Tuesday 30 June 2009

Gary Peacock - Tales Of Another (1977)

1.Vignette 7:03
2.Tone Field 7:56
3.Major Major 8:58
4.Trilogy I 8:32
5.Trilogy II 9:42
6.Trilogy III 6:20


The bassist calls on pianist Keith Jarrett and drummer Jack DeJohnette for his greatest album as leader. It is the same lineup as the obviously more-vaunted Jarrett standards trio, and this recording lacks nothing of the Jarrett-led albums. It works, not due to the great pianist's presence alone, but because Peacock is a strong writer of atmospheric pieces that seem to hark to natural forces--the wind and the rain. ECM has characteristically opted for a lush sound. Peacock's enveloping bass sound sings in a yearning, elevated voice. He has drawn from the direct lyricism of Bill Evans. His own sound and compositions are, however, even more introspect and otherworldly, thanks in part to Peacock's judicious use of elements from the avant-garde, in which he often worked. --Peter Monaghan.

George Benson with McCoy Tyner Trio - Round Midnight (1989)

1.Stella By Starlight
2.Here, There & Everywhere
3.Don't Leave Me
4.Round Midnight
5.Monk's Dream
7.At The Mambo Inn.

Live album recorded in Fort Lauderdale (Florida) in 1989.
     George Benson - Guitar & Vocals McCoy Tyner - Piano Avery Sharpe - Bass Aaron Scott - Drums.

Jorge Lopez Ruiz - Un hombre de Buenos Aires (1978)

1.El Grito Del Hombre
2.La Nostalgia Del Hombre
3.La Alegria Del Hombre
4.El Ruego Del Hombre
5.El Adios Del Hombre.


Johnny Hammond - Higher Ground (1974)

1.Catch My Soul
2.Summertime/The Ghetto
3.Higher Ground
4.Big Sur Suite.

With Ron Carter, Jack DeJohnette, George Benson, Hank Crawford, Joe Henderson, Bob James, and a large horn section. Some of the arrangements seem, well... arranged, but as soon as Smith kicks in, the groove is established. Even Creed Taylor (producer) can't stop the Hammond B-3. ~ Michael Erlewine, All Music Guide.

Ray Alonge - French Horn
Wayne Andre - Trombone
George Benson - Guitar
Ron Carter - Bass
Hank Crawford - Sax (Alto)
Eddie Daniels - Clarinet
Jack DeJohnette - Drums
Jon Faddis - Trumpet
Paul Faulise - Trombone (Bass)
John Frosk - Trumpet
Steve Gadd - Drums
Johnny Hammond - Organ
Joe Henderson - Sax (Tenor)
Bob James - Organ, Arranger, Conductor, Piano (Electric), Mellotron
Phil Kraus - Percussion
Ralph MacDonald - Percussion
Romeo Penque - Flute (Alto), Oboe
Alan Raph - Trombone (Bass)
Alan Rubin - Trumpet
Marvin Stamm - Trumpet, Flugelhorn
Tony Studd - Trombone
Rudy Van Gelder - Engineer.

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Monday 29 June 2009

Lester Bowie - I Only Have Eyes For You (1985)

1.I Only Have Eyes For You (Al Dubin/Harry Warren) 10:27
2.Think (Bruce Purse) 1:31
3.Lament (Malachi Thompson) 13:47
4.Coming Back, Jamaica (Lester Bowie) 5:14
5.Nonet (Bob Stewart) 14:26
6.When The Spirit Returns (Lester Bowie) 7:44.

The debut by Lester Bowie's Brass Fantasy (an octet consisting of four trumpets, both Craig Harris and Steve Turre on trombones, the French horn of Vincent Chancey, Bob Stewart on tuba and drummer Phillip Wilson) is one of their best recordings. Rather than playing their interpretations of pop tunes (which would be the direction Brass Fantasy would head in the future), this album finds the musicians performing originals by Bowie (including "When the Spirit Returns", Stewart, trumpeters Bruce Purse and Malachi Thompson and the standard title cut. The music is both whimsical and explorative, making for a colorful set. - AMG

Lester Bowie (Trumpet)
Stanton Davis (Trumpet and Flugelhorn)
Malachi Thompson (Trumpet)
Bruce Purse (Trumpet)
Craig Harris (Trombone)
Steve Turre (Trombone)
Vincent Chancey (French Horn)
Bob Stewart (Tuba)
Phillip Wilson (Drums).

Jeremy Steig - Legwork (1969)

1.Howlin' For Judy (4:38)
2.Permutations (8:00)
3.Hot-Head (8:50)
4.Alias (a li 'as) (4:18)
5.Nardis (11:02)
6.Piece Of Freedom (6:02).

Legwork has long been a "rare-groove" collectors' favorite, and for good reason. The versatile Eddie Gomez lays down funky and compelling grooves throughout on acoustic bass while not hesitating to swing when necessary, walking his basslines over Don Alias' sometimes sparse yet authoritative drumming. Steig utilizes a seemingly endless array of flute techniques, soaring above and interacting with the rhythm section. On several tracks he uses overdubbing effectively, calling and responding to his own lines. The whole album is truly eclectic, spanning funk, exotic ostinatos, blues, Miles Davis' "Nardis," and freer excursions. "Howlin' for Judy" was sampled on the Beastie Boys' 1994 album Ill Communication, and Legwork remains one of the high points of Steig's recorded work. Wilson McCloy, All Music Guide.

Juan Pablo Torres - Trombone Man (1995)

01.Sweet Cherry Pie
02.From John to Johnny
03.For Elisa
04.Banana Split
06.Four & Come Fue
07.At Daybreak Listen
08.Samba for Carmen
09.Foot Tapping
10.Fiesta for Juan Pablo
11.Who's Smoking?!.

