Here's the last block rockin' party post for New Years Eve - Montegoe Joe gets hard n heavy for Prestige from 1965.This one is the perfect mix of afro cuban rhythms and jazz. Here's a review from good ole Dusty Groove
A supremely rare Latin side on Prestige -featuring congolero Montego Joe, who was the guiding force behind the Har-You Percussion Ensemble, and so many other great groups. The album's a striking batch of tracks that perfectly illustrate how strongly the New York Latin scene was at the crossroads of jazz -as Joe's group features work by young modernists Chick Corea and Milford Graves, plus tenor work by Al Gibbons, trumpet by Lenny Goines, and bass by Eddie Gomez. Tracks have a tightly jazzy sound that goes a bit towards the "groovy" edge in parts -but which is always highly percussive at all times, and well-directed by Rudy Stevenson, who was the leader of the group.
This ones ripped from the cd re-issue at 320 although I was lucky enough to blag an original vinyl copy many years ago-thanks Kev !!!
I'm off out now for a night on the piss - Happy New Year and a killer hangover to you all !!!
Now the party's in full swing how else could we follow Tito but with Mr Bongo himself - Jack Costanzo!Here he is scorching the skins for Liberty in the 50s with Carlos Meija on Congas,Jay Corre on Tenor,Gil Barrios on Piano,Tony Reyes on Bass and Chuy Ruiz on Drums. Costanzo's bongo work first gained notice during his long stint with Stan Kenton's band, soloing in many of the Latin numbers Kenton loved. This is a live recording by Costanzo's combo at the Garden of Allah nightclub.Check the sleeve notes:
We went right to the famous Garden of Allah in Hollywood where Mr Bongo himself was appearing... and packing in the tourists and localites who were there to dance and to gaze at the Monroes, Mansfields, etc., swinging their million dollar torsos to the rhythms of the greatest cha cha aggregation yet assembled.
It has been the oft stated opinion of the critics that the best recorded performances can usually be obtained when a group is recorded in familiar surroundings rather than in the austere atmosphere of the recording studio. Listen to the first few bars of this album and you will agree that this wonderful, uninhibited sound could not have been captured in any other way.
Maybe you weren't there, but you'll feel you are now - here is a complete Latin tour de force. Mister Bongo once again asserts his rightful claim to the crown he has worn since his first days with Stan Kenton and Nat "King" Cole.
This one's never made it to a re-issue-this is ripped from the original vinyl.
Let's get the party started and what better way than with this one by Tito in killing form from 1956 for RCA.Check the percussion section in this line up-WOW !
Tito Puente (vibraphone, timbales, background vocals); El Viejo Macucho (vocals); Jerry Sanfino, Marty Holmes, Ed Caine, Sol Schlinger, Allen Fields, Jose Madera, Dave Kurtz (saxophone, flute); Nick Travis, Frank Lo Pinto, Jimmy Frisaura, Gene Rapeti, Bernie Glow, Andres Forda, Sam Seavors (trumpet); Santo Ruso, Eddie Bert, Robert Ascher, Sam Takvorian (trombone); Alvin Gellers (piano); Bobby Rodriguez (bass); Mongo Santamaria, Willie Bobo, Carlos "Patato" Valdez, Candido Camero, John Rodriguez (percussion)
Tito Puente became the most famous practitioner of salsa during the 1950s because he brought Afro-Cuban music out of the barrio and into the living rooms of all Americans. The Mambo King is captured on CUBAN CARNIVAL during his rise to stardom. Recorded in 1955 and 1956, this album highlights Puente's fiery early years. CUBAN CARNIVAL documents the New York City salsa "sound" excellently. Not only are listeners treated to 11 authentic Latin selections, they get a sense of where Puente might be heading conceptually. For example, "Yambeque" is not only an up-tempo montuno, but it is also a vehicle for Puente's experiments with jazz. Midway through the track, a bebop tenor saxophone solo seems to pop out of nowhere before it slides back into the dense Latin percussion textures. "Cha-Cha De Los Pollos" switches gears entirely, embracing the now-celebrated cha-cha feel--a style that became very popular on the dance floor during this era. "Cuban Fantasy" is another strong composition, and this track features Puente on vibraphone. A cool-toned alto sax solo (a la Paul Desmond) firmly establishes the jazzy underpinnings of this exuberant track.
