Jorge Tuna – Coimbra á Noite (50s)

frontcover1This is a very rare 4 track sinlge from Portugal with a special from of the legendary Fado musicbecause Fado music from Coimbra …

.. is a subgenre of Fado originating in the city of Coimbra, Portugal. While adopted by students at the University of Coimbra, and sometimes known as Student Fado (Fado de Estudante), it is usually considered the typical music of Coimbra itself. Developed from the Iberian lyric style of trovadorismo popular during the Middle Ages, the genre shares additional roots with Occitan troubadors.
Performed with the traditional Guitarra de Coimbra (a kind of Portuguese guitar originating in Coimbra), a modified version of Lisbon’s fado guitar allegedly created by Artur Paredes, it is usually accompanied by classic acoustic guitar and male voices.(by rateyourmusic.com).

Whoever came up with the expression “one does not listen to Fado, one feels Fado” must have spent a great deal of his/her life in Coimbra, as in my opinion Coimbra Fado is the only Fado inPortugal which truly deserves and embodies this expression

This single was recorded by Jorge Tuna (Jorge Manuel Casqueiro Lopo Tuna ) and two other musicians.

Jorge Tuna (born 1937) is a very popular guitarplayer in Portugal and I guess, this was his first single, recorded during the Fifties.

Enjoy and discover the wonderful world of Fade !

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Jorge Tuna + Durval Moreirinhas

Personnel:
Jorge Godino (guitar)
Durval Moreirinhas (viola)
Jürge Tunas (guitar)

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Tracklist:
01. Rapsódia de Cancoes (Traditional) 2.53
02. Variacoes em si Menor (Tuna) 2.29
03. Rapsódia de Fados (Traditional) 3.32
04. Variacoes em la Maior (Tuna) 2.49

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Another fine piece of music, recorded live by  Jorge Tuna and Durval Moreirinhas

 

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Mose Allison – Mose Allison Sings (1963)

frontcover1At first glance, Mose Allison Sings might seem to be just another reissued jazz recording from the 1950s. Like most CDs of this ilk, it has been digitally remastered and has additional “bonus” tracks now possible without the space limitations of vinyl records.

A cynic might use the term “old wine in new bottles” to characterize many of these reissues. There are exceptions, of course, and this album is one. The most compelling reason to reexamine an old album stems from the recognition that there may be much we either have forgotten or did not properly appreciate the first time. Mose Allison Sings reminds us how true that can be.

The legendary Rudy Van Gelder engineered the session and mastered the original LP. However, since the advent of CDs, others have made the masters—until he was given the opportunity. “I remember the sessions well,” Van Gelder recounts. “I remember how the musicians wanted it to sound, and I remember their reactions to the playbacks.” In this light, it’s difficult to argue with his assertion that he is now their authentic “messenger.” The warm, full sound quality here is everything one would expect from Van Gelder.

Eminent jazz scholar Ira Gitler adds a few paragraphs to his original liner notes, including the fact that he briefly served as Allison’s manager. He points out that Allison started out moseallison2playing trumpet as well as piano, but stopped when his horn was stolen in Philadelphia. One of the bonus tracks, “Trouble in Mind,” displays Allison’s trumpet playing, and listeners hearing his soulfully understated horn style for the first time are likely to ask, along with Gitler, why he never replaced it.

While the dry wit of Allison’s singing eventually eclipsed his piano skills, he was a bona fide jazz musician who played with Stan Getz, Gerry Mulligan and Zoot Sims before achieving fame in his own right. Allison effectively absorbed influences from Sonny Williamson to Nat Cole, says Gitler, describing his piano solos as “unspectacular but effective… models of brevity and wit.”

Allison’s range, and his seemingly effortless ability to balance it, is evident here. Along with his own composition “Parchman Farm,” the other tune for which he is best known is Willie Dixon’s “The Seventh Son.” Both are good examples of his down-home, Delta blues style. Yet he sounds equally comfortable covering the jazz of Duke Ellington, the rhythm and blues of Ray Charles, and the country and western of Jimmy Rogers.

