A totally sublime listening experience and one of the great Brazilian LPs of the 70s
Donato recorded this on return to Brazil in 1968 (although it wasn't released until 1973) after over a decade of working in the USA with such luminaries as Mongo Santamaria (see previous post "Mighty Mongo") Cal Tjader,Bud Shank and Astrud Gilberto.For Quem e Quem he switched back to a sound dominated by his Fender Rhodes but now featuring his inimitable rasping yet gentle vocals.This was his first try at singing since being fired from a band in the 50s for "being too bad a crooner"- yet they are a major part of the charm of this wonderful music.The tracks move from the super funky and heavily compiled / sampled Cala Boca Menino to the beautiful drifting Me Deixa to the gorgeous bossa sound of Ahie.Every track is a winner on this one and I can't recommend it highly enough -Fantastic beautiful music!
João Donato (Piano), João Donato (Arranger), João Donato (Conductor), João Donato (Vocals),Nana Caymmi (Vocals), Dori Caymmi (Arranger), Dori Caymmi (Conductor), Helio Delmiro (Guitar (Electric) Novelli (Vocal Effect), Marcos Valle (Assistant Producer), Milton Miranda (Producer), Bebeto (Bass (Electric) Naná Vasconcellos (Percussion), Naná Vasconcellos (Vocal Effect), Lula Nascimento (Drums)
LINK IN COMMENTS
Beautiful,groovy,wonderful mixture of bossa,electronics and now sound from the fantastic Marcos Valle.This was recorded for Odeon in 1973 and showed him moving away from the familiar bossa sounds of the 60s to incorporate the textures and moods of European soundtracks and French pop to create a radical new interpretation of his Brazilian sound (Interestingly enough Valle used the soon to be Azymuth on this lp - a year later they were in the studio to record their first album as "Azimuth" for Som Livre which will be a future post)
So many great tunes on this lp ranging from the funky "Mentira"to the exquisite "Previsao do Tempo"It also includes the first recording of Batuque - aka Nao Tem Nada Nao, composed by Joao Donato and Eumir Deodato for the Donato/Deodato album, after Portuguese lyrics were added to this song by Marcos Valle.Great music and a superb lp - one of my all time faves -only Donato's Quem a Quem is up with this one but more of that later!!!
Personnel: Marcos Valle (vocal and electric piano), Jose Roberto Bertrami (synths), Alex Malheiros (bass) and Ivan Conti (drums). Arranged by J.R. Bertrami. Orchestrations on tracks 1 and 10 directed by Marcos Valle;on track 7 by Waltel Branco;otherwise Ze Roberto.
Produced by Milton Miranda.
LINK IN COMMENTS
A brilliant mix of jazz and world music! Abdul-Malik was the legendary bass player from the fifties who mixed straight jazz playing with traditional Middle Eastern rhythms and although he most famously recorded albums with Monk as a regular bassist, his albums on his own are amazing blends of jazz and world music, done years before anyone else had contemplated doing so! This album is similar to Abdul-Malik's Jazz Sahara album, in which he plays quite a bit on the Oud but in this one the ensemble is much more jazz-oriented, and features Lee Morgan, Curtis Fuller, Benny Golson, and Johnny Griffin. The Oud holds center stage on most tracks, but then it drops out, and Morgan and Griffin come wailing in on solos that will rip your socks off!
A fantastically beautiful record that stands as the first meeting between Bobby Hutcherson and Harold Land and it's an album that's possibly even better than the more famous Blue Note work by the pair! This is one of those "once in a lifetime" jazz sessions filled with magical interplay that's made the record a favorite with collectors for years, and done with a sound that's as lyrically graceful as it is soulful and righteous. Hutcherson's vibes are at their warmest 60s mode, but still have some of the angularity of his more modern sides for Blue Note. However Land is the real discovery here as he steps out with a fluidity that surpasses any of his earlier hardbop albums, a flowing exploratory style expressed on both flute and tenor with a mode that's years ahead of its time, and sounds a lot more like work on labels like Strata East or Muse from the 70s. Tracks are nearly all originals by Land, and are the kind of thoughtful jazz compositions that show up on a rare few records from the 60s - all of them are great, and sparkle with creativity and a subdued sense of righteousness.Pretty tough to track down on vinyl its been overlooked for cd release until very recently and even now it's a Japanese issue only in a card sleeve -this is ripped from the original vinyl on the mighty Cadet label.
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Here's my 100th album post - I've seen a few requests for this on my own blog and others so I finally got round to ripping and upping it.As you are probably aware its yet another David Axelrod production so the quality is guaranteed !!!
