28 March 2007


Alex Blake with his quintet featuring Pharoah Sanders live at the Knitting Factory in 2000.Here's a fairly understated review from Ken Taylor at AMG.Personally I think it's great and props to Miles over at WonderfulSound for bringing it to my attention some time ago.

Now is the Time is a series of impeccably performed tracks culled from Alex Blake 's live sessions at New York's Knitting Factory. Though nothing intensely brilliant evolves out of Now, the musicianship is paramount and unmatched on any late-'90s jazz recordings. Blake, who started as a bass player in Sun Ra 's Arkestra at a very young age, sits himself comfortably in the background as it seems piano and drums take most of the attention on the record. John Hicks' piano playing immediately recalls McCoy Tyner 's, while Victor Jones and Neil Clarkt tap out rather complex beats that help to build the central framework of the seven solid tracks. Now Is the Time is Blake's first record as a bandleader, and it proves he has come a long way since playing in the bands of Dizzy Gillespie and other post-bop performers. Surprisingly, the record is quite traditional in its style, covering "On the Spot" and plotting along through some familiar jazz territory. Perhaps a bit more experimentation would set the record aflame considering Pharoah Sanders ' and Blake's worlds don't usually collide in such predictable space. Still, it's an incredibly joyous record that doesn't seem steeped in trying to bring about any great meaning. Though Now Is the Time may seem pedestrian, it simply illustrates Blake's ability to play all manner of music, ranging from traditional jazz to avant-garde to rock. To say that Blake never steps forward is an understatement, though. He rarely plays a simple walking bass line as he usually flecks them with slaps and skitters to make for exciting listening. "The Chief" and "Little Help Solo" see Blake riffing and improvising in some swung-out solos, but for the most part he's content to sit back and provide the structure for the others to create their magic.

Still available on cd - ripped from this at 256.


Tito and Charlie slaying it in the Bronx - this is fucking incredible!!!This clip has been lifted from a documentary which was broadcast on Channel 4 in the UK in the early 80s which I taped on video but managed to lose some years later.It was called "MACHITO-A LATIN JAZZ LEGACY"I believe and if anyone can point me to a DVD version of this superb programme I would be eternally grateful.


Early 70s Eddie Palmieri killing it with a typical modal intro into a murderous version of "Adoracion".To my mind the La Perfecta line up here was the greatest Palmieri band ever-check out:

Andy and Jerry Gonzalez,Ismael Quintana,Alfredo de la Fe,Tommy Chucky Lopez,Mario Rivera and Barry Rogers are the members I can recognise;anyone out there spot any other faces as there are no credits on this youtube clip.

27 March 2007


Joe Farrell's last album posthumously released in 1987 -although recorded in 1985 -for Reference Recordings .Joe is joined by Airto and Flora Purim for this date with support from Jose Neto on Guitar,Mark Egan on Bass and Kei Agaki on keyboards.

Percussionist Airto Moreira, his wife, vocalist Flora Purim, and Joe Farrell (heard on flute, soprano and tenor) had teamed up several times through the years, most notably in the original version of Return To Forever. Farrell would pass away just eight months after this album, but is still heard in fine form on the interesting set. Purim has vocals on three of the seven numbers (only "The Return" actually features Flora, Airto and Farrell playing together); Airto plays as much drums as percussion, and the music ranges from Brazilian jazz and slightly poppish to unclassifiable post-bop playing. Among the others musicians in the quartet/quintet settings are guitarist Jose Neto, pianist Kei Akagi and bassist Mark Egan. An atmospheric and at times haunting effort. ~ Scott Yanow, All Music Guide
Ripped at 256 from the cd issue which is now deleted although still available.

18 March 2007


This was one of the very first posts at Orgy in Rhythm over a year ago and so I thought it was high time for it to be reposted.It's another lp of killer funky fusion from Brazil and a big favourite of mine.I've ripped it at 320 this time from the Brazilian cd reissue and it's at Rapidshare.com

Although quite an obscure field, the world of Brazilian fusion can often yield great results. It seems Brazilian studios were great fans of early synths as many of the recordings by Azymuth and Marcos Valle testify. This album is one of the finest examples of Rhodes/synth led fusion - the percussion is as good as you'd expect from a Brazilian band and often 100 mph! The compositions though are varied and complex.Metropole features a massive break beat kick off and bridge ,Fabricia is a fusion flyer later to be beautifully covered by Harris Simon , Imigrantes changes completely before coming full circle and Metro just rides on a wave of wah wah'd clavinet and String Ensemble. The original of this album is probably near impossible to find outside of Brazil, but was re issued on cd for the great 100 Anos De Musica series by RCA /BMG .


