Message From Home

Message From Home

Message From Home

ASIN: B0000046J9

Track Listings
 
1. Our Roots (Began In Africa)
2. Nozipho
3. Tomoki
4. Ocean Song
5. Kumba
6. Country Mile

Message From Home,Pharoah Sanders,Polygram Records,Jazz,Jazz Music,Pop
The Ultimate Lotte Lenya Collection
Average customer rating: Not rated
    		The Ultimate Lotte Lenya Collection

    Manufacturer: Bear Family
    ProductGroup: Music
    Binding: Audio CD

    BalletsBallets | Ballets & Dances | Classical | Styles | Music
    All Works by BlitzsteinAll Works by Blitzstein | Blitzstein, Marc | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
    Eisler, HannsEisler, Hanns | ( E ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by WeillAll Works by Weill | Weill, Kurt | ( W ) | Featured Composers, A-Z | Classical | Styles | Music
    GeneralGeneral | Early Music | Historical Periods | Classical | Styles | Music
    Chamber MusicChamber Music | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
    General ModernGeneral Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
    Vocal & SongVocal & Song | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
    General ContemporaryGeneral Contemporary | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
    GeneralGeneral | Classical | Styles | Music
    GeneralGeneral | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music
    CantatasCantatas | Classical (c.1770-1830) | Historical Periods | Opera & Vocal | Styles | Music
    Modern & 20th CenturyModern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music
    GeneralGeneral | Opera & Vocal | Styles | Music
    EnglishEnglish | Languages | Opera & Vocal | Styles | Music
    GermanGerman | Languages | Opera & Vocal | Styles | Music
    CantatasCantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
    Musical TheaterMusical Theater | Vocal Non-Opera | Opera & Vocal | Styles | Music
    GeneralGeneral | Musicals | Broadway & Vocalists | Styles | Music
    GeneralGeneral | Easy Listening | Pop | Styles | Music
    GeneralGeneral | Vocal Pop | Pop | Styles | Music
    AustriaAustria | Continental Europe | Europe | International | Styles | Music
    Vocal JazzVocal Jazz | Jazz | Indie Music | Stores | Music
    ASIN: B0000251AF
    Release Date: 1999-03-22

    Tracks:

    1. 'Happy End': Surabaya-Johnny (1929)
    2. 'Happy End': Bilbao-Song (1929)
    3. 'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1930) - Lotte Lenya/The Three Admirals
    4. 'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1930) - Lotte Lenya/The Three Admirals
    5. 'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1930)
    6. 'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1930)
    7. 'Die Dreigoschenoper': Ouverture/Moritat/Ballade Vom Angenehmen Leben (1931) - Kurt Gerron/Willy Trenk-Trebitsch
    8. 'Die Dreigoschenoper': Liebeslied/Kanonensong (1931) - Kurt Gerron/Erika Helmke/Willy Trenk-Trebitsch/Chorus
    9. 'Die Dreigoschenoper': Die Seerauberjenny (1931) - Kurt Gerron/Lotte Lenya
    10. 'Die Dreigoschenoper': Erstes Dreigroschen-Finale (1931) - Kurt Gerron/Lotte Lenya/Erika Helmke/Erich Ponto
    11. 'Die Dreigoschenoper': Barbarasong/Eifersuchtsduett (1931) - Kurt Gerron/Lotte Lenya/Erika Helmke
    12. 'Die Dreigoschenoper': Abschied/Zweites Dreigroschen-Finale (1931) - Kurt Gerron/Erika Helmke/Willy Trenk-Trebitsch/Chorus
    13. 'Die Dreigoschenoper': Zuhalter-Ballade/Lied Von Der Unzulanglichkeit Menschlichen Strebens (1931) - Kurt Gerron/Willy Trenk-Trebitsch/Lotte Lenya/Erich Ponto
    14. 'Die Dreigoschenoper': Moritat/Schlusschoral (1931) - Kurt Gerron/Lotte Lenya/Chorus
    15. Querschnitt, 1. Tiel: 'Aufstieg Und Fall Der Stadt Mahagonny' (1932)
    16. Querschnitt, 2. Tiel: 'Aufstieg Und Fall Der Stadt Mahagonny' (1932)
    17. 'Happy End': Surabaya-Johnny (1943) - Lotte Lenya/Kurt Weill
    18. 'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1943) - Lotte Lenya/Kurt Weill
    19. Complainte De La Seine (1943) - Lotte Lenya/Kurt Weill
    20. J'Attends Un Navire (1943) - Lotte Lenya/Kurt Weill
    21. 'Lost In The Stars': Lover Man (1943) - Lotte Lenya/Kurt Weill
    22. 'Lost In The Stars': Lost In The Stars (1943) - Lotte Lenya/Kurt Weill
    23. 'I've Got The Tune': And So The Last Thing, Too (1937 Interview) - Lotte Lenya/Marc Blitzstein/Shirley Booth