Review swiped from Amazon.com where you can also buy this on cd.This post is ripped from the original vinyl at 320.Great cover too which you unfortunately don't get with the cd re issue.
The Texas Tenor tears it up on this release for Verve from 1966.It's a fantastic LP of beautiful modal tracks, played by one of the most underrated reed players ever, during the most fruitful time of his career. At this point, Amy's moved away from his bluesy Texas roots, and discovered a freer Coltrane-esque sound that works beautifully with his compositions. Although the record was pushed by Verve with the funkier track "Mustang" -also recorded by Donald Byrd- the record really sounds more like a Nathan Davis record, with a mix of tenor and soprano sax that is extremely spiritual.
This has never made it to cd or a vinyl re-ssue -suprising given the popularity of the very funky title track and the fact it's on Verve.This is ripped from the original vinyl and although its done at 320 there is a little amp/burner background noise.I'm on the case with this problem which has blighted a few of my vinyl posts and think it's been resolved.
Here's a little something to listen to while the rest of the house watch interminable repeats and piss poor Xmas specials on the TV. Personally I shall spend the day drinking heavily and will have hopefully passed out by the time the truly appalling Eastenders is on.
Larry Young on Blue Note with George Benson-Guitar ;Eddie Gladden-Drums;Byard Lancaster-Sax (Alto) ;Herbert Morgan-Sax (Tenor).
Larry sits deep in the groove for this outing from 1968."Heaven on Earth"and "The Infant" are both solid hunks of funk while "The Cradle" and "Call Me" have a funky bossa feeling.Keeping it in the family he called the Mrs in to do a vocal on "My Funny Valentine"which really tested my patience under a pair of headphones (but not as much as Chet Baker's endless versions).Best tune for me is"The Hereafter"which is a more open ended exploratory piece which signals the sound Larry would develop on the great "Mothership" in the following year.
This has yet to make it to an individual cd issue although it was included in the Larry Young Mosaic Box Set .This post is a rip at 320 from the original vinyl.
Bah Humbug - here's my only concession to the festive season.Bombarded with shite Christmas songs from all directions (Take That AND Cliff Richard-what a double whammy for complete bollocks this year.One old c**t against five young but even bigger c**ts - tis the season to be utterly despondent if you are within a mile of a radio etc)
But Ho Ho Ho here's Duke striking back with a jazz Christmas Cracker.Yes it sounds like it should be crap-but it aint!!!
Duke pulls in Bob Cranshaw,Mickey Roker,and Airto for a selection of festive tunes and a very fine spin he puts on them too.The concept appears to be hokey as hell but the reinterpretations are cliche free and have some great moments.As I said I hate Christmas music(if i hear that bloody Slade record again I will pay for someone to shoot Noddy's fucking nuts) but this is really very good.
Ripped from Duke's Mosaic Select set at 256.
Seasons Greetings from Orgy In Rhythm.
Hard to track down bit of fusion from Bennie Maupin cut for Mercury in 1977.Pat Gleeson is featured on synthesizers and Onaje Allen Gumbs as conductor and arranger.Here's a review I lifted from Boom Ping Ping:
On 1977's excellent Slow Traffic to the Right,
Bennie Maupin takes comparatively contemporary looks at his pair of contributions to Herbie Hancock's Crossings and is joined by two fellow and key vets of that session: Eddie Henderson and Dr. Pat Gleeson. (Also on board: Patrice Rushen, Blackbird McKnight, Ralph Armstrong.) A barely recognizable "Water Torture" is tightened from 14 to five minutes, anchored by a pliant rhythm. "Quasar," the finale, isn't as drastically overhauled but is made to sound more like a theme. Much of this is due to the change in Gleeson's role. On Crossings, his synthesizer interjections are delivered as effect-like enhancements; here, his machines hurl a vein-melting crescendo of synthesized strings that double with actual strings. Like Maupin's other two '70s albums, Jewel in the Lotus (ECM) and Moondreams (Mercury), Slow Traffic to the Right has never been released on CD.
