29 March 2006


Incredibly righteous work from Bobby Hutcherson -- a rare Blue Note session that features vocals by Eugene McDaniels! The set was recorded right before McDaniels' groundbreaking Headless Heroes album, but it's got a similar sort of vibe -- breaking down genres and musical expectations -- and reaching forth with a powerful progressive sound that's beyond compare! All tracks feature lead vocals by Eugene McDaniels, supported by a small chorus of backing singers -- in a mode that's a bit like some of the Eddie Gale work on Blue Note at the time -- all topped off with some great instrumental work by a core combo that features Hutcherson on vibes, Harold Land on tenor, Wally Richardson on guitar,Candido on congas and Joe Chambers on drums. Imagine the greatness of the Hutcherson/Land group, but with the added bonus of a spiritual soul jazz vocal aspect -- and you've really got a key picture of this one! Like the best work on Strata East, but recorded years before. I'm not a big fan of vocal jazz but this album does it for me every time.Ripped this from the reissue cd as my vinyl copy is nearly worn out!


27 March 2006


Super heavy weight latin fusion and one of the great unsung albums of the early 80s.Harris Simon on keyboards with Michael Brecker ,Joe Farrell ,Portinho , Rubens Bassini, Claudio Roditi,Brian Brake and Mike Richmond.Check out the monstrous versions of "Romance Of Death" and Cesar Mariano's "North Station" .500 mile an hour wipe out !



26 March 2006


The new thing goes funky on this great Shepp LP from 1969.Shepp tears it up over a ferocious back beat on "Back Back" ,Leon Thomas yodels his way through the swinging "Spoo pe doo", things go further out on the furious "New Africa"and "Bakai"and more funk on the grooving "Slow Drag "which has a piano riff begging to be sampled.(Not to be confused with Donald Byrds tune of the same name). Great stuff!
Ripped from the japanese cd shown.


