George Hadjinassios ‎– Greek Cinema 2

Second volume of the Potfleur soundtrack compilations that contain unreleased music from 60s and 70s cult Greek cinema.
Dramatic and Soul Jazz instros from 1971-72 Greek soundtracks.

Track listing 1.  DOUBLE CROSS HYPOTHESIS from the film "The Ultimate Double Cross"-1971 2.  PLUS AGONY from the film "Captives Of Odium"-1972 3.  COSMOPOLITAN EGO from the film "Sinners"-1971 4.  WITH FEAR AND PASSION (theme) from the film "With Fear And Passion"-1972 5.  PHASE ALPHA from the film "Captives Of Odium"-1972 6.  SINNERS (theme) from the film "Sinners"-1971 7.  EROTIC EPISODE from the film "With Fear And Passion"-1972 8.  BRAVADO from the film "Captives Of Odium"-1972 9.  MYSTERY ICON from the film "With Fear And Passion"-1972 10.  PHASE BETA from the film "Captives Of Odium"-1972 11.  FANTASTIC CLOCK from the film "The Ultimate Double Cross"-1971 12.  CAPTIVES OF ODIUM (theme) from the film "Captives Of Odium"-1972 13.  THE ULTIMATE DOUBLE CROSS (theme) from the film "The Ultimate Double Cross-1971 14.  EASYGOING from the film "Sinners"-1971 15.  SINNERS PHOBIA from the film "Sinners"-1971 Download

Kamau Daaood ‎– Leimert Park (1997)

Tracklist

1	Leimert Park
2	Tears
3	Her (For My Wife, Baadia)
4	Deep River In Her Voice (For Billie Holiday)
5	Balm of Gilead (For Billie Holiday & Lester Young)
6	Sunbathing In My Tears
7	The Men
8	Liberator Of The Spirit (For John Coltrane)
9	World Music
10	Ancestral Echoes
11	Army of Healers
12	Art Blakey's Drumsticks Download

Michalis Siganidis (Μιχάλης Σιγανίδης) - Mikres Angelies (Μικρές Αγγελίες)

Michalis Siganidis was born in Thessaloniki in 1958. He started to play guitar as a child and then studied double bass and mandolin at the State Conservatory. He writes poetry and songs. In 1979 he started to collaborate with Sakis Papadimitriou, Floros Floridis, Theodoris Rellos and other musicians of jazz and improvisational music. He is a member of the famous group "Winter Swimmers". He composed music for short films and theatrical performances and he orchestrated the music for two records: " Ichnilates tou Ioura" (songs from the Hebrides) and "O Ilios kai to Fengari" (The sun and the moon). Except for his participation in the records/CDs of the Winter Swimmers and the CD of Wutu Wupatou, he published: "Mikros Aderfos" (Little Brother), "To Proi kai to Vradi" (In the Morning and the Evening) and "To Traino Fantasma Filo" (The train Ghost Friend), "Mikres Angelies" (Small advertisements or announcements) and recently with his newly founded group "Sygrotima Lambrakis" or "Lambrakis Complex" he released the CD "Basse Classe" (Lyra).
EXCELLENT Greek improvisation recording with jazz,RIO,rempetika influences by one of the legends of the Greek jazz/impro scene.

HIGHLY RECOMMENDED!

MUTANT SOUNDS
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George Theodossiadis (Γιώργος Θεοδοσιάδης) ‎– Air Hostess (Αεροσυνοδός)

Tracklist

A1 Air Hostess (Titles)
A2 Plane Vibrations
A3 Check In
A4 The Enigma
A5 Spicy Marguerita
A6 Change Of Route
A7 Landing Lights
A8 Little Marguerita
A9 Air Hostess Means Love

B1 A Boy (Feat Tammy)
B2 Time Trap
B3 Shake At The Airport
B4 Airlock
B5 Sweet Marguerita
B6 Wood Blocks Theme
B7 Night Flight
B8 Air Hostess (Instrumental)
B9 A Boy (Instrumental)

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Cossi Anatz ‎– Jazz Afro-Occitan

Extremely hard to find free/spiritual jazz album recorded in the South of France and released on Vendémiaire (Jef Gilson's label) with a similar style to Francois Tusques Intercommunal. Jazz Afro-occitan is written on the cover and it's clearly the case when you put the needle on wax you instantly feel the North African, Arabic & Mediterranean influences, that are quite obvious here, especially in the brass & percussions. Some brilliant tracks like the beautiful deep jazz Al Coltrane or the monster spiritual oriental jazz Aden Arabie with great Fender solo.