J.P. (Juan Pablo) Torres is one of the finest trombonists to come out of Cuba. On his debut for Tropijazz, he welcomes altoist Paquito D'Rivera to five of the 11 selections and pianist Hilton Ruiz to three; the two famous guests contribute three originals apiece. However Torres still dominates the music. The repertoire, which also includes four of Torres's compositions, alternates heated bop sambas with slower (but still danceable) ballads. The Cuban rhythms are infectious, the trombone solos (which are sometimes mellow and other times a bit frantic) are consistently colorful and Torres takes a pair of fine vocals (including some scatting on "Four & Como Fue") which mix together two similar songs. Highpoints include D'Rivera's "Samba for Carmen" and "Who's Smoking." Recommended. ~ Scott Yanow, All Music Guide.

Paquito d'Rivera - Clarinet, Arranger, Sax (Alto), Producer, Liner Notes, Mixing, Music Coordinator, Music Contractor, Adjustments
Jon Fausty - Engineer, Mastering, Mixing
Brenda Feliciano - Vocals (bckgr)
Andy Gonzalez - Bass
Gabriel Machado - Percussion, Conga
Damaris Mercado - Art Direction
Ralph Mercado - Executive Producer
Jordy Rossi - Drums
Hilton Ruiz - Piano, Arranger
Oscar Sagnaro - Bass (Electric)
Pernell Saturnino - Percussion
Edward Simon - Piano
Oscar Stagnaro - Bass, Bass (Electric)
Juan Pablo Torres - Trombone, Arranger, Vocals, Liner Notes, Mixing, Musical Director, Adjustments
Diego Urcola - Trumpet, Flugelhorn
Manuel Valera - Alto, Soprano, Trumpet, Flugelhorn .

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Sunday 28 June 2009

Sky at Westminster Abbey (1982) XVID

On 24th February 1981, the band performed the only concert ever to be staged at Westminster Abbey. Billed as a commemoration of the 30th Anniversary of human rights organisation Amnesty International, it was also the launch of Sky 3. Most of the pieces performed were, therefore, from that album.

It was recorded by the BBC for TV transmission, but was also released for sale on VHS video and Laserdisc. Curiously for a video of music, the video was released with mono sound! However, the Laserdisc features a stereo soundtrack. It was never a great commercial success and after a short shelf-life was deleted from the BBC catalogue. It's rarer than gold-dust and it's extremely unlikely that you'll ever find the video in any shop, although the Laserdisc turns up in specialist shops every now and again.

As a live concert, it was very well presented. The recording, on the other hand, looks like it was edited by amateurs rather than one of the world's foremost broadcasting institutions. Running order of the video.

The Grace (Flowers)
Chiropodie No. 1 (Peek/Flowers)
Sarabande (Handel, Arr. Williams)
Sahara (Peek)
Recuerdos de la Alhambra (Tarrega, Arr. Williams)
Dance of the Little Fairies (Flowers)
FIFO (Monkman)
The Swan (saint-Saens, Arr. Fry)
The Whale (Flowers)
Scipio (Flowers)
Hello (Gray)
Hotta (Flowers/Peek)
Keep Me Safe And Keep Me Warm, Shelter Me From Darkness (Flowers)
Toccata (Bach, Arr. Peek).

more info about SKY

vhs rip
Codec ID: XVID
Codec ID/Hint: XviD
Duration: 1h 24mn
Bit rate: 2 213 Kbps
Width: 720 pixels
Height: 576 pixels

Bit rate: 320 Kbps
Channel(s): 2 channels
Sampling rate: 44.1 KHz
Resolution: 16 bits
File size: 1.50 GiB.

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Friday 26 June 2009

Chick Corea - A Very Special Concert (1982) XVID

Chick Corea:Piano

Stanley Clarke:Bass
Joe Henderson:Tenor
Lenny White:Drums.

(Rip Details)
Vhs rip
Codec ID: XVID
Codec ID/Hint: XviD
Duration: 56mn 37s
Bit rate: 2 521 Kbps
Width: 720 pixels
Height: 576 pixels
Format: MPEG Audio
Codec ID/Hint: MP3
Bit rate: 320 Kbps

(Use:HJSplit 2.3
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Monday 22 June 2009

Ginger Baker - African Force (2001)

1.Brain Damage
5.African Force.

Ampofo Acquah - Percussion
Ginger Baker - Drums, Performer
Ansoumana Bangoura - Percussion, Vocals
J.C. Commodore - Percussion, Vocals
Ludwig Gotz - Trombone, Das Pferd
Jan Kazda - Bass, Guitar, Keyboards, Producer
Francis Mensah - Percussion
Wolfgang Schmidtke - Sax (Baritone, Soprano and Tenor).

by Greg Prato

Ginger Baker will forever be best known for his influential drum work as part of British blues-rockers Cream. But as most serious admirers of the drummer know, Baker subsequently tackled countless other styles. Case in point, African Force. Joining Baker is a supporting cast of percussionists with a tribal drumming background, and expectedly, this style is reflected throughout the album. In fact, it sounds very comparable to David Byrne's solo albums and also Paul Simon circa his Graceland period, especially on such tracks as "Brain Damage" and "Sokoto," while the over-epic twelve-minute album-closing title track adds some funk bass to the mix. For those who think that all of Baker's work sounds like Disraeli Gears, you're in for quite a surprise with African Force.

Jeff Berlin - Ace Of Bass (2005)

01.Porky & Beans
03.Saab Story
04.Ars Longa Vita Brevis
05.Miss Management
07.A Mark You Remade
08.Lapp Dance
09.Don't be Happy, Worry
10.Bass Boys.

