2012. május 31., csütörtök

Cootie Williams, Coleman Hawkins, Rex Stewart - 'Together 1957' LP Digital noise cleaning and mixed, at Audio Design Studio made 2012.


01    02     03     04     05

                                                                    
side A.1. I'm beginning to see to light
side A.2. Do nothin' till you hear form me (Concerto for Cootie)
side A.3. Alphonse and Gaston
side B.1. Walkin' my baby back home
side B.2. When your lover has gone
side B.3. Rex' time
side B.4. I gotta right to sing the blues

Art Tatum - Verve Jazz nr. 10 - LP Dec 15, 1953 - METRO REC Digital noise cleaning and mixed, at Audio Design Studio made 2012.


01    02    03    04    05


Side A - 01 Can't we be friends
Side A - 02 Elegy
Side A - 03 This can't be love
Side A - 04 Blues in my heart
Side A - 05 Dixieland band
Side A - 06 Humoresque

Side B - 01 Begin the beguine
Side B - 02 Judy
Side B - 03 The man i love     
Side B - 04 Over the raimbow  
Side B - 05 Memories of you

2012. május 30., szerda

La Bionda - D. D. Sound Personal Sorting - Original Lp Records - Digital transfer, noise cleaning and mixed, at Audio Design Studio 2005 / 2012.



La Bionda - 1 2 3 4 Gimme some more
La Bionda - Baby Make Love
La Bionda - Back Street Baby
La Bionda - Bandido
La Bionda - Deserts Of Mars
La Bionda - High Energy
La Bionda - I wanna be your lover
La Bionga - Moonlight Palais
La Bionda - One For You, One For Me
La Bionda - She's Not A Disco Lady
La Bionda - Show Me Your Love

2012. május 26., szombat

Giacomo Puccini - Tosca 2 LP 1953 / 1980 Digital transfer, noise cleaning and remastered, at Audio Design Studio 2012






RE Upload
Original recording 1953
 

New relase date 1980 Hungaroton records, 
Budapest Hungary.

Personel:


Alvaro Cordova,
Dario Caselli,
Giuseppe Di Stefano,
Maria Callas,
Angelo Mercuriali,
Franco Calabrese,
Melchiorre Luise,
Tito Gobbi,

Milanoi Scala, Vocal and Orchestra
Dirigent: Victor De Sabata,
Director: Vittorio Veneziani,

 

01    02    03    04    05   06    07



LP-1 A 28:50

LP-1 B 29:00

LP-2 A 25:53

LP-2 B 25:51

A lemezoldalak mutatója

1. lemezoldal

I. felvonás
A sekrestyés belépője és Angelus Kép-ária
Tosca és Cavaradossi kettőse
Tosca ariettája
Tosca ás Cavaradossi kettőse

2. lemezoldal
Scarpia ás Tosca jelenete Te Deum és finálé

II. felvonás
Scarpia monológja Kihallgatási jelenet

3. lemezoldal

Vallatás és a Vittoria jelenet
Tosca imája
Scarpia halála ás finálé

4. lemezoldal

III. felvonás
Előjáték ás a pásztorfiú dala
Levél-ária
Cavaradossi és Tosca kettőse
A kivégzés
Finálé

A felvétel

Minden idők egyik legszebb operafelvétele jelenik most meg magyar kiadásban. Ritkán születik hanglemez produkció ilyen szerencsés csillagzat alatt. Callas, Di Stefano és Gobbi pályájuk legszebb éveiben jártak, midőn 1953-ben ezt a felvételt elkészítették. Ez Önmagában azonban még nem lett volna elég Vidor de Sabata vezánylése nélkül. Ez az egészen kivételes képességű nagy karmester, sajnos, kevés hanglemezen hallható. Ezen a felvételen jól megfigyelhető, hogy mindent tud, ami egy opera hiteles, élményszerű megszólaltatásához szükséges. Drámai ereje, atmoszférája lenyűgöző. Lálegezni engedi a zenét. Az apróbb, nagyobb tempómódositásokkal: gyorsításokkal, lassításokkal, mindig meggyőzően él, nagyszerűen érvényesíti Puccini rendkívül színes zenekarának pompáját; fokozásai, csúcspontjai lélegzetállitóak. Már az első hangokkal magához bilincseli a hallgatót. Angelotti menekülés-zenéjével az izgalom, a dráma légkörébe von. Egyetlen szóval lehet jellemezni vezénylését: élményszerű. A fiatal Callas — 30 éves volt ekkor, — hangjának teljében a lírai és a dri jelenetekben egyaránt maradéktalan élményt nyújt. Szinte láthaljuk színészi alakítását Is, annyira szuggesztív a produkciója. Callasról sokat lehet vitatkozni, nem neki való szerepek, vagy nem mindig a legjobb hangi állapotában készített lemezek kapcsán, ebben a szerepben, ezen a felvételen azonban tökéletes. A karmester ás a címszereplő színvonalához illő Di Stefano és Gobbi, a két kiváló énekes nagyon jó produkciója. Kevés hanglemez tudja feledtetni a stúdiómunka kínos pontosságát, sokszor lélekölő precízitását; ez a lemez azonban olyan, mintha egy kitűnő színpadi előadást rögzített volna.

2012. május 25., péntek

Count Basie Presents - Circus In Rhythm




01.Freddie Green - Down for Double           03:06    
02.Shad Collins & Count Basie  - Rockabye Bas 03:50    
03.Earl Warren - Rockin the Blues            02:53    
04.Duke Ellington & Bob Russel - Do Nothing  03:06    
05.Earl Warren - Wiggle Wiggle               02:03    
06.Count Basie - Basie Boogie                02:15    
07.Buck Clayton & Count Basie - Red Bank Boo 02:20    
08.Dickiy Wells - Kansas City Stride         04:17    
09.Earl Warren - Circus in Rhythm            02:59    
10.Don Redman & Andy Razaf - Gee Baby Aint I 04:09    
11.Buck Clayton - Basie Strides Again        03:01    
12.Al Kilian - Lets Jump                     04:15    
13.Dicky Wells - Tush                        03:03    
14.Jimmy Rushing - Jimmys Blues              03:19    
15.Count Basie & Bob Russel - Taps Miller    05:11    
16.Jimmy Rushing, Count Basie & Tab Smith  03:09    
17.Don Redman Just an Old Manuscript       03:09    
18.George Gershin & Count Basie - Playhouse  04:59    
19.Eli Robinson - Sugar Hill Shuffle         03:45     

Jazz Jamaica Allstars - Skaravan 1993




01 - Barbados     Parker, Tommasi     4:04
02 - Don Cosmic     Drummond     3:
03 - Skaravan     Ellington, Mills, Tizol     4:31
04 - Ramblin'     Rodriguez     4:05
05 - Nubia     Morrison     4:25
06 - Bridge View     Alfonso, Brivett, Drummond, Haynes…     3:55
07 - You're So Delightful         4:21
08 - Peanut Vendor     Gilbert, Simons, Sunshine     4:26
09 - Green Island     Alfonso, Brivett, Drummond, Haynes…     3:02
10 - Africa     Rodriguez     5:21

Review

by Richard Foss

There are some musical ideas that work so well that the first time you hear them, you wonder why it wasn't done before. Such is the nature of Skaravan, the pioneering fusion between jazz and Jamaican music. Jazz Jamaica's rhythm section is most firmly anchored in the Caribbean tradition, the brass most firmly in the jazz camp, and together they make fantastic music. The original pieces are good, the covers revelatory. From the jazz side, Duke Ellington's "Caravan" has never sounded this loose, funky, and fun. From the ska side, this version of Don Drummond's "Don Cosmic" makes most others sound stilted and lifeless. (Drummond came from a jazz background himself before he helped create the Skatellites and release the albums that definite ska, so this could be taking the tune back to its roots.) That said, Skaravan isn't just a fusion of ska and jazz -- there are hints of mento, rhumba, and other styles going on here. This stylistic fusion sounds so good, it's a shame that this band never released a live album. As fine as the clean, precise renditions here sound, it would be wonderful to hear this band tossing around some solos and really stretching these tunes in different …  » Read more


2012. május 24., csütörtök

Czechoslovak Journey - Graeme Bell and his Dixieland Jazz Band LP 1973 / Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2012 th.



