#serge fritz

[altamontpt]

Os melhores discos nacionais de 2022

Estas foram as nossas escolhas nacionais para 2022, num ano marcado pelo jazz e belas belas vozes femininas.

[vc_row][vc_column][vc_column_text]Num ano em que a redacção Altamont pensaria que não haveria tantos discos para votar, eis que batemos o recorde no volume. No ano passado já tínhamos chegado aos 51 mas em 2022 subimos a parada e chegaram 68 álbuns ao nosso top, que volta a ser bastante diverso. Ao contrário de outros anos, não houve nomes tão consagrados mas é de salutar o regresso de Mário…

[francescaderochefort]

Introduction/Who am I?

Okay, so since I’m back on here again in the ongoing exodus, I thought I’d better do an introductory post for anyone who wants to follow as well as refresh old friends and followers. Open to new friendships so feel free to send me asks, reply, or whatever if you want to talk.

Francesca (Fran, Frankie for short)

Englishwoman

Lesbian, f4f

Cat person (see previous bullet)

I enjoy writing although I’m aware I’ll probably never be published so it’s mostly just something I do for my own personal catharsis and expression.

Night owl

Haute couture enjoyer

Learning French (c. B1, B2 reading level), want to learn European Portuguese, Spanish, Latin, Dutch, interested in language acquisition more broadly

I’ve always been a voracious reader so some favourite authors, poets and essayists: Sappho, Gustave Flaubert, Charles Baudelaire, Arthur Rimbaud, Théophile Gautier, Gérard de Nerval, Marcel Proust, Alain-Fournier, Jorge Luis Borges, Camilo Castelo Branco, Yukio Mishima, Jean Genet,  Anaïs Nin, Novalis, Simone Weil, Jacques Lacan, Plato, James Joyce,  Emily Brontë, Jane Austen, Oscar Wilde, George Orwell, Vladimir Nabokov, John Donne, F. Scott Fitzgerald, Emily Dickinson, Fyodor Dostoevsky. My favourite novel (and maybe favourite work of art full stop) is Madame Bovary.

Cinema is my other great passion and one I’ve spent the last few years particularly delving into - some favourite directors/auteurs: Carl Dreyer, Michael Powell (& Emeric Pressburger), Manoel de Oliveira, Alfred Hitchcock, Howard Hawks, Yasujiro Ozu, Francis Ford Coppola, Brian de Palma, Raoul Ruiz, Douglas Sirk, Josef von Sternberg, Ernst Lubitsch, Erich von Stroheim, F.W. Murnau, Fritz Lang, Claude Chabrol, Éric Rohmer, Jean Renoir, Max Ophüls, Eugène Green, Rainer Werner Fassbinder, Luis Buñuel, Pedro Costa, Luchino Visconti, Val Lewton, Dario Argento, Ingmar Bergman, Nagisa Oshima, Wojciech Has. My favourite film is A Matter of Life and Death (1946).

My favourite actresses: Isabelle Huppert (in love with her), Catherine Deneuve, Sophia Loren, Joan Crawford, Barbara Stanwyck, Susan Hayward, Marlene Dietrich, Isabelle Adjani, Sissy Spacek, Vivien Leigh, Penélope Cruz, Fanny Ardant, Monica Bellucci, Emmanuelle Béart, Sandrine Bonnaire

Favourite music: Erik Satie, Claude Debussy, Serge Gainsbourg, Sergio Mendes, Miles Davis, John Coltrane, Charles Mingus, Herbie Hancock, Ella Fitzgerald, Billie Holiday, Dusty Springfield, Nina Simone, Carpenters, Stevie Wonder, Prince, Kate Bush, Cocteau Twins, Björk, Talking Heads, The Cure, Boards of Canada, Joy Division, New Order, The Velvet Underground, Massive Attack, Portishead, Manic Street Preachers

Also enjoy art/painting, aesthetics, fashion, memes, food and (maybe too much) drink. Lots more that I can’t think of at the moment so maybe a sequel in the future when I feel like being inward-looking again?

[chrono-the-babe]

Character List

Playable

Chrono

Marle

Lucca 

Robo

Frog / Glenn

Ayla

Magus / Janus / Prophet / Magil / Guile

Kid

Serge

NPC / Enemy / Others

Alfador

Atropos XR

Azala

Belthasar

Chancellor

Cyrus

Dactyl

Dalton

Doan

Doreen

Dragon Tank

Epoch

Fiona

Flea

Fritz

Frog King

Gaspar

Gato

Giga Gaia

Gina (Chrono's mum)

Heckran

Johnny

King Guardia

Kino

Lara

Lavos

Masamune / Masa & Mune

Melchior

Mother Brain

Nizbel

Norstein Bekkler

Nu

Ozzie

Queen Leene

Queen Zeal

Schala

Slash

Son of Sun

Spekkio

Taban

Tata

Toma

Yakra

Zombor

[ulkaralakbarova]