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Hermae (Ερμαί) Self-titled [1990]

Ultra rare experimental gem,one of the best free improvisation records to come out of Greece ever.
Self-released and limited to 500 copies.
This Lp was never available in shops but instead, circulated solely by the members in hand-to-hand fashion.
Highly recommended.

Tracklist

A	Ύμνος Προς Τη Θεά Τύχη [Hymn To Godess Fortune]	25:45
B	Αχέρων [Acheron]	24:35

 

 

Credits

• Drums, Percussion, Vocals – Βασίλης Σταματιάδης
• Guitar, Kalimba [African Sanza], Vocals – Ανδρέας Γεωργίου*
• Ocarina, Tambura, Performer [Water-sound] – Γιώργος Χατζημιχελάκης (tracks: B)
• Performer [Daouli], Bendir, Whistle – Ανδρέας Γεωργίου* (tracks: A)
• Performer [Mandoura] – Ανδρέας Γεωργίου* (tracks: B)
• Shanai [Shahnay] – Γιώργος Χατζημιχελάκης (tracks: A)
• Vocals, Oud, Flute [Shepherd's Flute] – Γιώργος Χατζημιχελάκης
• Whistle – Βασίλης Σταματιάδης (tracks: B)

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Inedit Grèce - Épire - Takoutsia, Musiciens de Zagori (1987)

The traditional music of Epirus, northwestern Greece, is essential for any celebration being hosted, weddings, baptisms and village festivals. The clarinet is the emblematic instrument of Epirus. The dramatic expression and craftsmanship by which it is been played, does not leave anyone without being moved. The album was recorded by the French in 1986, and introduces us to the Ensemble Takoutsia of the Zagori village musicians, who come from the Kapsalis family. Today only Gregoris survives, considered one of the greatest masters of the clarinet. On the disc we hear a beautiful miroloï , a long instrumental lement piece from the clarinet, violin and lute as well as dances and table songs.



This cd presents three categories of the traditional music of Epirus: Miroloï lement music, dance music and table songs. The first two categories involve instrumental formations: the Miroloï is performed by a clarinet, a violin and a lute, plus for dance music, a tambourine, which emphasizes the rhythmic structure. For the execution of the table songs, there is the use of a second clarinet, which replaces the first, since in this musical category, the first clarinetist becomes a singer.



As in all the Balkans and much of the Mediterranean, the scales that underlie the melodies of Epirus are of the modal type. In many cases, some of the degrees of these scales are mobile, that is to say moving slightly depending on whether the melody is ascending or descending. Other features: the transition from one mode to another within the same song that has the effect of bringing about a change of atmosphere, sound, and finally the ornamentation - often improvised - which gives a more dense texture to the melody.



In the music of Epirus, the rhythmic action of instrumental music and songs is slower than in the rest of Greece, whether it be a moroloï, or table song or dancing music which are attributed in heavy manner and are always slow moving.


Tracklist:

1. Miroloï, lement music [10:59]
2. Ilios, traditional dance [6:34]
3. Kyra Frossini, table song [3:56]
4. Zagorissio, traditional dance [4:21]
5. Otan anthisoun ta klaria, table song [5:37]
6. Arvanitiko, traditional dance [2:56]



Musicians:
Grigoris Kapsalis, clarinet and vocals
Zacharia Drambalos, clarinet
Spiros Kapsalis, lute
Kosta Kapsalis, violin
Michalis Markopoulos, tambourine
Zulas Kapsalis, tambourine

 
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Ravi Shankar ‎– Jazzmine (1980)

Ultra rare India only release of a session featuring Western Jazz musicians

 
THE ENSEMBLE
George Adams-Tenor Saxophone | Mike Richmond-String Bass | Jagannath Pacherwal-Shehnai
Hari Shankar-Kanjeera | Ganpat Rao Jadav-Folk Drums | B K Warai- Nakara | Deepak Chaudhary-Sitar | Datat Thakar-Flute | Balchandran-Flute | K Narayan-Violin | Surendra Rao-Viloin | Bahadur-Violin | A Bhonsale-Tanpura | A Hariharan-Voice | Ashvini Bhide-Voice | Jagannath Pacherwal-Alto Saxophone | Louis Banks-Key Boards | Velur Ramabhardar-Mridangam | T H Vinayakram-Ghatam | Indra Nath Mukerji-Tabla | Rajnjit Barot-Jazz Drums | P G Parab-Sitar | Balchandran-Flute | Shiv Kumar –Violin | Bablo Chakravarthy-Violin | Prakash Verma-Violin | Deby Chakravorthy-Violin | Ashit Desai-Voce | Saria Bhida-Voice | Rabin Paul –Sound Supervision |