25 March 2006


Jazz music has more than its fair share of overshadowed figures that whilst contributing much to the music have little presence in its collective conscious. One such musician is the talented multi-reedist, Sahib Shihab, who despite emigrating from the United States in the early 1960?s managed to have a significant impact on the scene. Recording with some of the legends of bop, before embarking on a European career in jazz as a soloist and member of the successful Clarke Boland Big Band.
He was born Edmond Gregory in Savannah, Georgia in 1925, his earliest professional experience playing alto with Luther Henderson?s band, at the tender age of thirteen. After a period of study at the Boston Conservatory he went on to play with trumpet great Roy Eldridge and lead alto with Fletcher Henderson in the mid forties. Here he was still billed as Eddie Gregory but in 1947 he became an early jazz convert to Islam, rather quaintly referred to as Mohammedanism in the vernacular of the day.
The Bop explosion of the late 1940?s that swept through jazz gripped Sahib Shihab, as many others and he quickly became one of the leading Parker influenced altoists of the day. Proving himself well equipped to deal with the complexities of the new music, he contributed to a series of classic sides with Theolonius Monk, between 1947-51 laying down some of the cornerstones of Bop?s recorded history, including the original version of ?Round About Midnight.? The self styled eccentric genius was an influential figure both on and off the bandstand and Shihab?s later work on Baritone owes a debt to Monk?s quirky and individual approach to the music.
During this period he also found time to appear on many recordings by popular jazz artists including Art Blakey, Miles Davis, Kenny Dorham, Benny Golson, Tadd Dameron and on John Coltrane?s first full session as leader for Prestige, First Trane. The invitation to play with Dizzy Gillespie?s big band in the early fifties was of particular significance as it marked Sahib?s switch to Baritone, the instrument he became most readily associated with.
By the end of the fifties Sahib Shihab had become increasingly embittered by the position of the jazzman in the United States and in particular racial tension. ? I was getting tired of the atmosphere around New York,? he informed downbeat in 1963. ??And I wanted to get away from some of the prejudice. I don?t have time for this racial bit. It depletes my energies.? So in 1959 he leapt at the chance to depart its shores and join Quincy Jones band, touring with the musical ?Free and Easy.? He stayed with the band after the musical ended, travelling around Europe until engagements eventually ran out and the band was wound up. He decided to make Scandinavia his home and lived between Denmark and Sweden according to work permit allowances for the next twelve years. Here he found the ?survival and peace of mind? he needed and was soon active writing scores for television, cinema and the theatre and secured work at Copenhagen Polytechnic.
In 1961 he joined the enduring big band of fellow ex-patriot Kenny Clarke and the unorthodox Belgian pianist/composer Francy Boland. Sahib Shihab remained a key figure in the band for its 12 year run. Contributing his gruff, fluent sound on baritone and his fluttering expressive flute to many recordings and live settings. His idiosyncratic and distinctive style was well suited to the unpredictable arrangements of the band.
His own work from the 1960?s and early 70?s provides a fascinating document of a man completely at home with the idea of individuality and self-expression. While his earlier influences of swing and his days with Monk are evident, he manages to define himself on a variety of standards, ballads, and his own unusual compositions, often featuring curious arrangements and tempo changes. His flute technique is highlighted on the roaring ?Om Mani Padme Hum? where, over a driving minor Latin groove; he applies his rich full tone along with an array of vocal expressions not dissimilar to Roland Kirk or Yusef Lateef. In the percussive ?Seeds.? Sahib plays Baritone against a sparse conga rhythm to great effect, utilizing its hoarse, rasping sound and its guttural expressiveness. Deep-throated honks sharply punctuate his flowing lines as he soars into new passages of invention full of warmth and humour. His sometimes eccentric playing is always saying something fresh and his unorthodoxy is beguiling.
Despite Sahib?s more relaxed environment, his marriage to a Danish lady and raising a family in Europe, he remained a resolutely conscious African-American, still sensitive to racial issues. Danish friends regarded him as a mild mannered gentle man, unless riled by the issues of racial inequality and injustice. On the evening of the death of Malcolm X Shihab played an engagement with the CBBB in Cologne. As his turn approached to solo he stood and fingered the notes as vigorously as ever but refrained from making a note with his horn. Producing only an angry hissing noise, for the duration of his chorus. Making his anger, frustration and bitterness abundantly clear.
In 1973 Sahib Shihab returned to the United States for a three-year hiatus, working as a session man for rock and pop artists and also doing some copywriting for local musicians. He spent his remaining years between New York and Europe and played in a successful partnership with Art Farmer. Sahib Shihab died in Tennessee in 1989.
A shadowy fugitive from his home in the land of jazz, Sahib Shihab remains a true unsung figure, worthy of more attention. With his equally expert technique on Baritone, Flute, Alto and Soprano saxophones and his capacity to adapt easily to a variety of musical settings. His warm, individual, singsong sound in improvisation and his unusual and interesting compositions mark him out as a hidden treasure in the dusty corners of jazz archive. From AllAboutJazz

There's not a lot to be said about this lp other than ESSENTIAL !
The fact that a record is rare and sells for big money is often no guarantee of the most important thing - is it any good ?
On this occasion the answer is emphatically YES .Enough said.
This is a repost from March 2006.


Every now and then in the recording industry a classic comes along, a record with such vitality and creative genius that it endures for decades to come. Recorded on July 29, 1957 in New York City, Tito Puente’s Top Percussion is one such classic.

This record was made during an Afro-Cuban musical renaissance that occurred in America roughly from the mid 1950’s to early 1960’s. Quite a few recordings were made which featured the small handful of Cuban master percussionists living in the U.S. at the time. The range of styles from this era included Afro-Cuban folkloric drumming to Latin jazz collaborations between Cuban percussionists and the leading jazz artists of the day. Unfortunately, there were also some watered-down and commercialized attempts made during this period to wed Cuban and American popular music.