Marcos Ariel from 1980 with a full force album of 100mph Brazilian fusion.It's a classic samba-fusion date showcasing Ariel on Fender Rhodes and acoustic piano, supported by world-class players!
Have a read and see what he had to say about his great lp at Whatmusic.com who reissued it in 2004:

The album Bambu was my first phonographic work and it was the accomplishment of a dream that had begun when I was 9 years old and was beginning my classical piano studies.
When I was 15 years old, I’d started to be interested in Choro and Jazz, and because of the Music of Pixinguinha, I began to study the flute.
While I was attending Hermeto Paschoal’s first show in 1972, in Rio de Janeiro, I found my calling in the complex diversity of World Music. After this show of Hermeto’s, I attended shows by Egberto Gismonti, Victor Assis Brasil, Luis Eça, Tom Jobim, Azymuth, Milton Nascimento, Chick Corea, Bill Evans, and other great musicians who also influenced me.
About the album
The recordings of the LP Bambu, were made between December of 1979 and January of 1980. The launch took place in 1981, at a show in Catacumba Park in Lagoa, Rio de Janeiro.
The musicians who played on the LP were: Ricardo Silveira, Zé Nogueira, Antonio Sant’Anna, Leo Gandelman, Armando Marçal, Élcio Cáfaro, Daniel Garcia, Joca Moraes, Wilson Meireles, Marcelo Salazar, Marcelo Costa, Café, Damilton Viana, Cezão and the singer Eveline.
When we recorded the album Bambu, we were starting our musical careers and after all of those years we are still great friends and partners and that is the biggest conquest of this record. A record that has opened many doors for all us.
I’d like to add that the drums player Jorge Autuori was a very close friend and he was a great inspiration for me during the time when we worked together with the singer Eliane Pitman, at the end of the seventies.
About the songs
The idea for the title song came during a practice session, while the percussionist Damilton Viana was playing a berimbau of bambu. After the session, I decided to do some research on this fantastic plant and ended up composing the baião “Bambu”. The recording of this track was made giving prominence to the solo and base guitars of Ricardo Silveira. I made the composition “The Bridge” while I was crossing the famous Rio-Niteroi Bridge, after visiting a girlfriend who used to live on the other side of Guanabara Bay.
“Igarapé” was a vision that I had of a pretty Indian girl singing in the middle of the Amazonian Forest. Eveline, with her beautiful voice, sang my composition in a sublime way.
“Chapada of the Corisco” carries the force of the Brazilian northeast and was composed by the great pianista Luizão Paiva, of Maranhão.
“Humaita” is the name of the quarter where I was born in Rio de Janeiro. We held the practice sesssions for the recording of the album Bambu in a studio surrounded by the Atlantic Forest, in my parent’s house which is situated in the valley of Mount Corcovado.
I always adored the beat of the samba schools and when I composed “Samba Torto” I imagined myself playing my Fender Rhodes in the middle of the Avenue, during a Carnival parade. During the first practice session, as we played this song that we still hadn’t given a name to, Zé Nogueira turned to me and said – “Let’s warp the harmony of this samba…”
I spent my infancy living in Leblon, close to the sea, and I was always fascinated by the sound of the waves breaking on the sand. In the composition “Mar”, I try to show my impressions of the beach.
One day, Ricardo Silveira arrived at the practice session, showing us a new song that he had just composed after taking a walk on Ipanema beach as the sun set behind the mountain they call Two Brothers – “Dois Irmãos”. We started to play “Dois Irmãos”, which was a name I gave it. It was the first time that any of Ricardo’s compositions had been recorded.
The choro “Driblando” is a homage that I give to the biggest football player of all the times, in my opinion: “Mané Garrincha”.
The LP Bambu was one of the first records of Instrumental Brazilian Music or Brazilian Jazz, that brought together a generation of musicians now playing the circuits of festivals of Jazz, MPB and World Music in Brazil and all around the world. The album is the same age as my oldest son, Lucas, who is 24. For me, this record is like a dear son who always gives us happiness and good memories. It is an honour for me to see Bambu issued by whatmusic in 2004, and above all, to be part of the same catalogue with other great musicians.

Rio de Janeiro, February 2004


Massive slab of Brazilian funky fusion by Antonio Adolfo on the Artezanal label from 1979.Dusty Groove have this to say about it:

Fantastic stuff -- and one of the greatest records ever by Brazilian keyboardist Antono Adolfo! The album was recorded at the end of the 70s, and has a sound that's a lot like the best fusion work by Azymuth. There's great keyboards right up front in the mix -- and the backing has some tight percussion that crackles along and gives the album a sweet 70s jazz funk vibe. The album was originally only issued on the tiny Artezanal label, but it feels like a lost gem from the classic funk years at Fantasy Records. Includes the massive break cut "Cascavel".

Ripped at 320 from the Kuarup reissue cd which is being reissued for the second time this month.The vinyl is bloody hard to find and has a different cover with a dog and cat on it.And here is that cover thanks to jazz neko in Okinawa-Cheers!


