Monday, April 30, 2007

Fi di soundbwoys!

The biggest dancehall anthems : 1979-82, the birth of dancehall

This compilation illustrates a period that later on proved to be of great importance in the history of reggae. Marley died in 1981, but a host of young players were already showing their claws. New voices were arising from the ghetto, and Afrocentrism, Rastafari and the casual love song were not the only topics any longer. Rub-a-dub in the mid 70's and early dancehall a few years later had become the voice of the ghetto, while the Western world still clang to roots reggae as the only music form coming from Yard (there would be a lot to say about this...). A new voice, that was not afraid to speak up and to tackle issues such as politics (or "politricks" as they call them, I LOVE that expression) and sex - two hot issues in puritanistic Jamaica. A flawless selection(Johnny Osbourne, Barrington Levy, Wailing Souls, Yellowman, Clint Eastwood & General Saint to name a few), with many tracks produced by the late great Henry "Junjo" Lawes. Selecta, rewind and come again ! Hear dis !

1. Fally Ranking - Johnny Osbourne
2. Shine Eye Gal - Barrington Levy
3. Firehouse Rock - Wailing Souls
4. Bathroom Sex - General Echo
5. Ice Cream Love - Johnny Osbourne
6. Morning Ride - Yellowman
7. Look Youthman - Barrington Levy
8. Another One Bites The Dust - Clint Eastwood & General Saint
9. Fattie Boom Boom - Ranking Dread
10. Gunman - Michael Prophet
11. How The West Was Won - Ranking Toyan
12. Look How Me Sexy - Linval Thompson
13. Spar Wid Me - Ranking Toyan
14. Ghetto Queen - John Holt
15. Love Tickles Like Magic - Junior Delgado
16. Bounty Hunter - Barrington Levy
17. Jah Love Is With I - Johnny Clarke
18. Chip In - Wayne Jarrett
19. Poor & Humble - Wayne Wade
20. Who No Waan Come - Wailing Souls
CD 2
1. Wa-Do-Dem - Eek-A-Mouse
2. Yellowman Getting Married - Yellowman
3. Diseases - Papa Michigan & General Smiley
4. Bone Connection - Nicodemus
5. To The Foundation - Dennis Brown
6. Mary Long Tongue - Barrington Levy
7. Sweetie Come Brush Me - John Holt
8. Come Fe Mash It - Tony Tuff
9. Kingdom Rise Kingdom Fall - Wailing Souls
10. River Jordan (Crucifixion) - Barrington Levy
11. River Jordan - Ranking Joe
12. Entertainment - Tristan Palmer, Jah Thomas & Ranking Toyan
13. I'm Not Crazy - Don Carlos
14. Can't Pop No Style - Hugh Mundell
15. Up Front - Wailing Souls
16. Love A Dub - Ranking Dread
17. Mr Chin - Yellowman
18. Trying To Turn Me On - Johnny Osbourne
19. Eventide Fire A Disaster - General Echo featuring Barrington Levy
20. Tribute To General Echo - Clint Eastwood & General Saint

Sunday, April 29, 2007

Lonely Woman

Woody Herman - Woody's Winners (1965) [flac]

Don't let the cheesy album cover fool you. Herman's groups of the early sixties were among the most exciting, swinging big bands ever assembled. With such soloists as trumpeters Bill Chase, Dusko Goykovich and Don Rader and tenors Sal Nistico, Andy McGhee and Gary Klein, this orchestra rarely had any difficulty raising the temperature. Recorded live at Basin Street West in late June of 1965, this set finds the enthusiastic band featuring a three-way trumpet battle on "23 Red," reworking "Northwest Passage" (highlighted by Sal Nistico's long tenor solo) and romping on a lengthy version of "Opus De Funk" along in addition to interpreting a few ballads and blues. Arrangements are by Bill Chase, Dusko Goykovich, Don Rader and Nat Pierce.

Bill Chase, Gerald Lamy, Dusko Goykovich, Bobby Shew, Don Rader (trumpets) Henry Southall, Frank Tesinky, Don Doane (trombones) Woody Herman (clarinet, alto sax) Gary Klein, Sal Nistico, Andy McGhee (tenor saxes) Tom Anastas (baritone sax) Nat Pierce (piano) Tony Leonardi (bass) Ronnie Zito (drums)

  1. 23 Red
  2. My Funny Valentine
  3. Northwest Passage
  4. Poor Butterfly
  5. Greasy Sack Blues
  6. Woody's Whistle
  7. Red Roses for a Blue Lady
  8. Opus de Funk and Theme (Blue Flame)
Recorded June 28, 29, and 30, 1965

Max Roach Plus Four (1956) [flac]

After the tragic deaths of trumpeter Clifford Brown and pianist Richie Powell in a car accident a few months earlier, drummer Max Roach regrouped with trumpeter Kenny Dorham and pianist Ray Bryant filling in the unfillable holes; tenor great Sonny Rollins and bassist George Morrow remained from the earlier band. This EmArcy CD finds Roach taking plenty of solo space including almost all of "Dr. Free-zee" and the climaxes of "Just One of Those Things" and "Woody'n You." The horns have plenty of good spots and other highlights of this worthy set includes George Russell's "Ezz-thetic" and a warm rendition of "Body and Soul." - Scott Yanow

Tracks 7-9 are bonus tracks taken from a March, 1957 session.

Kenny Dorham (trumpet)
Sonny Rollins (tenor sax)
Ray Bryant (piano 1-6)
Billy Wallace (piano 7-9)
George Morrow (bass)
Max Roach (drums)

  1. Ezz-Thetic
  2. Dr. Free-Zee
  3. Just One of Those Things
  4. Mr. X
  5. Body and Soul
  6. Woody 'n' You
  7. It Don't Mean a Thing (If It Ain't Got That Swing)
  8. Love Letters
  9. Minor Trouble
Recorded September 17, 19 and 20, 1956

Saturday, April 28, 2007

Music for a hangover Sunday

Charlie Haden, Chet Baker, Enrico Pieranunzi, Billy Higgins - Silence

Although this cd is credited to Charlie Haden, I feel most people remember it because of Chet. And I can understand that : it's certainly one of the best Chet recordings I've ever heard, together with the "Chet" classic (with Bill Evans) and "The Best Thing For you" (with Kenny Barron). And here you have one of Evans's best alumni : Enrico Pieranunzi. Everyone, not just Pieranunzi, is at his finest here. As you would expect Haden came up with beautiful lines and Higgins showed once more he could back any jazz musician, from Ornette to... Chet. Just like Haden, by the way. Couldn't find a review, so you'll have to take my word for it... or leave it. 'bout the title of this post : yeah, I know, we're still on Saturday. Just in case I can't post it tomorrow.

1 Visa
2 Silence
3 Echi
4 My Funny Valentine
5 'Round Midnight
6 Conception

Friday, April 27, 2007

Saturday Night Live Band - Live from New York! [flac]

This is the early '80's band fronted by Tom "Bones" Malone. Nothing earth-shattering here but if you always wanted to hear the "rest" of the tunes before getting cut for commercials then you will probably enjoy this album.

Alan Rubin (trumpet)
Tom Malone (trombone, trumpet)
Lou Marini (alto, tenor sax)
Lawrence Feldman (tenor sax)
Ronnie Cuber (baritone sax)
Leon Pendarvis (organ, piano)
Ray Chew (piano)
George Wadenius (guitar)
Tom Barney (bass)
Buddy Williams (drums)

  1. Saturday Night Live Theme
  2. Jupiter
  3. Caribbean Festival
  4. I Don't Want to Lose You
  5. Boiler Room Inspection
  6. Get Lucky
  7. Lost in a Wonderland
  8. "G" Jam
  9. Gotta Keep My Eye on You
  10. Black-Eyed G's

Jack Mcduff -- Down Home Style

Review by Stephen Thomas Erlewine
A set of gritty electric funk and soulful blues, Down Home Style is an excellent showcase for Brother Jack McDuff's gripping, funky style. Inspired more by the tight grooves of Stax Records than bebop, Down Home Style features McDuff leading a small group through a number of R&B grooves, ranging from the stuttering "The Vibrator" and dirty funk of "Butter (For Yo Popcorn)" to the slow blues of "Memphis in June." Occasionally, the group is augmented by a punchy horn section, but the record is designed as a showcase for McDuff's wild, intoxicating Hammond organ, and he runs with the it, demonstrating every one of his tricks

jean lafite: greasy and delicious. dig in.

this also.

according to amg:

Review by Scott Yanow
Trumpet and drum duets are not exactly commonplace, making this collaboration between Don Cherry and Ed Blackwell something special. The music is often quite sparse (Cherry also plays a little bit of piano, melodica and organ) and the colorful Blackwell often steals the show (although the trumpeter's unaccompanied "Voice of the Silence" is a highpoint). The use of space is consistently impressive and those listeners with open ears will find this thoughtful date quite interesting.
according to jean lafite : interesting indeed. this was the first cd i could find when i figured out how to post. check it out.

this deserves more exposure

according to amg: Review by Richard S. Ginell When Creed Taylor left Verve/MGM for his own label under the auspices of A&M, he quickly signed Antonio Carlos Jobim and they picked up right where they left off with this stunningly seductive record, possibly Jobim's best. Jobim contributes his sparely rhythmic acoustic guitar, simple melodic piano style, a guest turn at the harpsichord, and even a vocal on "Lamento," while Claus Ogerman lends a romantically brooding hand with the charts. A pair of instant standards are introduced ("Wave," "Triste"), but this album is to be cherished for its absolutely first-rate tunes — actually miniature tone poems — that escaped overexposure and thus sound fresh today. The most beautiful sleeper is "Batidinha," where the intuitive Jobim/Ogerman collaboration reaches its peak. 31:45 is not enough.

according to jean lafite: when i first put this up i said that this was the greatest record of all time. one thing for sure, i have listened to it more than any other by a comfotable margin. do not miss it and if for some reason you don't love it right away, keep trying until you do, because you will.

piazzolla 3 and 4

Duke Ellington -- Money Jungle

according to amg:

Review by Ken Dryden
Duke Ellington surprised the jazz world in 1962 with his historic trio session featuring Charles Mingus and Max Roach. Not in a mood to simply rework older compositions, the bulk of the LP focused on music he wrote specifically for the session. "Money Jungle" is a thunderous opener, a blues that might be classified somewhere between post-bop and avant-garde. The gem of the date is the fragile, somewhat haunting ballad "Fleurette Africaine," where Mingus' floating bassline and Roach's understated drumming add to the mystique of an Ellington work that has slowly been gathering steam among jazz musicians as a piece worth exploring more often. "Very Special" is a jaunty upbeat blues, while the angular, descending line of "Wig Wise" also proves to be quite catchy. Ellington also revisits "Warm Valley" (a lovely ballad indelibly associated with Johnny Hodges) and an almost meditative "Solitude." Thunderous percussion and wild basslines complement a wilder-than-usual approach to "Caravan." Every jazz fan should own a copy of this sensational recording session.

according to jean lafite: DOPE.

