E.W.WAINWRIGHT JR'S AFRICAN ROOTS OF JAZZ

 E.W.Wainwright for Aroj USA from 1981.
E.W.Wainwright -Drums,Percussion ; Annette Lipson -Congas,Tambourine ; Cash Killion -Bass ; Lamont Davidson -Soprano ; Mack Rucks -Trumpet,Percussion ; Neal Kirkwood -Piano ; Ricky Kelly -Vibes.
Orell Allen - Vocal Director; Earline Love, Helen Banks, Maria Jones, Michelle McLorin,  Marion Banks, Resa Hicks , Sharon Brown, Sonya McLorin, Theresa Grimes, Wanda Allen - Vocals

Afrocentric spiritual jazz on a private press making it's first appearance in blogland...a ridiculously rare heavy duty afro jazz killer.

HAROLD JOHNSON SEXTET - HOUSE ON ELM STREET

Harold Johnson Sextet + for HME from 1967.
Harold Johnson - Piano ;  David Crawford - flute; Billy Jackson - Conga; Alfred Patterson - alto sax; Mile Shaw - Tenor sax; Eddie Synigal - alto sax; Ronald Rutledge - Drums; Jimmy Nash - bass

West coast soul jazz with a latin tinge ....
Tough!

AKIRA MIYAZAWA - FOUR UNITS

 Akira Miyazawa for Union Japan from 1969. 
Akira Miyazawa: tenor sax, flute; Masahiko Satoh: piano; Yasuo Arakawa: bass; Masahiko Togashi: drums.

The name Akira Miyazawa, rarely if ever, appears in jazz reference books, at least not in ones available in North America. Other than some sites selling his CDs, the internet does not offer much about the saxophonist. This is a shame since his recordings tell the story of an accomplished musician whose work has remained intriguing and fresh after almost four decades.
Four Units is a 1969 session that teams him with a Japanese rhythm sections for four originals and a jazzy reworking of "Scarborough Fair." The music threads the outer reaches of hard bop, adjacent to but not quite into the avant-garde realm. It also has a very Oriental feel to it, with the beautiful serenity of a Japanese Zen garden and the bluesy edge of a late night jam session.
The opening title track is the most adventurous. After Miyazawa's tenor sax states the angular but still melodious theme, the rhythm section improvises together and solos in tandem, using notes sparingly and the space between them very effectively. The other pieces also are edgy hard bop in style, with some adventurous soloing by Miyazawa on tenor and flute, along with the other members of the group. The closer, "Black Bass," is the closest to traditional hard bop.
Miyazawa sounds like Sonny Rollins on tenor but with slightly less bite in his tone. He only plays a little flute which, however, is not that memorable. Pianist Masahiko Satoh, who also arranged "Scarborough Fair," demonstrates strong classical sensibilities. Bassist Yasuo Arakawa and drummer Masahiko Togashi - who sounds a bit like Elvin Jones - have a unique rapport with each other when playing behind Miyazawa and Satoh in addition to being accomplished soloists in their own right.
Four Units reveals a unique and talented musician whose work deserves better and more widespread recognition. Review by Hrayar Attarian for AMG.

The very finest in Japanese Jazz....

HANS DULFER - EL SAXOFON

Hans Dulfer for Catfish Netherlands from 1971.

Tracks 1 & 2 : Tenor Saxophone, Flute – Hans Dulfer ;  Bass – Jan Jacobs ; Congas, Timbales – Steve Boston ; Congas, Timbales, Vocals – Groentjie

Tracks 3 & 4 add : Drums – Muhammad Ali ; Electric Bass – Jerome Hunter ; Guitar – John Schuursma ; Piano, Percussion – Bobby Few ; Tenor Saxophone, Bells – Frank Wright 

Don't be fooled by the sleeve photo of Dulfer in flappers and daft hat - the music inside is hard as nails.

"El Saxofon" comes on like the bastard son of Sonny's "Jungoso" force fed a diet of speed and steroids and injected with the spirit of Sabu ....a monstrous banger of an album moving from cruiser weight Afro Cuban work outs to freeform blowing with Frank Wright joining Dulfer on Tenor and bicycle bell (!).
So hang on to your hat it's gonna be a bumpy ride!

THE DIAMOND FIVE - BACK TOGETHER

 

The Diamond Five for BASF Netherlands from 1973.

Piano, Electric Piano – Cees Slinger ; Bass – Jacques Schols  Drums – John Engels ; Tenor Saxophone – Harry Verbeke ; Trumpet, Flugelhorn – Cees Smal ; Vocals – Greetje Kauffeld (tracks: A2, B2, B4)

Mellow waxing from Cees Slinger and the gang featuring Greetje Kauffeld on three vocal cuts.

Perfect for a sunny sunday morning...

NEW RELEASES FROM FRIENDS OF OIR

MARK WEINSTEIN - EL CUMBANCHERO

 Latest offering from the mighty Mark Weinstein whose groundbreaking "Cuban Roots" album remains an OIR essential spin to this day.
Listen to three tracks from the album at Mark's myspace and don't forget to check out his excellent blog Jazzfluteweinstein where his latest post is about the making of "El Cumbanchero".

 THE KRAMFORD LOOK - 1970

The Kramford Look - 1970 was sent over to me a while ago by an old friend who formed Wonderfulsound which recently released this modern day library/soundtrack influenced analogue gem.
Jonny Trunk wrote the sleevenotes which do a great job of summing it all up:

"It seems like I was asked to write some notes for this album based on the fact I might spot the references and therefore have something interesting to say about it all. Well the most interesting thing to start with is that I thought the opening track had some singing in it, and then I realized it was just the voices in my own head kind of singing along. Well that’s what I’m hoping it was.
I was also wondering what the Kramford Look is. Or where it is, how it is or when I can spot it happening. Or maybe it doesn’t. Good name though. "Justine" is quite spaghetti western, mixed with a bit of Pink Panther and the Prisoner which conjures up some fairly pleasing imagery. And by "Shoebox at Sea", it goes all sleazy and a bit sexy with some tickly keyboards, a touch of sax and some funny synthesis right at the end bit which could signify something fairly unnatural going on.
Paying careful attention to "Magic Plastic Home" I realised it has a most suitable title, because it’s all a bit sad and futuristic in that peculiar optimistic fashion they had a few decades ago and some still do in parts. It was during this track that I decided to call the label and ask a bit more about the Kramford Look and find out if that was the artist or the title or both. They weren’t that forthcoming but then again maybe my questions were a little vague. Anyway, it turns out that The Kramford Look is the name of the artist. I reckon he’s called something like Keith or Kevin Kramford in real life. Well whatever his real name may be, he knows how to write a melody. Especially for "Magic Plastic Home" (which I listened to twice in a row), where he sets up a sort of early 1970s telly thing with an unexpected wibbly wobbly noise which I very much appreciated. I was still humming the melody as the next number started. "Death Is Alive" is still in the made for TV vein, but earlier sounding with a bit of James Clarke sophistication and possibly a real electronic harpsichord, which anyone truly into esoteric listening goes a bit soft and funny when they hear it.
Then all of a sudden, by the track called Man On Bridge it’s like The Kramford Look got all fed up with referencing the late 60s and mid 70s music for TV and film and flips out with a Bolognese of frenetic techno pieces which sprout a retro head and have a go on a machine I’ve never seen before. Good work. The three words “quite well produced” sprung into my mind here, I was going to say really well produced and then thought that maybe if I got tested about that I might not know the right answers, so better to err on the side of musical caution I reckon. I still like the track though. Would sound great out very loud somewhere a bit fashion where it looks like people have cut their own hair and borrowed their spectacles from the pensioner next door.
Then he goes all funky soul and that, playing the fender Rhodes like a man with a jazz hobby and some mates with interesting trousers. This track could easily be lifted from the Blue Note period when the sleeves went all shit.
And then, before we realize it, he’s sneaked in another musical knod to dramatic library sounds before finishing off with a wade into more psychedelic, smokey waters ("Coast Ghost"). I think The Kramford Look was trying to make himself sound a bit like a woman here and I think it might have worked, but that may well be the voices in my head again. Interesting album I reckon. They may well pass on the sleevenotes though." Jonny Trunk - April 18, 2011.

TONY CROMBIE - WHOLE LOTTA TONY 
















Those nice chaps at Fantastic Voyage have been busy dusting off and reissuing some great British jazz dates from the Ember label.
"Whole Lotta Tony" and Ronnie Ross' "Stompin' With The Ronnie Ross Quintet" hit the racks on December 5th - I've got the Crombie date playing now and it's excellent.
3 cuts from each album are up exclusively on Soundcloud for OIR followers lugholes  :
Tony Crombie soundcloud samples
Ronnie Ross soundcloud samples
They've already reissued The London Jazz Quartet set featuring Tubby Hayes which is well worth shelling out for...nice prices too which won't break the bank.

MICHAEL GARRICK R.I.P. 1933 - 2011

I'm sad to say that Michael Garrick passed away last Friday leaving a legacy hard to rival on both the British and the worldwide jazz scene.
Tony Higgins,who compiled both the "Impressed" cds of British jazz and contributed the third unreleased volume to this blog last year was a friend of Michael Garricks so who better to pay tribute to him.

Michael Garrick 1933 - 2011

The death of Michael Garrick on 11 Nov 2011 brings to a close a most fascinating and extraordinary life dedicated to one thing - music. In the time I knew Mike, his humour, erudition and commitment was infectious and inspiring and it seemed entirely appropriate that I was playing his beautiful and haunting composition 'Black Marigolds', a track about loss and memory, the moment I heard the sad news. I'm not a believer in fate but this made me pause for a moment, think deeply and feel the moment. Thinking and feeling. Two qualities that Mike valued highly.

I first became aware of Mike Garrick in the early 90s through his contributions to the work of the Don Rendell-Ian Carr Quintet. I knew nothing about him other than his credit on the sleeve of 'Dusk Fire', as both pianist and composer of the title track. The music was entrancing, mysterious and evocative; it curled, danced and soared, at one time epic and majestic, at others intimate and personal. In essence, this was Mike's music - bold, inventive and fun. 'Dusk Fire' set me on an obsessive journey to explore this man's work, culminating in the two volumes of British modern jazz, 'Impressed', that I pulled together with DJ /radio presenter Gilles Peterson.

Contacting Michael to tell him that we were including his material on a compilation, he was initially a little guarded, yet curious. I suppose getting a call out of the blue about tracks that were 40 years old seemed novel, if not a little strange. It soon became clear that Mike's main interest was the here and now, not the past, and his main passion was performing. He loved to get out there and play. However, he was generous and patient with me and my endless stream of questions about his work with Joe Harriott, Ian Carr and others who held prime slots on my record shelves. He provided the introduction my sleevenotes to 'Impressed Vol. 1', and steered the reissue of his final Argo album 'Troppo' on CD for the first time. To get this music accessible again was a great thrill for me. Fortunately, all of his sublime Argo recordings are available once again.

I was also fortunate to work on the 2004 BBC TV series 'Jazz Britannia' that traced the post-war jazz scene in the UK. Mike featured in two episodes and appeared on the bill in the accompanying live concert at the Barbican alongside his old bandmates Don Rendell, Trevor Tomkins and Dave Green. Mike also led a big band through his own arrangements of Tubby Hayes' 'Down in the Village', Neil Ardley's 'Will You Walk a Little Faster' and presented a magnificent rendition of his own 'Black Marigolds' featuring his vocal muse Norma Winstone. Watching it from the stalls made me shiver in awe.

It soon became apparent that Mike was always looking for the joke in things. His quips and sparky conversation lifted the spirits and to see him bounce around his piano, beaming a smile, unable to contain himself as his band played away, really was life affirming. I looked forward to our conversations and meetings, him calling me 'The Professor' and telling me tales of gigging and recording in the 50s and 60s. Anecdotes included the time he gave Bill Evans a lift in his car, a Hillman Imp, driving up Hampstead Hill behind a lorry carrying tons of bricks. The lorry hit a bump in the road and some large bricks fell out, bounced off the road and spun toward the car , heading directly towards the windscreen and the face of Bill Evans. Mike, at the last second, managed to skid out of the way narrowly avoiding a nasty crash and a headline that would have forever have linked his name to the death of the world's leading jazz pianist. Of course, to hear Mike tell the tale in his own way was most of the story.