In the confessional style appropriate to the blues, Gitler admits he hasn’t listened to much of Allison’s recent work but promises to mend his ways “as soon as the opportunity presents itself.” He strongly implies we would do well to follow suit. (Victor Verney)

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Personnel:
Mose Allison (piano, vocals, trumpet)
Ronnie Free (drums)
Taylor LaFargue (bass)
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Addison Farmer (bass on 10. + 12.) (10, 12)
Frank Isola (drums on 10. + 12.)
Nick Stabulas (drums on 04., 06., 07., 09. + 11.) (4, 6, 7, 9, 11)

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Tracklist:
01. The Seventh Son (Dixon) 2.39
02. Eyesight To The Blind (Williamson) 1.43
03. Do Nothin’ Till You Hear From Me (Ellington) 3.12
04. Lost Mind (Mayfield) 3.32
05. I Got A Right To Cry (Liggins) 2.50
06. Baby Let Me Hold Your Hand (Charles) 3.16
07. Parchman Farm (Allison) 3.19
08. If You Live (Allison) 2.31
09. Don’t Get Around Much Anymore (Ellington) 2.48
10. One Room Country Shack (Walton) 3.01
11. I Hadn’t Anyone Till You (Noble) 2.33
12. Young Man (Allison) 1.26
13. That’s All Right (Rogers) 2.25

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Luis Alberto Del Parana Y Los Paraguayos – The Paraguayos´Golden Hits (1962)

frontcover1Los Paraguayos is a music group consisting of musicians from Paraguay. Since its foundation in the 1950s, the group has featured many singers and musicians, playing guitars, bongo drums and a Paraguayan harp, including Luis Alberto del Paraná, Reynaldo Meza, Angel “Pato” Garcia and Carlos Espinoza. The group performs many South American and Mexican tunes and songs, including classics, such as Guantanamera, El Cóndor Pasa and La Bamba. Having had many changes in their line-up, the group has retained its popularity, selling many albums and appearing at many concerts throughout the world. In 2007, Los Paraguayos played a world tour, including appearances in The Netherlands and Israel.

Alberto y Los Trios Paraguayos was a trio from Paraguay formed by Luis Alberto del Paraná, with Digno García (1919-1984) and Agustín Barboza. They toured the UK in the late 1950s and early 1960s, and released a number of UK records in the 1960s. The band leader, del Paraná, died in England in 1974. (by wikipedia)

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Original front+back cover

This is an early sampler (available over many years with different sleeve art and titles such as “Golden Hits” or “Greatest Hits”) with songs from this Paraguayan folk/Latin music group, recorded during the late Fifties and the early Sixties and if you like music from South America … get it !

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Personnel:
Carlos Espinoza (guitar, vocals)
Angel “Pato” Garcia (harp, vocals)
Reynaldo Meza (guitar, vocals)
Luis Alberto del Paraná (guitar, vocals)

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Tracklist:
01. Malaguena (1961) (Ramirez/Galindo) 3.32
02. Cieliti Lindo (1957) (Mendoza/Reep) 2.38
03. Besame Mucho (1961) (Velazquez) 3.36
04. Historia De Un Amor (1958) (Almarán) 3.28
05. Ay, Ay, Ay (1961) (Freire) 3.36
06. Caminito (1961) (de Filiberto/Penaloza) 2.19
07. Maria Dolores (1961) (Garcia/Morcillo) 4.00
08. Mexico (1961) (Lopez/Vincy) 4.01
09. Amor, Amor (1962)  (Ruiz/Mendes) 3.15
10. La Cumparsita (1961) (Rodriguez/Marino/Conturai) 2.35
11. Pajaro Choqui (1962) (Pitaguá) 2.21
12. Me Voy Pa’l Pueblo (1961) (Valdés) 2.36

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Front + backcover from the GDR (Amiga Records)

 

This is another highlight from the grey goose collection !

 

Various Artists – Flamenco For Beginners (2006)

FrontCover1Okay, I´m back from my trip to Andalusian … a real excellent destination (as Chris wrote) even we had many rainy days …

And I´ll start my spanish weeks with a fine compilation album called  “Flamenco For Beginners”:

Flamenco (Spanish pronunciation: [flaˈmeŋko]) is an artform native to the Spanish regions of Andalusia, Extremadura and Murcia. It includes cante (singing), toque (guitar playing), baile (dance), jaleo (vocalizations), palmas (handclapping) and pitos (finger snapping).

