Tuesday, October 31, 2006

Alfred Schnittke «Hymns»

Alfred Schnittke «Hymns»
Biography by Steven Coburn
Upon his emergence in the West in the early 1980s, Alfred Schnittke (Birth Nov 24, 1934 in Engels, Russia/Death Aug 3, 1998 in Hamburg, Germany) became one of the most talked-about, recorded, and influential composers of the last decades of the twentieth century. Schnittke was born in 1934 in the Soviet Union to German parents. After living for several years in Vienna, he returned to Moscow to attend the Conservatory from 1953-1958. He returned there to teach instrumentation from 1962 through 1972. Thereafter, splitting his time between Moscow and Hamburg, he supported himself as a film composer. Schnittke composed nine symphonies, six concerti grossi, four violin concertos, two cello concertos, concertos for piano and a triple concerto for violin, viola and cello, four string quartets, ballet scores, choral and vocal works. His first opera, Life with an Idiot, was premiered in Amsterdam (April 1992). Two more operas, Gesualdo and Historia von D. Johann Fausten were unveiled in Vienna (May 1995) and Hamburg (June 1995) respectively. In 1985, Schnittke suffered a series of strokes, but nevertheless entered into the most creative period of his life. From 1990 until his death in 1998, he lived exclusively in Hamburg.
A Jewish-born Christian mystic, Schnittke had philosophical theories that permeated his music. According to his biographer Alexander Ivashkin, he believed a composer "should be a medium or a sensor remembering what he hears from somewhere else and whose mind acts as a translator only. Music comes from some sort of divine rather than human area." (Alfred Schnittke, Phaedon Press 1995).

MP3 192 kbps
42.5 MB

Edison Denisov «Chamber Symphony»

Edison Denisov «Chamber Symphony»

Biography by Joseph Stevenson
Edison Vasilyevich Denisov (Birth Apr 6, 1929 in Tomsk, Siberia/Death Nov 24, 1996 in Paris) was one of the leading composers who emerged in the Soviet Union after the death of Stalin and used avant-garde techniques in their music despite the disapproval of the Communist Party. His father was an electrical engineer in Tomsk, and named his son Edison in honor of the American inventor and because the name is an anagram of Denisov (omitting the final "v"). Edison was interested in mathematics, music, and painting. He taught himself to play a number of folk instruments, and from 1946 to 1950 studied piano at Tomsk Music College. At the same time he was a student of mathematics and mechanics at Tomsk University (1946-1951).
Then he decided to pursue musical studies, traveling to Moscow to enter the Conservatory there and remaining until 1956. His piano teacher was Vladimir Belov and his composition instructor was Vissarion Shebalin. He also studied orchestration with Nikolai Rakov and musical analysis with Viktor Zuckerman. He became a faculty member of the Conservatory in 1960 and over the years taught orchestration, analysis of musical forms, and composition. His early music shows the beginning of his lifelong interest in using Russian folk materials.
During the early '60s, he made a thorough study of the major composers of the twentieth century, including the officially disfavored Stravinsky, Schoenberg, Webern, Berg, Nono, and Stockhausen, plus Lutoslawski and Bartok. Denisov's major work that consolidated this study and demonstrated that there was an interest in avant-garde music in the U.S.S.R. was The Sun of the Incas, premiered in Leningrad in 1964 and soon played in Western Europe by Bruno Maderna and Pierre Boulez.
In the 1960s Denisov often used rigorous serial procedures, and often tightly restricted formal ideas, such as the one reflected in the title of his Crescendo e diminuendo for harpsichord and 12 strings (1965). During the following year he had a tendency to write music in larger forms, often in the form of concertos. Many of these works were composed for Western performers, such as saxophonist Jean-Marie Londeix, oboist Heinz Holliger, clarinetist Eduard Brunner, and flutist Aurele Nicolet. One Soviet performer who did champion Denisov's work was the Latvian violinist Gidon Kremer, and he even premiered Denisov's Violin Concerto in Milan, rather than in the Soviet Union.
During this decade Denisov started using techniques other than the twelve-tone system, including aleatory (chance) techniques, electronic music, new playing techniques, and microtones. His music became less rigidly systematic. In his mature music (generally that written from 1980 onward) he usually employed various techniques freely. Russian folk music made a reappearance in this music, but often used in heterophonic textures.
The late Soviet policy of perestroika allowed Denisov to cultivate close ties with the West and employ avant-garde techniques with more freedom. In 1990 he became head of the Moscow Association of Contemporary Music. In 1991, at the invitation of Pierre Boulez, he went to work at IRCAM, the French experimental music institute.

