Vaya Con Dios – Time Flies (1992)

FrontCover1Vaya Con Dios (Spanish for “Go with God!”) was a Belgian music act, that stood out for its mixing of styles, as well as the distinctive voice of its lead singer Dani Klein. It was one of the most successful Belgian music acts ever, having sold more than 7 million albums and more than 3 million singles.

It was founded in 1986, but after 1991 Vaya Con Dios was for the most part a one woman band, centered on singer, lyricist, band leader and (co-)producer Dani Klein, reinforced by an ever-changing selection of musicians. In 2014, Dani Klein performed her last international tour under the Vaya Con Dios formula.[2] Vaya Con Dios officially disbanded with their last concert on 25 October 2014, in Forest National.

 

Vaya Con Dios was founded in 1986 by Dirk Schoufs, Dani Klein (Danielle Schoovaerts) and Willy Lambregt (known as Willy Willy). Schoufs (1962; double bass) and Lambregt (1959; guitars) were close friends, who had frequently worked as an acoustic duo. Klein (1953; lead singer, lyricist) and Lambregt had previously worked in electronic band Arbeid Adelt !, which lost momentum when band leader Marcel Vanthilt left to become an MTV Europe VJ.

After enjoying a one off performance as a trio, they decided to form Vaya Con Dios, based on shared interests in gypsy music, jazz and opera – genres they felt were underappreciated in Brussels.

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The trio’s first single “Just a Friend of Mine” (1987) entered the top 20 in Belgium, and became a top 10 hit in France. This was a milestone especially for Klein, who was now 34, and who had been trying to make it as a singer since age 17. After this first hit, Lambregt left the band, well before the 1988 debut album Vaya Con Dios was completed, and was later replaced by Jean-Michel Gielen. This first album, self-produced by Schoufs and Klein, met with mixed critical acclaim, mostly because it was very eclectic, and difficult to categorize. Nevertheless, it was well received in several European countries, and held three more singles.

The 1990 follow-up album “Night Owls” was again produced by Klein and Schoufs, and produced another three singles. “Nah Neh Nah”, an up-tempo mix of Latin and jazz-rock, profited from heavy airplay on MTV Europe. “What’s a Woman?”, a soul ballad, did well across Europe, and became a number one hit in the Netherlands and Belgium.

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In 1991, Schoufs and Klein fell out badly, resulting in Schoufs’ departure from the band, only to die months later, on 24 May 1991, at the age of just 29, of a cocktail of medication, alcohol and drugs.

Klein, left playing with just Gielen and various musicians, nevertheless continued to record a new Vaya Con Dios album, while at the same time doing more and more international performances, due to ever increasing popularity. In 1992, Time Flies was released, produced mostly by Klein herself. Again three singles were released from the album, the dramatic “Heading For a Fall” doing well in several countries. The album did very well in Europe, reaching number one in Switzerland and getting platinum certification in four countries, eventually proving to be the most successful Vaya Con Dios album. In 1993 it was followed with the first Vaya Con Dios world tour.

In 1995 Klein, by then evidently suffering from high workload, still managed to record a fourth Vaya Con Dios album: Roots and Wings, from which yet another three singles were released. Recorded at Muscle Shoals studios, Alabama, the album is even more soul oriented, while at the same time integrating Arab and India music influences. Again there was album chart success in several European countries.

In 1996 Klein quit the music business because of complete fatigue, illustrated by spontaneous hair loss. She returned in 1999 as singer in the group Purple Prose, which released a debut album that year. Vaya Con Dios returned in 2004 with a new album titled The Promise.

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In 2006, The Ultimate Collection greatest hits album was released. It featured Aaron Neville on a new recording of the 1990 soul ballad “What’s a Woman?” In October 2009, the album Comme On Est Venu was released, for the first time with all songs in French (one of Kleins first languages). In December 2010, the German DJ Duo Milk & Sugar released a remix of the song “Nah Neh Nah” that reached the Top 10 in the German Media-Control Charts.