In 1982, André Bamberski learns about the death of his 14 year-old daughter, Kalinka, while she was on vacation with her mother and stepfather in Germany. Convinced that Kalinka’s death was not an accident, Bamberski begins to investigate. A botched autopsy report raises his suspicions and leads him to accuse Kalinka’s stepfather, Dr Dieter Krombach, as the murderer. Unable to indict Krombach in Germany, Bamberski attempts to take the trial to France, where he will dedicate his life to Kalinka’s justice and the imprisonment of Krombach. Credits: TheMovieDb. Film Cast: André Bamberski: Daniel Auteuil Doctor Dieter Krombach: Sebastian Koch Dany: Marie-Josée Croze Cécile: Christelle Cornil Kalinka (6 years old): Lila-Rose Gilberti Kalinka (14 years old): Emma Besson Robert: Christian Kmiotek Maître Gibault: Serge Feuillard Father of André: Fred Personne Mother of André: Thérèse Roussel Pierre (20 years old): Tom Hudson Pierre (12 years old): Antoine Milhaud Pierre (4 years old): Timéo Bolland Bamberski’s assistant: Natalie Beder Boris: Nicolas Planchais Investigating judge: Valérie Even Policeman Scheidegg: Johannes Oliver Hamm Investigating judge: Florence d’Azémar Investigating judge: Stanislas Stanic Investigating judge: Catherine Davenier Bailiff: Alain Beigel President of the Paris court: Patrick Zimmermann Advocate General: Guillaume Briat Clerk: Marie Vernalde General producer: Luc Gentil Director of criminal affairs: Geoffroy Boutan Assistant of criminal affairs: Patrick Hauthier Secretary: Anne-Cécile Crapie Secretary: Véronique Dossetto Forensic pathologist: Jean-Pol Brissart Policeman: Loïc Risser Entrepreneur: Michel Gomes German lawyer: Jürgen Zwingel President of the Kempten court: Fritz Hammer Eva: Emma Drogunova German journalist: Susanne Schmidt Young German saleswoman: Charlotte Krenz German doctor: Wolfgang Pissors German policeman: Christophe Bizet Serbian kidnapper: Pierre Bourel Lawyer in court: Jan Oliver Schroeder Clerk (uncredited): Audrey Quoturi Film Crew: Original Music Composer: Nicolas Errèra Dialogue: Julien Rappeneau Producer: Cyril Colbeau-Justin Producer: Jean-Baptiste Dupont Producer: Nadia Khamlichi Producer: Adrian Politowski Set Decoration: Barbara Bernhard Editor: Valérie Deseine Executive Producer: David Giordano Dialogue: Vincent Garenq Sound Mixer: Jean-Pierre Duret Executive Producer: Bernie Stampfer Producer: Gilles Waterkeyn Costume Design: Marie-Laure Lasson Director of Photography: Renaud Chassaing Foley Artist: Philippe van Leer Production Design: François Abelanet Executive Producer: Frantz Richard Supervising Sound Editor: Pascal Villard Script Supervisor: Yannick Charles Set Decoration: Delphine De Casanove Producer: Hugo Bergson-Vuillaume Casting: David Bertrand Hairstylist: Laurent Bozzi Key Makeup Artist: Hugues Lavau Hairstylist: Nadine Hermand First Assistant Director: François Domange Production Manager: Laurent Sivot Producer: Philipp Kreuzer Set Decoration: Jessica Labet Producer: Roland Schaffner Dialogue Editor: Sabrina Felgueiras Movie Reviews:

[temoinmuet]

No return (river of)

En amont de la rivière d’ Apocalypse Now se trouve aussi le vieux Hollywood. Coppola appartient à une génération de cinéastes qui font leur travail du vivant de leurs ancêtres et qui le savent. Une génération qui a commencé en France avec la Nouvelle Vague, lorsque Godard a littéralement inscrit le nom et le corps de Fritz Lang (dans le Mépris), et récemment arrivée en Amérique (voir Truffaut dans le film de Spielberg). Là aussi, on pourrait dire que l'assassinat de Brando est une opération infinie — en vertu de la position très particulière qu'occupe Brando dans l'industrie américaine : il est un peu le Kurtz de cette industrie — infiniment décevante aussi.

Serge Daney

[headlinerportugal]

Best Youth inauguraram o 'Sons no Património' 2023 | Reportagem fotográfica

No passado sábado, dia 2 de setembro, a dupla Best Youth, composta por Ed Rocha Gonçalves e Catarina Salinas, inaugurou a programação do 'Sons no Património' na sua versão de 2023. Esse concerto teve lugar no edifício dos Paços do Concelho em Vale de Cambra e foi o primeiro de uma série de atuações que vão percorrer diversas localidades dentro da Área Metropolitana do Porto. O duo Best Youth irá editar o próximo álbum brevemente. O single “Cool Kids”, que tem rodado nas rádios nacionais, é o primeiro "gostinho" do novo material. Estamos bastante ansiosos e desejosos por ouvir todas essas canções ainda não estreadas.

Ed Rocha Gonçalves toma conta da guitarra nos Best Youth | mais fotos clicar aqui A referida iniciativa está já cumprir este ano a sua 6ª edição. Em todos os eventos proporciona entrada livre às populações locais naquela que é uma celebração da riqueza e a diversidade do Património Cultural do território e da sua comunidade. Uma queijaria, uma ponte, um mosteiro, uma igreja, são alguns exemplos dos espaços que constroem a essência de um território, sendo testemunhos da história e legado da sua comunidade. São estes alguns dos locais que vão receber bandas e artistas como Sensible Soccers, Manel Cruz, B Fachada e José Pinhal Post-Mortem Experience, Milhanas ou Criatura só para citar alguns dos intervenientes.

Da música instrumental ao indie rock, da pop ao fado, sem esquecer, claro, a música tradicional portuguesa, a programação é, sem dúvida, bastante eclética. Iniciou-se, como já referido no passado sábado e só terminará a 4 de novembro em Paredes. No final deste artigo disponibilizamos a agenda completa, são ao todo 17 concertos.

Catarina Salinas com a sua tradicional presença sensual | mais fotos clicar aqui Iremos estar presentes em vários destes eventos afim de realizarmos mais reportagens fotográficas. A programação é bastante aliciantes com nomes bem fortes do panorama musical nacional, sendo que a entrada gratuita reforça um interesse maior em todos os concertos.

Este projeto propõe a música como veículo para aproximar as pessoas do património, que cada vez mais se quer mais aberto, acessível e valorizado. A iniciativa reflete um compromisso contínuo com a democratização do acesso à criação artística, à cultura e ao património cultural, resultando num convite alargado e gratuito para apreciar espaços icónicos de cada município e desfrutar do que de melhor se faz na música em Portugal.

A organização e concretização desta programação está a cabo da AMP (Área Metropolitana do Porto) através da sua iniciativa MATER 17. A Media Sounds é a responsável pela produção de todas as atuações.

Agenda 'Sons no Património' 2023

Setembro

Dia 2 às 22h00: Best Youth, em Vale de Cambra Dia 9 às 17h00: B Fachada, na Póvoa de Varzim Dia 15 às 21h30: Manel Cruz, em Santa Maria da Feira Dia 17 às 17h00: Criatura, em Vila do Conde Dia 21 às 21h30: Ronda dos Quatro Caminhos, em Arouca Dia 23 às 17h00: Serge Fritz, em Santo Tirso Dia 24 às 17h00: Milhanas, em Matosinhos Dia 29 às 21h30: Sensible Soccers, em Valongo Dia 30 às 21h30: José Pinhal Post-Mortem Experience, em São João da Madeira

Outubro

Dia 1 às 17h00: Lina, na Maia Dia 7 às 17h00: Rosa Mimosa y sus Mariposas, em Oliveira de Azeméis Dia 8 às 17h00: Silvio Rosado, no Porto Dia 14 às 21h30: Palankalama, em Espinho Dia 15 às 17h00: Jéssica Pina, em Vila Nova de Gaia Dia 21 às 17:00: Lula Pena, em Gondomar Dia 22 às 17h00: Crua, na Trofa

Novembro

Dia 4 às 21h30: Aníbal Zola, em Paredes

Reportagem Fotográfica completa dos Best Youth: Clicar Aqui

Best Youth sempre com um desempenho super fresco e emocionante | mais fotos clicar aqui Texto: Edgar Silva Fotografia: Jorge Resende

[pixnflixnwrites]

Claude Chabrol

Chabrol, created the first ripple of the French new wave with his first feature, Le Beau Serge (1958). Unlike some of his other critic colleagues on the influential journal Cahiers du Cinéma, who also became film-makers, Chabrol was perfectly happy in the mainstream. 

