Mittwoch, 7. Dezember 2016

Witthüser & Westrupp -Trips & Träume (1971)

Apparently, Witthüser & Westrupp came into being at the Essen "Podium" folk club where Walter Westrupp worked as a DJ. Bernd Witthüser was already known as a protest singer, Westrupp was playing in a skiffle band, and when the two met they realised there was a magical chemistry between them. They busked and played in local clubs creating their own unique repertoire. Although working as a duo since 1969, their debut was released under Bernd Witthüser's name, as it contained music composed by him, with lyrics taken from the writings of politically minded poets and novelists, like Novalis, Heine and Brösel.

As a proper duo the Witthüser & Westrupp sound came on in leaps and bounds, their music was pure innovation, drawing on Westrupp's classical background, and enthusiasm from Rolf-Ulrich Kaiser, Witthüser & Westrupp became the cosmic buskers! With some of the finest session musicians in Germany, they went on to record three of the most original progressive folk-rock albums of the early-70's.

"TRIPS & TRÄUME" is, excepting a couple of shorter catchy folk songs, a very cosmic affair, with long spacious tracks oozing out atmosphere, like ancient folk diversions from Ash Ra Tempel. Up first is "Lasst uns auf die Reise gehn" which is such a moving tune for me, i´m so touched by this song. "Nimm doch einen Joint, mein Freund" is a (sort of) cover of THE FRATERNITY OF MAN"S "Don't Bogart Me" made popular by it's inclusion in the film "Easy Rider". This version is such a blast as we get English vocals for the first time as they sing about sharing weed and singing about hash and lsd. Humerous stuff.

The next two albums on the Pilz label developed the sound on an even richer more complex level with massed keyboards, a little more rock, more guitars and even choirs, many of the guests being from Wallenstein. After disbanding, both musicians went onto other folk and political bands: Baier Westrupp, Die Walter H.C. Meier Pumpe, etc. A double live album of Witthüser & Westrupp was also issued.

Tracklist:
A1Laßt uns auf die Reise gehn4:00
A2Trippo Nova8:55
A3Orienta7:35
B1Illusion I4:35
B2Karlchen9:05
B3Englischer Walzer1:38
B4Nimm doch einen Joint, mein Freund3:30

Witthüser & Westruppe - Trips & Träume (1971)
(192 kbps, cover art included)

Oscar Chávez – Nicaragua vencerá (1979)


Oscar Chávez was born in Mexico in 1935. He spent his early years studying theater at the Escuela de Arte Teatral del Instituto Nacional de Bellas Artes, the Academia de Teatro del Maestro Seki Sano, and the Teatro de la Universidad. Chávez appeared in a number of films, including Los Caimanes, La Diosa de Plata, and El Heraldo. His film work led to opportunities in the emerging world of the telenovela. As an actor, vocalist, and director, Chávez participated in more than 200 radio plays for Radio Universidad.

Though a busy actor and director, his musical pursuits have earned him international fame, with more than 20 records to his credit. In his repertoire choices and compositions, Chávez has distinguished himself not only as an arranger and performer, but as champion of Mexican folklore. This preoccupation with preservation of tradition manifested itself throughout his work via the inclusion of not only traditional stories, but also protest songs. Viewing folklore as inherently political, Chávez would come to be known as the people's folk historian. Later in his career, Chávez added light political satire to his repertoire, including material that made light of current political situations and characters. Chávez continues to be an important player in the preservation of traditional Mexican music and culture.   

Here´s Oscar Chavez hommage to the Sandinista revolution against the Somoza dictatorship in Nicaragua.           

Tracklist:
01. Ya cayó Somoza
02. Con Sandino en Nicaragua
03. La Mama Ramona
04. Somos los libertadores
05. Dos palomitas blancas
06. Contra Moncada
07. Gratitud a Masaya
08. Caballo criollo
09. Corrido de Nicaragua
10. Hora cero-La Adelita

Oscar Chávez – Nicaragua vencerá (1979)
(160 kbps, front cover included)

Dienstag, 6. Dezember 2016

Gisela May & Thanassis Moraitis - Mikis Theodorakis - Lieder

This album is a historical musical document that has been recorded in Berlin in 1988, just a year before the fall of the Berliner Wall. The “great lady” of the Berliner Ensemble and excellent interpreter of Brecht’s songs, Gisela May, meets the Greek singer Thanassis Moraitis.
Together, they sing an anthology consisting of important compositions signed by Mikis Theodorakis, one of the most significant Greek composers such as “Asma Asmaton”, “Antonis”, “To gelasto pedi” and others.