Jeff Berlin: Bass
Vinnie Colaiuta: Drums
Gannin Arnold: Guitar
Otmaro Ruiz: keys, Piano
Brian Bromberg: Acoustic Bass.

A Japan only release from ace bassist Jeff Berlin. On this outing he teams up a explosive set of musicians; Vinnie Colaiuta on drums, Gannin Arnold on the guitar; Otmaro Ruiz on the keyboards, and Richard Drexler on the piano. Bassist Brian Bromberg also guests on this record performing on the acoustic bass.

Bob Mintzer - Latin From Manhattan (1998)

01.Oye Como Va
02.Al Caborojeno
04.Ellis Island
06.New Rochelle
08.San Juan Shuffle
09.New Mambo

Jazz Times

Bob Mintzer has a wonderful sense of a big band as a living, breathing entity. He knows how to make it feel good, how to arouse, to tickle, and when to let it go. All of this and more comes through in this set focused on the leader's gleanings from 25 years of working in and around the Latin music scene in New York. Plenty picante, no heartburn: a highly satisfying musical meal.

For this recording by Bob Mintzer's big band, the tenor saxophonist and his 17-piece ensemble perform ten numbers with an Afro-Cuban beat provided by percussionist Louis Bauzo. Although Mintzer's group does not really have its own distinctive musical personality, it is full of talented players. Best-known among the sidemen are tenor saxophonist Bob Malach, altoist Pete Yellin, trumpeter Mike Mossman, trombonist Dave Taylor and pianist Phil Markowitz. Mintzer and Markowitz have the best spots and although Mossman unfortunately does not get any solos, many of the lesser-known horn players are heard from. Other than "Oye Como Va" (which is given a fresh new arrangement) most of the pieces were newly-written. Overall this Afro-Cuban flavored effort serves as a strong change of pace for Mintzer's orchestra. ~ Scott Yanow, All Music Guide.

Larry Lunetta - Trumpet
Keith O'Quinn - Trombone
John Riley - Drums
Roger Rosenberg - Saxophone
Scott Wendholt - Trumpet
Louis Bauzo - Percussion
Jay Anderson - Bass
Michael Mossman - Trumpet
Pete Yellin - Saxophone
David Taylor - Trombone
Sam Burtis - Trombone
Larry Farrell - Trombone
Lawrence Feldman - Saxophone
Bob Malach - Saxophone
Phil Markowitz - Piano
Bob Mintzer - Saxophone.

Eumir Deodato - Percepcao (1972)

1.Dia de verão
2.A grande caçada
3.O sonho de Judy
4.Adeus amigo

Thursday 18 June 2009

Bob James - One (1974)

1.Valley Of The Shadows
2.In The Garden
4.Night On Bald Mountain
5.Feel Like Making Love

A landmark album -- not only for Bob James, but for CTI and the Fender Rhodes as well! This is the album where all the magic starts -- the first of many extremely successful albums that Bob recorded during the 70s under his own name, and almost the birthplace of the modern hip hop keyboard sample line! The album's stuffed with great numbers -- including a sublime reading of "Feel Like Making Love", and the classic "Nautilus" -- a slow, dark, funky tune that's worth the price of the album alone! Other tracks include "Valley Of The Shadows", "Night On Bald Mountain", and "Soulero".

Personnel: Bob James (keyboards); Rickie Resnicoff (guitar); Eric Weissberg (pedal steel guitar); Seymour Barab, Harold Kohon, Jesse Levy, Charles McCracken, David Nadien, Alan Shulman, George Ricci, Gene Orloff, Max Ellen, Paul Gershman, Emanuel Green, Harry Lookofsky, Joe Malin, Anthony Sophos (violin); George Marge, Romeo Penque (alto flute); Hugh McCracken (harmonica); Grover Washington Jr. (soprano saxophone); Jon Faddis (trumpet); Alan Rubin, Lew Soloff, Marvin Stamm, Victor Paz, Thad Jones (flugelhorn); Wayne Andre (trombone); Jack Gale, Alan Raph, Paul Faulise (bass trombone); Gary King (bass instrument); Idris Muhammad, Steve Gadd (drums); Ralph MacDonald (percussion); Dave Friedman.

Gerardo Gandini & Ernesto Jodos - De generaciones (2006)

Dialogue without words. The result of this union we have to paraphrase Pappo ... since ... two pianists ... well sounds mejor.Si one wants to plunge into what they propose and Ernesto Gerardo Gandini Jodos in this unconventional duo piano, perhaps the best start of the second item, the version that makes Malena, tango and Manzi Demare , which speaks of a woman who "sings the tango like no other." Although the following verse Manzi added that "in each line puts his heart," you can not believe that that is what makes it so different. That means that while we talk about it, we do not know how to sing Malena. Gandini and Jodos are made in such mystery and explore what makes a game-pleasing to them and listen to those where the ex-pianist with Piazzolla was responsible for developing the melodic line and add comments that appear Jodos a complete idea, darla return Ironically, hinting a comment.
There begins a fascinating, because the disk contains all the nuances that occur in a dialogue, agreement, contradiction, diversion, rejection, but there are no words. The dialogue established between the two pianists is about nothing, which coincidentally is the name of the first issue-the only compound in collaboration and that it might have been more appropriate for the entire disc to a game twice so predictable (something to belie each issue) suggests that De / generations. After Malena, the game's dialogue goes on anything other nuances, rejection, fascination Caravan Ellington, agree that the beauty given to nostalgia, an emotional composition Gandini, fun and post a step slow in Loverman to wind up with Gershwin and his well traveled I loves you Porgy from the opera Porgy & Bess. And do you hear there Renga between a melancholy and fragile, that is like no. The secrecy of Malena, the fantastic job that invites you to visit again and again. That it should be treated that talk about nothing. Marcos Mayer / Revista La Mano.