First mentioned in literature in 1774, the genre originates in Andalusian music and dance styles. Flamenco is strongly associated with the gitanos (Romani people of Spain)—however, unlike Romani music of eastern Europe, the style is distinctively Andalusian and the fusion of the various cultures of southern Spain is clearly perceptible in Flamenco music. Although there are many theories on its influences and origins, the most widespread highlights a Morisco heritage, the cultural melting pot that was Andalusia at the time (Andalusians, Moors, Castilian settlers, Romanis and Jews) fostering its development over time. Flamenco music, as a theatrical representation of Andalusian musical tradition, was first recorded in the late 18th century but the genre underwent a dramatic development in the late 19th century.

In recent years, flamenco has become popular all over the world and is taught in many non-Hispanic countries, especially United States and Japan. In Japan, there are more flamenco academies than there are in Spain. On November 16, 2010, UNESCO declared flamenco one of the Masterpieces of the Oral and Intangible Heritage of Humanity.

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There are many suggestions for the origin of the word flamenco as a musical term (summarized below) but no solid evidence for any of them. The word was not recorded as a musical and dance term until the late 18th century.

The Spanish word flamenco could have been a derivative of “fire” or “flame”, as it is connected to the ‘Cante’ and the dance’s solemn, passionate nature. The word flamenco may have come to be used for certain behaviour in general, which could possibly have come to be applied to the Gitano players and performers.

Another theory, proposed by Andalusian historian Blas Infante in his 1933 book Orígenes de lo Flamenco y Secreto del Cante Jondo suggests that the word flamenco comes from the Hispano-Arabic term fellah mengu, meaning “expelled peasant”; Infante argued that this term referred to the ethnic Andalusians of the Islamic faith, the Moriscos, who in order to avoid forced exile and religious persecution, joined with the Roma newcomers.

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Palos (formerly known as cantes) are flamenco styles, classified by criteria such as rhythmic pattern, mode, chord progression, stanzaic form and geographic origin. There are over 50 different palos and a detailed description of them can be found in the main article. Some are sung unaccompanied while others have guitar or other accompaniment. Some forms are danced while others are not. Some are reserved for men and others for women while some may be performed by either, though these traditional distinctions are breaking down: the Farruca, for example, once a male dance, is now commonly performed by women too.

There are many ways to categories Palos but they traditionally fall into three classes: the most serious is known as cante jondo (or cante grande), while lighter, frivolous forms are called cante chico. Forms that do not fit either category are classed as cante intermedio.[citation needed] Cante jondo has clear traces of Arabic and Spanish folk melodies, as well as vestiges of Byzantine, Christian and Jewish religious music. (by wikipedia)

Let´s discover this fascinating music !

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Tracklist:
01. El Camarón de la Isla: Un Un Tiro Al Aire (1987) (Monge/Pachon) 4.41
02. La Paquera de Jerez: Que Dolor De Mare Mia (1975) (Traditional) 3.08
03. Paco de Lucía: Monasterio De Sal (1981) (Gómez/Lucía) 4.51
04. Ramon Algeciras + Paco Toronjo: De Mi Mismo Me Reia (1971) (Sanchez) 3.06
05. Juan Habichuela + Rancapino: La Pureza (1999) (Habichuela) 3.59
06. Paco de Lucía: Recuerdos (1971) (Sanchez) 3.06
07. Carmen Linares: Y Doy Suspiros Al Aire (1996) (Traditional) 5.32
08. Sernita De Jerez: A La Mare De Mi Alma (1959) (Traditional) 4.10
09. Terremoto Jerez: Yo Ya No Soy Quien Era (1969) (Traditional) 2.05
10. Paco de Lucía: Mi Nino Curro (1987) (R.Gomez/S.Gómez) 3.27
11. Bambino: Bambino, Piccolino (1969) (Molina) 2:13
12. José Mercé: Me Cierren los Ojos (1983) (Pernia) 1.57
13. Salmarina: A La Yala Yala (1994) (Evora/Muñoz) 3.29
14. Antonio Mairena: Por Tu Causa (1973) (Garcia) 5.32
15. Juan Peña: Lo Mismo Que Un Loco (1973) (Peña) 3.38
16. El Camarón de la Isla: Romance De La Luna, Luna (1983) (Bermejo/Lorca) 4.00
17. Fosforito: Te Quiero Más Cada Día (1980) (Diaz) 2.49
18. Jacinto Almaden + Justo Badajoz: Hablo Con Mi Dios Y Le Digo (1971) (Traditional) 3.45 19. Rafael Romero: Los Olivaritos Del Valle (1967) ( (Traditional) 1.16
20. Rosa Duran: Zapateado De Las Campanas (1956) (Traditional) 4.07

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J.B. Lenoir – Chess Blues Masters Series (1976)

FrontCover1J. B. Lenoir (March 5, 1929 – April 29, 1967) was an American blues guitarist and singer-songwriter, active in the 1950s and 1960s Chicago blues scene.

