Samstag, 20. Januar 2018

Sylvia Anders - Bertolt Brecht (Myto Records)

The German actress/singer Sylvia Anders is a Bertolt Brecht expert, which she first demonstrated on her 1979 album "Hollywood Elegies".

On this album, titled simply "Bertolt Brecht", she presents songs with Brecht lyrics and music by Kurt Weill and Hanns Eisler, as might be expected, but also finds some music actually composed by Brecht. "How many people are aware of the fact that the melody of the ‘Lied der Seeräuber Jenny' or ‘Barbara Song' is originally by Brecht himself?," the unsigned liner notes ask.

The point here is not that the familiar melodies were written by Brecht, not Weill, but that Brecht wrote his own dummy tunes for his lyrics. Anders resurrects those melodies in her version of the song known in English as "Pirate Jenny," and in her version of "Barbara Song," also featured in The Threepenny Opera, she first sings to Brecht's tune, then switches and sings to the Weill music. These rare inclusions are in keeping with her overall approach, which is far less strident than the usual interpretations of Brecht's songs, and far more emotional and vulnerable. Anders' take on "Surabaya-Johnny," for instance, has less bitterness than most singers give it, and more tenderness. This is, thus, a fresh interpretation, and a more personal one than most.

"The whole range of Eisler´s Lied oeuvre from the `Konzertlied´ to `Song´ is overwhelmingly convincing..." Gisela May states that Sylvia Anders´ dynamic and histrionic abilities on this record were "extraordinary".

Sylvia Anders - Bertolt Brecht (Myto Records)
(192 kbps, front cover included)

Erich Kästner - Muttersohn im Vaterland

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

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

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

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

Freitag, 19. Januar 2018

The Dream Syndicate - Same (EP, 1982)

The Dream Syndicate is an American alternative rock band from Los Angeles, California, originally active from 1981 to 1989, and reunited since 2012. The band is associated with neo-psychedelia and the Paisley Underground music movement; of the bands in that movement, according to the Los Angeles Times, the Dream Syndicate "rocked with the highest degree of unbridled passion and conviction."´Though never commercially successful, the band met with considerable acclaim, especially for its songwriting and guitar playing.

Dream Syndicate are at the foundation (alongside the Velvet Underground, the Stooges, and R.E.M.) of contemporary alternative music simply because at the time when most bands were experimenting with new technology, the Syndicate deigned to bring back the guitar.

Fronted by Steve Wynn and including Karl Precoda (guitar), Dennis Duck (drums), and Kendra Smith (bass), the band formed in Los Angeles after Smith and Wynn had relocated there from Davis, California. They debuted with a self-titled, unbelievably Velvet Underground-like EP on Wynn's own Down There label. The EP was recorded January 31, 1982 at Southwest Sound, Pasadena, California.

From the opening, icy arpeggios of guitarist Karl Precoda's "Sure Thing" to the six-string train wreck that brings frontman Steve Wynn's "Some Kinda Itch" to a close, the mark of the seminal pre-punk outfit is all over these recordings. A larger kit doesn't stop drummer Dennis Duck from locking the band into a rigid, primal framework à la Maureen Tucker and the White Light/White Heat-style recording tactics of the self-production only enhance the gritty sound of the group's twin-guitar attack. On "That's What You Always Say," Wynn lays down a ragged, metallic strum over which Precoda delivers his buzzing, atonal solo. The two then engage in an exchange of fractured chords and six-string shards against the stark rhythm section. Precoda speaks a similar language on "When You Smile," though here the notes seem to corrode to his guitar strings in a rusted mess. As derivative as the sound may be, Dream Syndicate were clearly onto something. Just months later, a similar combination of Wynn's deadpan vocals and the band's austere soundscapes would surface on the triumphant "The Days of Wine & Roses", the group's acknowledged masterpiece and a classic from the (paisley) underground.                 