    Tracks:

    1. 'Die Dreigoschenoper': Moritat (1955)
    2. 'Die Dreigoschenoper': Barbara-Song (1955)
    3. 'Die Dreigoschenoper': Seerauberjenny (1955)
    4. 'Aufstieg Und Fall Der Stadt Mahagonny': Havanna-Lied (1955)
    5. 'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1955)
    6. 'Aufstieg Und Fall Der Stadt Mahagonny': Denn Wie Man Sich Bettet (1955)
    7. 'Happy End': Bilbao-Song (1955)
    8. 'Happy End': Surabaya-Johnny (1955)
    9. 'Happy End': Was Die Herren Matrosen Sagen (Matrosen-Tango) (1955)
    10. 'Das Berliner Requiem': Ballade Vom Ertrunkenen Madchen (1955)
    11. 'Der Silbersee': Ich Bin Eine Arme Verwandte (1955)
    12. 'Der Silbersee': Casar-Ballade (1955)
    13. 'Die Sieben Todsunden': Prolog/Introduktion (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
    14. 'Die Sieben Todsunden': Faulheit (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
    15. 'Die Sieben Todsunden': Stolz (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
    16. 'Die Sieben Todsunden': Zorn (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
    17. 'Die Sieben Todsunden': Vollerei (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
    18. 'Die Sieben Todsunden': Unzucht (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
    19. 'Die Sieben Todsunden': Habsucht (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
    20. 'Die Sieben Todsunden': Neid (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen
    21. 'Die Sieben Todsunden': Epilog (1956) - Lotte Lenya/Julius Kantona/Fritz Gollnitz/Sigmund Roth/Ernst Poettgen

    Tracks:

    1. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 1 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    2. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 2 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    3. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 3 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    4. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 4 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    5. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 5 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    6. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 6 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    7. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 7 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    8. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 8 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    9. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 9 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    10. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 10 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    11. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 1, Szene 11 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    12. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 12 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    13. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 13 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn

    Tracks:

    1. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 14 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    2. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 15a (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    3. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 15b (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    4. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 16 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    5. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 2, Szene 17 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    6. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 3, Szene 18 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    7. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 3, Szene 19 (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn
    8. 'Aufstieg Und Fall Der Stadt Mahagonny': Akt 3, Finale (1957) - Lotte Lenya/Chorus Des NDR/Max Thurn

    Tracks:

    1. 'Knickerbocker Holiday': September Song (1957)
    2. 'Knickerbocker Holiday': It Never Was You (1957)
    3. 'Lady In The Dark': Saga Of Jenny (1957)
    4. 'One Touch Of Venus': Foolish Heart (1957)
    5. 'One Touch Of Venus': Speak Low (1957)
    6. 'The Firebrand Of Florence': Sing Me Not A Ballad (1957)
    7. 'The Eternal Road': Song Of Ruth (July Version) (1957)
    8. 'Street Scene': Lonely House (1957)
    9. 'Street Scene': A Boy Like You (1957) - Lotte Lenya/Darryl Richard
    10. 'Love Life': Green-Up Time (1957)
    11. 'Lost In The Stars': Trouble Man (1957)
    12. 'Lost In The Stars': Stay Well (1957)
    13. 'Lost In The Stars': Lost In The Stars (1957)
    14. 'The Eternal Road': Song Of Ruth (August Version) (1957)
    15. 'The Threepenny Opera': Pirate Jenny (1954)
    16. 'The Threepenny Opera': Solomon-Song (1954)
    17. 'The Threepenny Opera': Tango-Ballad (1954) - Lotte Lenya/Scott Merrill
    18. 'The Threepenny Opera': Lenya & Blitzstein TV Interview (1954) - Lotte Lenya/Marc Blitzstein
    19. 'Johnny Johnson': Mon Ami, My Friend (1956)
    20. Young Blood (1969)
    21. Welcome Home (1969)

    Tracks:

    1. 'Die Dreigoschenoper': Ouverture (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    2. 'Die Dreigoschenoper': Moritat (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    3. 'Die Dreigoschenoper': Morgenchoral Des Peachum (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    4. 'Die Dreigoschenoper': Anstatt-Dass-Song (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    5. 'Die Dreigoschenoper': Hochzeitslied Fur Armere Leute (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    6. 'Die Dreigoschenoper': Kanonensong (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    7. 'Die Dreigoschenoper': Liebeslied (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    8. 'Die Dreigoschenoper': Barbara-Song (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    9. 'Die Dreigoschenoper': Erstes Dreigroschen-Finale (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    10. 'Die Dreigoschenoper': Der Pferdestall (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    11. 'Die Dreigoschenoper': Abschiedslied Der Polly (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    12. 'Die Dreigoschenoper': Zwischenlied (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    13. 'Die Dreigoschenoper': Ballade Von Der Sexuellen Horigkeit (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    14. 'Die Dreigoschenoper': Die Seerauberjenny (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    15. 'Die Dreigoschenoper': Zuhalter-Ballade (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    16. 'Die Dreigoschenoper': Ballade Vom Angenehmen Leben (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    17. 'Die Dreigoschenoper': Eifersuchtsduett (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    18. 'Die Dreigoschenoper': Arie Der Lucy (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    19. 'Die Dreigoschenoper': Zweites Dreigroschen-Finale (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    20. 'Die Dreigoschenoper': Lied Von Der Unzulanglichkeit Menschlichen Strebens (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    21. 'Die Dreigoschenoper': Solomon-Song (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    22. 'Die Dreigoschenoper': Ruf Aus Der Gruft (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    23. 'Die Dreigoschenoper': Ballade In Der MacHeath Jedermann Abbitte Leistet (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    24. 'Die Dreigoschenoper': Der Reitende Bote (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    25. 'Die Dreigoschenoper': Drittes Driegroschen-Finale (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...
    26. 'Die Dreigoschenoper': Schlusstrophen Der Moritat (1958) - Lotte Lenya/Erich Schellow/Willy Trenk-Trebitsch/Trude Hesterberg/Johanna Von Koczian...

    Tracks:

    1. 'Happy End': Introduktion (Hosiannah) (1960)
    2. 'Happy End': Bilbao-Song (1960)
    3. 'Happy End': Der Kleine Leutnant Des Lieben Gottes (1960)
    4. 'Happy End': Geht Hinein In Die Schlacht (Heilsarmee-Lied 1) (1960)
    5. 'Happy End': Was Die Herren Matrosen Sagen (Matrosen-Tango) (1960)
    6. 'Happy End': Bruder, Gib Dir Einen Stoss (Heilsarmee-Lied 2) (1960)
    7. 'Happy End': Das Lied Vom Branntweinhandler (1960)
    8. 'Happy End': Der Song Von Mandelay (1960)
    9. 'Happy End': Furchte Dich Nicht (Heilsarmee-Lied 3) (1960)
    10. 'Happy End': Surabaya-Johnny (1960)
    11. 'Happy End': Das Lied Von Der Harten Nuss (1960)
    12. 'Happy End': In Der Jugend Gold'Nem Schimmer (Heilsarmee-Lied 4) (1960)
    13. 'Happy End': Die Ballade Von Der Hollen-Lili (1960)
    14. 'Happy End': Der Kleine Leutnant Des Lieben Gottes (1960)
    15. 'Cabaret': So What? (1966)
    16. 'Cabaret': It Couldn't Please Me More (1966) - Lotte Lenya/Jack Gilford
    17. 'Cabaret': Married (1966) - Lotte Lenya/Jack Gilford
    18. 'Cabaret': What Would You Do (1966)
    19. 'Cabaret': Finale (1966) - Lotte Lenya/Bert Convy/Jill Haworth/Jack Gilford/Joel Grey

    Tracks:

    1. Unter Der Linde (1958)
    2. Menschlich Elende (1958)
    3. Das Rosenband (1958)
    4. Der Tod Und Das Madchen (1958)
    5. Abendlied (1958)
    6. Der Bauer (1958)
    7. Lebenspflichten (1958)
    8. Gesang Der Geister Uber Den Wassern (1958)
    9. Aus 'Romische Elegein' (1958)
    10. Gefunden (1958)
    11. Wo Bist Du Itzt (1958)
    12. Der Handschuh (1958)
    13. Hyperions Schicksalied/Aus 'Hymnen Der Nacht' (1958)
    14. Mondnacht (1958)
    15. Das Schloss Boncourt (1958)
    16. Kommen Und Scheiden (1958)
    17. Auf Geheimem Waldespfade (1958)
    18. Der Weiher (1958)
    19. Das Verlassene Magdlein (1958)
    20. Der Wirtin Tochterlein (1958)
    21. Mit Dummen Madchen (1958)
    22. Im Wunderschonen Monat Mai (1958)
    23. Ich Wollte Meine Lieder (1958)
    24. Nachtlich Am Busento (1958)
    25. Kehr Ein Bei Mir! (1958)
    26. Altassyrisch (1958)
    27. Die Musik Kommt (1958)
    28. Wer Weiss Wo (1958)
    29. Der Romische Brunnen (1958)
    30. Vereinsamt (1958)
    31. Der Werwolf (1958)
    32. Der Arbeitsmann (1958)
    33. Die Bieden (1958)
    34. Du Schlank Und Rein Wie Eine Flamme (1958)
    35. Spanische Tanzerin (1958)
    36. Ich Liebe Frauen (1958)
    37. An Den Leser (1958)
    38. Die Entwicklung Der Menschheit (1958)
    39. Der Vater (1958)
    40. Erinnerung An Die Marie A (1958)
    41. Von Der Freundlichkeit Der Welt (1958)
    42. Kinderkreuzzug (1958)

    Tracks:

    1. A Hunger Artist (1959)
    2. An Imperial Message (1959)
    3. A Fratricide (1959)
    4. The Care Of A Family Man (1959)
    5. Up In The Gallery (1959)
    6. A Dream (1959)
    7. The Bucket Rider (1959)
    8. Vergnugungen: What I Enjoy (Last Song) (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
    9. Inscription On A China Lion (The Lion) (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
    10. 'Die Dreigroscheneroper': The Solomon Song (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
    11. 'Buckower Elegien': Changing Wheels (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
    12. Burning Books (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
    13. Written On The Wall (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
    14. Lied Der Courage (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
    15. Song Of A German Mother (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
    16. 'Buckower Elegien': The Dog (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
    17. To The Next Generation (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
    18. Bad Times For Poetry (1962) - Diane Clark/Anne Jackson/Lotte Lenya/Viveca Lindfors/George Voskovec/Michael Wager
    19. Und Was Bekam Des Soldaten Weib (1943) - Lotte Lenya/Kurt Weill
    20. Wie Lange Noch (1943) - Lotte Lenya/Kurt Weill
    21. Lied Einer Deutschen Mutter (1943) - Lotte Lenya/Kurt Weill

    Tracks:

    1. 'Die Dreigroscheneroper': Moritat Von Mackie Messer (1960)
    2. 'Aufstieg Und Fall Der Stadt Mahagonny': Havanna-Leid (1960)
    3. 'Das Berliner Requiem': Ballade Vom Ertrunkenen Madchen (1960)
    4. 'Happy End': Was Die Herren Matrosen Sagen (Matrosen-Tango) (1960)
    5. 'Das Berliner Requiem': Zu Potsdam Unter Den Eichen (1960)
    6. 'Die Dreigroscheneroper': Die Seerauberjenny (1960)
    7. 'Happy End': Bilbao-Song (1960)
    8. Carnegie Hall Introduction (1965)
    9. 'Aufstieg Und Fall Der Stadt Mahagonny': Alabama-Song (1965)
    10. 'Aufstieg Und Fall Der Stadt Mahagonny': Havanna-Song (1965)
    11. 'Das Berliner Requiem': Ballade Vom Ertrunkenen Madchen (1965)
    12. 'Das Berliner Requiem': Zu Potsdam Unter Den Eichen (1965)
    13. 'One Touch Of Venus': Speak Low (1965)
    14. 'One Touch Of Venus': Foolish Heart (1965)
    15. 'One Touch Of Venus': Bilbao-Song (1965)
    16. 'One Touch Of Venus': Surabaya-Johnny (1965)
    17. 'Love Life': Love-Song (1965)
    18. 'Love Life': Susan's Dream (1965)
    19. 'Happy End': Was Die Matrosen Sagen (Matrosen-Tango) (1965)
    20. 'Happy End': Der Song Von Mandelay (1965)
    21. 'Happy End': Das Lied Von Der Harten Nuss (1965)
    22. 'Happy End': Lilli Of Hell (1965)
    23. 'Knickerbocker Holiday': September Song (1965)
    24. 'Die Dreigroscheneroper': Barbara Song (1965)

    Tracks:

    1. Moritat (1965)
    2. Moritat (German Version) (1965) - Lotte Lenya/Turk Murphy
    3. Mack The Knife (1965) - Lotte Lenya/Louis Armstrong
    4. Mack The Knife (1965) - Lotte Lenya/Louis Armstrong
    5. Lied Der Courage I (1965) - Lotte Lenya/Harry Buckwitz
    6. Das Lied Vom Weib Und Soldaten (1965)
    7. Lied Von Der Grossen Kapitulation (1965)
    8. Lied Der Courage II (1965)
    9. Lied Der Courage III (1965)
    10. Eia Popeia, Was Ras Im Stroh (1965)
    11. Lied Der Courage IV (1965)
    12. The Dick Cavett Show (1975) - Lotte Lenya/Dick Cavett
    13. Start (1975) - Lotte Lenya/Dick Cavett
    14. American Films (1975) - Lotte Lenya/Dick Cavett
    15. The Opening Night Ot The Rise And Fall Of The City Of Mahagonny (1975) - Lotte Lenya/Dick Cavett
    16. 'One Touch Of Venus': I'm A Stranger Here Myself (1975) - Lotte Lenya/Dick Cavett
    17. Anita Berber (1975) - Lotte Lenya/Dick Cavett
    18. The Great Inflation (1975) - Lotte Lenya/Dick Cavett
    19. Thoughts On 'Oh, Calcutta' (1975) - Lotte Lenya/Dick Cavett
    20. Berlin Visit 1955 (1975) - Lotte Lenya/Dick Cavett
    21. Introduction To 'Bilbao-Song' (1975) - Lotte Lenya/Dick Cavett
    22. Bilbao-Song (1975) - Lotte Lenya/Dick Cavett
    23. Introduction (1966)
    24. 'Knickerbocker Holiday': How Can You Tell An American (1966)
    25. 'Knickerbocker Holiday': September Song (1966)
    Trombone Soloist of the Sousa Band
    Average customer rating: 4.5 out of 5 stars
    • Important Historical Recordings: the First Great Trombonist!
    • a great find
    • a fantastic example
    • Arthur Pryor Forever
    • One of the greats
    		 Trombone Soloist of the Sousa Band

    Manufacturer: Crystal Records
    ProductGroup: Music
    Binding: Audio CD

    Foster, StephenFoster, Stephen | ( F ) | Featured Composers, A-Z | Classical | Styles | Music
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    ASIN: B000009M2N
    Release Date: 1997-09-30

    Tracks:

    1. Blue Bells Of Scotland
    2. Intermezzo-Forever
    3. We Won't Go Home Until Morning
    4. Stay In Your Own Back Yard
    5. Parisian Melodies
    6. Prince Of Pilsen: Message Of The Violet
    7. Little Nell
    8. Stabat Mater: Cujus Animam
    9. My Old Kentucky Home
    10. The Patriot-Polka
    11. Stabat Mater: Inflammatus
    12. Love's Enchantment
    13. The Holy City
    14. One Sweetly Solemn Thought
    15. Nancy Brown: Congo Love Song
    16. Non E Ver
    17. Love Thoughts Waltz
    18. The Low Back'd Car
    19. Navajo
    20. Sergeant Brue: Dearie
    21. Aida: Celeste Aida
    22. Come Down From The Big Fig Tree
    23. Oh, Dry Those Tears
    24. Pagliacci Selection
    25. Love Me And The World Is Mine
    26. Polka Fantastic

    Customer Reviews:

    5 out of 5 stars Important Historical Recordings: the First Great Trombonist!.......2004-09-17

    This CD is a compilation of only a very few of the literally thousands of recordings Arthur Pryor made as a trombonist during a span of about 20 years. Since they date to the earliest days of recording technology--all of the works here are from 1901-1911--the sound quality is terrible compared to our modern recordings. Although all sorts of manipulations were used to improve the sound, including the combining of two different copies of the same recording, there is still a significant amount of hiss, crackle, and pop--it's more like a bowl of Rice Crispies than a newly recorded CD. If you can think of it like listening to an old Victorola it has a certain amount of charm, but surely some listeners will be immediately put off by the distortion, which admittedly lessens in the later works. Add to this the logistical problems of recording at the turn of the last century--only a limited amount of players could gather around the equipment--and it becomes clear that we aren't really hearing what an audience member at the time would have heard during a live performance of Sousa's Band. In fact, the band comes off quite poorly here--in The Blue Bells of Scotland they can barely keep up with Arthur Pryor, and their ensemble playing is poor in many places to an extent that's hardly credible for what was widely believed to be the best band in the world.