Tracklist_DATA


SIDE ONE

1) Czechosuovak Journey (G. Bell) 2:40
2) DaUas Blues (H. A. Wand) 3: 10
3) Panama Rag (W. H. Tyers) 3: 10
4) Riverside Blues (J. ‘King’ Oliver) 3: 10
5) Just Gone (J. ‘King’ Oliver - B. Johnson) 3: 15
6) When the Saints Go Marchin’ In (Trad.) 3:00


SIDE TWO

1) Fidgety Feet (N. La Rocca - L. Shields) 2:55
2) Walking Wenceslas Square (R. Bell) 3:05
3) Baum’ the Jack (S. Williams) 2:55
4) Organ Grinder (C. Williams) 3: 15
5) Get It Fixed (K. Rena) 3:20
6) I Wish I Could Shimmy Like
My Sister Kate (A. J. Piron) 3:20

Graeme Bell & his Dixieland Jazz Band

GRAEME BELL - lader, piano
DON “PIXIE” ROBERTS - clarinet
ROGER BELL - vocal (1/2, 11/3, 6), cornet
ADRIAN “ADE” MONSBOURGH - vocal (1/6, 11/4),
JACK VARNEY - banjo trombone, clarinet
LOUIS SILBEREISEN - bass, tuba
 
RECORDED AT THE SUPRAPHON “ROKOSKA”
STUDIO, PRAGUE, ON SEPTEMBER 23rd AND
NOVEMBER l3th, 1947. TRANSCRIBED AT THE
SUPRAPHON “MOZARTEUM” STUDIO, PRAGUE,
ON APRIL 9th, 1973 (by Frantilek Burda)
 

RUSS MURPHY - drums 
MADE IN CZECHOSLOVAKIA
Cover design © Zdenék Ziegler 1973
Liner notes © Zbynék Mácha 1973

NOTES


Soon atter post-war Europe had got rid ot blackouts and lit up its streets, it began to take a lively interest in what had happened overseas in the jazz scene. There was no laek ot attractive points. Swing music had evolved into a broad stream ot dance and Pop music, modern jazz had made its début on New York’s 52nd Street, and a seetion ot the jazz public, and jazz pertormers as well, had started re-discovering the artistic values ot historical jazz relegated tormerly to a secondary position by other jazz developrnents.
The revivalist movement became an integral part ot the advance ot jazz music. The initial steps were made in the late thirties and early torties by several American and European writers and reviewers who began to concentrate on popularising the original New Orleans and Chicago jazz, as well as Atro-American tolk music whieh gave birth to jazz at the turn ot the ceptury. Old gramophone records turnished documentary evidence, and trantic search started tor the jazz veterans who had nursed jazz trom its cradle. The heritage was taken up by groups ot young white musicians on the West coast ot the USA, in Australia, and tinally also in Europe. Europe’s most etteetive stimulant in that respeet was Australia’s revivalist-type jazz, as pertormed by Graeme Bell and his Dixieland Jazz Band on their 1947—1948 tour.
The brothers Graeme and Roger Bell, who had played several years in various dance bands, met in February 1940 elarinetist Don Roberts and drummer Russ Murphy. They tormed the Graeme Bell’s Jazz Gang quartet which soon won an engagement at the holiday resort ot Portsea, and later in Melbourne. As early as 1941, the group staged several jazz concerts which tound enthusiastic young public. By 1944, they polished their specitic style based on the original New Orleans jazz and on the elassical jazz ot the twenties, with appropriato instrumental east: the dominant influence in their repertolre were old recordings by the coloured greats ot the twenties, such as Jelly Roll Morton, Joe ‘King’ Oliver, the Dodds brothers, and Louis Armstrong. A contributing taetor was the high tide ot the revivalist Lu Watters group in Calitornia. The Australian publie learned to expeet good jazz music, and Bell’s example helped to bring into lite several other traditionalist groups; experts coined the term “Australian jazz sehool”. Bell’s orchestra won a new engagement in the Palais Royal restaurant, guest-pertormed regularly on the Australian Radio, and atter the war Graeme Bell tounded his own Uptown Club cabaret. The orchestra came to Prague in 1947 with the Australian delegation to the lst World Festival ot Youth and Students, and Prague was also the Ílrst stage ot the Australian group’s historie European tour. While in Czechoslovakia, Graeme Bell and his Dixieland Jazz Band played in Prague’s Fénix caté, and Gramoklub Prague sponsored their tour ot virtually all major cities and towns in Bohemia and Moravia. The special poster said that the Czechoslovak public was enjoying its tlrst opportunity to hear pure and authentic improvised jazz in its traditional elassical torm, and that the concerts would be a historical jazz review which would feature martial jazz in the spirit ot the old, late 19th-century New Orleans hands, elassical jazz, stomps and rags, New Orleans blues, ete. And the Australians untailingly kept that promise at their concerts, as well as in their recordings on the Supraphon label. The 12 items featured on this LP were recorded in autumn 1947 and issued originally on 78’s; eight ot them were later issued by Supraphon on LF’s. Some “pirated” editions later appeared abroad, but tbis LP Is the llrst to teature the complete set ot the recordings made in Prague by the Graeme Bell Band. They appear here at their best, and the set rivals any other recording made by them elsewhere. A tactor ot the exeellence ot their pertormance was certainly the atmosphere in the recording studio at that time, as well as the extremely warm reception given the Australians by Czechoslovak jazz tans, erities and musicians. The group responded by dedicating two compositions to their listeners in Czechoslovakia: Czechoslovak Journey, and Walking Wenceslas Square, which express the teelings experienced by the Australian musicians on their Czechoslovak tour. Ot the other items, Dallas Blues and I Wish I Could Shimmy Like My Sister Kate eertainy rank among the best recorclings ever made by any revivalist groups, thanks in no small degree to Roger Bell’s vocal, the exeellent ensemble playing, and the style and pertormance ot the individual musicians.
The situation has ehanged considerably sinee the late torties, when Graeme Bell and his Dixieland Jazz Band toured Czechoslovakia, France, Belgium, Holland and England. The flrst modest attempts ot that time have led to the birth ot dozens ot amateur and protessional traditional groups trom Leningrad to London. Traditional jazz and dixieland are well -represented at many regular jazz testivals, and jazz tans’ collections ot this type ot music have grown to respeetable proportions. Traditional jazz has otten enjoyed the highest popularity ratings, and it has intlueneed very distinctly standard Pop musie. Ali that, in retrospect, serves to show the 4Moneering role ot the Graeme Bell Band’s European tour and ot their reeordings, which are not only a historic document, but above all a torever tresh artistic ereation which has lost none ot its appeal over the intervening 25 years.






2012. május 20., vasárnap

Zoot Sims - Suddenly It's Spring - Digital remastered Audio Design Studio made 2012 th.


