. But it's "Wind That Shakes the Barley" that could best combine aesthetic instrumentation with heartfelt emotion.             

Tracklist:

Side One:
O'Donnell Aboo
The Croppy Boy
The Rising of the Moon
The Foggy Dew
The Minstrel Boy
The Wind that Shakes the Barley
Tipperary Far Away

Side Two
Kelly the Boy from Killanne
Kevin Barry
Whack Fol the Diddle
The Men of the West
Eamonn An Chnuic
Nell Flaherty's Drake
Boulavogue

The Clancy Brothers - The Rising Of The Moon (1956)
(256 kbps, front cover included)

Sleeve notes in the comment section...

Samstag, 10. September 2016

John B. Sebastian - Same (1970)


"John B. Sebastian" is the debut album by American singer/songwriter John Sebastian, previously best known as the co-founder and primary singer/songwriter of the 1960s folk-rock band the Lovin' Spoonful. The album, released in January 1970, includes several songs that would become staples of Sebastian's live performances during the early and mid-1970s. Most notably, the album included "She's a Lady", Sebastian's first solo single (released in December 1968), and an alternate version of "I Had a Dream" which was used to open the soundtrack album of the 1970 documentary film "Woodstock". "John B. Sebastian" also featured support performances by David Crosby, Stephen Stills and Graham Nash several months before that trio agreed to work together as a performing unit.

When he led the Lovin' Spoonful from 1965 to 1967, John Sebastian experimented with a variety of styles, expanding from the folk, jug band, and rock & roll that were the band's basic mixture to include everything from country ("Nashville Cats") to orchestrated movie scoring ("Darling, Be Home Soon").

Freed from the confines of a four-piece band, he stretched further on his debut solo album, including the samba-flavored "Magical Connection" and the R&B-styled "Baby, Don't Ya Get Crazy" (complete with the Ikettes on backup vocals) in addition to traditional country on "Rainbows All Over Your Blues," which spotlighted Buddy Emmons on pedal steel guitar. But there were also delicate ballads like the string-filled "She's a Lady," a stripped-down remake of "You're a Big Boy Now," and "The Room Nobody Lives In," the last performed with only a harmonium and bass guitar. And there were pop/rock songs like "Red-Eye Express," "What She Thinks About," and the utopian "I Had a Dream" that you could imagine having fitted easily into the Spoonful's repertoire.

The songs continued Sebastian's trend toward a more personal writing style, many of them containing images of travel that corresponded to his peripatetic lifestyle. Like Paul McCartney's McCartney, which followed it into the marketplace by a few months, the album was an eclectic but low-key introduction to the solo career of a former group member whose band was known for more elaborate productions, and all the more effective for that.
"John B. Sebastian" was the subject of a legal dispute between MGM records and Reprise records, with Reprise winning out, although MGM briefly issued its own version of the LP, apparently taken from a second-generation master. The MGM version is sonically inferior to the Reprise one and has different artwork, but the contents of the two LPs are identical.     

John B. Sebastian - John B. Sebastian (1970)
(256 kbps, cover art included)

Donnerstag, 8. September 2016

VA - American Banjo: Three-Finger And Scruggs Style







Samstag, 3. September 2016

The Jazz Butcher - In Bath Of Bacon (1982)

Here´s another favourite from the 80s...: The Jazz Butcher´s 1982 debut "In Bath Of Bacon".

A true style chameleon, the Jazz Butcher is a hard act to categorize — and nowhere more so than on this album, which is primarily a one-man effort with help from assorted sidemen. The songs here are embryonic forays into styles he would explore more confidently on subsequent albums.

The title track is a punky blues number complete with squealing Elvis Costello-style organ. "Poisoned by Food" and "Sex Engine Thing" are thin, raw, folk-pop influenced numbers with an irresistibly nervous beat; the former paraphrases Steppenwolf's "Born to Be Wild," while the latter snitches Jonathan Richman's "Bye-bye" line from "Roadrunner." The musical feel of that Modern Lovers song is also evoked in a jazzy way on "Jazz Butcher Theme."