Ripped from the original vinyl at 320.
Art Farmer - trumpetPalle Mikkelborg - trumpetRick Kiefer - trumpetAck Van Rooyen - trumpetPhilip Catherine - guitarHerb Geller - sax, fluteJiggs Whigham - tromboneAke Persson - trombonePeter Herbolzheimer - tromboneRudi Fuesers - tromboneDieter Reith - elec. piano, organNiles Henning Orsted Pedersen - bassTony Inzalaco - drums"Sabu Martinez"- congaHorst Mühlbradt - percussion & piano
Recorded at Soundpush Studios, August 1973, Blaricum, Holland Produced by Peter Herbolzheimer
Wipe out LP from Herr Herbolzheimer and the gang.This one is a real slamming break beat driven hunk of funk especially on Frog Dance,That Ol' Bus Smell and Babo.And who's that on percussion-yes it's Sabu!
So put your lederhosen on,wax your moustache,get your trombone out and raise your beer stein to the great Peter Herbolzheimer and his Rhythm Combination and Brass-OOMPAH!
This is ripped from the original vinyl at 320.
Stan the Man on top form for Blue Note - with a rhythm section of Kenny Burrell, Herbie Hancock, Bob Cranshaw, and Grady Tate and a first class orchestra assembled and arranged by Oliver Nelson, tenor saxophonist Stanley Turrentine made a career-defining masterpiece with this 1965 classic. From early R&B classics like Percy Mayfield’s “River’s Invitation” and Buddy Johnson’s “I Wonder Where Our Love Has Gone” to Turrentine’s “Little Sheri” and Jimmy Smith’s “Bayou,” this album is perfect from start to finish. Two bonus tracks from the session, Lou Donaldson’s “Gravy Train” and Jack McDuff’s “A Kettle of Fish,” have been added to the original LP.
STANLEY TURRENTINE: tenor saxKENNY BURRELL: guitarHERBIE HANCOCK: pianoBOB CRANSHAW: bassGRADY TATE: drumsorchestra arranged & conducted by OLIVER NELSON
Re issued by Blue Note on cd in 1995.
One of my favourite lps this is a real beauty on Argo from 1964. Gene Shaw leads a great group including Charles Stepney on Vibes,Richard Evans on bass and Ed Higgins on piano-it also features Evans as composer and arranger.As the tile suggests it's a series of pieces with a real south of the border flavour which work beautifully.I won't pontificate on about this gem -just do yourself a favour and down load it.Highly recommended.
All Killer - No Filler !!!
Hard to track down on vinyl I picked this up on a Japanese cd some years ago.Needless to say thats been long deleted.
I Thought I would re-post this fantastic lp by Harold Land which first appeared here at OIR back in May this year.Note-the link's at Rapidshare.de
A fantastically beautiful record that stands as the first meeting between Bobby Hutcherson and Harold Land and it's an album that's possibly even better than the more famous Blue Note work by the pair! This is one of those "once in a lifetime" jazz sessions filled with magical interplay that's made the record a favorite with collectors for years, and done with a sound that's as lyrically graceful as it is soulful and righteous. Hutcherson's vibes are at their warmest 60s mode, but still have some of the angularity of his more modern sides for Blue Note. However Land is the real discovery here as he steps out with a fluidity that surpasses any of his earlier hardbop albums, a flowing exploratory style expressed on both flute and tenor with a mode that's years ahead of its time, and sounds a lot more like work on labels like Strata East or Muse from the 70s. Tracks are nearly all originals by Land, and are the kind of thoughtful jazz compositions that show up on a rare few records from the 60s - all of them are great, and sparkle with creativity and a subdued sense of righteousness.Pretty tough to track down on vinyl its been overlooked for cd release until very recently and even now it's a Japanese issue only in a card sleeve -this is ripped from the original vinyl on the mighty Cadet label.
