Ute Lemper - Time Traveler

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 40:50
Size: 94,3 MB
Art: Front

(4:06) 1. Time Traveler
(4:40) 2. In My Flame
(3:58) 3. Moving On
(4:36) 4. Magical Stone
(4:53) 5. At the Reservoir
(4:09) 6. Little Face - the Sequel
(3:45) 7. Man with No Face
(3:23) 8. Envie D'Amour
(3:29) 9. Cry in the Dark
(3:46) 10. The Gift

With Time Traveler Ute Lemper accomplishes the unusual feat that, for listeners, the 23 years which lie between the individual songs aren't obvious at all. The present in the past and the past in the present merge as if by osmosis. With her new album, Ute Lemper emancipates herself musically from all categories. Depending on socialization and personal preferences one can hear these songs as pop, rock, jazz, soul or chanson, all of these at once, or simply just as Ute Lemper.

She is no longer ready to live up to any expectations, but rather draws inspiration from songs that she herself enjoys listening to. This includes references to artists and bands like Hiatus Kaiyote, John Legend, Joni Mitchell, Sarah McLachlan, Annie Lennox, Erykah Badu or Robert Glasper but without attempting to copy any of them. All songs are one hundred percent Ute Lemper. In some pieces she takes risks in terms of production and sound, initially luring the listener onto a completely wrong path, such as in the title track; in others she conceals small surprising details in the production, putting the songs, herself and not least of all the auditory perception to the test over and over again.

Time Traveler is a very personal album, but its message extends far beyond Ute's own life experience. With Time Traveler, Ute Lemper has given a wonderful gift to herself. And yet, first and foremost, it is an album that functions like a signpost. In the unsparing self-honesty with which, in a most accessible way, Ute Lemper reflects on her life, it's possible for most listeners to find themselves as well. Also available is Ute Lemper's fantastic tribute to Marlene Dietrich Ute Lemper - Rendezvous With Marlene SKU. By Editorial Review https://www.amazon.com/Time-Traveler-Ute-Lemper/dp/B0BYPM51LS

Time Traveler

---

Ute Lemper - Rendezvous with Marlene

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 74:27
Size: 173,9 MB
Art: Front

(3:43)  1. One for My Baby
(3:13)  2. Lili Marleen
(3:13)  3. They Call Me Naughty Lola
(4:34)  4. Blowing in the Wind
(3:55)  5. Marie Marie
(3:51)  6. Ruins of Berlin
(3:41)  7. Und wenn er wiederkommt
(4:56)  8. When the World Was Young
(3:36)  9. Wenn ich mir was wünschen dürfte
(3:46) 10. Want to Buy Some Illusions
(6:42) 11. Que Reste-t-il De Nos Amour
(2:45) 12. The Laziest Gal in Town
(4:33) 13. Where Have All the Flowers Gone
(3:04) 14. Just a Gigolo
(3:02) 15. Falling in Love Again
(2:06) 16. Ich hab' noch einen Koffer in Berlin
(4:53) 17. Allein in einer großen Stadt
(2:52) 18. Dejeuner Du Matin
(3:07) 19. Wenn der Sommer wieder einzieht
(2:44) 20. Sch... Kleines Baby

The new show by Ute Lemper is based on a long telephone conversation between Marlene Dietrich and Ute in Paris in 1988, thirty years ago. After having received the prestigious Molière award for her performance in the musical Cabaret in Paris, Ute sent a card to Marlene, who had moved to Avenue de Montaigne 12 in 1979, apologising for all the media attention at the time which compared her to the great German actress.

