… this time I will fly to Hurghada:
Hurghada is a city in the Red Sea Governorate of Egypt. It is one of the country’s main tourist centres located on the Red Sea coast.
I will be back next Friday. December 2, 2022.
And as always, I wish all readers of this blog a good time !
And now I want to ring in the Advent and Christmas season, like every year …
Here´a low budget production …
Unfortunately, I have no information about this group.
But I know that this CD contains wonderful gospel interpretations of classic Christmas songs.
It is all the more annoying that one does not know about these singers.
And so we only have the music and it’s really atmospheric and a good start to the 2022 Christmas season.
Personnel:
unknown
Tracklist:
01. The Christmas Song 3.04
02. It Came Upon A Midnight Clear 2.17
03. O Come All Ye Faithful 2.48
04. We Wish You A Merry Christmas 2.17
05. O Christmas Tree 2.12
06. Hark, The Herald Angels Sing 2.18
07. Away In A Manger 3.46
08. Do You Hear What I Hear 3.41
09. Angels We Have Heard On High 2.38
10. Have Yourself A Merry Little Christmas 3.06
11. Deck The Halls 2.28
12. Joy To The World 1.58
13. Merry Christmas, Darling 3.39
14. Silent Night 3.28
15. What Child Is This 2.25
16. The First Noel 2.56
Anton Karl Karas (7 July 1906 – 10 January 1985) was an Austrian zither player and composer, best known for his internationally famous 1948 soundtrack to Carol Reed’s The Third Man. His association with the film came about as a result of a chance meeting with its director. The success of the film and the enduring popularity of its theme song changed Karas’ life.
Anton was born illegitimate at Marchfeldstraße 17, Brigittenau, Vienna to Theresia Streckel. He was later legitimized by her marriage to a factory worker, Karl Josef Karas. One of five children, Anton Karas was already keen on music as a child. He wanted to become a bandleader, which was impossible because of his family’s financial situation. He was allowed to learn to play an instrument, as were his two brothers and two sisters. He later reported that his first zither was one he found in his grandmother’s attic at the age of 12.
As ordered by his father, he became an apprentice tool and die maker at the age of 14, while taking evening courses in music at a private institution. He finished his apprenticeship in 1924, and worked in a car factory until becoming unemployed in January 1925. Having already begun to study at the University of Music and Performing Arts, Vienna in 1924, he subsequently earned a living as an entertainer in a Heuriger. He soon earned more than his father, and continued his studies until 1928.
In 1930, he married, with the birth of his daughter following three months later. From 1939 to 1945 he was with the German Wehrmacht anti-aircraft warfare, temporarily in Russia, where he took a zither along. He lost more than one instrument from war action, but always managed to find another one.
In the summer of 1948, director Carol Reed was preparing to shoot The Third Man in Vienna and was staying in the Hotel Sacher, along with many of the British elements of the Allied Control Commission for Austria. Robert Baty, the young son of the Director of Education, C.W. Baty, was tasked with showing the director around the city. On the second day, they stopped at a Heuriger and heard Karas playing the zither in the background. This is described in Karas’ L.A. Times/Reuters obituary which states that:
Reed, desperately searching for a theme tune … chanced on the tavern in Vienna’s Grinzing wine-growing district. Struck by the simple zither melodies, Reed asked a stunned Karas if he would compose the music for the film. Karas protested, saying he had never actually written music. As Karas later told the story, the director insisted and invited Karas to England. The Austrian became homesick and asked to return. Reed told him he could; when he had written the music. Under this pressure, Karas wrote his Harry Lime theme.
The film—with the music a contributing factor—was a success, and Karas’ life was changed drastically.[4] As a result, he toured globally and performed for many celebrities, including members of the British Royal family. Princess Margaret invited him to London’s Empress Club, where he played twice a week while in London. He also appeared before Queen Juliana of the Netherlands, members of the Swedish royal family, and Pope Pius XII.
By the end of 1949, half a million copies of “The Harry Lime Theme” had been sold, an unprecedented number. The success of the score caused a surge in zither sales.
In Austria, the film opened on 10 March 1950, in Vienna’s Apollo Kino, and it initially offended some Viennese inhabitants, as it focused on the disgrace of the destroyed city. Vienna’s newspaper critics hated the film, except for its music. When Karas returned to Austria after his first world tour in July 1950, he was welcomed by Chancellor Leopold Figl and other members of the government. Most importantly, the public liked the film. In Brigittenau, where Karas was born, people queued for tickets which were sold out eight days in advance.