De / generations. Wonderful meeting between two master pianists of different origin but that generates a unique enjoyment, starting with the idea of rebuilding some classical themes, from which build incredible atmosphere, but in some cases they do is generate light climates as test such as "Malena" and "Caravan."
The dual gives the disc a strange quality in the midst of uncertainty, with an enviable strength and spirit. Gandini delicias makes working on the melody while working on Jodos harmonic colors and everything is very intense and distinct.
There are other issues that stand out in this album interesting: "Loverman" with an ensemble, the beautiful "Porqy Loves You," "sentimental Lunario": notes on the best of a very good album. (Journal Puntal).
1.Sobre Nada (Ernesto Jodos / Gerardo Gandini)
2.Malena (Homero Manzi / Lucio Demare)
3.Lunario Sentimental (Gerardo Gandini)
4.G.g (Ernesto Jodos)
5.Caravan(Tizol / Duke Ellington / I. Mills)
6.La Nostalgia (Gerardo Gandini)
7.Visa/loverman (Parker/ramirez)
8.I Loves You Porgy (George Gershwin).

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Sonny Sharrock Band - Seize The Rainbow (1987)

1.Dick Dogs
2.My Song
4.J.D. Shaa
5.Seize the Rainbow
6.The Past Adventures of Zydeco Honeycup
7.Sheraserhead's High-Top Sneakers.

Bass - Melvin Gibbs
Co-producer - Bill Laswell
Drums - Abe Speller , Pheeroan Aklaff
Guitar - Sonny Sharrock
Mixed By - Robert Musso

Notes:Recorded at Electric Lady Studio, New York City, May 1987.
Produced by Sonny Sharrock.
Bill Laswell is also playing bass on track 7.

Allan Holdsworth - All Night Wrong (2002)

01.Lanyard Loop
02.The Things You See
06.Water On The Brain Pt. II
07.Above & Below
08.Gas Lamp Blues.

Guitar hero Allan Holdsworth often performs with his peers. Such is the case with this live setting recorded at a venue in Japan during a 2002 tour. On this release, the guitarist leads a trio featuring longtime musical associates, drummer Chad Wackerman, and bassist Jimmy Johnson. To that end, the respective musicians' talents are well-known entities. Wackerman and Johnson can handle the trickiest time signatures imaginable. Along with the nimble flexibilities and odd-metered excursions witnessed here, they exude a force of power that serves as a meaty foundation for Holdsworth's mighty licks.

A wonderfully recorded album, Holdsworth's climactically driven legato-based riffs are intact, as he also implements jazzy chord voicings and delicately stated fabrics of sound. But the trio raises the ante throughout many of these pieces, awash with moments of nuance and controlled firepower. In sum, Holdsworth's legion of followers should be pleased with a recording that should rank among his finest efforts to date. ~ Glenn Astarita, All Music Guide.

Allan Holdsworth - Guitar
Jimmy Johnson - Bass
Chad Wackerman - Drums.

Tuesday 16 June 2009

Alex Machacek - Improvision (2007)

01.There’s a new Sheriff in Town
02.Along Came a Spider
04.Gem 1
05.Gem 2
06.To Whom It May Concern
07.Yoga for Cats Part 1
08.Yoga for Cats Part 2
09.Very Sad
10.Matts Rif .
11.Put me Back to Sleep.

  Personnel: Jeff Sipe (drums); Matthew Garrison (bass instrument); Alex Machacek (guitar).
This formidable power trio of Austrian guitarist Alex Machacek, 5-string electric bassist Matthew Garrison and drummer Jeff Sipe is impossibly intense, dripping with staggering virtuosity and fertile ideas and seething with the kind of raucous improvisational abandon that we haven’t seen since the heyday of Tribal Tech. For fans of acknowledged guitar monsters like Allan Holdsworth, Scott Henderson and the late, great Shawn Lane, the opening track of their new album says it all: "There’s A New Sheriff In Town." Machacek’s mind-boggling technique -- blazing speed, uncannily fluid lines and daring intervallic leaps -- is an obvious place to begin in singing the praises of this exciting new triumverate. But beyond the abundance of soloistic fireworks on Improvision provided by both Alex and Matthew, one of the most gifted and creative bassists on the post-Jaco scene, there is also a remarkable depth to the writing here, which comes across on harmonically sophisticated pieces like the atmospheric ballad "Very Sad," the compelling "Shona," the gentle, darkly alluring "To Whom It May Concern" and the gorgeous "Put Me Back To Sleep." Elsewhere, they exercise zen-like restraint on the freewheeling jam "Yoga For Cats, Part 1 and 2," then go for the burn on the aggressively slamming, chops-laden fusion showcase, "Gem1 and Gem2." And the astounding "Matt’s Riff," is a brilliant showcase for Garrison’s 21st century approach to the electric bass guitar. This stuff takes me back to the early ‘70s, to a time when creativity, concept and risk-taking were the watchwords in fusion music. Bill Milkowski is a regular contributor to Jazz Times, Jazziz, Bass Player, Modern Drummer and Absolute Sound magazines. He is also the author of "JACO: The Extraordinary and Tragic Life of Jaco Pastorius" (Backbeat Books).