Tracklist:
A1Lied der Lieder (Part 1)3:56
A2Andonis2:58
A3Der Flüchtling3:02
A4Wenn der Krieg vorbei ist3:03
A5Lied der Lieder (Part 2)0:53
A6Am 18. November2:00
A7Der Junge mit dem Lächeln2:34
A8Weil er sich nicht Gesetzen beugte2:52
A9Anatolien2:45
B1O Dromos Tou Phegariou2:44
B2Santiago5:27
B3Patrida Mou2:40
B4Chameni Apostoli3:02
B5Arkouda3:24
B6Tripolis4:00
B7To Taxidi2:51


Gisela May & Thanassis Moraitis - Mikis Theodorakis - Lieder
(320 kbps, cover art included)

Kurt Weill On Broadway - Thomas Hampson

Just going by the title "Kurt Weill on Broadway", one might expect to encounter certain songs from certain shows, for example, the title song from "Lost in the Stars" and "September Song" from "Knickerbocker Holiday". Composer Kurt Weill's biggest hit show on Broadway was "One Touch of Venus", and when you consider that this album, although credited to opera singer Thomas Hampson, who is heard to one extent or another on all but two of the 16 tracks, is really something of a studio cast recording of selections from Weill musicals also featuring 21 other singers (notably Elizabeth Futral, Jerry Hadley, and Jeanne Lehman), you might expect to hear "Speak Low," "That's Him," and "I'm a Stranger Here Myself" from that show (even though they're sung by the female lead) and, perhaps, "Jenny" and "Tschaikowsky" from Weill's second biggest Broadway hit, "Lady in the Dark". You might even expect to hear a song or two from "The Threepenny Opera", which, even though it dates from Weill's early career in Germany, has had several Broadway and off-Broadway productions. But all such expectations should be banished; none of these songs is included. The title of this album really should be "The Lost Songs of Kurt Weill on Broadway", or something like that, because it is in fact a reclamation project that looks to some of Weill's least successful shows and most obscure compositions.

Forget about "Lady in the Dark" and "Lost in the Stars", much less "The Threepenny Opera". This collection is devoted to music from shows like "The Firebrand of Florence" (a 48-performance flop) and "Johnny Johnson" (68 performances), shows that never had cast albums. Neither did "Love Life", another show highlighted here, even though it ran a comparatively long 252 performances, if only because, as annotator Miles Kreuger points out, the year it opened on Broadway there was a strike of the musicians union that prevented anything from being recorded. Kreuger, in his extensive notes, provides much of the rationale for this album, claiming, for example, that "The Firebrand of Florence", an operetta with lyrics by Ira Gershwin and excerpts from which take up half the album's running time, "failed, not because of its writing or composition, but because almost everything that could go wrong with its original Broadway production went wrong," among those things that the show was "poorly directed, and four out of the four leading characters [were] poorly cast...." The annotator says nothing about the casting on this album; in fact, he says practically nothing at all about these recordings, restricting himself to historical comments about the original productions.

But the implication would seem to be that Hampson and company, along with conductor John McGlinn and the London Sinfonietta, are finally doing right by Weill and resurrecting much worthy music. That is hard to tell from the bits and pieces heard on the album; it might have been better, as Kreuger suggests, to have had them go ahead and record "The Firebrand of Florence" in toto. Another possible project might be "Love Life", with a libretto and lyrics by Alan Jay Lerner, which sounds promising based on the lengthy soliloquy "This Is the Life." (It should be pointed out that the song "I Remember It Well" heard here, although it is similar in content to a tune of the same name in Lerner's film score for "Gigi", written later with Frederick Loewe, is an entirely different composition.) To his credit, Hampson treats the sometimes very diverse material in different ways, coming on like the opera singer he is in "The Firebrand of Florence", but managing a convincing musical comedy style elsewhere, which is not true of all of his fellow singers. "Kurt Weill on Broadway" is to be applauded for bringing onto disc much forgotten Weill in competent, authentic performances, as long as the buyer doesn't purchase it expecting to hear Weill's best-known Broadway music, as its title inevitably implies.

Tracklist:

1One Touch Venus: Westwind3:38
2Knickerbocker Holiday: It Never Was You5:37
3Knickerbocker Holiday: How Can You Tell An American?3:31
4The Firebrand Of Florence Act 1, Scene Act 1: Song Of The Hangman5:02
5The Firebrand Of Florence Act 1, Scene Act 1: Civic Song - "Come To Florence"5:03
6The Firebrand Of Florence Act 1, Scene Act 1: Aria - "My Lords And Ladies"1:16
7The Firebrand Of Florence Act 1, Scene Act 1: Farewell Song - "There Was Life, There Was Love"7:17
8The Firebrand Of Florence Act 1, Scene Act 1: Love Song - "You're Far Too Near Me"6:01
9Procession; Chant Of Law And Order - "The World Is Full Of Villians"4:07
10Trial By Music - "You Have To Do What You Have To Do Do"5:41
11Duet - "Love Is My Enemy"4:12
12Love Life: Who Is Samuel Cooper?; My Name Is Samuel Cooper 6:13
13Love Life: Here I'll Stay 5:50
14Love Life: I Remember It Well 2:45
15Love Life: This Is The Life 6:44
16Johnny Johnson: Johnny's Song 3:22

Kurt Weill On Broadway - Thomas Hampson
(256 kbps, cover art included)

Theodore Bikel - Sings More Jewish Folk Songs (1959)


Theodore Bikel has died on July 21, 2015, aged 91. Thanks a lot for all the wonderful music!

Originally released in 1959 on Elektra, this is the second of three Yiddish albums Bikel recorded for Elektra Records.