The original single from 1948:
Karas disliked the glamour, and his soundtrack proved to be an enduring one-hit wonder. He later stated, “I never was a star, and never felt like one. It is because of that film that I was pushed from one place to the other … My only desire was to be back home again.”[citation needed] He toured again in 1951, travelling to Montreal and Las Vegas, followed by other tours, including Japan in 1962, 1969 and 1972, where he performed for Emperor Hirohito.
In 1954, he opened a Heuriger, which became fashionable among cinema celebrities including Orson Welles, Gina Lollobrigida, Curd Jürgens, Hans Moser, Paul Hörbiger, Marika Rökk and Johannes Heesters, thereby becoming a tourist attraction. He was not satisfied, as he preferred to perform for locals who would understand him, his language and music. Because of this, he retired and retreated from the limelight in 1966, explaining, “I’m not a tourist guy, and what I did there had hardly anything to do with ‘Vienna Heuriger’.”
The first few bars of “The Third Man Theme” are engraved on his grave marker in Vienna. (wikipedia)
And here´s a nice sampler with many ofhi beautful mloies.
Enjoy this trip to Vienna, the city of dreams:
Personnel:
Anton Karas (zither)
+
Die 2 Rudis:
Rudi Kurtzmann (bass)
Rudi Schipper (accordeon)
Tracklist:
01. The Harry Lime Theme (Karas) 3.12
02. Nothing Doing! (Keine Ahnung) (Karas) 2.11
03. Drink Brothers Drink (Trink, trink, Brüderlein) (Lindemann) 2.13
04. Ottakringer-March (Foderl) 2.01
05. In Grinzing (Benatzky) 3.29
06. Im Prater blühn wieder die Bäume (Stolz) 2.07
07. Lili Marlene (Leip/Schultze/Connor) 2.07
08. Vienna, City Of My Dreams (Sieczynski) 2.42
09. Zither Man (Karas) 1.59
10. Mei Matzleinsdorf (Obermayer) 3.15
11. Mein Herz Binker-Waltz (Karas) 2.33
12. Liebes Wien, du Stadt der Lieder-Waltz (Strecker) 1.42
13. Mei‘ Muatterl war s Wienerin-Polka (Gruber) 2.25
14. The Cafe Mozart Waltz (Karas) 2.54
The official website:
A real nice rarity from the Sixties:
Back in the fifties and sixties, Design Records was a subsidiary of Pickwick International. A low budget label, it churned out cheesy inexpensive corn like; “Polka’s for Parties”, “99 Men In Brass Play Marches” and “The Fabulous Beats Go Country Style”. In 1965, in a rare stroke of hipness, they released this excellent set of spy theme jazz.
Cashing in on the mid-sixties James Bond/secret agent craze, this album features swinging covers of “Thunderball”, “Man From U.N.C.L.E” and the “I Spy Theme”. According to the liner notes (which I’ve heard were not always based on fact) the album features jazz luminaries J.J Johnson on trombone and Milt Hinton on bass. The arrangements are heavy on brass (with the trombone featured on several tracks) and the improvisation is excellent.
What seperates this album from many other similar records that were released around the same time is the fun factor. This album screams SIXTIES. From the album cover(which depicts a secret agent in scuba gear fondling a bikini clad beach bunny) to the jazz arrangements that feature such non-jazz elements as hippieish flute solos and harpsichord runs. Imagine, a jazz album with a sense of humor. When’s the last time you heard one of those. Enjoy.