In 2013, Dani Klein started a farewell tour, the last Vaya Con Dios tour ever. The last concert was held 25 October 2014 at Forest National in Brussels

Time Flies is the third studio album by Vaya Con Dios, who were at this point mostly a one-woman band. Even more than the previous albums, this is a melancholic album and is more blues and soul oriented. The reason for the theme is because Vaya Con Dios was mainly the partnership of Dani Klein and Dirk Schoufs and in 1991 the pair fell out badly. On 24 May 1991 Schoufs, who was only 29, died of a cocktail of medication, drugs and alcohol.

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The album did very well in Europe, reaching number one in Switzerland and getting platinum certification in four countries, eventually proving to be the most successful Vaya Con Dios album.
Time Flies was the first album from Vaya Con Dios which did not end with a song in French.

In 1993 Vaya Con Dios embarked on its first world tour. (by wikipedia)

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Vaya Con Dios is the group name behind Belgian chanteuse/lyricist/ producer Dani Klein. Most successful are tracks like “Farewell Song” and “Brave Jane” that maintain a chic Euro-centricity with a splash of 60s Dusty Springfield soul. The ground gets shakier when Klein turns to other forms of American roots music for inspiration — the country influences on “Farewell Song” are handled in particularly hamfisted fashion, although the bluesy “Muddy Waters” fares much better. Time Flies, is an interesting juxtaposition of cultures. (by Roch Parisien)

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Personnel:
Philippe Allaert (drums, percussion)
Jean-Michel Gielen (guitar)
Dani Klein (vocals)
Jean Mutsari (bass)
Carmelo Prestigiacomo (guitar)
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Werner Braito (harmonica on 02.)
André Brasseur (organ on 01., 92., 06. + 08)

Renauld Louisson (timpani on 03. + 13.)
Arnould Massart (piano on 13.)
Eric Melaerts (guitar on 07. + 09.)
Gwenaël Micault (accordion on 08. + 13.)
Daniel Moffat (percussion on 08. 09. + 12.)
Simon Schoovaerts (on 02.)
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background vocals:
Béatriz Ramirez – Dani Klein – Freddy Starks – Jenifer Kaje – Maria Lekranty – Sonia Henderson – Verona Davis
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strings on 11:
Claudine Steenackers – Jeannot Gillis – Marianne Denoïa
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horns on 02., 06. + 09.:
Carlo Mertens  – Frank Deruiter – Patrick Mortier

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Tracklist:
01. Time Flies (Klein/Prestigiacomo) 3.39
02. Forever Blue (Klein/Schoovaerts) 3.58
03. Farewell Song (Klein/Gielen) 3.09
04. So Long Ago (Klein/Prestigiacomo) 2.55
05. Still A Man (Klein/Gielen) 3.36
06. Heading For A Fall (Klein(Collins) 3.42
07. Mothers And Daughters (Klein/Davis/Gielen) 2.31
08. Listen (Klein/Allaert) 3.19
09. Bold And Untrue (Klein/Davis/Gielen) 3.08
10. Muddy Waters (Klein/Gielen)  3.17
11. For You (Klein/Gielen)  3.10
12. Brave Jane (Klein/Davis/Prestigiacomo) 3.16
13. At The Parallel (Klein/Kliphuis/Kliphuis) 2.57

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Hassan Boussou – Maalem (80´s)

FrontCover1Hassan Hakmoun is one of the most notable figures in contemporary Moroccan music.

Though schooled in the deeply traditional sounds of the Gnawa people in his native Marrakesh, since moving to the U.S. in 1987, his music has absorbed elements from a variety of popular styles, from jazz and “world music” to neo-classical contemporary Western music and cerebral pop, resulting in a diverse, award-winning and critically acclaimed body of work. His participation in such internationally renowned arts festivals as WOMAD (World of Music, Arts and Dance) and collaborations with respected artists, including David Sanborn, Peter Gabriel, Don Cherry and The Kronos Quartet, among countless others, have brought him further into the spotlight and inspired many artists from North Africa and around the globe to follow in his footsteps.

As a master musician whose vision and contributions have enabled a unique fusion and blending of traditions, cultures and genres in a world of ever-expanding global communication and exchange, his work maintains its profound and enormous capacity to joyously inspire and heal the individuals and communities it reaches, as Hakmoun undoubtedly remains a commanding and intriguing artist in the world music scene.