01 - Zoot Sims - Brahm's I Think
02 - Zoot Sims - I Can't Get Started
03 - Zoot Sims - MacGuffie's Blues
04 - Zoot Sims - In The Middle Of A Kiss
05 - Zoot Sims - So Long
06 - Zoot Sims - Never Let Me Go
07 - Zoot Sims - Suddenly It's Spring
08 - Zoot Sims - Emaline


This CD reissue of one of tenor-saxophonist Zoot Sims's final recordings adds a version of "Emaline" to the original program. Pianist Jimmy Rowles often co-stars on the date (with bassist George Mraz and drummer Akira Tana offering solid support). The lyrical repertoire emphasizes ballads and pretty melodies with the highpoints including such offbeat material as Woody Guthrie's "So Long," Sims's "Brahms...I Think," "In the Middle of a Kiss" and the more familiar "Never Let Me Go" and "Suddenly It's Spring." The melodic performances are quite warm, romantic and enjoyable, fine examples of subtle creativity. ~ Scott Yanow

Recorded May 1983.
Personnel: Zoot Sims (tenor saxophone).
Recording information: RCA Studios, New York, NY (05/26/1983).
Unknown Contributor Roles: George Mraz ; Jimmy Rowles; Akira Tana.
Personnel:

Zoot Sims (tenor saxophone); 
Jimmy Rowles (piano); 
George Mraz (bass); 
Akira Tana (drums).


Zoot Sims - I Wish I Were Twins - Digital remastered Audio Design Studio made 2012 th.


01 - Zoot Sims - I Wish I Were Twins
02 - Zoot Sims - Georgia On My Mind
03 - Zoot Sims - Changes
04 - Zoot Sims - The Touch Of Your Lips
05 - Zoot Sims - The Fish Horn
06 - Zoot Sims - Come Closer To Me
07 - Zoot Sims - You Go You Way

    Bass – Frank Tate
    Drums – Akira Tana
    Piano – Jimmy Rowles
    Producer – Norman Granz
    Tenor Saxophone – Zoot Sims

Review

by Scott Yanow

Zoot Sims (doubling on tenor and soprano) teams up once again with pianist Jimmy Rowles; this time bassist Frank Tate and drummer Akira Tana are the supporting cast. Rowles is a master not only at accompanying soloists (he always seems to come up with the perfect chord) but in picking up superior obscurities to perform. In addition to "Georgia on My Mind" and "The Touch of Your Lips," this album contains such tunes as "I Wish I Were Twins," "Changes" and Johnny Mercer's "You Go Your Way"; Sims contributed "The Fish Horn" to feature his soprano. A fine swinging date filled with thoughtful improvisations.



George Benson - Song and Stories

Download_data


01-George Benson-Dont Let Me Be Lonely Tonight
02-George Benson-Family Reunion              
03-George Benson-Show Me The Love            
04-George Benson-A Telephone Call Away       
05-George Benson-Someday Well All Be Free    
06-George Benson-Nuthin But A Party          
07-George Benson-Come In From The Cold       
08-George Benson-Exotica                     
09-George Benson-Rainy Night In Georgia      
10-George Benson-One Like You                
11-George Benson-Living In High Definition   
12-George Benson-Sailing                     

Gerald Albright Saxophone
Maguinho Alcântara Drums
Patti Austin Vocals, Vocals (bckgr)
George Benson Guitar, Vocals, Liner Notes, Soloist
J.J. Blair Engineer, Vocal Arrangement
Norman Brown Guitar, Vocals
Bruno Cardozo Keyboards, Organ (Hammond)
Paulinho Da Costa Percussion
Chuck Findley Trumpet
David Garfield Organ, Piano, Keyboards, Vocal Arrangement, Production Assistant
Gary Grant Trumpet
Lalah Hathaway Vocals
Jerry Hey Horn Arrangements
Mary Hogan A&R
Toninho Horta Guitar (Acoustic), Associate Producer
Paul Jackson, Jr. Guitar
Marcelo Lima Guitar (Acoustic)
Charles Loper Trombone
Steve Lukather Guitar, Producer
William Magalhaes Fender Rhodes
Marcus Miller Organ, Bass, Percussion, Piano, Arranger, Conductor, Keyboards, Marimba, Programming, Vocals, Producer, Vibraphone, Fender Rhodes, Horn Arrangements, String Arrangements, Drum Loop

David Paich Keyboards, Programming, Producer, Horn Arrangements
Ray Parker, Jr. Guitar

Carolyn Perry Vocals (bckgr)
Lori Perry Vocals (bckgr)
Sharon Perry Vocals (bckgr)

Greg Phillinganes Piano, Keyboards, Fender Rhodes
Steve Porcaro Synthesizer

Lee Ritenour Guitar (Acoustic), Guitar (Electric)

John "J.R." Robinson Drums
Smokey Robinson Vocal Arrangement
Robin Ross Viola

Tom Scott Saxophone, Horn Arrangements
Leslie O. Smith Vocal Arrangement
Paul "Scooby" Smith Assistant Engineer
Bobby Sparks Keyboards, Organ (Hammond)

Rod Temperton Arranger, Keyboards, Programming

Victor Vanacore Conductor, Horn Arrangements, String Arrangements

Wah Wah Watson Guitar

George Benson's sound is so recognizable that, in its way, it's quite comforting to hear his voice or his guitar come across on the radio or in a club. His recordings have been polished and extravagant in many cases, but there are those signature elements — his relaxed delivery and silky touch on the strings and his voice, as evocative as a cool breeze floating across a hot summer night. Songs and Stories doesn't deviate from his formula a great deal, but it doesn't have to. He's chosen ten ubiquitous pop tunes from a variety of songwriters (and one by a relatively new kid on the block), and with the help of producers John Burk and Marcus Miller, he puts them across in fine style. The set opens with James Taylor's "Don't Let Me Be Lonely Tonight," with the great Brazilian guitarist Toninho Horta on acoustic to contrast with Benson's electric. The tune simply eases down into the listener, and more than a desperate plea as it was in Taylor's case, this version is a request that offers plenty of rhythm — courtesy of a beatbox by Butterscotch and Paulinho Da Costa's percussion. Another standout on the set is the slow strolling version of Bill Withers' "A Telephone Call Away," with guest vocalist Lalah Hathaway in duet, Gerald Albright's saxophone, and Bobby Sparks II's B-3 all adding to the band's textural palette. Following it is an intimate small-group setting of a cover of "Someday We'll All Be Free" by Lalah's late father, Donny Hathaway. Young Southern soul singer/songwriter Marc Broussard contributes "Come in from the Cold" to the mix. Benson is accompanied by Tom Scott on saxophones, guitarist Jubu, Miller's bass, and Sparks' Hammond, embellished by some nice Rhodes work by Greg Phillinganes. The reading of Tony Joe White's "Rainy Night in Georgia" is unusual, and laden with strings, but it works because Benson doesn't try to create a definitive version of anything; he simply creates his own. There are also two fine surprises at the end of the disc: an excellent version of Smokey Robinson's "One Like You" with a large ensemble; and a downright funky take on Lamont Dozier's "Living in High Definition," which is sure to be a hit at contemporary jazz radio. Benson, Jubu, and Wah Wah Watson all contribute electric guitars, with Miller playing vibes as well as laying down layers of beats atop his own string arrangements. Benson fans should have a ball with Songs and Stories. It's consistently smooth in texture, its arrangements are elegant, and it's sequenced beautifully.

George Benson - Weekend in L.A. 1977 - Original 2 LP Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio made 2012 th.





Continuous Records       DATA


George_01    George_02    George_03

George_04    George_05    George_06

LP 01

a

01 - Weekend in L. A.
02 - On Broadway

b

03 - Down Here on the Ground
04 - California P.M.
05 - The Greatest Love of All

LP 02
a

06 - It's All In The Game
07 - Windsong
08 - Ode To A Kudu

b

09 - Lady Blue
10 - We All Remember Wes
11 - We As Love

The Players:

George Benson - Lead Guitar and vocals
Phil Upchurch - Rhythm Guitar 
Ronnie Foster - Keyboards
Jorge Dalto - Acoustic piano and keyboards
Stanley Banks - Bass
Harvey Mason - Drums
Ralph Macdonald - Percussion

Recorded live at the Roxy in Hollywood, 
sept 30, oct. 1st, oct. 2nd. 1977.