For maximum listening experience we recommend: martinis, ascot and eastern European women in bikinis. (Casey’s Musical Dustbin Radio Show)
And “Under Cover Agent Theme” is of course “Sabre Dance”, written by Aram Khachaturian
Personnel:
Larry Charles (saxophone, flute)
Milt Hinton (bass)
J. J. Johnson (trombone)
Johnny Knapp (piano)
Mundell Lowe (guitar)
Joe Newman (trumpet)
Ernie Royal (trumpet)
Sy Salzberg (drums)
Tracklist:
01. Thunderball (Black/Barry) 3.14
02. From Russia With Love (Bart) 3.55
03. The Spy Who Came In From The Cold (Kaplan) 3.10
04. Win, Lose Or Spy (Leslie) 2.24
06. Under Cover Agent Theme (Khatchaturian) 2.39
07. I Spy (Hagen) 2.04
08. Ipcress File Theme (Barry) 3.29
09. Theme From The Man From U.N.C.L.E. (Goldsmith) 2.14
10. The Saboteur (Leslie) 2.52
11. Majorca Express (Leslie) 2.47
Ronald Levin Carter (born May 4, 1937) is an American jazz double bassist. His appearances on 2,221 recording sessions make him the most-recorded jazz bassist in history. He has won three Grammy awards, and is also a cellist who has recorded numerous times on that instrument.
Some of his studio albums as a leader include: Blues Farm (1973), All Blues (1973), Spanish Blue (1974), Anything Goes (1975), Yellow & Green (1976), Pastels (1976), Piccolo (1977), Third Plane (1977), Peg Leg (1978), A Song for You (1978), Etudes (1982), The Golden Striker (2003), Dear Miles (2006), and Ron Carter’s Great Big Band (2011).
Carter was born in Ferndale, Michigan. He started to play cello at the age of 10, and switched to bass while in high school. He earned a B.A. in music from the Eastman School of Music (1959) and a master’s degree in music from the Manhattan School of Music (1961).
Carter’s first jobs as a jazz musician were playing bass with Chico Hamilton in 1959, followed by freelance work with Jaki Byard, Cannonball Adderley, Randy Weston, Bobby Timmons, and Thelonious Monk. One of his first recorded appearances was on Hamilton alumnus Eric Dolphy’s Out There, recorded on August 15, 1960, and featuring George Duvivier on bass, Roy Haynes on drums, and Carter on cello. The album’s advanced harmonies and concepts were in step with the third stream movement.[5] In early October 1960, Carter recorded How Time Passes with Don Ellis, and on June 20, 1961, he recorded Where?, his first album as a leader, featuring Dolphy on alto sax, flute, and bass clarinet; Mal Waldron on piano; Charlie Persip on drums; and Duvivier playing basslines on tracks where Carter played cello.
Carter was a member of the second Miles Davis Quintet in the mid 1960s, which also 
included Herbie Hancock, Wayne Shorter and drummer Tony Williams. Carter joined Davis’s group in 1963, appearing on the album Seven Steps to Heaven, and the follow-up E.S.P., the latter being the first album to feature only the full quintet. It also featured three of Carter’s compositions (the only time he contributed compositions to Davis’s group). He stayed with Davis until 1968 (when he was replaced by Dave Holland), and participated in a couple of studio sessions with Davis in 1969 and 1970. Although he played electric bass occasionally during this era of early jazz-rock fusion, he has subsequently stopped playing that instrument, and in the 2000s plays only double bass.
Carter also performed on some of Hancock, Williams and Shorter’s recordings during the 1960s for Blue Note.[6] He was a sideman on many Blue Note recordings of the era, playing with Sam Rivers, Freddie Hubbard, Duke Pearson, Lee Morgan, McCoy Tyner, Andrew Hill, Horace Silver, and others. He also played on soul-pop star Roberta Flack’s album First Take.
After leaving Davis, Carter was for several years a mainstay of CTI Records, making albums under his own name and also appearing on many of the label’s records with a diverse range of other musicians. Notable musical partnerships in the 1970s and 1980s included Joe Henderson, Houston Person, Hank Jones, Gabor Szabo and Cedar Walton. During the 1970s he was a member of the New York Jazz Quartet. In 1986, Carter played double bass on “Big Man on Mulberry Street” on Billy Joel’s album The Bridge.
In 1987, Carter won a Grammy for “an instrumental composition for the film” Round Midnight.[3] In 1994, he won another Grammy Award for Best Jazz Instrumental Group for a tribute album to Miles Davis.[10] He appears on the alternative hip hop group A Tribe Called Quest’s influential album The Low End Theory on a track called “Verses from the Abstract”.[11] He appeared as a member of the jazz combo the Classical Jazz Quartet.[12] In 1994, Carter appeared on the Red Hot Organization’s compilation album, Stolen Moments: Red Hot + Cool.[13] The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African-American community, was heralded as “Album of the Year” by TIME.[14] In 2001, Carter collaborated with Black Star and John Patton to record “Money Jungle” for the Red Hot Organization’s compilation album, Red Hot + Indigo, a tribute to Duke Ellington.
