Yma Sumac – Voice Of Xtabay (1950)

frontcover1Yma Sumac (September 13, 1922, or September 10, 1923 – November 1, 2008), sometimes spelled Yma Súmac, was a Peruvian soprano. In the 1950s, she was one of the most famous proponents of exotica music.
Sumac became an international success based on her extreme vocal range, which was said to be “well over five octaves” at the peak of her singing career.
Sumac recorded an extraordinarily wide vocal range of 5 octaves, 3 notes and a semitone ranging from E2 to B♭7 (approximately 107 Hz to 3.7 kHz). In one live recording of “Chuncho”, she sings a range of over four and a half octaves, from B2 to F♯7. She was able to sing notes in the low baritone register as well as notes above the range of an ordinary soprano and notes in the whistle register. Both low and high extremes can be heard in the song Chuncho (The Forest Creatures) (1953). She was also apparently able to sing in an eerie “double voice”.

In 1954, classical composer Virgil Thomson described Sumac’s voice as “very low and warm, very high and birdlike”, noting that her range “is very close to five octaves, but is in no way inhuman or outlandish in sound”. In 2012, audio recording restoration expert John H. Haley favorably compared Súmac’s tone to opera singers Isabella Colbran, Maria Malibran, and Pauline Viardot. He described Súmac’s voice as not having the “bright penetrating peal of a true coloratura soprano”, but having in its place “an alluring sweet darkness…virtually unique in our time”.

ymasumac01She was born on either September 13, 1922, or September 10, 1923, most likely in Callao, a seacoast city in Peru; but, possibly, according to herself, in Ichocán, an Indian village. Her parents were Sixto Chávarri and Emilia Castillo. Her father was born in Cajamarca and her mother was born in Pallasca. Stories published in the 1950s claimed that she was an Incan princess, directly descended from Atahualpa. The government of Peru in 1946 formally supported her claim to be descended from Atahualpa, the last Incan emperor”.
Chávarri adopted the stage name of Imma Sumack (also spelled Ymma Sumack and Ima Sumack) before she left South America to go to the United States. The stage name was based on her mother’s name, which was derived from Ima Shumaq, Quechua for “how beautiful!” although in interviews she claimed it meant “beautiful flower” or “beautiful girl”.

Sumac first appeared on radio in 1942. She recorded at least 18 tracks of Peruvian folk songs in Argentina in 1943. These early recordings for the Odeon label featured Moisés Vivanco’s group, Compañía Peruana de Arte, a group of 46 Indian dancers, singers, and musicians.
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She married composer and best friend Moises Vivanco on June 6, 1942. She had a son, Charles, in 1949. In 1946, Sumac and Vivanco moved to New York City, where they performed as the Inka Taky Trio, Sumac singing soprano, Vivanco on guitar, and her cousin Cholita Rivero singing contralto and dancing. She was signed by Capitol Records in 1950, at which time her stage name became Yma Súmac. Her first album, Voice of the Xtabay, launched a period of fame that included performances at the Hollywood Bowl and Carnegie Hall.

In 1950 she made her first tour to Europe and Africa, and debuted at the Royal Albert Hall in London and the Royal Festival Hall before the Queen. She presented more than 80 concerts in London alone and 16 concerts in Paris. A second tour took her to travel to the Far East: Persia, Afghanistan, Pakistan, Burma, Thailand, Sumatra, the Philippines, and Australia. Her fame in countries like Greece, Israel and Russia made her change her two weeks stay to six months offering fabulous concerts. During the 1950s, Sumac produced a series of lounge music recordings featuring Hollywood-style versions of Incan and South American folk songs, working with the likes of Les Baxter and Billy May. The combination of her extraordinary voice, exotic looks, and stage personality made her a hit with American audiences. Súmac appeared in a Broadway musical, Flahooley, in 1951, as a foreign princess who brings Aladdin’s lamp to an American toy factory to have it repaired. The show’s score was by Sammy Fain and E. Y. “Yip” Harburg, but her three numbers were the work of Vivanco with one co-written by Vivanco and Fain.
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During the 1950s, Sumac continued to be popular, playing Carnegie Hall, the Roxy Theatre with Danny Kaye, Las Vegas nightclubs and concert tours of South America and Europe. She put out a number of hit albums, such as Mambo! (1954) and Fuego del Ande (1959). Capitol Records, Sumac’s label, recorded the show. Flahooley closed quickly, but the recording continues as a cult classic, in part because it also marked the Broadway debut of Barbara Cook. During the height of Súmac’s popularity, she appeared in the films Secret of the Incas (1954) with Charlton Heston and Robert Young and Omar Khayyam (1957).

