Kurt Vonegut

This 3-CD box set of unreleased recordings by the Kurt Edelhagen Jazz Orchestra made for the German Westdeutscher Rundfunk (WDR) radio station in Cologne presents a fascinating snapshot of an important episode in the history of European jazz. The collection has been put together by Dr Bernd Hoffmann, a German broadcaster and musicologist, who has made the selection from more than 3000 tracks in WDR’s archives. The “100” in the title refers to the fact that the centenary of Edelhagen’s birth was in June last year and that this release celebrates the anniversary.

If you die you're completely happy and your soul somewhere lives on. I'm not afraid of dying. Total peace after death, becoming someone else is the best hope I've got.

Punk is musical freedom. It's saying, doing and playing what you want. In Webster's terms, 'nirvana' means freedom from pain, suffering and the external world, and that's pretty close to my definition of Punk Rock.

Kurt Cobain

This one-and-only recorded collaboration between jazz greats Geri Allen and Kurt Rosenwinkel took place live at the famed Philharmonie de Paris in 2012—the two play as if with one mind. Geri often spoke of her desire to do a studio recording to document the ‘flow and freedom” she experienced playing with Kurt that night in Paris. Unfortunately, we lost her before that date never materialized, and fortunately, that concert was recorded. The acoustics in this hall are magnificent, This album, produced by Kurt Rosenwinkel and Motéma's Jana Herzen is dedicated to Geri's memory and is truly a 'lovesome thing' for fans of Geri, of Kurt, and of piano and guitar jazz.

Kurt Weill - Speak Low: Songs & The Seven Deadly Sins - Anne Sofie von Otter (1994) {Deutsche Grammophon 439 894-2}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 323 Mb | MP3 @320 -> 186 Mb
Full Artwork @ 300 dpi (png) -> 41 Mb | 5% repair rar
© 1994 Deutsche Grammophon | 439 894-2
Classical / Early 20th Century / Vocalize / Vocal Music / Ballet Chanté

Kurt Weill's ballet with songs is one of this century's greatest theatrical works. It has all the wit and melodic appeal of The Threepenny Opera and social conscience of Mahagonny, but more warmth and musical sophistication than either. It's also all over with in about 40 minutes. Some critics believe the piece was intended as a sort of love poem to Weill's wife, Lotte Lenya; given the tenderness of much of the music, it's hard to disagree. Lenya herself recorded the piece in the 1950s (a recording recently reissued by Sony) and this very much newer performance is welcome particularly for Anne Sofie von Otter's highly intelligent and musical way with the text. The other songs, from both Weill's Berlin and Broadway periods, make the perfect filler.