Ron Carter performing at the European Jazz Expò 2007:
Carter is a Distinguished Professor Emeritus of the music department of City College of New York, having taught there for 20 years, and received an honorary doctorate from the Berklee College of Music in spring 2005. He joined the faculty of the Juilliard School in New York City in 2008, teaching bass in the school’s Jazz Studies program. Carter made an appearance in Robert Altman’s 1996 film, Kansas City. The end credits feature him and fellow bassist Christian McBride duetting on “Solitude”.
Carter sits on the advisory committee of the board of directors of The Jazz Foundation of America and on the Honorary Founder’s Committee. Carter has worked with the Jazz 
Foundation since its inception to save the homes and the lives of America’s elderly jazz and blues musicians including musicians that survived Hurricane Katrina.
Carter appeared as himself in an episode of the HBO series Treme entitled “What Is New Orleans”. His authorized biography, Ron Carter: Finding the Right Notes, by Dan Ouellette, was published by ArtistShare in 2008.
In 2010, Carter was honored with France’s premier cultural award, the medallion and title of Commander of the Ordre des Arts et des Lettres. Carter was elected to the DownBeat Jazz Hall of Fame in 2012.
In August 2021, Carter was the featured guest in a 47-minute video interview with YouTuber and musician Rick Beato.[25][26] In November 2021, the Japanese government honored Carter with The Order of the Rising Sun, Gold Rays with Rosette. Japanese officials credited Carter with helping to popularize jazz in Japan and facilitating cultural exchange. In April 2022 Carter sat in with Bob Weir at Radio City Music Hall. In May 2022, Carter celebrated his birthday by releasing a Tiny Desk Concert recorded at the Blue Note Jazz Club featuring Russell Malone and Donald Vega. (wikipedia)
Among the highlights of the Pori Jazz Festival, Finland 2019 was the concert by bassist Ron Carter and his band.
The bassist Ron Carter has been one of the great constants in US jazz for decades. A distinguished gentleman with a very concise way of playing his instrument. He plays no note, no tone too much, he is sovereignty personified. The now almost 83-year-old has been involved in well over 2000 album recordings, has written important chapters in jazz history and has also been a very active bandleader for a long time.
His current quartet has a huge repertoire and is filled with outstanding musicians. At the drums is Payton Crossley, who is highly precise and at the same time light as a feather. Saxophonist Jimmy Greene is expressive and tasteful. And at the piano is pianist Donald Vega, who is extremely flexible, especially rhythmically, but also harmonically.
Ron Carter “Foursight” Quartet (deutschlandfunkkultur.de)
Recorded live at the Pori Jazz Festival, Lokkilava (‘Seagull Stage’), Kirjurinluoto Concert Park, Pori /Finland, July 18, 2019
excellent broadcast recording
Personnel:
Ron Carter (bass)
Payton Crossley (drums)
Jimmy Greene (saxophone)
Donald Vega (piano)
Tracklist:
01. 595 (Carter) 6.23
02. Flamenco Sketches (Evans/Davis) 10.34
03. Drum Solo (Crossley) 1.23
04. Flamenco Sketches (Reprise) (Evans/Davis) 1.43
05 Seven Steps to Heaven (I) (Feldman/Davis) 7.45
06. Seven Steps to Heaven (II) (Feldman/Davis) 8.42
07. Bass Solo (Carter) 5.09
08. Seven Steps to Heaven (Reprise) (Feldman/Davis) 3.01
09. My Funny Valentine (Rodgers/Hart) 8.36
10. You And The Night And The Music (Dietz/Schwartz) (I) 5.58
11. You And The Night And The Music (Dietz/Schwartz) (II) 5.47
More from Ron Carter:
The official website:
And here is a really mysterious LP … I’ve never heard of Ban Australia, nor have I found any relevant information.
But yes, the band really existed and of course they came from Australia.
This album was recorded at Trafalgar Studios, Sydney (A once leading Australian studio located at 74B Trafalgar Street, Annandale, in Sydney now closed and demolished. Owned and operated by Charles Fisher. Designed and built from June 1973 to October 1974)
And we hear some good Pop-Rock and sometimes the album reminds me a bit of the Eagles (“Knowing That You’re There”)
It´s AOR with lot´s of keyboards, with great harmony vocals.