Not to worry though, Top Percussion is anything but watered-down. the musicians on this record have given us a wonderful gift by showing what they are capable of doing. Because of it’s musical integrity, it’s as hip today as it ever was.

Even by today's standards, the sound clarity and high production quality of Top Percussion is note worthy. The late fifties was the era of hi-fi and the beginning of the stereophonic revolution of the LP. RCA promoted it as “Living Stereo"

New York born, Puerto Rican-American Tito Puente is at his peak here, living up to his title as “El Rey Del Timbal.” Joining him are master Cuban percussionists Mongo Santamaria, Francisco Aguabella, Julito Collazo and the late American born Willie Bobo. Each of these artists are legends in their own right. On Top Percussion they are all young, in their prime, and hot!

Puente created two distinct parts to this record. One half consists of Afro-Cuban folkloric percussion with call and response singing, and the other features the heart of the latin bands rhythm section: congas, bongos, timbales and string bass.

On the first six cuts Julito Collazo and Francisco Aguabella demonstrate their expertise in the sacred music of the Lucumi (Yoruba in Cuba). We hear Bembe, Guiro and Iyesa. Collazo plays exquisite chekere and sings the lead on "Eleguara," "Bragada," "Oguere Madeo" and "Obaricoso." Aguabella sings lead on "Obatala Yeza" and "Alaumba Chemach√©." These two also took a few artistic liberties within the traditional musical forms. For instance, on "Obatala Yeza" there’s a Iyesa lead drum being played as well as a lead Bata drum(lya). Aguabella plays the Iyesa lead taking turns improvising with Collazo, who’s playing the lead Bata drum part.

"Conga Alegre" is a Comparsa. This is the music that’s played in the streets during the time of Carnaval; a sort of Cuban Samba. The smoking quinto heard on this cut is played by Mongo Santamaria.

I have to hand it to Tito Puente for giving his side-men the opportunity to shine like this. However, I’ve always felt that one of the cowbells on the Iyesas and the snare drum on Conga Alegre were a bit too high up in the mix. Could these be the instruments that Puente is playing? If so, it’s a forgivable indulgence.

"Four by Two" and "Hot Timbales" are a couple of unique compositions that feature the timbales. The intensity is almost too much to bear. "Mon Ti" is a five minute timbale solo by Puente with Mongo holding down the bottom on congas. In my opinion this is one of the greatest timbale solos of all time. I don’t seem to ever get tired of it.

"Ti Mon Bo" is a moderately slow number featuring Tito on timbales, Mongo on congas and Willie on bongos. Willie Bobo made a name for himself as a timbale player, but on this cut he shows what a gifted bongo player he is as well.




One of the great latin jazz lps of the 60s and featuring who else but Sabu Martinez.
Latin Kaleidoscope is comprised of two suites, with the band swinging on well-written parts to a panoply of well-used percussion elements .Boland recruited drummers Kenny Clare, Al "Tootie" Heath" and Sabu Martinez to add their percussion talents.
Gary McFarland’s six-part "Latin Kaleidoscope" is a joy to discover – much as it was to first hear his solo creations and offers much evidence of his gifts. Boland, who added his own touches to this suite, never takes a solo throughout and is occasionally heard on harpsichord; a sensitive touch to sensitively considered music. And excellent solos are taken by Sahib Shihab ("Duas Rosas"), Ronnie Scott ("Uma Fita de Tres Cores") and Aki Persson ("Othos Negros")
Francy Boland’s "Cuban Fever" is like a musical postcard of Cuba: powerful, colorful, exciting, where the unexpected is approached at every corner. The innate skill of Boland’s craft is most apparent here. Like the great jazz arrangers, he’s a scenarist, a master painter. Here the brasses cover more of the thematic canvas. But it is often the reeds that take solo honors (a nice contrast) – with the exception of the beautiful finale, "Crepusculo y Aurora" that benefits by a resonant Benny Bailey trumpet solo (Clarke’s clever shifting patterns are much in evidence here too).


