26.5.14
Vinilija @ Radio MARŠ 4.5.2014: The KPM Music Library
1. Svetlana Makarovič & Dennis Gonzalez - Kresna pesem
Arranged By, Alto Saxophone, Keyboards, Design, Photography – Lado Jakša
Arranged By, Producer, Trumpet – Dennis Gonzalez
Drums, Percussion – Gerard Bendiks
Other [Organizer] – Stane Sušnik
Recorded By – Aco Razbornik, Toni Jurij
Tenor Saxophone – Mario Marolt
Written-By, Vocals – Svetlana Makarovič
2. The KPM Music Library - Music For Dancefloors (Strut records)
A2 Alan Parker - Unlimited Love
A3 Duncan Lamont - Funky Express
A4 Johnny Pearson - Assault Course
A5 Barry Morgan And Ray Cooper - Samba Street
B1 James Clarke - Second Cut (Re-Edit)
B2 John Cameron - Swamp Fever
B3 William Farley And Dennis Bovell - Reggae Train
B4 Keith Mansfield - Incidental Backcloth No. 3
B5 Francis Coppieters -Cross Talk
C1 Pierre Lavin Pop Band - In Advance (Re-Edit)
C2 Alan Hawkshaw - Senior Thump
C3 Alan Moorhouse - Expo In Tokyo
C4 Nascimbene - Witchdoctor: Interlude
C5 Juan Erlando & His Latin Band - Jungle Baby
D1 Klaus Weiss - Morning 1 / Morning 2
D2 Les Baxter - Freeway To Rio
D3 Juan Erlando & His Latin Band - Brazil Express
D4 Francis Coppieters - Piano In Transit
D5 Keith Mansfielfd - Crash Course
A1 Alan Parker ft. Madeline Belle - That's What Friends Are For
This April, Strut reissues one of the early releases from its catalogue in a brand new Deluxe Edition. Music For Dancefloors is a varied journey through the archives of the fabled and historic KPM Music Library. The phenomenon of the music library is unique, involving brilliant but anonymous composers and musicians creating short pieces of music to be made available for background use in film, television, and radio. The music wasn’t intended to be enjoyed in a home listening context, and in fact wasn’t available for commercial release at all, but the sheer quality of the playing and compositions resulted in the music finding an enthusiastic audience. Original promotional-only vinyl releases from KPM and other libraries of the 1960s and 70s (generally from print run of only 1,000 copies each) can now exchange hands for a small fortune. During its heyday, many pieces recorded through KPM became perennial UK TV themes – long-running programs like “Grandstand,” “Mastermind” and “ITV News At Ten.” Tellingly, the KPM boss during this period, Robin Phillips, made a point of setting the bar high, bringing in the UK’s most talented young composers, arrangers and session players to the studios to ensure the highest quality music. The quality has justifiably stood the test of time. In recent years, DJs and collectors have coveted volumes of the anonymous green label KPM LPs as a source for hard-to-find grooves and breaks, and KPM has become a well-mined source for hip-hop producers and music connoisseurs – Jay-Z, DOOM, Madlib and Guilty Simpson, Dangermouse and Action Bronson are among the many who have plundered KPM grooves. A KPM piece (Kieth Mansfield’s “Funky Fanfare”) even graces the opening of Quentin Tarantino’s film Kill Bill. Compiled by ex-Jazz Cafe booker and DJ Adrian Gibson and Strut’s Quinton Scott‚ Music For Dancefloors was originally created as a series of albums in the early 2000s dedicated to mining the archives of the UK’s foremost music libraries. Volumes on Chappell music and Bosworth would follow in 2001 and 2002. This first installment mines the KPM reels for some of the most in-demand, funkiest and quirkiest pieces from the library. Some have become classics in their own right: Alan Parker’s ”That’s What Friends Are For” featuring Blue Mink’s Madeline Bell on vocals, Alan Hawkshaw’s stomping hammond groove “Senior Thump” (a precursor to his work as The Mohawks), and Keith Mansfield’s “Crash Course,” a driving jazz anthem. Elsewhere, the tracklist is peppered with oddities like Klaus Weiss’ incidental downtempo mood “Morning 1 / Morning 2” and Nascimbene’s “Witchdoctor,” a short tribal field recording. This new edition features an exclusive bonus disc, which makes available for the first time the debut gig by the KPM All-Stars, bringing together many of KPM’s greatest composers for a unique night at London’s Jazz Cafe on 27th April 2000. A big band comprising original and contemporary KPM library musicians and writers, including Alan Hawkshaw, Keith Mansfield and James Clarke, perform the library’s best-loved TV themes and cult dancefloor classics for the first time anywhere since the original sessions. Within the set, Alan Hawkshaw plays the live debut of tracks from his album The Champ by The Mohawks including the fabled title track, as well as “Senior Thump’ and “Landscape.” Music For Dancefloors: The KPM Music Library (Deluxe version) is released in three formats: 2CD (original studio recordings and live concert), 2LP featuring the original studio recordings and 2CD insert of the full CD content, and digital (original studio recordings and live concert). The album features the original sleeve notes by Charles Waring (Mojo magazine) alongside extra photos and memorabilia.