In a career that has spanned over 50 years, Bikel has excelled in all aspects of the entertainment industry. He has appeared in numerous stage productions, and costarred with Mary Martin (at her insistence) in the original Broadway production of "The Sound Of Music," and has performed the role of Tevye in over 2,000 performances of "Fiddler On The Roof".

His many film credits include "The African Queen" with Humphrey Bogart and Katherine Hepburn, "The Defiant Ones", for which he received an Academy Award nomination, "My Fair Lady", "The Russians Are Coming", and the Frank Zappa cult classic, "200 Motels".

As a singer, Bikel has been an important mentor and influence on artist such as Judy Collins, Peter Paul and Mary, The Limelighters, and Bob Dylan.

"Theodore Bikel Sings MORE Jewish Folk Songs" is a wonderful and joyous celebration of Yiddish Folk songs and is welcome addition to any folk music collection!

Tracks
1. Hulyet, Hulyet Kinderlech
2. Lomir Alle Zingen [Let Us All Sing]
3. A Zemer
4. A Fidler
5. Drie Techterlech
6. Der Bekher
7. Kinder Yorn
8. Dona, Dona
9. Unter a Kleyn Beymele
10. Der Fisher
11. Drei Yingelech
12. Papier Iz Doch Veis
13. Az Der Rebbe Zingt
14. Di Zun Vet Aruntergeyn

(192 kbps, cover art included)

Montag, 5. Dezember 2016

Dick Gaughan - Sail On

While not the best album in Gaughan's impressive canon, "Sail On" is testament to the fact that he sounds best in a stripped-down setting. Unfortunately, it proves the point by a number of over-arranged pieces, like "Land of the North Wind" and "Son of Man," which utilize a band, it seems, just because they can, diluting the power of the songs.

He's much better, for example, on Pete Seeger's "Waist Deep in the Big Muddy," "No Gods and Precious Few Heroes," which he tackles solo, or the very spare "The 51st (Highland) Division's Farewell to Sicily," which shows his guitar talents - and extensive they are, too.

He's a revelation on his cover of "Ruby Tuesday," and brings a wonderfully personal touch to Richard Thompson's "1952 Vincent Black Lightning" - indeed, he's a superb interpreter of songs as well as a writer. But the good stuff simply throws into relief how little Gaughan needs the extraneous instruments, and his production, especially on the fuller arrangements, is curiously flat. But when he's good, he's very good indeed.        

Tracklist:

1Land Of The North Wind3:03
2Son Of Man3:56
3Ruby Tuesday4:27
4Waist Deep In The Big Muddy4:50
5No Cause For Alarm2:58
6The 51st (Highland) Division's Farewell To Sicily11:41
7No Gods & Precious Few Heroes3:55
8Geronimo's Cadillac3:17
91952 Vincent Black Lightning4:17
10Sail On5:13
11The Freedom Come-All-Ye5:14

       
Dick Gaughan - Sail On
(256 kbps, cover art included)

Gisela May - Die großen Erfolge (Amiga, 1975)


Gisela May is a German national treasure, a singing actress (or "diseuse") in the tradition established by Lotte Lenya and Marlene Dietrich and later continued by Ute Lemper. Born to artistic parents, May's career got off to a slow start, working obscure parts in East German films and taking acting lessons in Leipzig.
Her singing talents were discovered by composer Hanns Eisler, and in 1962 she joined the Berliner Ensemble, the theatrical group founded by Bertolt Brecht. May remained a member of the Ensemble for three decades. She is strongly identified with the roles of "Mother Courage", which she took over from Brecht's wife Helene Weigel after the latter died in 1971, and of Mrs. Kopecka in "Schweyk and the Second World War".
In 1992, May decided to leave the Berliner Ensemble and enjoyed a second career starring in German productions of the shows "Cabaret" and "Hello, Dolly!". Although the better part of her career was based in Soviet-bloc East Germany, May was able to pursue it on an international basis, touring to Australia and even the United States.

May is considered an expert interpreter of the work of Brecht, Kurt Weill, Eisler, Kurt Tucholsky, and Jacques Brel. She has recorded extensively and has won numerous prizes and awards, including election to the East German Academy of the Arts. May's memoir, "Es wechseln die Zeiten -Erinnerungen", was a best seller in Germany when it was published in 2002. She also held master classes and workshops in German on Brechtian theater and cabaret performance.


Titel:


A - 0001 Gisela May - Mackie-Messer-Song 1975
A - 0002 Gisela May - Surabaya-Johnny 1965
A - 0003 Gisela May - Bilbao-Song 1965
A - 0004 Gisela May - Lied der Seeräuber-Jenny 1965
A - 0005 Gisela May - Lied vom achten Elefanten 1966
A - 0006 Gisela May - Lied vom Weib des Nazi-Soldaten
A - 0007 Gisela May - Der Graben 1967
A - 0008 Gisela May - Friedenslied 1973
B - 0001 Gisela May - Das Leibregiment 1967
B - 0002 Gisela May - Das Lied von der Gleichgültigk
B - 0003 Gisela May - Lamento 1975
B - 0004 Gisela May - Danach 1967
B - 0005 Gisela May - Mutterns Hände 1967
B - 0006 Gisela May - Ansprache einer Bardame 1968
B - 0007 Gisela May - Klassenzusammenkunft 1968
B - 0008 Gisela May - Sachliche Romanze 1968
B - 0009 Gisela May - Die Kleptomanin 1974
B - 0010 Gisela May - Hallo, Dolly ! 1972
Gisela May - Die großen Erfolge (Amiga, 1975)
(192 kbps, cover art included)