I felt very fortunate to have met and known Mike. Getting the chance to tell someone how much you enjoy their work, and see them genuinely moved by it, is very touching. Mike was a very genuine and emotionally open man. The depth and range of his music was extraordinary. From covering his beloved Duke Ellington to sacred music via poetry and folk, Mike's insatiable curiosity for life will always be with us - in his wonderful music. Thank you Mike. Play on
Tony Higgins

Mix courtesy of Blackclassical.

RIP Michael Garrick — Man have you EVER heard? by Space Invader Radio on Mixcloud

GREGORY CHARLES ROYAL - DREAM COME TRUE

Gregory Charles Royal for GCR from 1979.

Bass – Clarence Lavelle Seay ; Drums – Jeff Corbett ; Flute  Warren Taylor ; Piano – Geri Allen Saxophone – Warren Taylor ; Trombone,Vocal – Gregory Charles Royal

   

Private press business from Blakey protege Gregory Charles Royal who wrote,arranged, recorded,produced and issued this excellent session at the age of 17! Here's the liner notes by G.C. Royal:
"Dream Come True" marks a vision I've had for sometime. I hope that you enjoy the music as much as we enjoyed recording it. the compositions, which were for the most part written during a stay in Europe, all have their stories.
"Dancer" is about the gracefulness of a dancer. The melody of "Trying" is meant to illustrate end success in spite of temporary setbacks. "Spirit" Cry" says just what it is, the violent yet sonorous cry of our spirit. "Curtis" was written for my friend Curtis Fuller. The first half of the melody was taken from Curtis' statement on the bridge of " Invitation". "For You" was written for a close friend and "Dream Come True" sums of the reality of this dream!.
I would like to thank Art Blakely, Slide Hampton, and Woody Shaw for their musical support, and hope that this album marks the beginning of my dedication to the music.

SOUTHERN ENERGY ENSEMBLE

Southern Energy Ensemble for Black Fire from 1976.

Bass – Michael Pitt (Wolf) Congas – Adolphus Maples (Peddie), Tony Joyner  (Onginga) Drums, Percussion – William Johnson (Spike) Piano, Piano ,Fender Rhodes, Clavinet, Synthesizer – Nathaniel Lee (Nat)

Saxophone [Alto, Soprano], Flute – Al Clarke Trumpet, Flugelhorn – Marvin Daniels (Dash)Vocals – Adolphus Maples (Peddie), Garrie Wayne (Zeek), Judith Spears (Anglais), Marvin Daniels (Dash), Veronica Jones (Ronnie)

Righteous jazz funk banger with lashings of clavinet and the storming "Third House".

MICHEL KLOTCHKOFF TRIO + CHRIS WOODS - FULL SPACE

Michel Klotchoff Trio & Chris Woods for Promophone France from 1976.

Michel Klotchkof - Piano,Keyboards ; Henri Boiron - Bass ; Bernard Malabre - Drums ; Jean-Pierre Lochesse - Bongos ; Chris Woods - Alto Sax;Flute.

Superb rare French modal/bop album from sometime Francois DeRoubaix collaborator Klotchkoff and his trio joined by Chris Woods and Lochesse's bongos. "Full Space" sets the scene a modal swinger with Woods tearing it up over clattering bongos and the trio in full flight - a jazz dancers delight!
'Francois, Gone But Remembered' is deep modality in memory of Francois De Roubaix who drowned in 1975 shortly before the session was recorded .Klotchkoff dedicated "Chris Cross" to Woods with whom the trio became friends after performing as his rhythm section in Paris (along with Marco Di Marco). "Waltz for Benjy" is more modal business in waltz time followed by the head noddin' boppin' "18 Rue De La Passarelle". Luis Eca's "The Dolphin" rounds off the album and was recorded live and is something of a showcase for Klotchkoff featured on piano, cello, glockenspiel and synthesizer.

JAYNE CORTEZ AND THE FIRESPITTERS THERE IT IS

Over the past few years I've had so many requests for a repost of this cracker I thought I had better do the honours one more time..... so here it is.

Jayne Cortez and the Firespitters for Bola Press from 1982.

Jayne Cortez (voice) and The Firespitters - Abraham Adzinyah(conga), Bill Cole(shenai, flute, muzette, korean sona), Denardo Coleman(drums), Farel Johnson Jr.(bongo, bell, conga), Charles Moffett Jr.(tenor saxophone), Bern Nix(guitar), Jamaaladeen Tacuma(electric bass).

A pretty unique fusion of poetry,jazz and blues best known for the fantastic eulogy to the mighty Chano Pozo "I See Chano Pozo" a percussion heavy,rumbling bass driven chanting monster of a track with Cortez in full effect with her spoken word tribute to the conga king.

"I have read my poetry with some really great musicians," Jayne Cortez recently allowed. "I think, though, that my poetry swings with or without music." There’s much evidence to support this claim. For at least the past 30 years, Cortez has been an avatar of rhythmic agility in verse. Like her contemporary Amiri Baraka, she absorbed not only the techniques of an American poetic avant-garde but also the language(s) of the blues. The resulting poems translate the pulsation of the city into potent phraseology; they rumble, they smolder, they swing. All of which makes sense, given the poet’s singular history. Born in Arizona and raised in California, Cortez graduated from an arts high school, where she forged an identity as a writer and cellist. In 1954, at the age of 18, she married the iconoclastic saxophonist Ornette Coleman; two years later, they had a child. During the ’60s, Cortez struck out on her own — working for civil rights in Mississippi, organizing writing workshops in Watts, touring both Europe and Africa and finally emigrating to New York. She published her first book of poems in 1969. Cortez was for some time deeply invested in the ideology of the Black Arts Movement, and her work still conveys both political urgency and poetical rage. It also frequently address issues of feminism — or, perhaps more accurately, the complex matrices of womanhood.
Ripped from the original vinyl @320-no reissues

NORTH TEXAS STATE UNIVERSITY LAB BAND LAB 78!