Although his name is sometimes pronounced as French “L’n WAHR”, Lenoir himself pronounced it “La NOR”. The initials “J.B.” had no specific meaning, his given name was simply “JB”

Lenoir’s guitar-playing father introduced him to the music of Blind Lemon Jefferson, whose music became a major influence. During the early 1940s, Lenoir worked with blues artists Sonny Boy Williamson II and Elmore James in New Orleans. Lenoir would eventually find musical influence in Arthur Crudup and Lightnin’ Hopkins.

JBLenoir02In 1949, he moved to Chicago and Big Bill Broonzy helped introduce him to the local blues community. He began to perform at local nightclubs with musicians such as Memphis Minnie, Big Maceo Merriweather, and Muddy Waters, and became an important part of the city’s blues scene. He began recording in 1951 the J.O.B. and Chess Records labels. His recording of “Korea Blues” was licensed to and released by Chess, as having been performed by ‘J. B. and his Bayou Boys’. His band included pianist Sunnyland Slim, guitarist Leroy Foster, and drummer Alfred Wallace.

During the 1950s Lenoir recorded on various record labels in the Chicago area including J.O.B., Chess, Parrot, and Checker. His more successful songs included “Let’s Roll”, “The Mojo” featuring saxophonist J. T. Brown, and the controversial “Eisenhower Blues” which his record company, Parrot, forced him to re-record as “Tax Paying Blues.”

JBLenoir01Lenoir was known in the 1950s for his showmanship – in particular his zebra-patterned costumes – and his high-pitched vocals. He became an influential electric guitarist and songwriter, and his penchant for social commentary distinguished him from many other bluesmen of the time. His most commercially successful and enduring release was “Mamma Talk To Your Daughter”, recorded for Parrot in 1954 which reached #11 on the Billboard R&B chart and was later recorded by many other blues and rock musicians. In the later 1950s (recording on the Checker label), he wrote several more blues standards including; “Don’t Dog Your Woman”, and “Don’t Touch My Head!!!” (1956).

In 1963, Lenoir recorded for USA Records as ‘J. B. Lenoir and his African Hunch Rhythm’, developing an interest in African percussion. However, he struggled to work as a professional musician and for a time took menial jobs, including working in the kitchen at the University of Illinois in Champaign.[citation needed] Lenoir was rediscovered by Willie Dixon, who recorded him playing acoustic guitar, with drummer Fred Below on the albums Alabama Blues and Down In Mississippi (inspired by the Civil Rights and Free Speech movements). Lenoir toured Europe, and performed in 1965 with the American Folk Blues Festival in the United Kingdom.

JBLenoir03Lenoir’s work had direct political content relating to racism and the Korean and Vietnam War.

He died on April 29, 1967 in Urbana, Illinois, at the age 38 of internal bleeding, related to injuries he suffered in a car accident three weeks earlier that weren’t taken care of in the hospital of Illinois.

GraveHis death was lamented by John Mayall in the songs, “I’m Gonna Fight for You, J.B.” and “Death of J. B. Lenoir”.

The 2003 documentary film The Soul of a Man, directed by Wim Wenders as the second instalment of Martin Scorsese’s series The Blues, explored Lenoir’s career, together with those of Skip James and Blind Willie Johnson.

In 2011, Lenoir was inducted to the Blues Hall of Fame. (by wikipedia)

And this is a brilliant compilation (with grat liner notes by Cub Koda !):

Booklet1Aside from many fans not being able to properly pronounce his name, J.B. Lenoir also suffered from being severely underrated. He was both a first-rate uptempo vocalist and outstanding interpreter and composer. This double-LP anthology has long since disappeared from general circulation, but should be ardently pursued, as it contains definitive Lenoir cuts from Chess, Parrot and Checker recorded in the ’50s. (by Ron Wynn)

Personnel:

PersonnelTracklist:

LP 1:
01. Natural Man 2.33
02. Don’t Dog Your Woman 3.12
03. Let Me Die With the One I Love 2.11
04. Carrie Lee 2.42
05. Mama What About Your Daughter 2.29
06. If I Give My Love to You 2.37
07. Five Years 1.44
08. Don’t Touch My Head 2.15
09. I’ve Been Down for So Long 3.14
10. What Have I Done 3.07
11. Eisenhower Blues 2.50
12. Korea Blues 2.48
13. Everybody Wants To Know 2.15
14. I’m in Korea 3.06

LP 2:
15. Mama Your Daughter’s Going to Miss Me 2.00
16. We Can’t Go on This Way 3.08
17. Give Me One More Shot 2:17
18. When I Am Drinking 2.36
19. J. B.’s Rock 2.30
20. If You Love Me 2.45
21. Low Down Dirty Shame 2.35
22. Man Watch Your Woman 3.00
23. Mama Talk To Your Daughter 2.17
24. Sitting Down Thinking 2.55
25. Daddy Talk To Your Son 2.44
26. I Don’t Know 2.21
27. Good Looking Woman 2.07
28. Voodoo Boogie 2.34

All songs written by J.B. Lenoir

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Various Artists – The Story Of Fado (2012)

FrontCover1Back from Portugal and i´m not only impressed about the history of this country, but I´m very impressed about the folk music of this country: Fado !

Fado is a national treasure and is a worldwide musical symbol of Portuguese culture and tradition. This melancholic genre, which translates to ‘fate’ in Latin, reveals the passion in the Portuguese disposition and evokes a despairing belief in a futile destiny filled with pining and hopelessness.

Each region in Portugal has a musical style and fado, in particular, started in Lisbon although it soon diverged into differing forms in Porto and Coimbra. Due to its emergence in the early 19th century during a time of diverse cultural encounters, there are many projections about the birth of fado. Some say it came with African slaves and was adapted from a West African dance in Brazil while others believe that it was developed from a song of lament by Portuguese seafarers or was developed during the Moorish occupation of Portugal.

Joana AmendoeiraJoana Amendoeira

One of the earliest manifestations of fado was in a song depicting the forbidden love story between a gypsy woman by the name of Maria Severe, and Count de Vimioso, a man of nobility. Entrenched in the hopelessness of their love, as Chris Da Rosa of Vanguard Squad states, ‘Maria would find comfort in belting out her sorrows in the bars and clubs of Lisbon’s Barrio Alto, while strumming along on her guitarra Portuguesa (a twelve-string mandolin-like instrument, possibly of Moorish origin)’. This story was depicted in Portugal’s first all talking sound film, A Severa.

Alfredo MarceneiroAlfredo Marceneiro

It is said that the depth of fado comes from Lisbon’s bar crowds in the Bairro Alto and Alfama districts, however there are distinctive styles of singing fado from Lisbon, Porto and Coimbra – each place defining a certain fado variation. Fado Cantado or sung fado, from Lisbon and Porto, is performed in fado houses, much like a tavern or pub. The History of Fado describes it thus: ‘the man that sings fado usually does it in a black suit. He sings his love affairs, his city, and his miseries of life, criticizes society and politicians’ and most always makes reference to ‘saudade’ or longing”. In Coimbra, fado has the same mournful disposition, but the motivations behind the songs are from the perspective of the more aristocratic avant-garde student, bidding farewell to a youthful bohemian lifestyle or serenading under lovers windows.

João BragaJoão Braga

Although there are many fadistas (fado musicians) such as Judith and Holofernes, Max, Carlos Ramos and Celeste Rodrigues, Dulce Pontes, Mariza and Katia Guerreiro it was Amalia Rodrigues (1920 – 1999), previously known as the ‘Rainha do Fado’ (Queen of Fado), who initially pushed the genre’s boundaries, helping to develop and define it into what it is today. Rodrigues travelled the world performing and recording. Portugal mourned for three days after her death and, as one of the nation’s signature icons she was buried in the National Pantheon in Lisbon. (by Sarah Mitchell)

FadoAnd: Fado is much more then Amalia Rodrigues only. So I will start my portugese retrospektive with a very fine sampler who introduce us to the magic world of this music. Listen and enjoy all these old and new Fado songs !