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Hakmoun’’s musical origins are rooted in the African folk music of the Islamic Gnawa sect, descendants from West African slaves brought to North Africa several hundred years ago. Their music combines complicated West African syncopations with long, sinuous North African melodies. Tracing their roots back to the Bilal, a freed slave known for his beautiful voice and believed to have been chosen by the Islamic prophet Mohammed to serve as the first muezzin to call the people of the faith to their prayers, Gnawa musicians often express their religious devotion through their music, using it to enter into spiritual trance states.

These rich, ancient Gnawa traditions have powerfully and intimately influenced Hakmoun’s early life and calling as a musician as his mother is a mystic healer known throughout Marrakesh for her derdeba trance ceremonies, often all-night affairs involving hypnotic playing and chanting to exorcise spirits. Steeped in Islamic mysticism and West African rhythms, the Gnawa musical form and its rituals lift the spirit and heal the sick and wounded through its songs of praise.

Hakmoun began learning Gnawa music after witnessing his first trance ceremony at the young age of four. Through a miraculous incident involving his younger sister, whose body was mysteriously touched by the spirit, covered in cigarette burns and then healed as a result of a meeting of the local Gnawa masters who proceeded to gather and conduct a ceremony of singing, drumming and playing instruments such as the sintir while asking for forgiveness and inquiring as to the cause of her ailments, Hakmoun proceeded to study percussion, as well as traditional trance-inducing dances.

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He eventually chose the sintir as his main instrument, a three-stringed lute with a body made of camel skin stretched over nutwood. The strings of the sintir are pitched low, enabling the instrument to serve as the bass foundation much like the Western string bass, while its tone is sweet, making it well-suited to carry the melodic line of a composition. By drumming on the body of the instrument, Hakmoun added his own percussion while contributing vocals, thereby creating a unique foundation for his musical explorations and growth. By the age of fourteen, he was an established musician performing at Gnawa lila ceremonies with his own ensemble.

Hakmoun made his U.S. debut in 1987 at Lincoln Center in New York City with Etian and Blanca Lee’’s Trio Gna & Nomadas dance group … (taken from his website)

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I guess this is very rare record by Hassan Boussou … I found no further informations in the internet (this is maybe a bootleg, I don´t know) … I bought it last week in Marrakesh  at the Jamaa el Fna market:

Jamaa el Fna (also Jemaa el-Fnaa, Djema el-Fna or Djemaa el-Fnaa) is a square and market place in Marrakesh’s medina quarter (old city). It remains the main square of Marrakesh, used by locals and tourists.

And I guess, this were very erly recordings from the Eighties … unfortunatley the covers gives no more informations ..

So … listen to the magic of a real unique world of music …

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Personnel:
Hassan Boussou (lute, vocals)
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Marie le Baron et la troupe Boussou Ganga

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Tracklist:
01. Part 1 / 22.07
02. Part 2 / 36.51

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Various Artists – Gnawa Music Of Marrakesh – Night Spirit Masters (1990)

FronzCover1As Paul Bowles states in his liner notes, the music of the Gnawa (Malinese slaves brought to Morocco in the 16th century) is very different than most of what’s heard in Morocco. Indeed, there’s a healthy strain of the kind of vocal and percussion styles heard in the Gnawa’s West African homeland on this fine collection. And even though the Middle Eastern darbouka drum is occasionally used and the language sung in is Arabic, the predominant sound comes from large, deep-toned drums called the tbola (akin to the talking drum of Ghana) and from the chorus of singers heard on half the cuts (the harmonies produced being similar to those in both traditional and popular West African song).