N.T.S.U.Lab Band for N.T.S.U.Jazz from 1978.

Saxes: Steve Duke , Charlie Young , Bob Belden , Roger Holmes. Trumpets: Will Miller , Larry Spencer , Tom Delibero , Mike Steinel , Jim Powell. Trombones: Keith Adkins , James Caan , David Butler , Bill Franklin , Steve Thomas.Piano: Bob Snook. Bass: George Anderson. Drums:Gene Glover. Guitar:James Chirillo.
Percussion: Robert Landis , Rusty Wells.

One for Simon...
North Texas Big Band Banger directed by Leon Breeden and featuring a young Bob Belden on Tenor.
Tough.

MOUNT EVEREST - LATIN BLUE

Mount Everest for Four Leaf Clover Sweden from 1983.

Gilbert Holmstrom - Tenor;Peter Almqvist - Guitar;Ben Beskalov - Piano,Hammomd B3;Yasuhito Mori -Bass;Michael Andersson - Drums;Arturo Trujillo - Congas, Percussion.

Gilbert Holmstrom dropped the avant garde pyrotechnics to record this solid latin session for FLC featuring Skrotbandet percussionist Trujillo and Peter Almqvist of Guitars Unlimited.
Swedish Samba Time.....

KAMAL ABDUL ALIM - DANCE

Kamal Abdul Alim & The Brothers for Stash USA from 1983.

Kamal Abdul Alim - Trumpet ; James Spaulding - Alto & Flute ; Bobby Watson - Alto & Soprano ; Ron Burton - Piano ; Sabu Adeyola - Bass ; Idris Muhammad - Drums ; Abdul Wali - Guitar ; Abdus Saboor - Percussion.

Another first time out in blogland for this great set from Kamal and the Brothers.And what a band of brothers they were with Idris Muhammed holding down the rhythm section joined by ex Roland Kirk pianist Ron Burton and the Spaulding-Watson-Alim frontline horns.
"Brotherhood" was the thumpin' spinner way back when and made it onto a couple of comps however don't make the mistake of ignoring the rest of the lp as it's a complete cracker ranging from afro inspired jazz to some nifty modal styled tunes.

JUAN AMALBERT'S LATIN JAZZ QUINTET THE CHANT

The Latin Jazz Quintet for Tru-Sound from 1962.

Juan Amalbert:Drums,Conga; Bobby Capers:Alto,Tenor; Manny Ramos:Drums,Timbales; Bill Ellington:Bass; Willy Gardner:Piano; Willie Rivens:Vibes; Victor Allende:Flute
Engineered by Rudy Van Gelder.

First time out in blogland for this excellent early 60's set from the mighty Juan Amalbert and co.

EUROPEAN JAZZ SPECIAL

Stuff Combe 5 + Percussion

Drums,Percussion – Stuff Combe ; Piano,Electric Piano – Francy Boland ; Saxophone – Tony D'Adario ; Trumpet – Benny Bailey ; Bass – Bob Jacquillard.
M Records Switzerland 1974.


The Jan Huydts Trio - Trio Conception

Bass – Peter Trunk ; Drums – Joe Nay ; Piano – Jan Huydts
Philips Netherlands 1963.


Mantequilla Y Su Conjunto

Bass – Enrique Ponsa ; Drums – Jasé Farreras ; Piano – Ricard Miralles ; Saxophone – Salvador Font ; Trumpet – Manolo Mercedes
Discophon Spain (E.P.)1965


Georges Arvanitas Trio - Porgy & Bess

Piano - Georges Arvanitas ;Bass - Jacky Samson ; Drums - Charles Saudrais
AFA France 1973.



Juan Gonzalez Trio -  I Remember Spain

















 Juan Gonzalez - Piano ; Peter Bockius - Bass ; Alvin Queen -Drums.
Stamy Records Switzeland 1982.

Five rarities all in a row - All from Europe - All new to blogland - All pricey hitters in their original vinyl format -
And all contributed to Orgy In Rhythm by Frederic Hartman who is both a record collector and dealer.
As befits this Euro Jazz Special Frederic's half French half German and currently resides in Spain.
Thanks a million Frederic !
Check out his current stock at Discogs:
http://www.discogs.com/seller/fedipetit
and don't forget to thank him in the comments!

All rips @320 from original vinyl - links in the comments as usual.
Please note the Rshare Link for Stuff Combe is dead-I've reupped it to Mediafire and left the link further down the comments.

THREE BLIND MICE SPECIAL

Masarau Imada Trio + 2 - Green Caterpillar 

TBM 39 1975
masaru imada : p/elp ;isoo fukui : b ;tetsujiro obara : d kazumi watanabe : g  yuji imamura : perc



Isao Suzuki Quartet + 2 - Orang - Utan

TBM 44 1975
isao suzuki : b, cello, ep  kenji mori : as, bcl, fl (1,2,4) kazumi watanabe : g  osamu kawakami : b shinji mori  :d  mari nakamoto : vo (2)



Hiroshi Fukumara - Morning Flight

TBM 19 1973
hiroshi fukumura : tb shigeharu mukai : tb hiroshi tamura p tsutomu okada : b shinji mori : d


Here's three of the best from Three Blind Mice - Japan's premier jazz label - to wrap up the recent run on Japanese Jazz here at OIR.
Huge thanks go out to Bongohito who provided all three of the high quality rips + artwork and session details for this post.Find them all in the comments.
Respect and thanks to El Goog,Jazz Nekko,Wara Katsu,Taro Nombei,Vesper,Hoochie Coochie & Doyle C for keeping the Japanese Jazz fires burning.
To be continued......

TAKEO MORIYAMA QUARTET - MY DEAR

Takeo Moriyama Quartet for Union Japan from 1982.
Takeo Moriyama - Drums ; Toshihiko Inoue - Tenor ; Mikinori Fujiwara - Tenor, Soprano ; Hideaki Mochizuki - Bass.