MP3 192 kbps
29.9 MB

Rodolphe Raffalli «Gypsy Swing Guitar»

Rodolphe Raffalli «Gypsy Swing Guitar»
Recording Date: Feb 21, 2003-Mar 7, 2003

1 Twelth Year (Reinhardt) 2:29
2 Alfonsina y el Mar (Luna, Ramirez) 4:23
3 Je Me Voyais Deja (Aznavour) 3:25
4 Les Oubliettes (Gainsbourg) 5:27
5 Roses de Picardie (Weatherly, Wood) 6:27
6 God Bless the Child (Herzog, Holiday) 4:52
7 Tu T'Laisses Aller (Aznavour) 3:19
8 Amarcord (Rota) 3:36
9 Vervena (Raffalli) 2:01
10 Sonny Boy (Henderson, Jolson) 2:20
11 Il Ne Faut Pas Briser un Reve (Jal) 6:08
12 Vous Etes Jolie (Trenet) 4:01
13 Nous Les Amoureux (Dantin, Vidalin) 5:39
14 Natacha (Raffalli) 3:41

One of the best ever acoustic guitar album in history of jazz. Rodolphe Raffalli, Christian Escoude, Florin Niculescu and company doing their best to make You feels like if You're in love :)

MP3 192 kbps
79.5 MB

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Martin Taylor «Spirit of Django»

Martin Taylor «Spirit of Django»
recording date: Jun 27, 1994-Aug 1994

1 Chez Fernand (Taylor) 5:00
2 Minor Swing (Grappelli, Reinhardt) 5:31
3 Night and Day (Porter) 6:35
4 Nuages (Larue, Reinhardt) 4:42
5 James (Mays, Metheny) 4:57
6 Double Top (Taylor) 5:45
7 Django's Dream (Taylor) 5:13
8 Swing '42 (Reinhardt) 5:37
9 Oh, Lady Be Good (Gershwin, Gershwin) 5:11
10 Honeysuckle Rose (Razaf, Waller) 6:25
11 Johnny and Mary (Palmer) 5:04

Review by Alex Henderson
In the 1990s, jazz tribute albums could be incredibly predictable, with young tenor saxophonists paying tribute to John Coltrane by emulating his tone and playing his best-known songs exactly like he played them, or young trumpeters saluting Miles Davis by trying to sound like a carbon copy of him on yet another version of "So What" or "Solar." Spirit of Django is Martin Taylor's tribute to fellow guitarist Django Reinhardt, and thankfully, this is one tribute album that's interesting and unpredictable instead of cliche-ridden. Though Taylor's love of Reinhardt's legacy is evident throughout the album, the guitarist never sounds like an outright clone. His individuality comes through on Reinhardt pieces (including "Nuages" and "Minor Swing"), as well as Fats Waller's "Honeysuckle Rose" and the standards "Night and Day" and "Lady Be Good." To his credit, Taylor makes some unlikely choices. Pat Metheny's "James," for example, isn't something you'd expect to hear on a Reinhardt tribute, yet Taylor's interpretation fits in perfectly. This excellent CD is highly recommended to admirers of both Taylor and Reinhardt.

MP3 192 kbps
83.7 MB

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Aimee Mann & Michael Penn «Two of Us»

Aimee Mann & Michael Penn «Two of Us»

Just a lovely cover of Beatles classic.