On the surface. George Benson's career has followed the pattern established by Nat "King" Cole and Ray Charles: many duespaying years as an instrumentalist, then the big payoff with the emphasis on vocals. There are significant differences, however, because Benson has been singing since his preteens, long before either his minifame as a serious jazz musician or his current pop stardom as a singer guitarist. And, more important, while Cole and Charles were and are thoroughly original artists, Benson remains a polished follower.

vocals on this live double album again reflect a debt to Charles and to Stevie Wonder. Benson more often sounds like an unknown soldier in that nondescript legion of black crooners who once or twice came up with a hit (like Tommy Edwards with "It's All in the Game," covered here) and were then forgotten. Anonymous carbon-copy arrangements and tepid Jorge Dalto acoustic piano inhibit "Game," "Down Here on the Ground" and "Lady Blue," but "On Broadway" works better with its meaner groove, guitar scat section and a model percussion duet from Harvey Mason and Ralph MacDonald. Nothing, however, is as obviously geared toward the charts as "The Greatest Love of All" (a black "My Way" with enough hooks for three songs), which finds Benson confidently and enthusiastically belting at a melodramatic peak.
Early Benson fans won't find much satisfaction in the six instrumentals. With session masters like MacDonald, Mason and rhythm guitarist Phil Upchurch on board, this band clearly knows how to play, but a little of that extended "What's Going On" vamp feeling, heard on almost every cut, soon becomes a lot. True, Benson recites a number of stunning guitar licks that occasionally overwhelm through sheer quantity ("Windsong"), but his playing too often sounds disconnected. "We as Love," the one song on which he relaxes and tells a musical story, finds many of the Roxy's audience engaged in conversations of their own. (RS 261)





2012. május 15., kedd

Welstars prásentieren - Das Schönsle in Gold 32 unsterbliche Melodien ( 2 LP ) Digital transfer, noise cleaning and mixed, at Audio Design Studio home sound recording studio made​​ 2012 th.

LP_01



LP_02


Data 01    Data 02    Data 03

Data 04    Data 05

SEITE 1

01 - JOHANN STRAUSS (1825—1899)     5:52
Im Feuerstrom der Reben — Brüderlein und Schwesterlein
aus „Die Fledermaus’
Text nach Meilhac/Haiévy v. HaffnerlGenée
Elisabeth Steiner, Renate Ho!m, Wilma Lipp,
Ina Dressel, Rudolf Schock, Claudio Nicolai, Walter Berry
Der Chor der Wiener Staatsoper;
Die Wiener Symphoriiker
Dirigent: Robert Stoiz




02 - Kiange der Heimat    4:07
Csárdás aus „Die Fiedermaus
Wilma Lipp
Die Wiener Symphoniker Dirigent: Robert Stolz


03 - Wer uns getraut    2:12
Duett Saffi/Barinkay aus
„Der Zigeunerbaron”
Text nach Jókai von I. Schnitzer
Erzebeth Hazy, Rudolf Schock
Chor und Orchester der Deutschen Oper
Berlin
Dirigent: Robert Stolz



04 - Ja, das Schreiben und das Lesen Lied des
Zsupan aus „Der Zigeunerbaron’    2:32
Kurt Böhme
Das Orchester des Bayerischen
Rundfu nks
Dirigent: CarI Michalski



05 - Das Eine kann ich nicht verzeih’n — lch war ein echtes Wiener Biut 5:10
Duett Gráf inlGraf aus „Wiener Biut
Text: V. LéonIL. Stein
Hilde Güden, Rudolf Schock
Die Wiener Symphoniker
Dirigent: Robert Stolz


06 - O habet acht    5:00
Lied der Saffi aus „Der Zigeunerbaron”
Erzebeth Hazy
Das Orchester der Deutschen Oper
Berlin
Dirigent: Robert Stolz



07 - Her die Hand, es mus ja sem 2:51
Werberlied aus „Der Zigeunerbaron”
Eberhard Wachter
Chor und Orchester der Deutschen Oper
Berlin
Dirigent: Robert Stolz


08 - CARL ZELLER (1842—1898)    2:51
Schenkt man sich Rosen in Tirol
Duett Kurfurstin/Adam aus ‚Der Vogelhándler”
Text v. West/He Id
Erika Köth, Rudolf Schock
Die Berliner Symphoniker
Dirigent: Frank Fox

----------------------------------------


SEITE 2

01 - CARL MILLÖCKER (1842-1899)     5:57
Soll ich reden, darf ich schweigen? —
lch setz den Fall
Duett Laura/Symon aus
„Der Betteistudent”
Text: ZeIIIGenée
Hilde Güden, Rudolf Schock Die Berliner Symphoniker
Dirigent: Cari Michaiski



02 - Und da soll man noch galant sem — Ach, ich hab’ sie ja nur auf   4:57
die Schulter geküBt
Lied des Ollendorf aus
Der Betteistudent”
Kurt Böhme
Die Berliner Symphoniker
Dirigent: CarI Michaiski

03 - CARL ZELLER
Als geblüht der Kirschenbaum 2:38
Lied der Kurfürstin aus „Der Vogelhándler"
Erika Köth
Die Berliner Symphoniker Dirigent: Frank Fox



04 - CARL MILLÖCKER    3:37
Durch diesen KuB sei unser Bund geweiht
Duett Bronislawa/Jan aus
‚Der Bettelstudent
Lotte Schádle, Peter Minich
Die Berliner Symphoniker
Dirigent: Robert Stolz



05 - JOHANN STRAUSS    4:28
Komm in die Gondel
Lied des Herzogs aus
„Eme Nacht in Venedig”
Text: ZeII/GenéelMarischka
Fritz Wunderlich
Die Berliner Symphoniker
Dirigent: Alois Melichar


06 - FRANZ LEHAR (1870—1948)   2:40
Meine Liebe, deíne Liebe, die sind beide gleich
Duett Mi/GustI aus „Das Land des Láchelns
Text: Léon/Herzer/Löhner Liselotte Schmidt, Ferry Gruber
Die Berliner Symphoniker
Dirigent: Robert Stolz



07 - Dein ist mein ganzes Herz    3:31
Lied des Sou-Chong, aus „Das Land des Láchelns”
Rudolf Schock
Die Berliner Symphoniker
Dirigent: Robert Stolz



08 - Einmal möcht’ ich was Nárrisches tun   2:49
Duett Bella/Pimpinelli aus „Paganini"
Text: Knepler/Jenbach
Dorothea Chryst, Ferry Gruber
Die Berliner Symphoniker
Dirigent: Robert Stolz

--------------------------------------

SEITE 3


01 - FR. SCHUBERT/H. BERTE   3:23
Bin so glücklich - Was Schön’res könnt’ sem als ein Wiener Lied
Duett Hannerl/Schubert aus „Das Dreimáderlhaus’
Text: WillnerlReichert
Renate Holm, Rudolf Schock
Die Berliner Symphoniker
Dirigent: Fried Walter


02 - FRANZ LEHAR
Es iebt’ eme Vilja   5:17
Vilja-Lied aus „Die lustige Witwe”
Text: Léon/Stein
Margit Schramm
Die Berliner Symphoniker
Dirigent: Robert Stolz



03 - JACQUES OFFENBACH (1819-1880)
Ich glaubte hier etwas zu fühien   4:36
Duett aus .‚Orpheus in der Unterwelt’
Text: L. Kaliscb
Sylvia Geszty, Herrnann Prey
Die Berliner Symphoniker
Dirigent: Werner Schmidt-Boelcke