"Partytime" is best described as cocktail folk. "La Mer" is a faux French folk song with surreal lyrics about elephants. Clever, unusual accompaniments are put forth in "Chinatown" (flutes, glockenspiel, click track) and "Grey Flanellette" [sic] (glockenspiels, bass, organ, sandpaper blocks, click track). The songs have unusual, improvisatory nonsense lyrics that veer from the obscure to the semi-clever. The sound and playing have a homemade quality that sometimes crosses the line into sloppiness. This is still a strange yet intriguing record.

From the liner notes:
"Here it is at last! The hep young sound of todays beat élite, direct from the soul kitchen and served, still blazing, to your table! The release of this, the Jazz Butchers first long play recording, comes after months of rumour and report of a hot new act with a cool new sound that leaves the others way way behind. Now you too can hear for yourself the new groove that has set the bohemian set alight - in your own home! Words alone cannot do justice to the cordon-bleu treats of the Butcher Beat - so roll back the carpet and swoop and dive with the fab Butcher Man!"

The Jazz Butcher - In Bath Of Bacon (1982)
(192 kbps, front cover included)

Montag, 29. August 2016

Remembering the Spanish Civil War on its 80-year anniversary


"Europe’s current refugee crisis has been at the center of global attention and political negotiations for over a year now—with fears stoked in the United States about whether to join the EU bloc in taking in Syrian refugees, and the swell cited as one major reason Great Britain voted to leave the European Union late last month. But this is not the first time swaths of displaced, war-weary people have caused nations to fumble.

It has been eighty years since conditions leading up to World War II set the stage for a calamity of dislocation. It has been eighty years since General Francisco Franco and his foot soldiers launched a military uprising against the newly elected Spanish Republican government of Santiago Casares Quiroga. It was a revolt that would spark a three-year civil war and decades of fascist rule, backed by Adolf Hitler and Benito Mussolini—but not before displacing hundreds of thousands of Spaniards.
On July 17, 1936, Franco and his Nacionales-aligned Army of Africa—comprised of fighters from Spanish Morocco—rose against the Second Spanish Republic and swarmed the south of Spain, taking Seville with relative ease. By July 18, Franco had assumed command of the legion and begun dealing with opposition fiercely.

Civilians, in response, organized militias and mobilized to defend the Republic against the Nationalist threat. Anarchist workers emerged in Barcelona; factories were collectivized and money abolished in parts of Catalonia. For a time, there was hope that the revolt could be the impetus for a socialist revolution, as the Republican government in Madrid scrambled to build a popular front. The war that was later immortalized by George Orwell and Ernest Hemingway in literary works influenced by their experiences on the frontlines, the destruction of which was embodied by Pablo Picasso’s Guernica, would go on until 1939.

In that time, countless Spaniards were displaced by bombing raids and gunfights. Entire cities were leveled and opposition fighters executed or exiled. When Franco’s forces started their push through Catalonia, a persistent stream of refugees poured over the border into France. It is estimated that 450,000 refugees crossed that border by winter of 1939, just before Franco and his troops advanced on Madrid and took the city, previously the site of Republican infighting, in just two days. Thousands were executed, thousands more fled, and Europe came to face a compounded refugee crisis.
In 1937, the aerial bombardment of Spain’s northwestern Basques brought about a deal to save approximately 200,000 Basque children, aged 2-14, from war and starvation, by relocating them among six of seven countries that responded to the autonomous Basque government’s appeal: Belgium, Britain, Denmark, Mexico, Switzerland, the Soviet Union and the United States. All but the U.S. went on to accept children, despite the efforts of Eleanor Roosevelt, which were blocked by opposition from the Catholic Church and Congressional inaction.

By the time the great surge of Spanish refugees arrived to French borders in 1939, growing totalitarianism on the European continent had created the conditions for refugees fleeing Nazi Germany and, with more difficulty, the Soviet Union. The Spanish refugees hoped to be welcomed by the French and viewed as honorable, if failed, fighters in the name of liberty, but the democratic republic of France feared a turn toward communism—considering communist and anarchist factions in the civil war—and the refugees were instead met with suspicion and hostility. The French decided to allow the refugees to enter, but not freely.

The Spaniards—by this point often referred to as “criminals” and “radicals”—were herded into concentration camps on the beaches of Argeles-sur-Mer, St, Cyprien, and Barcares, where temperatures in the winter were freezing and where food and medical supplies scarce. The French tried everything to get the Spanish refugees to return to their country and by the end of the year about half did, in time for World War II to become visible on the horizon.