MP3 128 kbps
3.2 MB

Bert Kaempfert «Best of...»

Bert Kaempfert «Best of...»

Music which was performed by numerous artist in range from Frank Sinatra up to post-punkers F.S.K. Classical pop music of XX century.

MP3 192 kbps
94.4 MB
17.0 MB

Jane Duboc «Paraiso»

Jane Duboc «Paraiso»
Jul 1993

1 Paraiso (Duboc, Mulligan) 5:33
2 No Rio (In Rio) (Duboc, Mulligan) 4:07
3 Sob a Estrela 5:38
4 O Bom Alvinho (Duboc, Mulligan) 5:03
5 Willow Tree (Duboc, Mulligan) 8:21
6 Bordado (Duboc, Mulligan) 6:11
7 Tarde en Itapoan 5:03
8 Amor en Paz 5:54
9 Wave Jobim 4:27
10 Tema Pra Jobim (Theme for Jobim) 4:29
11 North Atlantic Run (Mulligan) 4:36

It's Gerry Mulligan's one of latest records. Master of cool jazz doing it with beautiful voice of braziliana Jane Duboc.

MP3 192 kbps
90.3 MB

Monday, October 30, 2006

Baden Powell «Tristeza on Guitar»

Recording Date: Jun 1-2, 1966
Codec: MP3 192kbps 44.1kHz

1 Tristeza (Lobo, Niltinho) 3:18
2 Canto de Xango (De Moreas, Powell) 4:43
3 'Round About Midnight (Hanighen, Monk, Williams) 5:33
4 Sarava (Powell) 3:35
5 Canto de Ossanha (DeMoraes, Powell) 3:38
6 Manha de Carnaval (Bonfa, Maria) 3:10
7 Invencao Em 7 1/2 (Powell) 5:12
8 Das Rosas (Caymmi) 5:28
9 Som Do Carnaval (Conpinha, Powell) 3:30
10 O Astronauta (DeMoraes, Powell) 2:25

Delight... The only word which came to mind after first listening of this album. Music have it's power - to cure heartaches and sadness, to make unverbal listeanble and to make You happy when You forget about existense of such word, it's meaning and how does it feels. For sure «Jazz Samba» by Stan Getz/Charlie Byrd was in each jukebox in 60ies, 70ies, 80ies, 90ies and so on... I do like that album and always was looking for some more like this, but with a bit more natural sound - not just good artifical mix of cool jazz and latin samba - but something closer to brazilian roots. This album by Baden Powell have it as forte. Percussion section strong and colorite. Powell's version of 'Round about Midnight might be the one of the best ever performed. Invencao Em 7 1/2 strongly reminds me some of Bach's works for lute or his inventions for 2 voices, but I can not remember number of opus. Balance of traditional, classical and jazz ingredients on this records is equal to golden section. It's 1.00 am in Moscow, about zero C, first sparkling white flakes of show covering all naked crowns of the trees, but my soul under gold-orange sun dancing with barefoot girls on hot sand somewhere near warm ocean.


Sunday, October 29, 2006

Guy Marchand «Nostalgitan»

Guy Marchand «Nostalgitan»
November 15, 1998

1. Ragazza
2. Les Yeux Noirs
3. Ci Git Le Gitan
4. I've Got You Under My Skin
5. Marre Marlowe
6. Besame Mucho
7. Django
8. Maria
9. Nostalgie
10. Naranjo En Flor
11. Allo Oui C'est Toi
12. Bolero

G.Marchand - vocal
Ch.Escoude - guitar
J.P.Charlap - Guitar
M.Azzola - accordion
F.Niculescu - violin
J.P.Viret - double bass

