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13 alte Lieder aus Deutschland. Songs of love and bygone ages
Tine Kindermann sings German folk songs accompanied by American rock musicians and arranged by Frank London, best known for combining klezmer and jazz. The result is astonishingly natural. German folk songs - along with the epic ballad of the Nibelungen, the word “Heimat” (“homeland”), and the joy and pleasure of the woods and forest - have been tainted by the hand of the Nazis. Too many sang along and marched in step. Later, the poor German folk song was reduced to little more than oom-pah beer-hall entertainment. But there was something in these five centuries old songs that resisted. Mothers preserved them in secret; grandmothers and kindergarten teachers sang and sing to their children the songs of their own childhoods.
As in most countries, German folk songs were passed down, changed, and varied from generation to generation. Tine Kindermann offers us her interpretation. She sings these songs with complete sincerity; songs of desperate lovers, of royal children, of the passing nature of the little flower and the hard dreams of dying. Spaces open therein like the ones we entered as children, when we listened, entranced, to the fairy tales woven from the same cloth.
The songs’ themes are universal, belonging to the secret guarded chambers of many souls of many lands. Tine Kindermann has unburied the discarded key and leads us into these mysterious worlds with their seductive sadness. She unlocks a veritable archive of feelings. Age-old stories belonging to world culture, unknowingly stored in the collective unconscious. Tine Kindermann has blown the dust off these songs and made them alive, fresh, good as new. With her musicians, she has put them in an unusual contemporary intercultural context. She offers them to us, tenderly and unabashedly, songs of love and – in the words of Heine’s “Loreley” – bygone ages.
Tine Kindermann, a visual artist born 1962 in West-Berlin, has been living in New York since 1993. Since 2001 she has been working increasingly with themes of German folklore, including a concert program with German Folk songs. The recording’s set up looks like a “Who is Who” of the New York downtown music scene: Marc Ribot und Greg Cohen (Tom Waits Band) on guitar and double bass, Glenn Patscha (Ollabelle) on keyboards and Frank London (Klezmatics), who also acts as producer.
01. Frau Wirtin
02. Sterben ist ein schwere Buß
03. Der Winter ist vergangen
04. Es waren zwei Königskinder
05. Schwesterlein
06. Es ist ein Schnitter
07. Maria durch ein Dornwald ging
08. Wach auf meins Herzens Schöne
09. Klage & Trost
10. Es geht eine dunkle Wolk herein
11. Es freit ein wilder Wassermann
12. Ich hab die Nacht geträumet
13. Frau Haselin
Tine Kindermann - voice
Marc Ribot - electric and acoustic guitar, dobro, efx
Greg Cohen - double bass
Glenn Patscha - piano, harmonium, organ, harpsichord, Wurlitzer, efx
Frank London - harmonium & miscellaneous instruments
with:
Mathias Kunzli - drums & amp; percussion (track 1, 5)
Lorin Sklamberg - voice (track 5, 10)
Julian Kytasti - Bandura (track 3, 10)
Link
pass: bluesmen-worldmusic.blogspot.com
"Di Grine Kuzine is a Berlin-based, klezmer-rooted, Balkan brass band. The connection between klezmer and Balkan brass band music is a natural one as the original Eastern European Jewish musical repertoire owed much to Romanian, Gypsy and Ottoman influences. Since klezmer musicians were expected to be able to play Romanian horas and Serbian kolos as well as freylekhs and bulgars it is likely that a well traveled Eastern European Jewish band had an extensive repertoire.
It is less likely that there were many klezmer brass bands until around the beginning of the 20th century. Law in many areas of Russia and Poland limited the musical instruments that Jews were allowed to play. In general, Jews could play quiet string instruments but could not play loud brass instruments. It wasn't until large numbers of Jews were drafted into the Czar's army that you had the conditions where Jews had access to horns, trombones and tubas. Draftees were allowed to keep their instruments when they mustered out of military service.