Gisela May & Alfred Müller - Im Ernst, wir meinen es heiter (Amiga, 1980)


 
This album sees Gisela May accompanied by Alfred Müller as an interpreter of lyrics of Heinrich Heine, Kurt Tucholsky, Otto Reutter, Johann Nestroy, Joachim Ringelnatz, Volker Braun and Jacques Brel. And there is a song written by Gisela Steineckert, the GDR politician and poet featured on some "Oktoberklub / Singebewegung" postings in the last weeks.
 
The album was recorded live at 22./23.02.1980 in the Maxim-Groki-Theater, East Berlin, accompanied by the Studio Band Berlin and Rolf Markert
Live at 22./23.02.1980 in Maxim-Gorki-Theater, Berlin.



Tracklist:
A1 Entree Composed By - Henry Krtschil Words By - Gisela May
A2 Willst Du Dein Herz Mir Schenken Composed By, Words By - Anna Magdalena Bach Words By - Anna Magdalena Bach
A3 Lyrisches Intermezzo Composed By - Manfred Schmitz Words By - Heinrich Heine
A4 Knopfballade Words By - Anonymous
A5 Heinrich Zille Composed By - Henry Krtschil Words By - Kurt Tucholsky
A6 Mit Der Uhr In Der Hand Composed By, Words By - Otto Reutter Words By - Otto Reutter
A7 Planschulden Composed By - Karl-Ernst Sasse Words By - Chris Hornbogen
A8 In Sachen Adam Und Eva Words By - Inge Ristock
A9 Liebe In Unseren Tagen Composed By - Wolfgang Pietsch Words By - Peter Ensikat

B1 So Muss Es Sein Composed By - Henry Krtschil Words By - Volker Braun
B2 Aphorismen Words By - Johann Nepomuk Nestroy
B3 Vorsorgezögling Composed By - Rolf Zimmermann Words By - Peter Ensikat
B4 Im Park Composed By - Peter Koch Words By - Joachim Ringelnatz
B5 Moderne Technik In Aktion Words By - Inge Ristock
B6 Aphorismen Words By - Kurt Tucholsky
B7 Man Ist So Dran Gewöhnt Composed By - Bernd Wefelmeyer Words By - Heinz Kahlow
B8 Franz Composed By - Gérard Jouannest Words By - Jacques Brel
B9 Hier Bin Ich Geboren Composed By - Günther Fischer Words By - Gisela Steineckert
B10 Verschenkt Den Traum Nicht Words By - Heinz Kahlau
B11 Ein Lied Geht In Die Weite Welt Composed By - Rolf Lukowsky Words By - Günter Kolb
B12 Freund, Salut Composed By - Michael Höft Words By - Gisela Steineckert

Gisela May & Alfred Müller - Im Ernst, wir meinen es heiter (Amiga, 1980)
(192 kbps, cover art included, vinyl rip)

Samstag, 3. Dezember 2016

Gisela May - Chansons (Amiga, 1968)

[​IMG]Gisela May was a German national treasure, a singing actress (or "diseuse") in the tradition established by Lotte Lenya and Marlene Dietrich and later continued by Ute Lemper. Born to artistic parents, May's career got off to a slow start, working obscure parts in East German films and taking acting lessons in Leipzig. Her singing talents were discovered by composer Hanns Eisler, and in 1962 she joined the Berliner Ensemble, the theatrical group founded by Bertolt Brecht.

May remained a member of the Ensemble for three decades. She is strongly identified with the roles of Mother Courage, which she took over from Brecht's wife Helene Weigel after the latter died in 1971, and of Mrs. Kopecka in Schweyk and the Second World War. In 1992, May decided to leave the Berliner Ensemble and enjoyed a second career starring in German productions of the shows Cabaret and Hello, Dolly! Although the better part of her career was based in Soviet-bloc East Germany, May was able to pursue it on an international basis, touring to Australia and even the United States.

May is considered an expert interpreter of the work of Brecht, Kurt Weill, Eisler, Kurt Tucholsky, and Jacques Brel. She has recorded extensively and has won numerous prizes and awards, including election to the East German Academy of the Arts. May's memoir, "Es wechseln die Zeiten Erinnerungen (The Times Memories Change Around)", was a best seller in Germany when it was published in 2002. She also held master classes and workshops in German on Brechtian theater and cabaret performance.