Keeping to the Brazilian theme this weekend at OIR here's Tamba Trio from 1974 for RCA Brazil.A fantastic mix of bossa and electronic effects this review really encapsulates the overall sound of the album.Highly recommended.

This 1974 recording by Brazil's famed Tamba Trio was revolutionary for its fusion of their trademark new bossa sound with electronic, jazz, and new music elements in their mix. Composed of 14 tracks by such notable composers as Joao Bosco, Ivan Lins, Anibal Silva, Ary Barroso, Marcos Valle, and a host of originals, the Tambas utilized electronic textures, prepared pianos, and mutating rhythmic structures to offer a waiting public perhaps, at the time, their most confusing recording. The Brazilians are generally more open than other cultures to change and mutation, but this set was even a little outside for them. A stunning example of the new direction the band was traveling in was Luiz Eça's "Reflexos," with its wash of electronic keyboards and open chord played from the inside of the piano. This is followed by Bebeto's gorgeously psychedelic and trippy "Gazela," in which a soft bossa vocal is treated to layers of electronic flutes playing chamber style in the background. This is segued into the trio's composition/improvisation "Mestre Bimba," a samba in which layered woodwinds, keyboards, and echoplex are placed in direct counterpoint to the percussion as a piano plays an angular melody to both the percussion and a bank of electronics and the rhythm pushes both deeper. This is a sharp change in direction for the Tambas, but it is also their Sgt. Pepper's Lonely Hearts Club Band moment. By tossing out the window all notions about how to create music except for musicality itself, they made a timeless classic of futuristic Brazilian pop. ~ Thom Jurek, All Music Guide

Tamba made a cd reissue in Brazil 2001 but it looks to have been now deleted.Good luck hunting for a vinyl copy!


Deodato from 1973 and before he hit the big time with CTI.This one's on Odeon and features a Brazilian/USA line including Orlannd Divo(those in the know will recognise that name)Mamao,Bebeto,Helcio Milito,Sergio Barroso,Marvin Stamm,Wayne Andre,Romeo Penque and Phil Bodner.Deodato is on Piano,Organ and Electric Piano.Better than the CTI lps in my opinion but see what you think.
Here's a review from AMG:

In the early '70s, the electric Hammond organ was still getting a lot of exposure thanks to B-3 icons like Jimmy Smith, Charles Earland, Jimmy McGriff, and Jack McDuff. It was a prominent instrument in soul-jazz, and plenty of rock and RB musicians also believed in the power of the B-3. But in Brazilian jazz and pop circles, the instrument wasn't as popular -- some musicians believed that the B-3 wasn't right for the samba beat. Eumir Deodato, however, didn't feel that way. Although the Brazilian musician/composer/producer was best known for acoustic piano and electric keyboard playing, he could handle the Hammond organ and saw no reason why it shouldn't be used in a Brazilian setting. The Hammond organ, in fact, is an integral part of what Deodato does on this 1972 project, which was originally released on LP in Brazil as Os Catedráticos '73. Deodato doesn't play the organ exclusively on this album -- he is also heard on electric and acoustic piano -- but the organ is quite prominent and proves to be a major asset. Much of the material has a very congenial, good-natured quality, and the sound that Deodato achieves on Skyscrapers ends up sounding like a combination of Brazilian jazz-pop/fusion and Earland's more mellow grooves. Skyscrapers doesn't get into the sort of ultra-funky grits-and-gravy jams that Earland was a master of -- Deodato doesn't perform any instrumental versions of Sly the Family Stone gems -- but his organ solos do shore an awareness of Jimmy Smith (who, of course, was Earland's foundation). The Hammond organ isn't the first instrument that one mentions during a discussion of Brazilian music, but it definitely works well for Deodato on Skyscrapers.
- Alex Henderson, All Music Guide

This got a reissue in Spain on Equipe years ago which seems to be deleted-however Bomba in Japan have reissued it and this is still available(at a price).Irma from Italy have also put it out but retitled it Skyscrapers and put a different cover on it-God knows why!!!
I saw Deodato play a few years ago and had to walk out when he launched into Led Zep's Black Dog(?).I then read a brown nosing review of the gig in Straight No Chaser which went into raptures about it-no accounting for taste is there!!!
This is ripped from the Spanish cd at 320.

17 March 2007


Essential Odeon release from 1967 with Airto Moreira,Hermeto Pascoal,Theo de Barros and Heraldo do Monte.One of the defining moments in Brazilian music this is a monster-here's what our old friends at Dusty Groove had to say about it:
A landmark album that changed a generation of Brazilian musicians! The record features amazing performances by this short lived quartet that included Airto, Hermeto Pascoal, Theo De Barros, and Geraldo Vandre -- a group of young hipper players working here in a mode that's both rootsy and modern, yet which also grooves with a simplicity that's beautiful. Flutes and guitar dance around with early percussion by Airto -- creating a groove that's impossible to describe accurately, but which you'll instantly recognize as archetypal!
Yep that says it all-this one made a reissue in Brazil on cd and I've ripped this post from it.

