A1 - Attila the Hun - History of carnival A2 - Wilmoth Houdini - Way down sobo A3 - King Radio and the Tiger - Millington A4 - Attila the Hun - Archie boulay A5 - the Lion - Hojoe A6 - the Attila - Zingue talala A7 - John Buddy Williams & his Blue Rhythm Orchestra - Barre-a-oh A8 - Lord Invader - Demasbar
B1 - King Radio - Matilda B2 - the Lion - Buddy Abraham B3 - the Caresser - Madame khan B4 - Al Philip iere Syncopators - Play mass don't do me that B5 - Lionel Belasco & his Orchestra - Juliane B6 - the Executor - Christmas is a joyful day B7 - the Lion - Netty netty B8 - Lord Beginner - Christmas morning the rum had me yawning
'The holiday melodies of distant Trinidad in the rhythms of calypso are almost narrower than their age-long remoteness… Very Rare and beautiful plate' ~ Iraklis
ack! the work schedule is gettin kinda hectic, so one more drop this afterlunch. i was gonna save this one for xmas but who knows where owl be christma$$ day? mañana never comes so we gotta do what we can whilst we can, eh? another winner cobbled together from the bountiful 78 collection of Dick Spottswood & pressed onto crickly vinyl two decades ago. daps to the og illuminator
01. Heiser Bulgar 3:05 02. Freit Sich, Yiddelach [Be Happy Jews] 3:16 03. Der Terkisher-Bulgar Tanz 3:09 04. Kolomeika [Ukrainian Dance] 2:46 05. Naftule spielt far dem rebin [Naftule plays for the Rabbi] 2:42 06. Nifty's Freilach 2:46 07. Oi tate, s'is gut [Oh daddy, that's good!] 3:04 08. Der Terk in America 2:58 09. Wie bist die gewesen vor Prohibition [Where were you before Prohibition] 3:05 10. Das Teureste in Bukowina [The dearest one in Bukovina] 3:06 11. Der Heisser [Tartar dance] 3:13 12. A hora mit tzibeles [Hora with onions] 3:13 13. Fun Tashlach [Returning from the river] 3:00 14. Leben zol Palestina [Long live Palestine] 3:01 15. Dem Rebin's Chusid [The Rabbi's disciple] 3:01 16. Der Yid in Jerusaleim 3:00 17. Bulgar ala Naftule 3:04 18. Kleine Princessin [Little princess] 2:43 19. Turkishe yalle vey uve 3:18 20. Naftule, shpiel es noch amol [Naftule, play it again] 3:10 21. Araber Tanz 3:04 22. Nifty's eigene [Nifty's own] 2:37 23. Fufzehn yahr fon der heim awek [fifteen years away from home] (Russian Dance) 3:08 24. Vie tsvie is Naftule der driter [Where there are two, Naftule is the third] 3:01 25. Freilicher yontov [Happy holiday] ['Naftule's Own,' #1] 2:41
Naftule Brandwein [1884–1963] was a Jewish clarinetist and influential in klezmer musique. Brandwein was born in Przemyslany, Galicia [now Ukraine], into a family of klezmer musicians, part of the Strettener Hasidic dynasty of Rabbi Yehuda Hirsch Brandwein of Stratyn. His father Peysekhe played violin and was an improvising wedding poet [badkhn]; of his thirteen sons, Moyshe played violin, French horn, and valve trombone, Mendel played piano, Leyzer played drums, and Azriel played cornet; Azriel became Naftule's first music teacher, and had a lasting impact on his playing.
In 1908, Brandwein at the age of nineteen emigrated to the United States where he quickly became a star of the 78 rpm record era, proclaiming himself the 'King of Jewish Music'. Thus, he was considered to be among the first wave of American klezmer artists, those trained in the Old World, as opposed to the second generation who learned their skills in America. Between 1922 and 1927, he cut twenty-four records, first as a member of Abe Schwartz's orchestra, and then as a solo artist after 1923.