Harold Land : tenor saxophone, oboe
Ndugu (Leon Chancler) : drums
Buster Williams : Fender bass, acoustic bass
Bill Henderson : electric piano, acoustic piano
Oscar Brashear : trumpet, flugelhorn
1. Step Right Up To The Bottom (4:40) [Harold Land]
2. In The Back, In The Corner, In The Dark (5:48) [Harold Land]
3. Pakistan (7:58) [Harold Land]
4. Chocolate Mess (7:31) [Harold Land]
5. Damisi (9:08) [Harold Land]
As the last Harold Land LP was so popular I thought I'd post another one from 1972.
"Step Right Up From The Bottom"is a straight ahead acoustic cooker by Land with some intriguing changes allowing the soloists to stretch out.
"In The Back etc"has a funky feeling- electric keyboards and bass,Brashaer on flugelhorn and the two horns interweaving in a complex,collectivly improvisational finish.
Land plays Oboe on "Pakistan"and its exotic tone is well suited to its dark mood.Brashaers muted trumpet and Hendersons Tyneresque piano contribute to the adventurous piece.Back on tenor Land plays Ndugu's"Chocolate Mess" on which brief ensemble statements alternate with a sustained minor vamp.
"Damisi"is an attractive melodic creation,featuring Land at his most intense on two burning solos seperated by trumpet and piano passages.
This made a brief appearance on cd re-issued by Mainstream in London in 1991 with some dismal packaging but notes by Leonard Feather which I adapted for this post.
This LP (which has been included in Joe Henderson's eight-CD complete Milestone box set) has quite a few classic moments. At that point in time, tenor saxophonist Henderson was a sideman with Herbie Hancock's Sextet, so Hancock was happy to perform as a sideman, doubling on piano and electric piano, with the all-star group, which also includes trumpeter Mike Lawrence, bassist Ron Carter and drummer Jack DeJohnette. Highlights are many including the original version of "Black Narcissus," "Isotope," a lyrical rendition of "Lazy Afternoon," and the free-form "Foresight and Afterthought."
- Scott Yanow, All Music Guide
Never reissued apart from a brief showing as a single cd and as the boxset mentioned
On this post it's Pharoah tearing it up over the top of high energy descarga styled mayhem on the best tracks(The Dues Payer /Dorian/Midnight Montuno)contrasted with some boogaloo based funky short tunes.
This is a bit of a strange one that's been issued in a number of ways-the rip here is the 6 track version titled as above but there is another lp on Trip called Speak!Oh Pharoah with the same music but a couple more short tunes .Confused?You will be when you now read this from the Pharoah Sanders Select Discography and even I am lost about the cover art comment.
"Here's a real mystery. This alleged Pharoah album is a re-packeged (pre-packaged?) version of an equally mysterious album credited to Juan Amalbert's (later Emanuel Rahim of Kahlios fame) Latin Jazz Quintet with guest Pharoah Sanders The cover art (different on each version) looks to be about the same time as Tauhid, otherwise I'm clueless as to the vintage of this recording. Funky New York Afro-Cuban jazz recording with maddeningly incomplete and unspecific liner notes. The music is soulful boogaloo, with occasional lapses into protosalsa and bigband souljazz. Hard to tell in a horn-heavy album, but Pharoah seems to have one solo vehicle, where he sounds really out of place in front of a way-way in horn section and funky rhythm section. There's a story here, I wish I knew it! See also OH, PHAROAH SPEAK! in the guest artist album listings. "
Let's confuse things further with this : Emanuel Rahim & the Kahliqs- Total Submission which is again basically the same album but issued on Cobblestone in 1972 with a slightly different track listing !!!Then that got reissued on Muse with a different cover !
So if any of you can shed further light on this recording it will be welcolmed in the comments.
Great bit of hard bop from 1967 with the added bonus of Oliver Nelson on couple of tunes and some fairly typical Morgan compositions -here's what they think of it at Dusty Groove.
A unique session by Lee Morgan that not only has him playing with a strong quintet that includes Joe Henderson and McCoy Tyner -- but which also features two tracks by a larger band conducted by Oliver Nelson, swinging hard in a really soulful style! Nelson's arrangements on these two tracks are great -- quite progressive, with a soul jazz big band style that seems to point the way towards the 70s -- and the band provides a raging backdrop that lets Lee's trumpet soar over the top in beautiful crystal clear solos. The quartet tracks are equally nice very much in the spirit of Morgan's other incredible work of the time and tracks include "Nite Flite", "Delightful Deggie", "Ca-Lee-So", and "Zambia".