I'm fan of Christian Escoude's guitar art for last 16 years. Each of his solo albums bring something new and unexpected in harmony and composition - can You imagine range of guitar music from traditional (much Django-like) style up to progressive jazz rock - and anyway keeping something special, something like magical french flowering. His latest works with other artist showing strong backround from his gypsy roots and it's perfectly shown on this CD. CD was released under name «Guy Marchand», but for sure it should be under name «Christian Escoude» or «Christian Escoude and Guy Marchand». Guy Marchand is an actor and composer ( His voice have pure essence of an actor charisma - much like Sinatra, but unlike Sintara, Guy doesn't sounds helpless with foreign tongues - performance on English and Spanish here sounds very natural.Christian and Guy - these 2 guys indeed cool - with no fear they're put in this collection their own songs. Only 1 of song from this album not good enough (from my own subjective point of view, of course) - it's Django which shows some terrible pathetic - but it might be an actors mistake or it's just me - who simply unable to get right mood:)If You have some nostalgia in Your soul and Bryan Ferry's «As Time Goes By» is a permanent visitor in Your player, this one will be good friend for a long, long time...
I would like to thanks Rickford Nivens and Bruno Grandjean who helped me to get this amazing CD.
MP3 192 kbps
51.3 MB

Labels: ,

Shoukichi Kina & Champloose Introduction 1992

Shoukichi Kina & Champloose Introduction 1992
Sky Ranch 3-383006-523160

1. Jing Jing (Ry Cooder: slide guitar)
2. Niraikanai Maturi
3. Nirai Kanai (Ry Cooder: slide guitar, acoustic guitar)
4. Celebration Reggae
5. Fallin' Star Night
6. Wind
7. Watanji
8. Haisai Ojisan
9. Nirujarini
10. Subete No Hito No Kokoro Ni Hana O (Flowers For Your Heart) (Ry Cooder: slide guitar, acoustic guitar, flat mandolin)

Compilation produced by: Phillipe Le Bras
Musicians :
Shoukichi Kina - vocals, sanshin, guitar, electric guitar
Ry Cooder - slide guitar, acoustic guitar, flat mandolin (where shown)
Macky Ferry - electric bass, background vocal
Morgan Fisher - keyboards
Yutaka Ishioka - keyboards
Tito Kawachi - drums
Junko Kina - vocals, chorus, percussion
Keiko Kina - vocals, chorus, percussion
Masahiro Kina - bass, electric bass, yubibue, sanshin
Sachiko Kina - vocals, chorus, sanshin, percussion
Shouei Kina - sanshin, koto
Tomoko Kina - vocals, chorus, percussion
Nobuhiro Kouno - guitar
Makoto Kubota - electric guitar, acoustic guitar, electric bass, electric piano, Oberheim synthesizer, background vocal
Takao Nagama - shamisen
Shigeru Nagata - drums, keyboards, trumpet
Shinji Shiotsugu - electric guitar
Toshikatsu Takahashi - percussion
Nagama Takao - electric sanshin
Chiaki Uehara - chorus
Taeko Uezu - chorus
Toyama Yasukazu - drums
Toshiaki Yokota - wood wind, angklung
Tsuei Yoshikawa - acoustic guitar

P.S. If You have any other album by this genius from Okinawa - please - share!

MP3 192 kbps
50.9 MB

Shoukichi Kina And Champloose - Music Power From Okinawa 1977

Shoukichi Kina & Champloose - Music Power From Okinawa 1977 CD (Globestyle - CDORBD 072)

1. Haisai Ojisan
2. Uwaki Bushi
3. Red Ojisan
4. Bancho Guwa
5. Agarizachi
6. Sukuchinamun
7. Ichimushiguwanu Yuntaku
8. Bashaguwa Suncha
9. Shimaguwa Song
10. Tokyo Sanbika
11. Shimaguwa Song (Single Version)