    But of course one doesn't buy a CD like this to hear the accompaniment, or to listen to the sound quality. The only reason is to hear Arthur Pryor, surely the first great trombone soloist, in what is a wonderful piece of turn-of-the-century Americana. Pryor was the son of a bandmaster and learned to play all sorts of instruments (violin, cornet, alto horn, string bass, and valve trombone!) at an early age and was given his first slide trombone some time after his 11th birthday. He became a trombone virtuoso in the face of overwhelming difficulties--not only did a kick from a mule result in partial paralysis of his face, but also the trombone he'd been given was damaged and could only use the first two positions. In overcoming these seeming adversities through an astonishing work ethic he developed many of the features which made his performance so special: his characteristic constant shimmery vibrato created by "waving" his jaw; and an amazing embouchure (lip muscle strength) which allowed him to play every chromatic pitch using only those two positions (normal trombone technique employs 7!). Pryor revolutionized trombone technique and set a new standard, not only at home in America, but also abroad during his many European tours with the Sousa band and his own ensemble. One of his trombones, covered in engraving and with the characteristic unusually small bore he favored, can still be seen on display at the Interlochen School of the Arts outside of Traverse City, Michigan.

    Featured on the CD are 26 Pryor performances, a few with piano, 10 with the Sousa Band, and 12 with Pryor's own ensembles. The music ranges from Italian opera arias (Verdi's Celeste Aida) to American popular songs of the day (Foster's My Old Kentucky Home) and contains a good portion of Pryor's own compositions and arrangements. Among my favorites are Pryor's The Patriot-Polka and Polka Fantastic, both clever pieces with amazing trombone performances. A real oddity is We Won't Go Home Until Morning (known to me as The Bear Went Over the Mountain) "played in four octaves"--it's exactly what it says it is. After a short piano introduction, Pryor plays the melody unaccompanied and unadorned in a high octave, then an octave lower, another octave lower, and finally in pedal tones. The whole thing has a real carny atmosphere, as if P. T. Barnum were hiding just around the corner. Van Alstyne's Navajo also captures this air of a time long gone, when Americans were wide-eyed and innocent and the world was never far from a Saturday afternoon near the bandstand.

    Of special note are the unusually thorough notes in the programme booklet. Daniel E. Frizane supplies terrific biographical notes, from which I gleaned much of the information above; articles about the recordings and the Arthur Pryor performances are supplied, as well as an engineer's note describing the equipment and techniques used to restore the recordings. It's clearly a labor of love from all concerned.

    4 out of 5 stars a great find.......2002-11-10

    If you're a trombonist, you've heard of that crazy song, Blue Bells of Scotland, and you may have noticed the name of the composer, Arthur Pryor. You may not know that he was a trombonist himself(!) and played in the John Philip Sousa band for many years, and then had his own band afterwards. Pryor was a famous name in the trombone world, and he wrote many pieces featuring a solo trombone; most of them are featured here.

    If you want to buy this album to hear fantastic trombone playing so fast it'll blow your socks off or so pretty in a ballad you fall right to sleep, this is not the album for you. It is a recording produced from an OLD master (you may recall the Sousa band was at the turn of the 20th century), and with trombone playing that is not the style thought of as 'pretty' by today's ear. If this describes you, look for some of these same songs (blue bells, thoughts of love, fantasic polka), recorded by some of today's trombone virtuosos - Christian Lindberg, Mark Lawrence, Joe Alessi, etc. to find a more modern sound.

    If, however, you want authentic period music, this is about as authentic as you can get. The trombone style is choppy when fast, and not as connected for slow tunes also, and the band accompaniment is the same way; that was the popular style of the time. It is nice to hear these pieces and realize how the composer intended them to be played (because he's the one playing them).

    So, good for novelty purposes, bad for high quality recording of highest quality trombone playing

    5 out of 5 stars a fantastic example.......2002-07-17

    Arthur pryor's trombone playing in this exellent assortment of pieces recorded in the late 1800's gives both beginner and expert players fastastic insight on how to improve their playing. Arthur pryor will undoubtedly go down as one of the world's greatest trombonists of all time....and to actually hear him play is an awesome experience.

    4 out of 5 stars Arthur Pryor Forever.......1999-12-17

    I play trombone, and I have listened to this album, and I think it's wonderful. The sound is not very good, as it is a VERY VERY VERY old original recording, but it is an absolute must have for any trombonist. What can I say, I love it.