04 - FRANZ LEHAR
Ja, das Studium der Weiber ist schwer 3:00
Septett aus ‚Die lustge Witwe’
Rudolf Schock, Benno Kusche, Claudio Nicolai,
Julius Katona, Dietrich Lorenz, PauI-Otto Kuster, Heinz Stoll
Die Berliner Symphoniker
Dirigent: Robert Stolz



05 - ROBERTSTOLZ (1880—1975)
Du solist der Kaiser meiner Seele sem   4:33
aus „Himmelblaue Trume
Text: Grünbaum/Sterk Melitta Muszely
Die Berliner Symphoniker
Dirigent: Robert Stolz



06 - Zwei Herzen im Dreivierteltakt
Duett aus der gleichnamigen Operette
Text: R. Gilbert
Renate Holm, Rudolf Schock
Das Orchester der Wiener Volksoper
Dirigent: Robert Stolz



07 - FRANZ LEHAR    4:50
Allein, wieder allein
Wolgalied aus „Der Zarewitsch”
Text: Jenbach/Reichert
Fritz Wunderlich
Die Berliner Symphoniker
Dirigent: Alois Melichar



08 - Schau’n Sie freundlichst mich an — Madel klein, Madel fein  2:21
Duett aus ‚Der Graf Von Luxemburg
Text: W,Ilner/Bodanzky
Lotte Schádle, Claudio Nicolai
Die Berliner Symphoniker
Dirigent: Robert Stolz
-------------------------------------


SEITE 4


01 - EDUARD KÜNNEKE (1885—1953)   3:21
Ich bin nur ein armer Wandergesell
Lied des Fremden aus
„Der Vetter aus Dingsda"
Text: HaJIer/Rideamus
Fritz Wunderlich
Die Berliner Symphoniker
Dirigent: Gerhard Becker



02 - EMMERICH KALMAN   3:45
Komm mit nach Varasdin
Duett aus „Grafin Mariza
Text: BrammerlGrűnwald
Margit Schramm, Ferry Gruber
Die Berliner Symphoniker
Dirigent: Robert Stolz



03 - Zwei Marchenaugen   3:48
Lied des Mister X aus
„Die Zirkusprinzessin"
Text. Brammer/Grünwald
Michael Theodore
Das Südfunk-Sinfonieorchester
Dirigent: Josef Dünnwald


 
04 - Madchen gibt es wunderfeine 4:46
Duett Sylvia/Edwiri aus
‚Die Csárdásfürstin’
Text: Stein/Jenbach/Noack
Anna Moffo, René KoIIo
Das Symphonieorchester Graunke
Dirigent: Bert Grund



05 - BRUNO GRANICHSTAEDTEN (1879—1944)  4:19
Zuschau’n kann i net 
Lied des Leopold aus Benatzkys
Singspiel „im weilsen Rössi’
Text: Charefl/Müller/Gilbert
Peter Alexander
Das Orchester Johannes Fehring



06 - LEON JESSEL (1871—1941)   4:22
Madle aus dem schwarzen WaId
Quintett aus „Schwarzwaldmadel”
Text.’ A. Niedhart
Annelies Herrfurth, Ursula
Schirrmacher, Margit Schramm, Lotte
Schadle, Rudolf Schock.
Die Berliner Symphoniker
Dirigent: Werner Schmidt-Boelcke

07 - RUDOLF KATTNIGG (1895—1955)  3:10
Leise erkiingen Giocken vom Campanile
Barcarole aus ‚Balkanliebe”
Text: Kahr/Hardt-Warden
Michael Theodore
Das Orchester der Wiener Volksoper
Dirigent: R. MüIIer-Lampertz



08 - RALPH BENATZKY (1884—1957)  2:10
Es mus was Wunderbares sem, Von dir geliebt zu werden
Duett aus dem Singspiel „Im weisen Rössi’
Text: ChareIIIMüIIer/Giibert
lngeborg Hallstein, Peter Alexander
Das OrchesterJohannes Fehring

Biidvorlagen und Fotos:
Archiv für Kunst und Geschichte/
Bach-Mauritius/Bernard/Betz/Fayer/Felicitas/
Grimm/Historisches Museum der Stadt Wien/
Maack/Ősterreichjsche Nationalbibliothek/Siess/

2012. május 11., péntek

Das Grosse Wunschkonzert. - LP ( Opera slágerek ) / Digital transfer, noise cleaning and mixed, at Audio Design Studio home sound recording studio made​​ 2012 th.



Koncert_DATA 01    Koncert_DATA 02

 Koncert_DATA 03    Koncert_DATA 04

Seite 1:

GEORGES BIZET
Vorspiel zur Oper „Carmen”
Orchester der Metropolitan Opera, New York
Dirigent: Leonard Bernstein’

WOLFGANG AMADEUS MOZART
„Eine kleine Nachtmusik”, 1. Satz
Berliner Philharmoniker
Dirigent: Ferenc Fricsay

WOLFGANG AMADEUS MOZART
‘Feinsliebchen, komm ans Fenster’ aus der Oper „Don Giovanni”
Dietrich FischerDieskau Radio-Symphonie-Orchester Berlin Dirigent: Hans Lőwlein

PETER TSCHAIKOWSKY
‘Tanz der Rohrflöten’ aus der NuBknacker-Suite
Berliner Philharmoniker
Dirigent: Herbert Von Karajan

GIUSEPPE VERDI
Tnumphmarsch aus der Oper „Aida”
Orchester der Mailander Scala
Dirigent: Claudio Abbado

GIUSEPPE VERDI
Gefangenenchor aus der Oper „Nabucco”
Chor und Orchester der Deutschen Oper Berlin
Dirigent: Horst Stein

MARC ANTOINE CHARPENTIER
Prélude du Te Deum
Adolf Scherbaum. Trompete
Hamburger Barock-Ensemble

JOHANNES BRAHMS
Ungarischer Tanz Nr. 5
Berliner Philharmoniker
Dirigent: Herbert von Karajan

JOHANN STRAUSS (Vater)
Radetzky Marsch
Berliner Philharmoniker
Dirigent: Herbert von Karajan

AMILCARE PONCHIELLI
Galopp aus „Tanz der Stunden” aus der Oper
‚.La Gioconda”
Radio — Symphonie — Orchester Berlin
Dirigent: Ferenc Fricsay

®1973/1960/1963/1967/1975/1965/1969/1959/1967/1960
Polydor International GmbH
Mr. Bernstein appoars by courtesy ot CBS


Seite 2:

RICHARD STRAUSS
„Also sprach Zarathustra” (Anfang)
Boston Symphony Orchestra
Dirigent: William Steinberg

ALBERT LORTZING
I-Iotzschuhtanz aus der Oper „Zar und Zimmermann”
Bamberger Symphoniker
Dirigent: Hans Gierster

GIOACCHINO ROSSINI
‘Ich bin das Faktotum’ aus der Oper „Der Barbier Von Sevilla” (ital. gesungen) Hermann Prey
London Symphony Orchestra Dirigent: Claudio Abbado

FELIX MENDELSSOHN BARTI-IOLDY
I-lochzeitsmarsch aus „Ein Sommernachtstraum”
Symphonie-Orchester des Bayerischen Rundfunks
Dirigent: Rafael Kubelik

RICHARD WAGNER ‘Steuermann, laB die Wacht’ aus der Oper „Der f1iegend Hollánder” Chor und Orchester der Bayreuther Festspiele Dirigent: Wilhelm Pitz
CARL MARtA VON WEBER
Walzer aus der Oper „Der Freischütz”
Staatskapelle Dresden
Dirigent: Carlos Kleiber

FRANZ SCHUBERT (Arr. Hans Haider)
„Am Brunnen vor dem Tore”
Peter Schreier.
Hans Haider, Gitarre

JOHANN UND JOSEPH STRAUSS
Pizzicato Polka
Wiener Philharmoniker
Dirigent: Karl Böhm

ROBERT SCHUMANN
Traumerei aus „Kinderszenen”
Wilhelm Kempff, Klavler

OFFENBACH-ROSENTHAL
Can Can aus „Gaité Paiisienne”
Radio- Symphonie— Orchester Berlin
Dirigent: Paul Strauss

® 1971/1967/1972/1965/1972/1974/1974/1973/1966/1958
Polydor International GmbH
Printed in Germany by Gerhard Kaiser GmbH, Essen

2012. május 9., szerda

Lou Donaldson - Musty Rusty LP Digital noise cleaned, and mixed, at Audio Design Studio 2012.