Review written by Cliff Furnald
I first heard a fuzzy, 10th generation cassette of a live recording by Okinawa's Shoukichi Kina and Champloose back in 1980, from a radio listener who had lived in Japan in the late seventies. It was raw, edgy and wonderful. A few years later Henry Kaiser and friends recorded Kina's "Haisai Ojisan", and the legend took root in America.
What made this tape so interesting was it was the first and only time I had heard anything resembling folk rock from Asia. Here was a band of young musicians electrifying sanshin and adding bass, guitars and drums in the only Okinawa garage rock band to be heard outside the islands. You can hear the music clearly on a 1991 British CD reissue. The Music Power From Okinawa (GlobeStyle/UK) is unbelievably viable stuff even fifteen years later. It has all the vitality of punk transposed into an Asiatic mode. It is distinctly "local." There is little given away to make it sound American. The music is, in fact, a reaction to the American occupation of Okinawa during the Vietnam war, and stakes a claim for the locals on an island that has spent most of its history overrun by foreigners. There are lots of interesting ethno-musicological patterns in the region to explain the music. (Read the liner notes. I'll spare you.) The reality is, this was a young bunch of singers and players who were fed up with the status quo, and rocked out in protest.
The songs on this set are wonderfully raw, live recordings made in Kina's own nightclub in 1977, soon after the American retreat from the island. It includes the now legendary "Haisai Ojisan." On this and many of the other songs there is a frantic pacing, singers chanting like a crowd at a football game, the electric sanshin plucked in wild abandon to the thump of bass and drum kit. There are a number of folky ballads that while sweet still have a rough edge that keeps them from getting sappy. The CD also includes two studio recordings that weren't on the original tape, both powerful, madcap and only somewhat slicker rock songs. In 1977, Steeleye Span were electrifying Childe ballads, Americans were playing country with electric fiddles, and Kina was making katcharsee rock. Haisai!

P.S. If You have any other album by this genius from Okinawa - please - share!

MP3 192 kbps
56.4 mb


Leningrad Cowboys & Alexandrov Red Army Ensemble «Happy Together»
Release Date Jun 20, 1994. Ariola 13892

1 It's Only Rock & Roll (Mick Jagger;Keith Richards)
2 Let's Work Together (Harrison; Canned Heat)
3 Gimme All Your Lovin' (Frank Beard;Billy Gibbons;Dusty Hill; ZZTop)
4 Happy Together (Garry Bonner;Alan Gordon)
5 Knockin' on Heaven's Door Dylan (Dylan)
6 Dancing in the Street (Gaye, Hunter, Stevenson)
7 Just a Gigolo/I Ain't Got Nobody (J.Brammer;I.Caesar;L.Casucci;L.Armstrong)
8 California Girls (Love;Wilson)
9 Yellow Submarine (Lennon; McCartney)
10 Sweet Home Alabama (Ed King;Gary Rossington;Ronnie Van Zant;Lynyrd Skynyrd)
11 Delilah (Feltz;Mason;Reed)
12 Stairway to Heaven (Jimmy Page;Robert Plant)

I think this is the best album for 2 groups same time. Best records by Suomi punks Leningrad Cowboys and best album for Russian Alexandrov Red Army Ensemble. The main idea of this album was simple - perform classical rock and pop songs with orchestral and choir arrangements. Result was like if Frank Zappa meets Joe Strummer in Pub and after long drinking sessions both goes to continue party on some Military Parade.

MP3 192 kbps
88.7 mb

Wednesday, October 25, 2006

Wolfgang Niedeken «Leopardefell» CD

Wolfgang Niedeken «Leopardefell» CD
(Feb 28, 1995 EMI Electrola GmbH/Pressung in Deutschland)

01. Unfassbar Vill RaAN (A Hard Rain's A Gonna Fall)
02. Froher Oder SpaADer (Sooner Or Later)
03. Ich Will Dich (I Want You)
04. Vill Passiert Sickher (My Back Pages)
05. Da Joker Danz (Jokerman)
06. Wo Bess Du Huck Naach, Marie? (Absolutely Sweet Marie)
07. Sibbe Daach (Seven Days)
08. Leopardefellhoot (Leopard Skin Pillbox Hat)
09. Nurburgring (Highway 61)
10. Jeder's Manchmol Einsam (It's All Over Now, Baby Blue)
11. Sara (Sara)
12. Quinn Da Eskimo (Quinn The Eskimo)
13. Dat Benn Ich Nit (It Ain't Me, Babe)
14. Nix Andres Em Kopp (License To Kill)
15. Als Ob Se'n Frau Wohr (Just Like A Woman)
16. Meisterstock (When I Paint My Masterpiece)
17. Drei Engel (Three Angels)