More Jap pressure...Moriyama drives the two sax frontline through a couple of incendiary post bop slash and burn originals,a brief solo drum feature introed and outroed by Inoue and Fujiwara and - the pick of the bunch for me - the clipped blurting saxes and menacing rumble of "No More Apple".
Tough.
Soon come - a triple whammy from Three Blind Mice courtesy of Bongohito.

THE FREEDOM UNITY - DOWN BY THE NAKED CITY

The Freedom Unity for Victor Japan from 1970.
Takeshi Muraoka (ts,ss), Hiroshi Suzuki (tb), Hiromasa Suzuki (el p), Kunimitsu Inaba (b), Akira Ishikawa (ds)

An excellent obscure session from 1970 featuring a line up of soon to be stars of the Japanese jazz world.The group was pulled together by Hiromasa "Colgen" Suzuki for this one off project which was apparently influenced and inspired by the late 60s output of Miles Davis and his movements toward electric jazz.
"Down By The Naked City" is an extended piece by Suzuki in two parts ("The Doors Of Perception" & "The Dancing Protoplasm")while side 2 features three originals two by Suzuki and Takeshi Muraoka's grooving "The Equator".
Suzuki went on to record the ground breaking Rock Joints Biwa & Cither soon after this both of which have been recently reissued by Deep Jazz Reality Japan and are very highly recommended purchases.More info at Universounds.
All Killer No Filler...

GEORGE KAWAGUCHI'S THE BIG 4

George Kawaguchi for TBM Japan from 1976.
Hidehiko "Sleepy" Matsumoto : tenor sax and flute, Hideo Ichikawa: piano and electric piano, Takashi Mizuhashi: bass, George Kawaguchi: drums.

Japanese All Star session led by drummer Kawaguchi for Three Blind Mice from 76 featuring the banging jazz dancer "Invader 7 ", a nifty latin 2 stepper "Monday Samba" and a ferocious hard bop tear up through "Albatross".A couple of funky blues and a C.Porter standard make up the rest of the album.
Solid....

AKIRA ISHIKAWA & COUNT BUFFALOS ELECTRUM

Akira Ishikawa & Count Buffalos for Victor Japan 1970.
Akira Ishikawa-Drums:Kiyoshi Sugimoto-Guitar:Masahiko Satoh-Piano Clavinet:Ken Muraoka-Tenor & Soprano Sax:Hiroaki Suzuki Electric Piano:Masaaki Terakawa-Bass

Jazz Psych Rock Fusion banger from Count Buffalos.
This one's for Doyle -a (belated) Happy Birthday to you !

MASABUMI KIKUCHI IN CONCERT

Masabumi Kikuchi Sextet recorded Nov 13th 1970 at Sankei Hall,Tokyo for Philips/Nippon Phonogram Japan.
Masabumi Kikuchi(elp,p), Kousuke Mine(ss,perc), Masahiro Kikuchi(org)Yoshio Ikeda(b), Hiroshi Murakami(ds), Keiji Kishida(ds)

Tremendous one cut a side live session with Kikuchi and brother Masahiro on keyboards, Kosuke Mine breathing fire on soprano plus a heavyweight double drummer rhythm section all anchored by the mighty Yoshio Ikeda on bass.
Side one is a pulsating,driving 25 minute take on the Kikuchi standard "Dancing Mist" while side two is another Kikuchi war horse the beautiful "Yellow Carcass In Blue".
All killer....

GUSTAV BROM - PLAYS FOR YOU POP JAZZ AND SWING

Gustav Brom & His Orchestra for Opus Czechoslovakia 1976.
Conductor – Gustav Brom;Alto Saxophone, Soprano Saxophone – František Navrátil;Baritone Saxophone – Josef Audes;Bass Guitar, Bass – Jan Hubáček;Drums – Vítězslav Vavrda;Electric Guitar, Electric Piano [Fender] – Igor Vavrda; Organ , Electric Piano, Synthesizer , Piano – Milan Vidlák;Percussion – Václav Skála;Tenor Saxophone – Miloslav Petr; Tenor Saxophone, Flute – Zdeněk Novák;Trombone – Gustav Brom , Jan Formánek, Mojmír Bártek;Trumpet, Mellophone – Jaromír Hnilička, Jindřich Šmek, Václav Holub

Big Band Banger from Brom and the boys which is probably best know for the dance floor monster "Calling Up The Rain".Much of the rest of the lp is in much the same vein with driving horn charts coupled with scratchy guitar, organ and a banging rhythm section.
Mostly killer with a few snoozers....

MATUMOTO HIROSHI . ICHIKAWA HIDEO QUARTET - MEGALOPOLIS

 Hiroshi Matumoto & Hideo Ichikawa Quartet for Victor Japan from 1969.
Hideo Ichikawa(p), Hiroshi Matsumoto(vib), Kunimitsu Inaba(b), Motohiko Hino(ds).

First time out in blogland for this superb all killer piano and vibes led set from Japan.
Think Hutch-think MJQ-think again...this is just sublime.

JOHN LEE & GERRY BROWN - INFINITE JONES

 Jon Lee & Gerry Brown for Keytone from 1973.
Gerry Brown (drums, percussion)John Lee (bass, Fender bass, percussion)Gary Bartz (alto & soprano saxophones, slidewhistle, percussion)Chris Hinze (flute, alto & bass flute, piccolo, bamboo flute)Henny Vonk (vocals, percussion)Howard King (percussion)Rob van de Broek (piano, electric piano)Hubert Eaves (piano, electric piano, percussion)Jasper Van 't Hof (piano)Wim Stolwijk (piano, voice)

Forget all the dross that Lee & Brown knocked out during the 70's this was their first lp a slammin' slab of spiritual fusion which blows the shit out of their later output.
Michael Cuscuna (no less) wrote these excellent sleeve notes:

Infinite Jones is an outstanding recording from two outstanding musicians, John Lee and Gerry Brown. They have totally absorbed the various vocabularies of every musical idiom of the day and added their own fiercely creative energies to that knowledge. This album will prove that beyond doubt.
John and Gerry first established themselves within the New York and Philadelphia music circles. Gerry has worked with such diverse musicians as Lionel Hampton and Stanley Clarke, John has played with Max Roach, John Henderson, Pharoah Sanders and others, as a team they worked together in several groups, most notably that of tenor saxophonist Carlos Garnett.They expanded their reputations further when they moved to Holland to join Chris Hinze's Group. While Chris' recording schedule and tours are quite demanding, the duo found time to play with Joachim Kuhn and to write and record this, their first album as leaders.
Their compatriots here are from two basic sources. Hubert Eaves and Howard King are in Gary Bartz' NTU troupe, while the remaining sidemen have all worked with Chris Hinze.
The title tune kicks off in a contemporary funk groove with bass, drums and electric piano, Henry Vonk's voice and later Gary's soprano come in to state the theme, which moves as a half tempo feel across the rhythm section. Eaves' electric piano and Gary's soprano sax are the featured soloists, a series of haunting voice-organ pedaltones move beautifully under the rhythm section and soloists.
Deliverance, whose theme is stated by the rhythm as well as the melody instruments, is the longest and freest piece on the album. Bartz gets off some beautiful statements on the soprano, followed by Gerry's first drum solo, which is an exercise in descending dynamics. Bartz steps out again as the band gradually builds in intensity. John Lee's electric bass solo grows not only in power but in the intensity of his statements, with free and complimentary support from the piano and drums. Jasper van 't Hot turns in a great electric piano solo, check the way John's bass glisses and Gerry's drum figures lock in together under him, some raspy thrills from Bartz make the transition into Gerry's next drum solo an impressive, if not brief tour de force, after which the band rejoins for a brief statement of the theme.
Jua strikes the ears as an impressive extension of the classic John Coltrane Quartet, not only in the feel of the rhythm section (check the left hand on the acoustic piano), but also in the development of a basic six note theme into a full tune and then into a full performance. The first solo is Chris' flute as the rhythm section turns on in a rolling six/eight the band lightens up for a swaying entrance of Bartz' soprano sax and then begins to build back up their original level. There are several amazing moments in the Bartz' solo when the sax and drums lock firmly together in their phrasing. Gerry's Absitively Posolutely begins with a drum solo that evolves into a rockish beat with percussion support. Bartz comes in with a slidewhistle as the drums grow more frantic and insistent until this unusual piece comes to an end.
Rise On has an underlying samba feel with the alto sax, flute and voice reading the theme. The tune is basically a showpiece for Gary's alto with John's delightful glissando occasionally stealing the spotlight. Chris Hinze's Who Con See The Shadow Of The Moon opens with the alto sax, arco bass and voices playing and even dirgelike line with the alto flute playing over them, eventually brushes and electric piano are introduced to apply a marchlike tempo under the line, then the rhythm section breaks into a controlled dark-baroque feeling for a brief solo and extended bass solo.Bamboo Madness offers a catchy theme played by the unique combination of bamboo flute, acoustic bass and percussion.
My enthusiasm for Infinite Jones is inexhaustible. With each listening new musical discoveries reveal themselves to me. It is fitting that this album by John Lee and Gerry Brown would be as outstanding as their individual playing. What more can I say.
Michael Cuscuna Writer Critic, Producer New York

COLUMBIA READY-MADE JAZZ ROCK

A few years ago Konishi Yasuharu pulled together a reissue series of 9 rare 70's Japanese jazz-rock albums from Columbia Japan to celebrate the 100th anniversary of Columbia.I posted the first of the series Count Buffalo's Soul & Rock here and following this was contacted by Bongohito,a reader of this blog,who kindly sent me rips of two more albums from the series.
I have ripped my copy of Keito Miho's Sachio:Sound Poesy to make a triple whammy of Japanese "Jazz Rock".Don't take the genre title too seriously and expect a lot more bossa/now sound than jazz rock on most of these tracks!
Thanks to chipple.net whose reviews I have plundered for these posts-read the rest of his musings on the series at his blog.

KEITO MIHO & HIS GROUP - SOUND POESY SACHIO

A very interesting album, featuring soft rock and bossa nova covers plus a few originals by jazz pianist Miho Keitarō and "his group" (no details whatsoever about the other musicians).
I was attracted to this one as soon as I saw the series' jacket line-up, and if you'd hope for a racing theme you won't be disappointed. The A side is instrumental and very conceptual, with racing sounds and announcements in Japanese over and between the songs! Side B has no racing sounds and several of the songs have female vocals (from scat to English and Portuguese vocals). The song "Remember Of Paris" has an overlaid dialog. The whole holds together very well. Excellent album!
Reading the short liner notes written by Miho made this album even more interesting. It tells about "Sachio", a racer and music lover who came to see his band play in Roppongi and made the comment "the sound is hard!", making Miho rethink his directions. The album is a collection of songs Sachio likes, but "if he would hear it, he'd probably say 'it sucks.'" A comment that made me grin.
At that point I still didn't know who's that "Sachio" so I did a bit of research. Turns out that the Paris-born racer and fashion model, Fujisawa Sachio, died in a test run accident in early 1969 at the age of 25, so this album (released later the same year) is clearly an homage. Kamayatsu Hiroshi was also friends with Sachio and dedicated a song to him, "So Long Sachio". We also learn that the people who talk about their Paris memories are Sachio and Miho themselves, a very rare recorded dialogue.
Review from chipple.net

NORIO MAEDA & JIRO INAGAKI ALL STARS THIS IS JAZZ ROCK

This album features Maeda Norio (Hammond organ) and Inagaki Jirō (tenor sax), accompanied by trumpet, guitar (Sugimoto Kiyoshi also on Count Buffalo's album above), bass, drums and latin percussions. It seems like these two are still making music together to this day! The presence of the two lead instruments is felt throughout the album, which is mostly rock but with a touch of jazzy solos (far from being as radical as Count Buffalo's Soul & Rock [a previous OIR post]).
Review from chipple.net
Big thanks to bongohito who contributed this post.

SOUL TRIPPER - THE WIP

The black jacket showing a hippie sitting in the dark didn't particularly attract me, but I was pleased with the music. The liner notes don't tell us much about the members other than leader Iiyoshi Kaoru (piano/organ), but he's accompanied by guitar, bass, drums, flute/horns and sometimes strings. Not much of a jazz feel here.
Review from chipple.net
Big thanks to bongohito who contributed this post.