In 1957, he and Eric Rohmer wrote a short book on Alfred Hitchcock, whom they saw as a Catholic moralist. Hitchcock's black humour and fascination with guilt pervades the majority of Chabrol's films, most of which have murder at their heart. However, although Chabrol's thematic allegiance to Hitchcock remained intact, his stylistic mastery came close to matching the magnificently bleak geometry of Fritz Lang, another mentor.

Marriage, in Chabrol's films, must be defended by betrayed bourgeois spouses at any cost. But whatever is seething beneath the surface – guilt, jealousy or crime – the niceties of life must continue. 

 For Chabrol, brutality could erupt at any time within the most banal and everyday of settings.... the norms and laws of civility can break down without warning.

[lisboabeat]

#ThisWeek

07.11.22 COLLECT EL PREVOST (Live) MEDALLION MAN

07.11.22 LOUNGE SEGUNDA CIRCULAR

08.11.22 COLLECT MEIBI

08.11.22 LOUNGE PEDRO BEÇA

09.11.22 COLLECT HOLLDEN

09.11.22 LOUNGE MAYAN

10.11.22 COLLECT MARCO MORAN

10.11.22 LOUNGE DJ AL

10.11.22 LUX FRÁGIL DISCO: FARWARMTH + GIANT SWAN BAR: YIZHAQ

11.11.22 COLLECT DIOGO

11.11.22 LOUNGE TROL 2000

11.11.22 LUX FRÁGIL - HESSLE AUDIO DISCO: BEN UFO + PANGAEA + PEARSON SOUND BAR: TIAGO + SUZE IJÓ + TEAMY

11.11.22 KREMLIN PLASTIKS TOKSAM DUB TIGER

Plastiks and Toksam's sets are musical journeys that reflect their own creativity. Dub Tiger's guests for the evening are expected to deliver a sophisticated and captivating electronic session.

#Kremlin#Lisboa#Techno#Tech#Friends#Fun#Drinks#Clubbing#DubTiger#Toksam#Plastiks#LisbonClubbing#Underground

12.11.22 CREW HASSAN MIGUEL TORGA MARKOV VICENTE

12.11.22 LOUNGE RÁDIO FUTURA - 1º ANIVERSÁRIO: SERGE FRITZ (Live) JUNGLE JULIA & MR. MITSUHIRATO

12.11.22 COLLECT CULTURE JERU THE DAMAJA (concert) - 00:00 NELASSASSIN - 23:00 PIMENTA CASEIRA (concert) - 22:00 JOÃO TENREIRO - 02:30 AFONSO & JOAQUIM QUADROS - 01:00 AQUARIO COLETIVO - 23:30 MARY B - 19:00

12.11.22 LUX FRÁGIL DISCO: HNRQ + ECHONOMIST BAR: INÊS DUARTE + VARELA

12.11.22 KREMLIN FAUVRELLE GUIDANCE DUB TIGER

Fauvrelle is probably one of the most recognized Portuguese artists when it comes to electronic music. The mentor of the Inflagrante Music label, a producer under various pseudonyms, makes our house his own for a session where musical oscillation crosses his perception of the audience. Sharing the booth tonight is also Guidance and the host Dub Tiger.

#Kremlin#Lisboa#Techno#Tech#Friends#Fun#Drinks#Clubbing#Fauvrelle#Guidance#DubTiger#LisbonClubbing#Underground

13.10.22 LOUNGE SINNERS CLUB: MIGHTY CAESAR

[de-gueules-au-lion-d-or]

Né à Berlin dans une famille national socialiste, le tout jeune Hardy intègre une école de cadres NS et tourne même à 16 ans - le premier rôle d'une longue carrière - dans Jung Adler, film à la gloire de la Luftwaffe (1944). D'ailleurs de la fiction, il passe vite à la réalité : recruté en mars 1945 dans la division de grenadiers SS Nibelungen, il tiraille du côté de la Bavière contre les Américains avant d'être capturé par les Yankees au Tyrol. Moyennant quoi Hardy Krüger sera un des grands Allemands du cinéma occidental d'après-guerre, et comme tel endossera souvent l'uniforme nazi, quitte à attirer souvent la sympathie : il est ainsi Fritz von Werra, authentique as de la Luftwaffe acharné à s'évader des prisons britanniques dans le film british L'Evadé du camp 1 (1957, un souvenir de télé enfantine) ; un Afrika Korps malin et correct face à Lino Ventura et ses copains dans Un Taxi pour Tobrouk de Denys de la Patellière (1961) ; prêtre sous l'uniforme de la Wehrmacht dans Le Franciscain de Bourges, pas un des meilleurs Autant-Lara (1967 ; colonel allemand dans la superproduction occidentale et plutôt pro-Tito La Bataille de la Neretva (1968) ; major général des blindés SS stylé dans l'excellent Un pont trop loin de Richard Attenborough, une ambitieuse et prenante évocation de l'opération ratée des Alliés à Arnhem à l'automne 1944... Il est encore officier germanique, mais de Frédéric II de Prusse durant la guerre de Sept ans in Barry Lindon de Stanley Kubrick (1975), vieilli mais parfait de bout en bout. Il est encore militaire, mais sud-africain et mercenaire, dans l'assez bon film de mercenaires Les Oies sauvages d'Andrew V McLaglen (1977), aux côtés d'imposantes stars britanniques comme Richard Burton, Roger Moore, Richard Harris et Stewart Granger.