Seite A:

01 Ankündigung einer Chansonette
02 Frühling
03 Sentimentale Romanze
04 Oktober
05 Abschied
06 Maskenball im Hochgebirge
07 September

Seite B:
08 Padam, padam...
09 Das Lied vom starken Mann
10 So geht die Liebe
11 Rummelplatz der Liebe
12 Überleg`s dir noch mal mit dem Herzen
13 Nein, es tut mir nicht leid

Gisela May - Chansons (Amiga, 1968)
(320 kbps, cover art included)

Gisela May - Die sieben Todsünden

Amongst the many records which Gisela May has made, her recording of Brecht/Weill´s ballet with voice, "Die sieben Todsünden" ("The Seven Deadly Sins") was awarded the "Grand Prix du disque" in Paris 1968.

After a performance of the ballet in Milan in 1971, the critic form the local newspaper "Avanti" had the following to say about Gisela May´s performance of Anna II: "With her diction, she fires hard salvos of syllables and rhythms at the audience, enchanting the spectators with smooth sounds and sweet, melodic passages. The very speical nature of the character is conveyed in every aspect of her singing, her reciting, her style and her gestures."
This commentary could just as well have been written about the songs on this record.

Tracklist:

Prolog
A1Lied der Schwestern: "Meine Schwester und ich stammen aus Louisiana" (Andante Sostenuto)
I. Faulheit (Im Begehen des Unrechts)
A2Lied der Familie: "Hoffentlich nimmt sich unsere Anna auch zusammen" (Allegro Vivace)
II. Stolz auf das Beste des Ichs (Unverkäuflichkeit)
A3.1Lied der Schwester: "Als wir aber ausgestattet waren" (Allegretto, Quasi Andantino)
A3.2Lied der Familie: "Das geht nicht vorwärts" (Allegretto, Quasi Andantino)
III. Zorn über die Gemeinheit
A4Lied der Schwester: "Jetzt geht es vorwärts" (Molto Agitato)
IV. Völlerei (Sättigung, Selberessen)
B1Lied der Familie: "Da ist ein Brief aus Philadelphia" (Largo)
V. Unzucht
B2Lied der Schwester: "Und wir fanden einen Mann in Boston" (Moderato)
VI. Habsucht bei Raub und Betrug
B3Lied der Familie: "Wie hier in der Zeitung steht, ist Anna schon in Baltimore" (Allegro Giusto)
VII. Neid auf die Glücklichen
B4Lied der Schwester: "Und die letzte Stadt der Reise war San Francisco" (Allegro Non Troppo)
Epilog
B5Lied der Schwester: "Darauf kehrten wir zurück nach Louisiana" (Andante Sostenuto)

Gisela May - Die sieben Todsünden
(192 kbps, cover art included)

Gisela May - Singt Erich Kästner (1968)

 





Gisela May (May 31, 1924 in Wetzlar - December 2, 2016) was a distinguished German character actress of theatre and a singer, critically acclaimed for performing the songs written by Bertolt Brecht and Kurt Weill.
"Was aber die May und ihre außergewöhnliche Wandlungsfähigkeit ihren Reichtum an Nuancen und Schattierungen betrifft so wäre man wohl versucht .. von einem Ensemble zu sprechen selbst wenn es in diesem Falle (unser Glück!) nur aus einer Frau besteht - einer Frau die freilich mehr zu bieten hat als sieben andere." (Lothar Kusche)
 
Emil Erich Kästner (23 February 1899 in Dresden – 29 July 1974 in Munich) was a German author, poet, screenwriter and satirist, known for his humorous, socially astute poetry and children's literature.
 
Kästner was a pacifist and humanist, he wrote for children because of his belief in the regenerating powers of youth. He was opposed to the Nazi regime in Germany that began on 30 January 1933 and was one of the signatories to the "Urgent Call for Unity". However, unlike many of his fellow authors critical of the dictatorship, Kästner did not emigrate. Kästner did travel to Meran and to Switzerland just after the Nazis assumed power, and he met with exiled fellow writers there. However, Kästner returned to Berlin, arguing that he could chronicle the times better from there. It is probable that Kästner also wanted to avoid abandoning his mother. The Gestapo interrogated Kästner several times, and the writer´s guild excluded him. The Nazis burnt Kästner´s books as "contrary to the German spirit" during the infamous book burnings of May 10, 1933, which was instigated by the then Nazi propaganda minister Joseph Goebbels. Kästner witnessed the event in person.

After the Second World War  Kästner remained a pacifist, speaking at the antimilitarist Ostermarsch demonstrations that protested the stationing of nuclear weapons in West Germany. He later also took a stand against the Vietnam War.

He was a critical chronist of his times - this 1968 recording by Gisela May with Henry Krtschil and his studio orchestra gives evidence of his socio-critical humour.