Still immersed in the burgeoning electronic jazz-rock explosion of the times, Cannonball Adderley goes further toward a rapprochement with the rock and soul audiences than ever before on this fascinating, overlooked double album. For starters, he recorded it live at West Hollywood's Troubadour club, then known as a showcase for folk and rock acts. He also imported additional players into his quintet, expanding into exotic percussion effects with Airto Moreira (whom Miles Davis had previously featured), hard rock guitar with sessionman Mike Deasy, fiery tenor sax from the young Ernie Watts, and occasional seasoning from conguero Buck Clarke and clarinetist Alvin Batiste. "Now I don't give a damn whether you can count or not, we still are the Cannonball Adderley Quintet!," quoth the leader, who is in loose, loquacious form throughout the set (the jazz world badly misses his witty verbal intros). With Joe Zawinul now flying off to Weather Report, his replacement is an even more electronically minded pianist, George Duke, who levitates into the outer limits with his Echoplex and ring modulator and proves to be a solid comper. But Zawinul is not forgotten, for the band pursues a long, probing, atmospheric excursion on his tune, "Dr. Honouris Causa." Adderley generously gives Deasy two contrasting feature numbers -- "Little Benny Hen," a raucous, amateurishly sung blues/rock piece, and "Zanek," a great countrified tune with an avant-garde freakout at the climax -- and all of the other guests save Clarke get single solo features. Brother Nat Adderley gamely visits the outside on cornet while Cannonball doubles with increasing adventurousness on soprano and alto and bassist Walter Booker and drummer Roy McCurdy deftly handle all of the changes of style. Cannonball adeptly keeps pace with Miles Davis, his former boss - the driving "The Chocolate Nuisance" could easily be a first cousin of "Pharoah's Dance" on Bitches Brew - while not abandoning his funky soul-jazz base nor the special audience-friendly ambience of his concerts. Unlike Adderley's other two-for-one-priced double albums of the '70s, this one was inexplicably sold at full price, which probably limited its sales and might partly explain why it remains surprisingly hard to find in used LP bins. Surprisingly enough this has never made a cd issue.
LINKS IN COMMENTS
Bossa de luxe !!!This is one of the all-time Brazilian jazz classics of the 60's and one of the most sought after bossa albums ever! Pianist Tenorio Jr leads a crack ensemble through some fantastic tracks which are as warm and soulful as they are tight and angular, a perfect summation of the bossa jazz idiom at its truest expression! The writing is fantastic throughout and the album includes loads of great numbers including the famous "Nebulosa", instantly recognizable from a sample used by United Future Organization, and the tracks "Clouds", "Nectar", "Embalo", and "Estou Nessa Agora". Ridiculously hard to track down on vinyl this finally got a limited cd reissue from Dubas in Brazil with remastered sound and a great info/photo packed booklet.
LINK AND TRACKS IN COMMENTS-I HAVE UPLOADED THIS AGAIN AND SO PLEASE USE THE SECOND LINK
Herbie Hancock extends the reach of his Head Hunters-vintage electric music into the soundtrack field, with some switchbacks to earlier styles and old-fashioned movie suspense music thrown into the eclectic mix.Its surprising that with the popularity of this film and Herbie Hancock's name that this soundtrack didn't get a bigger release. Jerry Peters provides the requisite orchestral backgrounds, and the wah-wah guitar licks give some indication as to where Herbie's funk music would be going in the future and Im pretty sure from the overall sound he's joined by the Head Hunters on this album. The main title music is great - tense, streaked with Hancock's echo-delayed electric piano and understated orchestrations.More highlights include "Fill Your Hand", but the best is the "Revenge Suite", a wonderful 9 minute piece that spans Bronson's nightly vigilante activities and works remarkably well on its own, as does most of the disc. Incidentally, a good portion of the music heard in the film is unfortunately not on this album. (The opening music in Hawaii as well as the ominous cues heard over the credits upon the couple's return to New York City are absent.) Likewise, some of the music on this disc is not featured in the film. (For instance, the "Death Wish Theme" is great but isn't really the opening theme in the film.) Perhaps another label will re-release this with all of the music from the film. It's worth mentioning that this soundtrack is a world better than Jimmy Page's often-painful score for Death Wish II. Hancock should have been brought back.
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An incredible document of late 60s America composed and conducted by Gary McFarland, in a style that's much more ambitious than any of his other work! The album's fully titled "America The Beautiful: An Account Of Its Disappearance" and features "movements" with very telling subtitles that include "On This Site Shall Be Erected", "80 Miles An Hour Through Beer Can Country", "Suburbia: Two Poodles And A Plastic Jesus", and a personal favorite, "Due To A Lack Of Interest, Tomorrow Has Been Cancelled". Gary's really wearing his politics on his sleeve here picturing a late 60s America that's without hope, without revolution, and clearly in danger of falling prey to its own plasticization. The whole thing's a wonderful antidote to the "revolution is coming" side of the 60s that is more popularly pushed and Gary was one of the few musicians at the time with an eye that was clear enough to see that in the 60s, you could sing "The Times Are A-Changing" but in reality, the corporations were a-growing! Musically, the album features a larger group of jazz players working in a full, rich style that has lots of soundtrack touches. There's a real Axelrod-like feel to the set with string passages one minute, funky rhythms the next and some breakout jazz soloing that really colors the tunes nicely! Players include Jerome Richardson, Eric Gale, Bernard Purdie, and Chuck Rainey and Gary's mostly doing the conducting on the set
LINK IN COMMENTS
Despite a short release in Japan and a brief showing from an Epic reissue in the 80s this one is still locked in the vinyl vaults and seems unlikely to get the full cd treatment.Great line up of Joe Henderson ,Ron Carter , Steve Gadd ,Ralph McDonald ,George Benson and more from the CTI stable this was (over)produced by Creed Taylor and arranged/conducted by Bob James.However not even Taylor can stop Hammond when he steps on the pedals ,hits the keys and kicks in .Big Sur Suite has been sampled but with an intro bass line like that is it surprising?