Funky Friday

The Baby Huey Story - The Living Legend
I wanted to upload this cd because it is somewhat of a classic with a cult status. A friend copied it for me in 2003. I had never heard it, I hadn't even heard of Baby Huey before, but it soon gained a choice place in my collection. For those of you who never checked him out, imagine a blend between soul/r&b and Jimi Hendrix and you'll get the picture. I reckon he was nicknamed "Baby" (his real name was James Ramey) because of his size : the guy weighed several hundred lbs. According to the legend, it was Donny Hathaway who got Curtis Mayfield to sign him to Curtom records. Review in comments.

1 Listen to Me
2 Mama Get Yourself Together
3 A Change Is Going to Come
4 Mighty Mighty
5 Hard Times
6 California Dreamin'
7 Running
8 One Dragon Two Dragon
9 Mighty Mighty Children (pt. 1)
10 Running (mono edit)
11 Hard Times (mono mix)

Thursday, April 26, 2007

Funky Friday

My post last week with "Forty Seven Times Its Own Weight" proved to be real score because my post roused the interest of Bacoso (big-big "chapeau!" to him) to temporarily post a copy of the CD re-issue - major bitrate upgrade on that kickin' album!

Once again, let me kick off another Funky Friday from the Rim of Fire with another obscure album - "Black Pearl" (1969) by...'Black Pearl'. 'Black Pearl' was from the late 60s in San Francisco. They formed out of yet even more obscure band, 'The Barbarians'. 'Black Pearl' only released two albums ('69 & '70) and a single in '69. This rock/psych band shows strong influences of blues, soul and funk. My recommendations? Check out "Crazy Chicken", "Thinkin' 'Bout the Good Times" and the best track on the album (my favorite), "Mr. Soul Satisfaction".

Black Pearl (1969, Atlantic SD-8220)
01. Crazy Chicken
02. Thinkin' 'Bout the Good Times
03. White Devil
04. Mr. Soul Satisfaction
05. Forget It
06. Climbing Up the Walls
07. Bent Over
08. Endless Journey
09. Reach Up
Bruce Benson, Tommy Molcahy, Jeff Morris (g), Bernie Fieldings (vcl), Jerry Causi (d)

As I have only the Japanese LP release (hence, the "gibberish" on the cover that many of you will not understand...), I went around the web to include a decent US-release album jacket, otherwise this is an original rip @ 320kbps.

P.S. Send your mental thanks to Koji-kun, my network administrator/part-time DJ, who kindly ripped my album to 1s-&-0s, and partial credit to the anon reviewer at Soul Strut for some additional background info!

Astor Piazzolla Set -- discos compactos 1 and 2

i don't reckon i need to say too much about this cat to this crowd so i won't. it's a 10 disc set and astor is the man no doubt, essentially just a huge pile of dope sides recorded here and there around '68, '74-5 and mid 80's i think. i can put the whole thing up a bit at a time if there is interest. in addition i have some way cool astor lp's that i will put up at some point whether anyone likes it or not because i'm freaky like that. let me know what you'se think.

Dizzy Gillespie - Gillespiana and Carnegie Hall Concert [flac]

Dizzy Gillespie recorded Gillespiana in November 1960. At that time, Lalo Schifrin, a 28-year-old- Argentinean, was his pianist and musical conductor. Gillespie had first heard him in 1956 - he was struck by Schifrin's writing and asked the young musician to compose something for him. This was the start of Gillespiana, which was described in the original album notes as a "suite form [in a] concerto grosso format".

Many of the musicians who recorded Gillespiana that November reconvened the following March for a concert at Carnegie Hall. The 22-piece band, including Ray Barretto, Clark Terry, and Leo Wright, performed five pieces, all composed by Gillespie and reconfigured by Schifrin's ambitious arrangements. It was a memorable evening, and coupled with Gillespiana, presents a dazzling earful of Dizzy's big band in the early sixties.

[The Carnegie Hall concert included unissued performances of Things to Come, Ow, Emanon, Con Alma and I Waited for You. Too bad they weren't included on this CD.]

John Frosk, Dizzy Gillespie, Ernie Royal, Clark Terry, Joe Wilder (tp) Urbie Green, Frank Rehak, Britt Woodman (tb) Paul Faulise (btb) Jim Buffington, Al Richman, Gunther Schuller, Julius Watkins (frh) Don Butterfield (tu) Leo Wright (as, fl) Lalo Schifrin (p) Art Davis (b) Chuck Lampkin (d) Candido Camero (cga) Jack Del Rio (bgo) Willie Rodriguez (tim)

NYC, November 14 & 15, 1960
  1. Prelude
  2. Blues
  3. Panamericana
  4. Africana
  5. Toccata

John Frosk, Clark Terry, Nick Travis, Carl Warwick (tp) Dizzy Gillespie (tp, vo) Paul Faulise, George Matthews, Arnett Sparrow, Britt Woodman (tb) John Barrows, Richard Berg, Jim Buffington, Gunther Schuller (frh) Don Butterfield (tu) Leo Wright (as, fl) Lalo Schifrin (p) Art Davis (b) Chuck Lampkin (d) Ray Barretto, Julio Collazo, Jose Mangual (per) Joe Carroll (vo)

Carnegie Hall, NYC, March 4, 1961

6. Manteca
7. This Is the Way
8. Ool Ya Koo
9. Kush
10. Tunisian Fantasy

Wednesday, April 25, 2007

brooklyn's own

mr herbert solomon.

Irakere (1978) [LP>flac]

After spending several years of my early childhood in pre-Castro Cuba I've always felt a special connection with just about anything Cuban. So when I saw this LP in 1979 I had to get it and was flabbergasted when I slapped it on. Like most Americans I had no idea of what was happening in the Cuban music scene at the time. Recorded at the 1978 Newport and Montreux Jazz Festivals, this was Irakere's first US release and was my introduction to Chucho Valdés, Arturo Sandoval and Paquito D'Rivera.

AMG review:
North American Latin jazz audiences were knocked out when this LP came out, for it was the first idea many of us had of the explosive power of this Cuban jazz/rock band, which had been let briefly out of Cuba to tour. Columbia taped them live at New York's Newport Festival and Switzerland's Montreux Jazz Festival, and the result was a noisy, ambitious, frenzied, tremendously exciting mixture of everything but the kitchen sink. Co-founder, keyboardist and arranger Chucho Valdes was as thoroughly attuned to the thumping electric bass, the careening buzz of a synthesizer and bell-like electric piano as he was to his homeland's complex rhythms and his own classical training -- and despite the cultural embargo, the 11-piece group was in touch with then-current developments in American jazz/rock. "Juana Mil Ciento," curiously the only track not available on CD, comes roaring out of the box with an incendiary mix of battering Cuban drumming, Arturo Sandoval's wild trumpet and Paquito D'Rivera's wailing alto. Paquito also contributes a free-floating, sometimes slapstick fantasy on themes of Mozart. The most audacious number is the 17 1/2-minute "Black Mass," which unleashes Valdes' staggering classical piano technique, knockabout rock guitar, Cuban chanting, high-wire brass, and lots of drums without somehow losing its train of thought. All but one of these tracks were reissued on CD as part of The Best of Irakere; admittedly, the LP's raucous sound is a bit more exciting than the cleaned-up CD. - Richard S. Ginell

Arturo Sandoval, Jorge Varona (trumpet)
Paquito D'Rivera (alto, soprano sax)
Carlos Averhoff (tenor sax)
Jesus "Chucho" Valdés (keyboards)
Carlos Emilio Morales (guitar)
Carlos del Puerto (bass)
Enrique Plá (drums)
Armando Cuervo, Jorge Alfonso (percussion)
Oscar Valdés (vocals, percussion)

  1. Juana Mil Ciento
  2. Adagio
  3. Misa Negra (The Black Mass)
  4. Aguanile

Tuesday, April 24, 2007

Johnny "Hammond" Smith and Lem Winchester -- Gettin' The Message

according to amg:

Review by Stewart Mason
Organist Johnny "Hammond" Smith's fourth album as a leader, 1961's Gettin' the Message, pairs him with vibraphonist Lem Winchester; Smith and Winchester recorded together fairly often around this period, and the rather unique combination of mellow vibes (an instrument most often associated with cool jazz and Milt Jackson's dignified work with the Modern Jazz Quartet) and funky organ (then rising in popularity, along with what would soon be called soul-jazz) is an interesting blend of styles. The two trade solos in front of a standard hard bop rhythm section that hogs little of the listener's attention, but unfortunately never rises much beyond a mild simmer. While this is fine for tunes like the mellow opener, "Dementia," songs like "Lid Flippin'" and even that hoary old "Swanee River" sound like they could stand to be goosed along a bit; there's a big difference between cool and cold. Aside from that flaw, however, this is a solidly entertaining and texturally intriguing album.

according to jean lafite:

my man glidernyc reminded me about this record so i though i would chuck it up here. a long shout from cold, while maybe not as good as the three winchester lp's (lid flippin' was actually included on the cd reissue of one of them, i forget which) this is still good cooking. always like the vibes and organ combo, a little less ordinary than some other pairings. also of note as the liner notes pointed out to me, very quietly and very discreetly, is the work of mr eddie mcfadden.
i likes it, hope you'se do too.
with eddie mcfadden on guitar, wendell marshall on bass, and bill erskine on drums.
vangelder 10/14/60 in Jersey!

Lem Winchester -- With Feeling

according to amg:

Review by Scott Yanow
Vibraphonist Lem Winchester's final recording was made just three months before his accidental death, which occurred when he was demonstrating a gun trick. Although originally recorded for the Prestige subsidiary Moodsville (a series that emphasized slow, melodic ballads), there is a fair amount of variety on Winchester's last effort. Joined by pianist Richard Wyands, bassist George Duvivier and drummer Roy Haynes, Winchester mixes medium-tempo performances with slower numbers and shows that his style was growing away from his original Milt Jackson influence. Among the better selections are "With a Song In My Heart," "Skylark" and "My Romance."

according to jean lafite: amg grades this one down a bit from another opus, but i like it at least as well and all respect to yanow, he's no thom jurek.
winchester's last effort and a damn shame that because no telling where he was headed. check it.

Milt Jackson - Bebop (1988)

The music on this East-West CD (made available through Atlantic) certainly lives up to its title. Vibraphonist Milt Jackson welcomes some of his best musical friends, including both veterans and a couple of younger greats: trumpeter Jon Faddis, trombonist J.J. Johnson, Jimmy Heath on tenor, pianist Cedar Walton, bassist John Clayton and drummer Mickey Roker. Together they perform nine classic songs from the bop era with the emphasis on medium and up-tempo workouts. Few surprises occur but the hard-swinging music largely comes up to one's expectations. - Scott Yanow

  1. Au Privave
  2. Good Bait
  3. Woody 'n You
  4. Now's the Time
  5. Ornithology
  6. Groovin' High
  7. Birks' Works
  8. Salt Peanuts
  9. I Waited for You

Lem Winchester -- Another Opus

according to amg:

Review by Scott Yanow
Vibraphonist Lem Winchester died on January 13, 1961, after an accident with a gun. Although he did not stick around long enough to carve out his own original voice (remaining influenced to a large degree by Milt Jackson), Winchester did record several worthy albums during his final couple of years. This set, which has been reissued on CD in the OJC series, was one of his last and best. Winchester — in a quintet with flutist Frank Wess, pianist Hank Jones, bassist Eddie Jones, and drummer Gus Johnson — is in swinging and creative form on three of his originals, Oliver Nelson's "The Meetin'," and the standard "Like Someone in Love." Overall this CD is one of Lem Winchester's definitive sets.

according to jean lafite:

another thoroughly enjoyable record, with another great line up. ladies and gentlemen: mr lem winchester.

