2019. július 3., szerda

Strauss - Waltzer LP 1977 Original Melodia Records Digital transfer, noise cleaning and mixed, at Audio Design Studio 2019






Download  DATA     01    02    03    04    05    06

J. Strauss (1825-1899)

01 - The Beautiful Blue Danube  waltz, op.314
02 - Tritsch-Tratsch Polka  polka-galop, op.214
03 - Wienna Blood  waltz,  op.354
04 - Emperor Waltz op.437
05 - Perpetum Mobile musical Joke, őp.257 
06 - Artist's life waltz, op.316

Moscow Radio Symphony Orchestra
Conductor:G. Rozhdestvensky


2019. május 14., kedd

G. Bizet R. Shchedrin CARMEN-SUITE the opera “Carmen” Original Melodia Records LP 1985. Digital transfer, noise cleaning and mixed, at Audio Design Studio 2019



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G. Bizet R. Shchedrin CARMEN-SUITE

Transcriptions of the excerp is from the opera “Carmen”

Side 1 22.37

1. Introduclon
2. Dance
3. First lntermezzo
4. Change of the Guard
5. Carmen’s Entrance and Habanera
6. Scene
7. Second Intermezzo
8. Bolero
9. Toreador

Side 2 23.19

10. Toreador and Carmen
11. Adagio
12. Fortune-Telling
13. Finale
“Moscow Virtuosi”
Chamber Orchestra
Chamber Ensembie of Armenia
Percussion Ensembie (V. Grishin, S. Vetrov,
A. Ogorodnikov, S. Prozorov, V. Shubinsky)

Conductor

Viadimir Spivakov

Recording engineers:

I. Veprintsev, E. Buneyeva
Editor Audio Design Studio Hungary, Budapest 2007.
Cover design by B. Belov







Viadimir Spivakov

2019. február 10., vasárnap

Eddie Layton - Great Organ Hits LP 1961 - Noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2019 th.







Download          01      02

Az eredeti album kicsit úgy szól mintha csak az egyik hangfal szólna, persze ez kis túlzás, de ebben a változatban már valóban úgy érezheti a hallgató, hogy nagyrészben kiegyenlítődik a sztereo muzsika. Természetesen nagyon fontos az , hogy ez egy 1961-ben készűlt SZTEREO !!!!!!


01 - The Happy Organ 
02 - Mr. Lucky 
03 - Ain't Misbehavin' 
04 - Tico Tico 
05 - You Can't Be True, Dear 
06 - Granada  
07 - Patricia 
08 - Twilight Time 
09 - The Dipsy Doodle
10 - The Perfect Song
11 - When The Organ Played At Twilight 
12 - By The Waters Of The Minnetonka 
    
Total Time 31:46 

Eddie Layton At The Hammond Organ - Great Organ Hits
Label: Mercury - SR 60639
Format: Vinyl Album, Stereo 
Country: US
Released: 1961




Magyrorszagi Német népzene - Nálunk Csolnokon LP 1988 Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2019 th.








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A felvételek címei, a CD hátsóborítóján olvashatóak jó minőségben


Csolnok község a dorogi szénmedencében, Esztergom közelében, hegyekés dombok által körülfogott völgyben fekszik. A német betelepülők a 18. században több hullámban jöttek erre a vidékre. 1781-ben indult a szénbányászat.
A német zenét és dalkincset Csolnokon régóta őrzik és ápolják. Fúvószenekar már 1860 óta működik a helységben. 1963-ban ez a hagyományápolás nagy lendületet vett, ugyanis zeneiskola létesült a faluban. Jelenleg van úttörő fúvószenekar és bányász fúvószenekar. Mindkettő szép sikereket ért el bel- és külföldön egyaránt.
A vegyeskórus 1986-ban ünnepelte fennállásának 35. évfordulóját. Helyben gyűjtött régi német népdalokat énekelnek

2018. december 7., péntek

Iron Butterly - In A Gadda Da Vida LP 1971 Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2018 th.