In Spain, Franco continued to hold power until his death in 1975.

Today, the United Nations Refugee Agency (UNHCR) estimates that 1,015,078 refugees arrived by sea to Europe from Africa and the Middle East in 2015. There have been 218,382 documented arrivals by sea so far in 2016, with another 2,868 refugees dead or missing just in the first six months of the year—and these numbers account only for those journeying across oceans.

Meanwhile, the continued struggle around how to manage the influx, including documenting, processing and relocating refugees, has thrown the continent into social and political upheaval, feeding into right-wing, nationalist political factions and threatening the European Union.
Here, we look back on the photographic works of Robert Capa, David Seymour and Gerda Taro, who documented the Spanish Civil War and the plight of its refugees 80 years ago—highlighting iconic images, like Capa’s Falling Soldier, which has since been reexamined and marked by controversy."  

-  By

 

Los Anarquistas - Marchas Y Canciónes De Lucha De Los Obreros Anarquistas Argentinos (1904 - 1936)


"Los Anarquistas 1904 - 1936" is an album with marches and songs of the struggles of the anarchist workers in Argentinia (1904-1936). It was ripped from an LP, so the file has only two tracks, side A and B.


Tracklist:
1-Hijo Del Pueblo (anarchist anthem)
2-Recitado (letter to the anarchists when starting their actions in the early twentieth century)
3-Milonga Social Del Payador Libertario (anonymous1902)
4-Milonga Anarquista (anonymous 1906)
5-La Verbena Anarquista (anonymous 1905)
6-Este Y Aquel. (lyrics by F. Gualtieri 1923)
7-Guajiras Rojas (anonymous 1918)
8-Marsellesa (anonymous 1907)
9-Semana Trágica (lyrics by F.Gualtieri 1919)
10-Maldita Burguesía (Habanera) (anonymous 1907)
11-Maldición De Un Maldito  (F. Gualtieri 1926)
12-Guitarra Roja (Martín Castro 1928)
13-Guerra A La Burguesía (Tango, anonymous 1901)
14-El Deportado (anonymous 1920)
15-El Héroe
16-Sacco Y Venzetti (Martín Castro 1928)
17-A Las Barricadas (Hymn of the anarchists in the spanish civil war)

Los Anarquistas - 1004 - 1936
(192 kbps, cover art included)

You will find the lyrics on this website: http://pacoweb.net/Cantatas/Anarco.htm
 

Freitag, 12. August 2016

Ramblin' Jack Elliott - Ramblin' Jack Elliott Sings Woody Guthrie And Jimmie Rodgers & Cowboy Songs

This 24-song CD is spellbinding for the different styles and approaches that Elliott takes to the three distinct bodies of work (drawn from two separate LPs) contained within.
His covers of a half-dozen Woody Guthrie songs emphasize his vocals and their expressiveness, with the accompaniment subordinate to the singing.
 
The Jimmie Rodgers stuff, by contrast, shows off some very attractive playing by all concerned, with wonderfully smooth guitar and fiddle work, and a very fine produced sound. The two sets of six songs sound very dissimilar to each other -- Elliott has more of a drawl on the Guthrie material and a fine yodel on the Rodgers songs. And then the Western songs show off another, more rudimentary sound -- Elliott's voice has more of a twang here, and the playing is, once again, usually somewhat subordinate to the singing. Elliott and his producers were careful to juxtapose contrasting songs, so that the bracing Western swing-style number "Sadie Brown," with its jaunty fiddle, is followed by the haunting, unaccompanied "Night Herding Song," highlighted by Elliott's glorious near-falsetto yodel.
 
Also in contrast to the Rodgers and Guthrie songs, the cowboy songs show almost no use of stereo separation. These versions have a beguiling air of authenticity despite their being recorded long after the point they were written -- on "Jack O' Diamonds," in particular, Elliott compares favorably with Tex Ritter (who turned the song into a hit as "Rye Whiskey"), complete with the alcoholic whooping and hollering that helped make Ritter's version so beguiling and endearing. Elliott covers at least three styles here, with little overlap; it's more than one hour of excellent material that's the equal of any of his various best-of compilations from different labels.     