HIROMASA SUZUKI - COLGEN WORLD

Hiromasa Suzuki for Toshiba EMI Pro-Use Japan from 1976.
Hiromasa Suzuki:Piano ; Motohiko Hino:Drums ; Kunimitsu Inaba:Bass.

Beautiful acoustic piano trio business from Japan.Recorded for the pro-use series so it's a sonic treat.
All killer no filler.

CULTURES OF SOUL : STANTON DAVIS' GHETTO / MYSTICISM - BRIGHTER DAYS

Highly recommended reissue business:Released for the first time on CD coming out on March 15th.
Cultures of Soul Records are proud to bring you this brilliant Jazz Funk masterpiece, Stanton Davis and the Ghetto Mysticism Bands’ Brighter Days album.
Stanton Davis originally created this seminal jazz funk masterpiece back in 1977. It’s being reissued for the first time on CD after many years of being left in obscurity. Every track from start to finish is top notch, featuring beautiful instrumentation and complex arrangements.
Stanton Davis was mentored by the great jazz legend George Russell and later formed the Ghetto Mysticism Band in Boston, MA. He and the group performed exciting live shows in the city all throughout the ‘70s.
Brighter Days showcases an array of uptempo jazz funk stylings, from the fast-paced fury of “Things Cannot Stop Forever” to the deep space sound of “Space A Nova I” (already featured on Gilles Peterson’s Revolutionary Jazz compilation) to the atmospheric instrumentation of “Play Sleep” to the beautiful vocals of “Brighter Days” and the loose funk groove of “Funky Fried Tofu.”

Les McCann & The Jazz Crusaders - Jazz Waltz

Les McCann & The Jazz Crusaders for Pacific Jazz from 1963.
Les McCann (piano, electric piano, organ)Wilton Felder (tenor sax)Wayne Henderson (trombone)Joe Sample (piano, organ)Robert Haynes (bass)Stix Hooper (drums)

The funky piano of Les McCann hooks up with the raw soul jazz of the early Crusaders for this excellent set of short, sharp swinging cuts."Damascus" and "Spanish Castles" hit a marvelous modal mode but the whole album is a cracker.
Unbelievably never reissued and this is the first time it's been posted in blogland - All Killer No Filler.
Edited Sleeve Notes by Joel Dorn:

We should all be thankful that in the past when World Pacific or Pacific Jazz brought musicians of stature into the studio to record together, the pairings were not based upon name value alone. Rather empathy and adaptability were used as criteria.
Some memorable Pacific Jazz combinations have been Richard "Groove" Holmes and Gene Ammons ("Groovin' With Jug" PJ-32) and Les McCann and Stanley Turrentine (Les McCann in New York PJ-45). These albums were successful because all parties concerned had a common ground upon which they could meet.
It is for precisely the same reason that this particular album is a success. Les and the Crusaders are possessed of a common denominator in their familiarity with the blues. McCann's primal funk and the Crusader's searing Texas preaching have a natural affinity for each other.
McCann rode the crest of the late fifties soul wave and while others of that era have been washed ashore, Les is still riding high. While the Crusaders didn't make as great an initial splash as McCann, their popularity has been growing steadily, especially in the East where they have yet to be seen in person. Beyond any doubt they are one of the two or three most substantial jazz groups to emerge in the sixties.
I am reluctant about any discussion of the music in this album because I hate to use words to attempt to describe something the ears can understand fully and without any preliminary explanation.
In closing I would inject one brief personal note. Recently when the Ray Charles Band had a two-week stand not far from Philadelphia I had the chance to hang out with my good friend David "Fathead" Newman whose been with Ray Charles for years. "Fathead" is recognized as the current dean of the Texas school of tenor playing. Sometime during the two weeks I happened to ask him what he thought of the Crusaders. His answer was simple. He smiled broadly and said "Yeah." This is much akin to having George Bernard Shaw give you an A in English composition. Need more be said.

SOUND RINGS LIKE AN ECHO IN THE WOODS

Blackclassical is back with another stellar mix of jazz,poetry and all things righteous....grab the fucker:
http://i.mixcloud.com/CQ8qX

I recently managed to get this picture of Blackclassical in a rare moment of relaxation away from the hectic schedule of his bedroom studio

MAL WALDRON - TERUMASA HINO REMINICENT SUITE

Mal Waldron & Terumasa Hino for Victor Japan from 1972.
Terumasa Hino (tp) Takao Uematsu (ts) Mal Waldron (p) Isao Suzuki (b) Motohiko Hino (d) Yuhji Imamura (per)

Waldron sits in with Terumasa Hino's 72 quintet (taking the piano chair of Mikio Masuda) for this magnificent recording featuring two epic cuts spanning a side a piece with composing credits split between Waldron and Hino.Something of an obscurity even to Waldron fans this has never seen a vinyl or cd reissue even in Japan which is a great pity as its a phenomenal lp.
"Reminicent Suite" is by Waldron and opens with a typical hammered down solo piano theme rapidly picked up by the rest of the quintet which is then comprehensively shredded,mangled and spat out until around 15 minutes when the vamp slides into a beautiful coda creating a more reflective mood for some lyrical work by Hino, Uematsu and Waldron who then bring the track to a close with a brief restatement of the theme.
"Black Forest" is a churning 6/8 styled naningo the soloists darting out from the thickets of percussion with Waldron battering the cyclical motif into submission.Hino and Uematsu drop rip roaring solos followed by Waldron and then its over to Motohiko Hino and Suzuki before back into the theme for conclusion.
Breathtaking stuff and a huge favourite over here at Bacoso's Big Top.
All Killer No Filler!

ROY PORTER SOUND MACHINE - JESSICA

Roy Porter Sound Machine for Chelan USA from 1974.
Roy Porter: Drums - Jimmy Holloway, Leslie Hargrove: Guitar - Tollie Moore: Electric Piano - Bob Davis: Organ - Charles Jones: Fender Bass - Oscar Dye: Congas - Hense Powell, James Smith: Trumpet, Flugelhorn - Lester Robertson: Trombone - Jack H. Fulks: Tenor Sax, flute - Sone' Campbell: Tenor Sax.