En 1962, Krüger, résident tanzanien, prête son domaine à Howard Hawks pour le tournage film semi-animalier Hatari, où il se confronte à John Wayne. Mais la même année sort Les Dimanches de Ville-d'Avray, film français de Serge Bourguignon, où Krüger tient un (premier) rôle particulièrement atypique, voire décalé, celui de Pierre ex-pilote de guerre devenu amnésique suite à un crash en Indochine, et qui va par hasard développer une amitié très particulière avec une fillette de 10 ans. Déjà dans le film, cette relation fait scandale chez les Dagovéraniens de l'an 1962, et on ne peut s'empêcher de se demander comment le film aurait été perçu s'il était sorti aujourd'hui ; à sa sortie Les Dimanches de Ville d'Avray est passé relativement inaperçu en France mais a fait un carton aux Etats-Unis et au Japon ! En tous cas dans ce vrai rôle de composition, si éloigné de son " profil " d'acteur Hardy Krüger était convaincant.

Après 1978 et Les Oies sauvages, Hardy Krüger sort de fait des radars cinématographiques. Cette même année il a épousé en troisièmes noces une Américaine et se partagera désormais entre Hambourg et la Californie. Où la mort l'a finalement trouvé, à Palm Springs, à 93 ans : étonnant parcours d'un Allemand ayant acquis - et bien mérité - un statut hollywoodien..

[haitilegends]

Haïti Legends ''Sa Nou Dwe Konnen''

Jean Emmanuel Jabouin '' Premier Trompettiste du Compas Direct''

Biographie

Louis Carl St-Jean.

De son vrai nom Jean Emmanuel Jabouin, Talès a vu le jour à la Croix-des Bouquets le 24 juin 1930. Il est le fils du Cayen Emmanuel Jabouin, ancien fonctionnaire de l’administration publique, et d’Indiana Victor, originaire de la Croix-des-Bouquets. À l’âge de 3 ans, Talès est frappé par la fièvre typhoïde, qui le laisse avec une légère paralysie des jambes. Peu après sa guérison (vers quatre ou cinq ans), il commence à manifester un intérêt pour la musique. Non sans rire, il raconte: « Je prenais plaisir à m’asseoir sur la « manoumba » lorsque les troubadours qui venaient se produire presque toutes les fins de semaine dans la cour de la maison de mes parents prenaient leur pause… Ces exécutants eux-mêmes prenaient plaisir à me regarder pincer les lames de cet instrument qui était plus grand que moi. »

En 1937, la mère de Talès déménage et s’installe avec son fils à la rue du Champ-de-Mars, presque au coin de la rue de l’Enterrement, au cœur du Morne-à-Tuf. La maison voisine est celle des époux Augustin Baron où se produit souvent le légendaire pianiste et musicien François Alexis Guignard (dit Père Guignard). En cours de semaine, il fabrique, avec des tiges de papaye, des saxophones qu’il joue, assure-t-il, avec la plus grande joie pour les voisins. En octobre 1941, Talès est admis à l’Ecole Centrale des Arts et Métiers où il apprend la musique et la trompette sous la direction du maestro Augustin Bruno.

En juillet 1947, Talès, frais émoulu de la Centrale, fait ses débuts avec l’Ensemble Anilus Cadet, dont le QG se trouve à la rue de l’Enterrement, en face de l’Hospice Saint François de Sales. Il joue alors à côté de Fritz Ferrier, d’Issalem « Sonson » Bastien et d’autres exécutants qu’Anilus recrutait au besoin. En septembre 1949, Talès occupe l’un des dix pupitres du Jazz des Caraïbes. C’est cet orchestre, monté par Issa El Saieh, qui, en février 1950, accompagne Daniel Santos, Estela « Tete » Martinez et d’autres stars latinoaméricaines de passage au « Simbie Night Club », au « Vodou Night Club » et dans d’autres boîtes de nuit port-au-princiennes. Nous tenons de lui cette confidence pour le moins étonnante: « C’est au sein de l’Orchestre des Caraïbes que je peux retracer mes meilleurs souvenirs sur la scène musicale… » Après la dislocation de ce dixtuor, Talès s’associe de nouveau au groupe d’Anilus Cadet, qui obtient le deuxième prix du carnaval de 1951 pour la méringue « Bèl carnaval ». (Le premier prix a été décerné à TI-TA-TO.)

À la même époque, Talès, Emmanuel Duroseau fils (piano), Montfort Jean-Baptiste (contrebasse), Louis Denis (batterie) et Marcel Jean (tambour) vont prêter leurs talents à Guy Durosier, qui, sur la recommandation d’Issa El Saieh, dirige l’Ensemble Tabou, le sextette de l’Hôtel Rivoli (Pétionville). Au cours de la même période, Talès accompagne dans les quatre coins du pays le troubadour Nicolas « Candio » Duverseau, grand chantre du magloirisme. Il joue aussi dans d’autres groupements d’occasion qui animent des pique-niques dominicaux et des soirées dansantes organisées le plus souvent par Stanislas Henry et Antoine Dextra à Carrefour Marin, commune de la Croix des Bouquets.

À la fin de 1951, Talès adhère à l’Orchestre Atomique Junior, monté par Nemours Jean-Baptiste après sa séparation de l’Orchestre Atomique. Au cours de l’année 1952, le groupe de Nemours est dissous. Immédiatement le bouillant maestro est appelé à diriger l’Orchestre Citadelle. Lorsqu’Hector Lominy se sépare de cet orchestre, Talès y est engagé pour seconder Jean Moïse. Véritable bûcheur, Nemours met sur pied parallèlement un petit groupement pour « faire la côte », selon l’expression de l’époque. Avec Dérico (chanteur), Webert Sicot (saxophone alto), Gérard Dupervil (trompette), son frère Montfort Jean-Baptiste ou parfois Augustin Fontaine (contrebasse), Hilaire ou parfois « Bibiche » (batterie) et d’autres musiciens, il sillonne par monts et par vaux les coins et recoins de la République, spécialement pour animer des fêtes champêtres.

En novembre 1953, Talès prend le chemin du Casino International et s’associe au Conjunto Panamerican dirigé par le trompettiste Emile D. Dugué. Il évolue alors aux côtés d’Ulysse Cabral (chanteur), Julien Paul (contrebasse), Charles Dessalines (saxophone alto), Gabriel Dasque (tambour), etc. Environ six mois plus tard, Talès s’écarte de ce groupe pour aller remplacer Kesnel Hall dans l’Orchestre Atomique, placé alors sous la baguette du pianiste Robert Camille. Il y passe moins de six mois et regagne l’Orchestre Citadelle pour succéder à Gesner Domingue.