Tracklist:

Side 1:
KOPERNIKANISCHE CHARAKTERE GESUCHT (1940)
MODERNES MÄRCHEN (1928)
ANSPRACHE EINER BARDAME (1928)
HÖHERE TÖCHTER IM GESPRÄCH (1930)
CHOR DER GIRLS (1929)
SACHLICHE ROMANZE (1929)
EINE MUTTER ZIEHT BILANZ (1929)
DAS LIED, GENANNT „ZUR SELBEN STUNDE" (1952)


Side 2 :
DAS LEBEN OHNE ZEITVERLUST (1946)
KLASSENZUSAMMENKUNFT (1928)
DIE DAME SCHREIBT DER DAME (1931)
DAS LIED VOM KLEINEN MANN (1931)
KENNST DU DAS LAND, WO DIE KANONEN BLÜHEN (1928)
FANTASIE VON ÜBERMORGEN (1929) (Musik: Paul Dessau)

Gisela May - Singt Erich Kästner (1968)
(256 kbps, cover art included)

Freitag, 2. Dezember 2016

Maria Farantouri - Ligo Akoma - Lieder aus Griechenland (Pläne, 1980)

Originally posted in September 2015:
Yesterday I had the chance to experience Maria Farantouri live on stage, celebrating the 90th birthday of Mikis Theodorakis. I am still deeply impressed!

A well-known Greek vocalist and political activist, Maria Farantouri is considered one of the foremost interpreters of Greek music, especially the work of composer Mikis Theodorakis. A contralto singer with a deep, resonant voice, Farantouri is sometimes referred to as the Joan Baez of Greece, and over the years has moved from traditional and folk styles to more jazz, classical, and avant-garde works. Born in Athens in 1947, Farantouri first began singing in her youth as a member of the progressive choir of the Society of Greek Music, which worked to support new music based on Greek traditions. By her teens she caught the ear of Theodorakis, who invited her to join his ensemble. This led to a time of great creative and social awakening for Farantouri, who along with Theodorakis´ culturally and politically left-leaning work, helped popularize the writing of many important Greek poets.

From 1967 to 1974, Farantouri was forced into exile after a right-wing military junta staged a coup in Greece. During this time, she and Theodorakis made several protest recordings in Europe and expanded their work to included the writing of Bertolt Brecht and Spanish composer Carlos Puebla, as well as many Greek composers including Eleni Karaindrou and Mikalis Bourboulis. Also during this period she released the anti-fascist recording "Mauthausen Cycle," a work by Theodorakis featuring the writing of poet Iakovos Kambanellis. Often referred to as a hymn to human rights, the cycle would become one of Farantouri's signature recordings. After returning to Greece in 1974, Farantouri resumed her successful recording career and began to expand her sound in a variety of directions, including jazz.
 
Never wavering from her political views, she was elected to the Greek Parliament and served from 1989 to 1993, representing the Panhellenic Socialist Movement. She continued to record from the mid-'90s onward and released a cornucopia of albums in various styles, even including a collection of George Gershwin standards in 2007. While she most often performs works by Greek writers and composers, Farantouri continues to expand herself creatively and can interpret nearly any style of music in her own unique way. In 2011, she appeared on the live album "Athens Concert" with jazz saxophonist Charles Lloyd and his quartet.

Maria Farantouri -Ligo Akoma - Lieder aus Griechenland (Pläne, 1980)
(256 kbp, front cover included)

Gisela May - Singt Brecht - Eisler - Dessau (Wergo, LP 1968)


Gisela May (May, 31 1924 - December, 02 2016) was a distinguished German character actress of theatre and a singer, critically acclaimed for performing the songs written by Bertolt Brecht and Kurt Weil. She also appeared as a film and TV actress in a number of movies between 1951 and 1991.

Gisela May studied at the drama school in Leipzig. She was employed for nine years at various theatres, including the State Theatre of Schwerin and the State Theatre in Halle. From 1951 she was engaged at the Deutsches Theater in Berlin, Max Reinhardt's former workplace. She played a variety of roles from the classics to modern.

In 1962 Gisela May moved to Bertolt Brecht's theatre group, the Berliner Ensemble, to which she belonged for 30 years. Here she played many roles including Madame Cabet in "The Days of the Commune," Mrs Peachum in "The Threepenny Opera,and " Mrs Kopecka in "Schweik in the Second World War." The theatrical highlight in Brecht's stage work was her personification of Mother Courage. This performance was for about 13 years until the end of 1992 central to the repertoire of the Berliner Ensemble. Since 1992, the artist has been freelance, often working at Berlin's Renaissance Theatre.

Gisela May's second career as a chanteuse ran parallel to her acting. The composer Hanns Eisler valued her particularly for her command of Brecht's style, and worked with her.
In addition to song interpretation Gisela May has experience in the Musicals: in Hello Dolly, she performed as the title character at the Metropol Theatre in Berlin, as well as Fraulein Schneider in "Cabaret" at the “Theater des Westens”.

Here´s the albmum "Gisela May singt Brecht -Eisler - Dessau", collecting songs with words by Bertolt Brecht, including selections from his theatrical works. It was released on the ETERNA label in the GDR in 1967 and licensed on the Wergo label (West Germany) in 1968. It was recorded March to May, 1966, with Gisela May (vocals) accompanied by orchestra (conducted by Henry Krtschil) or piano.