Sounding like a cross between the oud (the Middle Eastern predecessor to the lute) and the West African kora, the upright string instrument the sentir musically fuses the two cultures. Musicology aside, this Bill Laswell-produced recording is a must for fans of both African and Middle Eastern music. Half the pieces feature lead and group singers in call and response mode buoyed by a full compliment of sentirs, drums, hand clapping, and qrakechs (finger cymbals made from sheet metal). The other portion includes both drum features and sentir and vocal pieces. A great collection. (by Stephen Cook)

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Tracklist + Personnel:

01. Baba L’Rouami1 Baba L’Rouami 3.05
Goblet Drum [Darbouka] – Abdelhak Bou NaamSintir, Vocals – Mustapha BaqbouVocals – Ahmed Hamzaoui, Mahjoub El Khalmouss, Said Oughassal
02. . Mimoun Mamrba 5-12
Castanets [Qrakech] – Abdel Kbir Msolom, Abdellatif OughassalDrums – Abderrahim Oughassal, Abelmar Bou NaamSintir, Vocals – Said OughassalVocals – Abdelqader Oughassal

03. Tramin 2.57
Drums – Abbes Larfaoui, Brahim El Belkani, Mahjoub Jaffer

04. Chabako 6.27
Castanets [Qrakech] – Abdellatif OughassalDrums – Abderrahim OughassalGoblet Drum [Darbouka] – Abdelhak Bou NaamHandclaps – Samir ZougariHandclaps, Vocals – Abdel Kbir Msolom, Abdenbi Binizi, Aziz Radi, Hassan Zougari, Mohammed MslomiOud, Vocals – Said OughassalSintir, Vocals – Abdelqader Oughassal

05. Moulay Abdellah Ben Hassaine / Moulay Brahim 4.12
Shaker – Ahmed MamzaoiSintir, Vocals – Mustapha Baqbou

06. Toura Toura Tour Kelilah 4.07
Sintir, Vocals – Mustapha BaqbouVocals – Abdel Kbir Mershan, Mahjoub El Khalmouss, Mbarrek Ben Othane

07. Baniya 5.59
Castanets [Qrakech] – Abdellatif OughassalDrums – Abderrahim OughassalGoblet Drum [Darbouka] – Abdelhak Bou NaamHandclaps – Samir ZougariHandclaps, Vocals – Abdel Kbir Msolom, Abdenbi Binizi, Aziz Radi, Hassan Zougari, Mohammed MslomiOud, Vocals – Said OughassalSintir, Vocals – Abdelqader Oughassal

08. Jillala 4.49
Sintir, Vocals – Abdel Kbir Mershan, Mustapha BaqbouVocals – Mahjoub El Khalmouss, Mohammed Qrifli

09. Said Fafy Drum Solo 2.15
Drums – Said Fafy, Said Oughassal

10. Toura Toura Tour Kelilah #2 3.12
Castanets [Qrakech], Vocals – Mahjoub MethoumHandclaps – Rachid El BelkaniSintir, Vocals – Brahim El Belkani

11. Hamouda 6.00
Castanets [Qrakech] – Abdellatif OughassalDrums – Abderrahim OughassalGoblet Drum [Darbouka] – Abdelhak Bou NaamHandclaps – Samir ZougariHandclaps, Vocals – Abdel Kbir Msolom, Abdenbi Binizi, Aziz Radi, Mohammed MslomiOud, Vocals – Said OughassalSintir, Vocals – Abdelqader Oughassal

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MusicInMarrakesh

George Fenton + Jonas Gwangwa – Cry Freedom (OST) (1987)

FrontCover1Cry Freedom is a 1987 British epic drama film directed by Richard Attenborough, set in late-1970s apartheid era South Africa. The screenplay was written by John Briley based on a pair of books by journalist Donald Woods. The film centres on the real-life events involving black activist Steve Biko and his friend Donald Woods, who initially finds him destructive, and attempts to understand his way of life. Denzel Washington stars as Biko, while actor Kevin Kline portrays Woods. Cry Freedom delves into the ideas of discrimination, political corruption, and the repercussions of violence.

The film was primarily shot on location in Zimbabwe and in Kenya due to political turmoil in South Africa at the time of production. As a film showing mostly in limited cinematic release, it was nominated for multiple awards, including Academy Award nominations for Best Actor in a Supporting Role, Best Original Score, and Best Original Song. It also won a number of awards including those from the Berlin International Film Festival and the British Academy Film Awards.