A killer set from 1971 featuring Joe Farrell one of the 70s greatest reed players, and an always-exciting talent who was one of the first artists to really use the extended CTI format to break into a whole new level. The set's a drawn-out quintet side, with Chick Corea on electric piano, Buster Williams on bass, Elvin Jones on drums, and Airto on percussion. Farrell was playing with Jones at the time, and the album's got some of their strong choppy reed/percussion interplay. Tracks are all long and allow the players to stretch out and take advantage of the CTI approach to sound without the customary string sweetening .
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The gifted Edu Lobo was already a singer and prolific composer when he came to California from his native Rio de Janeiro in the late 1960s, having written for theater and films as well as making records. Lobo was in the vanguard of tropicalia, or MPB (Musica Popular Brasileira) which sought to avoid the clichés of pop music. In the wake of Brazil’s military coup of the mid-1960s, which clamped down on creative and political expression, the musically sophisticated Lobo tackled social problems with charming musical élan.
Tropicalia faded after a few years, but Edu Lobo continued his brilliant career. This album, his North American debut, was lavishly produced and orchestrated by Sergio Mendes, the founder of Brasil ’66, with help from Hermeto Pascoal, whose composition "Sharp Tongue" is included. He is supported by the Brasil ’66 rhythm section, including Airto Moreira on percussion, Pascoal on piano and Claudio Slon on drums, augmented by other rhythm players as well as string and wind sections.
But it is Edu Lobo as composer, conductor, co-arranger and orchestrator, and low-keyed vocalist in the Jobim manner who has, and deserves, the spotlight. It is his seven first-rate originals that are standouts: "Ponteio", "Jangada", "Casa Forte", and most notably "Crystal Illusions" and the sweetly melancholic "To Say Goodbye" were to take their place in the modern Brazilian repertoire of standards
Another great blog with a superb selection of VINTAGE PSYCH-ELECTRONIC-SOUNDTRACK-KRAUT-BRASIL-PROG-LIBRARY-FOLK-POP to quote ARCHIGRAM.
LARD FREE is the pick of the bunch for me but the rest of the posts are also excellent - Umiliani , Roger Roger ,Jacky Giordano ,Janko Nilovic to name a few .I will be making frequent visits here that's for sure.
Off The Beaten Path
David Axelrod: Unknown Innovator
By Dave Tompkins
In ’62, Axelrod befriended alto sax player Cannonball Adderly. "Presley had been out for two years. I didn’t have the faintest fucking idea of what he sounded like. We were too busy listening to Art Blakey & The Jazz Messengers and Charlie Byrd." In ’66, Axelrod (an A&R at the time) initiated Capitol’s Black Music Division and produced gold hits with Lou Rawls’ Live!, David McCallum, and Adderly’s Mercy, Mercy, Mercy.
Voice poached and ash eternal, Axe is visionary like the Diamonds and Shadows he’s influenced. Large Professor delved into Axe’s Earth Rot (1970) ecology for Common’s "Resurrection" remix. Axelrod wrote the drum flurry heart of Gang Starr’s "Place Where We Dwell." I would’ve gone to church if mass was as funky as "Holy Are You" (1969, Electric Prunes). Hip-hop exalted "Praise Be the Lord!" for its beat, and Fat Joe pitched a revival tent. Axelrod loped into a go-go cadence on "Pula Yeta" (from South African singer Lette Imbule) and turned bolero into a funky galumph on Cannonball Adderly’s "Book-Ends" (1974).
"I can’t help that there’s always R&B in my work," he shrugs. "That’s what I grew up on. I break up a melodic motif with drums and finish the phrase. That gets to hip-hop people. They said ‘breakbeats’ and I say, ‘What is a fucking breakbeat?’ Young people know more about my records than I do."
Axelrod may be hip-hop’s most coveted producer because the beat-smitten will shed cheddar for his wax until a pittance remains for sample clearance. "Since they’re sampling me so much, I know I could write a hip-hop arrangement. And they’d save money because arranging is cheaper. I would’ve taken what Dr. Dre did with ‘The Edge’ (David McCallum) and made it another trip. There’s so much that hasn’t been used in ‘Holy Thursday.’ Like any art, rap needs to take more risks. Otherwise, what good is it?"