Lem Winchester And Benny Golson -- Winchester Special

according to amg:

Review by Scott Yanow
This excellent CD reissue features the ill-fated vibraphonist Lem Winchester teamed up with tenor saxophonist Benny Golson, pianist Tommy Flanagan, bassist Wendell Marshall and drummer Art Taylor for three standards, an obscurity and two of the leader's originals. The music falls between bop and hard bop with consistently swinging solos that are generally fairly inventive. This was one of Winchester's three recordings for the New Jazz label; all are easily recommended to straightahead jazz fans.
according to jean lafite:
i am a sucker for vibes, and this guy's story with the russian roulette ending is smoky. i think he's terrific and this is a great line up. i think you'se will like it.

Monday, April 23, 2007

Johnny Hodges - Ellingtonia '56 [LP>flac]

Just this last weekend I got a turntable with a built-in pre-amp to start digitizing my LP's. The plan is to record them each time I listen to one. I'll post some of them here, sticking mostly to albums that have not yet made it to CD.

This Johnny Hodges release for Verve is one of my favorite Ellington records sans Duke. Half of the album is a small group session and the other half is with the big band. The small group sides were included in the Hodges Verve small group sessions on Mosaic but I've never seen these big band tracks re-issued anywhere. See comments for the liner notes.


Ray Nance (tp) Lawrence Brown (tb) Jimmy Hamilton (cl, ts) Johnny Hodges (as) Harry Carney (bars) Billy Strayhorn (p) Jimmy Woode (b) Sam Woodyard (d)

NYC, January 11, 1956


Cat Anderson, Willie Cook, Ray Nance, Clark Terry (tp) Quentin Jackson, John Sanders, Britt Woodman (tb) Jimmy Hamilton (cl, ts) Johnny Hodges, Russell Procope (as) Paul Gonsalves (ts) Harry Carney (bars) Billy Strayhorn (p) Jimmy Woode (b) Sam Woodyard (d)

NYC, January 12, 1956

  1. Hi'ya
  2. Snibor
  3. Texas Blues
  4. Duke's Jam
  5. Night Walk
  6. The Happy One
  7. You Got It Coming

Mambo y Salsa "Two-fer"

Machito & His Salsa Big Band/Grammy Award Winner (1982) [.flac & covers]
. . . full-blown latin big band, Machito-orchestrated mambo "sambia" and the 1983 Grammy Award winner - what more need I say?

Machito & His Salsa Big Band: Paula "Machito" Grillo (leader/composer/vcls/per), Alfredo "Chocolate" Armenteros, Tony Cofresi, Jeff Davis, Shunzo Ono (tp), Ed Covi, Mark Friedman (as), Ken Hitchcock (ts), Pete Miranda (baSax), William Rodriguez (p), Nelson Gonzales (b), Ray Romero (bon), T.C. Ramos (con), Paula Grillo (vcl), Mario Grillo (timbales/dir); recorded at Fendal Sound Studios Loenen a/d Vecht, Netherlands on February 6-7, 1982

Maestra Vida, Pts. I & II (1980, Fania F576/577) [320kbps & covers]
The world's first salsa opera, produced by none other than Rubén Blades and Willie Colón. Blades' concert caused a riot while being you want it?

Rubén Blades (acG/g/vcl/per/maracas), Willie Colón (prod/mixing/vcl), Jose Torres (p), Sal Cuevas (eB/dblB), Renaldo Jorge (tb/baTP), Lewis Kahn (baTP)José Luis Morales Rodriguez (baTP), Leopoldo Pineda (tb), Milton Cardona (cga/tumbadora/quinto/vcl/claves), Johnny Andrews (timbales), Jose Mangual Jr. (bgo,vcl), Kevin Zambrana (per), Louie Cruz, Carlos Franzetti, Marty Sheller, Javier Vazquez (arr/orch)

Da Bush Doctor

Peter Tosh - Jamaica World Music Festival 11/26/82

For many, many years, this was one of my most prized bootleg tapes. So much so, that when I first started ripping my tapes and archiving them digitally, this was the first one I did. There was almost a sense of relief when I realized that the tape was archived before some nasty tape player chewed it to bits! The recording is from a soundboard source, generally it is very robust sounding. The band is on fire, as this was the last act to take the stage at the end of the three day festival, and was playing in it's homeland. The music is inspired and although the reggae vibe is omnipresent there is a lot of soul flavor but mostly pure rock n' roll. The band rocks hard throughout, and Tosh is in very fine form. The version of Get Up Stand Up as well as Legalize It, is highly charged and at times is almost metallic. There are a few glitches, two songs cut, but I still to this day, enjoy listening to it (in fact as I type right now)....


Willie, Andy & The American Songbook

Two takes on the great American songbook; one leans more towards Tin Pan Alley and the other towards jazz standards. Willie Nelson’s album was recorded in the height of his career and in the middle of his prolific country output during the 70’s; Andy Bey’s was a return to the recording industry in the 90’s after a quarter of a decade’s absence. The interpretations are united by a tender and personal touch. Two of my favorite albums.

Willie Nelson – Stardust (1978, Flac)

Andy Bey – Ballads, Blues & Bey (1996, Flac)

Flac & scans

Sunday, April 22, 2007

Thad Jones/Mel Lewis - Consummation (1970) [flac]

If I could only have one album by Thad & Mel...

Of the many albums recorded by the Thad Jones/Mel Lewis Orchestra, this was the greatest. Reissued on CD as part of a large Mosaic box set, this set introduced Jones' best-known composition, "A Child Is Born," and also has a colorful rendition of his sly "Tiptoe," and finds the big band ripping the roof off during the lengthy and very exciting "Fingers." The all-star cast (which includes flugelhornist Jones, drummer Lewis, trumpeter Marvin Stamm, trombonist Jimmy Knepper, tenor great Billy Harper, the reeds of Jerome Richardson, Jerry Dodgion and Eddie Daniels, keyboardist Roland Hanna, and bassist Richard Davis, among others) is well served by Thad Jones' inventive and swinging arrangements. A classic. - Scott Yanow

Thad Jones (flugelhorn)
Mel Lewis (drums)
Snooky Young, Danny Moore, Al Porcino, Marvin Stamm (trumpets)
Eddie Bert, Benny Powell, Jimmy Knepper, Cliff Heather (trombones)
Jerome Richardson, Jerry Dodgion, Billy Harper, Eddie Daniels, Richie Kamuca, Pepper Adams (4-6), Joe Farrell (7) (reeds)
Roland Hanna (piano)
Richard Davis (bass)
David Spinozza (guitar on 5, 6)
Jimmy Buffington, Earl Chapin, Dick Berg, Julius Watkins (f horns on 1, 8)
Howard Johnson (tuba on 1, 8)

  1. Dedication
  2. It Only Happens Every Time
  3. Tiptoe
  4. A Child Is Born
  5. Us
  6. Ahunk Ahunk
  7. Fingers
  8. Consummation

Farewell Andrew!

I've been so busy that it took an e-mail from disappearing ink to tell me the sad news this morning...
I will miss his spirit very much!
I'm listening to "Time Lines" now...a fitting last record...thanks Andrew!!!,0,6538857.story?coll=ny-region-apnewyork

Saturday, April 21, 2007

Coleman Hawkins - Accent on Tenor Sax (1955) [flac]

The veteran tenor was somewhat overlooked during the era (prior to a major "comeback" in 1957) but he always played at a consistently high level. On four of the eight selections, Hawk is showcased in a quintet with Joe "Earl" Knight (mostly on piano but also playing some early organ), rhythm guitarist Sidney Gross, bassist Wendell Marshall and drummer Osie Johnson. The remaining four numbers add trumpeter Ernie Royal and trombonist Eddie Bert. Hawkins is in prime form, particularly on "Blue Room," "Running Wild," "The Breeze and I" and "My Own Blues." - Scott Yanow

Coleman Hawkins (tenor sax)
Ernie Royal (trumpet)
Eddie Bert (trombone)
Earl Knight (piano, organ)
Sidney Gross (guitar)
Wendell Marshall (bass)
Osie Johnson (drums)

  1. Running Wild
  2. I'll Never Be the Same
  3. When Your Lover Has Gone
  4. Blue Room
  5. The Breeze and I
  6. What's New
  7. I'll String Along With You
  8. My Own Blues
Recorded May 10, 1955

Friday, April 20, 2007

Oscar Peterson - My Favorite Instrument (1968)

First issued by Prestige as "Soul-O!", this album was later released by MPS as part of a series of '60's sessions called Exclusively for My Friends.

"It is surprising that Oscar Peterson's first solo piano album was not recorded until this 1968 session for MPS. Peterson took advantage of the brilliant instrument, terrific studio, and his incredible technique to produce one of the best recordings of his career. The nine-song program sticks almost exclusively to established standards, with the exception of one track. "Someone to Watch Over Me" demonstrates not only his rather unique two-handed runs (both played in unison) at high tempo, but also a bit of stride piano and a delicate closing chorus. "Perdido" sounds like it will explode at any minute, with Peterson's foot keeping time as he devours the piece whole. His refreshing exploration of "Body and Soul" adds a lovely improvised introduction, while the body of the arrangement mixes a bit of lyricism with a lot of showmanship. Jazz musicians had only started exploring "Who Can I Turn To?" a few years earlier, but Peterson's stunning interpretation is in a class by itself. The decades-old "Bye Bye Blackbird" sounds hackneyed in the wrong hands, but Peterson's unusual voicings give it a poignancy not present on most recordings. The pianist sings along softly to himself throughout most of his joyful rendition of "Lulu's Back in Town," incorporating a bit of stride piano into a swinging performance. "Little Girl Blue" is a gem by Rodgers & Hart that tends to be overlooked, but Peterson's delicate arrangement of this gorgeous ballad has much to recommend it. The pianist's brief romp through "Take the 'A' Train" closes the disc with a flourish." - Ken Dryden

Know a big-headed pianist? Just cue up "Perdido" and watch their jaw drop to the floor, hang their head in shame, and then go home to practice.