Sure Thing 3:57
That's What You Always Say 4:18
When You Smile 3:05
Some Kinda Itch 5:26

The Dream Syndicate - Same (EP, 1982)
(192 kbps, cover art included)

Mittwoch, 17. Januar 2018

Allen Ginsberg - The Lion For Real

Irwin Allen Ginsberg (June 3, 1926 – April 5, 1997) was an American poet and one of the leading figures of both the Beat Generation of the 1950s and the counterculture that soon would follow. He vigorously opposed militarism, economic materialism and sexual repression and was known as embodying various aspects of this counterculture, such as his views on drugs, hostility to bureaucracy and openness to Eastern religions. He was one of many influential American writers of his time known as the Beat Generation, which included famous writers such as Jack Kerouac and William S. Burroughs.

Recorded in the late '80s, "The Lion for Real" consists primarily of brief poems set to avant-jazz. Producer Hal Willner has assembled a group that at various times features Marc Ribot, Bill Frisell and Arto Lindsay, and they skillfully navigate the emotional tones and wit in Ginsberg's poems.

This doesn't contain any of Ginsberg's major works, but it's a welcome reminder of his irascible humor and mischievousness.            

A2Complaint Of The Skeleton To Time
A3Xmas Gift
A4To Aunt Rose
A5The Lion For Real
A7The Shrouded Stranger
A8Gregory Corso's Story
B1Cleveland, The Flats
B2The End
B3Stanzas: Written At Night In Radio City
B5Hum Bom!
B6Kral Majales
B8Ode To Failure

Allen Ginsberg - The Lion For Real
(320 kbps, cover art included)

Montag, 15. Januar 2018

Atahualpa Yupanqui - L´Integrale, Vol. 4

Atahualpa Yupanqui is a legendary Argentine folk musician and philosopher whose fame was revived during the politically charged "nueva cancion" movement of the 1960s. He´s considered to be the most important Argentian folk musician of the 20th century.

Here´s volume 4 of the "L´Integrale" set.


1.Camino Del Indio3:40
2.La Del Gualicho1:58
3.Me Gustaba Andar3:28
4.Huinca Onal4:36
5.Melodía Del Adiós Y Danza Rústica4:21I
6.La Llorona3:00
7.Hui, Jo, Jo, Jo !3:26
8.De Tanto Dir Y Venir4:21
9.Guitarra De Pobre2:56
10.El Bien Perdido2:18I
11.A Vos Te Hai Pesar4:35
12.Nunca Jamás!3:49
13.Viene Clareando3:04
14.Huella Triste3:41
15.Amalaya El Cielo2:14
16.El Indio Y La Quena3:35I
17.Madre Del Monte4:09
18.Córdoba Norte2:22
19.La Mano De Mi Rumor3:38

Atahualpa Yupanqui - L´Integrale, Vol. 4
(320 kbps, cover art included)

Samstag, 13. Januar 2018

VA - Canto Libre - Freier Gesang (Amiga 1977)

This is a collection of political songs from Vietnam, South Africa, Spain, Chile and the GDR. With the titel "Canto Libre" it refers to Victor Jara and the "Nueva canción" movement.

Nueva canción (Spanish for 'new song') is a movement and genre within Latin American and Iberian music of folk music, folk-inspired music and socially committed music. Nueva canción is widely recognized to have played a powerful role in the social upheavals in Portugal, Spain and Latin America during the 1970s and 1980s.

Bringing together artisits from these countries, this album was intended as a support for the global fights against Imperialism. Artists representing revolutionary movements from all around the world were presented together with artistis taking part in the East German "Singebewegung" to express the world-wide anti-imperialist solidarity between the "fighting people".

This album is an interesting attempt linking the GDR song movement ("Singebewegung") with music form different kind of international revolutionary movements. We will come back to this connection with some more posts in the next weeks...


01 - Thanh nien Ho Chi Minh - Der Hügel der zehn Helden
02 - Gerry Wolff - Ballade von Ho Chi Minh
03 - Quilapayun - Por Vietnam
04 - Oktoberklub - Saigon ist frei
05 - Cynthia Nokwe - Nongqongqo
06 - Cynthia Nokwe - Sizobadubula ngembayimbayi
07 - Santocas - Poder Popular
08 - Oktoberklub - Der Tag der großen Arbeit
09 - Victor Jara - Canto Libre
10 - Inti Illimani - La Seunda Inderpendencia
11 - Jahrgang 49 - Für unser Chile
12 - Canzoniere Internationale - Elegia por Salvador allende
13 - Joan und José - A la huelga
14 - José Alfonso - Grândola via morena
15 - Oktoberklub - Nada para Pinochet

VA - Canto Libre - Freier Gesang (Amiga 1977)
(320 kbps, cover art included)

Freitag, 12. Januar 2018

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

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)

Dieter Süverkrüp - Die widerborstigen Gesänge des Dieter Süverkrüp (1967)

Dieter Süverkrüp is a german painter and songwriter, born 30 May 1934 in Düsseldorf.