On Di Grine Kuzine's earlier albums, their repertoire was largely klezmer-based. On this new release, the songs are mostly Serbian, Hungarian and Bulgarian village dance pieces. The band's vocals are a strong suit. Alexandra Dimitroff has mastered the constricted throat sound that is often associated with Bulgarian vocal music. Listen to her vocal lead on cuts like "Esik Esö" and "Gigetanje." There's simply no other klezmer brass band that has a vocalist as strong as her.
Another strong suit is Steve Lukanky's excellent tuba playing. The newest member of the group, Lukanky shines on tracks like "Gustavs Son Tumbao." Compared to the string bass found in most other dance bands, the tuba adds a vibrant color to Di Grine Kuzine's music.
Raucous and unruly, Feribot is not traditional music. It's more like very hip village music played by urban post modernists. As the band says in the album's liner notes"On this ship there is room for you all."
01.Galizianer Tants (Traditionell)
02.Rumelaj (Traditionell)
03.Esik esö (Traditionell)
04.Auf Zeydns Tish (Traditionell)
05.Gigetanje (Traditionell)
06.Zabkowice Walc
07.Gustavs Son Tumbao
08.Papa Call
09.Zonka (Traditionell)
10.Zemer Atik (Traditionell)
11.Bavarski Cocek
12.Weseli Sebori (Traditionell)
13.Leggerezza
14.Spil Es Nokh Amol, Karel
Alexandra Dimitroff, accordion & vocals
Johannes Kevenhörster, clarinet & soprano sax
Karel Komnatoff, trumpet & fluegelhorn & vocals
Mr. Steve R. Lukanky, tuba
Snorre Schwarz, drums & vocals
Link
pass: bluesmen-worldmusic.blogspot.com
Transsylvanians are a phenomena of today's roots-music scene. Based in Berlin, the four musicians create with their Hungarian Speed-Folk a mixture of rap, rock, Bartok, ska, punk and gypsy-techno. Their live appearances invariably turn into ecstatic dance orgies but Trannsylvanians can also seduce the audience with the ballads and love songs in their repertoire. The songs tell of their homeland: The earth and the stars, war and peace, love and jealousy and, above all, the lust for life that characterizes their live shows. Through their constant touring they have become one of Germany's favourite live acts on the worldmusic scene.
The name "Transsylvanians" is often with the Dracula myth and when that conjures up visions of a mysterious underworld where, in the night, bats go hunting and dark forces awake uncontrollable passions which drive people to madness, then this is not in the least inappropriate. Transsylvania, the musical source of the band, is a strip of land that belonged to Hungary until the First World War and is now part of Romania. Many people from different cultures live there: Hungarians, Romanians, Siebenbürgersachsens and Gypsies.
"Who or what are the Transsylvanians? The question is easier to ask than to answer. A band, of course, but a many faceted one. It all started in 1996, on the street. Since then the Transsylvanians have stayed true to their inimitable style.
The devilish violinist András Tiborcz, responsible for arranging and composing, whom the public love to carry on their hands, comes from Hungary and Hungarian is the language of the band’s songs. How fortunate that singer and contra-bassist Isabel Nagy is half Hungarian and speaks the language perfectly.
But whoever is now thinking of folklore and jolly violin solos is not getting the full picture, because the Transsylvanians rock as if they invented Rock’n’Roll themselves. Although they know and love to perform all the clichés of the genre – the stage-diving of the soloing violinist is just one example – they come across in their concerts as always authentic and so sympathetic that you feel as if they’ve been personal friends of yours for years.
In more than 1000 concerts throughout Europe they have excited audiences of all kinds including housewifes, punks, senior citizens, children, hardcore bikers and executive businessmen, whose only apparent common denominator is the music of the Transsylvanians.