With their subplots and breakdowns, Axe’s narratives don’t end at the beginning of (loop). The "eeeeeBS"-sounding Hammond silver at the beginning of "A Divine Image" is the desert sun’s glint to a dying man at the end of Lateef and Shadow’s "The Wreckoning." On Ras Kass’ "Soul on Ice" remix, Diamond juxtaposes two different Axe cuts ("Mental Traveler" is one) which, by their mutable nature, sound like one Axe cut. That’s the hip-hop before hip-hop.
Currently on the Mo’ Wax roster with time-lessons Divine Styler and DJ Magic Mike, Axelrod is a musical portmanteau. Here, 18th Century Aganippe (poetic method of power) translates into string stabs, horn envelopes and italicized drum breaks (late ‘60s) which are transposed into hip-hop (now). And MCs should hear each phrase before interpreting the interpretation of the interpretation. "Blake means something different at different points of my life. Maybe Blake did talk to Ezekiel. He could talk to anybody he felt like. Why not prophets? I think that’s very hip."
Though Axelrod’s strings had panorama range, they’ve yet to pierce the 40-foot screen. George Lucas considered Axe for THX-1138 and damned if Lalo Schifrin’s "Scorpio" didn’t sound like it. On Seriously Deep (1975), Axelrod dubbed a song "Ken Russell" after the director of The Devils, a blessed (and hell-bound) film score by Peter Maxwell Davies. "The Devils was made to order for Davies," says the man who loathes Kevin Bacon’s band. "Davies took medieval music and made it sound modern and satanic though the story took place in the 17th century."
Allen Ginsberg was so affected by Axelrod’s Song of Innocence exegesis that he asked him to compose for Howl. "Walking the Negro streets looking for an angry fix," Axe paraphrases. "Not all literal translations are going to fit music, so you change the wording." Axelrod’s son tragically died in ’70, so the collaboration never fleshed, now languishing in fantasy league with the Skinny Boys reunion.
Recent liners for EMI’s Axelrod Anthology insinuate that he composed while on smack though he learned how to write music in ’65 and kicked the addiction in ’53, locked in a room on a 10-day diet of chocolate milkshakes and scotch. "I’ve never written high," he snarls. "I eventually got bored with the streets – what could be hipper than my wife and I sitting here reading? I’m much bigger on streets than I am on nature. The streets are my nature. I like dawns…and I’ve seen a lot more dawns than sunsets."
This lp has never made it to a cd release - not even in Japan and nothing from it made any of the Axelrod compilations.Its on Polydor so guess it must be to do with the licensing because its one of his best albums .The tracklisting and link are in the comments.
Another treat from MPS.This is a beautiful piece of breezy bossa from 60s Germany - a classic sound library session by pianist Pete Jacques, filled with lightly dancing rhythms, crackling acoustic percussion, and lots of cool wordless vocal bits next to the instruments! The sound is very much in the best MPS mode a mixture of jazz and easy with just the right influences from Brazil all crafted together with magnificent sound and a timeless groove that's far less cheesy than some of the American albums of this type from the time .There's a really dynamic feel to Jacques orchestrations on the set an interweaving of the understated and baroque modes going down in Brazil at the time filtered through a German postwar ideal that imagines the sound with an even cleaner vision than the original.
LINK IN THE COMMENTS
A great bit of funky Latin from Tito! The record's a lot more electric than his other work, with lots of nice keyboards (mellotrons - I thought only prog rockers used them in the 70s !) and vibes and although Tito always dissed the younger funkier players in the late 60s and early 70s, he adapts nicely to the styles broken by their work.This lp also saw Tito working towards a more lounge orientated sound on some of the tracks such as Lost Horizon and Infinite Love.The album features loads of good cuts, including the slammin' "Watu Wasuri".
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"This is an ecstatically beautiful album " wrote Herb Wong in the sleeve notes to this 1969 Cal Tjader lp.And I think he was right-I love this record .Cal got Joao Donato in on piano for this one who also wrote "Warm Song","Aquarius" and "Temo Teimoso"for the session.Cal knocked out "Souled Out",The Prophet""Cals Bluedo"and "The Loner" and added the standard "A Time for Love".He then added strings and vocals into the mix with the usual percussion / rhythm section and the combination works wonderfully as arranged by Don Sebesky.Moving from the swinging groove of the title track to the funky sound of Souled Out to the bossa influenced Donato input this lp hits the mark on every track .Beautiful jazz but also one for the lounge lovers. Oh and in case you're wondering where you may have heard it before Aquarius was sampled by a Tribe called Quest for Midnight Marauders .