She became a U.S. citizen on July 22, 1955. In 1959 she performed Jorge Bravo de Rueda’s classic song “Vírgenes del Sol” on her album Fuego del Ande. In 1957, Súmac and Vivanco divorced, as Vivanco had had twins with another woman. They remarried that same year, but a second divorce followed in 1965. Apparently due to financial difficulties, Yma Súmac and the original Inka Taky Trio went on a world tour in 1961, which lasted for five years. They performed in 40 cities in the Soviet Union, and afterward throughout Europe, Asia, and Latin America. Their performance in Bucharest, Romania, was recorded as the album Recital, her only “live in concert” record. Sumac spent the rest of the 1960s performing sporadically.
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In 1971 she released a rock album, Miracles. She performed in concert from time to time during the 1970s in Peru and later in New York at the Chateau Madrid and Town Hall. In the 1980s she resumed her career under the management of Alan Eichler and had a number of concerts both in the United States and abroad, including the Hollywood Roosevelt’s Cinegrill, New York’s Ballroom in 1987 (where she was held-over for seven weeks to SRO crowds) and several San Francisco shows at the Theatre on the Square among others. In 1987, she also recorded the song “I Wonder” from the Disney film Sleeping Beauty for Stay Awake, an album of songs from Disney movies, produced by Hal Willner. She sang “Ataypura” during a March 19, 1987, appearance on Late Night with David Letterman. She recorded a new German “techno” dance record, “Mambo ConFusion”
In 1989 she sang once again at the Ballroom in New York and returned to Europe for the first time in 30 years to headline the BRT’s “Gala van de Gouden Bertjes” New Year’s Eve TV special in Brussels as well as the “Etoile Palace” program in Paris hosted by Frederic Mitterrand. In March 1990, she played the role of Heidi in Stephen Sondheim’s Follies, in Long Beach, California, her first attempt at serious theater since Flahooley in 1951. She also gave several concerts in the summer of 1996 in San Francisco and Hollywood as well as two more in Montreal, Canada, in July 1997 as part of the Montreal International Jazz Festival. In 1992 appeared a documentary for German television entitled Yma Súmac – Hollywoods Inkaprinzessin (Yma Súmac – Hollywood’s Inca Princess).
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With the resurgence of lounge music in the late 1990s, Sumac’s profile rose again when the song “Ataypura” was featured in the Coen Brothers film The Big Lebowski.
Her song “Bo Mambo” appeared in a commercial for Kahlúa liquor and was sampled for the song “Hands Up” by The Black Eyed Peas. The song “Gopher Mambo” was used in the films Ordinary Decent Criminal, Happy Texas, Spy Games, and Confessions of a Dangerous Mind, among others. “Gopher Mambo” was used in an act of the Cirque Du Soleil show Quidam. The songs “Goomba Boomba” and “Malambo No. 1” appeared in Death to Smoochy. A sample from “Malambo No.1” was used in Robin Thicke’s “Everything I Can’t Have”. Yma Súmac is also mentioned in the lyrics of the 1980s song “Joe le taxi” by Vanessa Paradis, and her album Mambo! is the record that Belinda Carlisle pulls out of its jacket in the video for “Mad About You”
On May 6, 2006, Sumac flew to Lima, where she was presented the Orden del Sol award by Peruvian President Alejandro Toledo and the Jorge Basadre medal by the Universidad Nacional Mayor de San Marcos
Yma Sumac died on November 1, 2008, aged 85 or 86, at an assisted living home in Los Angeles, California, nine months after being diagnosed with colon cancer. She was interred at the Hollywood Forever Cemetery in Hollywood, CA, in the “Sanctuary of Memories” section.
On September 13, 2016, a Google Doodle featured Yma Sumac dressed as a Peruvian songbird (by wikipedia)
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Exotica began here in this historic 1950 meeting between the Peruvian “princess” Yma Sumac and Hollywood arranger Les Baxter. Neither Inca royalty nor a Bronx girl named Amy Camus as counter-legend had it, Sumac was raised an upper middle class Peruvian, but gifted with an uncanny multi-octave range. With such a powerful instrument at his disposable, the imaginatively resourceful Baxter proceeded to patch together musical bits and pieces from around the globe–gamelon orchestra, all manner of modal scales, ethnic percussion, impressionistic strings–into a fantasy concoction that has stayed surprisingly fresh after a half a century.