Rousing and powerful, within a few seconds the ice between the stage and the audience is broken and it seldom lasts more than half a song before the whole room is dancing. The dedicated team of guitarist Hendrik Maaß, keyboardist Andreas Hirche and drummer Thomas Leisner bring the whole thing together.
A five-piece party band with depth; a band between ska and Béla Bartók; a band who give new life to the old traditions, turning then to now. That’s the Transsylvanians."
01. Transdanubian
02. Tulipán
03. Halálos Szerelem
04. Adjon Isten Ami Nincs
05. Evening In Transsylvania
06. Kenderesi
07. Sok Születés Napokat
08. Repülö
09. Lakodalmas
10. Akasztós
11. Allegro Barbaro
12. Amari Szi
13. Csillagok
Szilvana: Vocals, Double Bass
András Tiborcz: Vocals, Violin
Sabine Schein: Accordion, Vocals
Hendrik Maaß: Guitar, Vocals
Thomas Leisner: Drums
Guest:
Andrej Soudnitsyn: Violin (Tracks 5, 8, 11)
Link
pass: bluesmen-worldmusic.blogspot.com
The band's elusive, winning sound reflects the elliptical nature of their instrumental anarchy: accordion, hurdy-gurdy, banjo, guitar, mandolin, balalaika, ukulele, strings, double bass, bagpipes, recorders, woodwinds, brass, assorted percussion, and occasional vocal rendition. An eclectic repertoire gives their music a captivating freshness, essaying Bavarian, Swiss, Corsican, Polish and British Isles strains, Cajun, French bourrées, Balkan, Gypsy and Jewish tunes, New World folk traditions north and south, neo-funk, Russian laments, waltzes and Scottish piping. German roots music will never be (and never was) the same.
Apart from a few minor changes in the choice of songs, the CD is much like the German ROCK´N ROLL 13. Recorded very much live, the CD shows the harsh truth about our first few years.
01.Der Zug um 7.40 Uhr
02.Bourree dite d'Aurore Sand
03.Galeron
04.Valse A Cadet
05.Who stole the Keeshka
06.A Scuttiscia
07.Mustafa
08.Le Waltz
09.Folk song
10.Shalom Alechem
11.Arriba muchacho
12.King Arthur's Liver
13.Jovano Jovanke
14.Chassidic Song
15.Die Ungarn-Nummer
16.Csillagok
17.Der Song von Mandelay
Link
pass: Hippies
"The soundtrack to the film of the same name by Andreas Dresen was created much like the film itself and above all – very unusually – along with the film.
“Halbe Treppe” had no fixed written script. The actors and film team lived in Frankfurt/ Oder for three months, filming several scenes and in the evenings looking at what they had come up with and thinking about how the story might be continued the following day.
We joined them in Frankfurt/Oder from time to time, each time bringing new songs, which Andreas used directly for the filmed scenes. Thus the music suddenly helped decide which direction the story was to take: melancholic, happy, hopeless or uplifting…"
01. Oros I
02. Gelb zwo drei
03. Isabeau...
04. Kein Feuerzeichen
05. Sandgate
06. Fische
07. Elf-Achtel
08. Tanz des Bauern mit den dicksten Kartoffeln
09. Gabis Lied
10. Isa auf der Brücke
11. Die Oros
12. Immer noch kein Feuerzeichen
13. Dorfwalzer
14. Fahrstuhlmusik
15. Im Schnee
16. El Balado
17. Gator's grin
18. E major
19. Vespa
20. Kolomeyke
21. E major II
22. Mad bad cat
Link
"17 Hippies meet Marc Ribot and Jakob Ilja - some experiment that went very right!
Listening to Marc play with Tom Waits, John Zorn and Elvis Costello, not to forget his own projects like the fabulous Cubano Postizios, we knew that he has this very sophisticated way of making unusual and even diverse ideas come together. His very distinguished sound made (and still makes) him our favourite guitarist. We were very happy, when he liked the idea to join us on stage.