GET THE ALBUM
4.5.14
Vinilija @ Radio Marš 27.4.2014: April Orchestra
1. Jannick Top & Roland Romanelli - Helium 111 (April Orchestra 38)
2. Didier Thibault - Solaria (April Orchestra 38)
3. Didier Thibault - Rire De Peine (April Orchestra 38)
4. Guy Bonnet & Roland Romanelli - Tendresse (April Orchestra 38)
5. Steve Shehan - Impressions De Voyages (April Orchestra vol. 68)
face A
FEVER 4,35 Bali & Malaysian Gongs, Moonstraw, Cristal Glasses, Kalimba, Klongs, Angklung, 2 Fretless Bass, Prophet 5, Drums, Harp, Bali Drum (Kendang), Grand Piano, Ondioline, Congas.
HABANERA 5,27 Thai & Bali Gongs, Congas, Cuica, Triangle, Cuica agogo, Glasses, Thai Organ, Mark Tree, Bell Tree, Caxa, Caxixi tv antena, DX 7, Piano, 2 Drums, Bass, Angklung Java.
FIESTAS 5,16 Caliope, 5 Bass, Drums, Congas, Angklung, Berimbau, Caxixi, Timbales, Bowed Bells, Gender, Tibet Bells, Shakers, DX 7, Grand Piano.
MYSTIC JUNGLE 6,44 Bali Gongs & Bells, Cristal Glasses, Bali Drum, Bata, Reco, Afuche, Tibet Balls, Bowed Gongs, Bell Tree, Gender.
face B
SAHARA 6,38 Bali Drums, Cymbals, Fretless Bass, DX 7, Bells Afulhe, Caxixi, Wood Blocks, Shells, Moonstraw
SOURCES 2,58 Stones from South Vietnam. 10 pierres prehistoriques de Ndut Lieng Krak Vietnam.
STILL DRUMS 3,25 Steel Drums Solo.
STRESSING 4,08 Gongs, Steel Drums, Congas, Beans, Koto, Xylophone, Tam-Tam, Drums, Moonstraw, Bells, Harp, Fender Rhodes, Bowed Bells, Chingchap, 2 Fretless Bass.
AVENTURES 6,00 Wood Blocks, Reco Reco, Bell Tree, Moonstraw, Shaker, Caxixi, Gongs, Mark Tree, Afuche, DX 7, Bass, Drums.
REVE JAPONAIS 1,46 Vahli, Nacres...
Composition & Arrangements: Steve Shehan
Instruments played by Steve Shehan
Piano solo Christian Fradin
Synthetizer Christian Fradin
Recorded in Brussels 1984 by Cookie Soethe
Mixed and Mastered by Cookie S. & S. Shehan
Merci a Dominique Mouflier
2.5.14
Vinilija @ Radio MARŠ 13.4.2014: Predmestje - Kamasutra
Andrej Pompe - Rhodes, Arp Oddysey, vocal;
Marko Bitnec - percussions, voc;
Marjan Lebar - bass;
Slavko Lebar - guitar;
Andrej Petkovic - drums, timbales;
Guests:
Jernej Podboj - tenor saxophone,soprano saxophone
Boris Šuligoj - trombone
2.3.14
Vinilija @ Radio MARŠ: Yma Sumac
conducted by Les Baxter
TAITA INTY (Virgins of the Sun God)
This traditional Incan hymn dates back to 1000 B.C. and is musical keystone to Incan worship of the Sun God. With the Spanish conquest and the attempt to convert the natives to Catholicism, this hymn was forbidden. It not only was in conflict with church teachings but evoked such a deep emotional response in the people that it incited rebellion against the new authorities.
ATAYPURA (High Andes)
The Andes fil with awe and affection the hearts of the natives who live in this constant mountain grandeur. Here are the voices of the people, mixed with the voices of the winds, a chorus of man and the elements, surviving and exulting side by side.
ACCLA TAQUI (Chant of the Chosen Maidens)
The highest honor that could befall an Incan girl was to be chosen, whe she reached her sixth birthday, to join the ranks of maidens whose next ten years would be devoted to religious training and veneration of the Sun God. At the age of sixteen the girls were given their choice - to remain virgins and spend the rest of their life in sacred wordk or to rejoin the community and become a wife and mother, a role less sacred but no less honored.