Ridiculously hard to find private pressing out of LA from drummer Roy Porter and his Sound Machine.
Every cut a stone cold killer on this fully loaded breaks and beats bomb - shufflin' beats and drums all over ""Funky Twitch" fucked up funky latin madness on "Wow" while "Drums for Darryl" is a scrambler and drums duet and of course the organ grinder groove of "OOh La La".

All Killer No Filler No Doubt Whatsoever.

GEORGE GRUNTZ - NOON IN TUNISIA

George Gruntz for Saba from 1967.
Piano, Conductor, Composed By - George Gruntz ; Soprano Saxophone, Flute, Tambourine - Sahib Shihab ; Bass - Eberhard Weber ; Drums - Daniel Humair ; Violin - Jean Luc Ponty ; Goblet Drum [Darbouka] - Hattab Jouini , Salah El Mahdi ; Ney - Salah El Mahdi ; Oboe [Zoukra] - Moktar Slama ; Percussion [Bendire] - Hattab Jouini , Jelloul Osman , Moktar Slama , Salah El Mahdi ; Tabla - Hattab Jouini , Jelloul Osman ; Bagpipes [Mezoued] - Jelloul Osman.
Producer - Joachim Ernst Berendt

George Gruntz organized this studio recording as an opportunity for blending the worlds of jazz and Arabian music, though utilizing original music of his own. With Sahib Shihab (soprano sax, flute, and tambourine), violinist Jean-Luc Ponty, bassist Eberhard Weber, and drummer Daniel Humair, plus four Bedouin musicians playing traditional Arabian reed, string, and percussion instruments, Gruntz conceived the nearly 31-minute six-part "Maghreb Cantata" as the centerpiece of the date. The composer's themes are essentially brief modal statements utilized as jumping-off points for the musicians' improvisations. Bracketing the suite are two vocal numbers that incorporate the chanting of centuries-old Arab poems. Open-minded jazz fans will find this unusual session both intriguing and infectious.Ken Dryden.

All Killer No Filler.

NAOSUKE MIYAMOTO SEXTET - STEP!

 Naosuke Miyamoto Sextet for Three Blind Mice Japan from 1973.

Kunji Shigi - trumpet & fluegelhorn; Takashi Furya - alto sax; Takeshi Goto - soprano sax & tenor sax; Masayoshi Yoneda - piano; Naosuke Miyamoto - bass; Shoji Nakayama  drums

Those of you with long memories may remember a comp I put together and posted here back in 2006 entitled "The Mood Is Modal" which opened with Naosuke Miyamoto's sublime modal masterpiece "One For Trane".Now and only 5 years later(!!!) here's the whole lp for the first time in blogland and it's a bomb.
Miyamoto had been recording since 1960 with the likes of Sadao Watanabe and George Kawaguchi (more from him in a future post) and was something of an old pro when he assembled this sextet using players from both the new generation of young lions and more established musicians.Two Harold Land compositions (check the storming version of "Step Right Up To The Bottom" ) and three originals from Goto,Yoneda and Miyamoto make up the writing credits and it's on "One For Trane" & "Where Do They Go?" the influence of the Coltrane/Shorter modal school is at it's best.
Fiery and beautiful music throughout this really is ....

All Killer No Filler!

COUNT BUFFALO & THE JAZZ ROCK BAND SOUL & ROCK

Count Buffalo & The Jazz Rock Band for Denon Japan from 1969.
Ishikawa Akira (drums) Terakawa Masaoki(bass)Masahiko Satō(piano)Hiromasa Suzuki (piano) Kiyoshi Sugimoto (guitar)Takeru Muraoka (sax).
First time out in blogland for Akira Ishikawa and the gang with a wacked out free reaching fist full of originals and covers busting loose from late 60s Japan.

Review from chipple.net:
When I heard the term "jazz-rock", I didn't really know what to think, but hearing this release seemed to make it all clear. Rock songs are performed in a quite normal way, or so you'd think until some improvised jazz solos come up half-way, with sometimes one player keeping his feet on the ground until everyone comes back to the main theme for the end of the song. Not knowing better, the jazz parts reminded me of when I saw Ōtomo Yoshihide New Jazz Ensemble. Being a drummer, I also very much enjoyed leader Count Buffalo's energetic and creative playing. I was especially impressed by a cover of the Beatles' "Michelle", song that I never liked so much, but this cover really made me appreciate it. Original songs "The Cougar" and "No More Than A Drop", both written by pianist Satō Masahiko, definitely stand out.

A Merry All Killer No Filler Christmas to one & all!

Francisco Mora Catlett - Mora!

Francisco Mora Catlett for AACE(Americas Authority Creative Experience)from 1986.

Francisco Mora Catlett-Drums & Percussion;Kenny Cox-Piano;Rodney Whitaker-Contrabass;Vincent Bowens-Tenor,Flute;Emile Borde-Steel Drums & Percussion;Alberto Nacif-Quinto,Congas & Percussion;Jerome Le Duff-Berimbau & Percussion;Teresa Mora-Vocal & Percussion.

Heavy duty private press business out of Detroit with this rare afro-cuban jazz banger.
Words won't do it justice so let the music do the talking......
All Killer No Filler!

VALERIE CAPERS - PORTRAIT IN SOUL

Valerie Capers for Atlantic from 1966.
Valerie Capers - Piano;Vincent McEwan - Trumpet;Robin Kenyatta - Alto Sax;Frank Perowsky - Tenor Sax;John Daley Bass;Charlie Hawkins - Drums;Richard Landrum - Latin Percussion

First time out in blogland for this terrific obscurity from the blind pianist who has played with Dizzy Gillespie, Max Roach, Ray Brown, Paquito D'Rivera, Tito Puente but is still probably best known for her time with Mongo Santamaria.
Five self penned originals plus one standard which range in diverse styles from the rousing opener of the Billy Taylor influenced "Little David Swing" to the modal "Odyssey" to the sublime latin serenity of " Subrosa" to the hip swingin' groover "Hey Stuff" and the rousing soul jazz sound of "Kenne's Soul".

All Killer No Filler.