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A joint collective effort to commit to the film’s production was made by Universal Pictures and Marble Arch Productions. It was commercially distributed by Universal Pictures cinematically, and by MCA Home Video for home media. Cry Freedom premiered in cinemas nationwide in the United States on 6 November 1987 grossing $5,899,797 in domestic ticket receipts. The film was at its widest release showing in 479 cinemas nationwide. It was generally met with positive critical reviews before its initial screening in cinemas. (by wikipedia)

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And here´s the soundtrack:

The original motion picture soundtrack for Cry Freedom was released by MCA Records on 25 October 1990. It features songs composed by veteran musicians George Fenton, Jonas Gwangwa and Thuli Dumakude. At Biko’s funeral they sing the hymn Nkosi Sikelel’ i Afrika. Jonathan Bates edited the film’s music

This is a beautiful album. The blend of African and Orchestral music is gorgeous. Transcends the movie, in my opinion! A rare find too! (by Matt)

Oh yes … what  a great soundtrack … you can hear the tragic of the black people … not only in South Africa …

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Personnel:
Mervin Africa  (piano)
Ken Freeman (synthesizer)
David De Fries (trumpet)
Churchill Jolobe  (drums)
Fats Mogoboya (percussion)
Ernest Mothle (bass)
Bheki Mseleku (saxophone)
Thebe Lipere (percusssion)
Dudu Pukwana (saxophone)
Teddy Osei (saxophone)
Lucky Ranku (guitar)
Torera (mbira)
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Orchestra conducted by Peter Whitehouse
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Nicola Emmanuel (vocals on 01.)
George Fenton (vocals on 18.)
Thuli Dumakude (vocals on 09.)
Jonas Gwangwa (vocals on 11. + 18.)

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Tracklist:
01. Crossroads-A Dawn Raid 2.16
02. Gumboots 1.49
03. Black Township 2.28
04 .Shebeen Queen 2.58
05. Asking For Trouble 2.23
06. Dangerous Country 1.38
07. Detention 2.00
08. The Mortuary 2.25
09. The Funeral 4.42
10. At The Beach 3.25
11. The Getaway 3.23
12. The Frontier 2.58
13. Last Thoughts 1.34
14. Deadline 2.17
15. The Phone Call 2.01
16. Telle Bridge 2.46
17. Soweto-& Vocal Reprise 1.09
18. Cry Freedom 4.42

All songs written by George Fenton – Jonas Gwangwa – Thuli Dumakude

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Milva – Tango (1968)

FrontCover1Maria Ilva Biolcati (born 17 July 1939), known as Milva [ˈmilva], is an Italian singer, stage and film actress, and television personality. She is also known as La Rossa (Italian for “The Redhead”), due to the characteristic colour of her hair, and additionally as La Pantera di Goro (“The Panther of Goro”), which stems from the Italian press having nicknamed the three most popular Italian female singers of the 1960s, combining the names of animals and the singers’ birth places. Popular in Italy and abroad, she has performed on musical and theatrical stages the world over, and has received popular acclaim in her native Italy, and particularly in Germany where she has often participated in musical events and televised musical programmes. She has also released numerous albums in France, Japan, Korea, Greece, Spain and South America.

She has collaborated with European composers and musicians such as Ennio Morricone in 1965, Francis Lai in 1973, Mikis Theodorakis in 1978 (Was ich denke became a best selling album in Germany), Enzo Jannacci in 1980, Vangelis in 1981 and 1986, Franco Battiato in 1982 and 1986.

Her stage productions of Bertolt Brecht’s recitals and Luciano Berio’s operas have toured the world’s theatres. She has performed at La Scala in Milan, at the Deutsche Oper in Berlin, at the Paris Opera, in the Royal Albert Hall in London, and at the Edinburgh Festival, amongst others.

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Having received success both in Italy and internationally, she remains to this day one of the most popular Italian personalities in the fields of music and theatre. Her artistic stature has been officially recognised by the Italian, German and French republics, each of which have bestowed her with the highest honours. She is the only Italian artist in contemporary times, in fact, who is simultaneously: Chevalier of the National Order of the Legion of Honour of the French Republic (Paris, 11 September 2009), Commander of the Order of Merit of the Italian Republic (Rome, 2 June 2007), Officer of the Order of Merit of the Federal Republic of Germany (Berlin, 2006) and Officier of the Ordre des Arts et des Lettres (Paris, 1995).