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Tracklist:
01. Gonçalo Salgueiro: Grito (Rodrigues/Goncalves) (2002) 4.57
02. Joana Amendoeira: Amor Mais Perfeito (Raino/Rocha) (2004) 4.27
03. Ricardo Ribeiro: Esta Voz (Gordo/do Amaral) (2004) 3.00
04. Ana Moura: Amor Em Tons De Sol Maior (Rodrigues) (2004) 3.21
05. Rodrigo Costa Félix: Tinha O Nome De Saudade (de Freitas/dos Anjos) (2007) 4.00
06. Patrícia Rodrigues: Sol Oculto (Correia/Rodrigues) (2004) 2.14
07. João Braga: Ser Não Ser (Bobone/Caeiro/Campos) (2009) 2.55
08. Argentina Santos: As Minhas Horas (Cid/Campos) (2004) 4.03
09. Fernando Maurício: Biografia Do Fado (de Brito) (2009) 3.28
10. Alfredo Marceneiro: Amor É Água Que Corre (de Sousa/Duarte) (1961) 5.06
11. Carlos Ramos: Sempre Que Lisboa Canta (Nazaré/Rocha) (1958) 2.35
12. Lucília Do Carmo: Foi Na Travessa Da Palha (de Oliverira/de Brito) (1958) 2.46
13. Tristão Da Silva: Da Janela Do Meu Quarto (da Costa/Sousa) (1958) 3.35
14. Max: A Rosinha Dos Limões (Ribeiro) (1955) 3.01
15. Maria Teresa de Noronha: Pintadinho (Mariano) (1959) 2.14
16. Fernando Farinha: Eterna Amizade (Barbosa/Campos) (1958) 3.49
17. Amália Rodrigues: Malmequer Pequenino (Traditional) 2.08
18. Alfredo Marceneiro feat. Fernanda Maria: Bairros De Lisboa (Conde/Duarte) (1960) 3.33
19. Hermínia Silva: Sou Miúda (Ribeiro/Fernandes) (1959) 2.10
20. Raul Nery:  Rapsódia Portuguesa (Traditional) (1958) 3.02

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(Booklet in Portugues, English and Francais)

Fado

Larry Adler – The Larry Adler Album (1991)

FrontCover1Lawrence “Larry” Cecil Adler (February 10, 1914 – August 6, 2001) was an American musician, one of the world’s most skilled harmonica players. Ralph Vaughan Williams, Malcolm Arnold, Darius Milhaud and Arthur Benjamin composed for him. During his later career he collaborated with Sting, Elton John, Kate Bush and Cerys Matthews.

Adler was born in Baltimore, Maryland, to Sadie Hack and Louis Adler. They were a Jewish family. He graduated from Baltimore City College high school. He taught himself harmonica, which he called a mouth-organ. He played professionally at 14. In 1927, he won a contest sponsored by the Baltimore Sun, playing a Beethoven minuet, and a year later he ran away from home to New York. After being referred by Rudy Vallée, Adler got his first theatre work, and caught the attention of orchestra leader Paul Ash, who placed Adler in a vaudeville act as “a ragged urchin, playing for pennies”.

LarryAdler01From there, he was hired by Florenz Ziegfeld and then by Lew Leslie again as an urchin. He broke the typecasting and appeared in a dinner jacket in the 1934 Paramount film Many Happy Returns, and was hired by theatrical producer C. B. Cochran to perform in London. He became a star in the United Kingdom and the Empire, where, it has been written, harmonica sales increased 20-fold and 300,000 people joined fan clubs.”.

LarryAdler02Adler was one of the first harmonica players to perform major works written for the instrument, often written for him: these include Jean Berger’s Concerto for Harmonica and Orchestra “Caribbean” (1941), Cyril Scott’s Serenade (harmonica and piano, 1936), Vaughan Williams’ Romance in D-flat for harmonica, piano and string orchestra; premiered New York, 1952, Milhaud’s Suite Anglais (Paris, May 28, 1947), Arthur Benjamin’s Harmonica Concerto (1953), and Malcolm Arnold’s Harmonica Concerto, Op. 46 (1954, written for The Proms). He recorded all except the Scott Serenade, some more than once. Earlier, Adler had performed transcriptions of pieces for other instruments, such as violin concertos by Bach and Vivaldi – he played his arrangement of Vivaldi’s Violin Concerto in A minor with the Sydney Symphony. Other works he played in harmonica arrangements were by Bartók, Beethoven (Minuet in G), Debussy, Falla, Gershwin (Rhapsody in Blue), Mozart (slow movement from the Oboe Quartet, K. 470), Poulenc, Ravel (Boléro), Stravinsky and Walton.