Ramblin' Jack Elliott - Ramblin' Jack Elliott Sings Woody Guthrie And Jimmie Rodgers & Cowboy Songs
(160 kbps, front cover & booklet included)  

Dienstag, 9. August 2016

Harry Belafonte - Belafonte At Carnegie Hall (1959)

An actor, humanitarian, and the acknowledged "King of Calypso," Harry Belafonte ranked among the most seminal performers of the postwar era. One of the most successful African-American pop stars in history, Belafonte's staggering talent, good looks, and masterful assimilation of folk, jazz, and worldbeat rhythms allowed him to achieve a level of mainstream eminence and crossover popularity virtually unparalleled in the days before the advent of the civil rights movement - a cultural uprising which he himself helped spearhead.

"Belafonte at Carnegie Hall" is a live double album by Harry Belafonte. It is the first of two Belafonte Carnegie Hall albums, and was recorded on April 19 and April 20, 1959. The stereo version of the album was released on the RCA Victor label, in the "Living Stereo" series. The concerts were benefits for The New Lincoln School and Wiltwyck School, respectively.


Tracklist:

"ACT I - MOODS OF THE AMERICAN NEGRO"

 Side one:"Introduction/Darlin' Cora"
"Sylvie"
"Cotton Fields"
"John Henry"
"Take My Mother Home"

 Side two:"The Marching Saints"

"ACT II - IN THE CARIBBEAN"

"The Banana Boat Song (Day-O)"
"Jamaica Farewell"
"Man Piaba"
"All My Trials"

Side three:"Mama Look a Boo Boo"
"Come Back Liza"
"Man Smart (Woman Smarter)"

"ACT III - ROUND THE WORLD"


"Hava Nagila"
"Danny Boy"
"Merci Bon Dieu"

 Side four:"Cucurrucucu Paloma"
"Shenandoah"
"Matilda"

Harry Belafonte - Belafonte At Carnegie Hall (1959)
(192 kbps, cover art included)

Donnerstag, 4. August 2016

The Brothers Four - Same (1960)

As folk revival albums go, this one is tame but very upbeat and well sung, treading a fine line midway between the Kingston Trio and Mitch Miller & the Gang.

Side one shows a strong calypso and Carribean influence, and also offers a pair of novelty-style tunes, while side two is weighted more toward traditional American folk material. That material is more beguiling and playful, and serves as a beautiful showcase for the quartet's harmony singing - rousing, straightforward vocalizing on "Hard Travelin'" (which seems like the template for the New Christy Minstrels' sound) and the melodic sea shanty "Eddystone Light," the gorgeous multi-layered arrangement of "Darlin', Won't You Wait," and the moody chart hit "Greenfields."

It's all nicely sung and produced in a restrained style that makes inventive but unobtrusive use of stereo separation. The album seems tame and predictable today but, in 1960, this was what folk music was in the minds of most listeners, and this isn't a bad example of the form.                


Tracklist:

A1 The Zulu Warrior
A2 Sama Kama Wacky Brown
A3 The Damsel's Lament (I Never Will Marry)
A4 Yellow Bird
A5 Angelique-O
A6 Superman

B1 East Virginia
B2 Greenfields
B3 Darlin' Won't You Wait
B4 Eddystone Light
B5 Banua
B6 Hard Travelin'


The Brothers Four - Same (1960)
(256 kbps, cover art included)

Mittwoch, 3. August 2016

Merle Haggard & The Strangers - Hag (1971)

Arriving after the superb Bob Wills salute "Tribute to the Best Damn Fiddle Player in the World", 1971's "Hag" was Merle Haggard's first collection of largely original songs in two years, since 1969's "Portrait". Since that album, Haggard experienced great success with "Okie from Muskogee," which launched two quick live albums (one bearing the name of the song, the other being "The Fightin' Side of Me"), plus an instrumental album by the Strangers, before the labor of love of the Wills album.

Perhaps Haggard had a great stock of songs saved up during those two years, because "Hag" is one of his absolute best albums - which means a lot, because he recorded no shortage of great records. In contrast to the rowdy live albums and the raucous Western swing that preceded it, "Hag" is quite quiet and reflective, sometimes referencing the turmoil within America at the end of the '60s, but more often finding Haggard turning inward.