Hey guys…where ar you know ?
Does anybody knows more ?
Personnel:
Emile T’Boom (vocals, keyboards. synthesizer)
Rick Dakin (keyboards, synthesizer, background vocals)
Ace Follington (drums, percussion)
Andy MacDonald (bass, background vocals)
Ross McInnes (guitar, background vocals)
+
Dave Scott (percussion)
Tracklist:
01. Captain Magic (McInnes/Theeboom) 3.28
02. Make Me Fly (McInnes/Dakin) 4.33
03. Knowing That You’re There (McInnes/Theeboom) 3.37
04. Questions (McInnes/Theeboom) 3.51
05. Rock And Roll (McInnes/Theeboom) 2.49
06. Going Up (McInnes/Theeboom) 2:42
07. Give Me A Sign (McInnes/Theeboom) 3.08
08. You Never Get An Answer (McInnes/Theeboom) 3.54
09. As Long As I’m Free (McInnes/Theeboom/Dakin) 3.18
10. Jupiter Starship (McInnes/Theeboom) 4.44
Sir Richard Starkey(born 7 July 1940), known professionally as Ringo Starr, is an English musician, singer, songwriter and actor who achieved international fame as the drummer for the Beatles. Starr occasionally sang lead vocals with the group, usually for one song on each album, including “Yellow Submarine” and “With a Little Help from My Friends”. He also wrote and sang the Beatles songs “Don’t Pass Me By” and “Octopus’s Garden”, and is credited as a co-writer of four others.
Starr was afflicted by life-threatening illnesses during childhood, with periods of prolonged hospitalisation. He briefly held a position with British Rail before securing an apprenticeship as a machinist at a Liverpool school equipment manufacturer. Soon afterwards, Starr became interested in the UK skiffle craze and developed a fervent admiration for the genre. In 1957, he co-founded his first band, the Eddie Clayton Skiffle Group, which earned several prestigious local bookings before the fad succumbed to American rock and roll around early 1958. When the Beatles formed in 1960, Starr was a member of another Liverpool group, Rory Storm and the Hurricanes. After achieving moderate success in the UK and Hamburg, he quit the Hurricanes when he was asked to join the Beatles in August 1962, replacing Pete Best.
In addition to the Beatles’ films, Starr has acted in numerous others. After the band’s break-up in 1970, he released several successful singles including the US top-ten hit “It Don’t Come Easy”, and number ones “Photograph” and “You’re Sixteen”. His most successful UK single was “Back Off Boogaloo”, which peaked at number two. He achieved commercial and critical success with his 1973 album Ringo, which was a top-ten release in both the UK and the US. Starr has featured in numerous documentaries, hosted television shows, narrated the first two series of the children’s television program Thomas & Friends and portrayed “Mr. Conductor” during the first season of the PBS children’s television series Shining Time Station. Since 1989, he has toured with thirteen variations of Ringo Starr & His All-Starr Band.
Starr’s playing style, which emphasised feel over technical virtuosity, influenced many drummers to reconsider their playing from a compositional perspective. He also influenced various modern drumming techniques, such as the matched grip, tuning the drums lower, and using muffling devices on tonal rings. In his opinion, his finest recorded performance was on the Beatles’ “Rain”. In 1999, he was inducted into the Modern Drummer Hall of Fame. In 2011, Rolling Stone readers named him the fifth-greatest drummer of all time. He was inducted twice into the Rock and Roll Hall of Fame, as a Beatle in 1988 and as a solo artist in 2015, and appointed a Knight Bachelor in the 2018 New Year Honours for services to music. In 2020, he was cited as the wealthiest drummer in the world, with a net worth of $350 million.
Sentimental Journey is the debut solo album by English rock musician Ringo Starr. It was released by Apple Records in March 1970 as the Beatles were breaking up. The album is a collection of pre-rock ‘n’ roll standards that Starr recalled from his childhood in Liverpool. As a departure from the experimental quality that had characterised solo LPs by George Harrison and John Lennon since 1968, it was the first studio album by an individual Beatle to embrace a popular music form.
Starr began recording Sentimental Journey in London in October 1969, in response to Lennon’s private announcement that he was leaving the Beatles. He recruited George Martin to produce the sessions and used different musical arrangers for each song.