Brilliant early work by Sun Ra and the Arkestra - 2 rare Saturn recordings back to back on one CD! Angels & Demons At Play is a monster of an album! Ra plays organ and electric piano, and the band includes Gilmore, Pat Patrick, Marshall Allen, Ronnie Boykins, Art Hoyle, Phil Cohran, and Julian Priester. The group's also got an electric bass, which gives the tracks a nice bottom, and a good spooky feel. Nothing's too out, but the record's got a great off-kilter sound, and even has some afro cuban influences. Nubians Of Plutonia has Ra and the Arkestra playing in a mix of straight jazz and spacey styles, with Ra on electric piano throughout the entire set. A few tracks have some great chanted vocals but not sure if they're sung by one of the Saturn doo wop groups, or by the ensemble but they give the tracks a great sound, and the whole set has a good late 50's Arkestra sound
Link in the comments
When Faces in Reflection came out in 1974, the fusion revolution was in full swing and George Duke was among its most exciting keyboardists so while Duke was doing some singing, instrumental jazz-fusion was still his main focus. This excellent, mostly instrumental LP finds Duke forming a trio with bassist John Heard and drummer Leon "Ndugu" Chancler, and the keyboardist really lets loose on such jazz/rock/funk gems as "Psychosomatic Dung," "The Opening," and "North Beach." Meanwhile, Duke's interest in Brazilian music is underscored by a lively interpretation of Milton Nascimento's "Maria Tres Filhos." Though Duke sings on the haunting "Faces in Reflection, No. 2," it's important to stress that this is an instrumental album first and foremost. Faces in Reflection is not only the product of what was a very creative period for Duke it's also the product of what was a highly creative period for jazz in general .
Another great release from MPS thats never made it to CD.
Link and track listing in the comments
Demon's Dance was Jackie McLean's final album for Blue Note, closing out an amazing streak of creativity that's among the more underappreciated in jazz history. The record retreats a bit from McLean's nearly free playing on New and Old Gospel and 'Bout Soul, instead concentrating on angular, modal avant bop with more structured chord progressions. The whole session actually swings pretty hard, thanks to drummer Jack DeJohnette, who manages that feat while maintaining the busy, kinetic style McLean had favored since Tony Williams' appearance on One Step Beyond. Pianist Lamont Johnson and bassist Scott Holt both return from New and Old Gospel, and trumpeter Woody Shaw is in especially fiery, muscular form, rivaling the leader in terms of soloing impact and contributing two of the six compositions. McLean's originals tend to be the most intriguing, though; there's the angular title track, the bright, up-tempo "Floogeh," and the spacious ballad "Toyland," a warm, soft piece anchored by Johnson that runs counter to typical descriptions of the impressions McLean's tone creates. While Demon's Dance didn't quite push McLean's sound the way its two predecessors had, there was no sign that the altoist was beginning to run out of creative steam. Unfortunately, Blue Note's ownership change and resulting commercial direction meant the end of McLean's tenure with the label, and ultimately the prime of his career; he would resume recording five years later, often with rewarding results, but nonetheless, Demon's Dance marks the end of an era.
LINK IN THE COMMENTS
http://scorebabyannex.blogspot.com has to be the best blogspot around.
Consistantly entertaining posts with the finest soundtrack / library albums I have heard in a long time.None of the usual recycled library stuff from compilations everyone else posts but all great obscure or hard to find original lps .The scorebaby website is also excellent and is always worth a visit.
How good does this book look ? I have ordered mine already from the usa where its now been published. Its coming out in the uk at the beginning of august.I have both his previous books about the making of Kind of Blue & A Love Supreme and highly recommend them to anyone interested in jazz.This should be great.Nice cover too!
The Sweeney was obligatory viewing for me as a teenager in the 70s and monday night was the night - 9pm on ITV. Probably the best show about coppers british tv ever produced with a fantastic soundtrack to match. Most of the music has never been issued before save for brief sound library compilation appearances. The tunes on the set have a similar library funky approach but they've also got more of an "action" bent, as you'd expect.Its the usual suspects at work from De Wolfe in the main - Keith Mansfield ,Brian Bennet ,Barbara Moore ,Harry South of course and many more-even the great Jack Arel gets in there.What puts the icing on the cake with this set is the short sections of dialogue between Regan and Carter interspersed amongst the music which ranges from bloody hilarious to just poignant.
"Get your trousers on - you're nicked !"
Bobby Hutcherson's first quartet outing, Happenings, casts the brightest spotlight on the vibraphonist's soloing abilities, matching him once again with pianist Herbie Hancock (who is also heavily featured) and drummer Joe Chambers, plus bassist Bob Cranshaw. For that matter, the album also leans heavily on Hutcherson's compositional skills; save for Hancock's "Maiden Voyage," six of the seven numbers are Hutcherson originals. Given his reputation as a modernist, most of the pieces here are structured pretty simply -- there's a lot of straightforward modal hard bop, giving Hutcherson and Hancock plenty of room to solo. They handle much of the material with a light, mellow touch, trading off meditative licks even on the more up-tempo pieces and poignant, lyrical lines on the ballads "Bouquet" and "When You Are Near." The two exceptions are the opening and closing numbers: "Aquarian Moon" is challenging post-bop, while the sinister "The Omen" finds Hutcherson opening up the bag of tricks he learned from the freely structured group dialogues Chambers wrote for albums past. Sharp stabs from the piano signal transition to a new, sometimes unaccompanied lead instrument, and Hutcherson's darting marimba lines build up a claustrophobic tension. That doesn't change the overall feel of the album, though, which ends up a charmingly relaxed, low-key outing and a beautiful addition to Hutcherson's fantastic Blue Note catalog.
link in comments is corrupted-this one is a new upload.