Brandwein was known as much for his colorful personality as for his musical talent, often playing with a neon sign, reading 'Naftule Brandwein Orchestra', around his neck, and with his back facing the audience, to conceal his fingering tricks. He also wore plugged-in Christmas lights as part of his costume on several occasions, which once shorted out when he perspired too much, almost electrocuting him. His wild style incorporated not only the influence of Jewish music, but also flourishes of Greek, Turkish, and Gypsy music. His warm and lively playing style would constantly jump up and down the scale and express itself in trills, slides and other ornamentation; he is often contrasted to the other famous klezmer clarinettist of his time, Dave Tarras, who had a more conservative but nonetheless very talented playing style.
Brandwein was notoriously unreliable, unable to read music, & had a reputation as a nasty drunk. He even supposedly played private shows in backrooms for the largely Jewish contract-killing gang, Murder Inc.
His career soured from the mid-1920s onward, as demand for his traditional approach to klezmer music waned; he made his last recording in 1941 and lived out his final years in relative obscurity, playing in the Borscht Belt.
While he did not live to witness the resurgence of interest in klezmer that began in the mid-1970s, his legacy has been revived by a new generation of klezmer musicians, who cite him as a key source of inspiration. The intricate traditions of klezmer music are not well preserved in sheet music, and his recordings are one of the main sources people look to for the 'original' klezmer style.' ~ wiki
didn't know the bit about da Naff slumming it & blowing for hebraic hitmen, what a mensch! also thought Murder Inc was a rap group or something, but now we know the roots. 320 shaloms to the og uploader. r.i.p. Naftule Brandwein 1884-1963
01. Ah! Gade Chabine La - Orchestre Antillais De Alexandre Stellio 02. En Sens Unique S.V.P. - Orchestre Antillais De Alexandre Stellio 03. Rialto! Sens Unique - Orchestre Créole “Kaukira Boys" De C. Martial 04. Mettez I Dehro - Alphonso Et Son Orchestre Typique Antillais 05. Mussieu Dollar - Orchestre Antillais De Alexandre Stellio 06. Mussieu Satan Fache - Orchestre Antillais De Alexandre Stellio 07. Balcon Fleuri - Orchestre “Tagada-Biguine" De Alexandre Stellio 08. Ba Mouin En Ti Bo Dou Dou - Orchestre Créole Delvi 09. Belle Madame - Orchestre Créole Delvi 10. A Si Pare - Don Barreto Et Son Orchestre Cubain 11. Paris Biguine - Orchestre Du Biguine 12. Pani Ti Moun - Sam Castandet Et Son Orchestre Antillais 13. Maladie D'amour - Orchestre De La Boule Blanche 14. Cherie - Orchestre Typique Martiniquais Charlery-Delouche 15. Angeina - Sam Castandet Et Son Orchestre Antillais 16. C'est Beguine - Orchestre De La Boule Blanche 17. Retour Au Pays - Orchestre Del's Jazz Biguine 18. Tes Yeux! - Orchestre Del's Jazz Biguine 19. Belle - Belle - Orchestre Créole Delvi 2:56 20. Pour Mettre Un Peu D'entrain - Orchestre Créole “Kaukira Boys" De C. Martial 21. Quand Meme - Orchestre Du Bal Antillais 3:02 22. Olga - Stellio Et Son Orchestra Créole 2:58 23. Amantine! Amantine! - Orchestre Créole Delvi
'An excellent reissue of 78s first recorded from 1929 to 1951 in France of Franco-Creole Biguines from Martinique from the collection of Dick Spottswood. This compact disque issue contains a generous 23 selections [9 more than the 1988 LP issue]. There is a similarity to some of the calypso and New Orleans jazz of the same era, but Martinique has its own sound, rooted in the rhythms of its indigenous dance, the biguine. This music was recorded by Martiniquans living in Paris on major labels of the era. The premier musicians were Alexandre Stellio on clarinet, Ernest Leardée on violin, Orphelien on percussion & trombonist Archange St. Hillaire who performed together and fronted their own groups. This is a pleasing collection of exciting Caribbean music [my mother, who grew up dancing to beguines [Spanish spelling] in her native Virgin Islands, loves it too!] that never has failed to lift my spirits.' ~ kerry blech
such perfect, singular summer listening. nothing else in the world sounds quite like this. Lionel Belasco comes to mind but the proceedings here are far more unhinged & free. one of a kind. 320 thx to espilos.