Starr made a promotional film for the song “Sentimental Journey”, in which he performed with an orchestra and dancers at the Talk of the Town nightclub. The cover of the album shows Starr in front of a pub in the Dingle area of Liverpool, where he grew up.
The album’s impact was compromised by Paul McCartney’s refusal to delay the release of his solo debut, McCartney, and by McCartney then initiating the group’s break-up. Despite receiving mixed reviews from music critics and confusing Beatles fans through its choice of music, Sentimental Journey charted inside the top ten in the United Kingdom and peaked at number 22 on the Billboard Top LPs chart in the United States. The album was a forerunner to standards collections by artists such as Harry Nilsson and Linda Ronstadt, and to the vogue from the late 1990s onwards for rock artists such as Bryan Ferry, Rod Stewart and Boz Scaggs to embrace big band music.
The Embrass Pub, Liverpool:
Despite his limited songwriting experience, Ringo Starr was encouraged to make a solo album by his Beatles bandmates. His mother Elsie Starkey and stepfather Harry Graves also supported the idea when Starr visited them at their Liverpool home. His mother said that Starr had a good singing voice. He first considered making a country music album, but then decided to record a collection of old standards that would reflect his mother’s favourite songs. The tapes from the Beatles’ January 1969 Get Back film project captured Starr expressing a wish to make an album of standards.
Starr committed to the project in order to keep active following John Lennon’s unpublicised decision in September 1969 to leave the Beatles, signalling that the group were effectively no more. Starr described his mindset at the time: “I sat in the garden for a while wondering what the hell to do with my life … It was quite a dramatic period for me – or traumatic, actually.” He asked Beatles producer George Martin to produce the album. Starr compiled a list of the songs he wished to record, and Martin and Beatles aide Neil Aspinall contacted the musical arrangers.
Frontcover from Argentinia:
The material Starr selected included works from the big band era and songs well known through recordings by Bing Crosby, Doris Day, Frank Sinatra, Fats Waller and Matt Munro. Starr explained their appeal in a 1990 interview: “I was brought up with all those songs, you know, my family used to sing those songs, my mother and my dad, my aunties and uncles. They were the first musical influences on me.” He decided to have each song arranged by a different musician – ranging from his London associates Martin, Paul McCartney, Klaus Voormann and Maurice Gibb, to American arrangers and producers such as Richard Perry, Quincy Jones and Elmer Bernstein. He thought the variety would add an element of interest to the project. (wikipedia)
And here´s his first solo album:
Cut as the Beatles were disintegrating and released shortly before the group’s final album, Let It Be, Ringo Starr’s debut solo album was a collection of pre-rock standards dating from the 1920s to the ’50s, sung over orchestral tracks arranged by everyone from fellow Beatle Paul McCartney and Bee Gee Maurice Gibb to jazz veterans Quincy Jones and Oliver Nelson. Starr brought a good-natured, nearly humorous tone to his vocals, perhaps because he wasn’t trying to compete with the classic pop stylists most identified with these songs, but only to express his nostalgic affection for the material. Coming more than a decade before the fad for standards albums by rock-era pop stars like Linda Ronstadt, the album was taken not as a career move, but as a highly eccentric and expensive novelty of a kind only Beatles could afford to indulge. In retrospect, it remains harmlessly charming, if unexceptional. (Originally released in the U.K. on March 27, 1970, as Parlophone 7101 and in the U.S. on April 24, 1970, as Apple 3365, Sentimental Journey was reissued in the U.S. on August 29, 1995, as Captiol 98615.) (by William Ruhlmann)
Personnel:
Ringo Starr (vocals, drums)
+
unknown Big Band
Tracklist:
01. Sentimental Journey (Brown/Green/Homer) 3.28
02. Night and Day (Porter) 2.27
03. Whispering Grass (D.Fisher/F.Fisher) 2.39
04. Bye Bye Blackbird (Dixon/Henderson) 2.13
05. I’m A Fool To Care (Daffan) 2.40
06. Stardust (Carmichael/Parish) 3.26
07. Blue Turning Grey Over You (Razaf/Waller) 3.20
08. Love Is A Many Splendored Thing (Fain/Webster) 3.07
09. Dream (André/Mercer/Schwandt) 2.43
10. You Always Hurt The One You Love (D.Fisher/Roberts) 2.20
11. Have I Told You Lately That I Love You? (Wiseman) 2.45
12. Let The Rest Of The World Go By (Ball/Brennan) 2.55
01: Arranged by Richard Perry. Originally recorded by Les Brown Band in 1945, with Doris Day on vocals, and became her first number one in America.