Jakob on the other hand is a musician we’ve known for years. So when his main band Element of Crime doesn’t need his distinctive guitar playing, he has jumped in from time to time to throw in his beautiful tunes on mandolin. Asked whether he could picture himself playing along with Marc, and us his first reaction was to sit down and reach for breath. He sure wanted to!"
01. Leolos Blues
02. Frau Von Ungefähr
03. Ifni Ifni
04. Galerón
05. Karsilamas
06. Was Bleibt
07. Jovano Javanne
08. Truffles & French Philosophy Go Sirba
09. Marléne
10. Besho
Antje Henkel - clarinet, saxophon
Carsten Wegener - double-bass, musical saw, vocals
Christopher Blenkinsop - ukulele, irish bouzouki, vocals
Daniel Friedrichs - violins
Dirk Trageser - guitar, vocals
Elmar Gutmann - trumpet
Henry Notroff - clarinets
Kerstin Kaernbach - violins
Kiki Sauer - accordion, harmonium, flute, vocals
Kruisko - accordion
Lüül - banjo, guitar
Rike Lau - cello, vocals
Uwe Langer - trombone, trumpet, euphonium
Link
pass: bluesmen-worldmusic.blogspot.com
"Recorded amidst the live event, this CD shows the harsh truthfulness of our first few years.
Live recordings (partly done using a walkman!)and a few days at the Beatstudio (with the legendary Gerd Blum!) managed to recreate the swinging atmosphere aboard the motor boat Pik-As in Berlin´s Urbanhafen. Or else the tiny stage at the Café Bellevue. Or the concert on 14th July at the former Franz-Club in Prenzlauer Berg, which took place on the same day as the Love Parade (“everyone on platforms?”)."
01. Vorspiel
02. Der Zug um 7:40 Uhr
03. Bourrée dite d'aurore sand
04. Valse a cadet
05. A scuttiscia
06. Le waltz
07. Folk song
08. Der Freund von Lüül
09. Shalom Alechem
10. Who stole the keeshka
11. Arriba muchacho
12. Galerón
13. King Arthur's liver
14. Jovane Jovanke
15. Chassidic song
16. Die Ungarn Nummer
17. Csillagok
Link
Our world grows smaller and smaller: 17 Hippies may be based in Berlin, but the band’s repertoire wanders from the Balkans to a Parisian cafe, not forgetting a quick sortie into the American borderlands. So much travelling could easily result in a collection of tourist kitsch, but their postmodern ramblings, with horns and strings mixed with unpretentious, multilingual vocals, are conducted in just the right inquisitive spirit. One minute revving up like a supercharged gypsy band, the next delivering a pastoral treatment of the old pop hit Apache, the German musicians (there are actually 13 of them) come across as a more genial version of that restless French collective Lo’Jo.
The press says: “ Musically, there´s everything in it which they could possibly get their hands on. They whirl you through Romanian Sirba, clarinets race through Klezmer melodies, a Cajun song is performed in a very strange local German dialect."
“The 17 Hippies are ridiculously underrated.