Ute was at the beginning of her theatrical and musical career, while Dietrich had a long life of film, music, incredible collaborations, passionate love stories and great fame behind her. In conversation with the young artist, the “Blue Angel” recalled moments from her extraordinary life in cinema and music, spoke of her love for the poet Rilke and her complicated relationship with Germany, as well as her voluntary exile.In 1992, Lemper played the part of Lola in a production of Blue Angel in Berlin. It was the same role that had made Dietrich a star in 1928, transforming her into an icon of sensuality and glamour. Marlene was unable to see the play. She died in Paris just a few days before the Berlin première. This story of encounters, similarities and coincidences that bind the lives of the two artists, both German born but living elsewhere Dietrich in Paris, Lemper in New York - both magnificent singers and actresses, led Ute Lemper to come up with the idea of a recital dedicated to Marlene, in order to tell the story through music and words of an extraordinary actress and woman. https://www.piccoloteatro.org/en/2019-2020/ute-lemper-rendezvous-with-marlene

Rendezvous with Marlene

---

Ute Lemper - Blood & Feathers - Live At Cafe Carlyle

Styles: Vocal, Cabaret
Year: 2005
File: MP3@320K/s
Time: 67:56
Size: 157,5 MB
Art: Front

( 7:32)  1. Pirate Jenny
( 6:35)  2. Milord
( 3:08)  3. Blood And Feathers
( 5:36)  4. The Ladies Who Lunch
( 2:02)  5. Bilbao Song
( 2:19)  6. Moon Dance
( 3:36)  7. Moon Over Bourbon Street
( 0:52)  8. Moon Of Alabama
( 2:53)  9. Moon At The Window
( 2:34) 10. It's Only A Paper Moon
( 4:03) 11. Grapefruit Moon
( 2:31) 12. Lili Marlene
( 8:19) 13. Muenchhausen / The Baron Of The Lies
(10:15) 14. Accordeoniste
( 5:33) 15. Cabaret Medley

Slinky Germanic singer-actress Ute Lemper made her Broadway debut in Chicago and is known internationally for her interpretations of theatre music, European cabaret songs and tunes by Kurt Weill. Lemper's gig at the Caf‚ Carlyle in Manhattan was recorded live on Feb. 25. 

Blood and Feathers was Ute Lemper's 2005 cabaret show at New York's Café Carlyle. It's a partial survey of her career, nodding to, among other things, her affinity with Kurt Weill ("Pirate Jenny") and her Sally Bowles role in (a Cabaret medley). She incorporates more Weill ("Bilbao Song," "Moon Over Alabama") into a "Moon Medley" that includes Van Morrison's "Moon Dance," Sting's "Moon Over Bourbon Street," Joni Mitchell's "Moon at the Window," the standard "It's Only a Paper Moon," and Tom Waits's "Grapefruit Moon." Lemper also tosses in Sondheim's "The Ladies Who Lunch" and a tribute to fellow German chanteuses Marlene Dietrich and Edith Piaf, and even delivers some of her patter in German and French. To call it an eclectic mix would be an understatement, and she's brash, she's bold, and she leaves it all out there not your normal honey voiced cabaret singer. But that also means Blood and Feathers isn't like the last hundred smooth, generic-sounding cabaret recordings you've heard. That's definitely a good thing. ~ David Horiuchi https://www.amazon.com/Blood-Feathers-Live-Cafe-Carlyle/dp/B0009J4OBS

Blood & Feathers - Live At Cafe Carlyle

---

Ute Lemper - Forever: The Love Poems Of Pablo Neruda

Size: 147,0 MB
Time: 62:48
File: MP3 @ 320K/s
Released: 2013
Styles: Pop/Jazz Vocals
Art: Front

01. La Nuit Dans L'ile (5:38)
02. Madrigal Escrito In Invierno (3:47)
03. If You Forget Me (7:35)
04. Tus Manos (3:57)
05. El Viento En La Isla (5:10)
06. Alianza - Sonata (6:35)
07. Siempre (3:11)
08. Always (4:06)
09. Ausencia (4:07)
10. El Sueno (3:57)
11. Oda Con Un Lamento (7:35)
12. The Saddest Poem, Nr. 20 (7:05)

It could almost be a flaw from a classical tragedy. A gifted singer, swollen with acclaim and popularity, suddenly believes he or she can write songs. It's rife among jazz singers who, vexed by trying to make standards live anew, trot out trite ditties of their own, oblivious to their listeners' attempts to hide.