02: Arranged by Chico O’Farrill. Originally from the 1932 musical, “The Gay Divorcee” and sung by Fred Astaire and Claire Luce.
03: Arranged by Ron Goodwin.Originally recorded by the Ink Spots in 1940.
04: Arranged by Maurice Gibb. Written in 1927 for vaudeville star George Price.
05: Arranged by Klaus Voorman. Written in 1948, became a hit in 1954 for Les Paul and Mary Ford.
06: Arranged by Paul McCartney. Hoagy Carmichael wrote the tune in 1927, with the words added in 1929. Ringo was probably familiar with the 1957 hit version by Billy Ward and the Dominoes.
07: Arranged by Oliver Nelson.Originally recorded by Louis Armstrong in 1930.
08: Arranged by Quincy Jones. An Oscar winning song from 1955, and a chart hit for the Four Aces.
09: Arranged by George Martin. Written in 1945, a hit for the Pied Pipers.
10: Arranged by Johnny Dankworth. A hit in 1944 for the Mills Brothers.
11: Arranged by Elmer Bernstein. Originally recorded in 1946 by Foy Willing and the Riders of the Purple Sage.
12: Arranged by Les Reed. The oldest song on this release, dating from 1919, and originally by George J. Trinkaus and his band. But Ringo and his family would probably have been more familiar with the 1944 Dick Haymes version.
I was lost for a while. That’s well-documented … And I just thought of all those songs that I was brought up with, all the parties we’d had in Liverpool at our house and all the neighbours’ houses … So I called George Martin and said, “Why don’t we take a sentimental journey? (Ringo Starr, 2001)
The official website:
Black Patti, named after a short-lived Jazz/Blues record label in 1927, has dedicated themselves to the early roots of acoustic blues. The German duo consists of professional musicians Peter Crow C. (guitar, slide, harmonica, vocals) and Ferdinand Kraemer (a.k.a. Mr. Jelly Roll, guitar, mandolin, vocals). Taking the road typically less travelled by today’s performers of this genre, Black Patti draws upon inspiration provided by early Blues artists to write and arrange their own music. With a two-voiced harmony, impressive instrument mastery and a capturing stage presence, Black Patti has taken the European Blues scene by storm, with their own nuanced version of early American Blues. Black Patti writes and plays their own innovative Songs, arrangements and interpretations of early, traditional American Blues.
Enthusiastic about their new album, world-famous Comic Artist and Blues fan R. Crumb has drawn the Cover Artwork for “Satan’s Funeral“ (2021). (press release)
And here´s their 3th album:
I’ve known Black Patti since they first began playing together ten years ago. They’ve always drawn their material from the best of the early blues artists and added original arrangements. Now they’ve gone over to the Lord’s side on their latest album, and once again they interpret the best of the early artists and their songs – Blind Roosevelt Graves, Reverend Gary Davis, Eddie Head. Skip James, and a host of others. I love their original harmonies and fine instrumental work. Give this album a listen. It’s a blessing. (David Evans)
If you want to explore early twentieth century fingerpicked guitar or if you just feel that your soul could use a bit of dusting off, this should raise your spirits. (Lonesome Dave Fisher)
Black Patti with Robert Crumb (May 2022):
With honest positive no-nonsense music, the Black Patti duo knows how to cheer up humanity in these days where no one really understands what all the “new normal” entails. (Eric Shuurmans)
Personnel:
Peter „Crow C.“ Krause (guitars, harmonica, vocals)
Ferdinand ‚Mr. Jelly Roll‘ Kraemer (guitars, mandolin, mandola, vocals)
Titel:
01. Black Patti Is Coming (Krause/Kraemer) 2.54
02. God Don’t Like It (Traditional) 3.40
03. Be Ready When He Comes (James) 3.09
04. I Saw The Light (1) (Davis/Red) 2.56
05. Lonesome Valley (Traditional) 3.57
06. Down On Me (Head) 3.13
07. Woke Up This Morning (With My Mind On Jesus) (Graves) 3.18
08. Where Is That Place? (A Tribute To Jack Owens) (Krause/Kraemer) 4.33
09. I Saw The Light (2) (Davis/Red) 3.42
10. Everyday Will Be SundayGet On The Road To Glory (Smith) 2.58
11. Get On The Road To Glory (Bunn) 3.06
More from Black Patti:
The official website:
Pavarotti & Friends was a series of benefit concerts hosted by Italian operatic tenor Luciano Pavarotti between 1992 and 2003 in his home town of Modena, Italy. Proceeds from the events were donated to humanitarian causes including the international aid agency War Child and the United Nations High Commissioner for Refugees. The concerts featured Pavarotti performing with special musical guests and each concert was released as a compilation album and DVD under London Records/Decca Records.