Freddie Hubbard released The Black Angel in the same year as the landmark Miles Davis album Bitches Brew. Its obvious Hubbard wanted to appeal to the emerging crossover rock/jazz crowd of the era. The presence of bop, however, still permeated Hubbard's playing, unlike Miles who had long since dropped the form. The final Hubbard composition "Spacetrack" contains fiery avant garde interplay between Hubbard, James Spaulding on alto and Kenny Barron's electric piano. Thanks to Spaulding and bassist Reggie Workman, much of the playing here maintains intensity. The other Hubbard penned originals, "Gittin Down" is an urgent hard swinging boogaloo and the ballad "Eclipse" features Spaulding on flute and Barron on piano. "Coral Keys" written by Walter Bishop, Jr. and Barron's "Black Angel have a Latin tinge highlighted by Spaulding's soaring flute and the congas of Carlos "Patato" Valdes. A great session leaving the impression Hubbard was preparing to take a different musical direction - so where did he go ? CTI !!!
HERE'S A NEW UPLOAD AS THE ONE IN THE COMMENTS APPEARS TO BE CORRUPTED
Lovely piano trio lp from Francy Boland with the great Fats Sadi on bongos.Recorded for Saba in 1967 this one features the full tilt Expresso Loco and 5 more Boland penned compositions along with a couple of standards and Jimmy Woode's Rosa de Luxe.I'm a big fan of Boland and this album is a good opportunity to hear him stretching out away from his usual setting with the Clarke Boland Big Band.
Jean Warland Bass
Wolfgang Hirschmann Engineer
Gigi Campi Producer, Supervisor
Kenny Clarke Drums
Francy Boland Piano, Main Performer, Keyboards
Fats Sadi Bongos
Jimmy Woode Bass
LINK IN THE COMMENTS
Nineteen-seventy was a propitious time for musical mixtures: Pop music was becoming more psychedelic, in part by integrating elements of Indian music, and fusions between jazz and non-Western styles were quite common. The Baroque Jazz Trio went both with and against the flow.
In late 1969, three French musicians — harpsichord player Georges Rabol, drummer Phillippe Combelle and cellist Jean Charles Capon — were eager to devote themselves to musical projects off the beaten path. They called themselves the Baroque Jazz Trio, and chose from the start to work in a territory without boundaries, a place that really pushed the limits of jazz — and drawing inspiration from world music from Brazil, India and Madagascar. The trio dubbed their style “baroque,” in part to emphasize the bizarreness of their project. Also, they didn’t want to suggest the idea of mixing two genres.
What was created was a truly unique and phenomenal collection of French jazz — or music, for that matter — unlike any I’ve heard before. The group was avant garde without being unlistenable, classic without sounding stuffy, innovative without being over the top. Given the heavy use of tabla in the set, the album’s got a really driving rhythmic component, making for some seriously funky numbers that have become heavily sought after jazz-dance tracks over the years. The role of the harpsichord is surprisingly strong, played in almost modal lines, but with a hesitating, lilting groove that’s quite different from the overly-used piano at the time.
Originally released on the cross-culturally fertile Saravah label, known for championing experimental work by Brigitte Fontaine and the Art Ensemble of Chicago among others, the self-titled Baroque Jazz Trio was hampered by comparisons upon its release. Labels such as “Bach Jazz,” “Chopin New Time” or “Jazz Goes Baroque” caused the recording to lose its specificity. Like so often previously, retailers and fans no longer knew where to stand, and the record was buried in the no-man’s-land of unclassifiable music, a retreat — and more often times a graveyard — for surprising or disconcerting sounds. That is, until hoards of beat diggers, DJs and vinyl enthusiasts resurrected this gem of a forgotten musical experiment.
This, the only recording by Baroque Jazz Trio, completely fulfills the musical demands of this anachronistic tribe of musicians, guided by an obsession for the discovery of forgotten or lost sounds.
LINK AND TRACK LISTING IN THE COMMENTS
Storming stuff! Roforofo Fight hails from 1972 an early full-length Fela LP, filled with 4 tight groovers that stand with his best work!"Roforofo Fight"builds up after a great spoken intro over a pumping rhythm section to a fast-time groover that has the drums working overtime to keep up with the political power of the cut and is an absolute stormer - a real dance floor destroyer.