Tracklis DATA

Lou Donaldson - 01 - Musty Rusty
Lou Donaldson - 02 - Midnight Sun
Lou Donaldson - 03 - Hipty Hop
Lou Donaldson - 04 - The Spacewalk
Lou Donaldson - 05 - Ha' Mercy
Lou Donaldson - 06 - Cherry Pink And Apple Blossom White

Notes

Lou Donaldson (born November 3, 1926) is a jazz alto saxophonist. He was born in Badin, North Carolina. He is best known for his soulful, bluesy approach to playing the alto saxophone, although in his formative years he was, as many were of the bebop era, heavily influenced by Charlie Parker.

His first recordings were with bop emissaries Milt Jackson and Thelonious Monk in 1952 and he participated in several small groups with other jazz luminaries such as trumpeter Blue Mitchell, pianist Horace Silver, and drummer Art Blakey.

In 1953, he also recorded sessions with the trumpet virtuoso Clifford Brown, and Philly Joe Jones. He was a member of Art Blakey's Quintet and appeared on some of their best regarded albums, including the two albums recorded at Birdland in February 1954 Night at Birdland.

He has recorded in the bop, hard bop, and soul jazz genres. For many years his pianist was Herman Foster.

Johann Strauss - Der Zigeunerbaron - A cigánybáró LP Electrola / Digital transfer, noise cleaning and mixed, at Audio Design Studio home sound recording studio made​​ 2012 th.






Johann Strauss - DER ZIGEUNERBARON
KOMISCHB OPER VON JOHANN STRAUSS
GROSSER QUERSCHNITT


Tracklist

01 - Introduktion
02 - Geh, fahr mit mir, Herzliebste mein
03 - Als flotter Geist
04 - So tauschte mich die Ahnung nicht
04 - Ja, das Schreiben und das Lesen
05 - Finale I: O habet acht
06 - In dieser Nadit voll herrlicher Pracht
07 - Bin Greis ist mir irn Traum erschienen
08 - Ha, seht es winkt (Schatzwalzer)
09 - Ja, das Bisen wird gefüge
10 - Wer uns getraut
11 - Werberlied: Her die Hand, es muí ja sem
12 - Finale II: Noch eben in Gloria Von Hoheit umflossen
13 - Walzer
14 - Von des Tajo Strand
15 - Einzugsmarsdi: Hurrah, die Schlacht mitgemacht
16 - Finale III: Reich’ ihm die Hand, vertraue dem Zigeuner

Singers:

GRAF PETER HOMONAY Obergespan cies Temeser Komitates - MARCEL CORDES Bariton
CONTE CARNERO königlidier Kommissir - WILHELM STRIENZ Bas
SANDOR BARINKAY eim junger Ernigrant - RUDOLF SCHOCK Tenor
KALMAN ZSUPAN ein reicher Schweinezüchter - BENNO KUSCHE Bariton
ARSENA seine Tochter - HELGA HILDEBRAND Sopran
MIRABELLA Erzieherin im Hause Zsupáns - CHRISTEL WILLENBERG Sopran
OTTOKÁR ihr Sohn -WALTER RAUSCH Tenor
CZIPRA Zigetmerin - SIEGLINDE WAGNER Alt
SAFFI Zigeunermdchen - ERIKA KOTH Sopran
DER CHOR DER DEUTSCHEN OPER BERLIN (LEITUNG HERMANN LUDDECKE)
EIN GROSSES OPERNORCHESTER. DIRIGENT WERNER SCHMIDT-BOELCKE

Notes


immer zu dessen Vorteil) vom spritzigen Operettenwitz weg in die Náhe der feineren Komik und der lyriscbromantisdien Züge der Spieloper. Eme Begegnurig in Budapest mit deni Novellisten Maurus Jokai, dem „ungarischen Balzac”, hatte StrauB mit deni Stoff von Jokais Erzáhiung „Saffi” bekannt gemacht. In dieser um 1750 spielenden Geschid-ite aus dem Temeser Banat war zudem nodi der Nachklang eines aktuellen Themas aus der Mitte des Jahrhunderts enthalten: des ungarischzigeunerischen, das zu Zeiten Liszts noch Von nationalem Aufbruch kündete, zur Zeit der Strauíl’scben Komposition aber, als sidi die Gegensátze zwischen Osterreicb und Ungarn wieder versöhnten, die Bedeutung einer biollen Milieufarbe, eines wirksamen Stimmungsreizes annahm.
Was der gewandte, sich dem Komponisten mit psydiologischem Geschick anpassende Journalist Ignaz Schnitzer aus Jokais Novelle für StrauB als Textbudi zurecbtzimmerte, war etwa clies: Derjunge Ungar Sándor Barinkayfindet, aus derVerbannung heimkehrend, die Güter seiner Vorfabren verwahrlost und von Zigeunern bewohnt. Sem Nachbar ist der reidi gewordene Sdiweinezüditer Zsupán, der selbst ein Auge auf Barinkays Güter geworfen hatte, mit seiner vornehm erzogenen Tochter Arsena. Barinkay verliebt sich iri Arsena, wird aber hocbmütig abgewiesen: der Bewerber um ihre Hand müsse niindestens ein Baron sem. Der Gekrinkte fühit sidi nun mehr zu den heimatlosen Zigeunern hingezogen, besonders zu dem Zigeunermádchen Saffi; er wird Zigeunerbaron”, grábt einen von seinem Vater versteckten Sdiatz aus seinem Boden aus, dessen Verheimlid-iung allerdings die ibm gewhrte Amnestie wieder in Frage steilt, worauf er sich Von den Homonaysd,en Husaren zum Krieg gegen Spanien anwerben láBt, dort Heldentaten vollbringt und, in aller Form dafür geadelt, min wirklicb seine Saffi heiniführt. Wie sidi herausstellt, ist diese übrigens keine Zigeunerin, sondern die Toditer eines türkisdien Pasdias.
Zwei Jahre arbeitete Straull an der Koniposition; er niacbte es sich nidit leicht. Als er, kurz vor seineni 60. Geburtstag, fertig war, hatte er - trotz allem, was man
abermais gegen das Libretto und gegen ein gelegentlidies Zuviel an eigener Notenbastelei einwenden mag
- ein Werk vollendet, in dem sich echte Rührung und erfrisdiende Heiterkeit dieWaage halten, in dem (sciion gleidi in der Introduktion) die einsame, von Zigeunersdiwermut erfülite Landscbaft vernehmlidi mitsprid-it und der Szene einen magiscben Hintergrund gibt. Barinkays Auftrittslied mit dem Walzerrefrain Jo, das alles auf Ehr”, die sdimissig-fred-ie Chorpolka vom „Hodizeitskuchen”, die echte Opernarie der Saffi „O habet adit!”, das ganze erste Finale sind bekannte Nunimern der Partitur. Das popu1rste Stück, dessen geheininisvoll giánzende Sdiönheit alle Dilettantinnen der Welt an hiiuslidien Kaminen bislang nicht umzubringen vermodite,i, folgt im zweiten Akt nadi dem köstiidien Schatzwalzer: das Dompfaff-Duett „Wer uns getraut”. Dem etwas platten, sentimentalisierenden SchluIl von der Himmelsmacht der Liebe zum Trotz - es Iiegt ein so ijedhaft reiner Zauber über diesem Duett, daB man so baid nicht müde werden wird, es zu hören.
Die stollenden Rhythmen des Werbe1iedsHerdie Hand” sollen der Geigenmelodie eines ungarisdien Zigeuners entstammen. Entsdieidend ist, weldie hinreiBenden Partien der Komponist daraus für das zweite Finale gewinnt, diesen ungewöhnlich ernsten, mit der Trennung der Liebenden das Tragische streifenden Aktsdilull. Zsupán, durdi sem Couplet vom „Borstenvieh und Sdiweinespeck” zur Figur der Charakterposse gestempelt (der berühmte Alexander Girardi spielte ihn in der Uraufführung), rückt im kurzen dritten Akt nod-i einmai nadi vorn, bis der Einzugsmarsch, den StrauB mit üppigsten Bühnenmitteln dargestejit wissen wollte, alles andere beiseite drángt; die patriotisdie Welle, die von diesem Marsdi auf die Zuschauer der Premiere übersprang, sidierte nidit zuletzt dem Werk den gewaltigen Anfangserfolg.
EJberdies war es, wie gesagt, ein Brfolg des Zigeunermilieus, der dann leider zu eifriger Nadiahmung angeregt hat. Aber selbst Lehárs „Zigeunerliebe” und die „Czardasfürstin” Kálmáns haben nicht mehr den Glanz und die Erfindungskraft des „Zigeunerbarons” erreidit.
F.B.