Süverkrüp is a founding father of the singer-songwriter movement after the Second World War. He was well known in the alternative cultural scene of the 1960s and 1970s. Politically, he was a membre of the  DKP for a long time. Some of his best known songs are "Die erschröckliche Moritat vom Kryptokommunisten", "Baggerführer Willibald" and "Das Auto Blubberbumm", a musical for children.

A1Erschröckliche Moritat vom Kryptokommunisten
A2Nachtgebet eines Untertanen
A3Kinderchor für einen sauerländischen Zwergbahnhof
A4Verkürzte Darstellung eines neuerlichen Deutschlanderwachens
A5Kirschen auf Sahne
A6Versuch eines (naturgemäß theoretischen) Wiegenliedes für unser noch ungeborenes Kind, August 1967
B1Wünsche des Publikums an den Sänger
B2Landesvaters Abendlied
B4Schnulze et iucundum est, fürs Vaterland zu werben
B5Lied vom Tod
B6Nach der endgültigen und vollständigen Einführung und Inkrafttretung der Notstandsgesetze werde ich allen leichtfertig gutgläubigen Wählern ein Liedchen singen. Vorsichtshalber singe ich es schon jetzt.

Dieter Süverkrüp - Die widerborstigen Gesänge des Dieter Süverkrüp (1967)
(256 kbps, cover art included)

Kurt Tucholsky - Gruss nach vorn! (Wolfgang Reichmann)

Wolfgang Reichmann (7 January 1932 – 7 May 1991) was a German actor. He appeared in 69 films and television shows between 1954 and 1991. He starred in the film "The Fair", which was entered into the 10th Berlin International Film Festival.

He was born just three years before Kurt Tucholsky´s death. Tucholsky was one of the most significant journalists of his time: a satirist, a cabaret writer, a socialist and pacifist. And because he wrote so much, he used a host of pseudonyms. Kurt Tucholsky was a truly enigmatic figure.
He was restless and broken, a master of self-dramatization, elegant, spirited, charming, a partygoer and a heartbreaker. But above all, he was an author and critic of his time. Kurt Tucholsky, who lived from 1890 to 1935, studied law before completely dedicating himself to writing. He saw himself as a left-wing democrat and pacifist and warned against anti-democratic tendencies – above all in politics, the military and justice – and the threat of National Socialism. His fears were confirmed when the Nazis came to power in 1933: his books were listed on the Nazi's censorship as "Entartete Kunst" ("Degenerate Art") and burned, and he lost his German citizenship.

On this album are featured Wolfgang Reichmann´s interpretations of Kurt Tuchosky´s lyrics. Besides two spoken passages there are songs with music composed by Hanns Eisler, Olaf Bienert, Henry Krtschil and others.

Kurt Tucholsky - Gruss nach vorn! (Wolfgang Reichmann)
(256 kbps, front cover included)