Oscar Peterson (solo piano)

  1. Someone to Watch Over Me
  2. Perdido
  3. Body and Soul
  4. Who Can I Turn To
  5. Bye, Bye Blackbird
  6. I Should Care
  7. Lulu's Back in Town
  8. Little Girl Blue
  9. Take the 'A' Train
Recorded in Villingen, W-Germany, 1968

Batacumbele - In Concert: Live at the University of Puerto Rico (1988) [orig. rip @ flac & scans]

I have been saving this for the right time, and after the "Africando". . . well, here is my return salvo. Batacumbele employ music traditions of Afro-Caribbean, jazz and salsa. Several of us have recently added a bit of Latin jazz, while Chuchuni explained some of the contribution of Puerto Rico to the world of Afro-Caribbean music. This album ranges from folkloric music (“Elegua”) to edgy, progressive jazz sounds (“May Day”) to straight-up dance music (“Muévete”). Check it out - the band has 20 members! If you like percussionists – GRAB this album. . .it’s clear why this group is loved by puertorriquenos.
p.s. I will spare you my experience attending this concert and some risqué memories of this concert de bonita quien me ha. . .

1 Elegua
2 May Day
3 Muévete
4 Giovanni's Solo
5 Obatala
6 Ochún
7 Tia
8 Danzonete
9 Calabo y Bambu
10 St. Thomas
11 Hot Blood
12 Batacumbele Te Saluda

Tower of Power - East Bay Grease (1970) [flac]

Still in its infancy, Tower of Power's first album had the spit but not the polish of some of its later releases. But that can be a good thing as the band gets to stretch out a little since none of the songs were meant to be played on AM radio. They were still searching for the right lead singer at the time but the horn and rhythm sections were already established and laying down the groove that would be their trademark for the next several decades.

Rufus Miller (lead vocals)
Rick Stevens (lead vocal on 6)
Emilio Castillo (alto sax)
Skip Mesquite (tenor sax)
Steve Kupka (bari sax)
Greg Adams, David Padron (trumpet)
Willy Fulton (guitar)
Frank Prestia (bass)
Dave Garibaldi (drums)
Mic Gillette (trumpet, trombone)
Ken Balzell (trumpet)

First Serving:

1. Knock Yourself Out
2. Social Lubrication
3. The Price

Second Serving:

4. Back on the Streets Again
5. The Skunk, the Goose and the Fly
6. Sparkling in the Sand

Johnny Smith -- the New Johnny Smith Quartet

according to amg:

Review by Dave Nathan
Before he threw in the towel and willingly walked away from the clutches of the recording industry in 1960, Johnny Smith recorded an impressive roster of albums for Teddy Reig's Roost label. One of these, The New Johnny Smith Quartet, recorded in 1956, was billed as maiden set for Smith's new, small group. That was almost correct. This was the first time around for vibes player Johnny Rae and drummer John Lee. But bass player George Roumanis had already recorded with Smith. Prior to his Smith tenure, Rae was instrumental in shaping the distinctive George Shearing Quintet sound. This bandleader was especially well known for tasteful playing, the clean quality of his sound, and his skillful voicing of melody with chords. And this album does nothing to detract from that reputation. Even on the up-tempo pieces like "Pawn Ticket" and "'S Wonderful" Smith's technique remains clean without slurring. His playing also can take on classical overtones, like on "Montage" and "It Never Entered My Mind." Smith was not a stranger to the classical genre. His last minute abduction by conductor Dimitri Mitropoulos to play solo guitar on Arnold Schoenberg's "Serenade" is one of music's legends. On the slower numbers this quartet resembles the stentorian sounds of the Modern Jazz Quartet at times. Johnny Smith left behind about 25 LPs with the Roost label.

according to jean lafite:

an entirely pleasant lp. a little noisy, but roost records ain't blue note. i ran across it and remembered rab's moonlight in vermont post so i thought i would put it up. don't know if this one got reissued or not.
hope you'se like it.

Funkadelic -- Maggot Brain

i'm sure you all have it, but i was listening to it and since it is funky friday..

flac was overkill i suppose since these westbound lp's are not exactly an audiophiles dream come true, but this is from the original pressing that has only been played a few times. it has high levels and is a little muddy maybe but that is how it came.

this freakin' rocks.

hope you'se like it.

according to amg:

Review by Ned Raggett
It starts with a crackle of feedback shooting from speaker to speaker and a voice intoning, "Mother Earth is pregnant for the third time, for y'all have knocked her up" and talking about rising "above it all or drown in my own sh*t." This could only have been utterly bizarre back in 1971 and it's no less so decades later; though the Mothership was well on its way already, Maggot Brain really helped it take off. The instrumental title track is the key reason to listen, specifically for Eddie Hazel's lengthy, mind-melting solo. George Clinton famously told Hazel to play "like your momma had just died," and the resulting evocation of melancholy and sorrow doesn't merely rival Jimi Hendrix's work, but arguably bests a lot of it. Accompanied by another softer guitar figure providing gentle rhythm for the piece, the end result is simply fantastic, an emotional apocalypse of sound. Maggot Brain is bookended by another long number, "Wars of Armageddon," a full-on jam from the band looping in freedom chants and airport-departure announcements to the freak-out. In between are a number of short pieces, finding the collective merrily cooking up some funky stew of the slow and smoky variety. There are folky blues and gospel testifying on "Can You Get to That" (one listen and a lot of Primal Scream's mid-'90s career is instantly explained) and wry but warm reflections on interracial love on "You and Your Folks, Me and My Folks," its drum hits distorted to give a weird electronic edge to the results. "Super Stupid" is a particular killer, pounding drums and snarling guitar laying down the boogie hard and hot, while "Hit It and Quit It" has a great chorus and Bernie Worrell getting in a fun keyboard solo to boot.

Hitsville USA The Motown Singles Collection 1959-1971

I thought it could be appropriate for Funky Friday, although it's not funk per se. Anyway, a monument in its genre. I was going to post a review, but I feel this set doesn't really need a review, now does it ? Tracklisting in comments (there are 4 cds).

Thursday, April 19, 2007

Funky Friday

Years ago, I went to see a friend play at the Bottom Line - he played with a guy named Robert Kraft - and Etta James was headlining. Before she came on, her band came out for a nice set first. And that was the first I ever heard of the Meters.
Leo Nocentelli was kickin' from the opening notes.

1. Cissy Strut
2. Here Comes The Meter Man
3. Cardova
4. Live Wire
5. Art
6. Sophisticated Cissy
7. Ease Back
8. 6v6 LA
9. Sehorn's Farm
10. Ann
11. Stormy
12. Sing A Simple Song
13. The Look Of Love
14. Soul Machine

Funky Friday

Note of clarification: at the time of this posting, it is funky “Friday” morning here in Okinawa – and as a beautiful blue-sky blankets the tourmaline-waters lapping the seashore outside my window… I offer up two posts, one long forgotten and one of recent funk –
47 Times Its Own Weight – “Cumulo Nimbus” (1975, Fable)

This piece of history comes out of west Texas – yes, there are other things besides oil, cows, the Dallas Cowboys, George Bush and over-sized egos coming from the “Great State”…
47 Times Its Own Weight is one of those “one-album bands” that arise from the murky forest of upcomers but then retracted into the depths of anonymity. If an LP could be found of this rare set, you would be forking big money (I remember seeing somewhere around $600 for a VG?!) but it does seem to have come back to CDs in a limited edition.

Aside from progressive rock and fusion influences, I feel this album is a pretty good representation of mid-70s west Texas funk. Perhaps you have heard another similar killer (ghost/one-album) band from that period, “Starcrost”? I think you will find this quite enthusiastic and inspiring and not just an electronic jam, rather lively rhythms that are funkified by a great horn and reed section. “Dusty Groove wrote, “Although this is an American band, the work here has some great qualities that remind us of some of the best European fusion from the same time…”. I recommend “Weedhopper” and “March of the Goober Woobers” very much –
47 Times Its Own Weight - Cumulo Nimbus (1975)
1. Weedhopper
2. March of the Goober Woobers
3. 47 Tears
4. Jig
5. Halyards
6. Cumulo Nimbus
*note: This is not my original rip, but was floating around blog-o-sphere about two years ago. I dug in the dusty corners of the web to find a good quality photo of the lp, however.

- - - - - - - - - - - - - - -

Buckshot LeFonque – “Buckshot LeFonque” (1994) [orig. rip@320kpbs & scans]

Buckshot LeFonque was the project of Branford Marsalis. He tries merging classical jazz with rock, ballad/pop, R&B and hip-hop influences; the result? To me, funk. There are only two album releases from this project. Today's trivia - for those of you did not know, the name ‘Buckshot LeFonque’ is a pseudonym of the jazz saxophonist Julian “Cannonball” Adderley.

Please allow me to generously categorise this album under the heading of funk. Check this out, if you do not already know it! Sorry, I ripped this at 320 long before I knew of “flac, ogg, ape” and other such monsters here in pomegranate…

Africando All Stars - Betece

I don't have much to say about this recording, except 3 things : get it, get it, get it (especially to Clio and Jazz-Nekko) ! This is simply one of the best salsa - son cds I've ever heard. The slight rhythmic variations of the bass on some tumbaos give it a very special flavour. A great recording by a greater band. Strangely enough, the cd was re-christened "Mandali" for the US market release and features one track less (Naliye Gnimo). Look at the credits : a who's who of both African and Portirican salsa. Review and credits in comments.

1 Mandali Medoune Diallo 05:04
2 Miye na we Lokua Kanza 04:37
3 Betece Amadou Balake 05:01
4 Hwomevonvon Gnonnas Pedro 05:10
5 Ntoman Salif Keita 05:00
6 Carpintero Ronnie Baro 04:46
7 Scandalo Shoubou 05:03
8 Sonfo Sekouba Bambino 04:52
9 Sey Thione Seck 05:16
10 Mopao Koffi Olomide 04:31
11 Pepita Boncana Maiga / Hector Casanova 05:02
12 Naliye Gnimo Bailly Spinto 04:47
13 Doni doni Africando / Bembeya Jazz

Wednesday, April 18, 2007

Curtis Fuller Jazztet (1959) [ogg]

Like the other Savoy recordings of Curtis Fuller, The Curtis Fuller Jazztet is a relaxed hard bop set featuring many of the young stars of the day. The more famous Blues-ette, from earlier in 1959, featured Tommy Flanagan, Jimmy Garrison, and Al Harewood. This time, however, the Fuller/Golson combination included Lee Morgan, Wynton Kelly, Paul Chambers, and the percussive talents of drummer Charlie Persip. Listeners already acquainted with Blues-ette (or other comparable dates) should find this session to be familiar territory. Similarly, it is also very much in the same vein as another classic, Meet the Jazztet, upon which Fuller and Golson were again paired. Even though the compositions may not be as strong as those on Blues-ette (and how could they be?), there are a number of highly engaging solos by all and perhaps a bit more diversity with regard to both tempo and arrangement. Where Blues-ette's sublime grace stems from the collective understanding displayed by the group, the greatness of The Curtis Fuller Jazztet is to be found in the individual talents of the soloists. Of particular note are Golson's flights on up-tempo numbers such as the album's opener, "It's Alright With Me," and absolutely every soloist's take on the ballad "I'll Walk Alone." Let this highly recommended set also be a testament to the sparkling, Roy Haynes-like "snap-crackle" style of the underappreciated Charlie Persip. - Brandon Burke

Great music - shabby production as Savoy misspells Dizzy Gillespie's "Wheatleigh Hall." But wait!'s not "Wheatleigh Hall" but Red Garland's "Blues by Five."