This album turned out no less than four hits, with three of them addressing larger issues: the revival of Ernest Tubb's WWII hit "Soldier's Last Letter" is now cast in the shadow of Vietnam, Haggard's original "Jesus, Take a Hold" ponders the state of the world, while Dave Kirby's "Sidewalks of Chicago" is about homelessness. The other hit was "I Can't Be Myself," a haunting admission that the singer "can't be myself when I'm with you," and it's only one of many great originals on "Hag". The tempo picks up twice, each time at the end of the side, when he kicks out the self-deprecating "I'm a Good Loser" and the nostalgic rave-up "I've Done It All," but the heart of this is in the gentler material, such as the melancholic elegy of "Shelly's Winter Love," the sighing heartbreak ballad "If You've Got Time," and "The Farmer's Daughter," an affecting tale of a father giving away his daughter in marriage. Each is an expertly observed, richly textured gem, and taken together they add up to one of Haggard's best albums, and one of his most moving.     

Tracklist:

A1Soldier's Last Letter2:11
A2Shelly's Winter Love3:18
A3Jesus, Take A Hold2:15
A4I Can't Be Myself2:49
A5I'm A Good Loser2:39
B1Sidewalks Of Chicago2:30
B2No Reason To Quit2:31
B3If You've Got Time (To Say Goodbye)2:49
B4The Farmer's Daughter2:54
B5I've Done It All2:09

Merle Haggard & The Strangrs - Hag (1971)
(256 kbps, cover art included)         

Mittwoch, 27. Juli 2016

"We Weren´t Given Anything For Free" - A Film About Women In The Italian Resistance - Crowd-Funding Campaign

The german film-maker Eric Esser started a crowd-funding campaign for the DVD release of his award-winning documentary "We Weren't Given Anything for Free" with bonus film material and a comprehensive booklet about women in the Italian resistance.

Eric Esser writes about the film and the campain:

“We Weren’t Given Anything for Free” follows the dramatic events in the lives of former Italian partisan, Annita Malavasi, and her two comrades, Pierina Bonilauri and Gina Moncigoli.
This film is about the Italian resistance during the Second World War, from the perspective of these women. The 58-minute documentary premiered in Germany at the end of 2014. It had a successful run in a total of 30 film festivals in Germany and abroad. The film was honored or awarded a prize on 13 occasions.
Piera Bonilauri with her medals.
Piera Bonilauri with her medals.

I want to create a DVD box for my documentary, “We Weren’t Given Anything for Free.” The comprehensive booklet will tell the story of the women in the Italian resistance; it will contain biographies of each of the three partisan fighters portrayed in the film, as well as historical information on Reggio Emilia during the Second World War.
The DVD menus will be available in Italian, English and Spanish. Printed materials such as the booklet and the DVD box itself will be available initially only in German and Italian.
Partisans in Reggio Emilia after the liberation
Partisans in Reggio Emilia after the liberation

What Is Being Funded

With this campaign, I would like to finance the following endeavors:
  • Production of bonus material not included in the original film, including color correction, audio processing, as well as translation, editing of translated texts, and subtitles in three languages.
  • Concept and production of a 12-page booklet, including layout, translation, and editing of translated texts.
  • Creation of further printed media such as the DVD box and DVD label, and corresponding translation and editing of the translated texts.
  • Design and production of the DVD menu, as well as its translation and editing of the translated texts.
  • Conceptualization and authoring of the DVD, as well as production of a glass master for DVD pressing.
Because I financed the original film project for the most part by myself, and because the debts which I incurred for the production of that film have not yet been paid off, I am no longer able financially to contribute to the production of a DVD. I have decided to try to mobilize the necessary funds to realize this project through a crowd-funding campaign. I would therefore like to ask you, would you care to support my endeavor with a financial contribution?"

If you are interested, you´ll find detailed information about the crowd-funding campaign via https://www.kickstarter.com/projects/712197499/dvd-release-geschenkt-wurde-uns-nichts/

Samstag, 16. Juli 2016

Jacques Brel - Olympia 1961

Although Jacques Brel's modern reputation rests on the seemingly endless stream of future classics he tossed out in his capacity as a songwriter, acclaim during his lifetime was equally granted to his live performances. Onstage, as surviving footage amply shows, he was a dynamo of expression, emotion, and energy, imbibing every lyric with an intensity that such phrases as "body language," "facial expressions," and "stage presence" simply cannot begin to explain.
It was a smart move indeed, then, for him to wrap up his Phillips label deal with a live album, recorded at the fabled Paris Olympia in October 1961, with piano accompaniment from arranger Francois Rauber and occasional songwriter Gerard Jouannest, and an orchestra conducted by Daniel Janin.
 