Mittwoch, 10. Januar 2018

Atahualpa Yupanqui - L´Integrale, Vol. 3

Hector Roberto Chavero Aramburo was born in Pergamino, a province around 200 kilometres away from Buenos Aires, on January 31st 1908. By the 1960’s he was considered one of the most important Argentinian, and Latin American, folk musicians of all time.
Choosing not to showcase his family name on stage, instead, Hector decided to adopt the alias of Atahualpa Yupanqui. A pseudonym combining the names of two legendary Incan kings. With a father hailing from Argentina and a mother descending from the Basque country, Yupanqui was blessed with a healthy cultural mix, which undoubtedly went some way towards fuelling his desire for travel.
His first musical experience was of playing the violin, but he would soon switch to guitar, and became something of a troubadour, singing folk songs as he travelled around Argentina. This was made possible by his early jobs of delivering telegrams and of working as a muleteer, which is to deliver goods by mule. Gradually the travelling would become more than just a job. He spent a lot of time in the northwest of Argentina and the Altiplano studying the Amerindian indigenous culture. Of particular note, in 1934 he took part in an ethnological study of the Amaichas Indians with Alfred Métraux. It was during these travels that he would learn rhythms such as the zamba, vidala and chacarera, that he would later popularise in his songs.
During this time, the young Yupanqui grappled with political ideologies and decided to join the Communist Party of Argentina. In 1931 the Argentine took part in the attempted, and ultimately unsuccessful, uprising of the Kennedy brothers, which resulted in the musician being forced to seek refuge in Uruguay. Yupanqui would not return to his native land until 1934.
Yupanqui first visited Buenos Aires in 1935, when he was invited to perform on one of the local radio stations at the time and it was shortly after this event that the Argentine met his long-time, collaborative, musical partner and future wife; pianist Antonieta Paula Pepin Fitzpatrick (nicknamed “Nenette”). “Nenette” accompanied Yupanqui for many years under the pseudonym of Pablo Del Cerro, creating vibrant and entertaining compositions. It was also around this time that he became a published writer, with Cerro Bajo hitting Argentine bookshelves in 1941.

Yupanqui’s work suffered as a result of his allegiance to the Communist Party, especially during Juan Peron’s presidency. The musician’s work was largely censored and Yupanqui was even detained and incarcerated on many occasions during this period. Feeling dejected, the Argentine fled to Europe in 1949 and by July 1950, Yupanqui was invited to perform in Paris by Edith Piaf. Here in France he gained much notoriety; he would regularly open for Piaf, but additionally, became friends with artists such as Aragon, Eluard and Picasso, all of whom appreciated his poetry and its nature of dealing with poverty and oppression. He signed a contract with the recording company Le Chant Du Monde, which published his first LP in Europe, entitled “Miner I am”. This LP went on to win the Charles Cros Academy’s prize for best foreign disc and subsequently enabled Yupanqui to tour extensively around Europe with his music.
Yupanqui returned to Buenos Aires in 1952. By this time the musician had broken off all ties with the Argentinian Communist Party, which made it much simpler for him to book radio performances and musical events. During this time Yupanqui’s music flourished and he achieved a fair degree of success.
By the 1960’s Yupanqui’s work was widely recognised, especially by nueva cancion artists such as Mercedes Sosa (who would in 1977 record her Mercedes Sosa interpreta a Atahualpa Yupanqui album, devoted solely to his songs) and Jorge Cafrune who began recording his compositions. This made the Argentine very popular among the younger musicians who affectionately began referring to him as ‘Don Ata’.
During 1963 and 1964 Atahualpa toured around Colombia, Japan, Morocco, Egypt, Israel and even Italy. By 1967 he had also toured Spain and decided to settle in Paris. From his new base he would regularly return to Argentina and he would appear in Argentinisima and Argentinisima II, two Argentine musical documentaries films released in 1972 and 1973 respectively. These visits became more sparse, however, when the military dictatorship of Jorge Videla took over the country in 1976.

In 1989 the University of Nanterre, a prestigious and highly regarded institution, asked Yupanqui to write the lyrics of a Cantata to commemorate the bicentennial of the French Revolution. Yupanqui graciously accepted the offer and produced a composition entitled, “The Sacred Word”. This piece was released before the French authorities and it was thought to be a tribute to all the oppressed towns that freed themselves during the great struggle.
To the grief of many, Yupanqui died in Nimes, France in 1992, aged 84. To this very day, though, his music continues to touch the hearts and lives of many citizens, not just in South America, but all over the entire planet.

Atahualpa Yupanqui recorded over 12,000 songs, many of which are on labels that no longer exist, and are therefore out-of-print. This makes it very difficult to begin making any recommendations, however, the good news is that I’ve never heard a bad record by him. Mis 30 Mejores Canciones and Solo Lo Mejor de are both recommended as strong collections of his songs. Piedra Y Camino: 1936/1947 on Discmedi records, focuses on his early days, and while it may not get great marks for its fidelity, is definitely worth investigating. Buenas Noches, Compatriotas… is a live recording, made in Mar del Plata in 1983, and despite quite annoying crowd noise is a good document of the man in his later life. Additionally, any of his recordings for Le Chant du Monde in the middle of his career are worth keeping an eye out for. Basta Ya! and Soy Libre are two such examples.