I remember Bob Jones dropping this about 1983 in the Jazz Room at Caister and the whole crowd went fucking beserk - a hord of pissed up jazz funkers(including Magnum from Jazzheads Blogspot) all going bonkers to Fela - what a sight!!!!! "Go Slow" begins with this mad trumpet solo that you'll recognize from a famous sample, especially as it mixes in with keyboards; and "Question Jam Answer" and "Trouble Sleep Yanga Wake Am" are every bit as great.Totally brilliant!!!
Link in the comments
More Axelrod production business from 1974 on this Hampton Hawes album which is a sweet batch of funky cuts with arrangements and backings handled by Axe! The record really bubbles with the warm and soulful approach Axelrod was using at Fantasy - kind of a step off his stark modern sound at Capitol, but still done with just the right amount of space and appreciation of a funky rhythm. The great Carol Kaye is on bass and Spider Webb on drums joined by a 6 man horn section.Hawes plays some totally sweet electric keys on the set and really gets to stretch out.
LINKS ARE NOW IN THE COMMENTS !!!!
One of the harder to find ones by Pharoah and a record that features only 2 long songs: the title cut and "Let Us Go Into the House of the Lord", each of which covers a side apiece. Recorded in 1970 the lineup includes Gary Bartz, Lonnie Liston Smith, Clifford Jarvis ,Nathaniel Bettis and Woody Shaw and side one is very much in the rhythmic modal spiritual mode of Pharoah's most compelling work on Impulse with a killing bass line courtesy of the great Cecil McBee . Side two then gets a bit more outside and free with more great solo work from McBee.
A holy grail of jazz - Roy Ayers' first album as a leader, and a near-lost session that's simply sublime! The record was cut at the same time that Roy was working in LA with pianist Jack Wilson and it's got an approach that's a bit similar to some of the Wilson/Ayers sessions for Atlantic, Blue Note, and Vault but with a marked difference here in the presence of Curtis Amy, who plays some incredible tenor and soprano sax on the session arcing out over the modal lines set up by the vibes and piano, and shading in the record with a much deeper sense of soul! Amy plays on about half the album's tracks all of which are standout modal tunes that preface the MPS/Saba sound by a number of years, and which easily rank as some of the greatest jazz recorded anywhere in the 60s. And even the tracks without Amy are great too and have Roy echoing out with a wonderfully round tone on the vibes - no tricks, no gimmicks, no attempt to cross over to commercial jazz just a brilliant tone and fresh vision on his instrument for the time. Wilson's great too (but when is he not?) and rhythm is by either Bill Plummer or Victor Gaskin on bass, and either Tony Bazley or Kenny Dennis on drums.
Another bomb over at
Pharoah in full effect - if you liked Village of the Pharoahs dont miss this one!
Forget the "Lawrence Of Arabia" in the title, or any of the cheesy references that it might imply, because this LP is as great as any of Walt Dickerson's other records from the time, and it's got the same band that graced his Prestige recordings -- Andrew Cyrille on drums, Henry Grimes on bass, and Austin Crow on piano. The music's a wonderful blend of piano and vibes, played with Dickerson's usual dark edge -- and even though the compositions are from a familiar soundtrack of the time, Dickerson makes them into moody bases for improvisation over some exotic jazz changes.The softly shimmering ,languidly pulsating tones of the vibes are perfectly suited to the exposition of Maurice Jarre's haunting beautiful music.
A fantastic session from the early days of the Clarke-Boland Big Band! The record was cut in 1961, under the aegis of Gigi Campi and it features a core group that would later grow into the much-respected CBBB unit during the MPS years. Players include Jimmy Woode, Derek Humble, Karl Drewo, and the fantastic Dusko Goykovich all very unusual musicians to be working on a Blue Note set, and some of the best European soloists at the time. Tracks are shorter than on later albums by the ensemble but no less filled with fire and imagination and the solos are all totally wonderful.
"Imagine a cross between the latin rock of Santana and the funky progressions of Sly Stone and thats where you'll find Demon Fuzz" -From th tour promo notes in 1970
Messed-up funky jazz from an obscure early 70s UK group and an album that really lives up to its trippy cover! The tracks are all long and stretched out with lots of organ, sax, and spaced out drums and the overall style is a mix of dub-heavy funk, Afro jazz, and a bit of jazz rock jamming! There's a bit of vocals on the album, but overall most of the set is instrumental in a really right on and progressive style thatis great. This is the kind of record that always got passed by in the 80s when everyone was looking for hard James Brown grooves, but which is very much in fashion now with the blunted funky crowd.
Top piece of Japanese fusion from a stellar line up.
Merry Go Round was huge on the dance floor for Paul Murphy back in the day at the Electric Ballroom - a massive hunk of funk underpinned by a titanic bass line with chattering guitars and a wall of percussion with soloists taking off in all directions - murder !!! Aboriginal is as good but this time 3 acoustic basses twist and turn under more percussion and keyboards with Steve Grossman and Hino blowing madly and then half way through Steve Turre kicks in with degere doo and conch shells...Rolf Harris it aint! Yellow Jacket is a more conventional slinky sliding bit of funk and the albums rounded out with a couple of moody atmospheric tunes-Miwa Yama and Cherry Hill Angel.