The 15 songs include a number with which the audience might not even have been familiar -- new material scheduled for Brel's next few EPs included "Les Bourgeois," "La Statue," "Zangra," and "Madeleine." All, however, are greeted with enthusiasm -- one of Brel's greatest talents, and the concert environment only amplified it, was his ability to turn total strangers into the closest friends, and friends, of course, into lovers -- an exuberant "Les Flamandes," a jovial "Marieke," a whirling "La Valse a Mille Temps."
 
Effortlessly, Brel holds the audience's emotions in his hand. A playful "Les Paumes Du Petit Matin" is high comedy, as Brel toys with both lyrics and vocal sounds; "Ne Me Quitte Pas," on the other hand, reduces a vast auditorium to the silence of the grave, until even the strings behind it sound like trespassers on the singer's soul. "Le Moribund" jerks the dreamers back to wakefulness, and one cannot help but wonder whether any of the so painfully earnest Anglo-American interpreters of this song could ever even imagine the exuberance with which Brel imbibes it. Joy, fun, seasons in the sun -- as the song speeds toward its conclusion, it almost sounds like Brel has started tap-dancing, so unrestrainedly buoyant is his delivery. The album closes with "Quand on N'a Que L'Amour," of course. It opens slowly, gently, Brel alone with his acoustic guitar and sounding almost uncertain as he stutters out the lyrics. As the band comes in behind him, however, his confidence returns, until the performance explodes with the crowd and, as Brel leaves the stage, the horns play out the refrain. It must have been a marvelous night; it remains a tremendous LP.     

Tracklist:
  1. "Les prénoms de Paris" (Brel / Gérard Jouannest)
  2. "Les bourgeois" (Brel / Jean Corti)
  3. "Les paumés du petit matin" (Brel / François Rauber)
  4. "Les Flamandes"
  5. "La statue" (Brel / Rauber)
  6. "Zangra"
  7. "Marieke" (Brel / Jouannest)
  8. "Les biches" (Brel / Jouannest)
  9. "Madeleine" (Brel / Jouannest / Corti)
  10. "Les singes"
  11. "L’Ivrogne" (Brel / Jouannest / Rauber)
  12. "La valse à mille temps"
  13. "Ne me quitte pas"
  14. "Le Moribond"
  15. "Quand on n'a que l'amour"

Jacques Brel - Olympia 1961
(192 kbps, cover art included)         

Freitag, 15. Juli 2016

Georges Brassens - Fernande (1972)

One of French pop's most poetic songwriters, Georges Brassens was also a highly acclaimed and much-beloved performer in his own right. Not only a brilliant manipulator of language and a feted poet in his own right, Brassens was also renowned for his subversive streak, satirizing religion, class, social conformity, and moral hypocrisy with a wicked glee.

Yet beneath that surface was a compassionate concern for his fellow man, particularly the disadvantaged and desperate. His personal politics were forged during the Nazi occupation, and while his views on freedom bordered on anarchism, his songs expressed those convictions more subtly than those of his contemporary, Léo Ferré.

Though he was a skilled songwriter, Brassens had little formal musical training, and he generally kept things uncomplicated - simple melodies and spare accompaniment from a bass and second guitar. Along with Jacques Brel, he became one of the most unique voices on the French cabaret circuit, and exerted a tremendous influence on many other singers and songwriters of the postwar era. His poetry and lyrics are still studied as part of France's standard educational curriculum.    


Tracklist:

A1Fernande
A2Stances A Un Cambrioleur
A3La Ballade Des Gens Qui Sont Nés Quelque Part
A4La Princesse Et Le Croque-Notes
A5Sauf Le Respect Que Je Vous Dois
A6Le Blason
B1Mourir Pour Des Idées
B2Quatre-Vingt-Quinze Pour Cent
B3Les Passantes
B4Le Roi
B5A L'Ombre Des Maris


Georges Brassens - Fernande (1972)
(ca. 192 kbps, cover art included)

Donnerstag, 14. Juli 2016

John & Alice Coltrane‎ - John & Alice Coltrane (Hörzu Black Label, 1970)

Alice Coltrane was an uncompromising pianist, composer and bandleader, who spent the majority of her life seeking spiritually in both music and her private life. Music ran in Alice Coltrane's family; her older brother was bassist Ernie Farrow, who in the '50s and '60s played in the bands of Barry Harris, Stan Getz, Terry Gibbs, and especially Yusef Lateef. Alice McLeod began studying classical music at the age of seven.
 