Cabaret is another area. Ute Lemper, the most potent cabaret artist on earth, could be forgiven for thinking she has sung a lifetime's worth of Weill/Brecht, Kander/Ebb, Brel and Piaf, despite having leavened the journey with Piazzolla, Waits and Cave. She could be forgiven for trying to pen her own; even be forgiven when they were not in the Weill/Brel class, because in concert they were book-ended by masterpieces, and she was so extraordinary, anyway.

Now there's no need to forgive. With Forever Lemper, the queen of interpreters, finally proves herself as a composer. She has taken the love poems of the late Chilean Nobel Laureate Pablo Neruda and let them unfold organically through music.

I use that wretched word ''organically'' because you can almost hear how she must have sung the tunes to herself as she read the poems; hear (as she has said) that these songs came easily to her. You can hear the depth of her response to Neruda's words in her presenting different songs in the original Spanish, or French or English adaptations.

And what words! Neruda's poems seem to be the wellspring of life rather than a mere reflection of it. They flow from a life full of wrong turns, while lived to the drinking/eating/laughing/crying/soaked-bed hilt.

Lemper has generally kept the poems that burn with that peculiarly South American spirit in Spanish (with music to match), set the heart-breaking ones in French (cue sweeping melodies) and set the more bullish ones in English (amid jazzier surroundings). The works pulse with the blood of the poems.

Perhaps without her Piazzolla project she would never have arrived here, because her sound world is alive with bandoneon and guitar, as well as piano, bass, percussion and strings. The playing is superb, and the production quality sumptuous.

Her voice can be brittle or can arch up like a spine above a mattress. It implores and threatens, cajoles and snuggles, laments and smiles, all the while drawing you into her music, as though she is taking your hands and guiding you through a door. And once there it is not as though the music is wildly unfamiliar, because you can hear the Brel/Piazzolla/Piaf/Cave influences, now twisted together around the molten core of Neruda's words. ~John Shand

Forever

---

Ute Lemper - Paris Days, Berlin Nights

Styles: Vocal, Cabaret
Year: 2012
File: MP3@320K/s
Time: 73:15
Size: 167,7 MB
Art: Front

(4:59)  1. Elle Frequentait la Rue Pigall
(6:11)  2. L'Accordeoniste
(9:54)  3. Surabaya Johnny & Die Moritat
(5:03)  4. Der Graben
(3:02)  5. Uber Den Selbstmord
(4:30)  6. Ballade Vom Wasserad
(7:12)  7. La Ultima Grela
(4:41)  8. Oblivion
(3:23)  9. Yo Soy Maria
(5:59) 10. Temnaya Noch
(6:40) 11. Ikh Shtey Unter a Bokersboym
(6:05) 12. Stiller Abend
(5:29) 13. Ne Me Quitte Pas

The title Paris Days, Berlin Nights is a little misleading. One might expect French songs about morning-after regrets and German ones about living cynically hedonistically, but this collection goes way beyond that. It includes songs about war, abandonment, the indifference of time to human suffering, and gritty street life, with music by Piazzolla and Polish-Jewish composer Chava Alberstein in addition to the expected Kurt Weill, Hanns Eisler, and Jacques Brel. Uniting them all is Lemper's incredible voice and sense of drama, no matter what language. 

The energy she puts into songs such as Der Graben or Ballade vom Wasserrad is so great, it's hard to believe that no physical harm is done, but she comes right back every time, putting just as much into the next one. She is well supported by the Vogler Quartet and accordionist/clarinetist/pianist Stefan Malzew, all of whom come close to matching Lemper's intensity when needed. Malzew made all the arrangements, and they are very well done. 

They not only provide interesting, textural accompaniment to the voice, the gestures also support the character and theme of the texts. Malzew even sneaks in little details, such as quoting La Marseillaise in L'Accordéoniste or a sustained, high-pitched note (like what is heard when a grenade falls) in Der Graben. Although the album's title might not fit the contents, Lemper and colleagues do make these culturally diverse songs go together. The concentration of their passion keeps the set as a whole from becoming desperately bleak and gives the music a fascinating presence. ~ Patsy Morita     http://www.allmusic.com/album/paris-days-berlin-nights-mw0002325073  

Paris Days, Berlin Nights

---