There probably isn’t anything here that wasn’t first heard in Rimsky-Korsakov or Debussy, not to mention Max Steiner whose path-finding score for KING KONG remains the talisman for pop musical journeys to the unknown. Still, Baxter is a skillful orchestrator, especially of strings, and Sumac herself never falters in her tricky wordless improvisations. It was super kitschy stuff at the time and remains so, but retains a certain musical integrity, even timelessness, much like the stone god that hovers scowling above our ersatz princess on the famous album cover. (by cduniverse.com)
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Personnel:
Yma Sumac (vocals)
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Orchestra conducted by Leslie Baxter
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Tracklist:

01. Virgin Of The Sun God (Taita Inty) (Vivanco) 3.07
02. High Andes (Ataypura!) (Vivanco) 3.04
03. Chant Of The Chosen Maidens (Accla Taqui) (Baxter) 2.45
04. Earthquake! (Tumpa!) (Vivanco) 3.20
05. Dance Of The Moon Festival (Choladas) (Vivanco) 2.34
06. Dance Of The Winds (Wayra) (Vivanco) 3.02
07. Monkeys (Monos) (Vivanco) 2.40
08. Lure Of The Unknown Love (Xtabay) (Rose/Baxter) 3.19
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Peruvian soprano Yma Sumac performs during the 16th edition of the Musical Spring Festival, on May 1, 1992 in Bourges, central France.

Los Soneros de Havanna – Cafe Havana (1999)

frontcover1The music of Cuba, including its instruments, performance and dance, comprises a large set of unique traditions influenced mostly by west African and European (especially Spanish) music. Due to the syncretic nature of most of its genres, Cuban music is often considered one of the richest and most influential regional musics of the world. For instance, the son cubano merges an adapted Spanish guitar (tres), melody, harmony, and lyrical traditions with Afro-Cuban percussion and rhythms. Almost nothing remains of the original native traditions, since the native population was exterminated in the 16th century.

Since the 19th century Cuban music has been hugely popular and influential throughout the world. It has been perhaps the most popular form of regional music since the introduction of recording technology. Cuban music has contributed to the development of a wide variety of genre and musical styles around the globe, most notably in Latin America, the Caribbean, West Africa and Europe. Examples include rhumba, Afro-Cuban jazz, salsa, soukous, many West African re-adaptations of Afro-Cuban music (Orchestra Baobab, Africando), Spanish fusion genres (notably with flamenco), and a wide variety of genres in Latin America. (by wikipedia)

Los Soneros de Havanna is a totally unknown group from Cuba and you can hear on this album “14 great Cuband classic songs”. I found no further informations about this group … but … even this is a very cheap production … it´s a great album, with fantastic melodies and rhythms …

Enjoy this trip to Cuba …

havannaPersonnel:
Los Soneros de Havanna

tray1Tracklist:
01. El Carretero (Portables) 3.16
02. Dos Gardenias (Carillo) 3.02
03. Chan Chan (Repilado) 4.17
04, Alto Songo (Martinez) 8.18
05. Amor Verdadero (Marquetti) 7.31
06. Son De La Loma (Matamoros) 4.13
07. No Llores Más (D.K.) 4.49
08. El Guato De Catalina (Rodriguez) 3.17
09. Mentiras Tuyas (Portas) 2.58
10. La Charanga (Farjado) 4.23
11. Rico Vacilón (Ruiz) 4.04
12. Toda Una Vida (DeLange/Farres) 2.32
13. Los Sitio Asere (Gonzalez) 6.17
14. A Toda Cuba Le Gusta (Becquer) 5.48

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Orchestre Sassoun – Folklore Armenien (70´s)

frontcover1Armenia, officially the Republic of Armenia , is a sovereign state in the South Caucasus region of Eurasia. Located in Western Asia,[20][21] on the Armenian Highland, it is bordered by Turkey to the west, Georgia to the north, the de facto independent Nagorno-Karabakh Republic and Azerbaijan to the east, and Iran and Azerbaijan’s exclave of Nakhchivan to the south. The Republic of Armenia constitutes only one-tenth of historical Armenia.