TUMPA (Earthquake)
One of the most popular numbers in Yma Sumac's repertoire is an exciting vocal interpretation of that terrifying phenomenon - the earthquake. Earthquakes, responsible for squeezing and shoving the Andes high into the sky through eons of time, plagued the ancient Incas and still plague their descendants. Yma Sumac's voice here rumbles deeply as the earth shakes, then soars into flight like a covey of frightened birds.
CHOLADAS (Dance of the Moon Festival)
In what was a forerunner to the modern beauty contest, the loveliest of the Incan maidens were put to the test during a celebration thta come with the full moon. Chosen not only for their tasks, the girls would start at moonrise and dance till midnight, their white and gold regalia shimmering in the cool silver of the evening. At midnight the best dancer - more often than not the only one who was able to survive the rigorous marathon - was proclaimed Maiden of the Mother Moon.
WAYRA (Dance of the Winds)
To people living on the storm-swept peaks of the Andes, the wind is not only a part of their life but their religion. The young people, participating in Incan ritual, climb high up the treacherous mountains and expose themselves to the chilling blasts, dancing in wild exuberance, exulting in their youth and love, and purifying themselves with the sharp, clean wind that wraps itself around them while they worhsip their ancient gods.
MONOS (Monkeys)
The high forests of Peru are filled with all kinds of birds and beasts, all with their singular voices and manner of speech. Some of the birds speak with a lyrics loveliness, some ot the beasts roar and growl, but it is the monkeys who are the chatterboxes, who seem to have more to say than anyone. Moises Vivanco tells the story of the monkeys and Yma Sumac sings it.
XTABAY (Lure of the Unknown Love)
Xtabay, a lovely young Incan virgin, fell in love wiht a high prince of an Aztec kingdom. It was a forbidden love, however, for he was high born and she was but a simple peasant. The young girl, unable to keep the secret in her heart, sang to the mountains, the winds, whoever would listen to her song. Her voice was so penetrating and enchanting that ultimately it reached and killed the far-off prince.
INCA TAQUI - Chants of the Incans
conducted by Moises Vivanco
K'ARAWI (Planting song)
The sowing of seeds for the year's big crops, like all the significant moments of Incan life, was elaborately celebrated. On the first day of planting, the king himself worked alone, tilling the soil with a golden plough, and on the next day his people took up the task with appropriate ceremony. Music accompanied this activity, rhythmic chanting that gave movement and spirit to the workers. It was performed only by a group of women singers specially chosen for the occasion, and it is one of their songs that Yma Sumac sings here.
CUMBE-MAITA (Calls of the Andes)
From childhood, every Incan has learned the loud, expressive chants that carry news from one mountain farm to another. The chants have no words, but the ifinite variations of their melodies tell of every daily affair and sudden emergency that people need to communicate. For many centuries these musical messages have linked the Incans throughout the vas Andean area in which they live, transmitting information with a speed that modern inventions barely equal. Yma Sumac, who was born in a mountain range called Cumbe-Maita, sings the calls of her homeland.
WAK'AI (Cry)
A great cry of protest sprang from the Incans under the impact of invading Europeans, for they suffered the destruction of much of their civilization and the death of millions of their people. Wak'ai is their fervent prayer to the Sun God, a mournful chant that tells him of their misery and asks him to forgive human cruelty and allow the bright sun of brotherhood to shine again. This spirit of comradeship binds the Incans, and the message of this song is known and loved in all the villages of the Andes.
INCACHO (Royal Anthem)
No ceremony extends further back into the dim beginnings of Incan tradition than the coronation of a new king. Incacho is one of the many songs of that event's month-long celebration - a solemn song reminding the king of his great responsibilities to his people. It is sung by Yma Sumac as it was performed by a Princess of Music - a singer to whom royal respect and privilege were given because of her great talent.
CHUNCHO (The Forest Creatures)
The music of the Incans was inspired, in greatest part, by teeming variety of mysterious sounds of nature about them. And, as Inca maidens have done for many centuries before her, Yma Sumac has wandered through the forests of the upper Amazon, listening to their waking life, and calling to their creatures in imitative cries. That is the music of Chuncho, the wild, unearthly sounds of monkeys, jackals, and especially a fantastic host of colorful and chattering birds. Yma Sumac's singing is climaxed by her phenomenal "double-voiced" trill.