Lee Morgan (trumpet)
Curtis Fuller (trombone)
Benny Golson (tenor sax)
Wynton Kelly (piano)
Paul Chambers (bass)
Charlie Persip (drums)

  1. It's Alright With Me
  2. Wheatleith Hall (Blues by Five)
  3. I'll Walk Alone
  4. Arabia
  5. Judy's Dilemma
Recorded August 25, 1959

Duke Ellington At Newport (1956)

Imagine this – Duke Ellington and his band at Newport Jazz Festival coupled with the atmosphere that goes with such an event…
can you dig it? Can you really picture it? One of Ellington’s quotes suits this album, “Music is my mistress, and she plays second fiddle to no one.”

I recall watching a TV programme where Ellington was interviewed and he said that because his band was very competitive, that after giving his band a pep talk, they became in a particularly feisty mood that day. The band had been on a downslide for many years, actually losing money and popularity. However, this has to be one of the Ellington bands’ best recordings. In the introduction of “The Diminuendo and Crescendo in Blue”, Gonsalves played 27 choruses and created such a crazy atmosphere that George Wein, the festival organizer, feared a riot. Ellington said of those moments, “I was born in 1956.” The crowd demanded four encores. Johnny Hodges also helped lead this remarkable performance, arguably leading to the band’s revival until his death in 1970. One reviewer wrote, “...dizzying jazz”, whilst yet another waxed “ of the most famous of jazz concerts of all time” and yet another reviewer said, “this is the first time to hear every note that the band played at Newport over that famous weekend of July 7/8, 1956”. These are some mighty claims; what do you think?

Are you still here?! ....what are you waiting for?

Duke Ellington At Newport (1956)
Duke Ellington (p), Ray Nance (vcl/tp), Jimmy Grisson (vcl), Russell Procope (as/cla), Johnny Hodges (as), Paul Gonsalves (ts), Jimmy Hamilton (ts/cla), Harry Carney (baSax), John Cook, Clark Terry, William “Cat” Anderson (tp), John Sanders, Quentin Jackson, Britt Woodman (tb), Jimmy Woode (b), Sam Woodyard (d); recorded live at the Newport Jazz Festival, Newport, Rhode Island on July 7, 1956

[.flac & covers]
1. Star Spangled Banner - (prev. unreleased)
2. Father Norman O’Connor Introduces Duke & The Orchestra / Duke Introduces tune & Anderson, Jackson...
3. Black and Tan Fantasy
4. Duke Introduces Cook & tune
5. Tea for Two - (prev. unreleased)
6. Duke & Band Leave Stage / Father Norman O’Connor Talks about Festival
7. Take the “A” Train
8. Duke Announces Strayhorn’s A Train & Nance-Duke Introduces Festival Suite, Part I & Hamilton
9. Festival Junction - (prev. unreleased)
10. Duke Announces Soloists; Introduces Part II
11. Blues To Be There - (prev. unreleased)
12. Duke Announces Nance & Procope; Introduces Part III
13. Newport Up - (prev. unreleased)
14. Duke Announces Hamilton, Gonsalves, & Terry / Duke Introduces Cook & tune
15. Sophisticated Lady
16. Duke Announces Grissom & tune
17. Day In, Day Out - (prev. unreleased)
18. Duke Introduces tune(s) and Paul Gonsalves Interludes
19. Diminuendo in Blue and Crescendo in Blue
20. Announcements, Pandemonium
21. Pause Track

1. Duke Introduces Johnny Hodges
2. I Got it Bad (And That Ain’t Good) - (prev. unreleased)
3. Jeep’s Blues
4. Duke Calms Crowd; Introduces Nance & tune
5. Tulip or Turnip - (prev. unreleased)
6. Riot Prevention
7. Skin Deep
8. Mood Indigo - (prev. unreleased)
9. Studio Concert - (excerpts)
10. Father Norman O’Connor Introduces Duke Ellington / Duke Introduces new work, Part I, & Hamilton
11. Festival Junction
12. Duke Announces Soloists; Introduces Part II
13. Blues to Be There
14. Duke Announces Nance & Procope; Introduces Part III
15. Newport Up
16. Duke Announces Hamilton, Gonsalves, & Terry / Pause / Duke Introduces Johnny Hodges
17. I Got it Bad (And That Ain’t Good)
18. Jeep’s Blues - (prev. unreleased)
19. Pause Track

Sonny Rollins - "The Contemporary Leaders" Plus (1958) [flac]

This is a 1986 JVC Japan issue originally recorded for Contemporary Records.

The last of the classic Sonny Rollins albums prior to his unexpected three-year retirement features the great tenor with pianist Hampton Hawes, guitarist Barney Kessell bassist Leroy Vinnegar and drummer Shelly Manne (all bandleaders for Contemporary Records during this era) on an unusual but inspired list of standards. Rollins creates explorative and often witty improvisations on such songs as "Rock-A-Bye Your Baby with a Dixie Melody," "You," "In the Chapel in the Moonlight" and roaring versions of "I've Found a New Baby" and "The Song Is You." Great music. - Scott Yanow

Sonny Rollins (tenor sax)
Hampton Hawes (piano)
Barney Kessel (guitar)
Leroy Vinnegar (bass)
Shelly Manne (drums)
Victor Feldman (vibes on 4, 5)

  1. I've Told Ev'ry Little Star
  2. Rock-a-Bye Your Baby With a Dixie Melody
  3. How High the Moon
  4. You
  5. You (alt. take)
  6. I've Found a New Baby
  7. I've Found a New Baby (alt. take)
  8. Alone Together
  9. In the Chapel in the Moonlight
  10. The Song Is You
  11. The Song Is You (alt. take)
Recorded October 20, 21, 22, 1958

Tuesday, April 17, 2007

Although one might assume that having the title of Diz means that this set would be a tribute to Dizzy Gillespie, only four of the nine selections were actually associated with the great trumpeter; the other numbers range from Bird and Bud Powell to Benny Golson and Charles Mingus ("Smooch"). Gonzalo Rubalcaba makes each of the jazz standards his own by reharmonizing the chord structures, playing in his own dense style and coming up with fresh new statements rather than just re-creating bebop. He is quite lyrical and somber on the ballads, makes "Donna Lee" unrecognizable, and (with the assistance of bassist Ron Carter and drummer Julio Barreto) modernizes all of the potential warhorses. This is a very interesting workout.~Scott Yanow
Gonzalo Rubalca piano
Ron Carter bass
Julio Barretto drums

1 Hot House
2 Woody 'N You
3 I Remember Clifford
4 Donna Lee
5 Bouncing with Bud
6 Smooch
7 Ah-Leu-Cha
8 A Night in Tunisia
9 Con Alma

Monday, April 16, 2007

Archie Shepp - Tray of Silver (1979) [flac]

One of Archie Shepp's more straight ahead dates, this session includes three Horace Silver tunes along with Tadd Dameron's "If You Could See Me Now." An opportunity to hear Shepp stretch out on some jazz standards with solid support from Mickey Tucker on piano, Takashi "Gon" Mizuhashi on bass, and Roy Brooks on drums. Howard Johnson is added on the last two tracks playing baritone sax on "Nica's Dream" and tuba on "Cookin' at the Continental."

Archie Shepp (tenor sax)
Mickey Tucker (piano)
Takashi "Gon" Mizuhashi (bass)
Roy Brooks (drums)
Howard Johnson (bari sax, tuba)

  1. No Smokin' (7:21)
  2. If You Could See Me Now (13:20)
  3. Nica's Dream (12:01)
  4. Cookin' at the Continental (10:25)
Recorded at Nippon Columbia's 1st Studio, Tokyo, April 11, 1979

Sunday, April 15, 2007

Tomasz Stanko “From the Green Hill” (1999, ECM 5473362 @ .flac)

As some of you may notice, I like the music of Tomasz Stanko; this is probably my third post about his quartets, quintets or sextets. This album, however, is not my original rip but this was passed along by a trusted friend and I found that it was not a mistake to take his recommendation.

Thom Jurek wrote about Tomasz Stanko’s “From the Green Hill”, “...this set draws its influences from Eastern Europe's folk traditions; “it’s fair to say that Stanko’s devotion to the folk traditions of his region had a big impact;” “...this album brings you Stanko’s international aspirations;” “...darker and deeper blues and klezmer music with timbral richness and harmonic elegance” - ??? Jurek can be such a pompous ass, can’t he? This particular 1999 album has a certain taste of tango “&” Hungarian Gypsy “&” Eastern European Yiddish/folk “&” jazz and, of course, the unmistakable ECM sound. Stanko’s trumpet eerily transports you while the sounds of the bandeon drive you down the streets of “La Reina de la Plata” (Buenos Aires). Are you in the mood for (yet again, I know...but I like dark jazz) some majestic, nostalgia-probing and introspective jazz?



Tomasz Stanko Sextet “From the Green Hill” (1999, ECM 5473362) [.flac & scans]
Tomasz Stanko (tp), John Surman (baSax\baCla), Dino Saluzzi (bandeon), Michelle Makarski (vio), Anders Jormin (acB), Jon Christensen (d); recorded at Rainbow Studio, Oslo, Norway in August 1998
01. Domino
02. Litania (Part One)
03. Stone Ridge
04. Y Despues de Todo,...
05. Litania (Part Two)
06. Quintet’s Time
07. Patronic
08. The Lark in the Dark
09. Love Theme - (from “Farewell to Maria”)
10. From the Green Hill,...
11. Buschka
12. Roberto Zucco
13. Domino’s Intro
14. Argentyna
oh no, jazz-nekko stole up granny's bit! what could this pic mean?

Stubs Pt. 2

December 12, 1974 (Tokyo) War Concert

. . . excellent show, almost three hours of incredible funk, jazz-rock! this was really a special memory because at the time, it was very difficult to get into jazz bars due to prejudice against foreigners/people percieved as non-Japanese. I have a bi-cultrual background and do not "look like" a Japanese.

June 11, 1982 (Orlando) Kool Jazz Festival (backstage pass)
Bill Cosby All-Star Ensemble
Count Basie Orchestra
Maynard Ferguson
Oscar Peterson
Wynton Marsalis

Bobby McFerrin
Jaco Pastorius
Oscar Peterson
???? Damn, old age!! I cannot remember but there were two or three others that day

. . .b/c of my company, i recieved backstage passes - what can I say? The atmosphere was as electric as you may dream about and the music did not disappoint; Count Basie has an infectious joy of music that others pick up on - it wass my impression that I watched a true genius; the stage views were stunning, band venues were cozy but jam-packed, and I remember dropping a lot of money on refreshments.