They should be in the front rank of European world music artists …”
01. Ifni
02. Frau Von Ungefahr
03. Bourree Dite D'aurore Sand
04. Mad Bad Cat
05. Karsilamas
06. Gator's Grin
07. Saragina Rumba
08. Saint Behind The Glass
09. Besho
10. Dansons La Valse
11. Jovano Jovanke
12. Hotel Cazane
13. Sirba All The Way
14. Der Zug Um 7.40 Uhr
15. Was Bleibt
16. Elf-Achtel
17. Chassidic Song
18. Marlene
19. Hoyaka
20. Valser Nel Bosco
Antje Henkel – clarinet, saxophon
Carsten Wegener – double-bass, saw, vocals
Christopher Blenkinsop – ukulele, irish bouzouki, vocals
Daniel Friedrichs – violins
Dirk Trageser – guitar, vocals
Elmar Gutmann - trumpet
Henry Notroff – clarinets
Kerstin Kaernbach – violins
Kiki Sauer – accordion, harmonium, flute, vocals
Kruisko – accordion
Lüül - banjo, guitar
Rike Lau – cello, vocals
Uwe Langer – trombone, trumpet, euphonium
Link
pass: bluesmen-worldmusic.blogspot.com
"The 17 HIPPIES are back! They are no hippies, they are rarely 17 (between 13 and 20 musicians depending on the gig), their musical background ranges from rock-pop to classical and jazz, they sing and play accordion, trombone, trumpet, violin, cello, clarinet, mandolin, ukulele, banjo, guitar and double bass. Their style is a quintessence of many genres: Bavarian zwiefacher, Russian songs, Polish waltzes, Swiss zweutletscht, Jewish freylaks, Anglo American popsongs, Corsican dances, Scottish flings, Bulgarian oros, French chansons, Hungarian melodies, Latin-American tunes, North American ragtimes and many more. "
01.Frau Von Ungefahr
02.Freilax
03.Paso Doble
04.Ifni
05.Karsilamas
06.Was Bleibt
07.Cube
08.Damsons la Valse
09.Besho
10.Saint Behind the Glass
11.Valser Nel Bosco
12.Hotel Cazane
Hoyaka Suite:
13.Hoyaka (Intro)
14.Hoyaka
15.Soy em Gadde
17 Hippies:
Christopher Blenkinsop (chant, guitar, bouzouki, ukulele)
Dirik Trageser (chant, guitar)
Carsten Wegener (chant, slide guitar, bouzouki, oud, harmonica, contrabassoon)
Anna Katharina Kaufmann (alto, violin)
El Schneider (guitar, balalaika)
Lulu (guitar, banjo, background vocals)
Moe Jaksch (guitar, double bass)
Werner Lutzow (tenor banjo, trombone)
Bernhard Kruppke (violin, fiddle)
Daniel Friedrich, Kerstin Kaernbach, Silke Volland (violin)
Meduli (fiddle)
Koma (flute, cornemuse, percussion)
Kiki Sauer (flute, accordion)
Antje Henkel (flute, clarinet, alto saxophone)
Kruisko (accordion, background vocals)
Henry Notroff (clarinet, bass clarinet)
Rike Lau (clarinet, background vocals)
Johannes Kevenhorster (clarinet)
Jens Domberg (trumpet, bugle, background vocals)
Uwe Langer (trumpet, trombone, euphonium, tuba)
Elmar Gutmann (trumpet, background vocals)
Link
pass: bluesmen-worldmusic.blogspot.com
"17 Hippies is a prolific outfit ... their polyglot style has evolved to take in
dozens of genres, and here they've chosen to mix an Eastern European odd-metered rhythm, played on bass and accordion, with a plaintive, gentle reading of the `Apache' melody on the clarinet. It's very simple, and effectively makes an old classic new again."
"17 Hippies sounds like someone used a warped blender to mix an accordion, ukulele, banjo, saw, clarinet, violin, trumpet, trombone, flute, a Jew's harp, an Indian tampura, an Irish bouzouki, an assortment of other string and wind instruments, a Zydeco band, Luminescent Orchestrii, and a circus sideshow from somewhere in Eastern Europe. In other words, their sound is quite bizarre and absolutely fantastic."
"17 Hippies are one of the most exiting bands that exist in Germany today. And if you miss them, it's your own fault."
"17 Hippies are ridiculously underrated. They should be in the front rank of European world music artists."
"The musical idioms are ... disparate, yet the mix is never incoherent. 17 Hippies have learned how to fuse sundry musics into one."
"The renegade sound of 17 Hippies--captured on the new disc Heimlich-- is an engaging blend of pop sounds and traditional eastern European folk melodies."