Armenia is a unitary, multi-party, democratic nation-state with an ancient cultural heritage. Urartu was established in 860 BC and by the 6th century BC it was replaced by the Satrapy of Armenia which was one of Satrapies of Persian Empire . In the 1st century BC the Kingdom of Armenia reached its height under Tigranes the Great. Armenia became the first state in the world to adopt Christianity as its official religion.[23] In between the late 3rd century to early years of the 4th century, the state became the first Christian nation.[24][25][26] The official date of state adoption of Christianity is 301 AD.[27] The ancient Armenian kingdom was split between the Byzantine and Sasanian Empires around the early 5th century. Under the Bagratuni dynasty, the Bagratid Kingdom of Armenia was restored in the 9th century. Declining due to the wars against the Byzantines, the kingdom fell in 1045 and Armenia was soon after invaded by the Seljuk Turks. An Armenian principality and later a kingdom Cilician Armenia was located on the coast of the Mediterranean Sea between the 11th and 14th centuries.

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Between the 16th century and 19th century, the traditional Armenian homeland composed of Eastern Armenia and Western Armenia came under the rule of the Ottoman and Iranian empires, repeatedly ruled by either of the two over the centuries. By the 19th century, Eastern Armenia had been conquered by the Russian Empire, while most of the western parts of the traditional Armenian homeland remained under Ottoman rule. During World War I, Armenians living in their ancestral lands in the Ottoman Empire were systematically exterminated in the Armenian Genocide. In 1918, following the Russian Revolution, all non-Russian countries declared their independence after the Russian Empire ceased to exist, leading to the establishment of the First Republic of Armenia. By 1920, the state was incorporated into the Transcaucasian Socialist Federative Soviet Republic, and in 1922 became a founding member of the Soviet Union. In 1936, the Transcaucasian state was dissolved, transforming its constituent states, including the Armenian Soviet Socialist Republic, into full Union republics. The modern Republic of Armenia became independent in 1991 during the dissolution of the Soviet Union.

Armenians have had a long tradition of folk music from the antiquity. Under Soviet domination, Armenian folk music was taught in state-sponsored conservatoires. Instruments played include qamancha (similar to violin), kanun (dulcimer), dhol (double-headed hand drum, see davul), oud (lute), duduk, zurna, blul (ney), shvi and to a lesser degree saz. Other instruments are often used such as violin and clarinet. The duduk is Armenia’s national instrument, and among its well-known performers are Margar Margarian, Levon Madoyan, Saro Danielian, Vatche Hovsepian, Gevorg Dabaghyan and Yeghish Manoukian, as well as Armenia’s most famous duduk player, Djivan Gasparyan.
Armenian folk musicians

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Earlier in Armenian history, instruments like the kamancha were played by popular, travelling musicians called ashoughs. Sayat Nova, an 18th-century Ashough, is revered in Armenia. Performers such as Armenak Shahmuradian, Vagharshak Sahakian, Norayr Mnatsakanyan, Hovhannes Badalyan, Hayrik Muradyan, Raffi Hovhannisyan, Papin Poghosian, and Hamlet Gevorgyan have been famous in Armenia and are still acclaimed. The most notable female vocalists in the Armenian folk genre have been Araksia Gyulzadyan, Ophelia Hambardzumyan, Varduhi Khachatrian, Valya Samvelyan, Rima Saribekyan, Susanna Safarian, Manik Grigoryan, and Flora Martirosian.

Armenian emigrants from other parts of the Middle East settled in various countries, especially in the California Central Valley, and the second- and third-generation have kept their folk traditions alive, such as Richard Hagopian, a famous oud-player. Another oud player, John Berberian, is noted in particular for his fusions of traditional music with jazz and rock in the 1960s. From Lebanon and Syria, George Tutunjian, Karnig Sarkissian and others performed Armenian Revolutionary Songs which quickly became popular among the Armenian Diaspora, notably ARF supporters. In Tehran Iran the folk music of the Armenian community is characterized by the work of Nikol Galanderian (1881–1946) and the Goghtan choir. (by wikipeda)

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And this is a very rare album with music from Armenia, recorded in France during the  70`s.

It´s maybe a music we never heard before, but it´s an unique piece of music … and you know I call my blog “many fantastic colors” (of music) … so enjoy this beautiful trip to Armenia … it´s a magic trip !