    5 out of 5 stars One of the greats.......1999-12-17

    This is a must buy for any trombonist. I play trombone, and Arthur Pryor is, in my opinion, the all-time best trombone performer, and song writer that I have yet encountered. I have played the Blue Bells of Scotland, and it is wonderful.
    Adelina Patti
    Average customer rating: 4.5 out of 5 stars
    • A whisper from the past
    • Hers is a voice in its final bloom
    		 Adelina Patti

    Manufacturer: Pearl
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B000000WT0
    Release Date: 1992-12-23

    Tracks:

    1. Le nozze di Figaro: Voi Che sapete
    2. Pur dicesti
    3. 'Swanee river': Old folks at home
    4. Don Giovanni: Batti, batti o bel Masetto
    5. Faust: Air des bijioux 'Jewel song'
    6. Il bacia
    7. The last rose of summer
    8. Ave maria
    9. Robin Adir
    10. Home Sweet home
    11. Si vous n' avez rien a me dire
    12. Comin' thro'mthe rye
    13. The banks of Allan Water
    14. On the parting
    15. 'twas within a mile
    16. A New Year message to Patti's Husband, baron Rolf Cederstrom.
    17. Kathleen Mavourneen
    18. La Serenata
    19. Norma: Casta diva
    20. Mignon: Connais-tu le pays?
    21. La Sonnambula: Ah non credea mirarti
    22. La Calasera

    Customer Reviews:

    5 out of 5 stars A whisper from the past.......2003-09-17

    I had read about Adelina Patti for years, then one year I was able to find a record set of 2 records containing her recordings. I listened to it with much interest. Out of the mist and dark, the crackles and spits, came forth a wonderful voice beautifully produced even if past its prime. The portamento style was completely strange to me, and at first it sort of sounded sloppy, but on repeated listening, I learned to accept its stylistic relevance.

    Well, now those same recordings (even if not quite complete as the former set I had) are out there to listen to again. The remastering is a revelation. Yes, there is surface noise, so those who can't hear past that, I would NOT recommend you buy this recording. You are NOT going to hear any flights of coloratura to take your breath away (such singing Adelina was noted for, and did well); remember, the woman was OLD when these recordings were made, and had been retired a while. Yet, even making them thrilled her, for at first hearing she screamed out "Now I know why I am Patti."

    Patti was of a long ago generation that now is nothing more than a mention in the ancient history books. However, she was one singer who not only reflected the tastes of her time, but actually knew most of the composers of the music she sang. When listening to this set, one wonders, "Was that how Gounod taught her to sing the role?" The composers she sang approved of the portamento, the extremely smooth legato, and the mellow quality of her voice. We can never know for sure, but we are led to wonder just what in her singing style is a reflection of the composer's intent.

    Even with age, and with a less than perfect support, Patti is able to captivate us with her charm, her personality, and yes, her singing. People have commented on how she sounds more mezzo than soprano, and that is a reflection of the way singers sang at that time. Voices were trained with a strong full lower and middle register; high notes as we are used to hearing them were not considered appealing, though at the time of these recordings they were becoming more and more acceptable. High notes were not necessarily weak, but the volume we associate with them today simply was seen as tasteless. The voice was full at the bottom, and gradually lightened, yet still very penitrating. Thus, the rich sound we hear in Patti's singing (for alas, we hear no high notes at all) was probably the natural heart of her voice throughout her career. The caressing sweet high notes she was praised for would most likely have had that same richness along with a more brilliant focus.

    This is all technical, and maybe not too interesting, but it helps the buyer have an idea of what they are going to listen to. One thing I have to comment on, and that is Patti's trill. In all recording I doubt there has been a more beautiful trill recorded. It is even, warm, and so perfect. Sutherland's comes close in mellow beauty, but most sopranos, though perfectly executed, seem to have none of Patti's warmth in their trills (Melba's was technically perfect, but compared to Patti is cold and lifeless). Even Ponselle's, in all its stunning volume and briliance, has nothing on Patti.

    This is not a recording for everyone, and to some hearing things like "Old folks at home" may see like a cheap shot considering Patti's greatness in an era of super great singers. Again, the woman was old, and she recorded what she could (and even a few things she couldn't do) and left us with a glimpse, even if ever so clouded, of the wonderful joys of singing audiences of the past basked in regularly.