Vers la fin de 1954, Nemours Jean-Baptiste, toujours maestro de l’Orchestre Citadelle, fonde le Conjunto International. Pour l’aider à égayer les clients des restaurants dansants de Jean Lumarque, dont l’un à Kenscoff, l’autre à Carrefour, il invite plusieurs musiciens, dont Talès à la trompette, à participer dans cette merveilleuse aventure : Dérico (chanteur), Mozart Duroseau (accordéon), Montfort Jean-Baptiste (contrebasse), Webert Sicot (saxophone alto), parfois Gary Labidou (saxophone alto) et Kreutzer Duroseau (tambour). Le 22 mars 1955, après les travaux d’agrandissement et d’aménagement du night club « Aux Calebasses » à Carrefour, « Le Conjunto » devient officiellement « Ensemble Aux Calebasses ». Il convient de rappeler que la date du 26 juillet 1955 a été symboliquement retenue comme celle de la fondation de la formation musicale de Nemours Jean-Baptiste, ancêtre, donc, du compas direct. Talès en sera le premier et unique trompettiste jusqu’à l’arrivée de Walter Tadal en 1956.

Lorsque, en septembre 1958, Nemours quitte « Aux Calebasses » pour aller se produire au « Palladium Night Club », de Sénatus Lafleur, il baptise son groupe de son nom: Super Ensemble Nemours Jean-Baptiste. « Alors, affirme Talès, prendra naissance le compas direct », genre musical dont il a été l’un des grands artisans, de concert avec Walter Tadal, Raymond Gaspard, Julien Paul, Louis Lahens, André Boston et de bien d’autres musiciens. Là-dessus, il sied d’entendre la voix de Talès pour mieux nous renseigner: « Quand on parle de compas direct, il faut avouer que Kreutzer Duroseau a été le véritable catalyseur de ce mouvement … Richard Duroseau représente l’âme même du compas direct… » (Entrevue avec Louis Carl Saint Jean, 22 octobre 2005.)

Le 5 juillet 1964, le Super Ensemble Nemours Jean-Baptiste entame une tournée aux Etats-Unis. Le 22 septembre, date du retour du groupe en Haïti, notre trompettiste, en parfait accord avec Nemours, fait ses adieux au compas direct. Il est remplacé par le brillant trompettiste jérémien Emilio Gay. Dès le début de l’année 1965, Talès entame sa carrière aux Etats-Unis. Sur la recommandation de l’excellent saxophoniste Charles Dessalines, il intègre « Los Ases del Sesenta » qui jouent à Broadway Cafe, Myrtle Avenue, Brooklyn. Il y restera jusqu’en mars – avril 1977. Moins d’un mois plus tard, il entre au Conjuto du chanteur cubain Monguito Guillan (dit « El Unico ») où évolue également le contrebassiste Fritz Grand-Pierre. Par la suite, Talès et Raymond Marcel jouent tantôt avec ''Enrique Rosa y La Sabrosa'' tantôt avec Johnny Dupre y su Orquesta Internacional. En 1980, Talès met fin à sa carrière musicale après avoir passé deux merveilleuses années au sein du groupe du chanteur dominicain Rafael Batista.

À part d’avoir été un talentueux trompettiste, Talès a également été un analyste fin et lucide de la question musicale haïtienne. S’il reconnaît en Nemours Jean-Baptiste « un maestro extraordinaire et un grand visionnaire », ses musiciens préférés ont toujours été : Antalcidas O. Murat, Guy Durosier, Murat Pierre, Michel Desgrottes, Raoul Guillaume, Richard Duroseau et Webert Sicot. D’ailleurs, comme Nemours Jean-Baptiste lui-même, Talès a toujours vu en Antalcidas Murat « un maître ». En outre, il n’a jamais passé par quatre chemins pour affirmer : « Je suis Haïtien avant d’être musicien […] C’était un honneur pour moi d’avoir joué dans le groupe de Nemours pendant près de quinze ans. Cependant, je dois avouer que le Jazz des Jeunes était, de loin, le plus grand ensemble musical du pays… C’est le Jazz des Jeunes qui jouait la vraie musique du pays... » (Entrevue avec LCSJ, 25 octobre 2005). Hubert François, Jean Moïse, Alphonse Simon, Raymond Sicot et André Déjean ont été ses idoles parmi nos trompettistes.

Si Talès était connu comme un très bon musicien, il jouissait aussi de la réputation d’un excellent père de famille. Tandis qu’il menait sa carrière de musicien, il a travaillé comme barbier pendant plus de deux décennies dans un salon de coiffure situé à Sterling Place, à Brooklyn. Il a ainsi assuré l’éducation de quatre merveilleux enfants que lui a donnés sa femme Denise Frédéric Jabouin qu’il a épousé en 1953: Reynald Jabouin, docteur en médecine (décédé à New York en janvier 2015); Patrick Jabouin, agent immobilier et docteur en Théologie; Fanya Jabouin Monnay, docteur en thérapie conjugale et familiale et Jean Emmanuel Jabouin, Jr., MBA en Marketing.

Après avoir parcouru sans naufrage notre espace immense, Talès se repose de ses œuvres merveilleuses depuis le 3 octobre 2015 au Forest Lawn Cemetery, à Fort Lauderdale, en Floride. Pour son émule Raymond Marcel: « Talès repésentait le modèle de l’ami fidèle... La sonorité suave de son jeu avait fait de lui l’un de nos meilleurs trompettistes. » De son côté, son ancien camarade Serge Simpson, deuxième accordéoniste et premier et unique vibraphoniste du Super Ensemble Nemours Jean-Baptiste, a salué en lui: « Un homme d’un comportement exemplaire. Le jeu de Talès à la trompette, poursuit Simpson, reflétait deux qualités rarement réunis chez une seule personne: la discipline et la bonne humeur. J'ai toujours gardé un grand respect pour ce musicien... » Puisse le nom de Jean Emmanuel Jabouin rester gravé à jamais dans la mémoire de tous ceux qui ont aimé la musique haïtienne en général, le compas direct en particulier. Ce n’est qu’un au revoir, Talès! Ce n’est qu’un au revoir!