She attended Detroit's Cass Technical High School with pianist Hugh Lawson and drummer Earl Williams. As a young woman she played in church and was a fine bebop pianist in the bands of such local musicians as Lateef and Kenny Burrell. McLeod traveled to Paris in 1959 to study with Bud Powell. She met John Coltrane while touring and recording with Gibbs around 1962-1963; she married the saxophonist in 1965, and joined his band -- replacing McCoy Tyner -- one year later. Alice stayed with John's band until his death in 1967; on his albums "Live at the Village Vanguard Again!" and "Concert in Japan", her playing is characterized by rhythmically ambiguous arpeggios and a pulsing thickness of texture.               

This compilation with tracks featuring John and Alice Coltrane was released in 1970 on the "HÖR ZU Black Label" in Germany.

Tracklist:
AMy Favorite Things17:41
B1Reverend King10:55
B2The Sun3:58

"My Favorite Things" was recorded live at Newport Jazz Festival 1963, "Reverend King" on Februara, 02. 1966 in San Francisco and "The Sun" on January, 21, 1968, in New York.
         

John & Alice Coltrane‎ - John & Alice Coltrane (Hörzu Black Label, 1970)
(320 kbps, cover art included)

Mittwoch, 6. Juli 2016

Kurt Weill - Symphonies 1 & 2, Kleine Dreigroschenmusik - The Gulbenkian Orchestra & Michel Swierczewski

"For years the two Weill symphonies were dominated in the LP catalogue by two conductors: Gary Bertini and Edo de Waart. More recently Marin Alsop successfully took the symphonies into the studio for Naxos. Bertini – well respected for his Mahler cycle on EMI Classics – has kept a tighter grip on the shops having been reissued on CD several times. It began life with BBC Symphony Orchestra sessions at the Kingsway Hall in 1965-67. These emerged as an EMI Classics stereo LP (ASD 2390) and then turned up on Argo (ZRG 755) – or was it the other way around. Its somewhat overshadowed ‘echo’ came out in 1975 when the LP had less than ten years to live. The Gewandhausorchester Leipzig were conducted by de Waart. This initially appeared on East German Eterna as ED1 826673 but may be better known as Philips LP 6500-642; I am not sure whether it was ever re-issued on CD - does anyone know? However in 1996 the Bertini had the CD treatment from EMI Classics (5 65869 2.). It was number 25 in their admirable Matrix series.

There is a link between the Bertini recordings and the present disc. It’s to be found in the Calouste Gulbenkian Foundation. The Foundation – always a champion of fine neglected music - financially supported the Bertini sessions and it is the Gulbenkian Orchestra that plays these two symphonies and the Weill-Klemperer suite.

Fine performances from this conductor and Nimbus’s analytical recording reports a host of details without losing impact or the broad sweep in what is a richly resonant acoustic. The First Symphony is tender, world-weary and salty. Its energy is threaded through with disillusion and a knowing cynicism. This is not sufficient to preclude an ending which has a sense of repose. The music has perhaps a shade of Markevitch’s inhuman exuberance but there are also Bergian passages that evoke a tender Klimtian dream. The Symphony was written in April and June 1921 while Weill was part of Busoni’s class. It was premiered in Berlin in 1957 and only published in 1968. The gritty and acrid tang of Kleine Dreigroschenmusik is not tempered by Swierczewski. Indeed the cigar smoke, diesel and drains miasma mixes well with the pompous and dissolute Weimar-Grosz atmosphere. This is greatly helped by the role played by saxophone, guitar and banjo. The Second Symphony Pariser was written around the time of Weill’s enforced departure from Germany in 1933. It was premiered by Bruno Walter at the Concertgebouw in 1934. An agreeably harsh and grating rhythmic mordancy is coupled with a grunting and waxing undertow. There’s a very catchy finale with sparkling woodwind and a Svejk-like strut. The last few pages offer up a galloping romp." - http://www.arkivmusic.com/