Here´s "L´Integrale, Vol. 3":

1.Canción Para Pablo Neruda4:00
2.De Aquellos Cerros Vengo2:10
3.Salmo A La Guitarra5:21
4.Milonga Triste3:00I
5.Baguala Del Gaucho Pobre3:47
6.Milonga Del Solitario3:40
7.Nada Más3:16
8.Silbando Piensan Las Aves / Humito De Mi Cigarro4:08
9.La Paulita2:08I
10.Canción Del Arriero De Llamas3:14
11.Recuerdo De El Portezuelo3:59
12.Juan Careno2:10I
13.Canción Para Doña Guillermina3:23
14.Nieve, Viento Y Sol3:15
15.Los Dos Abuelos3:26
16.Chacarera Santiagueña2:04I
17.Tum Tum Mañanita5:12
18.El Aromo4:10

Atahualpa Yupanqui - L´Integrale, Vol. 3
(256 kbps, cover art included)

Dienstag, 9. Januar 2018

J. J. Johnson - Plays Mack The Knife And Other Kurt Weill Songs (1961)

The LP "Plays Mack the Knife" (1961) presents J. J. Johnson fronting a quartet that includes André Previn on piano, Red Mitchell on bass and Frank Capp on drums - quartet recordings are not especially common in Johnsons discography - playing songs by the celebrated Kurt Weill.

As the original liner notes clearly indicate, recording a jazz version of "Mack the Knife" in 1961 wasn´t an easy bet, for many other artists had already made their versions (the most celebrated ones were those by Ella Fitzgerald in Berlin in 1960, and by Louis Armstrong, both alone with his All Stars and in a 1955 vocal duet with Lotte Lenya, for whom the song had originally been written). Previn and Johnson succeed in giving this music a new distinctive sound (although always respectful of the original melodies).


A1 Bilbao-Song 4:05
A2 Barbara-Song 6:10
A3 Overture 5:05
A4 Seeräuberjenny 4:23
B1 Mack The Knife (Moritat) 4:55
B2 Surabaya-Johnny 4:17
B3 Wie Man Sich Bettet 6:03
B4 Unzulänglichkeit 4:55

J. J. Johnson - Plays Mack The Knife And Other Kurt Weill Songs (1961)
(320 kbps, cover art included)

Montag, 8. Januar 2018

Hanns Eisler - Kammermusik - Chamber Music (Berlin Classics)

Berlin Classics' "Hanns Eisler: Kammermusik" represents a gathering of chamber music from 1920 to 1947, recorded between 1965 and 1973 as part of a comprehensive recording of all of Eisler's music as undertaken by the East German Eterna label.

It ranges from the pithy, discordant but tonally concluded Scherzo for string trio of 1920 to the elegant and witty music Eisler composed for Charlie Chaplin's film "The Circus", a commission interrupted by Eisler's enforced departure from the United States courtesy of the House of Un-American Activities Committee. It also includes some lieder; Eisler's deliciously funny cycle "Newspaper Clippings" (1925-1927), sung with character and an innate understanding of Second Vienna School songcraft by soprano Roswitha Trexler. Eisler deliberately picked texts out of the daily newspaper in direct retaliation to the conservative, symbolist poets - such as Stefan George - favored by Eisler's colleagues in the Second Vienna School. As these texts are drawn from non-standard literary sources, it would have been wonderful if Berlin Classics could have included them -- even in German only - in the booklet, but they do not. Ditto for the deliberately silly Christian Morgenstern text used in Eisler's "Palmström", really not so much a formal song setting as an experimental twelve-tone composition with an added part for voice.

Among the purely instrumental pieces heard here are another string trio; a sonata for flute, oboe, and harp; a violin and piano sonata; a nonet; and the aforementioned Circus. Of these, the last-named work is decidedly the most ingratiating and immediate, but the others begin to grow on one as well. Even though Eisler's language in some of these pieces is technically atonal, he utilizes gestures and sequences that sound familiar and some passages can even be described as "catchy." The Eterna Eisler recording project had the support of the East German government - Eisler was considered a cultural figurehead in that regime, even though when he lived there, they provided Eisler little opportunity to work - and no expenses were spared in this project. The performances here are all top-drawer and the 1960s- and '70s-era recordings don't sound in the least dated.