This one had had a recent reissue on cd in Japan and an 80s reissue on vinyl and cd in the USA-sounds easy to find but it aint!
PLEASE NOTE-4 tracks are wrongly titled on the down load.
Ca-Lee-So should be Yesterday and vice versa.
Zambia shuld be Sunrise Sunset and vice versa.
Ransome Knowling has also been good enough to upload the bonus tracks from his US cd version of this album-here's the link
Harold Land- Choma (Burn) (MRL 344) 1971
Not quite fusion not quite new thing not quite bop - just a hard hitting piece of jazz from Harold Land at the start of the 70s.His son is featured with Bill Henderson on both electric and acoustic piano and Bobby Hutcherson is deep in the mix along with pile driving drumming by Woody Theus and Ndugu especially on Black Caucus.This is uncompromising music from Land and his group.
Produced by: Bob Shad
Photography: Dick Sandres
Liner Notes: Leroy Robinson
Harold Land- Tenor Sax
Bill Henderson- Piano & Electric Piano
Bobby Hutcherson- Vibes and Marimba
Harold Land, Jr.- Piano & Electric Piano
Woody Theus- Drums
Reggie Johnson- Bass
Original vinyl rip -never reissued in any form
Axelrod at the controls again- although he does not get credited on the cover he shared the production duties on this with the Adderley brothers.This one's for Kristof.
Julian "Cannonball" Adderley's 1969 album COUNTRY PREACHER is not only one of his best works but one of the pinnacles of the entire soul-jazz movement. Though Yusef Lateef, Herbie Mann, Jimmy Smith, and others made outstanding records in this under-appreciated sub-genre, COUNTRY PREACHER is the album that delivers all of the strengths of soul jazz with few of its weaknesses.A stellar combo, featuring Adderley's cornetist brother Nat, standout electric pianist Joe Zawinul, and the killer rhythm section of bassist Walter Booker and drummer Roy McCurdy, gives Adderley's alto and, unusually for him, soprano sax just the sort of groove-oriented, percussive setting his hard-edged and intense sound needs. The gospel-based titled track is wonderful, but "Afro-Spanish Omelette", a medley of Caribbean-style workouts, is one of the highlights of Adderley's entire career.
Here's a great soundtrack from Morricone-and another review from those masters of under-statement over at Dusty Groove.
Quite possibly our favorite Ennio Morricone soundtrack ever- THE record that first made our ears prick up many years ago, and acknowledge him as the genius he truly is! The very first note of the record grabs you immediately a heartbeat-like rhythm, pounding out very slowly before giving way to an off-tuned piano that steps and staggers into the groove. Other tracks follow in a majestic blend of strings, space, weird woodwinds, and even a few funky bits all cast with a perfect blend of dark and sweet throughout! The sound is amazing mindblowing at every twist and turn and the range of themes here is a bit wider than other Morricone soundtracks from the period making for even more excitement!
Nathan Davis spent some time living and working in Europe in the mid-'60s before returning to the United States to serve in jazz education. On this date for MPS he is joined by trumpeter Woody Shaw, Larry Young (on piano rather than organ), bassist Jimmy Woode and drummer Billy Brooks. His happy "The Flute in the Blues" showcases his lighthearted flute playing, accompanied only by bass and drums. His big tone on tenor sax in the standard ballad "Spring Can Really Hang You Up the Most" is somewhat suggestive of John Coltrane, but with a stronger vibrato. His original "Evolution" has an exotic sound like the kind of post-bop material that was recorded by various Blue Note artists a year or two later. Shaw contributed the fascinating "Theme From Zoltan," which showcases Brooks' inventive polyrhythms and Woodes adventurous bass, backing strong solos by the trumpeter and the leader (on tenor sax). The jaunty, angular blues "Along Came Byrd" finds Davis holding his own on soprano sax.
Ken Dryden, All Music Guide