LLULLA MAK'TA (Andean Don Juan)
Like all peaceful peoples, the Incans had moments for gay banter about the lightest of subjects - and love. Llula Mak'ta is the song an Inca girl sings to a handsome, and insincere, lad widely known for his skill in winning feminine hearts. This he usually accomplishes by magical potions, a snake-head charm, and promises of an exciting life in the big city. But with the girl of this song, his tricks are to no avail; she jokes about his failure and leaves him with a laughing toss of her head.
MALAYA! (My Destiny)
The strong musical tradition of the Incans was influenced, but never destroyed, by the Spanish and Christian colonists who came to their land. Malaya! is an example of that influence, a part of the celebration honoring Senor de los Milagros, Jesus of the Miracles. It begins with a solemn precessional, and then becomes the music for a great dance festival that followed the religious ceremonies. The chant is a deep and soulful plea to God to save the Incans from times of darkness and trouble.
RIPUI (Farewell)
In the rugged Andean mountains, where travel is most difficult, the arrival and departure of visitors are important events. The hospitable Incans love to welcome guests from the world outside, and thier moment of leave-taking is very sad. The day must be chosen carefully - a gray one, so the traveler may "leave with the clouds, weeping like the rain". Yma Sumac sings the song of a visitor bidding farewell. It has only three words but they are full of meaning, for each is a cry of love. "When I go," the song says "my words will be
18.2.14
7.1.14
Vinilija @ Radio Marš 5.1.2014: Deuter - Aum
Brian Jackson & Gil Scott-Heron
Gil Scott-Heron - Offering
We have something to offer you
We have music to offer you
Spirits may come into view
We have spirits to offer you
Seasons my change
And feelings may change
But music remains
Seasons may change
And feelings may change
But music remains and it fills you
We have something to offer you
We have new love to offer you
And music to offer you
And spirits to offer you
And new love and music to offer you
We have
Vangelis
5.1.14
23.12.13
Vinilija @ Radio Marš 15.12.2013: The Big Band RTV Zagreb - Intima (Jugoton 1972)
A1 Tužno Jutro (Ićo Kelemen)
A2 Pro samba (Silvije Glojnarić)
A3 Sretna kuća (Miljenko Prohaska)
A4 Ti koji znaš (Ladislav Fidry)
A5 Povratak Rikija (Stipica Kalogjera)
A6 Quiz-Balet (Ozren Depolo)
B1 Sjećanje na Patelina (Miljenko Prohaska)
B2 Intima (Miljenko Prohaska)
The Bib Band RTV Zagreb:
Franjko Karlović, Stanko Brichta, Marijan Domić, Stipica Kalogjera - tpts
Ladislav Fidry - tp, flh
Vladimir Sučić, Hrvoje Brajer - tbns
Ante Opašić - btb
Ićo Kelemen - tb, valve tb
Ozren Depol - cl, ss, as
Bojan Hohnjec - cl, as
Boris Frančišković - bcl, ts
Marijan Ščukanec - cl, ts
Maks Johan - bs
Zlatko Dvoržak - p
Krešimir Remeta - bg, b
Silvije Glojnarić - dm
Boško Petrović - vib, marimba
Guests:
Bonnie Lynn Adelson - tym, USA (B1)
Rupert Clemandore - conga, TRINIDAD (B1)
Stanko Selak - tp (B1)
Salko Mujičić - fl (B1)
Miroslav Sedak-Benčić - fl (A1, 4)
Srećko Zubak - org (A1, 2, 4, 6)
Brane "Lambert" Živković - org (B1)
Marijan Makar - g (A3)
Svemir Opara - g (A6, B1)
Boris "Tex" Benini - perc (A6, B1)
"Zagrebaćki kvartet" (J. Klima, I. Kuzmić, A. Živković, J. Stojanović) (B1)
7.12.13
Huda Kava Mix: Kozmonaut - ...The One You Love...
“People say, 'I'm going to sleep now,' as if it were nothing. But it's really a bizarre activity. 'For the next several hours, while the sun is gone, I'm going to become unconscious, temporarily losing command over everything I know and understand. When the sun returns, I will resume my life.'
If you didn't know what sleep was, and you had only seen it in a science fiction movie, you would think it was weird and tell all your friends about the movie you'd seen.
They had these people, you know? And they would walk around all day and be OK? And then, once a day, usually after dark, they would lie down on these special platforms and become unconscious. They would stop functioning almost completely, except deep in their minds they would have adventures and experiences that were completely impossible in real life. As they lay there, completely vulnerable to their enemies, their only movements were to occasionally shift from one position to another; or, if one of the 'mind adventures' got too real, they would sit up and scream and be glad they weren't unconscious anymore. Then they would drink a lot of coffee.'
So, next time you see someone sleeping, make believe you're in a science fiction movie. And whisper, 'The creature is regenerating itself'.”
George Carlin
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