All of these pieces included here also appear on the Hanns Eisler six-CD box set on Berlin Classics of his instrumental music, though not on the same disc, nor in the same sequence. If six CDs are simply too much and one only desires a sample of Eisler's chamber music, this is an excellent choice.

 Hanns Eisler - Kammermusik - Chamber Music (Berlin Classics)
(192 kbps, cover art included)

Rolando Alarcón - Canta a los Poetas Soviéticos (1971)

The Chilean composer and singer/player Rolando Alarcon (1929 - 1973) is one of the pioneers of the New Chilean Song movement.
He founded the folk band "Cuncumén" in 1955. In 1962 he left the band and in 1965, after the brief period with "Los De Las Condes", he released his first solo album: "Rolando Alarcón Y Sus Canciones", followed by "Rolando Alarcón" and "El nuevo Rolando Alarcón" (1967) where he turned to a more social implication and to the pop music. He also played on "La Peña de los Parra" and in "Chile Ríe y Canta" peñas.

Canta a los poetas soviéticos is his eleventh album. It is a hommage to the soviet poet Yevgeni Yevtushenko and the singer Bulat Okudzhava.

01. ¿Querrían los rusos la guerra? (Yevgeni Yevtushenko – Eduard Kolmanowski)
02. Cuando mataron a Lorca (Yevgeni Yevtushenko)
03. La prisa es la maldición del siglo (Yevgeni Yevtushenko)
04. La isba (Yevgeni Yevtushenko)
05. El último trolebús (Bulat Okudzhava)
06. Canción del soldado americano (Bulat Okudzhava)
07. Cancioncita sobre la puerta abierta (Bulat Okudzhava)
08. ¿Escuchan los botines al pasar? (Bulat Okudzhava)
09. Sharmanka (Bulat Okudzhava)

Rolando Alarcón - Canta a los Poetas Soviéticos (1971)
(160 kbps, front cover included)

Sonntag, 7. Januar 2018

Barbara Dane - On My Way (1962)

Barbara Dane (1927) started her musical career in folk music and traditional jazz circles in the mid Forties, first in her native Detroit and then in San Francisco, where in 1954 she came into contact with some local jazz revivalists, including trombonist Bob Mielke and banjo player Dick Oxtot. During her high school years, she had received training as an operatic contralto, but Mielke and Oxtot encouraged her to probe further into the blues with their band, the Bearcats.

From the time she first stirred interest among aficionados and critics in San Francisco, she developed into virtually the only white singer of classic blues at the time.

"On My Way" (1962) presents a different side of Miss Danes expressiveness: a deep and fervent spirituality as fundamental as her blues. Her accompanying group included pianist and cornet player Kenny Whitson, whose performancesimultaneously in both instrumentsis astonishing, particularly on cornet. Barbara Dane is more than a singer, she is also a guitarist, passionately dedicated researcher, friend of forgotten pioneers, and sponsor of unpopular causes.


Barbare Dane - On My Way (The Original Album)
1Barbara DaneTake It Slow And Easy
2Barbara DaneI'm On My Way
3Barbara DaneDraggin' My Heart Around
4Barbara DaneCrazy Blues
5Barbara DaneGoodby Daddy Goodby
6Barbara DaneCake Walking Babies From Home
7Barbara DaneWild Women Don't Have The Blues
8Barbara DaneThis Little Light Of Mine
9Barbara DaneHurry Up Sundown Let Tomorrow Come
10Barbara DaneThe Hammer Song
11Barbara DaneMama Don't Allow No Twistin'
The Northern Soul Single Version
12Barbara DaneI'm On My Way
Early Barbare Dane - George Lewis With Dick Oxtot's Traditional Jazz Quartet
13George Lewis The Glory Of Love
14George LewisGood Morning Blues
From 'Trouble In Mind'
15Barbara DaneTrouble In Mind
16Barbara DaneAin't Nobody Got The Blues Like Me