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LP 1971   ATCO RECORDS

01 - Most Anything Zou Want
02 - Flowers And Beads
03 - My Mirage
04 - Termination
05 - Are You Happy
06 - In A Gadda Da Vida








2018. július 16., hétfő

DER INSELBAUM LP 1983 - UNGARNDEUTSCHE BLASMUSIC - MAGYARORSZÁGI NÉMET FÚVÓSZENE Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2018 th.












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01 - In Dem Valde - Polka
02 - Wurmtaler - Landler
03 - Vecsés - Polka
04 - Schön - Walzer
05 - Tscholnoker - Polka
06 - Luisa - Walzer
07 - Frohsinn - Polka
08 - Franzi - Polka
09 - Glückliches Wiedersehen - Polka
10 - Jager - Landler
11 - Feuer Wehr  - Polka
12 - Aus Der Ferme - Landler
13 - Gruss - Polka 
14 - Einen Für Die Alten - Walzer
15 - Der Inselbaum - Polka
16 - Etwas Frisches - Schnellpolka


2018. május 26., szombat

Öregszel Józsi ( archív 78 Rpm ) ( Tonalit B 216 a Horváth Jenő - Rákosi János ) énekel: Kazal László, kiséri: Filu és zenekara.








Downlod        Öregszel Józsi

A felvétel eredeti 78-as bakelitről készült. 

Kazal a gramofon sztár....

1938-ban leszerződik a Tonalit Gramophon Rt-hez ( garmofon-énekesek )
, amelynek rendszeres szerződött tagja marad, még a háború után is, sőt még az államosítást követően is, habár akkoriban már Tonalit Gramophon Nagyvállalat néven jegyzik az egykori részvénytársaságot. Az 1940-es években Nagykőrösre kerül, főleg slágeréneklésből él, önálló zenés-műsoros esteket is ad. A fővárosban is feltűnik egy-egy kabaré előadásban. 

Bővebben az alábbi linken olvashat.

szinészkönyvtár





2018. március 22., csütörtök

Original Prague Syncopated Orchestra - Happy Crazy Years Music (1978) 1980 LP Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2018 th.






DATA       01     02     03

01 - Oriental 
02 - Rock Bottom 
03 - Love Found You For Me 
04 - I'm Notworrying 
05 - Ghost Of The Blues 
06 - Up The Country Blues 
07 - Chinaman Blue 
08 - Mamaâ??s Gonna Slow You Down 
09 - Kansas City Man Blues 
10 - Five Foot Two Eves Of Blue 
11 - Bombay 
12 - Navigator (Why Cana You )

Aranged: Pavel Klikar

Pavel Klikar - Cornet, Leader ( 1 - 12 )
Tomas Valínsky - Trobone ( 1 - 12 )
Jan Stolba - Clarinet (12) Alto Sax ( 1, 3-8, 10-12 )
Franticek Rubas - Clarinet  ( 1, 3, 6, 7, 12 )
Soprano Sax  (2, 9)  Tenor Sax ( 4, 5, 8, 10,12, )
Zbynek Maly - Violinophone (1, 2, 4, 5, 11, 12 )
Jiri Gilik - Piano ( 1-12 )
Jiri Sicha  - Banjo ( 1-12 )
Ondrej Havelka - Vocal ( 3, 4, 10, 12, )

and guest performers:

Oleg Petrus - Cornet ( 12 )
Vaclav Harmacek - Clarinet, Alto Sax ( 12 )
Petr Karen - Bass Sax (10 )
Milan Pekny - Voilin ( 12 )
Michal Pospisil - Sousaphon ( 12 )
Michal Hejna - Drums ( 1, 10, 12, )

Produced: Tony Matzner
RECORDER IN PRAGUE IN NOVEMBER 1978
Recorder director: Tony Matzner
Recorder engineer: Petr Kocfelda
Cover design: Frantisek Vlach 1980
Liner notes: Stanislav Titzl 1980
Made In Czechoslovakia