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Personnel:
Samvel Adiarian (guitar)
Michael Boyadjian (tenpouk)
Yervant Harounian (mandoline)
Levon Minassian (mandoline)
Gilbert Kulbastian (guitar)
Jean-Pierre Mazloumian (guitar)
Antranik Minassian (vocals)
Helene Ohanian (vocals)
Nelly Vemian (piano)
Hovcep Yeghiazariab (mandoline)

Orchestra conducted by Philippe Boyadjian

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Tracklist:
01. Tek Daneïn (Traditional) 2.42
02. Odar Amaï (Meserlian/Issahakian) 3.50
03. Ain Kicher (Manassarian)
04. Sirounik et danses des chevaliers (Traditional) 7.33
05. Haïastani Dzov Ginin (Haroutyounian) 3.19
06. Mama (Amirghanian/Ohanian) 3.01
07. Tou Im Hebard Haï Artchik (Porian/Arménian) 2.48
08. Im Anouch Davir (Avedissian/Haroutyounian) 4.26
09. Enzeli (Spendiarian) 2.13

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Sarband – Alla Turka – Oriental Obsession (1998)

frontcover1Musical director Dr. Vladimir Ivanoff, who founded
Sarband in 1986, connects cultures, people and
epochs, both as a scholar and a musician:
His programs unite musicians from widely different
cultures and musical backgrounds and mediate
between past and present, Early Music
and living traditions.

The cooperation in the ensemble is not a fashionable crossover, but conceived as a continuous dialogue
on equal terms. All the artists unrestrictedly contribute their native traditions, their personal histories and their own creativity to the programs, so that Sarband also ecomes a musical training ground for communication
and tolerance between different cultural identities.

«Sarband» means connection.
In Mid-Eastern music theory, this term signifies a link between two compositions within a musical suite.
Ensemble Sarband invites most diverse audiences as well as most diverse performers «to come together»;  it «binds» them to cultural experiences previously  perceived as alien. (by sarband.de)

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Vladimir Ivanoff

With Mozart’s “Rondo Alla Turca” at its core, this production encompasses early instances of a fascination with things exotic, an attitude based on the equation of the exotic with the promise of great happiness. European interest in Turkish music can be traced back to as early as the sixteenth century. It was in the seventeenth and eighteenth centuries, however, that “Turkish” music became really popular — in the “turqueries, ” exotic-sounding passages included in many operas. The album defines the historical point in time at which popular interest in non-European music was aroused for the first time: The perception of the world was no longer limited to Europe. “Alla Turca” presents unusual European translations of “Oriental” music. In Mozart’s famous “Rondo Alla Turca” motif, the lively confusion of exotica seems sort itself out, its pieces falling into place in a “rondo” of the strange and the familiar.

“Powerful sounds from Ivanoff: Shades of baroque, Turkish dervish music and the Orient, never mind the occasional Mozart, make this a disc worth a listen. This is a car accident (of Oriental and Occidental history thrown together), and we all stare at those as we drive by.” (JAM, February 1999)

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Personnel:
Mustafa Dógan Dikmen (flute, vocals, percussion)
Vladimir Ivanoff (percussion)
Ihsan Özer (zither, percussion)
Ahmed Kadri Rizeli (fiddle)
Silke Strauf (violoncello)
Belinda Sykes (oboe, vocals)
Axel Weidenfeld (lute, guitar)
Mehmet Cemal Yesilcay (lute)

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Tracklist
01. Rondo Alla Turca (1) (Mozart) 2.17
02. Elci Pesrev (Cantemir) 3.31
03. Izanum (Dona) 1.11
04. Chanson Turque (Nlainville) 4.42
05. Acem Ilahi (Bobowsky/Ufki) 6.12
06. Concerto Turco/Nominato Izia Semaisi (Toderini/Traditional) 7.41
07. Rondo Alla Turca (2) (Mozart) 1.05
08. Busis Derdim (Dona)
09. Rondo Alla Turca (3) (Mozart) 1.04
10. Hüseyni Ilahi (Bobowsky/Ufki) 7.24
11. Allahoy (Isaac) 3.14
12. Perdeh (Chardin) 1.31
13. Der Deste (Traditional) 4.58
14. Psalm 6 (Bobowsky/Ufki) 5.26
15. Hasta Ghiringium (Dona) 3.05
16. Hüseyni Pesrev (Murad) 6.31
17. Rondo Alla Turca (4) (Mozart) 1.10
18. Psalm 2 (Bobowsky/Ufki) 13.30

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Harry Belafonte – Ballads, Blues And Boasters (1964)

frontcover1Ballads, Blues and Boasters is an album by Harry Belafonte, released in 1964.