Firbfoto Titelsejte: Atelier Robert Pütz, Költi
E L E C T R O L A G E S E L L S C H A FT M. 5. 1-1. K O L N. Diese Sdsallplatte kann mit jdem modernen LeiditgewiditTonabnehmer abgcspielt werden. Tonabnehmer behutsam auísetzen und abheben, Abtastspitze und Platten sorgfiltig staubfrei halten. Platten senkrecht oder in geringer Stüdczaisl waagerecht auE glattter Fiidse lagern. Einwirkung Von Wrme vermeiden. Technisdier Hinweis: Je kleiner dic Abtastspitze, um so reiner der Klang. Verwenden Sie votrzugsweise Diamanten mit einer Spitzenverrundung bit herab zu 13 (j = mikron = tausendstel mm). Das tYberspielen unserer Schallplatten sowie dat Mitsdsneiden Von Sendungen unserer Sdsallplatren auf Band oder Draht, audi zum privaten Gebraudi, itt verboten. Zur Vermeidung unerlaubter Uberspielungen sind den Hindlern Verleih, Vernsietung und Auswahlsendungen untersagt.

2012. május 8., kedd

Die Oberkrainer Musikanten LP Digital transfer, noise cleaning and mixed, at Audio Design Studio Home Sound Recording Studio 2012



01 - Fürazwengarisch
02 - G’föller Marsch
03 - Glungezer Landler
04 - Steyerische Polka
05 - D’ Schwoagerin
06 - Der Lustige Jager
07 - Im Taigitschgrab’n
08 - Schenkts Ma No Oane El
09 - ‘S Gamsgebirg
10 - Zinkenbacher Walzer
11 - A Lustige Marschei
12 - Da Schindlsepp
13 - Klarinettenmuckl
14 - Maitanz-Walzer
15 - Beim Bauer Ln Der Au
16 - Aber Schliersee Des Is Halt A Platzl

2012. május 7., hétfő

Altwiener Lieder ( RÉGI BÉCSI DALOK ) LP 1957 Digital transfer, noise cleaning and mixed, at Audio Design Studio home sound recording studio made​​ 2012 th.




01 - Wiener Fiakerlied
(GUSTAV PICK)

02 - Was Öst’ reich is
(HANS SCHRAMMEL)

03 - Hauchzer Galopp
(HANS TOTZAUER)

04 - Der blinde Werkelmann
(TOTZAUER—HAUENSTEIN)

05 - ‘s Herz in der Brust
(SIOLY—WIESBERG—SPAHN)

06 - Ein Frühlingstrausserl aus Wien
(TOTZAUER)

07 - Hat nix, hilfi nix
(ALTES WIENERLIED)

Side B

08 - Solche G’spass
(RUDOLF KEMMETER)

09 - Aber Hausknecht mei Peitsch’ n
(KIJRT HERBERT)

10 - Wiener Fiaker Galopp
(HANS TOTZAUER)

11 - Das Johann Strauss Haus
(DILLMANN—EIGNER)

12 - Was glaub ‘n S’was g ‘scheg ‘n is
(SIOLY—SKURAWY)

13 - Die alte Postkutsche
(TOTZAUER)

14 - In Grinzing zündens d’Liachter an
(KOWÁRNA— OBONYA)


JULIUS PATZAK (TENOR) . ERICH KUNZ (BARITON)
ORCHESTER HANS TOTZAUER . GRINZINGER SCHRAMMELN
TROMPETENSOLO: HANS TOTZAUER JUNIOR

2012. május 5., szombat

Zoot Sims - Zoot Sims And The Gershwin Brothers

Download_01    Download_02

Download_03    Download_04


01 - The Man I Love     
02 - How Long Has This Been Going On
03 - Lady Be Good
04 - I've Got A Crush On You
05 - I Got Rhythm
06 - Embraceable You
07 - S Wonderful
08 - Someone To Watch Over Me
09 - Isn't It A Pity
10 - Summertime
11 - They Can't Take That Away From Me

AMG AllMusic Guide: Pop Albums:
Zoot Sims and the Gershwin Brothers
Top
Home > Library > Entertainment & Arts > Pop Albums

    Artist: Zoot Sims

    Release Date: June 06, 1975
    Total Time: 49:11


Review
Along with his album with Count Basie (Basie and Zoot) during the same period, this is one of Sims' most exciting recordings of his career. Greatly assisted by pianist Oscar Peterson, guitarist Joe Pass, bassist George Mraz, and drummer Grady Tate, he explores ten songs written by George and Ira Gershwin. Somehow the magic was definitely present and, whether it be stomps such as "The Man I Love," "Lady Be Good," and "I Got Rhythm" or warm ballads (including "I've Got a Crush on You" and "Embraceable You"), Zoot Sims is heard at the peak of his powers. A true gem. ~ Scott Yanow, Rovi

Read more: http://www.answers.com/topic/zoot-sims-and-the-gershwin-brothers-1#ixzz1tWMFkQR4

2012. május 1., kedd

Dankó Nóták ( Sogs by Pista Dankó ) SLPX 10094 Qualiton / Digital transfer, noise cleaning and mixed, at Audio Design Studio home sound recording studio made​​ 2012 th.