Tracklist:

1 Symphony No.1 (1921) 25:46

 
Kleine Dreigroschenmusik Für Blasenorchester. Suite Aus Der "Dreigroschenoper" 21:37
2 1 Ouverture: Maestoso 2:05
3 2 Die Moritat Von Mackie Messer: Moderato Assai 2:21
4 3 Anstatt Daß-Song: Moderato 1:54
5 4 Die Ballade Vom Angenehmen Leben: Foxtrott 2:57
6 5 Pollys Lied: Andante Con Moto 2:50
7 5a Tango-Ballade 2:38
8 6 Kanonen-Song: Charleston-Tempo 2:30
9 7 Dreigroschen-Finale 4:22

 
Symphony No.2 (1933) 26:31
10 I Sostenuto-Allegro Molto 8:51
11 II Largo 10:51
12 III Allegro Vivace 6:49

Kurt Weill - Symphonies 1 & 2, Kleine Dreigroschenmusik - The Gulbenkian Orchestra
(320 kbps, cover art included)

Dienstag, 5. Juli 2016

Les Ambassadeurs ‎– Dance Music From West Africa

After first breaking into the Malian music scene with the Super Rail Band, Salif Keita left to help form Les Ambassadeurs. The strong Cuban influence in the music (obvious not only in the rhythms, but also in the horn charts) helped bring them local fame in the mid-'70s before Keita embarked on a solo career. With some stunning, but laid-back, guitar work from Kante Manfila, this record moves at a wonderful pace, never straining at the leash, but more danceable than 12 albums of funk. An absolute delight. --Chris Nickson

Though it's billed as "Dance Music From West Africa" (these folkie labels, anything for a buck), what you notice is more for the ears than the feet--the emotional range of Mali tenor Salif Keita, a far more stirring singer than the renowned Rochereau, and the way Kante Manfila's guitar anchors synth here and horns there. Gorgeous. And if you wonder what Keita's emoting about, read the notes. He doesn't much like war, prefers past leaders to present, hopes the poor man's prayers will be answered but que sera sera, praises not just cops but also informers for combating the drug scourge, and passionately opposes the newfangled practice of men marrying women older than themselves. Oh well. - R. Christgau

Had the chance to see them playing live on stage a year ago. It was a wonderful evening...
 

Les Ambassadeurs ‎– Dance Music From West Africa
(320 kbps, cover art included)

Sun Ra & His Intergalactic Arkestra - Sleeping Beauty (1979)

This is the great late-night Sun Ra chillout album you never knew about. The band had been working in a more groove-oriented setting off and on for over a year, as evidenced by the albums "Lanquidity" and "On Jupiter", with both featuring prominent electric bass and electric guitar.

"Sleeping Beauty" picks up right where "On Jupiter" left off, with the gentle, swaying "Springtime Again" echoing the same mellow vibe of "Seductive Fantasy" from "On Jupiter". A skittering intro coalesces as different instruments pick up bits of the melody, which is then fully expressed by the horn section and ensemble vocals. It's a simple two-chord vamp, with beautiful solos that seem to embody the reawakening and rebirth of springtime.

"The Door of the Cosmos" starts with a gospel-like chant and handclaps, with comments from Ra's electric piano and electric guitar. A strong bassline enters, very reminiscent of "A Love Supreme, Pt. 1: Acknowledgement," but the accompanying chant celebrates the mysteries of the unknown rather than the universal truth of "A Love Supreme". This track builds in intensity, but never loses its groove or becomes nearly as raucous as the Arkestra is sometimes known for.

"Sleeping Beauty" is the album centerpiece, taking up all of side two. Ra's beautiful electric piano gets things rolling, and the band falls into a peaceful groove before the vocals enter, led by the wonderful June Tyson.

These songs are all built on the simplest of structures, and the playing from everyone is understated and sublime. "Sleeping Beauty" is truly a high point in an unwieldy discography, and something of an anomaly at the same time. There's a good reason copies of this album go for several hundred dollars on the collector's market, but it really deserves a proper release so more people can hear it. Outstanding.
 
Tracklist:          


A1 Springtime Again 9:17
A2 Door Of The Cosmos 9:00
B Sleeping Beauty 11:51

 
(224 kbps, cover art included)