For the record, we list the orchestras which
recorded the pieces recreated for this LP
by THE ORIGINAL PRAGUE SYNCOPATED
ORCHESTRA:

New Orleans Rhythm Kings (1,)
Chicago, 1922
Tiny Parham and His Musicians (2, 11,)
Chicago, 1929
Cockie's Gingersnaps (3,)
Chicago, 1926
Clarence Williems and His Orchestra (4,)
New York, 1929
Fletcher Henderson's Oechestra (5, 8,)
New York, 1924
Joe Manone's Harmony Kings (6,)
Chicago, 1927
Erskine Tate's Vendome Orchestra (7,)
Chicago, 1923
Clarence Williams' Blue Five (9,)
New York, 1923
California Ramblers (10,)
New York, 1925
Fred Rich and His Orchestra (12,)


New York, 1929

The Jazz Fiddlers LP 1970 / Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2018 th.







 DATA     01     02    03    04


01 - Go' Long, Mule!
02 - Melancholy Blues
03 - High Fever
04 - Congo Love Song
05 - Original Rags    
06 - Washboard Wiggles
07 - Rhythm King
08 - Chef Menteur Joys
09 - Deep Spring 
10 - Cleopatra Rag
11 - I Never Know What A Gal Could Do ( Zero )
12 - Saint Louis Shuffle

Personel of The Jazz Fiddlers
----------------------------------------
Karel Mezera: alto sax, oboe leader
Jiri Kotrc: cornet
Jozef Rejman: clarinet, soprano sax,
Petr Kavalier: trombone
Petr Scocdopole: piano
Miroslav Klimes: banjo
Zdenek Fibrich: tuba
Ales Sladek: drums, washboard
Vladimir Krusak: piano
Dagmar Zarubová: violin
Jiri Pechar: trumpet

Supraphon Records 1970. Prague

The Steamboat Stompers LP 1971 / Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2018 th.









DATA        01     02     03   

The Steamboat Stompers

SIDE 1

1 - WAITING FOR ROBERT E. LEE .
(L. Wolfe Gilbert / Lewis F. Muir)
Jaromír Konúpka, Váciav Fiala, Jifi Kadlus ond Jan Jelínek (vocal)

2 - SEE SEE RIDER
(Ma Rainey)

3 - HOW LONG BLUES
(Traditional)
Svetla Gosteva (vocal)

4 - SEE IF I CARE
(Traditional)
Svetla Gosteva ond the Steamboat Stompers Chorus (vocal)

5 - ARAB STRUIT
(Roy Giomi)

6 - ST. LOUIS BLUES . . .
(W. C. Handy)
Jaromír Kontpka (vocal)

SIDE 2

01 - AT THE JAZZ-BAND BALL
(La Rocca / Eddig Edwards I Larry Shields)

2 - THE BUCKET GOT A HOLE IN IT
(Traditional)
Jaromír Konúpka, Váciav Fiala, Antonín Brych,
Jifí Kadlus and Jan Jelínek (vocal)

3 - BABY, WON’T YOU PLEASE COME HOME?
(Charlie Warfield / Ciarence Williams)
Svetla Gosteva (vocal)

4 - BEALE STREET BLUES . .
(W. C. Handy)
Svetla Gosteva (vocal)

5 - BILL BAILEY, WON’T YOU PLEASE COME HOME?
(Hughie Cannon)
Jaromír Konúpka, Váciav Fiala, Jifí Kadlus ond Jan Jelínek (vocal)

6 -  SWEET GEORGIA BROWN (Ben Bernie / Maceo Pinkard / Kenneth Casey / 
Charlie Warfield) Antonin Brych (scat) )

The Personnel of THE STEAMBOAT STOMPERS:

Jiri Kadlus - trumpet, banjo; 
Jaromír Konupka - ciarinet; 
Váciav Fiala - trombone;
Karel Kales - piano; 
Jan Jelinek - guitar; 
Antonín Brych - bass, violin;
Frantisk Hruza - drums

Arronged by 
Jaromír Konúpka (1/1, 2, 11/4), Korel Koles (1/3, 11/1), 
Steve Laine (1/4), Jií Kodlus (1/5, 11/2), Vóclav Fiola (1/6, 11/3) 
and Jon Jelínek (11/5)

Produced by Zbynek Mácha

RECORDED AT THE SUPRAPHON STUDIOS, PRAGUE,
ON APRIL 27, 1970 AND FEBRUARY 2—5, 1971
Recording directors: Siáva Kunst, Mojmír BaJling ond Jindflcb Bauer
Recording engineer: Petr Kocfelda
Cover design © Antonín Sládek — Sleeve-note © Zbynék Mácha




Mark Twain and other pessimists might regard the name of the orchestra os an anachronism, sínce according to them there were no steamboats on the Mississippi by the 1880’s, let olone in the first two decodes of the 2Oth century when the stomp came into fashion. Vet snapshots Írom thot time contradict Mark Twain: they show steamboats hugging os ciosely to the New Orleans waterf ront os cubs to the famous Roman she-wolf. Troditional jozz Is just os resistont: so often deciared deod by historians of music, it constantly re-emerges Írom the mainstream of jazz, just Jike those Íomous steomboats on “01’ Man River”. The Steamboot Stompers oppeared on the Czech jazz scene four yeors ogo, to orrive olmost overnight among the very top ensembies. Such success seems extraordinary, but old fons were pleased to recognize omong the instrumentalists mony faces from the period of Czech jazz revivolism.
Richard B. Allen of New Orleans’ Tulane University ond jazz writer Al Rose define jazz os “ony music played two-to-a-bar or four-to-a-bar in syncopated rhythm by two or more improvising instruments”. Some people may contradict that definition, but the Stompers fit it flawlessly ond their music is also good jozz: the rhythmic ond the melodic element are well-balanced, there Is good use of the vocal, ond the Stompers prefer clossical jozz themes which hove not lost their freshness after half a century. The Stompers’ repertoire noturally includes not only stomps, thot is fast donce numbers (Arab Strut, At the JazzBond Ball), but also folk blues (See See Rider, How Long Blues), blues compositions — or compositions inspired by blues (St. Louis Blues, Beale Street Blues, Boby, Won’t You Please Come Home), Negro spirituals (See lf I Care), songs from old-time minstrel shows (Waiting For Robert E. Lee), Storyville drinking songs (Bill Boiley, Won’t Vou Please Come Home), os well os swing evergreens (Sweet Georgia Brown). The range Is broad, but the selection of numbers for the ensemble’s bosic repertolre was by no means arbitrary. Frantiek Hrúza, the spirituol father of the Stompers, puts it this way: “We acted on purpose in not selecting the materiol strictly monothemotically. This Is our first record, ond we wonted it to show the broad range Írom spirituals to swing. A contemporary revivalist ensemble must work in this entire range, becouse ali of it certainly belongs to that field of music which is now colled traditionol jazz. When we were setting up the band, we realized that only three style variants of troditionol jazz were known in Czechosiovakia: music inspired by ciassicol jozz of the twenties, dixieland, ond the so-calied Engiish school. We felt there wos o gap to be filled, that the main representative of troditional jazz wos missing, that is jazz inspired by clossical music of the New Orleans instrumentalists who have been playing it since its inception almost without alterations ond who are still playing it in New Orleans”.
And so, if you turn down the lights a bit in your room ond if you close your eyes, you may hear in the tones of the trumpet (once owned by the black Angel Gabriel) the thumping of poddles against the water of the nyer on which jazz sailed out to conquer the world.



2018. március 18., vasárnap

Benny Waters and The Traditional Jazz Studio - Blue Waters LP 1976 Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2018 th.