I think this got a cd re issue in Japan which is probably deleted by now . This is ripped from the original vinyl.
Eddie Gomez Bass (Acoustic)
Harvey Mason, Sr. Drums
Emily Mitchell Harp
Kenny Kirkland Keyboards
David Spinozza Guitar
Barry Finnerty Guitar
Terumasa Hino Cornet, Flugelhorn, Main Performer, Trumpet
Masabumi Kikuchi Arranger, Keyboards, Piccolo Flute
Mark Gray Keyboards
Gil Evans Arranger
Butch Campbell Guitar
Anthony Jackson Bass
Airto Moreira Percussion
Steve Grossman Sax (Soprano)
Lou Volpe Guitar
Don Alias Percussion
George Mraz Bass (Acoustic)
James Mason Guitar
Manolo Badrena Percussion
Herbie Hancock Keyboards
Lenny White Drums, Handclapping
Sam Morrison Wind Synthesizer
Kiyoski Itoh Producer
Billy Hart Drums
Reggie Workman Bass (Acoustic)
Steve Turre Bass (Acoustic)
This is what Johnny Trunk had to say about this quality bit of european jazz
"At long last MPS records have re-issued this sci-fi jazz monster. 17 tracks cut in about 1964, and all about a flight into Space. Fantastic in every way. I nearly got really desperate, anxious and sweaty just trying to track one of these rare re-issues down. I think an original is about a monkey (£500), so I'm obviously not going to get one of them."
No nor me so in desperation I rang Intoxica from my hospital bed when it was reissued and got it sent in the post as I was laid up with a busted ankle at the time .My good mate Soundsational kindly burnt it onto a cd for me and whipped it over to Poole Hospital where I lay happily dribbling into my soup with numerous pins and plates in my leg . Ah yes such wonderful music which sped the days of my convalescence on nicely and then months later I forgot about it as physio crunched into action. So now Soundsational no longer has it posted he sent me the link from his upload of it and here it is again.....I got the lp out and it all came flooding back -memories of morphine ,views of Poole Bay ,endless films on TCM and some great music.
Track listing in the comments.
Beat this for a line up.......
Louis Bellson Drums, moog drum
Walfredo De Los Reyes, Sr. Conga, timbales, cowbell, clave, percussion
Walfredo De Los Reyes, Jr. Pans, drums, maracas, chekere
Alejandro Acuña Drums
Francisco Aguabella Batá, conga, quinto, claves
Emil Richards Cuica, vibes, afuche
Manolo Badrena Chekere, cowbell, roto toms, african bells
John B. Williams, Jr. Acoustic and fender bass
Israel "Cachao" Lopez Fender baby bass, acoustic bass, fender piano
Clare Fischer Electric piano
Luis Conte Conga
"Paquito" Francisco Hechavarria Electric piano, moog synth
Lew Tabackin Flute, tenor sax
Cat Anderson Trumpet
"El Negro" Vivar Trumpet
Recorded in 1978 with a totally banging rhythm section this lp is the best thing Bellson ever did. Completely on the case Bellson gathered the finest percussionists with the greatest afro cuban bass player Cachao and comitted this fantastic lp to wax.No more needs to be said - just download it !
This is ripped from vinyl but its also available on cd .One of my all time top 5.
Now side 1 and side 2 !!!!!
Totally bonkers piece of mad afro cuban exotica.Side 1 is awful but i have now posted it - the last track Fantasia is the exception - its a precursor to side 2 and a fine piece of bongo bashing ! The other 6 trax sounds like a garage band with the crappiest organ you ever heard and Perez grunting happily away.God knows what they were drinking when they cut side 2 but Concierto Para Bongo is tough bongo driven afro cuban with screeching horns hitting climax after climax. Really great stuff and should appeal to both exotica fans and the latin crowd .Mental!
Side 1 now added .
An overlooked gem from Pharoah Sanders' years on Impulse one that has him breaking the pattern a bit, but in a really great way!Side 1 is the massive Village of the Pharoahs which is focused in a way that packs an incredible punch.The session then mixes up some shorter songs on side 2 that are all still quite spiritual even at more contemplative moments and includes the beautiful "Memories of Lee Morgan". Players include Sanders regulars like Norman Connors on drums and Cecil McBee on bass but also some key newcomers, like Art Webb on flute, Joe Bonner on piano, and Jimmy Hopps on drums making one of his excellent Impulse appearances for the record. But perhaps even more striking are the vocals on the set done by Sedatrius Brown, who sings partially in a Leon Thomas spiritual mode but also hits notes that are a bit earthier, and which are picked up in added vocalizations by members of the group.
Another lp that deserves a re issue on cd.
I HAVE UPLOADED THIS LP AGAIN SO GIVE THIS LINK A TRY AND LET ME KNOW HOW IT GOES