In 1968, Milva released her fifth studio album, Tango, an album that consisted of tango standards sung in Italian. The album was released in Italy, Germany, Spain and Brazil and featured an orchestra conducted by Iller Pattacini. (by wikipedia)

And here´s this beautiful album … if you like Tango music combined with a real strong and erotic voice … than you should listen ….

Milva was one of the greatest singers from Italy ! Believe me !

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Personnel:
Milva (vocals)
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Iller Pattacini Orchestra

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Tracklist:
01. La Cumparsita (Questo Tango) (Rondinella/Rodriguez) 3.20
02. A Media Luz (Guardando Intorno A Te) (Lonzi/Donato) 2.36
03. Bandoneon Arrabalero (Il Cantastorie Col Bandoneon) (Bachica/Contursi/Bertini) 2.43
04. Inspiracion (La Mia Vita Cambiera) (Paulus/Rondinella) 3.30
05. Cielo Azzurro (Stanotte Sognero) (Rixner) 3.57
06 Adios Muchachos (Vodani/Sanders) 3.02
07. Duelo Criollo (La Donna Del Buono A Nulla) (Rezzano/Bayardo) 3.01
08. Rodriguez Pena (Rodriguez Morirai) (Rondinella/Juan/Vicente) 2.47
09. El Choclo (All’osteria) (Villoldo) 3.01
10. Blue Tango (Il Diario Sa) (Rondinella/Anderson/Parish) 2.50
11. Poema (So Cho Nol Cielo) (Bianco/Melfi) 3.16
12. Adios, Pampa Mia (Canaro/Pelay/Larici/Mores) 4.17

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Various Artists – Havana Jam 1 (1979)

FrontCover1Havana Jam was a three-day music festival that took place at the Karl Marx Theater, in Havana, Cuba, on 2–4 March 1979. It was sponsored by Bruce Lundvall, the president of Columbia Records, Jerry Masucci, the president of Fania Records, and the Cuban Ministry of Culture.

The festival included, on the American side, Weather Report, the CBS Jazz All-Stars, the Trio of Doom, Fania All-Stars, Stephen Stills, Billy Swan, Bonnie Bramlett, Mike Finnigan, Kris Kristofferson, Rita Coolidge and Billy Joel. The Cuban acts included Irakere, Pacho Alonso, Zaida Arrate, Elena Burke, Orquesta de Santiago de Cuba, Conjunto Yaguarimú, Frank Emilio, Juan Pablo Torres, Los Papines, Tata Güines, Cuban Percussion Ensemble, Sara González, Pablo Milanés, Manguaré, and Orquesta Aragón.

In 1977, US President Jimmy Carter and Cuban President Fidel Castro started to loosen the political tension between the two countries and opened Interest Sections both in Havana and Washington. It was the first time in almost two decades after Castro’s rise to power that there was a real interest in establishing a normalization of diplomatic relations and the lifting of the United States embargo against Cuba.

With a real crisis in the music industry in the United States and the start of the salsa boom, in April 1978, CBS Records director, Bruce Lundvall, saw an open door to probe Cuban music and together with a group of the company’s music enthusiasts made a four-day trip to Havana, where they were overwhelmed by the sound of Cuban music, but especially by Afro-Cuban jazz band Irakere, one of Cuba’s most highly regarded and virtuoso musical acts.

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After months of talks, Lundvall managed to sign Irakere and in July the group traveled to New York to perform an unannounced guest set at the famed Newport Jazz Festival-New York. Rave reviews led to an invitation from the prestigious Montreux Jazz Festival in Switzerland.

A few months later, Irakere won their first Grammy with the album Irakere, recorded at their Montreux Jazz Festival and Newport Jazz Festival performances, and Lundvall wanted to try his luck with other Cuban bands too. So, in the Fall of 1978, he joined forces with Fania Records director Jerry Masucci and convinced the Cuban cultural authorities to organize a three-day festival in Havana with the participation of Cuban and American musicians. The event would be recorded and televised for the enjoyment of both the Cuban and American people.

