body{ text-shadow: 0px 0px 4px rgba(150, 150, 150, 1); }

25 Jul 2017

Mladi Levi (The Young Lions) ‎ "Antologija" 1999 (1966-73) CD, Compilation Slovenia Jazz Rock,Pop,Soul Rock,Fusion

Mladi Levi (The Young Lions) ‎ "Antologija" 1999 (1966-73)  CD, Compilation Slovenia Jazz Rock,Pop,Soul Rock,Fusion


The album with an antologic selection of songs from the legendary Slovenian pop, soul, rock and jazz band Mladi Levi ‎, which in the period between 1966 and 1973 significantly contributed to the creation of the then first domestic generation of artists and performers of "unapproved urban popular music" in line with the contemporary contemporary currents Wider throughout the world. Nineteen songs. From Ode Irena from 1967 with Tomaž Pengov to jazz fusion. In the last minute of 1972. At the same time, Bor Gostiš, Jernej Jung and, of course, Janez Bončina Benč.

Mladi Levi A Story

There was a sun of the Slovenian amateur jazz scene in the late 1950s and early 60s, a scene marked by the crowd of dixieland casts whose repertoire of dixieland, swing and other mainstream jazz was "popular" music of all post-war generations of young people Us and the world.
Rock was born, the development of technology brought powerful and high-quality sound systems, small casts with some guitars and keyboards gained the power of the orchestras, and the sounds and polyphonic sounds came out with great microphones.
In view of the great popularity of the new music wave, young Slovenian musicians, following objective options, followed this development. At first they responded by setting up groups that at the same time played traditional jazz standards, and in their repertoire, according to the technological equipment, they also included rock hits from that time. One of these groups was the Mladi Levi.
Once in the summer of 1966, Bor Gostiš came to me and I was enthusiastically told that he was setting up a musical group that would eventually play mainly the "new" music of the sixties and invite me to participate. When we did everything, I accepted his suggestion that as a "manager" I would actually be her sixth member, and Bor accepted my suggestion to name it Young Lion in a well-known book of resistance. Other founding members were Tomaž Habe, Jernej Podboj, Peter Hudobivnik and Matjaž Deu.
The first repertoire was, as already said, a combination of jazz standards and some popular pop songs, and the hit was the performances of the then hits of the English beat scene. We successfully presented this music to the audience on the first Slovenian tour in the autumn of 1966. However, then the original agreement began to persist: the purchases of modern musical instruments and amplifiers soon enabled the planned reorientation of the repertoire into the most current world scene while achieving approximately such sound As with original ones, which was a real feat for those times. The Mladi Levi ‎  have become one of the first real beat groups in Slovenia. In addition, we began to write our own songs; This period is the first two recordings on this record.
After various performances in Slovenia, the first major contract came; Playing all summer on Saturday dances at the Hall of Tivoli! These dances turned into a true manifestation of the state of the art in the popular music of the time in Slovenia, as visitors walked more than on a dance to listen to music. Some famous Slovenian groups are happy today if they fill one of the larger Ljubljana halls once a year. Shortly after the start of the show, young lions attracted around 3000 young people to Halo Tivoli Saturday, and several times they moved the dance from the smaller to the larger hall, where up to 5000 music lovers gathered.
"Hala" in the summer and Student settlement in winter have been the main venue for the activities of the Mladih levov. for several years. These were the times when the music freed us, personally strengthened the weaker connection with the developed world, included us in the movement "flower power" and the student's spring of 1968, which was closely connected (in addition to everything else) with music.
But very soon the frames of the beats became too tight for an ambitious young group. There were new aspirations in music and with the original ensemble this could not be followed. So, the Mladi Levi ‎ got out with Boron Gostišo, and instead of him, we decided to be a young, so far unrecovered musician, Janez Bončino, who was until then one of the most loyal listeners. As the most generational conscious and profiled musician (all others were all round musicians), we gave him the dominant influence on the repertoire and style of playing, which in the shortest time added to the Mladi Levi ‎ rock and rhythm'n'biues dimension. 

Following the departure of Tomaž Habet, who was increasingly busy with pedagogical work and almost entirely focused on serious music, Engelbert Rodošek took over the keyboards. His style of organ playing and then the decision to set up the wind section directed the Mladi Levi ‎ to the track, after which they recorded themselves in the Slovene musical history. The first (and so far the only) true Slovenian soul ensemble was created.
Of course, the decisive shift was not only in the formation of a blow-and-blast section, but the essence was that besides the saxophonist Jerneja Podboja, who was the founding member, her key man Peter Ugrin - already the best jazz versatile trumpeter in Slovenia. Jernej and Pero were the core of this section until the end of the year, in which a great number of musicians played, especially Boris Šinigoj and Stanko Arnold. It is undoubtedly worth mentioning also Branko Weissbacher, who was a member of the first section with Jernej and Perot, with whom the Mladi Levi ‎ surprised and impressed the loyal followers on Saturday in Hall Tivoli and then to the last breath.