Yusef Lateef - Golden Flute (1966)

1.Road Runner
2.Straighten Up And Fly Right
4.(I Don't Stand) A Ghost Of A Chance With You
5.Exactly Like You
6.The Golden Flute
8.Head Hunters
9.The Smart Set.

Recorded at Van Gelder Recording Studio, Englewood Cliffs, New Jersey in June 1966. Originally released on Impulse (9125).
Personnel: Yusef Lateef (tenor saxophone, flute, oboe); Hugh Lawson (piano); Herman Wright (bass); Roy Brooks, Jr. (drums).

Michal Urbaniak - Ecstasy (1978)

1.Body rub
4.Just a funky feeling
5.Want's ta make you feel good
6.A day in the park
7.French kiss

One of the most soul-based albums in Michal Urbaniak's catalog -- a session originally done with TK records during the height of their dancefloor years, fitted up with some really great clubby grooves! The sound here is a mix of fusion and soul -- done in a way that still gives Urbaniak plenty of room to solo on violin, sax, and keys -- but which also sets up a warmer groove overall and really lets the vocals come center stage. Urszula Dudziak sings on about half the tracks -- and other vocals are by Kenyatta and Calvin Brown -- and the jazzy inflections of the tune really set this apart from lots of the other Miami disco on Marlin, giving the record a much deeper feel overall, and a quality that's held up very nicely through the years! Dark edges mix with warmer moments nicely, almost in a Roy Ayers way -- and titles include "A Day In The Park", "Just A Funky Feeling", "Body Rub", "Ecstasy", "Creation", and "Want's Ta Make You Feel Good".
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Moacir Santos - Maestro (1972)

By C.Andrew Hovan

Among a sizable number of Brazilian composers who are better known in their homeland than abroad, few can lay claim to a more substantive and varied catalog of music as that written by the great Moacir Santos. A prodigy of sorts, Santos mastered many wind instruments while still in his teens and toured Brazil for many years, studying and playing with a wide variety of ensembles. He also served as a musician with the National Radio Network in Rio de Janeiro before heading to the United States in the early ‘70s, settling in Los Angeles and signing on with Blue Note Records. A master of writing for large groups and orchestras, Santos has a thorough knowledge of the classical repertoire as well as a deep understanding of the disparate rhythms of his native land.

Last year saw the domestic release of Ouro Negro, a two-disc set that documented a gathering of contemporary Brazilian artists revisiting the many wonderful compositions of Santos. The set gathered critical acclaim and could be found on many critics’ lists as one of the best releases of 2004. The majority of the tunes selected for that project came from the three transcendent Blue Note sides that Moacir cut in the early to mid ‘70s, all of which are currently and inexplicably out-of-print. While his sophomore effort, Saudade, did make it briefly to compact disc in Japan a few years back, you’ll be hard pressed to find that version without a good degree of sweat and effort.

“Listening to these originals side-by-side with the newer versions on Ouro Negro makes for an enlightening experience.”

The foregoing puts into perspective the importance of reevaluating Santos’ Blue Note records and it seems that with the interest generated by Ouro Negro that the time is ripe for a reissue of these albums, possibly a great idea for a Mosaic Select release. For the time being, we focus this month on Maestro, the first of the three Blue Notes. Recorded on the West Coast in 1972 and produced by Dr. George Butler, the album is a musical oasis of style and integrity recorded at a time when jazz music was yielding diminishing returns.

With an all-star assemblage of L.A. studio musicians, Santos gives the solo spotlight to several notable players including Joe Pass, Frank Rosolino, Don Menza, Clair Fischer, and John Heard. An infectious “Nana” opens the record and is probably the most familiar tune of the lot, being done by many other artists over the years. What makes this music so intriguing in the avoidance of rhythms strictly of the bossa nova or samba variety. Santos mixes in his own concoctions as well as other native styles such as baiao, frevo, and afoxe. “Mother Iracema” is a particular favorite, opening with a fast 2/4 riff that morphs into a bossa hybrid. A stop and go groove sets up “April Child,” another favorite that makes the most of Santos’ burnished vocals.

Without a doubt, Maestro established Santos as an artist to be reckoned with and while the record probably skirted just below the radar of the average jazz listener, two more Blue Notes would be in the offing. Listening to these originals side-by-side with the newer versions on Ouro Negro makes for an enlightening experience. And if you enjoy this one, you’ll want to search for Saudade and Carnival of the Spirits, a triumvirate of Brazilian jazz at its finest by one of the country’s most versatile musicians.

Track Listing: 1. Nana; 2. Bluishmen; 3. Luanne; 4. Astral Whine (An Elegy to Any War); 5. Mother Iracema; 6. Kermis; 7. April Child; 8 The Mirror's Mirror.
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Kahil El’Zabar’s Ritual Trio - Africa N’Da Blus (2000)

1.Ka-Real [Take 2]
2.Africanos/ Latinos
3.Miles' Mode
4.Autumn Leaves
5.Africa N'Da Blues
6.Pharoah's Song
7.Ka-Real [Take 1].

On Africa N'da Blues, Kahil El'Zabar's Ritual Trio is joined by tenor saxophonist Pharoah Sanders -- and the group couldn't have asked for a more appropriate guest. Like drummer/percussionist El'Zabar, he is a very flexible musician who is comfortable with both inside and outside playing. Sanders' resumé includes everything from composing ethereal, gorgeous post-bop melodies to embracing the most blistering and atonal of free jazz on John Coltrane's post-1964 albums. Nothing on Africa N'da Blues could honestly be described as free jazz; this post-bop date generally favors an inside/outside approach and is more inside than outside. Most of the material, in fact, is quite melodic, this is true of "Pharoah's Song" and the title track (both written by El'Zabar), as well as performances of Coltrane's "Miles' Mode" and the standard "Autumn Leaves." Coltrane, of course, is Sanders' primary influence, and Ritual Trio members El'Zabar, Ari Brown (piano, tenor and soprano sax), and Malachi Favors (bass) are also big admirers of his work. The Coltrane who influenced this CD isn't the atonal Coltrane of 1965's Om but rather, the more accessible post-bop Coltrane of 1960-1964. Thanks to Sanders' participation, Africa N'da Blues is arguably the strongest album that Ritual Trio recorded for Delmark in the 1990s.
All Music Guide.