So they all agreed to set a date for the festival, spontaneously entitled Havana Jam. March 2 through 4, 1979, were the days earmarked for this historical step toward establishing a cultural exchange between the two enemy nations. In order to carry out the Herculean task of planning, Lundvall brought aboard Jock McLean and Phil Sandhaus, of Columbia’s artists development department. Both veterans of major concert promotion, they knew the festival needed professional production of the highest caliber, and enlisted Showco (a Dallas-based concert production company) and Studio Instrument Rentals for the task.

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At this point in time, Lundvall was diligently “feeling out” select members of the Columbia artist roster, all of whom were honored to accept the invitation to perform in Cuba. By early February the talent was confirmed. Representing the U.S. would be Billy Joel, Stephen Stills, Weather Report, Kris Kristofferson with Rita Coolidge, the Fania All-Stars and the CBS Jazz All-Stars. The latter group was conceptualized by Lundvall and scheduled to feature more than 20 top jazz artists on the label.

With the festival within grasp, other CBS Records personnel were summoned into the picture-rehearsals were set up for the CBS Jazz All-Stars, travel accommodations were made, equipment was rented, a wide cross-section of media was invited, and both recording and videotaping plans were confirmed.

Record producers Bert deCoteaux and Mike Berniker flew down with a crew from the CBS Recording Studios along with a support team and mobile 24-track Recording Studio from Record Plant NY.

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Engineered by David Hewitt with Phil Gitomer and Michael Guthrie. McLean, Sandhaus, Freston and various other people were already busy working in Havana’s Karl Marx Auditorium when the musicians landed at the José Martí airport on March 1.

Havana Jam was an invitation-only event, with mostly cultural personalities and members of the Communist Party and their children in attendance, though some students from different art and music schools were also invited.

The festival was hardly mentioned on the Cuban press, and thirty years later not many Cubans know it ever existed. (by wikipedia)

In 1979 many of Columbia’s top recording artists made a rare visit to Cuba where they performed (and recorded) at a series of concerts with some of the top Cuban groups. This double LP (unlike the strictly jazz Havana Jam 2) covers a wide range of music from Weather Report, the CBS Jazz All-Stars (an allstar group with Dexter Gordon, Stan Getz and Woody Shaw) and The Trio of Doom (John McLaughlin, Jaco Pastorius and Tony Williams) to Irakere, Stephen Stills, Kris Kristofferson and Rita Coolidge. There is enough worthwhile jazz on the two-fer to make this set worth picking up (by Scott Yanow).

What a great jam recording !

Recorded live at the Karl-Marx Theatre, Havana, Cuba, March 2-4, 1979

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Personnel:

CBS Jazz All-Stars:
Willie Bobo (percussion)
Arthur Blythe (saxophone)
Stan Getz (saxophone)
Dexter Gordon (saxophone)
Jimmy Heath (saxophone)
Percy Heath (bass)
Bobby Hutcherson (marimba)
Hubert Laws (flute)
Woody Shaw (trumpet)
Cedar Walton (piano)
Tony Williams (drums)

Cuban Percussion Ensemble:
Frank Emilio Guillermo Barreto, Changuito, Tata Guines, Los Papines (percussion)

Irakere:
Jorge “El Nono” Alfonso (percussion)
Carlos Averhoff (saxophone)
Armando Cuervo (percussion)
Paquito D’Rivera (saxophone)
Carlos Emilio Morales (guitar)
Enrique Pla (drums)
Carlos del Puerto (bass)
Arturo Sandoval (trumpet)
Jesus “Chucho” Valdes (piano)
Oscar Valdez (percussion)
Jorge Varona (trumpet)

Stephen Stills Band:
Bonnie Bramlett (vocals)
Mike Finnigan (keyboards)
Joe Lala (percussion)
George “Chocolate” Perry (bass)
Stephen Stills (guitar, vocals)
Gerry Tolman (guitar)
Joe Vitale (drums)

Trio Of Doom:
John McLaughlin (guitar)
Jaco Pastorius (bass)
Tony Williams (drums)

Weather Report:
Peter Erskine (drums)
Jaco Pastorius (bass)
Wayne Shorter (saxophone)
Joe Zawinul (electric piano, synthesizer)