Auteur:

Louis Carl Saint Jean

louiscarlsj@yahoo.com

4 octobre 2015

#JeanEmmanuelJabouin

#Talès

#TompettisteCompasDirect

#Biographie

#LouisCarlStJean

#HugoValcin

[altamontpt]

Serge Fritz - gandulo (2022)

Serge Fritz – gandulo (2022)

Serge Fritz é um projeto novo, tão a estrear que ainda temos de tirar o plástico envolvente. Mas já sai crescido, composto e recomenda-se. 7/10 Alter-ego de Sérgio Freitas, bracarense e pianista, que já teve colaborações com artistas como Old Jerusalem, Sensible Soccers, Mind da Gap, PZ ou We Trust, apesar de ser um novo projeto, este Serge Fritz não é um novato no mundo dos sons. E nota-se, em…

[justforbooks]

Michel Piccoli obituary

Stalwart of French cinema whose prolific career included films with Luis Buñuel, Jean-Luc Godard and Claude Chabrol

By Ronald Bergan

For more than half a century, there seemed to be one constant in French cinema – the actor Michel Piccoli. With his death at the age of 94 something vital has disappeared from the screen.

Never young looking – he was prematurely bald – Piccoli grew in maturity and power over the years, with directors such as Luis Buñuel, Jean-Luc Godard, Claude Chabrol, Marco Ferreri and Claude Sautet seeking his services more than once. He also worked for directors of the stature of Alfred Hitchcock, Henri-Georges Clouzot, Jacques Rivette, Costa-Gavras and Louis Malle.

Even when he was a big name, Piccoli was never too proud to play small supporting roles or even bit parts if he liked the screenplay. But whatever the size of the role, whether playing a goody or a baddie, Piccoli would bring to the character a gravitas (with a tinge of humour) and an ironic detachment, simultaneously revealing a real, recognisable human being beneath the surface.

Piccoli was born in Paris to a French mother and an Italian father, both of them musicians – his mother was a pianist; his father a violinist. At 19, he made his screen debut in a walk-on part in Sortilèges (1945), directed by Christian-Jaque.

After several roles in the cinema and theatre, he met Buñuel. “I wrote to this famous director asking him to come and see me in a play. Me, an obscure actor! It was the cheek of a young man. He came and we became friends.” Piccoli appeared in six of Buñuel’s films, usually cast as a silky, authoritarian figure.

His first performance for Buñuel was as a weak, compromised priest trekking through the Brazilian jungle in La Mort en Ce Jardin (Death in the Garden/Evil Eden, 1956). In Diary of a Chambermaid (1964), he was the idle and lecherous Monsieur Monteil, sexually obsessed with Jeanne Moreau as the maid Célestine.

Just as louche was his smooth bourgeois gentleman who persuades a respectable doctor’s wife (Catherine Deneuve) to spend her afternoons working in a high-class brothel with kinky clients in Belle de Jour (1967). Piccoli reprised the role charmingly almost 40 years later in Manoel de Oliveira’s Belle Toujours (2006).

He was discreetly charming as the Marquis de Sade in Buñuel’s La Voie Lactée (The Milky Way, 1969), subtly overbearing as the home secretary in The Discreet Charm of the Bourgeoisie (1972) and sinister as a prefect of police in Buñuel’s penultimate film, Le Fantôme de la Liberté (The Phantom of Liberty, 1974).

In the 1950s, apart from his one film with Buñuel and his appearance as María Félix’s jealous lover in Jean Renoir’s French Cancan, Piccoli was cast mainly in run-of-the mill “policiers”. During this period, Piccoli was part of the Saint-Germain-des-Prés set in Paris, which included the writers Boris Vian, Jean-Paul Sartre and Simone de Beauvoir, and the café singer Juliette Gréco, to whom he was married from 1966 to 1977. He was also an active member of the French Communist party.

The 60s was his most creatively exciting and varied decade. His first leading role (with Serge Reggiani and Jean-Paul Belmondo) was as an unscrupulous gangster in Jean-Pierre Melville’s Le Doulos (The Finger Man, 1962).

This led to one of his best remembered parts, as Brigitte Bardot’s husband in Godard’s Le Mépris (Contempt, 1963), in which he plays a screenwriter, willing to sell his wife to a producer (Jack Palance) in order to get his script filmed by Fritz Lang. In a homage to Dean Martin’s character in Vincente Minnelli’s Some Came Running, Piccoli wears a cowboy hat in the bath.

As memorable as this image was the name of the character he played in Jacques Demy’s Les Demoiselles de Rochefort (The Young Girls of Rochefort, 1967). As Simon Dame, he is continually being greeted as Monsieur Dame (a joke that works only in French), and is rebuffed by Danielle Darrieux, who cannot bear the thought of being called Madame Dame.

It was in 1968 that Piccoli met Ferreri, who starred him in Dillinger È Morto (Dillinger Is Dead), a bleak study of alienation, in which a man’s life is laid bare. Piccoli is brilliant as an industrial designer who, while spending an evening at home, making himself a meal, watching TV and seducing the maid, decides to kill his wife and go to Tahiti.

It was the first of seven films the actor made for the Italian-born director, the most infamous being La Grande Bouffe (Blow Out, 1973), an excessive film about excess, where Piccoli as a TV personality, along with a pilot, a judge and a chef, all bored with life, literally eat themselves to death.

Piccoli’s few roles in English language films were less than challenging: they included his secret agent in Hitchcock’s Topaz (1969) and the suave card dealer in Malle’s Atlantic City (1981).

He was much happier in France, where his talents were not only respected but revered. His several films for Sautet showed him as a complex and flawed hero, starting with Les Choses de la Vie (The Things of Life, 1970), in which he played a man who, although having an affair, finds himself still attached to his estranged wife, his son and friends, and consequently unable to make the absolute commitment his lover requires.

In 1973, Piccoli formed a production company which kicked off with that year’s Themroc, directed by Claude Faraldo, in which he played a factory worker, living in a squalid flat with his mother and sister, pursuing an existence of repetitive routine and urban grind, before he rebels. What made this biting social satire particularly unusual was that language was abandoned completely, with the characters having to communicate in a series of formless noises, something Piccoli does particularly effectively.

Piccoli then returned to his speciality – the urbane bourgeois – in Chabrol’s blackly comic Les Noces Rouges (Blood Wedding, 1973), where he played a mayor’s deputy having an affair with his boss’s wife. In Godard’s Passion (1982), he was a factory owner whose wife is having an affair with a film director.

He gave three of his largest and most impressive performances in his late 60s and 70s. In Malle’s Milou en Mai (Milou in May, 1990), he is the ideal repository of all the director’s sympathies, the upholder of the best of traditional country values, unambitious, unacquisitive and a lover of nature, in contrast to his greedy middle-class family gathered for a funeral.