June 23, 1990 (Pittsburgh) Miles Davis & Hiroshima Concert

. . . pretty good but it seemed Miles was a bit out of sorts; note: this was the fifth time I had seen Miles live; Hiroshima put on an entertaining show and stands out more more in my memory.

Summer 1986 (New York) JVC Jazz Festival (backstage pass)
Ron Carter, Stanley Clarke, Miles Davis, Ella Fitzgerald, Al Foster, Lionel Hampton Herbie Hancock, Joe Henderson Freddie Hubbard, Dick Hyman, B.B. King, Branford Marsalis, John Mayall, Gerry Mulligan, Milton Nascimento, David Sanborn, John Scofield, Wayne Shorter, Spyro Gyra, Mel Torme, McCoy Tyner and Sarah Vaughan

. . . bc/ of my company, I had a backstage pass; spent about 30 minutes listening to Carter, Davis, Hancock and Henderson warming up - I remember Hancock giving Miles a hard time and Carter just smiling throughout (he seemed to be a real gentleman); music was out-of-the-world!; during on of the shows, Patrick Ewing, Charles Barkley and Michael Jordan (former NBA stars) sat near me and I remember thinking that Patrick Ewing did not look human b/c he was soo tall!

I have other stubs somewhere amongst the piles in the rat's nest, known as my workspace but these were the first that I could put my fingers on...


King Pleasure Sings/Annie Ross Sings [ogg]

"The brief life span of classic jazz vocalese singing found its first inspiration in these King Pleasure sides. Pleasure vocalized many bebop solos by the likes of James Moody, Charlie Parker, and Lester Young, often adding his own hip and witty lyrics to the mix. Initially issued on his debut, Moody's Mood for Love, the first eight sides here include solid senders like "Parker's Mood," "Red Top" (based on a Gene Ammons solo and featuring singer Betty Carter), and "Jumpin' With Symphony Sid" (Lester Young). Balancing out the boppish fare, Pleasure also delivers ballads like "This Is Always" (featuring the Dave Lambert Singers) and his own composition, "Don't Be Scared" (up-and-coming vocalese star Jon Hendricks guests). Future Hendricks cohort Annie Ross co-headlines this LP, matching Pleasure's best with hits like "Twisted" (Wardell Gray) and "Farmer's Market" (Art Farmer). Her wordless scat feature, "Annie's Lament," is a highlight as well." - Stephen Cook

Selections 9-12 are bonus tracks originally released on Original Moody's Mood (Prestige 7586)


King Pleasure (vocals)
(see comments for personnel)

Recorded 1952-1954


Annie Ross (vocals)
Teacho Wiltshire (piano 13, 14)
George Wallington (piano 15, 16)
Ram Ramirez (organ)
Percy Heath (bass)
Art Blakey (drums)

Recorded October 9, 1952

  1. Red Top
  2. Jumpin' With Symphony Sid
  3. Sometimes I'm Happy
  4. This Is Always
  5. What Can I Say (After I Say I'm Sorry)
  6. Don't Get Scared
  7. Parker's Mood
  8. I'm Gone
  9. I'm in the Mood for Love
  10. Exclamation Blues
  11. You're Crying
  12. Funk Junction
  13. Twisted
  14. Farmer's Market
  15. The Time Was Right
  16. Annie's Lament

Wynton Kelly - Wynton Kelly!

"A key session player and bandmember with Dizzy Gillespie, Miles Davis, J.J. Johnson, and Wes Montgomery, to single out just a handful, pianist Wynton Kelly also led several sessions of his own during his short life. This Collectables reissue of a 1961 Vee-Jay release is a fine example of Kelly relaxed and swinging. Working a similar niche to some of the piano trio work of Red Garland and Ahmad Jamal — two pianists with their own associations with Miles Davis — Kelly takes a selection of well-known standards and energizes them with tasteful, sophisticated, snappy performances, blending in a group of original tunes along the way. "Surrey With the Fringe on Top," "Gone With the Wind," and "Autumn Leaves" are all given fresh, up-tempo treatments. The ballads "Love I've Found You" and Kelly's own "Make the Man Love Me" showcase thoughtful interplay among the trio members. Sam Jones and Paul Chambers share bass duties on the set. Jimmy Cobb is the drummer. While Jones' trademark, sonorous whump comes through nicely in the mix, overall, the performances of the sidemen are more self-effacing than is typical for them."

Wynton Kelly - piano
Paul Chambers - bass
Sam Jones - bass
Jimmy Cobb - drums

CD 1 (Master Takes)
1. Come Rain Or Come Shine
2. Make The Man Love Me
3. Autumn Leaves
4. Surrey With A Fringe On Top
5. Joe's Avenue
6. Sassy
7. Love I´ve Found You
8. Gone With The Wind
9. Someday My Prince Will Come
10. Char´s Blues

CD 2 (Alternate Takes)
1. Autumn Leaves (Take 1)
2. Autumn Leaves (Take 2)
3. Autumn Leaves (Take 3)
4. Char's Blues (Take 1)
5. Char's Blues (Take 2)
6. Joe's Avenue (Take 1)
7. Joe's Avenue (Take 4)
8. Joe's Avenue (Take 8)
9. Joe's Avenue (Take 9)
10. Someday My Prince Will Come (Take 6)
11. Surrey With A Fringe On Top (Take 3)

Recorded in New York City, July 20-21, 1961

Dancehall lovers' rock

Sanchez - Stays On My Mind
I feel this the is best definition of Sanchez's style. In this particular cd you will some dancehall mixed with lovers' rock, rocksteady and some R&B covers. As most VP releases, this album actually is a compilations of singles that were both released in Jamaica and/or for the European/US/Japan markets. I have a weakness for the producer Bobby Digital, and the tunes that he produced and that are featured here just shred. Just check the first number, 'Chemistry'. I would not be surprised if you find yourself humming this tune after a couple of listens. And since great tunes also need great musicians, Paul 'Computer' Crosdale, Dean Frazer, Mafia & Fluxy, and Sly Dunbar are some of the best musicians here and took part in most songs. Not the kind of conscious/cultural reggae. Just good sweet love songs with good production. Nuff respect !
1. Chemistry
2. Love We Had Stays On My Mind
3. Sha-La-La
4. Frenzy
5. How Could You
6. The Way Life Is
7. Groovin' Out On Life
8. You Got It Bad
9. Blaze a Cup
10. Just Can't Stand the Pain
11. I'll Be There for You
12. Winter World of Love
13. Honor Creation
14. You Want to Know
15. Incomplete
16. Love
17. Discipline Child

Saturday, April 14, 2007

Stubs...Pt.1 (Click to Enlarge)

Sometimes posts other than just music can be fun to share...
Anyone see any of these artists on these tours?
I'd be interested to see what stubs you might have to share...Anyone?

Dizzy Gillespie - Sittin' In (1957) [flac]

Rab's incredible Norman Granz post leads us to another session he produced for Verve. Recorded several months before Diz's classic recordings with Sonny Rollins and Sonny Stitt, he is featured here with another stellar tenor line-up of Coleman Hawkins, Paul Gonsalves and Stan Getz. There are two ballad medleys (including two featuring pianist Wynton Kelly) sandwiched between two up-tempo jams. On "The Way You Look Tonight" we get a mini history of the tenor sax up to that point with Hawkins, Gonsalves and Getz soloing in that order, each trying to out-do the other. Then comes Dizzy and he's on fire! Being a trumpet player, he has been my biggest inspiration and his playing during this peak time in his career never ceases to amaze me.

Aficionados will relish the opportunity to identify the solos and styles of each player--Getz's cool complexity, Gillespie's athleticism, Gonsalves's unique lyricism, and Hawkins's pioneering technique and tone. "Sittin' In" is a superb slice of bop history, starring some of the most influential figures in the evolution of jazz.

Dizzy Gillespie (trumpet)
Coleman Hawkins, Paul Gonsalves, Stan Getz (tenor sax)
Wynton Kelly (piano)
Wendell Marshall (bass)
J.C. Heard (drums)

1. Dizzy Atmosphere
2. Ballad Medley:
I'm Thru With Love
Without a Word of Warning
Sweet Lorraine
Love Walked In
September Song
3. Ballad Medley:
On the Alamo
Stompin' at the Savoy
This Time the Dream's on Me
Time After Time
Gone With the Wind
4. The Way You Look Tonight

The Font Line boxset

Released in 2001 by Virgin Records, this 86 tracks 4 CD boxset features some of the best moments from Virgin's legendary subsidiary reggae label Front Line. You'll find classics from the likes of Culture, The Gladiators, Mighty Diamonds, Sly Dunbar, Johnny Clarke, U-Roy, Tapper Zukie, Big Youth and Gregory Isaacs here.

It's understandable that the author of the hagiography passing for sleeve notes prefers to remain anonymous, and his revisionist history of the Virgin label, its subsidiary Front Line, and the U.K. reggae scene is nothing if not breathtaking in it's audacity. Apparently, it all began with the Clash, with the Police then taking up their banner, without a single mention of England's West Indian community disseminating Jamaican music in the first place. So, a bit of truth in advertising. Prog rock Virgin was wilting by the mid-'70s, and head honcho Richard Branson was desperately searching to revive his company's fading fortunes. Bob Marley's breakthrough offered an obvious solution, and the label began signing up some of Jamaica's hottest talent. With the arrival of the Sex Pistols in 1977, the pace quickened. Legend has it that Branson and Johnny Rotten arrived in Kingston with cash in hand, money for the taking for artists willing to sign on the dotted line. The punk hero's taste was impeccable, and by the time the pair were finished, and Front Line formerly launched in 1978, the company sported a roster that seriously rivaled even Island's. This four-CD box set showcases much of the formidable talent at Front Line's disposal, and the track listing reads like an encyclopedia of roots' greatest acts — sublime vocal groups, phenomenal solo artists, and top-ranking toasters. The resulting records were mostly masterful, and, in many cases, masterpieces. The problem was the label had no idea how to market the material, and even as the records tore up the underground, none had the least impact on the mainstream. By the dawn of the new decade, Branson wrote Front Line off as a bad investment, and moved on to the greener pastures of new romanticism. Much of this superb music would now disappear for years. Two discs are given over to the singers, across 43 mostly well-chosen tracks, that will leave you searching out the original albums from which they were culled. Besides the big names — Abyssinians, Culture, Gregory Isaacs, et al — it's more neglected artists like Delroy Washington, the severely underrated Johnny Clarke, and the early seminal lineup of the Twinkle Brothers that really impress, if only for their unfamiliarity. Disc three rounds up the DJs, with the big three — U Roy, Big Youth and I Roy — well represented, alongside the popular Prince Far I, Tapper Zukie, and Jah Lloyd. U Brown and Prince Hammer, both of whom disappeared from view in the early '80s, are welcome inclusions, as are the early offerings from Ranking Trevor. The liner notes include pocket bios of all the artists included, but sadly give little information about the multitude of sensational dub versions that are bundled onto disc four. As a label showcase, this would be hard-pressed to be bettered, and one is left to wonder just how inept Front Line were to fail with such high-quality music.~Jo-Ann Greene[AMG]