24 March 2006


Fantastic funky thriller soundtrack from 1974 ! This one's been a lost gem for sample freaks for years - and no wonder, since it's filled with funky riffing, tight rhythm tracks, and fierce horn blasts. The score was written by David Shire to accompany a thriller about a hijack on a subway in New York -- and it feels like similar work from the time by Quincy Jones or Roy Budd! The tracks really vary in length -- from short moody atmospheric numbers, to longer flat-out jazzy ones -- and the soundtrack's just about impossible to find in any other form.
The track listing is wrong - this copy is the first release where all the trax were listed seperately -the later releases have some trax batched together as medleys.However Its pretty easy to work it out.



This one's similar to Tito's Tambo - Exotica , Jazz , Afro Cuban ... its all here .
For my money this lp has the edge - a really tough album.Play this out and watch the place empty as everybody runs for cover!!!!
Ripped from vinyl so some of the track starts and finishes are not too clever as the music is continuous on the lp.
Bonkers sleeve notes as well - have a read ....

From the shores of the rivers of the sun come sounds, sounds various, beautiful and horrible with life, sounds as old as time, heard when brute creatures trod the earth, sounds that owe nothing to civilization and everything to rank and teeming biology. Product of a thousand animal and insect chirps, creeks, wails, thuds, thumps and stricken cries, they are an aural anthology of nature in its true guise, that nature that owns the earth and speaks for it, nature that is as ancient as the planets and as endless as the sun itself. The brooding heat that makes fecund every mite and molecule it touches has teemed into being a million forms of curious life, forms in the water, on land, in the earth and in the air, forms that live on other forms, or within them. Even their diseases are themselves new forms of life, life spongily multiplying amid death everywhere in an eternal cycle that produces its own whirring, multi-farious cacophony like the inner workings of a monstrous biological machine turned loose and run amuk. Man, the white-collared animal, occasionally dares to insert his prying boat, a lone dugout or a venturesome canoe, into these regions hung with vine where waters run that are grown to their surfaces with vagrant lilies, errant bitter ferns of musty odor, slime-decked pools of dead life rising with the swell. Man, the technical beast, opens an ear to the voice that sounds and he hears the original black and sordid magic of life, that sorcery he too came out of and now fears.

Here a mating call and a death rattle uttered by separate and independent beasts combine into a peculiar, haunting chime. The whine of a mateless mammal and the ticking of some hundred tiny pests occur haphazardly together to give an orchestra of blood and friction music indiscriminately scored for fauna and winds. The earth moves and the air moves with it and the whole regenerate pulsing and green-grown ball of firmament plunges through space as though it had a destiny. The tentacles of insects tickle the fringes of the cosmos and the beards of hairy animals wave freely in the gaseous envelope in which we and they float as we highball around the sun. This is the sorcery of life in its rutting, elemental source-design. This is the rhythmic magic of birth and rot and the constant burning muddy indigestion of the cosmic super- imposition of life on life on life, all grown into a heap and dying while aborning, corpses and genes well mixed in a great stew of fertility and reproduction and decay.

Life grows apace in lands where men still know the joys of being eaten alive by other men and/or by small fishes in furious clusters. Life jumps and bounds along rivers that dump indiscriminate cargoes of matter and debris into deep green seas, oceans that swallow whole subcontinents as glibly, blithely as the alligator gorges on its young, seas that reach from subtropic to subarctic and balance at once the breathless reaches of the armpit regions with the frigidity of the poles. The Aurora flips and flows on top of the world, aching across the empty void like a great tautened tongue, magnetic and muscular in its wild energy, kissing the whole world.

In old jungles strange ache-hungry birds watch from trees that wilt and hang. Small loin-clothed men step brittlely through overgrown verdure. Natural boleros sound in the teeth of giant crocodiles crunching the bones of careless waterfowl, while in the grass banks, the lice violate in aimless joy the matted fur of some dead, cold, warm-blooded species.