DATA         01     02     03     04


01 - Blop Blop - Benny Waters
02 - Candy - Mack David/Joan Whitney/Alex Kramer
03 - The Not Knowing Lover - Pavel Smetáek
04 - Albert's Blues - Albert Nicholas
05 - Lady Be Good - George Ira Gershwin
--------------------
06 - Zigin' & Zagin' - Benny Waters
07 - If I Could Be With You - James P. johnson
08 - Blue Waters - Benny Waters
09 - Sweet Georgia Brown - Ken CaseyBen Bernie Maceo Pinkard

(ciarinet, soprano sax, alto sax, tenor sax, vocal)

Pavel Smetácek - leader, ciarinet, alto sax
Svatobor Macák - alto sax, tenor sax
VitézsIav Marek - trumpet, guitar
Jaroslav Fuksa - trombone
Antonín Bily - piano
lvo Pluhácek - banjo
Antonín Lodr - bass
Jirí Jirásek - drums

GUEST PERFORMERS

Josef Nachtman - baritone sax (1, 3, 7)
Miroslav Jelínek - trumpet (1, 2, 7)
Viadimír Zizka - drums (6, 8)

Produced by Tony Matzner

RECORDED AT THE SUPRAPHON STUDIO
IN DEJVICE. PRAGUE,
FROM 12 T0 I4 JANUARY, 1976

Recording director: Tony Matzner
Recording engineers: Jifí Brabec and Jan Chalupsky
Cover design ‘ Joset Zich Sc Ivanka Zichová 1976
Cover photo ‘ Pave Vácha 1976
Liner notes ‘ Tony Matzner 1976