Kahil El'Zabar - Percussion, Drums
Ari Brown - Piano, Sax (Soprano) Sax (Tenor)
Malachi Favors - Bass
Pharoah Sanders.

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Monday 15 June 2009

Don Burrows and the Brazilian Connection (1978)

Side A:

Side B:

Duo formed by guitarist, singers and composers Burnier (Octavio Burnier Bonfá) and Cartier (Cartier Claudio), which met in 1968 at meetings of the Movement Art University (MAU), starting to compose in partnership two years later.

In 1974, the two recorded their first LP, "Burnier & Cartier," released by RCA.

Integrated with Sônia Bonfá, the vocal trio of Angel Papo, created exclusively for the soundtrack recordings of "Site woodpecker yellow" (TV Globo).

Participated in the Festival Opening (TV Globo) in 1975 with the song "They were naked" (Burnier and Cartier), selected among the finalists who composed the LP which recorded the event.

The following year was hired by the Odeon, the suggestion of Milton Nascimento to the then artistic director of record, Mariozinho Rocha, and recorded their second LP, "Burnier & Cartier."

In 1977, the two musicians were invited by Don Burrows to perform concerts in Australia, recorded live, generating the double album "Brazilian connection", launched by Pie Records, with the participation of the Don Burrows Quintet, and The Sidney Strings Quartet and George Golla. This disc was released in the United States by First American Records, with the name "Brazilian parrots".

Don Burrows, flutes, clarinet, and percussion, and the Brazilian Connection (Don Burrows Quintet ; George Golla, guitar ; Octavio Burnier, Claudio Cartier, vocals and guitars ; Sydney String Quartet, performing in various combinations).

Saturday 13 June 2009

Hugh Masekela - Masekela (1969)

Vinyl, LP, Album, Stereo.
A1.Mace And Grenades (3:50)
A2.Boeremusiek (2:00)
A3.Gold (4:15)
A4.Sobukwe (1:54)
A5.Blues For Huey (2:00)
A6.Gafsa (2:35)
B1.Fuzz (2:50)
B2.Head Peepin' (2:52)
B3.Otis (2:05)
B4.Riot (1:55)
B5.If There's Anybody Out There (3:30)
B6.Extra Added Attraction (1:00).

Real Name:Hugh Ramopolo Masekela
Profile:Hugh Masekela (born Johannesburg, April 4, 1939) is a South African flugelhorn and cornet player. In 1961, as part of the anti-apartheid campaign, he was exiled to the United States where he was befriended by Harry Belafonte. He has played primarily in jazz ensembles, with guest appearances on albums by The Byrds and Paul Simon. In 1987, he had a hit single with "Bring Him Back Home" which became an anthem for the movement to free Nelson Mandela. After apartheid ended, Masekela returned to South Africa where he now lives.

Hugh Masekela was an old collaborator of Abdullah Ibrahim. He is reported to have been initially inspired in his musical growth by Trevor Huddleston, a British priest working in the South African townships who financed Masekela's first trumpet. Masekela played his way through the vibrant Sophiatown scene with The Jazz Epistles and to Britain with King Kong, to find himself in New York in the early 1960s. He had hits in the United States with the pop jazz tunes "Up, Up and Away" and the number one smash "Grazin' in the Grass".

A renewed interest in his African roots led him to collaborate with West and Central African musicians, and finally to reconnect with South African players when he set up a mobile studio in Botswana, just over the South African border, in the 1980s. Here he re-absorbed and re-used mbaqanga strains, a style he has continued to use since his return to South Africa in the early 1990s.

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Elvin Jones and Richard Davis - Heavy Sounds (1967)

1.Raunchy Rita
2.Shiny Stockings
3.M. E.
5.Elvin's Guitar Blues
6.Here's That Rainy Day.

One of Elvin Jones' better CDs as a leader, HEAVY SOUNDS offers a plethora of aural pleasures. Whether it be Frank Foster's creative tenor work, or Richard Davis' fat, rounded double bass tone, this music really swings hard. With his sensitive, yet hard-hitting style, Jones himself is in superb form here.
Highlights on HEAVY SOUNDS include a bass and drums duet version of "Summertime," and the beautiful ballad, "Here's That Rainy Day." On the former, Jones plays a particularly moving solo using timpani mallets. Jones also plays guitar (his first and only time) on this album--his old-fashioned delta blues style ain't half bad.

Live Recording
Recorded at RCA Recording Studio, New York, New York on June 19 & 20, 1967. Originally issued on Impulse! (9160). Includes liner notes by Frank Kofsky.

Reissue producer: Michael Cuscuna.

Personnel: Elvin Jones (guitar, drums); Richard Davis (acoustic bass); Frank Foster (tenor saxophone); Billy Green (piano).