SABU ...

...has heard all this and much more. The rhythmic cadences of nature's boiler room are here, the aural history of the sex life of a cosmic corn popper, the wail and chime and gong sound of the eternal SORCERY.

Aurora Borealis (Sabu) - 7:34
Moon Black (Jay Douglas) - 6:00
Sorcery (Jay Douglas) - 4:58
Bonco (Sabu) -- vocal by Sabu - 6:11
Milk Weed (Sabu) - 9:45
Sol (Sabu) - 5:25
Sabu and his Percussion Ensemble: Sorcery! LP © 1958 COLUMBIA (Adventures in Sound) WL 101



One of the most soulful Sun Ra albums -- very much on the Lanquidity tip, and done with a great mix of electric and acoustic instrumentation. The vibe here is really mellow, spiritual, and warm -- and the album actually feels more like a session recorded for the Strata East label than it does for Saturn! Keyboards pervade the session -- electric piano and organ drifting around in moody, laidback lines -- augmented by occasional vibes, bits of guitar, and some wonderfully well-blown sax solo work by Marshall Allen and John Gilmore! The title track "Sleeping Beauty" runs for all of side two of the album -- and it's an amazing number that mixes instrumental passages with some great mellow vocals. "Door Of The Cosmos" is a bit of a groover, that gets funky at times -- and the album also features the laidback spacey number "Springtime".

23 March 2006


A monster of an lp from pianist Duke Pearson -- a darkly-tinged album of grooves that surpasses all his other gems for Blue Note! The record showcases some great work from Bobby Hutcherson -- slid into the mix in a really sly way, so that his jazzy vibes color all the tunes with an edgey feeling that's missing from most of Duke's other albums. The group's fairly large -- with Jerry Dodgion on flute and alto, Sam Brown and Al Gafa on guitar, plus added Latin percussion from Potato Valdez on a number of tracks -- but although the larger group format often made for softer edges on other Pearson sessions from the time, the mix here is quite different -- at a level that works in complicated rhythms, rich colors and tones, and warm harmonics that have a slightly unsettling undercurrent. The album's worth it alone for the mighty title cut "The Phantom" -- but the rest is still fantastic!



Is it exotica ? Is it afro cuban ? Is it a total percussion rinse out ? YES YES AND YES !!!
Indeed, these 12 compositions will wake up even the sleepiest of listeners. On the opening track, "Dance of the Headhunters," Tito Puente's brass section comes in screeching with the full force of an express train . Supported by Puente's writhing percussion troupe, the trumpets smash right through to the upper stratosphere; rarely does one hear brass players hit so many high notes with this kind of ease. (Of course, trumpet virtuoso Doc Severinsen is at the helm here.) Puente himself takes the lead on "Rumba Timbales," a tune that is comprised of one long, raging timbale solo. Several layers of rhythms are piled on top of one another for this track, leaving the listener to discern between the various tempos that are superimposed over one another. "Witch Doctor's Nightmare" moves in a different direction, embracing the smooth-toned, jazzy stylings of tenor saxophonist Rafael Palau. For anybody wishing to better understand real, unbridled Afro-Cuban jazz, Tambo is the perfect listen. Not only are these performances filled with great virtuosity, Puente's compositions and arrangements underscore the very roots of the genre.



Back in 1961, jazz pianist Johnny Williams was still making the transition to soundtrack composer John Williams, and one of the jobs he took on was the composition of thematic music for the television program Checkmate, a detective drama featuring the talents of Sebastian Cabot, Doug McLure and Anthony George. Williams wrote several pieces including the show's theme song and sketches that were associated with various characters and settings. Still strongly influenced by the jazz of the day, the music he created for the series reflected the modal experiments that were emerging from players like Miles Davis and John Coltrane.
The studio orchestra that recorded the themes included drummer Shelly Manne, who appropriated the music for his group, Shelly Manne & His Men, and began to introduce the material to audiences at his club, Shelly's Manne-Hole in Hollywood. When they had worked out the arrangements, he took the group, including Conte Candoli on trumpet, Richie Kamuca on tenor, Chuck Berghofer on bass and Russ Freeman on piano, into the studio and created this album.