During the 1940s, Adler and the dancer, Paul Draper, formed an act and toured nationally and internationally, performing individually then together in each performance. One popular number was Gershwin’s I Got Rhythm. After the blacklisting and an unsuccessful libel suit decided in 1950, he moved to the United Kingdom in 1951 and settled in London, where he remained the rest of his life. Another source indicates he stayed in London from 1949.

LarryAdler03The 1953 film Genevieve brought him an Oscar nomination for his work on the soundtrack, and great wealth. His name was originally kept off the credits in the United States due to blacklisting. He scored a hit with the theme song of the French Jacques Becker movie Touchez pas au grisbi with Jean Gabin, written by Jean Wiener.

In 1959, a reviewer from the Village Voice called Adler “a great artist” after watching his twice-nightly performances at the Village Gate.

In 1994 for his 80th birthday Adler and George Martin, produced an album of George Gershwin songs, The Glory of Gershwin, on which they performed “Rhapsody in Blue.” The Glory of Gershwin reached number 2 in the UK albums chart in 1994. Adler was a musician and showman. Concerts to support The Glory of Gershwin showed he was a competent pianist. He opened each performance with Gershwin’s “Summertime”, playing piano and harmonica simultaneously. The album included Peter Gabriel, Oleta Adams, Elton John, Sting, Jon Bon Jovi and Richie Sambora, Meat Loaf, Sinéad O’Connor, Robert Palmer, Cher, Kate Bush, Elvis Costello, Courtney Pine, Issy Van Randwyck, Lisa Stansfield and Carly Simon, all of whom sang Gershwin tunes with an orchestra and Adler adding harmonica solos.

LarryAdler04Adler appeared in five movies, including Sidewalks of London (1938), in which he played a harmonica virtuoso named Constantine. His other film appearances were in Three Daring Daughters (12-Feb-1948) playing himself; Music for Millions (8-Dec-1944) playing Larry; The Singing Marine (3-Jul-1937) playing Larry; and The Big Broadcast of 1937 (6-Oct-1936). He was a prolific letter writer, his correspondence with Private Eye becoming popular in the United Kingdom. Adler wrote an autobiography — entitled It Ain’t Necessarily So — in 1985, and was food critic for Harpers & Queen. He appeared on the Jack Benny radio program several times, entertaining disabled soldiers in the USA during World War II. A further biography, Me and My Big Mouth appeared in 1994 but he told The Free-Reed Journal: “That’s a lousy book and I don’t like it; it’s ghosted . … [It] has a certain amount of factual material but the author completely missed my style and my voice. That’s why I hate the book.”

LarryAdler06Adler married Eileen Walser in 1952; they had two daughters and one son. They divorced in 1957. He married Sally Kline in 1959; they had one daughter. They divorced in 1963. At his death, in addition to his children, he had two grandchildren and two great grandchildren. His son Peter Adler fronted the band, Action, and others, in Dublin, Ireland in the late 1960s. Adler was an atheist. His brother, Jerry Adler (1918–2010) was also an harmonica player.

He died in St Thomas’ Hospital, London, at 87, on August 7, 2001. He was cremated at Golders Green Crematorium, where his ashes remain. (by wikipedia)

And this is a rare sampler with many, many highlights of his career … I guess it´s time to discover Larry Adler  …

LarryAdler05Personnel:
Larry Adler (harmonica)
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BBC Symphony Orchestra conducted by Sir Malcolm Sargent (12.)
Eric Gritton (piano on 12.)
London Symphony Orchestra conducted by Basil Cameron (09 – 11.)
Gerald Moore (piano (on 08.)
Pro Arte Orchestra conducted by Francis Chagrin &​ Eric Robinson (o8.)

Booklet1Tracklist:
01. Romanian Rhapsody No.1 (Enescu) 7.59
02. Rhapsody In Blue (Gershwin) 12.41
03. “Carmen” “Fantasy” (Bizet) 4.00
04. Bolero (Ravel) 4.23
05. Spanish Dance (Granados) 3.49
06. Jamaican Rumba (Benjamin) 2.13
07. It Ain’t Necessarily So (Gershwin) 2.44
08. Roumanian Fantasy (Chagrin) 14.38
09. Harmonica Concerto: Romanza (Benjamin) 6.31
10. Harmonica Concerto: Canzona semplice (Benjamin) 5.51
11. Harmonica Concerto: Rondo arnabile (Benjamin) 5.36
12. Romance (Williams) 6.42

CD1*
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