In the liner notes to this album, Harry Belafonte is credited with selecting songs “that are an integral part of life…songs with a beat and mood and feeling that speak of people.” Even though his records were now conveniently dumped into the “Male Vocalists” section of record stores, Belafonte continued to explore the human condition through roots musical forms. Although the album contains work songs (“Black Betty”) and even a protest number (“Back of the Bus”), the mood of this album is generally upbeat, unlike the somber depiction of pain and misery of Swing Dat Hammer. Highlights range from the rousing gospel numbers “Ananias” and “John the Revelator” to a uniquely catchy interpretation of Woody Guthrie’s “Pastures of Plenty.” Belafonte acknowledges contemporary folk singer-songwriters with his versions of Ian Tyson’s “Four Strong Winds” and Mark Spoelstra’s “My Love is a Dewdrop.” (by Cary Ginell)

This is another fine album by Harry Belafonte … a very unique musician … he gave us so mucg … listen to this album and you´ll know what I mean.

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Harry Belafonte with Martin Luther King

Personnel:
Harry Belafonte (vocals)
Jay Berliner (guitar)
Percy Brice (drums)
Ernie Calabria (guitar)
John Cartwright (bass)
Paul Griffin (organ)
Ralph MacDonald (percussion)
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Tracklist:
01. Tone The Bell Easy (Eaton) 3.20
02. Blue Willow Moan (Eaton) 3.34
03. Ananias (Eaton) 2.50
04. Boy (Tipton/Lewis) 3.49
05. My Love Is A Dewdrop (Spoelstra) 3.25
06. Back Of The Bus (Traditional/Neblett) 3.25
07. Pastures Of Plenty (Guthrie) 3.38
08. John The Revelator (Traditional/Neblett) 3.40
09. Four Strong Winds (Tyson) 2.53
10. Black Betty (Traditional/Dunham) 4.13
11. Big Boat Up The River (Traditional) 4.06

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José Feliciano – Ché Sara´ (1971)

frontcover1One of the most prominent Latin-born performers of the pop era, singer/guitarist Jose Feliciano was born September 10, 1945, in Lares, Puerto Rico; the victim of congenital glaucoma, he was left permanently blind at birth. Five years later, he and his family moved to New York City’s Spanish Harlem area; there Feliciano began learning the accordion, later taking up the guitar and making his first public appearance at the Bronx’s El Teatro Puerto Rico at the age of nine. While in high school he became a fixture of the Greenwich Village coffeehouse circuit, eventually quitting school in 1962 in order to accept a permanent gig in Detroit; a contract with RCA followed a performance at New York’s Gerde’s Folk City, and within two years he appeared at the Newport Jazz Festival. After bowing with the 1964 novelty single “Everybody Do the Click,” he issued his flamenco-flavored debut LP The Voice and Guitar of Jose Feliciano, trailed early the next year by The Fantastic Feliciano.

Unhappy with the direction of his music following the release of 1966’s A Bag Full of Soul, Feliciano returned to his roots, releasing three consecutive Spanish-language LPs — Sombras…Una Voz, Una Guitarra, Mas Exitos de Jose Feliciano and El Sentimiento, La Voz y La Guitarra de Jose Feliciano — on RCA International, scoring on the Latin pop charts with the singles “La Copa Rota” and “Amor Gitana.” With 1968’s Feliciano!, he scored a breakthrough hit with a soulful reading of the Doors’ “Light My Fire” that launched him into the mainstream pop stratosphere; a smash cover of Tommy Tucker’s R&B chestnut “Hi Heel Sneakers” solidified his success, and soon Feliciano found himself performing the national anthem during the 1968 World Series. His idiosyncratic Latin-jazz performance of the song proved highly controversial, and despite the outcry of traditionalists and nationalists, his status as an emerging counterculture hero was secured, with a single of his rendition also becoming a hit.