Shelly Manne & His Men were one of the finest groups in West Coast jazz, and their ability to adapt this music for straight jazz performance gives a good indication why. They assimilated the modal approach, still considered new and challenging, and found the spaces in Williams' compositions that allowed for improvisation, then crafted excellent solos to fill those spaces, weaving a carpet of sound as only a true working band can. The ability to play the music in a club environment until their grasp of the possibilities was complete was a luxury rarely afforded in the world of jamming pick-up bands that was too often the circumstance in jazz studios, and the results are a modal masterpiece



Within the last ten years the resurgence of sixties Gallic Pop, once known as Ye-Ye music, has escalated beyond an inter-stellar dizzy height. What might have been a waning, embarrassing genre destined for a shelf life/death gathering dust amongst the Eurovisions of yesteryear, the 'jerk-beat' psychsploitation records of the latter day French-Disco had soon found new floor space in some of the most credible nightspots in London and Japan.

Without a shadow of doubt, the flagship LP with best odds on becoming a discerning household object was "Histoire de Melody Nelson" by one Serge Gainsbourg. An inimitable, 29 minute concept LP handcrafted by a bass-driven psychedelic rock group and a heaven-sent, 1001 piece orchestral and choral symphony. The album left hip-hop producers alongside progressive rock aficionados crying out for more and more for years to come. This LP was in a league of its very own... or was it?

The seldom-sung musical arranger for Melody Nelson has become one of the most enigmatic names in French-funk; lorded by many as the "French David Axelrod" Jean-Claude Vannier's name is the lesser-spotted, tell-tale seal of sample-friendly quality when it comes to crate-digging 'en Francais'. Suitably, when rumours amongst French record dealers claiming "the band who played Melody Nelson recorded a follow-up lp" became a legend of psychedelic folk-lore. Another unconfirmed rumour about JCV taking the remaining out-takes of the beloved Melody Nelson to create a promo-only experimental rock LP left sample hungry producers and DJs in turmoil...

For those in the know the answers to these mysteries lay flat between the anonymous gatefold sleeve of an undiscovered conceptual album bizarrely entitled "L'Enfant Assassin des Mouches" by a custom-built avant-rock entourage called Insolitudes. The rocking-horse manure treasure hunt began.

So here we have it. The mythical teen-tonic for all those suffering from Melody Nelson withdrawal symptoms. For record collectors looking for that special something, this LP contains the extra-special EVERYTHING. Peruse the following genres: Psychedelic, Classical, Soundtracks, Jazz, Hip Hop, Samples, Avant Garde, Funk. Then place a copy of "L'Enfant Assassin des Mouches" in each section.

History denotes that when 'our man in Paris' Msr. Gainsbourg first heard the initial bones of this LP he took his poetic pencil to paper providing bizarre liner notes, thus consummating the most extraordinary concept album of all time. The story "The Child Assassin Of The Flies" was to be included as the only information to grace the LPs highly collectible, concertina gatefold sleeve. The story in full is reproduced in its native-tongue on this very special re-release package. The CD also includes the bonus track "Je M' Appelle Geraldine", a beat heavy John Barry-esque track taken from Vannier's super-rare 7" EP "Point D'Interrogation".