The name of the coloured multi instrumentaiist Benny Waters (b. 1902 In Brighton, Maryland) Is not associated wlth any radlcal milestones in the history o( jazz, nor has it ever been the subject of glossy picture.magazine stories. His long and remarkable progress through the world of jazz, (rom his In. itial stint wth the Charlie Miller Orchestra in Philadelphia through dozens of prominent or less prominent bands has been modestly unostentatious - a career of dispensing joy and pleasure without winning personal honours. Nevertheless his historically vaiuable recordings with legendary jazz bandiead. ers like Joe King Oliver, Clarence Williams or Fletcher Henderson make him a particularly attractive personality now, when alt those names have irrevocably become a part of history. Vet there is another aspect to Benny Waters’ music, which makes his recordings something more than a mere document of what azz used to be like at the time of its progress (rom music.making by self-taught coloured people to music with defsnite artistic ambitions. Waters was one of the very few coloured musicians of his generation to receive all-round musical education at the Boston Conservatory, in the clty which boasts the greatest musical tradition in the United States. His education, plus his willingness to absorb the stimuli generated by the younger generatlons ot musicians, won him positions in the big bands ot the swing era which required instrumentalists ot high calibre (one instance was his short engagement In Jimmie Lunceford’s famous orchestra In the early forties), and helped him later to add to his range ot expression the new elements shaped by Don Byas, Charlie Parker, and others. This is what makes Waters’ session with
the Traditional Jazz Studio, Czechoslovakia’s leading revivalist ensemble, a highly exciting musical experience, distinc. tively unlque In terms ot styie among ali records by Smetá. ek’s band.
BIop Blop, the album’s very f.rst item, takes us to the atmosphere offull-blooded music-making associated with the famous dance-halls ot Hariem’s Lenox Avenue, which replaced in the mid.twenties New Orleans’ Storyville as the hotbed ot jazz, and went on to maintain that position tor a full decade. Riffs against the 12-bar blues background and an almost big.band texture with sharply accentuated rhythm - this is the famous Harlem Jump colour typical ot the orchestras with which Waters played in the thirties. Short piano, tenor-sax (Ma. cák) and trumpet (Marek) solos arc followed by Waters on the clarinet, whose rough verve and drive let us enjoy anew whar used to be most characteristic ot Negro swing music. Candy, the well-known post-war hit. Is presented by the soloist in the spirit ot the Hawkins tenor school, so eftective is transtorming standard Pop jazz materiai to jazz. In Smetáek’s original composition The Not Knowing Lover, Waters (on alto sax this time) presents convincing evidence ot his boundiessly rich power ot imp-ovisation. Albert’s Blues Is the soloist’s and the Traditional Jazz Studio’s homage to the recentiy deceased veteran ot the New Orleans Creole ciarinet school, Albert Nicholas (who played with the Traditional Jazz Studio on the album Albert’s Blues, Supraphon 115 1420). Smetáek’s introductory clarinet solo Is actually a respectful re.improvisation ot Nicholas’ chorus, and is fotlowed by tenor-sax solo impro. visation by Waters. The presentation ot Gershwin’s internationaily tamous Lady Be Good bears distinct traits ot the influence ot the early swing combos, particularly Benny Goodman, whose elegant melodic line is clearly reflected in the brilliant ciarinet solo by Waters. Waters also appears here in the role ot vocaiist in the tradition ot coloured vaudeville entertainers typifled by Fats Waller (his irreverent paraphras. ing ot Ira Gershwin’s original lyrics also includes Waters’ own appreciation ot Prague). Waters presents this facet ot his style still marc clearly in his own, pun-titted composition Zigin’ 8c Zagin’, with Marek’s remarkable guitar solo in Eddie Lang style, and the composer’s solo on soprano sax. lf I Could Be with You features the ensemble’s pianist Antonín Bíl’ along with Waters (clarinet and alto). Blue Waters Is Waters’ alto-sax solo atfair throughout, and his typical earthy “lowdown blues” style Is rich in the characteristic stop choruses. From the very first bars, this particular recording charms the is. tener by its combination ot blues traditions and innovations produced by modern alto-sax piayers, (rom Charlie Parker to soui-oriented Cannonball Adderley. Sweet Georgia Brown, the record’s finai item, is a sequel ot solos by the ensemble’s lndividual members; most listeners will probably find Svatobor Macák (tenor sax), VItzsiav Marek (trumpet). Jaroslav Fuksa (trombone) and JIN Jirásek (drums) the most attractIve - next to Waters hlmself, ot course (alto sax, and ciarinet In the flnale).

A Trubadur : Részletek Giuseppe Verdi operájából / Excerps / Lp 1960 LPX 1105 Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2018 th.





DATA       01     02     03

Verdi  ‎- A Trubadur - Részletek - Verdi Operájából (Excerps)
Qualiton ‎- LPX 1105

Tracklist

 01 - Cigánykar
 02 - Máglya Ária - Jelenet
 03 - Manrico Áriája - Stretta
 04 - Leonóra Áriája - Miserere
 05 - Duett
 06 - Finale

Credits

Baritone Vocals - Palócz László 
Mezzo-soprano Vocals - Tiszay Magda
Soprano Vocals - Déry Gabriella 
Tenor Vocals - Simándy József , Kishegyi Árpád

Conductor - Lamberto Gardelli
Cover - Varga Győző
Sleeve Notes - Várnai Péter

2018. március 17., szombat

Noel Pointer - Feel It 1979 Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2018 th.











DATA    01     02     03

Side A

01 - Captain Jarvis (7:40)
02 - Feel It (8:21)

Side B

03 - There's A Feeling (When You Touch Me) (4:32)
04 - For You (A Disco Concerto) (8:03)
05 - Niteroi (6:42)

Label: United Artists Records, EMI Electrola GmbH
Vinyl, LP,
Country: Germany
Released: 1979
Genre: Funk / Soul, Jazz
Credits: Mixed By - Bruce Hawes , Lionel Job
Producer - Noel Pointer
Producer [Associated], Arranged By, Orchestrated By - Paul Riser
Recorded By - Barney Perkins