17Barbara DaneHow Long Blues
From 'When I Was A Young Girl'
18Barbara DaneWhen I Was A Young Girl
From 'Livin' With The Blues'
19Barbara DaneIn The Evenin' (When The Sun Goes Down)
20Barbara DaneSince I Fell For You
From 'When I Was A Young Girl'
21Barbara DaneGirl Of Constant Sorrow
22Barbara DaneI Know Where I'm Going
23Barbara DaneDon't Sing Love Songs
Live With The Firehouse Fice/Louis Armstrong/ As Featured In Hitchcock's 'Captive Audience'/With The Firehouse Five
24Barbara Dane  Old Fashioned Love/I'm On My Way/Goodbye Daddy Goodbye/Ain't Nobody Got The Blues Like Me

Barbara Dane - On My Way (1962)
(320 kbps, cover art included)

Paul Robeson - Songs Of Struggle (Regis)

Paul Robeson was an American treasure. He had one of the most powerful and celebrated voices of his generation. Perhaps more importantly, he was one of the heroes of the civil rights movement. As early as 1924 he was performing on stage in Britain and the US in roles that were very unlike the stereotypes normally promoted when he was cast as a black lawyer who marries a white woman in All God’s Chillun Got Wings. He was later cast as Othello to rave reviews in both the UK and US.               
His entire life was spent combating inequality in one form or another. On his tombstone is his personal statement that “The artist must elect to fight for Freedom or for Slavery. I have made my choice. I had no alternative.” Thus this particular compilation of music highlighting both Robeson’s strong voice as well as his stronger convictions is extremely appropriately themed. Much of this music is about political struggle. Other pieces concern the simple struggle to continue life in the face of tribulation. They all display a worldly strength and the understanding of a man that clearly was familiar with these emotions.

The performances are often quite minimal, using only a piano and solo voice. This is highly appropriate to these works, as this lends a highly personal atmosphere. Additionally it brings solid focus to the incredible talent that Robeson possessed. The symphony-accompanied performances are equally strong from Robeson, but less strong musically. The orchestration is unmistakably that of a radio orchestra from the 1940s. When that sound is properly employed, it is a good sound. When it is little more than a lush transcription of piano accompaniments, there are many times that the piano would be preferred. The lone exception here is Love At My Heart, which includes a male chorus as well as the orchestra, reinforcing the arrangement in a way unlike the majority of the other string works.

The recordings are quite well produced with minimal tape hiss and no noticeable album noise. The fidelity is bright and far better than many vintage recordings. Generally this seems to be a project that the production team truly cared about.

As the work is by a true master, and the pieces are among the highlights of his career, this is a collection that can be truly recommended.


       1. Joe Hill (with Lawrence Brown) 1942 2:29
2. John Henry 1945 2:36
3. The Peat-Bog Soldiers 1942 2:24
4. Kevin Barry 1947 2:11
5. The Four Insurgent Generals 1947 2:28
6. The Purest Kind of Guy (Joe's Birthday Song) 1942 3:19
7. From Border to Border 1942 2:24
8. Oh, How Proud Our Quiet Don 1942 3:17
9. Within Four Walls 1942 3:29
10. Native Land 1942 2:18
11. Song of the Plains (Red Army Song) 1942 3:04
12. Cradle Song 1942 3:50
13. Passing By 1938 2:18
14. Thora (Walter Goehr) 1939 3:29
15. Love at My Heart (Walter Goehr) 1939 2:02
16. Ebenezer (The Proud Valley) with male chorus 1939 2:26
17. Lazini (Big Fella) with Orchestra/Eric Ansell 1937 2:44
18. Encantadora Maria (Ronnie Munro) 1938 2:38
19. Just-A-Wearyin' For You 1938 2:33
20. St. Louis Blues 1934 3:26
21. Mah Lindy Lou 1932 3:11
22. Summertime (Porgy and Bess, Gershwin; Heyward) 1938 2:33
23. Swing Low Sweet Chariot with Ruthland Clapham 1933 2:43
24. Ol' Man River (Showboat; Kern;Hammerstein 11) 1927 3:49
25. The Little Black Boy (Songs of Innocence) 1939 2:16

Paul Robeson - Songs Of Struggle (Regis)
(256 kbps, cover art included)

Samstag, 6. Januar 2018

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

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

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

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

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

(320 kbps, cover art included)