Another decisive shift was when we managed to persuade Deca Žgur that he had become a permanent arrangement for the group. His excellent arrangements were also a symbol of the Mladih levov  right throughout their continued operation. Perhaps also decisive for the final formation of the group's identity was the arrival of Vasko Repinac, who shook hands on keyboards and also remained a member of the band until his last performances.
The Mladi levi left after Bohr's departure did not have a prominent vocal soloist, so we all worked very little. We tried for a while with Jernej Jung, whose hit Mila Mala took us to the top of the Stop pops, and with Roman Maze, who made the famous adaptation of the Little Terrace. But none of them could turn into the group's mentality by taking over the lead in front of the microphone Janez Bončina, while at the same time he stopped playing guitar and found this instrument in the Dušan Kajzer group, which is also a permanent member of the best (and the last ) Occupation.
From all this, it is evident that we have made many important decisions, of which the development of the group in the direction that we have planned depends on, but we did not "meet". So where were all these arrangements all year round? Where elsewhere than in the famous Marjan Miklič at the PEN Club, where he was our friend. We are pleased to remember these evenings, where we have often welcomed Olina's warning "Es ist zwel Uhr".
Two other people, who took over the management of the group at the time when I was in the YPA and withheld due to other obligations, are also credited with the success of the group: Borut Mišica and Bogdan Doles.
In the autumn of 1968, we asked Jože Privek to write the composition Ljubimo soul. And in fact: since then, we have loved more or less just soul. It is worth mentioning that after two years, the Mladi Levi ‎ performed on Slovenian pop music - then by far the most prestigious musical event in Slovenia - as an alternative group to the radio orchestra. These are in substance a trivial episode in the development of the group, but they prove that they have already taken our musicians almost to professionals, which some have also been. The performance at the Opatija Festival was also greatly revered, although this did not particularly affect the further development of the "lions".
As a result, the decoration of Deč Žgur's arrangement was crucial, which enabled the complete control of the Blood, Sweat and Tears repertoire, which had a decisive influence on the style of the group's playing, even when they performed their own songs. In the autumn of 1971, the concert of the famous American band was one of the highlights of the Young Lions. After an excellent concert in the Tivoli Revah hall, Blood, Sweat and Tears came to the disco under the "halo", where the Mladi Levi ‎ performed a short concert for a famous concert, which ended with a luxurious jam session, featuring members of the BST. Later, in one of their anthologies, they recalled this meeting somehow like this: "During a tour across Europe, we came to a place that we did not even know at all that it exists (Ljubljana, op. P.). There, we were met with excitement by a band that played on hair as we did. "
Thus, the passes of the years of soullas and the Mladi Levi turned to an even more demanding direction - jazz. They began performing at jazz festivals, and renowned composers devoted themselves entirely to jazz compositions. Within the group, Aleš Strajnar and Tone Janša also worked. Nevertheless, they continued to play their soul, but only upgraded with elements of jazz. Thus, in the years 1971 - 1973, we were pioneers of another genre, which soon included the whole world - fusion (the fusion of one of the direction of popular music with jazz). 
We never planned the young left to stay together as a group. This would require a complete commercialization of the repertoire, which would mean the devaluation of all the beautiful, but also with uncertainty. So in the 1970s, finally, in 1973 we left one after another; Or we stayed in our professions and assumed new official or creative obligations. Young left we became professional musicians, directors of Slovenian music institutions, architects, doctor, journalist, etc. We never could agree on when was the band's last appearance. So we decided not to end. Is not it so beautiful? Because when I think about the Young Left, I always get to know: it was not just a music band, it was a way of life. Music freed us as well as many who worked with us and followed us. We are proud of being the engine of this movement. This compact disc symbolizes and revives those times, so we are proud of it too!.....Dušan VeIkaverh 
Ljubljana, december 1999...

Members were: 
Tomaž Habe - organ, vocals (1966-1968) 
Bor Gostiša - rhythm guitar (1966-1967) joins "Bele Vrane" 
Jernej Podboj - saxophone (1966-1973) joins "Jugoslovenska Pop Selekcija" 
Peter Hudobivnik - bass 
Matjaž Deu - drums 
Janez Bončina Benč - guitar, vocals (1967-1969) joins "Generals" 
Dušan Velkavreh - vocals (1967-1968) 
Petar Ugrin - trumpet, violin (1967-1973) joins "Jugoslovenska Pop Selekcija" 
Branko Weissbacher - baritone saxophone (1967-1968) 
Berti Rodošek - organ, vocals (1968) 
Jernej Jung - vocals (1968-1969) 
Vasko Repinc (ex "Bele Vrane") - organ (from 1968) 
Marko Misjak - trumpet (from 1969) 
Tone Janša - saxophone (from 1969) 
Boris Šinigoj - trombone (1969-1973) joins "Jugoslovenska Pop Selekcija"

1 Oda Ireni
2 An Echo Of My Dream
3 Poljubi Me In Pojdi
4 Mila Mala
5 Zaznamovan
6 Ljubimo Soul
7 Mirno Destno Si Podala
8 Mala Terasa
9 Soul Finger
10 Ta Vlak
11 Deček In Motor
12 Svet, Ki Ga Ni
13 Odprite Okna Vojna Je Končana
14 Oluja
15 Kad Su Zvijezde Padale
16 Derviš I Smrt
17 Sveti Štefan
18 Ostro Kakor Nož
19 Zadnji Hip
20 Vso Povsod Mi Je Lepo

johnkatsmc5, welcome music..