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In 1969 Feliciano recorded three LPs — Souled, Alive Alive-O, and Feliciano 10 to 23 — and won a Grammy for Best New Artist; however, he never again equalled the success of “Light My Fire,” and only the theme song to the sitcom Chico and the Man subsequently achieved hit status, edging into the Top 100 singles chart in 1974. Throughout the 1970s Feliciano remained an active performer, however, touring annually and issuing a number of LPs in both English and Spanish, including 1973’s Steve Cropper-produced Compartments; he also appeared on the Joni Mitchell hit “Free Man in Paris,” and guested on a number of television series including Kung Fu and McMillan and Wife. In 1980 Feliciano was the first performer signed to the new Latin division of Motown, making his label debut with an eponymous effort the following year; his recorded output tapered off during the course of the decade, although he occasionally resurfaced with LPs including 1987’s Tu Immenso Amor and 1989’s I’m Never Gonna Change. A school in East Harlem was renamed the Jose Feliciano Performing Arts School in his honor; in 1996, he also appeared briefly in the hit film Fargo. (by Jason Ankeny)

This is a rare German sampler (all songs were recorded between 1968 and 1971) including his bit hit “Ché Sara’, a fine version of “Hitchcock Railway” (most of us will know this song from Joe Cocker) … and a wonderful version of “Let It Bet”.

“California Dreamin'” was recorded live is another pretty good socer version of José Feliciano.

This is the chance to discover the magic musical world of José Feliciano …  try and enjoy !

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Tracklist:
01. Ché Sara’ (Migliacci/Fontana) 3.34
02. Hitchcock Railway (Dunn/McCashen) 3.18
03. There’s No One About (Feliciano) 1.43
04. Sunny (Hebb) 3.25
05. Destiny (Feliciano) 2.50
06. I Only Want To Say (Gethsemane) (Webber/Rice) 4.36
07. Rain (H.Feliciano/J.Feliciano) 2.24
08. (There’s) Always Something There To Remind Me (Bacharach/David) 3.01
09. El Voh (Caymmi) 2.17
10. Let It Be (Lennon/McCartney) 3.55
11.  California Dreamin’ (Phillips) 4.23
12. Shake A Hand (Fontana/Burnett) 3.31

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Fela Ransome Kuti & Ginger Baker – The Afrika `70 (1971)

frontcover1Live! is an album recorded in 1971 by Fela Kuti’s band Africa 70, with the addition of former Cream drummer Ginger Baker on two songs. It was released in 1971 by EMI in Africa and Europe and by Capitol/EMI in the United States and Canada. It was reissued on CD  in remastered form by Barclay with a bonus track from 1978.

Baker travelled with Kuti into Africa in a Land Rover to learn about the continent’s rhythms. The bonus track on the Barclay CD reissue features a 16-minute drum duet between Baker and Africa 70s drummer Tony Allen recorded at the 1978 Berlin Jazz Festival.(by wikipedia)

Originally released in 1971, this LP had Fela Kuti solidifying the format that would take him into international visibility in the years to come: extended tracks with grooves that mixed African and funk rhythms, punctuated by rudimentary lyrics. There are just four songs on the album, none shorter than seven minutes, and all but one going over the ten-minute mark. More than a dozen strong, his band, the Africa ’70, cooks pretty well on tracks that fuse jazz, soul, and African music in a trancelike fashion that avoids becoming stale, despite the length of the arrangements. Ex-Cream/Blind Faith drummer Ginger Baker’s name was given prominence in the billing, probably to attract rock- and pop-oriented listeners who might not ordinarily take a chance on music from the African continent. However, it’s Fela and Africa ’70, not Baker, who are the dominant presence on a record that sounds much like a mixture of James Brown, fusion, and Nigerian forms. (by Richie Unterberger)

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Personnel:
Tony Abayomi (percussion
Tony Allen (drums, percussion)
Lekan Animashaun (saxophone)
Peter Animashaun (guitar)
Ginger Baker (drums, percussion)
Igo Chiko (saxophone)
Maurice Ekpo (bass)
Eddie Faychum (trumpet)
Friday Jumbo (percussion)
Henry Koffi (percussion)
Akwesi Korranting (percussion)
Fela Kuti (organ, percussion, vocals)
Isaac Olaleye (percussion)
Tunde Williams (trumpet)

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Tracklist:
01. Let’s Start (Kuti) 8.06
02. Black Man’s Cry (Kuti)12.12
03. Ye Ye De Smell (Kuti) 13.55
04. Egbe Mi O (Carry Me I Want To Die) (Kuti) 12.37
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05. Ginger Baker and Tony Allen Drum Solo (live 1978) (Kuti/Baker/Tony Allen) 16.21

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