Tracks:
01. Aus 'Der gute Mensch von Sezuan' - Das Lied vom achten Elefanten
02. Aus 'Herr Puntila und sein Knecht Matti' - Ballade vom Forster und der Grafin
03. Aus 'Die Rundkopfe und die Spitzkopfe - Kuppellied
04. Kleines Lied
05. Aus 'Der kaukasische Kreidekreis' - Grusches Lied~Vier Generale
06. Moderne Legende
07. Lied einer deutschen Mutter
08. An meine Landsleute
09. Aus 'Die Rundkopfe und die Spitzkopfe' - Lied eines Freudenmadchens
10. Aus 'Die Rundkopfe und die Spitzkopfe' - Lied von der belebenden Wirkung des Geldes
11. Vier Wiegenlieder einer proletarischen Mutter
12. Ballade von der Judenhure Marie Sanders
13. Aus 'Schweyk im zweiten Weltkrieg' - Das Lied von der Moldau
14. Aus 'Schweyk im zweiten Weltkrieg' - Das Lied vom kleinen Wind
15. Aus 'Schweyk im zweiten Weltkrieg' - Das Lied vom Kelch
16. Aus 'Schweyk im zweiten Weltkrieg' - Und was bekam des Soldaten Weib

Gisela May - Singt Brecht - Eisler - Dessau (Wergo)
(224 kbps, cover art included)

Gisela May - Die sieben Todsünden (Brecht & Weill, vinyl rip, 1966)

Gisela May died today, aged 92. Rest in peace!
 
Here are the classic recordings featuring Gisela May and the Rundfunk Sinfonie Orchester Leipzig, released on Deutsche Grammophon.

This recording of "Die sieben Todsünden" made in 1966, remains the most authentic interpretation (along with the 1956 recording featuring Lotte Lenya) despite later versions starring Julia Migenes, Milva, Elise Ross, Ute Lemper and others. The high-powered reading given by Herbert Kegel and the Leipzig Radio Symphony Orchestra and the superbly cast male quartet would by themselves have ensured the internatinal success of this recording (which earned the Grand Prix du Disque in 1968), but the crownig glory is Gisela May´s vocal performance in the part of Anna.


Tracklist:
Prolog
A1 Lied Der Schwestern: "Meine Schester Und Ich Stammen Aus Louisiana" (Andante Sostenuto)
I. Faulheit (Im Begehen Des Unrechts)
A2 Lied Der Familie: "Hoffentlich Nimmt Sich Unsere Anna Auch Zusammen" (Allegro Vivace)
II. Stolz Auf Das Beste Des Ichs (Unverkäuflichkeit)
A3.1 Lied Der Schwester: "Als Wir ABer AUsgestattet Waren" (Allegretto, Quasi Andantino)
A3.2 Lied Der Familie: "Das Geht Nicht Vorwärts" (Allegretto, Quasi Andantino)
III. Zorn Über Die Gemeinheit
A4 Lied Der Schwester: "Jetzt Geht Es Vorwärts" (Molto Agitato)
IV. Völlerei (Sättigung, Selberessen)
B1 Lied Der Familie: "Da Ist Ein Brief Aus Philadelphia" (Largo)
V. Unzucht
B2 Lied Der Schwester: "Und Wir Fanden Einen Mann In Boston" (Moderato)
VI. Habsucht Bei Raub Und Betrug
B3 Lied Der Familie: "Wie Hier In Der Zeitung Steht, Ist Anna Schon In Baltimore" (Allegro Giusto)
VII. Neid Auf Die Glücklichen
B4 Lied Der Schwester: "Und Die Letzte Stadt Der Reise War San Francisco" (Allegro Non Troppo)
Epilog
B5 Lied Der Schwester: "Darauf Kehrten Wir Zurück Nach Louisiana" (Andante Sostenuto)


Gisela May - Die sieben Todsünden (Brecht & Weill)
(192 kbps, front & back cover included)

Mikis Theodorakis - Liturgie Nr. 2 "Den Kindern, getötet in Kriegen" / Liturgy No. 2 "For the Young Killed in Wars" (ETERNA, 1985)

The Liturgy No.2, written in 1982 to a commission from the Dresden Kreuzchor, is thematically related to the Third Symphony.

Theodorakis adapted his song cycle "Ta Lirika", originally with instrumental accompaniment, for a cappella chorus, which explains the occasional strange combination of plain homophony and melismatic, polyphonic writing.

Flanked by an evening and a morning prayer, the poems of Tasos Livadhitis take on the form of an all-night vigil, a common feature of Greek Orthodox liturgy.

Tasos Livaditis (Athens, 1922-1988) was a Greek poet. Livaditis studied law at Athens University, but soon his gift for creating poetry was discovered. He had a strong political commitment in the political left movement, and because of that he was condemned, led to exile and has been kept in prison from 1947 till 1951, among others on the island of torture Makronisos, together with Yannis Ritsos, Mikis Theodorakis and Manos Katrakis.

Central to this work is the elegy for the Jewish girl, Anne Frank, based on words written by the composer himself.
The world premiere of the Liturgy No.2 – For the Young Killed in Wars was during the Dresden Music Festival, on 21.5. 1983, sung by the famous Dresdner Kreuzchor under the direction of Kantor Martin Flämig.

This album was recorded in 1983 at Studio Lukaskirche Dresden with the Dresdner Kreuzchor and the conductor Martin Flämig.