 

 

Tracklist

A1	Prashastri
A2	Raagank
A3	Taalank
B1	Deshank
B2	Mishrank

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Ahmed Abdul-Malik - Spellbound [1964]

Spellbound, recorded in 1964, is double bassist and oud player Ahmed Abdul-Malik's final date as a leader, though given its contents, it shouldn't have been. Abdul-Malik, an American born musician of Sudanese descent, helped to bring the sounds of the Middle East to jazz in the '50s, incorporating oud and a different set of scales in his own recordings. His sidemen for this date are ubiquitous Duke Ellington Orchestra cornetist Ray Nance, who also plays violin here, drummer Walter Perkins, saxophonist/flutist Seldon Powell, the little known pianist Paul Neves, and oud player -- on two tracks -- Sudanese musician Hamza Aldeen (not to be confused with the Egyptian composer, oud and tar player Hamza el Din). The program on this date is unusual: three of the five tunes here come from movie soundtracks. The opening title track is from the Alfred Hitchcock film of the same name and features a fine, gently swinging solo from Neves, and some excellent frontline and violin from Nance. "Never on Sunday," from the Greek film of the same name, is a showcase for Aldeen, who twins his lines with Nance's plucked violin, anchored by Abdul-Malik and Perkins. Powell's flute moves off into a solo before the piano and oud restate the theme followed by a saxophone, piano, and second flute break. It's breezy, easy, and it swings. The interplay between Nance's cornet break and Powell's tenor solo registers its emotion as Neves fills the melody with wonderful, spacious, right-hand arpeggios. Abdul-Malik's bass opens "Song of Delilah" from the film Samson & Delilah. He's followed in a complex melodic statement by flute, a gypsy jazz solo by Nance on violin, and finally, a gorgeous oud break based on a single chord -- with deep, responsorial bass from Abdul-Malik -- that eventually moves the tune into a grooving flute break. Closer "Cinema Blues" isn't from a film. Instead, it's a straight-ahead hard bop blues, with some fine muted cornet work, killer comps from Neves, and a fluid, mid-register solo by Powell, with a driving rhythm section. Spellbound isn't as groundbreaking as some of Abdul-Malik's earlier work, but it doesn't need to be: by this point, he had successfully melded jazz with Middle Eastern sounds into a seamless -- if somewhat exotically textural -- whole. The band fires on all cylinders under his inspired direction, making this a fitting sendoff to him as a bandleader. Musically, he saved one of his best for last.

AllMusic Review by Thom Jurek

 

Tracklist

1	Spellbound
2	Never On Sunday
3	Body and Soul
4	Song of Delilah
5	Cinema Blues

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Greek Cinema 1 - 60s & 70s instrumental grooves by George Theodossiadis

The first in a great series that explores the lost soundtrack sounds of Greece – a vastly under-discovered hotbed of groovy work at the end of the 60s! This first volume focuses on the sounds of George Theodossiadis – a really talented arranger with a good ear for a funky flourish, one that sets him somewhere in between Italian and French funky styles of the early 70s – plenty of electric guitar and keyboards, heavy bass, and some wonderful instrumental touches that sound very very nice! Gone are the days of Zorba and Never On A Sunday – and in their place are a host of warm and soulful grooves, perfect for the sunny sounds of the 70s.

dustygroove

Tracklist
1 Fluted Vibrator
2 Plane Vibrations
3 Profusion Party
4 Hors D'Euvres (Theme From Fiery Holidays)
5 The Promenade
6 Lunatic Groove
7 Shake Therapy
8 Lyssistra...tease
9 Superlative Fascination
10 Spicy Marguerita
11 Landing Lights
 
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Greeks & Indians Vol. 4: Ta Pontiaka

This is the fourth installment of the brilliant "Greeks and Indians" series by Saraswati Records (Greece). Traditional dances,songs and a lament of the Greeks of the Black Sea,covered and improvised live in studio.
The fusion of the musical traditions of Pontians and Indians is achieved by the collaboration of classical Indian performers and a Pontian Greek kemenje player.
Indian elements are incorporated graciously throughout the record and the absolute highlight is undoubtfully "Pyrrhichios" ,a powerful ancient war dance beyond comparison.
When Devashish Dey's vocals kick in,the sonic orgy climaxes and the result is a 100% psychedelic masterpiece.
Highly recommended

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Greek Fusion Orchestra & Kyriakos Sfetsas (Κυριάκος Σφέτσας) - Without Boundaries (Χωρίς Σύνορα) [1980]

Kyriakos Sfetsas (Greek: Κυριάκος Σφέτσας; born September 29, 1945) is a Greek composer. His body of work consists of a large number of compositions: symphonic, choral, ballet and theatre music, chamber, electronic, film scores, pieces for solo instruments, pieces in jazz and fusion style, songs in Greek and world poems.