For the past 12 years, Berlin's very own "special orchestra" 17 Hippies has been playing a whirling, crashing, diving, bobbing, weaving mixture of music from around the world. Imagine a mix of Eastern melodies, Balkan rhythms, French chanson, Anglo songwriting, and Cajun tunes, all perfectly blended together to create a unique pop style.
Starting in Spring 1995 as a trio playing mainly instrumental music, the band mutated into an ensemble--now numbering 13 musicians--that displays a vast range of musical creativity, ranging from their French radio hit "Marlène"" to the soundtrack for Andreas Dresen's award-winning film Halbe Treppe(Silver Bear, Berlin Film Festival).
With their new CD Heimlich, 17 Hippies have set a milestone. On this intoxicating album, most of the tunes are vocal--sung in German, French, and English. From a wild dance inspired by a Romanian melody to a Zydecogoes- Bollywood tune, 17 Hippies have created another masterpiece.
01. Schattenmann
02. Son Myst
03. Wann War Das
04. Deine Trn
05. Teschko
06. Tick Tack
07. The Moving Song
08. Apache
09. Heimlich
10. Just Like You
11. Madame
12. Rustemul
13. Wann Denn Dann Wann Dann (Prolog)
14. Le Son Mystere
15. Papadam
16. Jacques Balzac
17. Wann Denn Dann Wann Dann
Link
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The band was founded 1995 in Berlin by Christopher Blenkinsop (bouzouki, ukulele & vocals), Carsten Wegener (bass), Lutz “Lüül” Ulbrich (banjo & guitar), Kristin “Kiki” Sauer (accordion & vocals) and Reinhard "Koma" Lüderitz (bagpipes). They first used the name 17 Hippies in the fall of that year.
In 1996 they began to organize their own series of free concerts called Hippie Haus Tanz (Hippie House Dance). At this time Antje Henkel (clarinet), Elmar Gutmann (trumpet), and Ulrike “Rike” Lau (cello) joined the band. In 1997 Henry Notroff (clarinet) and Dirk Trageser (guitar & vocals) also were added, and live recordings of different concerts and rehearsal room sessions were compiled into their first CD Rock'n'Roll 13. In 1998 they played at the SXSW Festival in Austin, Texas and then toured in Texas and Louisiana. Later that year Uwe Langer (trombone) joined the band and they played in Paris for the first time.
They established their own record label and in 1999 released their second CD Wer ist das? (Who is that?). The French label Buda Musique released a compilation of both CD’s called Berlin Style, which was then also released in Italy. Volker "Kruisko" Rettmann (accordion) joined the band.
In 2001 the band wrote the score for the German movie Grill Point (Halbe Treppe) by Andreas Dresen and they performed in a cameo role in the film. A tour of Budapest, Prague, Vienna and France took place, and the second French album Sirba was released, featuring their first radio hit "Marlène". Kerstin Kaernbach (violin) also was added to the band lineup. Their first studio album Ifni was released in 2004. An extensive tour of Germany, Switzerland, the Netherlands, Belgium, Hungary, the Czech Republic, Morocco and France ensued. Daniel Friederichs (violin) became the last member to join the current lineup. In 2006 the band made a tour of Japan and Spain and composed the music for the play Kasimir and Karoline, staged at the Deutsches Theater in Berlin.
Their style is a unique mix of Eastern European melodies and rhythms, with French chanson and American folk music. They sing mainly in German, English and French. In France their music is known as Berlin Style.
01. Die Oros
02. Mad Bad Cat
03. Isa Auf Der Brucke
04. Ershter Tants
05. Eine Sirba
06. Marlene
07. Elf-Achtel
08. Gelb Zwo Drei
09. Tanz Des Bauem
10. Saragina Rumba
11. Chassidic Song
12. Sandgate
13. Fahrstuhimusik
14. Vallee De Sira
15. Freilachs - (live)
16. Gator's Grin
17. Kilomeyke
18. E Major
Link
pass: bluesmen-worldmusic.blogspot.com