Dankó Nóták DATA_01   Dankó Nóták DATA_02

Dankó Nóták DATA_03   Dankó Nóták DATA_04


Daru madár gyere velem — Rám se nézett — Ugye most már másnak mondod — Ha én rózsám kakukkmadár lehetnék — Nyáron vályogot vetek — Még azt mondják, nincs Szegeden boszorkány — Gyenge violának — Bíró uram, bíró uram — Megkondult a kecskeméti öreg templom nagy harangja — Csitt babám — Írom a levelem Balog Máriának — Felvégi ház, alvégi ház — Sötét erdő sűrűjéből — Volt nekem két ökröm — Nem fúj a szél — -Most van a nap lemenőben — Némuljon el a hegedű — Nem jó, nem jó — Páros élet a legszebb a világon

Crane bird, come with me — You never look at mc — Now you will confide this to someone else — If I was a cuckoo — In the sumimer I’d make mud-bricks — It’s said tihere’s none in Szeged A fragile, weak littie violet — Judge, judge — Pm writirig this letter to Marja Balog — Houses at both endS of the viilage —. From the depth of a thick forest — I had two oxen — The wind is not blowing — The big beli of Kecskemét’s old church — Hush, my baby — The sun is setting — Huh, don’t play the violin — It’s not good, it’s not good — Life together Is the wondrous thirig in the world


Personel:

Sári Vörös, Erzsi Nyíry, Károly Kiss,  Sándor Reményi,

A SZEGEDI „DANKÓ PISTA” CIGÁNYZENEKAR
PRIMÁS: LAKATOS GÉZA

TrHE “DANKÓ PISTA” GIPSY ORCHESTRA, SZEGED
LEADER: GÉZA LAKATOS

DANKÓ PISTA (1858—1903). Szülővárosából, Szegedről, egy felsővárosi vályog vlskóból indult el, mint szurtos cigánygyerek, művészetével „márványszobrot muzsikált ki magának”, az első s talán ez ideig egyetlen cigány szobrát a világnak...
A korán árvaságra jutott fiút a világot járt cigányprímás, Erdélyi Náci fogja hegedülésre. Mint fiatal „malac prímás”, bandájával a környéki tanyákat járja. Itt szövődik romantikus szerelme a 17 éves Jo6 Ilonkával megszökteti s feleségül veszi.
Az árvíz után újjáépülő Szegeden 1883-ban jelennek meg első dalai nyomtatásban. Igazi sikerét 16 dalával Molnár György Zsöllérleány c. színművében (1886) aratja. Szegeden ismerkedik meg első s legjobb szövegírójával, Pósa Lajossal, aki haláláig igazi pártfogója marad. A nótaköltőt Gárdonyi Géza és Tömörkény István, a magyar Irodalom e két nagy alakja Is barátságába fogadja. 1890-ben zenészekből 5 énekesekből társulatot szervez, s hazai körútja a magyar dal diadalútját jelzi. Vendégszerepel Szentpétervárott, Moszkvában s később Belgrádban Is. 1893- ban kiadják Száz dal címmel 10 éves daltermésének gyűjteményét. 1895-ben országos pályázaton Balatoni dalai-val 300 pályázó közül első díjat nyer. Az ezredéves ünnepségek idején (1896), társulatával a fővárosi Ősbudavár vendéglőben aratja babérait. l898-ban, majd 1900-ban betegsége gyógyítására San Remóba küldik barátai. Ez év augusztusában Nagyváradon szerepel, és a századeiő legnagyobb magyar forradalmi költőjével, Ady Endrével köt barátságot. Meghívják Berlinbe és Konstantinápolyba is.
Utolsó körútján, 1902-ben kiesik vonója kezéből. Magyar Írók, hirlapirók országszerte gyűjtenek a súlyos beteg dalköltő érdekében. 1903 március 29-én örökre elhallgat a dal ... Koporsóját a fővárosból hazaviszik szülővárosába. Az egész ország részvéte kíséri a szegedi belvárosi temető díszsírhelyéig. Művé3zi szobrát, Margó Ede alkotását 1912-ben leplezik le a Tisza-parti sétányon.
Ismert volt, mint népszínmű-iró is. Darabjai közül többet (Pataki leányok, Cigányszerelem, A halász szeretője), Budapesten is sikerrel adtak elő. Zenei alapismeretének hiányát született tehetségével pótolta. Közel hétszáz dalának jórészt szövegeit Is maga Írta dallamait tisztelői, szakértők írták kottára. Ösztönösen megérezte a népdal torvényszerűségei, és gazdag volt üj motívumokhan is. Számos dala népdallá vált.
A Dankó-tradíciókat híven őrzi a Szegedi „Dankó Pista” zenekar, Lakatos Géza prímás vezetésével.
(Csongor Győző)
------------

PISTA DANKÓ (1858—1903). Once there was a little gipsy boy, living at a shabby, Old hut at his native town ot Szeged (southern Hungary). And as the years passed by, this os-te time gipsy child grew up and became one ot the greatest gipsy musicians ot Europe,—khe artist, whose memory Is preserved—atflOng many other thlngs—wlth a marble statue,—perh.aps the only one ever made in the world showing a gipsy violinist.
But let us wifld back the wheeis of time for a Uttle white... The young boy — whlle still In his early years — was trained to violin playlng by Náci Erdélyi, the great gipsy violinist ot the time, — who travelled ali over the world with his band.
A few years later Pista tankó, too, formed his own band. He was the leader ot the band and they, too, went on tours, — ot cours€ not farther than the nearby tarms. It was during this period that his romantic love aífair with 17 year old Ilonka Joó started: the young couple tied írom home and he married her atterwards.
Nis first gipsy tunes were first pubiisld in 1883, tollowing the reclnstructiofl ot the town ot Szeged after the big flood. Nis outstanding success in the first period was the performance ot 16 of his songs, sang in a play entitled „Peasant giri” by György Molnár (1886). It was at the town of Szeged where he got acquainted with Lajos Pósa, the best librettist of Itsis songs, and they remained friends unlil Pósa’s death. Pósa was a great patron of young Pista Dankó, but other outstanding figures o Hungarian literature like Géza Gárdonyi and István Tömörkény also became friends ot his. In 1890 Pista Daflkó tormed a theatre company, with musicians and singers as lts memberS. They started tourlng ali over Hungary and thls venture was in fact a great victory ot the Hungarlan popular songs. He went to guest pertormanceS to St. Petersburg, Moscow and later to Belgrade, as well. In 1893 a collectiofl ot his songs, comflosed between 1883—1893 was published under the title: “One hundred song ;“. In 1895 he took par-t in a national song competition and his songs on Lake Balaton won first prize. This wa.s a marking, vlctory especially because there were 300 entries of the competition. During the millenary cclebrations (l896) he won great success with the performances (ot his) own theatre oompany at the Old Buda Castle restaurant, ot the Hungarlan capital. In 1898 his friends advised him to go to San Remo and cure his lliness there. In the same year he pertormed at Nagyvárad, and made friendship with Endre Ady, the greatest Hungarian revolutionary poet ot the tulrn ot the century. He got InvitatiOfls Írom Berlin and Constantinopie as well.
In 1902 when he was on a guest tour in the countryside the bow tel1 out of tine hand of the great violinist. Hungarlan wrlters and journallsts starteci coltectiflg money tor Pi;;ta Dankó whO was seriously lii by that time. And a year later on 29 March, 1903 he died, In Budtapest. He was buried at his native town of Szeged and the whole country was mourning. Eightt years later a statue showing Dankó Pista was unvelled at the Tisza embankment ot Szeged. It, was made by Ede Margó. Pista Dankó was known not oniy tor his music and songs but tor his plays, as well. Several of them, like “The glrls ot Patak”, “Gipsy Love” anci “The lover ot tihe tisherman’ were performed in Budapest, as well. The lack ot his musical education were miade up by his exceptional naturai musical talent. He himself wrote the words (lyrics) ot his song3s, the number ot which goes up to 700, and the melodles were noted down by hts trlends, who knew how t write down music. He had a good instinet the musical laws ot tolk songs and hes Is knWn tor the richness ot his melodies. Many ot his compositions have become known ac foIíc songs.
The Dankó traditions are preserved by the Dankó Band ot Szeged. (The bband-ieader Is Géza Lakatos.)
Győző Csongor

stereo-mono

MADE IN HUNGARY
Zenei rendező • Musical Producer: Dóra Antal
Hangmérnök • Recording Engineer: János Lukács
Tasak: A szegedi Dankó Pista szobor
Cover: Sclupture of Pista DanIcó at Szeged
Tasakterv Cover Design: György Kolozsváry
Photo: László Vámos
Qualiton Recording
Made In Hungary