Steve Swallow - Deconstructed (1996)

01.Running in the Family
02.Babble On
03.Another Fine Mess
04.I Think My Wife Is a Hat
05.Bird World War
06.Bug in a Rug
07.Lost in Boston
08.Name That Tune
09.Viscous Consistency

Review by Scott Yanow
This CD by electric bassist Steve Swallow is a major surprise, for his ten originals are essentially bebop, often using chord changes that sound familiar; for example, the opening "Running in the Family" uses the chords of "Basin Street Blues." The song titles tend to be humorous if inscrutable (including "Another Fine Mess," "I Think My Wife Is a Hat," and "Name That Tune"), but the spirited playing is quite serious. Tenor saxophonist Chris Potter (on his way to becoming one of the greats) and trumpeter Ryan Kisor have plenty of solo space, guitarist Mick Goodrick makes his presence felt, and drummer Adam Nussbaum offers stimulating support. This rare straight-ahead outing by Steve Swallow sounds fresh, lively, and creative, and it is one of his most rewarding recordings as a leader.

Mick Goodrick - Guitar
Ryan Kisor - Trumpet
Adam Nussbaum - Drums
Chris Potter - Sax (Tenor)
Steve Swallow - Bass.

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Cal Tjader Latin Kick (1956)

Cal Tjader Latin Kick (1956)
Recorded at Radio Recorders, Los Angeles, California in 1956. Originally released on Fantasy (8033).
Personnel: Cal Tjader (vibraphone); Brew ... Full DescriptionMoore (tenor saxophone); Manuel Duran (piano); Carlos Duran (bass); Luis Miranda (congas); Bayardo Velarde (timbales).

02.Lover Come Back To Me
03.September Song
04.Will You Still Be Mine
05.I Love Paris
07.Moonlight In Vermont
08.Bye Bye Blues
09.Manuel's Mambo
10.All The Things You Are
11.Blues From Havana.

Camaròn - Como El Agua (1981)

01.Como El Agua (Tangos)
02.Gitana Te Quiero (Bulerías)
03.Pueblos De La Tierra Mía (Alegrías)
04.Quiero Quitarme Esta Pena (Bulerias)
05.Sentao En El Valle (Fandangos De Huelva)
06.Tu Amor Para Mi No Es Fantasía (Tangos)
07.En Tu Puerta Da La Luna (Tarantos)
08.La Luz De Aquella Farola (Bulerías).

The master cante from Camarón and the extraordinary guitars from Paco de Lucía and Tomatito, together in a CD that is, track by track, totally enjoyable. Never before so much perfection was seen on an album. Any flamenco aficionado should have this Cd up on his to-od list. This record, in which Paco de Lucía returns to play for Camarón es capable of touching the thinnest fiber of your soul.

Tomatito - Guitar
Paco de Lucía - Guitar
Rubem Dantas - Percussion
Carles Benavent - Bass.

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Steve Kuhn - Trance (1975)

1.Trance (5:59)
2.A Change Of Face (4:58)
3.Squirt (3:00)
4.The Sandhouse (3:47)
5.Something Everywhere (7:48)
6.Silver (2:54)
7.The Young Blade (6:17)
8.Life's Backward Glance (3:09)

Steve Kuhn - piano, electric piano
Steve Swallow - electric bass
Jack DeJohnette - drums
Sue Evans - percussion.

Sun Ra - Astro Black (1973)

1.Astro Black
3.Hidden Spheres
4.The Cosmo-Fire.

One of a handful of albums Sun Ra released on Impulse in the early '70s, Astro-Black provides a reasonably comprehensive picture of where the Arkestra was around the time, drawing to the end of their ultra-free period and beginning to investigate some traditional jazz forms. The opening title track explores some of Ra's spacier side, sounding a bit like a calmer alternative to his well-known "Space Is the Place" with June Tyson's ethereal vocals and the leader's ghostly synthesizer. "Discipline '99'" is a relaxed, bluesy number, although, as was often the case, one could argue that the band is a bit too relaxed and the piece does plod a little. But this is followed by a lively African-percussion-driven work, "Hidden Spheres," which, along with the propulsion provided by the great, underappreciated bassist Ronnie Boykins, is a fine example of Ra's band at their most enjoyable. "The Cosmo-Fire," the 18-minute track that closes the album, is a sprawling affair, a smorgasbord of Arkestra once again held in place by Boykins' bass, serving as a solid stem off of which Sun Ra launches abstract organ and vibraphone explorations and the rest of the band wails and sputters. Again, the performance is loose, but in a way that enhances the otherworldly effect that Ra strove for. Astro-Black isn't by any means the finest work by this musician, but is a decent introduction to his unique sound world. ~ Brian Olewnick, All Music Guide.

Bass: Ronnie Boykins
Clarinet (bass): Eloe Omoe
Clarinet (mistro): Pat Patrick
Congas: Atakatun, Chiea, Odun
Electronic Keyboards, Moog Synthesizers, Electro Vibraphone: Sun Ra
Percussions: Tommy Hunter, John Gilmore
Sax (alto): Danny Davis, Marshall Allen
Sax (baritone): Danny Thompson
Sax (tenor): John Gilmore
Trombone: Charles Stephens
Trumpet: Akh Tal Ebah, Lamont McClamb
Violin and Viola: Alzo Wright
Vocals: June Tyson, Ruth Wright.

Friday 12 June 2009

Alex Acuña & The Unknowns - Thinking of You (1992)

01.Te Amo
02.Joe's Red Eye
04.Hoppin' It
06.Cocho San
07.Van Nuys Jam
08.Thinking of You (Pensando en Ti)
10.The O"Clock Groove.