CD 1 Roots & Reality

1. Dreadlocks The Time Is Now - Gladiators
2. Mix Up - Gladiators
3. Know Yourself Mankind - Gladiators
4. Too Long In Slavery - Culture
5. Work On Natty - Culture
6. Natty Never Get Weary - Culture
7. Black Liberation Struggle - Gregory Isaacs
8. Universal Tribulation - Gregory Isaacs
9. Poor And Clean - Gregory Isaacs
10. Let My Days Be Long - The Abyssinians
11. Wicked Men - The Abyssinians
12. Right Time - Mighty Diamonds
13. Body Guard - Mighty Diamonds
14. Africa - Mighty Diamonds
15. Roots Natty Roots Natty Congo
16. Crazy Baldhead
17. Prophecy A Fulfilled
18. Never Get Burn - The Twinkle Brothers
19. Free Africa - The Twinkle Brothers
20. Since I Threw The Comb Away - The Twinkle Brothers
21. Zion - Delroy Washington
22. Observance - Delroy Washington
CD 2 Love & Harmony

23. Stop The Fussing And Fighting - Culture
24. Cumbolo - Culture
25. International Herb - Culture
26. Native Woman - Gregory Isaacs
27. Let's Dance - Gregory Isaacs
28. Mr. Brown - Gregory Isaacs
29. Those Guys - The Sensations
30. Jah Loves - The Abyssinians
31. This Land Is For Everyone - The Abyssinians
32. Hearsay - Gladiators
33. Pocket Money - Gladiators
34. Greatest Love - Gladiators
35. Tide Is High - The Paragons
36. Declaration Of Rights - Johnny Clarke
37. I Am Still Waiting - Johnny Clarke
38. I Don't Want To Be Lonely Anymore - The Twinkle Brothers
39. I Love You So - The Twinkle Brothers
40. Shame And Pride - Mighty Diamonds
41. I Need A Roof - Mighty Diamonds
42. Civilisation - Keith Hudson
43. Uptown Top Ranking - Althea & Donna
CD 3 Dangerous Dee Jays

44. Chalice In The Palace - U Roy
45. Wear You To The Ball - U Roy
46. Natty Rebel - U Roy
47. Tribute To Marcus Garvey - I Roy
48. Jordan River - I Roy
49. Radical Music - I Roy
50. Bible - Prince Hammer
51. Mpla - Tapper Zukie
52. Oh Lord - Tapper Zukie
53. Dangerous Woman - Tapper Zukie
54. Marcus Garvey - Big Youth
55. Lightning Flash - Big Youth
56. Isaiah First Prophet Of Old - Big Youth
57. Humble One, The - Jah Lloyd
58. Message From The King - Prince Far I
59. Commandment Of Drugs - Prince Far I
60. Weather Balloon - U Brown
61. Natty Dread Up On A Mountain Top - U Brown
62. Masculine Gender - Ranking Trevor
63. Rub A Dub Style - Ranking Trevor
64. Five Nights Of Bleeding - Poet And The Roots
CD 4 Dub Encounters

65. Suru Lere Dub - Prince Far I
66. Borno Dub - Prince Far I
67. Bendel Dub - Prince Far I
68. Roof Top Dub - Well Charged
69. Merciful Dub - Well Charged
70. Cell Block 11 - Well Charged
71. Blacka Black Dub - Well Charged
72. Command Counsel Dub - Poet And The Roots
73. African Tak - I Roy
74. Rasta Fiesta - Sly Dunbar
75. Sesame Street - Sly Dunbar
76. Dirty Harry - Sly Dunbar
77. Big Youth Special - Big Youth
78. Black Man Message - Big Youth
79. Academy Award Version
80. Herb Dub - Jah Lloyd
81. Stone Dub - Jah Lloyd
82. Knife And Fork - Jah Lloyd
83. Distant Drums Dub - The Twinkle Brothers
84. Hip Dub - Vivian Weathers
85. Diamonds And Pearls Dub - Mighty Diamonds
86. Bodyguard Dub - Mighty Diamonds

Friday, April 13, 2007

Dirty Dozen Brass Band - The New Orleans Album [ogg+scans]

For my first entry on the front page I thought I would keep it simple and post something that I put in comments earlier today.

A bit of a hodge-podge, this CD features the Dirty Dozen Brass Band (comprised of two trumpets, two saxes, sometimes one trombone, the sousaphone of Kirk Joseph, snare drum and bass drum) welcoming such guests as singer Eddie Bo, guitarist-vocalist Danny Barker (showcased on "Don't You Feel My Leg"), trumpeter Dave Bartholomew (heard on "The Monkey") and rock singer Elvis Costello. However it is the R&Bish parade band that is the main star, romping through group originals plus Cannonball Adderley's "Inside Straight" and "Kidd Jordan's Second Line." (AMG)

1. Inside Straight
2. When I'm Walking
3. Hannibal
4. Don't You Feel My Leg
5. That's How You Got Killed Before
6. Song for Bobe
7. The Monkey
8. Snowball
9. Me Like It Like That
10.Kidd Jordan's Second Line

miles davis -- on the corner {vinyl to flac}

according to amg:

Review by Thom Jurek
Could there be any more confrontational sound in Miles Davis' vast catalog than the distorted guitars and tinny double-timing drums reacting to a two-note bass riff funking it up on the first track from On the Corner? Before the trumpet even enters the picture, the story has been broken off somewhere in the middle, with deep street music melding with a secret language held within the band and those who can actually hear this music — certainly not the majority of Miles' fan base built up over the past 25 years. They heard this as a huge "f*ck you." Miles just shrugged and told them it wasn't personal, but they could take it that way if they wanted to, and he blew on his trumpet. Here are killer groove riffs that barely hold on as bleating trumpet and soprano sax lines (courtesy of Dave Liebman on track one) interact with John McLaughlin's distortion-box frenzy. Michael Henderson's bass keeps the basic so basic it hypnotizes; keyboards slowly enter the picture, a pair of them handled by Herbie Hancock and Chick Corea, as well as Ivory Williams' synthesizer. Finally, Colin Walcott jumps in with an electric sitar and there are no less than five drummers — three kits (Al Foster, Billy Hart, and Jack DeJohnette), a tabla player, and Mtume. It's a four-tune suite, "On the Corner" is, but the separations hardly matter, just the shifts in groove that alter the time/space continuum. After 20 minutes, the set feels over and a form of Miles' strange lyricism returns in "Black Satin." Though a tabla kicks the tune off, there's a recognizable eight-note melody that runs throughout. Carlos Garnett and Bennie Maupin replace Liebman, Dave Creamer replaces McLaughlin, and the groove rides a bit easier — except for those hand bells shimmering in the background off the beat just enough to make the squares crazy. The respite is short-lived, however. Davis and band move the music way over to the funk side of the street — though the street funkers thought these cats were too weird with their stranded time signatures and modal fugues that begin and end nowhere and live for the way the riff breaks down into emptiness. "One and One" begins the new tale, so jazz breaks down and gets polished off and resurrected as a far blacker, deeper-than-blue character in the form of "Helen Butte/Mr. Freedom X," where guitars and horns careen off Henderson's cracking bass and Foster's skittering hi-hats. It may sound weird even today, but On the Corner is the most street record ever recorded by a jazz musician. And it still kicks.

according to jean lafite:

this album is funky like the ocean: love it or hate it, believe it or don't; but step in it, and you gonna get wet.

hope you'se like it.

Tone Poems

Sorry to get "off issue" here on Friday...I've been out of sorts with some "family health issues", but everything is now all good!

I've been meaning to post this a few days ago when the theme was "Pickin"....

When I get off of work tonight (it'll still be Friday here) I have a couple of links cookin' in the oven, to post!!

By the way, you guys are on a roll!! Funky Friday always cheers me after a brutal week, and that, it has been!! I'll pop a bottle or three of India Pale Ale when I get home and get Funky!

In the meantime...these are some of my favorite acoustic "jazz" discs... With anyone unfamiliar with "Dawg" is your chance to get hip...he's a monster of the mando!! They are from my library rips....yada yada...192!

While mandolin master David Grisman and the equally talented guitarist Tony Rice may be better known in the world of bluegrass, JAZZ FANS need to check out Tone Poems, an excellent collection of mandolin/guitar duets, performed with different vintage instruments on each track. The improvising by both men is never less than brilliant, transforming traditional folk tunes like "Grandfather's Clock" and "I Am a Pilgrim," plus the unlikely "O Solo Mio," into masterpieces. The lone track that's very familiar to jazz listeners is "Swing '42," played very convincingly by two men who are well-versed in jazz even if they don't play it exclusively.

David Grisman doesn't stick exclusively to mandolin on this top-notch duo date with guitarist Martin Taylor, playing mandola, mandocello, tenor guitar, and guitar as well. As on this album's predecessor, the two artists play a different vintage instrument on each track, though the music this time is much more familiar to jazz fans. The interpretations of such classics as "Swanee," "Anything Goes," "Blue Moon," and "Over the Rainbow" are consistently both stunning and fresh. The gems among the jazz compositions include Django Reinhardt's "Tears" and a tour de force arrangement of Chick Corea's "Crystal Silence." Two surprising tracks are the usually trite "Mairzy Doats" (an irritating song that was a huge hit in the '40s) and the very snappy take of the often tedious "Besame Mucho"; when musicians the caliber of Grisman and Taylor can make something out of unpromising songs like these, it demonstrates how gifted they are. Highly recommended.

