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viewing 1 To 5 of 5 items
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LP
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LR 713116LP
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Living Country Blues USA is a series of albums on L+R Records. The material was collected by German Blues experts Siegfried A. Christmann and Axel Küstner on an extended trip through the south of the USA in the fall of 1980, in the form of so-called "Field-Recordings" -- recordings made in the natural surroundings of the artists and not in the studio. Travelling 10,000 miles by car in two and a half months, they used 180,000 feet of tape and took hundreds of photographs to document various aspects of country blues, as well as work songs, fife and drum band music, field hollers and rural Gospel music, performed by 35 artists, some of whom appear on record for the first time. Vol. 1 presents Bowling Green John & Harmonica Phil Wiggins. What is so remarkable about the duo is their intensive commitment to the black blues and gospel tradition -- without diminishing the quality or spontaneity of their performances. By hearing John Cerpas with his guitar, one quickly gets impressed by the power of his playing. Deeply rooted in the so-called "Piedmont" blues tradition of the East Coast, ragtime influence and complex rhythms produce a strong emphasis on melody -- much in contrast to the harsh Mississippi blues with its hard beat and drive. When recording this album, Phil Wiggins was 26 years old and despite his young age he already could be rated as one of the top blues harp players. Influences include Hammie Nixon, Sonny Boy Williamson, Little Walter, and Shakey Hotton. He played alongside Flora Molton, Archie Edwards, Big Chief Ellis, the late Esther Mae "Mother" Scott, and John Jackson, as well as jamming with such well-known blues veterans as Sunnyland Slim, Johnny Shines, and Louisiana Red -- shaping his technique to perfection, be it in the country blues or with amplified harp in the best Chicago tradition.
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2LP
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LR 711914LP
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Double LP gatefold vinyl with MP3 download included. Country blues, as raw and original as it can get! Living Country Blues USA is a series of albums on L+R Records. The material was collected by German blues experts Siegfried A. Christmann and Axel Küstner on an extended trip thru the south of the USA in the fall of 1980, in the form of so-called "Field-Recordings" -- recordings made in the natural surroundings of the artists and not in the studio. Travelling 10,000 miles by car in two and a half months, they used 180,000 feet of tape and took hundreds of photographs to document various aspects of country blues, as well as work songs, fife and drum band music, field hollers and rural Gospel music, performed by 35 artists, some of whom appear on record for the first time. Featuring Guitar Frank, Memphis Piano Red, Flora Molton And The Truth Band, Lottie Murrell, Sam Chatmon, James "Son" Thomas & Cleveland "Brooman" Jones, Hammie Nixon, Cora Fluker & Ola Mae Bell, Walter Brown, Archie Edwards, "Bowling Green" John & "Harmonica" P. Wiggins, Lonny Pitchford, Sam "Stretch" Shields, Joe Savage, Arzo Youngblood, "Big G" Davis, Guitar Slim, Boyd Rivers, and Boochie Bill Webb.
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LP
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LR 713017LP
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Living Country Blues USA is a series of albums on L+R Records. The material was collected by German blues experts Siegfried A. Christmann and Axel Küstner on an extended trip thru the south of the USA in the fall of 1980, in the form of so-called "Field-Recordings" -- recordings made in the natural surroundings of the artists and not in the studio. Travelling 10,000 miles by car in two and a half months, they used 180,000 feet of tape and took hundreds of photographs to document various aspects of country blues, as well as work songs, fife and drum band music, field hollers and rural Gospel music, performed by 35 artists, some of whom appear on record for the first time. Blues On Highway 61 features James "Son" Thomas, Sam Chatmon, Walter Brown, Joe Cooper, Cleveland Broomman, and Eddie Cusie. Feeling lonesome, being down and out, nowhere to go, walking the highway up and down, riding the Greyhound bus, catching a freight train -- all central themes in blues, and the men you can hear on this record have lived the blues and this was reality to them. The blues has always been more than just one person's story, they are reflections and descriptions of a common lifestyle and experience. These artists tell the truth -- the truth about being a black man in Mississippi, across the United States. The artists you can hear on this record all came from the same region of Mississippi. Their communities were centered around 61 Highway and lay only a couple of miles apart. Many blues have been made about 61 Highway. Linking rural Louisiana and Mississippi with northern industrial areas, thousands of blacks have travelled this road in hopes of a better life and future.
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LR 710818LP
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140gram vinyl with MP3 download included, plus printed inner-sleeves. "These days, where a young generation worldwide discovers good swinging jazz again, where Dexter Gordon returned after so many years in exile like a triumphator to New York and 'young swinging Scott Hamilton' becomes something like a 'super-star,' it is hard to believe that this album was recorded 13 years ago -- hard to believe by both artistic and technical standard. At this time, in the year of 1966, Beatlemania reached its peak and the beat and/ or rock wave ruled the world of music. Nevertheless, Emil Mangelsdorff and his friends went into the studio to produce good swinging music with the idea that any good solid jazz playing is still superior to the best rock albums available then. To dream up an idea, that young listeners would hear the album occasionally, we even went up as far to give it a name similar to that of rock groups, a fantasy name: Swinging Oil Drops. The masquerade didn't help much but the music was and is superb." --Horst Lippmann, 1979
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LP
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LR 710719LP
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140gram vinyl with MP3 download included. Masterpiece from one of Austria's most famous jazz musicians! After the break-up of the Hans Koller/Oscar Pettiford group in 1959, Koller played with very few exceptions as a freelance musician with more or less good rhythm sections. During this time, he thought about new ideas of presenting his music, being very much under the influence of his second career as a painter. The result was a music very much of his own, very modern in style and without any parallel to anything that was happening in jazz then. Even today, this music sounds surprisingly up-to-date and unique. However, that these recordings sound more unique than any other collective improvisations with other musicians demonstrates a total identification of Hans Koller, the soloist, with Hans Koller, the composer.
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