DJs and Producers such as Jim O'Rourke, Stereolab's Tim Gane and David Holmes have spent sleepless nights in perusal of original copies of this perfect release and now regard it as 'One Of The Best'. Recent copies on eBay have commanded ridiculous price-tags, and is now one of the most sought-after articles amongst the vinyl hungry hip-hop community



A beautiful pair of 70's groovy samba/jazz influenced soundtracks from one of the great Italian composers! This set brings together 2 extremely rare LPs by the great Alberto Baldan Bembo, and they're both a fantastic mix of Fender Rhodes piano, vibes, wah wah guitar, and stunningly sensuous orchestrations. All of the tracks are more lively than the ones usually associated with him but they're no less captivating, and have the kind of haunting quality that makes the best of these Italian 70's sessions so great


22 March 2006


The 1970s were headline years for Airto Moreira--not only because of his association with Chick Corea's Return to Forever and his work on wife Flora Purim's Milestone dates, but also, because of the generally superb work he did under Creed Taylor's supervision at CTI from 1972-74. One of the five-star gems that the Brazilian percussionist recorded for CTI was Fingers, which employs Purim on percussion and vocals, David Amaro on guitar, Hugo Fattoruso on keyboards and harmonica, Jorge Fattoruso on drums and Ringo Thielmann on electric bass. Produced by Taylor and recorded at Rudy Van Gelder's famous New Jersey studio, this LP demonstrates just how stimulating and creative 1970s fusion could be. When Moreira and his colleagues blend jazz with Brazilian music, rock and funk on such cuts as "Wind Chant," "Tombo in 7/4" and "Romance of Death," the results are consistently exciting.

21 March 2006


Many thanks to FAUXTEUR who has remedied my mess of individual track links and now posted a link for the whole lp .


20 March 2006


An incredible record -- one of the best sides of Latin jazz you could ever hope to find! West coast vibist Bobby Montez had a fantastic sound during the 50s -- one that mixed together Latin rhythms in a way that few other players were using. He kind of fixed on a changing modal groove, the sort that would later be used more heavily by Dave Pike or Bobby Vince Paunetto -- and he worked his combo like a shifting plate of rhythms, swirling around the grooves on piano, bass, and percussion in a weirdly complicated way, yet never failing to swing, or to hit that right groove for the dancefloor. This 1958 album is a rare gem -- the sort that changes hands for hundreds of dollars in the original, and for good reason. This is ripped from the reissue which was remastered as the original had a pressing defect which caused hiss through out the lp


19 March 2006


One of the great lost treasures of latin jazz this is one of my favourite lps .
To quote John Storm Roberts from his essential book The Latin Tinge "Under a singularly gentle surface , Paunetto's compositions encompass a remarkable range of influences . He touches all the Cuban bases from afro cuban drumming to charanga violins and his approach to jazz is very much coloured by the modal and free rhythm experiments of the late 60s and early 70s . The result is of a quietly exhilarating subtlety that provides a very rich framework for his soloists "


Well heres my first post and its a killer .They dont come any harder than this .This ones ripped from the japanese cd reissue on Blues Interaction.
Here are the original sleeve notes

Quite apart from the fact that it is difficult, if not impossible to please everyone, the music contained in this LP will not be appreciated by some. This, due to the mild controversy existing over the adaptation of Latin rhythms to jazz. Up to now, we have seen many attempts in this direction with some good ... and many unfortunate results. To this controversy Sabu Martinez brings his own solution, i.e., not adapting Latin rhythms to jazz or vice versa, but allowing each to retain its individual form. The results, as this LP illustrates, is a parallel flow of musical ideas, at times fusing and at others providing exciting divergent patterns.

Sabu is well schooled to accomplish his goal, having an extensive background in both the Latin and jazz idioms. He has contributed his talents to such big Latin bands as Noro Morales, Miguelito Valdes and the Lecuona Cuban Boys. His deep comprehension of jazz was gained through his association with Art Blakey, Dizzy Gillespie, and the late Charlie Parker.

Sabu's reply, when questioned about his objective in presenting JAZZ-ESPAGNOLE to the public was, "... to play the music that I like and know best; with the hope that it will also be enjoyed by the public."

We trust that you feel, as we do, that this goal he has definitely achieved.