Peruvian drummer and percussionist Alex Acuna learned trumpet and piano from his father, while teaching himself the rudiments of drumming. He became a studio musician in Lima at 16, and joined Prez Prado's band in 1964, coming with them to Las Vegas. Acuna worked from 1966-1975 as a studio musician in Puerto Rico and Los Angeles as well as Las Vegas, then joined Weather Report. He alternated roles there during his two-year stint, splitting time between being their percussionist and drummer. Acuna made two albums with Weather Report, among them the hugely successful Heavy Weather, before leaving. He formed his own band, Koinoni, in 1980. Acuna has not attained the high profile of other Latin percussionists like Airto or Nana Vasconcelos, but has a lengthy list of professional credits, including recording dates with Clare Fischer, Ella Fitzgerald, Tania Maria, Chick Corea, Paco De Lucia and Joni Mitchell, plus a stint in guitarist Lee Ritenour's group. He's merged traditional Peruvian and modern Latin rhythms into a charged personal style that also reflects the influence of Elvin Jones and Tony Williams, among others. His current band has recorded for JVC, and mixes Afro-Latin and Latin jazz with funk and fusion. ~ Ron Wynn, All Music Guide.

Lou Pardini - Piano, Vocals
John Pena - Bass
Hector "Rudy" Regalado - Percussion
Otmaro Ruíz - Keyboards, Vocals
Michito Sanchez - Percussion
Ramon Stagnard - Guitar
Ramon Stagnaro - Guitar
Tiki - Vocals (Background)
Efrain Toro - Percussion, Drums, Programming, Assistant Producer, Arranger
Dante Young - Vocals (Background)
Carlos Santana - Guitar
Alex Acuña - Percussion, Arranger, Drums, Producer, Main Performer, Vocals
Diana Acuna - Vocals, Lyricist
Cocho Arbe - Keyboards
Luis Conte - Percussion
Paulinho Da Costa - Percussion
Pedro Eustache - Synthesizer, Flute
Brandon Fields - Saxophone
Abraham Laboriel - Bass
Danilo Lozano - Flute.

Bela Fleck & The Flecktones - Left of Cool (1998)

"Almost 12" won the 1999 Grammy Award for Best Instrumental Composition. "Big Country" was nominated for the 1999 Grammy Award for Best Pop Instrumental Performance.
Do yourself a favor and forget about the question, "What is this music?" Your enjoyment of this recording will only further increase upon realizing that these freak-o's don't necessarily know quite what it is that they're playing, either. All the better--the lack of self-consciousness is what makes this concoction feel natural. For the record, however, the identifiable ingredients include funk, pop, folk, jazz and, of course, Fleck's masterful, multi-colored banjo-playing. Tight arrangements meet tastefully with whim throughout.
LEFT OF COOL opens with the frantic funk-out entitled, "Throwdown At The Hoedown," an instrumental replete with foreboding melodies and wildly fast bursts of banjo- and bass-playing (indeed, Van Halen-style fretboard tapping has arrived on the banjo). Other tunes, such as the smooth-sailing "Step Quiet," offer vocal affirmations pleasing to the weary ear. A playful sense of exchange often leaps up between bass-samurai Wooten and the various horns assembled, weaving in and out of melodic conversations and inspired octave passages with glee. And, present as always, is Future Man playing his infamous synthaxe drumitar--reason enough to have a go at this odd little sonic gathering.

Bela Fleck & The Flecktones: Bela Fleck (gut-string guitar, guitar, acoustic & electric banjos, nylon-string & gut-string banjos, sitar banjo, mandolin, keyboards, Theremin); Future Man (vocals, percussion, synthaxe drumitar, samples); Jeff Coffin (soprano, tenor & baritone saxophones, saxello, flute, clarinet, bass clarinet); Victor Lemonte Wooten (fiddle, cello, acoustic, electric & fretless basses).

Monday 8 June 2009

Charles Lloyd - Forest Flower (1966)

1.Forest Flower - Sunrise (7:17)
2.Forest Flower - Sunset (10:19)
3.Sorcery (5:11)
4.Song Of Her (5:16)
5.East Of The Sun (10:20)

A very important album, a huge seller at the time and the album that brought Jarrett to wider attention. I think that the All Music Guide is wrong in crediting McBee as bassist, it was Ron McClure.
When Charles Lloyd brought his new band to Monterey in 1966, a band that included Keith Jarrett on piano, Jack DeJohnette on drums, and the inimitable -- though young -- Cecil McBee on bass, no one knew what to expect. But they all left floored and this LP is the document of that set. It is difficult to believe that, with players so young (and having been together under a year), Lloyd was able to muster a progressive jazz that was so far-reaching and so undeniably sophisticated, yet so rich and accessible. For starters, the opening two title tracks, which form a kind of suite (one is "Forest Flower-Sunrise," the other "Sunset"), showcased the already fully developed imagination of Jarrett as a pianist.
An alternative cover

... whispering arpeggios surrounded by large chords that plank up the drumming as DeJohnette crosses hands and cuts the time in order to fluctuate the time. Lloyd's own solos are demonstrative of his massive melodic gift: his improvisation skirted the edges of what was happening with Coltrane (as everyone's did), but his own sense of the deep wellspring of song and the cross-pollination of various world musics that were happening at the time kept him busy and lyrical. Elsewhere, on Jarrett's own "Sorcery," his linking front-line harmonics with Lloyd is stellar --this isn't communication, it's telepathy! Jarrett's angular solo is buoyed up by Lloyd's gorgeous ostinato phrasing. By the time the band reaches its final number, a sky-scorching version of Brooks Bowman's "East of the Sun," they have touched upon virtually the entire history of jazz and still pushed it forward with seamless aplomb. Forest Flower is a great live record.

Thom Jurek, All Music Guide

Charles Lloyd - Flute, Sax (Tenor)
Keith Jarrett - Piano
Ron McClure - Bass
Jack DeJohnette - Drums.