The Pavarotti & Friends for War Child concert was held on 20 June 1996. Proceeds from the concert were donated to the international aid agency, War Child, specifically in aid of children in Bosnia. The concert featured guest performances by Elton John, Sheryl Crow, Eric Clapton, Liza Minnelli and Joan Osborne. The compilation arrived at position 19 in Danish Chart. (wikipedia)
Eclecticism, rendered with more good nature than real accomplishment, is the key characteristic of this mixed bag of performers gathering together in Modena, Italy, Luciano Pavarotti’s hometown, for a benefit concert for Bosnian children. Actually, the pop stars, notably Eric Clapton and Elton John, come off better than the host. Sheryl Crow doesn’t embarrass herself duetting on Mozart with Pavarotti nearly as much as Pavarotti does duetting with Liza Minnelli on “New York, New York.” With plenty of Italian pop and competent but unexceptional Anglo-American hits to accompany the classical musings, there’s something here to bore nearly everyone, though the idea, of course, is to have something to intrigue everyone enough to buy a copy and help the charity. (by William Ruhlmann)
Personnel:
Eric Clapton – Luciano Pavarotti – Joan Osborne – Elton John – Liza Minnelli – Zucchero – Sheryl Crow – Ligabue – Jon Secada – The Kelly Family – Litfiba – Solis String Quartet – Paco De Lucia, Al Di Meola & John McLaughlin
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Orchestra conducted by Rob Mathes (on 01. + 16.)
Orchestra conducted by José Molina (on 02,, 05.)
Orchestra conducted by Anne Dudley (on 17.)
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East London Gospel Choir (on 01. + 16.)
Tracklist:
01. Eric Clapton & Luciano Pavarotti: Holy Mother (Clapton/Bishop) 5.38
02. Joan Osborne: Saint Teresa (Bazilian/Osborne/Chertoff/Hyman) 5.41
03. Elton John: I Guess That’s Why They Call It The Blues (Johnstone/John/Taupin) 4.39
04. Liza Minnelli & Luciano Pavarotti: New York, New York (Kander/Ebb) 3.53
05. Zucchero: My Love (Il Volo) (Fornaciari/Palladino/MacDonald) 5.37
06. Sheryl Crow & Eric Clapton: Run, Baby, Run (Bottrell/Baerwald/Crow) 6.09
07. Ligabue & Luciano Pavarotti: Certe Notti (Ligabue) 4.18
08. Jon Secada: Angel (Secada/Morejon) 4.53
09. The Kelly Family & Luciano Pavarotti: Ave Maria (Gounod/Bach) 2.24
10. Litfiba: Spirito (Renzulli/Pelù) 4.48
11. Eric Clapton: Third Degree (Boyd/Dixon) 4.49
12. Sheryl Crow & Luciano Pavarotti: Là Ci Darem La Mano (Don Giovanni) (Da Ponte/ Mozart) 3.13
13. Edoardo Bennato & Solis String Quartet: Le Regazze Fanno Grandi Sogni (Bennato) 3.17
14. Jon Secada & Luciano Pavarotti: Grenada (Lara) 3.18
15. Paco De Lucia, Al Di Meola & John McLaughlin: Mediterranean Sundance (Di Meola) .4.14
16. Joan Osborne & Luciano Pavarotti: Gesù Bambino (Martens/Yon) 3.51
17. Elton John, Luciano Pavarotti & Ensemble: Live Like Horses (John/Taupin) 4.59
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A blog mainly about odd German 45 rpm records. New records every Thursday.
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