The Greek fusion orchestra was a sextet created in 1976 by members of the ERT's Contemporary Music Orchestra. The group was performing for 30 minutes every week in a live radio broadcast until 1978, when it was broken up as a regular group. However its members were performing occasionally together until 1980 until their definitive break up. Just before this they recorded the now historic LP "without boundaries" for columbia records. The recording was not a success at the time, however it obtained cult status gradually with the years as the only studio recording of the group.
The most dominant members of the group were Kyriakos Sfetsas,as the bandleader and composer and Yanni Theodoridis, as the main soloist.

Tracklist
A1 Dream's Rolling 10:12
A2 Samarina 10:00
B1 Ballad For John 9:05
B2 Papadia 9:47

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Mimis Plessas - Greece Goes Modern [1967]

Mimis Plessas was born on 12 October 1924 in Athens. He attended the Lycee Leonin, studied at the Physics Department of the University of Athens and then went to America to pursue his studies. At a young age he became the first solo piano in Greek Radio. In 1952, it won the first prize of music at the University of Minnesota. He then, began working with composition and since 1956 as a conductor and composer.
Its artistic and compositional activity covers the last 50 years, all areas of music: theater, cinema, radio and television, having to his credit 104 movies and 70 plays (!!). He has conducted numerous major orchestras around the world, such his offer in Paris in 1958, Edinburgh and the U.S. in 1964 and 1965 respectively.
In 1967 he released what is often mentioned as ‘the holy grail’ of Greek jazz music. This was a jazz fusion based on Greek traditional folk songs, the outcome was a freshjazz, beat, psychedelic, funky, samba, bossa nova (!!) orchestration that re-introduced the old material, improvised and suggested a new and very interesting sound.
Originally recorded in 1966 for the needs of an advertising broadcast (‘Fix’ beer!), the 10 tracks of the album are masterfully treated in a modern way by Mimis Plessas and his band, the Orbiters. Playing ultra-loungy, with some fuzzy guitar overtones, they follow a jazzy direction without losing their folk originality!

Tracklist

A1	Lemonaki (Peloponesian Dance) / Λεμονάκι (Πελοποννησιακός Χορός)
A2	O Menoussis (Dance Of Thrace) / Ο Μενούσης (Θρακικός Χορός)
A3	Yalo Na Pas (Dance Of Zante) / Γυαλό Να Πας (Ζακυνθινός Χορός)
A4	Karagouna (Thessalian Dance) / Καραγκούνα (Θεσσαλικός Χορός)
A5	Karavi Ap' Ti Hio (Dance Of Chios) / Καράβι Απ' Τη Χίο (Χιώτικος Χορός)
B1	Tria Pedia (Dance Of Volos) / Τρία Παιδιά (Βολιώτικος Χορός)
B2	I Perdika (Dance Of Corfu) / Η Πέρδικα (Κερκυραϊκός Χορός)
B3	Vassilikos (Dance Of Epirus) / Βασσιλικός (Ηπειρώτικος Χορός)
B4	Kalamatiano (Dance Of Kalamata) / Καλαματιανό (Καλαματιανός Χορός)
B5	Kritikos (Cretan Dance) / Κρητικός (Κρητικός Χορός)

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Various Artists - Bosporus Bridges 2: A Wide Selection Of Turkish Funk And Jazz [2011]

Tracklisting:
A1 - Urfalı Babi – Lambaya Püf De
A2 - Sevil And Ayla – Irgat
A3 - Gülden Karaböcek – Dokunma Keyfine Yalan Dünyanın
A4 - Alpay – Yekte
A5 - Şakir Öner – Deli Deli
A6 - Nazan Şoray – Hal Hal

B1 - Aylin Urgal – Paran Pulun Senin Olsun
B2 - Zümrüt – Deveyi Düzde Gördüm
B3 - Önder Bali 4 – Koca Dünya
B4 - Neşe Karaböcek – Yali Yali
B5 - Cici Kızlar – Gencim Yaşamı Severim
B6 - Mazhar Ve Fuat – Sür Efem Atını

many thanx to owlqaeda

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Bley - Peacock Synthesizer Show – Revenge: The Bigger The Love The Greater The Hate