    4 out of 5 stars Hers is a voice in its final bloom.......2003-08-17

    I heard that Adelina Patti's voice was a delight to hear. If only the gramphone would have been invented earlier than 1888 so I could have heard her voice in its prime. The charm and fullness of her vocal technique seems to have survived alright into the time of the recording, though she sounds more mezzo than soprano. She tends to slide a bit in Lotti's "Pur de cesti". The Mozart aria "Voi che sapete" had a little too much pace in the "Sospiro gemo" part, which kind of threw her off count. But I give her credit for the work she did in recording these songs. They can also paint pictures of Victorian and Romantic delights and transport the listener to the garden of past singers where Patti's voice was in its final flowing.
    Message from Home
    Average customer rating: 4 out of 5 stars
    • A bit dull.
    • African Jazz...
    • Burn to the Roots
    • Top 5 of the 90's
    • Sweet Sugar from Laswell
    		 Message from Home
    Pharoah Sanders
    Manufacturer: Polygram Records
    ProductGroup: Music
    Binding: Audio CD

    Avant Garde & Free JazzAvant Garde & Free Jazz | Jazz | Styles | Music
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    ASIN: B0000046J9
    Release Date: 1996-03-19

    Tracks:

    1. Our Roots [Began in Africa]
    2. Nozipho
    3. Tomoki
    4. Ocean Song
    5. Kumba
    6. Country Mile

    Customer Reviews:

    2 out of 5 stars A bit dull........2005-10-20

    "Message From Home" was the first of (so far) three albums by Pharoah Sanders produced by Bill Laswell and the first album by Sanders in quite a long time (I think since the '70s) to consist of all originals. It is not, unfortunately, very good.

    The album consists largely of synthesizer driven mid-tempo grooves well informed with percussion washes and fiery playing from Sanders. At its best, it proves pleasant enough (vocal chant-and-flute piece "Kumba"), at worst it finds Sanders in drastic opposition to the music (ballad "Nozipho" finds Sanders overblowing and screeching against a soporific backdrop). It's not unlistenable, but its not the kind of record you'll be reaching for.

    Sanders and Laswell would succeed much more on their future efforts, this one is really pretty far from essential.

    4 out of 5 stars African Jazz..........2004-09-12

    The tenor saxophonist teams up with producer Bill Laswell to create an album I would best describe as African Jazz. It hits some fine grooves and there is always something interesting going on under the surface.

    4 out of 5 stars Burn to the Roots.......2001-07-06

    The concept of this album was to combine Sanders' transcendant T-sax wailing over funk riddims and brilliant African drumming. Bernie Worrell of Parliament fame plays keys and the kora player add some sweetness into the mix and I really dig the vocalizing but somehow the operation does'nt cohere. I think no one can bring the sound from a sax that Sanders can so I still got love for him.

    5 out of 5 stars Top 5 of the 90's.......1999-08-31

    One of the best jazz albums of the 90's with: Sonny Sharrock, Highlife; David Murray, Shakill's Warrior; Ornette Coleman, Tone Dialing & Graham Haynes, Transition.

    3 out of 5 stars Sweet Sugar from Laswell.......1999-08-16

    Super prolific Producer/bass man Bill Laswell( Material, Bootsy Collins, Last Poets, Bernie Worrell projects) combines his tough urban funk sensibilities with artificially sweetened Afro-pop and lays them under Pharoah's otherwordly saxaphone. The end result of this experiment is a couple of cool songs including the exciting Kora drumming and bass guitar interplay on "Our Roots.." and the oceanic squealing solos that stretch throughout this experiment that fizzles. But it ain't Pharoah or the Brothers who perform on hte African drums faults!
    The Complete Adelina Patti & Victor Maurel
    Average customer rating: 5 out of 5 stars
    • SIMPLY SUPERB!!!!
    		 The Complete Adelina Patti & Victor Maurel

    Manufacturer: Marston
    ProductGroup: Music
    Binding: Audio CD

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    ASIN: B00000AE0K
    Release Date: 1998-08-11

    Customer Reviews:

    5 out of 5 stars SIMPLY SUPERB!!!!.......2002-06-07

    The very best compilation of the complete Adelina Patti recordings ever issued, and certainly a reference work that will be very difficult to imitate or surpass.
    Blessfully Yours
    Average customer rating: Not rated
      		Blessfully Yours
      William Taylor
      Manufacturer: William Taylor
      ProductGroup: Music
      Binding: Audio CD

      GospelGospel | Christian & Gospel | Styles | Music
      ASIN: B000CA2LGY
      Release Date: 2005-05-03

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