Rivette’s La Belle Noiseuse (1991) cast him magisterially as a famous artist trying to capture a new nude young model on canvas. In Oliveira’s Je Rentre à la Maison (I’m Going Home, 2001), Piccoli struck a personal and poignant note as an actor trying to deal with old age, and refusing to compromise his principles.

He shone in what amounted to almost a cameo as the courtly but bumbling elderly relative of the Duchess of Langeais (Jeanne Balibar) in Rivette’s Ne Touchez Pas la Hache (Don’t Touch the Axe, 2007), a version of Balzac’s novel on erotic obsession.

For the English language The Dust of Time (2008), Theo Angelopoulos’s last film, Piccoli joined such stalwarts of European art cinema as Bruno Ganz and Irène Jacob in a love triangle that covers the latter part of the 20th century. Despite some of the stilted dialogue, Piccoli bares the soul of a character whose sufferings include his internment and escape from a gulag.

He dominated every moment as a reserved and modest cardinal who panics when elected pontiff in Nanni Moretti’s semi-satire Habemus Papam (We Have a Pope, 2011). The first close-ups of him, when he realises he has been appointed the new pope, suggest, with subtle expressions, emotions ranging from surprise, humility, ambivalence, excitement and then horror.

In Vous N’avez Encore Rien Vu (You Ain’t Seen Nothin’ Yet, 2012), Alain Resnais’ intriguing, self-reflective examination of actors and acting, film and theatre, Piccoli, playing himself, is the doyen in a cast of leading French actors of the day.

He directed the features Alors Voilà (1997) and La Plage Noire (The Black Beach, 2001), the former winning the Critics’ prize at Venice, to add to the many prizes he had won as an actor. It was appropriate that when Agnès Varda filmed One Hundred and One Nights for the centenary of the cinema in 1995, she cast Piccoli as Monsieur Cinema.

He was married three times. His first two marriages, to Eléonore Hirt and to Gréco, ended in divorce. He is survived by his third wife, the screenwriter Ludivine Clerc, whom he married in 1978, and by his daughter, Anne-Cordélia, from his first marriage.

• Michel Piccoli, actor, born 27 December 1925; died 12 May 2020

© 2020 Guardian News

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[tapecase-space]

Good Morning, This is Louise.

Episode 90 - Song of the Indian Guest

featuring sound and dialogue from Marguerite Dura's India Song

with music by Carlos D'Alessio & Nikolai Rimsky-Korsakov

realized by David Carbonara, London Symphony Orchestra, Paul Whiteman & His Orchestra, Fritz Kreisler, Milana Chernyavska & Nicolas Koeckert, Nicolas Koeckert, MarimbaMix, Vienna Les Orpheistes, Felix Carasco & Mario Hossen, Sergey Lemeshev, Ekaterina Donchenko, Chorus of the Bolshoi Theatre, The Great Symphonic Orchestra of the All-Union Radio and Television & Mikhail Pletnev, Roglit Ishay & Tatjana Masurenko, Wolf Harden & Takako Nishizaki, Marcela Roggeri & James Strauss, Lorina Gore, Tasmanian Symphony Orchestra & Marko Letonja, Willem Moolenbeek, Don Cossack Choir of Serge Jaroff & Serge Jaroff, Lev Kuznetsov, Bolshoi Theatre Choir, Yuri Simonov & Orchestra of the Bolshoi Theatre, Yorkshire Building Society Band, Nicholas J. Childs & Manfred Obrecht, Masayuki Kino & Hikaru Yoshiyama, Xenia Belmas, Boris Mersson & Mark Drobinsky, Rosa Ponselle, Pavel Chekin, Vassily Nebolsin & Orchestra of the Bolshoi Theatre, Dmitri Smirnoff, Olesya Rostovskaya, Alexey Kruglov & Yulia Ikonnikova, Daniel Gaede & Phillip Moll  

with ambient field recordings by Rambalac

Namo Guan Shi Yin Pusa Thank you for listening

💙

[miasanfamilie]

Bremen would have deserved it...! Gnabry, Kruse, Bartels ❤️

i mean, i’ll be the first to admit that bayern played like shit yesterday, but the ref certainly wasn’t doing us any favors so pretty sure those three points were “deserved” even if we were miles below our own standard of play

[headlinerportugal]

gnration Open Day: 10 anos celebrados com Panda Bear, Sonic Boom e Bandua | Reportagem

Apesar de não achar o cartaz tão apelativo como em edições anteriores, eis que resolvi assistir ao gnration Open Day e à celebração dos 10 anos ocorrida no passado sábado, 29 de abril. Para mim, foi a quarta vez que marquei presença, todas consecutivas.

Fui mais uma vez, principalmente, por causa da programação musical, como tem sido tradicional. Convém frisar que este dia contempla outras vertentes como instalações artísticas, visitas orientadas ou atividades para os mais jovens.

Tal como Ricardo Rio (presidente do município de Braga) sublinhou publicamente este gnration é um “equipamento cultural de referência que cada vez mais tem uma oferta cultural distintiva e complementar a outros espaços culturais da cidade.”.

Efetivamente essa é a sua maior mais-valia, um espaço que permitiu aos bracarenses, e não só, terem tido a possibilidade de assistir nos últimos 10 anos a concertos de artistas como Weyes Blood, Circuit Des Yeux, Casper Clausen, Cass McCombs, Raincoats ou Acid Mothers Temple. Dos portugueses referir nomes como Mão Morta, The Legendary Tigerman, Homem em Catarse, Black Bombaim ou Pluto. Ao longo de 10 anos já é longa a lista de presenças, algo que a organização fez questão de projetar no ecrã vídeo situado no palco exterior.

Quando cheguei ao gnration, muito bem acompanhado pela minha namorada, passavam poucos minutos das 16:30h e já tinha findado a atuação de Inês Malheiro. Esta artista bracarense, tinha ficado com o slot das 16h, o de abertura da programação musical. Foi altura propícia para dar um giro pelas instalações presentes nas diversas salas do edifício enquanto não se iniciava o concerto seguinte. Não sendo leigo na matéria, direi apenas que vi instalações mais apelativas em anos transatos…

‘ODE ao gnration!’ durante a tarde  // © Hugo Sousa - gnration A ‘ODE ao gnration!’ apresentou-se ao vivo, a partir das 17h, com alunos do Conservatório de Música Calouste Gulbenkian sendo que este ensemble foi dirigido por Ece Canlı, artista turca radicada em Portugal.Nesta sua quinta edição a Orquestra de Dispositivos Eletrónicos apresentou uma performance um pouco arrastada inicialmente já que durou bastantes minutos, esta parte eletrónica foi até algo maçadora. Quando foi lugar para os músicos tocarem os seus mais variados instrumentos, a atuação alavancou e animou. Deu para escutar um som demarcado e inspirado no médio oriente (não é de estranhar tendo em conta o “dedo” de Ece) tendo sido coadjuvado por elementos eletrónicos. Algumas das passagens musicais foram bem agradáveis.