Soul... with a capital S

Recorded live in 1998 as Tower of Power celebrated its 30th anniversary, Soul Vaccination displays the band's strengths as well as its weaknesses. The strengths are many, starting with one of the finest horn sections in the business. After all their years together, the three saxes and two trumpets have achieved a blend that gives them the power of a much larger section, and yet they have a tightness that even a smaller horn section would be lucky to achieve. And with the recent return of original drummer David Garibaldi and with the continued presence of bassist Francis Rocco Prestia, the band benefits from one of the great funk/soul rhythm teams of all time. But much of the album lacks a sense of purpose. Rather than using the funky licks and syncopated grooves to bring out the meaning of the song itself - which is the true power behind the type of soul music to which Tower of Power aspires - songs such as "Soul With a Capital S," "Soul Vaccination," "You Got to Funkifize," "What Is Hip?," and "So I Got to Groove" are funk for the sake of funk. And as heartfelt as "Diggin' on James Brown" may be, it's the surface attitude without the inner essence of the Godfather of Soul. Much more successful are tracks such as "Down to the Night Club," where the music combines with the lyrics to create a sense of place, and the ballads "Willin' to Learn" and "You're Still a Young Man," in which the musicians serve the song's emotion.~Rick Mattingly, JAZZIZ Magazine.
Jeff Tamelier (vocals, guitar);
Emilio Castillo (vocals, tenor saxophone);
Brent Carter (vocals);
Norbert Stachel (tenor saxophone);
Stephen "Doc" Kupka (baritone saxophone);
Bill "Churchy" Churchville (trumpet, flugelhorn, background vocals);
Jesse McGuire (trumpet, background vocals);
Nick Milo (keyboards, background vocals);
Francis Rocco Prestia (bass);
David Garibaldi (drums).
Recorded live at The Fillmore, San Francisco, California on October 10, 1998; the Fox Theatre, Stockton, California on October 8, 1998

1.Soul With A Capital 'S'
2.I Like Your Style
3.Soul Vaccination
4.Down To The Nightclub (Bump City)
5.Willin' To Learn
6.Souled Out
7.Diggin' On James Brown
8.To Say The Least You're The Most
9.You Strike My Main Nerve
10.Can't You See (You Doin' Me Wrong)
11.You Got To Funkifize
12.So Very Hard To Go
13.What Is Hip
14.You're Still A Young Man
15.So I Got To Groove
16.Way Down Low To The Ground (Bonus Track)

Thursday, April 12, 2007

Ray Brown: a Granz follow-up

A big thanks go to Alpax for pointing out my mistake with the tracks - I am stupid and cut-&-pasted with a lack of attention, I am very sorry for this. The tracks are now correct...please complain anytime - my mistake shows no respect for the artists.
Following up on the Norman Granz Jam Sessions posted on the main blog, brought this set to my mind. This Telarc production features a bass trio. Besides Ray Brown, you will also find Freddie Green from the Granz jams! Jazz musicians do not always age like wine, but in this case, it seems to me this album has some rather nice tunes. One reviewer claims that McBride’s playing stands out amongst the three; I will leave that up to you all. I think you can enjoy this album by recalling the jam sessions with Ray Brown and realize that this bass trio, in some ways, actually makes sense.
SuperBass 2 (2001, Telarc)
(1) Superbass Theme (2) Get Happy (3) Misterioso (4) Papa Was a Rolling Stone (5) Summertime (6) I Loves You, Porgy (7) It Ain't Necessarily So (8) Birk's Works (9) My Funny Valentine (10) Three by Four (11) Taco With a Pork Chop (12) Superbass Theme
Ray Brown (b/liner notes/prod/arr), John Clayton, Christian McBride (b), Benny Green (p), Jeff Clayton (reeds), Freddie Green (g), Jeff Hamilton, Gregory Hutchinson (d)

duke pearson -- sweet honey bee {flac}

according to dusty groove:

A classic Blue Note groover -- the funkiest album by Duke Pearson, and a killer batch of piano-heavy soul jazz tunes! Duke really blew out the box for this one -- not only coming up with a great batch of original tunes, and playing them with an incredibly soulful touch -- but also working with a top-shelf batch of players that includes Ron Carter, Freddie Hubbard, Joe Henderson, and James Spaulding! The great Mickey Roker is on drums, playing away with a nice scatter-shot modal mode that grooves in all the right parts -- and titles include "Big Bertha", "Sweet Honey Bee", "Sudel", "Ready Rudy?", and "Empathy".

according to jean lafite:

a blue note groover true dat, but for me there are times during this one that i get a swergio mendes-henry mancini-tijuana brass feeling.

maybe thats just me. it's a killer to be sure, hope you'se like it.

Lennie plays reggae vibes !

Lennie Hibbert-Creation (Studio 1)

Do you expect reggae to give you "good vibes" ? Then there you are : a double dose. I'm playing it safe here. Lennie Hibbert, reggae vibraphone. Studio 1. 1969. Reggae meets soul meets latin meets... genius. Lennie Hibbert was a teacher and a band master at the Alpha Boy School in Kingston. He taught the Skatalites, and the generation of musicians who fathered ska, rocksteady, early reggae, roots and so forth. What I am posting is a cd copy, so I don't have the line-up info. Couldn't find it on the 'net either. But I am not that sure it was mentioned on the original cd : Dodd was such a mess it's nearly impossible to exactly know who took part in sessions. Or may be he was protecting himself from future royalties law suits. That would fit the man and his reputation. Anyway, this is a classic. Hibbert's version on Heptones' 'Pretty Looks Isn't All' riddim(rechristened "Creation" here) is a most. Thumbs up !

1. Village Soul

2. Real Hot

3. Mighty

4. Sweet Lobing

5. Creation

6. Nature Boy

7. Soul Shack

8. Rose Len

9. Twilight Zone

10. Lights

11. Strolling

12. Peaches

13. Creation

14. Village Soul

Wednesday, April 11, 2007

FZ - Buffalo

Ok now...before you just blow by this post let me get your attention!
Actually it is the second in the "Vaulternative" series produced by the Zappa Family Trust...and it's hot off the press!
The first of course was FZ:OZ, and if anyone needs that, let me know as I do own that disc.
Thanks to our good buddy MTF (which stands for....mennil toss flykune, of course)
He ripped it @ 192 but i'm not complaining as the sound is fantastic...but why should it not be?
Not overly impressed with some of the artwork on the last few releases, but that's another's the only thing Frank can't control anymore.
The set list and personel is in the scans above!

Horace Silver - Rockin' with Rachmaninoff

I really dig this one...maybe you will too!
Horace Silver's Rockin' With Rachmaninoff was originally conceived as a stage musical, complete with singers, dancers, musicians, and a narrator to tell the story of the composer's idea of Duke Ellington introducing Sergei Rachmaninoff to all the jazz greats in heaven. Though it was only performed a few times during a short run in 1989 at the Barnesdale Theatre in Hollywood, Silver had the foresight to record selections from it two years later, though it would be a dozen additional years before this music became available commercially, released by Bop City. "Rocky's Overture" is a solid opener, featuring the leader and trombonist Andy Martin, while "Rocky Meets the Duke" is a blend of Silver's readily identifiable style of hard bop with the swinging feeling of Ellington. "Satchmo's Song" is a warm waltz sung with gusto by Dawn Burnett, followed by a spirited Michael Mossman trumpet solo. Andy Bey, a favorite of numerous musicians, is featured in several selections, but pays a warm tribute to tenor sax great Coleman Hawkins in "A Ballad for Hawk." Although it is an instrumental, there's no missing the spiritual influence in the driving "Hallelujah to Ya," which has brilliant solos by tenor saxophonist Rickey Woodard and Mossman, as well as the composer. If this CD is any indication as to the quality of Horace Silver's short-lived musical, it must have been one hell of a show; too bad it wasn't videotaped.

1. Rocky's Overture
2. Rocky Meets the Duke
3. Satchmo's Song
4. Monkeyin' Around With Monk
5. Ballad for Hawk
6. Skunky Funky Blues
7. Sunday Mornin' Prayer Meetin'
8. Hallelujah to Ya
9. Righteous Rumba
10. Lavender Love
11. Rockin' With Rachmaninoff


Tuesday, April 10, 2007

La Plena is not Salsa

Plena Libre - Más Libre (2000)

When I met Gary Nuñez in 2001, we talked about Porto Rican rhythms such as 'la plena', 'la bomba' (the most African rhythm on the island, there are at least 13 known variations of it), 'la décima' etc... Porto Rico has always been a hotbed for Latin fusion ever since the Fania hey-days. A great lot of salsa artists - Ray Barretto, Tito Puente, Eddie Palmieri, Giovanni Hidalgo, mainstream pop star Marc Anthony to name a few - were born on the island or are of Porto Rican descent. But as salsa and Latin fusion in general took the world by storm, Porto Rico's traditionnal rhythms remained unknown to most - and they still do. That's why the work of Nuñez and his band Plena Libre - bringing to the widest possible audience the music of Porto Rico - is of great importance for Latin music fans. The cd featured here is arranged in a salsa/latin jazz fashion, with a huge trombone section. But don't get fooled : it's Porto Rican all the way. ¡Qué Viva Puerto Rico señores! (more band info in comments)

Tito Allen Vocals (bckgr)
Edwin Clemente Drums, Timbales, Cowbell
Jorge Diaz Trombone
Daniel Fuentes Trombone
Pablo Gonzalez Percussion, Guiro
Víctor Muñiz "Punteador" Drums, Vocals, Vocals (bckgr)
Gary Nuñez Arranger, Bass (Electric), Producer, Bass (Upright), Mixing, Musical Director Chegui Ramos Vocals (bckgr)
Rubén Román Percussion, Vocals, Vocals (bckgr)
Angel Santiago Hand Drums
Rafael Torres Piano, Trombone, Keyboards
Antonio Vazquez Trombone
Victor Vazquez Trombone
Carlos "Kalie" Villanueva Percussion, Vocals
Gina Villanueva Conga
Israel Vélez Seguidor Hand Drum


José "El Canario" Alberto Vocals on 6
Juan Castillo Accordion on 2
Freddie Diaz Percussion on 3
Jorge Laboy Guitar on 3 & 8
Papo Lucca Piano on 7
Hector Perez Maracas, Guiro on 3 & 6
Georgie Salgado Drums on 8
Charlie Sepulveda Trumpet on 3
Nestor Torres Flute on 4

1 La Plena Bien Sabrosa
2 María Luisa
3 El Bravo!
4 Tema de Luis Gabriel
5 Chiviriquitón
6 Somos Diferentes
7 Malcriao
8 Quiereme
9 A Mi Manera
10 Dos Ojos
11 Pa'Qui Pa'Lla

Sunday, April 8, 2007


I seem to remember a long time ago someone requested this at C&D discussions perhaps?

Since the untimely death of Frank Zappa in 1993, fans of his music have patiently awaited the release of additional unissued tracks from his huge personal archives in his home studio. Imaginary Diseases features a series of live recordings from a 1972 tour by Zappa's so-called Petite Wazoo band, a ten-piece group that was full of potential but never sufficiently documented on commercial albums during his lifetime. The miniature "Oddients" has an avant-garde flavor with a bit of encourage audience participation in the vocal chants. "Rollo" was often performed as the finale to the suite of songs heard on the first side of the album Apostrophe, though this version omits the vocals heard on some bootleg issues. "Farther Oblivion," a song recorded as a part of that suite, is very different in this conception, including snippets that would later be incorporated into the magnum opus "Gregerry Peccary" and songs like "Bebop Tango" and "Cucamonga," also showcasing Tom Malone's effective tuba. "Been to Kansas City in A Minor" is an extended blues workout with a blistering solo by the leader. "D.C. Boogie" initially has a Middle Eastern flavor, though it gradually shifts into a driving boogie, contrasting Zappa's invigorating fuzz tone with Tony Duran's rocking slide guitar. "Imaginary Diseases" features another blistering Zappa solo, bracketed on each side by a peppy showcase of brass and reeds. Zappa has the only solo in the cooking jam "Montreal." The sound on these 1972 concert recordings is at times a little rawer than typical Zappa live albums of the era. But it seems likely that he worked on them briefly before turning his focus to various other projects, leaving them for Zappa Records "vaultmeister" Joe Travers to uncover and prepare for release.

At the dreaded 192 kbps... LOL!....if i had the disc it would be flac....hey, just add water makes it's own sauce!