Free jazz, fusion, psychedelia, prog, electronic sound experiment, soft rock, whatever. This music sits perched between many poles but refuses to be defined by any of them. Because Peacock and Bley came from a jazz and improvisational tradition, it usually gets labeled as jazz. And why not? But really — “Mr. Joy” could just as easily be categorized as some mutant antecedent for today’s freak folk movement.

destination: OUT

Recorded live by Annette Peacock and Paul Bley on the 6 April 1969, 2 June 1969 and 3 November 1969 at the Philharmonic Hall, Lincoln Center except "Mr. Joy" and "I Belong To A World That's Destroying Itself" which were recorded at Century Sound Studios. The live tracks were mixed by David Baker and Paul Berkowitz, the studio tracks were mixed by Brooks Arthur.

discogs

Tracklisting:

A1 A Loss Of Consciousness 6:42
A2 The Cynic 3:35
A3 I Belong To A World That's Destroying Itself 4:30
A4 Climbing Aspirations 1:40
A5 I'm The One 4:30
B1 Mr. Joy 7:07
B2 Daddy's Boat (A Baby's Lullaby) 7:28
B3 Dreams 4:11

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The mighty masterpiece "I'm the One" is now re-issued and available through Annette Peacock's site:

http://www.annettepeacock.com/shop/shop.html

Tirath Singh Nirmala - Growing Into the Wind

Streams of electronic & casio light converge like
thousands of beams of sunlight alongside massed
hand percussion shake and clatter and frenetically
fluttering flutes. A midway spot between
Moondog and the jungle ecstasies of some of the
recent Skaters’ extracurricular projects.

Melody Bar

Tracklisting:

1		Ember Dance	2:26
2		Riding Evy Guest	9:07
3		Through Damp Violence	8:19
4		Oakenin	15:54
5		Ashes Mould	2:17

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Brian Jones Presents The Pipes Of Pan At Joujouka

He only wanted to share: Brian Jones was justifiably evangelical about the shrill, gripping music that he heard in a village nestled in Morocco's Atlas Mountains. Simply recording the Pipes of Pan wasn't enough in 1969. In an effort to communicate his own kif-enhanced experience, The Rolling Stones guitarist took his four-track tapes home to England, where he deployed the full arsenal of psychedelic signal processing. The resulting album documents a millennia-old music, the sound of panic itself, as well as the fragmented mind of Jones in the months before his death. Drums throb in the foreground as the pipers are sucked figuratively into the slipstream of a jet engine via extreme phase shifting. A women's chorus, shrieking like seagulls, loops in the distance. Jones's apology for a muffled female solo is sufficient to raise gooseflesh: "It was not for our ears". Well before dub reggae and its spawn - the cult of remixing - Jajouka showcased techno-primitive terror, up where the air was very thin.

The Wire

Tracklisting:

1. "55 ("Hamsa oua Hamsine)" – 0:58
2. "War Song/Standing" + "One Half (Kaim Oua Nos") – 2:22
3. "Take Me with You Darling, Take Me with You (Dinimaak A Habibi Dinimaak)" – 8:06
4. "Your Eyes Are Like a Cup of Tea (Al Yunic Sharbouni Ate)" – 10:35
5. "I Am Calling Out (L'Afta)" – 5:55
6. "Your Eyes Are Like a Cup of Tea" (reprise with flute) – 18:04

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Choir of Vatopedi Fathers - Holy Saturday

Category: Byzantine


Chant Type: Byzantine


Language: Greek

Tracklisting:

1. The Noble Joseph
2. First stasis of the Praises
3. Second stasis of the Praises
4. Third stasis of the Praises
5. Joseph begged Thy holy body
6. First Ode of the Canon
7. Third Ode of the Canon
8. Thy tom, O Saviour
9. Fourth Ode of the Canon
10. Fifth Ode of the Canon
11. Sixth Ode of the Canon
12. Kontakion, Oikos & Synaxarion
13. Seventy Ode of the Canon
14. Eighth Ode of the Canon
15. Ninth Ode of the Canon
16. As the sun hid


As with all Vatopedi recordings, the quality and clarity of the recording is superb. This recording offers the traditional hymns of Holy Saturday, and both a contemporary and ancient setting of Behold the Bridegroom Cometh. The Musical School of the Holy Monastery of Vatopaidi is one of the cradles of Byzantine music. It has endowed the monastery with a history of cantors, a rich library of books and manuscripts, a collection of recordings, and a rich tradition of chant which is continued by the contemporary choir of Vatopedi fathers. This recording of the Holy Saturday Service, sung in the traditional Athonite fashion and recorded live in the monastery is another monument.

Review by Benjamin Williams


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