A tarde ia tranquila com uma adesão de público menor em comparação a edições anteriores. O tempo estava relativamente quente pese embora algo abafado. Céu encoberto sem ameaçar chuva, sendo que, a climatologia variou um pouco durante o dia e a noite.

Serge Fritz na apresentação de 'Gandulo'  // © Hugo Sousa - gnration Sérgio Freitas, músico e pianista de Braga, apresentou-se com o seu projeto Serge Fritz para o encerramento do período da tarde. Ele aproveitou esta ocasião, perante uma blackbox muito bem preenchida, para tocar temas do seu primeiro disco a solo ‘Gandulo’ editado em 2022. Ainda com o 25 de abril fresco na memória, o suporte do teclado de Serge Fritz, exibia cravos. Para mim foi mesmo uma liberdade ouvir os seus temas, não os conhecia, e fiquei com muita boa impressão sonora. Certamente irei investigar e escutar melhor esta sua obra de debute.

A parte principal da programação musical chegou a partir das 22h no palco Praça situado no exterior. O período noturno teve, mais uma vez, uma enchente. Primeiro atuaram os Bandua, dupla formada pelo covilhanense Edgar Valente e pelo luso-brasileiro Bernando d'Addario. Notou-se muita gente curiosa com bastante interesse pela sua performance.

Pela primeira vez os Bandua tocaram em Braga, já tinham estado perto em Caldelas no Vira Pop em 20222. Edgar afirmou ser “um prazer estar finalmente em Braga”. Começaram com o tema “Borboleta Branca” e do seu álbum de estreia tocam também, por exemplo, “Ceifa”. Outra canção que não faltou foi “Bandeiras”. Foi com este tema que concorreram ao Festival da Canção. Boa parte do seu set contemplou a performance de novos temas.

Bandua na Praça // © Hugo Sousa - gnration Eles recorrem à chamada a eletrónica downtempo para um ritmo mais pausado. Inspiraram-se no folk e sonoridades tradicionais do interior, nomeadamente da Beira Baixa. Este projeto é uma lufada de ar fresco no panorama nacional.

Não fiquei propriamente fã, é certo. Apesar disso reconheço a sua diferenciação e valia. Pude comprovar no passado sábado em Braga que há muita gente a apreciar este duo Bandua.

Arsenal Mikebe são um trio de africanos oriundos do Uganda. Tocaram na Blackbox e não fiquei nada impressionado. Eles apresentaram um som bastante pesado, alicerçado em três instrumentos de percussão e nas suas vozes. Ao fim de 20 minutos de atuação desisti depois de uma sequência (quase) ininterrupta e furiosa de percussão e vocalizações berrantes.

Panda Bear em palco  // © Hugo Sousa - gnration O que realmente mais me interessava era a performance de Panda Bear & Sonic Boom. A partir da meia-noite vi mais uma atuação da qual desfrutei. Eles que tiveram perante si uma praça muito bem preenchida sem estar totalmente lotada. Além do excelente desempenho vocal de Noah Lennox existiu igualmente um excelente nível no acompanhamento por parte de Peter Kember. Ambos manipularam instrumentos e cantaram. Estes dois músicos juntaram-se tendo editado em 2022 o álbum colaborativo ‘Reset’. Um incrível trabalho cuja apresentação ao vivo em Braga foi coroada de êxito. Não foram de muitas palavras, dedicaram-se de forma concentrada a tocar os seus temas. Eles que foram acompanhados por um ecrã com animações durante todo o show.

Sonic Boom em palco  // © Hugo Sousa - gnration Começaram o concerto com "Getting to the point" e seguiram-se outras de‘Reset’ como, por exemplo, "Edge of the Edge" (uma das mais divertidas de escutar), "Whirlpool", "Livin' in the After" ou "Everything's Been Leading to This". Esta última foi tocada antes do encore. Nesse encore optaram por tocar músicas dos seus próprios projetos.

Em certas zonas da Praça o concerto não captou totalmente a atenção de algumas pessoas até final da atuação, tal era o alto volume da conversa… Foi pena pois essas pessoas não desfrutaram em toda a plenitude da boa performance de Panda Bear & Sonic Boom.

Perspetiva do palco Praça  // © Hugo Sousa - gnration A noite encerrou com Candy Diaz na sala multiusos e De Shuurman na blackbox.

Resta dar os parabéns ao gnration pelos seus incríveis 10 anos de atividade e desejar que venham muitos mais com toda esta vitalidade que tem sido, efetivamente demonstrada desde que começou a dinamizar a vida cultural bracarense e minhota deste modo tão diferenciada.

Agradeço a cedência das fotos por parte do gnration em particular ao Ilídio Marques. Mais fotos podem ser visualizadas nas redes sociais do gnration.

A enchente da noite em Panda Bear & Sonic Boom   // © Hugo Sousa - gnration Texto: Edgar Silva Fotografia: © Hugo Sousa - gnration

[folkmusicplus]

Star Weihnacht     ( Compilation LP ) 

Song listing:

A1: Freddy Quinn - O Tannenbaum

A2: Karel Gott - Weihnacht für alle Herzen

A3: Der Robert Stolz Chor - Alle Jahre wieder

A4: Fritz Wunderlich, Tenor - Es ist ein Ros’ entsprungen

A5: Don Kosaken Serge Jaroff - Süßer die Glocken nie klingen

A6: Freddy Breck - Stille Nacht, heilige Nacht

B1: Fischer Chöre - Weihnachten bin ich zu Haus

B2: Lolita - Heidschi Bumbeidschi

B3: Westfälische Nachtigallen - Fröhliche Weihnacht überall

B4: Peter Alexander - Schlittenfahrt

B5: Bata Illic - Kinderaugen unter’m Weihnachtsbaum

B6: Bert Kaempfert - Sleigh Ride

I enjoy all the songs from this record! 😃 Even when it’s not Christmas!!