Die Musiker:
Wolfgang Niedecken (Gesang, Gitarre)
Jens Streifling (Saxophon, Gitarre)
Carl Carlton (Gitarren)
Ken Taylor (Bass)
Bertram Engel (Drums)
Alexander Buchel (Tasteninstrumente)

Album with 17 covers of most famous Bob Dylan songs.
Performed on German and with great rock arrangement.
Musicians on this album simply great - all songs have good romantical mood.
Most funny thing - Dylan songs sounds much better on German.
I think Bob Dylan should be a fan of Wolfgang Niedeken :)
I would like to say thanks for Ronald Schickling who give me to listen this album in summer of 2004.

192 kBpS
110 MB
Part 1:
Part 2:

F.S.K. Peel Sessions (Vinyl Rip)

F.S.K. John Peel Sessions
Released in 1989 on the Strange fruit label, distributed by rough trade Catologue Number FSPMA 204

Track listing:
1. I wish I could 'sprechen sie deutsch'
2. Die musik findet immer nach haus
3. Dr. Arnold Fanck
4. Am tafelberg von kapstadt
5. Komm gib mir deine hand
6. Girl
7. Birthday
8. Dont pass me by
Tracks 5-7 Lennon McCartney; Track 8 R. Starky

Biography by Richie Unterberger
There are few other rock bands of the late 20th century as difficult to categorize as F.S.K. There are few other bands that are as downright strange as this German outfit. Polka, yodels, and country & western combine with post-punk, noise-rock, electronics, and obtuse lyrics, sung in both English and German. The combination of parody and reverence of various forms of roots music has generated comparisons to the Mekons; at times it is difficult to tell when the commentary stops and the jokes begin. Even within the same album, different tracks can sound like the work of entirely different ensembles, which makes the group even more resistant to easy audience identification. F.S.K. were formed by staff members of a German underground magazine in 1980 (the initials stand for Freiwillige Selbstkontrolle, which translates to English as "voluntary self-control"). While their first few releases were in a somewhat noisily bleak German post-punk vein, by the mid-'80s they had, to the confusion of much of the audience they had cultivated, begun to investigate Central European and American folk styles. Originally dressing themselves in German surplus army clothing, they shed those skins for deliberately unassuming jeans and checked shirts. The electric instruments were augmented by brass and accordion. The lyrics remained (as they do to this day) full of tongue-in-cheek irony, including yodels for German politicians and free jazz guitarist Sonny Sharrock. Their choice of cover material seemed willfully perverse, whether it was "I Wish I Could Sprechen Sie Deutsch," MOR German bandleader Bert Kaempfert, or cult American funkster Swamp Dogg.In the mid-'80s the group picked up an influential fan in British DJ John Peel, who had F.S.K. on his BBC show more times than any other non-British band. Camper Van Beethoven/Cracker mainstay David Lowery found an affinity with the group's zany approach to roots rock, and ended up producing the band, as well as becoming a member of sorts (though Lowery's chief project remained Cracker). By the mid-'90s they had an American deal with Flying Fish, a label far more renowned for bluegrass and folk acts. Despite such friends in high places, F.S.K. remain very much a cult band. Most of their records (and there are many) are very hard to find in the U.S., for one thing, and their audience seems to chiefly consist of fellow musicians and rock critics. If Americans have heard of them at all, it's likely because of their association with Lowery, though actually his presence in F.S.K. has changed the band's skewed vision little.
I'm looking for following albums by F.S.K.
1 Richmond (1991)
2 Continetal Breakfast LP (1987)
If You have them or have links to MP3 archives with them - please - share!:)

MP3 320 kBps
79.7 MB

HELLO TO EVERYONE ON EARTH (and outer space habitants too)!

Totally Fuzzy