And now, I´m too lazy to search all other musicians … sorry …

 

Booklet1

Tracklist:
01. Weather Report: Black Market (Zawinul) 8.59
02. Irakere: Concerto Para Flaut y Adagio de Mozart(Rivera/Mozart) 9.48
03. Stephen Stills: Cuba al Fin(Stills) 7.48
04. Sara González: Su Nombre Es Pueblo (Gonzalez) 3.54
05. CBS Jazz All-Stars:  Project “S” (Heath) 8.36
06. Orquesta Aragón: Que Barla Mionda (Valdés) 7.37
07. Kris Kristofferson: Living Legend (Kristofferson) 4.29
08. Rita Coolidge: (Your Love Has Lifted Me) Higher and Higher (Smith/Miner/Jackson) 3:33
09. CBS Jazz All-Stars: Black Stockings (Laws) 6.24
10. Mike Finnigan + Bonnie Bramlett: How Wrong Can You Be (Gronenthal/Grace) 4.46
11. Fania All-Stars: Juan Pachanga (Blades/Ramirez/Masucci) 4.41
12. Trio Of Doom: Dark Prince (McLaughlin) 3.54
13. Cuban Percussion Ensemble: Scherezada/Sun Sun (Rimsky-Korsakov/Traditional) 7.41

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Caterina Valente – A Date With Caterina Valente (1955)

FrontCover1Caterina Valente (born 14 January 1931, Paris, France) is an Italian singer, guitarist, dancer, and actress. She was born into an Italian artist family. Her father, Giuseppe, was a well-known accordion player; her mother, Maria, a musical clown. She had three siblings, one of whom, Silvio (as Silvio Francesco), was also active in show business.

In 1953, she made her first recordings with Kurt Edelhagen. Soon afterwards she achieved success with songs such as “Malagueña”, “The Breeze and I” (a global million-seller), and “Dreh dich nicht um” with the Werner Müller orchestra. In 1955, she was featured on The Colgate Comedy Hour with Gordon MacRae. In the mid 1960s, Valente worked with Claus Ogerman and recorded material in both Italian and English that he arranged/conducted and/or composed on the Decca  and London labels. She was a favorite of singer Perry Como making eight guest appearances on his NBC Kraft Music Hall television program from 1961 to 1966. Between 1966 and 1972 she was also a frequent guest on the Dean Martin Show.

In Germany she was a major performer of Schlager music. There she recorded Cole Porter’s I Love Paris under the German title Ganz Paris träumt von der Liebe, which sold more than 900,000 copies in 1954. Over the years, she has recorded or performed with many international stars, including Louis Armstrong, Chet Baker, Perry Como, Ella Fitzgerald, Benny Goodman, Woody Herman, Claus Ogerman, the Tommy Dorsey Orchestra, Sy Oliver, Buddy Rich and Edmundo Ros.

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In 1959, she was nominated for a Grammy Award. Valente was a principal, along with Carol Burnett and Bob Newhart, on the short-lived CBS variety series The Entertainers (1964–65). A briglia sciolta, the Italian jazz CD recorded in 1989 and re-released in later years under the titles Fantastica and Platinum deluxe, was her best-selling CD worldwide. In 2001, she released a new album, Girltalk, with harpist Catherine Michel. (by wikipedia)

 

This is one of her many recordings from the 50´s and it´s a nice one … the early Valente recorded in the same year I was born … *smile* …

But this is not only “Schlager” music … sometimes it´s world music !

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Personnel:
Caterina Valente (vocals)
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Werner Müller & His Orchestra
Monaco Ball Orchestra
Paul Durand & His Orchestra

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Tracklist:
01. Temptation (Freed/Brown) 3.22
02. If Hearts Could Talk (Wise/Auric/Twomey) 3.13
03. The Breeze And I (Andalucia) (Stillman/Lecuona) 3.24
04. Malagueña (Lecuona) 3.06
05. My Lonely Lover (Gietz/Goell) 2.47
06. Fiesta Cubana (Gietz/Goell) 2.21
07. This Must Be Wrong (Gietz/Goell) 2.37
08. The Way You Love Me (Gietz/Goell) 2.47

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