Tracklist:

Abendgebet2:48
Cherubengesang Für Die Brüder Des Regens2:49
Das Gebet Des Windes3:02
Psalm Für Die Heilige Stadt3:11
Klagetrommel Aus Asphalt2:22
Der Heilige Che2:06
Psalm Für Die Heiligen Musiker2:51
Anne Frank - Ibrahim - Emiliano1:52
Der Tag Der Apokalypse2:09
Die Heilige Mutter2:08
Halleluja - Kalamatianos Für Die Märtyrer Partisanen2:29
Totem Sohne1:50
Gloria2:31
Morgengebet · Psalm Für Die Liebe1:52


01. Vespers
02. Cherub’s Chant to the Brothers and Sisters of the Rain
03. The Prayer of the Wind
04. Psalm for the Holy State
05. Dirge of the Rain
06. The Holy Che
07. Psalm for the Holy Musician
08. Anne Frank – Ibrahim – Emiliano
09. The Day of the Apocalypse
10. The Holy Mother
11. Kalamata Hallelujah for the Partisan Martyrs
12. To a Dead Son
13. Gloria
14. Matins – Psalm to Love

Poems: 01.-07. / 09.-11.: Tasos Livaditis – Poems: 08./12.-14.: Mikis Theodorakis

Mikis Theodorakis - Liturgie Nr. 2 "Den Kindern, getötet in Kriegen" / Liturgy No. 2 "For the Young Killed in Wars" (ETERNA, 1985)
(256 kbps, front cover included)

Gisela May - Singt Tucholsky (Amiga, 1967)


Gisela May (born May, 31 1924) was a distinguished German character actress of theatre and a singer, critically acclaimed for performing the songs written by Bertolt Brecht and Kurt Weill. She also appeared as a film and TV actress in a number of movies between 1951 and 1991.

Gisela May studied at the drama school in Leipzig. She was employed for nine years at various theatres, including the State Theatre of Schwerin and the State Theatre in Halle. From 1951 she was engaged at the Deutsches Theater in Berlin, Max Reinhardt's former workplace. She played a variety of roles from the classics to modern.

In 1962 Gisela May moved to Bertolt Brecht's theatre group, the Berliner Ensemble, to which she belonged for 30 years. Here she played many roles including Madame Cabet in "The Days of the Commune," Mrs Peachum in "The Threepenny Opera,and " Mrs Kopecka in "Schweik in the Second World War." The theatrical highlight in Brecht's stage work was her personification of Mother Courage. This performance was for about 13 years until the end of 1992 central to the repertoire of the Berliner Ensemble. Since 1992, the artist has been freelance, often working at Berlin's Renaissance Theatre.

Gisela May's second career as a chanteuse ran parallel to her acting. The composer Hanns Eisler valued her particularly for her command of Brecht's style, and worked with her.

In addition to song interpretation Gisela May has experience in the Musicals: in Hello Dolly, she performed as the title character at the Metropol Theatre in Berlin, as well as Fraulein Schneider in "Cabaret" at the “Theater des Westens”.

Tours through Europe, across America and Australia have taken her to New York at Carnegie Hall, to the Sydney Opera House and La Scala, Milan. In 1989 she performed in London at a celebration of the 40th anniversary of the DDR.

May has been internationally acclaimed as First Lady of the Political Song and Best Brecht Interpreter. She has performed all over the world for the past forty years. May was one of the leading artists in the former DDR from the early fifties onward. She enjoyed an intensive collaboration with composer Hanns Eisler and was attached as an actress to the Berliner Ensemble for thirty years, until she was fired in 1990, after the fall of the Berlin Wall.


Tracklist:

A1 Augen In Der Gross-Stadt
A2 Lamento
A3 Sie Zu Ihm
A4 Die Nachfolgerin
A5 Das Lied Von Der Gleichgültigkeit
A6 Das Lächeln Der Mona Lisa
A7 Chanson - Japanlied

B1 Das Leibregiment
B2 Wenn Eena Jeborn Wird
B3 Wenn Eena Dot Is
B4 Mutterns Hände
B5 Der Graben
B6 Rote Melodie
B7 Krieg Dem Kriege


Gisela May - Singt Tucholsky (Amiga, 1967)
(320 kbps, cover art included)

Donnerstag, 1. Dezember 2016

Lee Perry - Megaton Dub Vol. 2 (1984)

Opinions (mine included) run hot and cold over this hard-to-find two volume set of Scratch dub. I don't think it is as excellent and crucial as many of its supporters claim, nor do I think it's as awful as its detractors insist. File it under odd and occasionally wonderful (but, ultimately not essential), especially if you like your Perry mix so loaded with echo it sounds as if it was recorded in a canyon. Extremely difficult to find.     - allmusic.com

More near nuclear versions, recorded at Black Ark Studio, Kingston, Jamaica. Maybe one should have no fear of atomic energy but this second round of word sound power plants deserve maximum respect. Upsetter at the apogee.
         
Tracklist:                                                     
A1Traveling In Dub
A2Fisherman Dub
A3Zion In Dub
A4Groovy Dub
B1Dub Crisis
B2Green Bay Killing
B3Big Neck Dub
B4Living In Dub

Lee Perry - Megaton Dub Vol. 2
(192 kbps, cover art included)