Thanks to matt at woebot for the pictures-visit him here.

16 March 2007


About time for another soundtrack and here's a really moody set by Mr. Mancini from the film"The Thief Who Came To Dinner" in 1973.
Blaxploitation .com had this to say about it:
Ryan O'Neal starred in this early 70's heist movie scored by Henry Mancini. The album has a raw edge not present in his later 70's work. It features a good, edgy main theme and some reasonably groovy instrumentals.
Here's a comment I found at FilmScoreMonthly while googling around looking for more info on this album:
Exciting Mancini score to 1973 heist film, starring Ryan O'Neal as cat burglar and Jacqueline Bisset as his accomplice. Heavy use 70's style electronic keyboard sounds. Main keyboard sound that dominates scores is very reminiscent of Hank's Mystery Movie Theme.
And another bit of info:
Soulful brass, funky bass, and theremin-like sounds coming out of the Arp Sythesizer -- the Arp programmed here by Chris Mancini (Hank's son).
So that should give you a flavour of what this is like."The Really Big Heist"is the tune for me- a great slowly building piece with strings,muted horns and quietly pattering percussion.
The album has never made a reissue but tracks from it have been comped and I'm pretty sure some of it's been sampled(for whatever that's worth!!!)
This post is ripped from the original vinyl at 320.

11 March 2007


Hector Bingert of Uruguay joins forces with Don Menza(USA) and friends from Sweden in Stockholm for this rare piece of latin fusion on Four Leaf Clover from 1983.
This great piece of European vinyl mashes up latin roots(candomble,samba,bolero,bossa)and then blends them with a large helping of jazz.Check the thunderous "Samba Fino", the banging "Llamada Original" and "Ska Vi Dela" for dancefloor action.The intro on Samba Fino is spectacular-I remember Bob Jones playing it one night and I was up and running to the decks in seconds to find out what it was!
Bingert and Menza are on Saxes and Flute,Janne Schaffer on Guitar,Kjell Ohman on Electric Piano,Teddy Walter on Bass and Jose Luis Perez on Percussion.
Ripped at 320 from the original vinyl-no reissues.

8 March 2007


Here's one from Cal that's never seen a reissue in any format and it's a corker!Recorded for Fantasy in 1971 this mixes a selection of contemporary tunes of the time(Donovan,Michel Legrand etc) with a couple of Tjader originals:"I Showed Them"which became a live standard for Cal during the 70s and the storming mambo "Mambero"(recently comped by Rafael Sebbag from UFO).
This lp is a little different as Cal plays organ as well as vibes and this adds quite a groovy feeling to the whole affair.There's also a cracking version of "Evil Ways"just to keep the(then) in vogue latin rock sound bubbling under.A far tougher album than the similarly themed/programmed "Last Bolero In Berkeley"this is a must for Cal fans everywhere.
Ripped from original vinyl at 320.


Grupo Afro Cuba Havana from 1979 produced in the Egrem Studios Havana and licensed to Plane Records Germany.
I picked this up from Paul Murphy's Soho record bunker in the early 80s and it's been a regular visitor to my turntable ever since.What a combination-big band jazz meshing perfectly with heavyweight afro cuban percussion and folkloric elements of Cuban music.This album is pretty unique-I'd never heard anything like it at the time and nothing comes close to it now over 20 years later.I guess the nearest thing for comparison would be Irakere but to be frank this just blows them out of the water.
Check "En Lloro Mi Nankwe" and "Mazamorra" to get the dancers spinning on their heads!!!
Easily into my all time top 5 - highly recommended.
Don't sleep on this one!

4 March 2007


David Murray with his Big Band for Disc Union in Japan from 1992 arranged and conducted by Butch Morris.
Storming latin big band romp through originals,standards and covers.
"World of the Children" by Shamek Farah is superb,there's a great version of the Murray standard "Flowers for Albert" and the rest of the album is of a uniformly high standard.
The Penguin Guide To Jazz called this "A hugely impressive acievment and a key work of recent years"- damn right it is!

Larry McDonald Percussion
Rasul Siddik Trumpet, Soloist
Sonelius Smith Piano, Arranger
Tani Tabbal Drums
James Zollar Trumpet, Soloist
Alex Patterson Trombone, Soloist
John Purcell Saxophone, Sax (Alto)
Hugh Ragin Trumpet, Soloist
Graham Haynes Cornet, Soloist
Fred Hopkins Bass
David Murray Clarinet, Soloist, Main Performer, Sax (Tenor), Saxophone, Clarinet (Bass), Arranger
Vincent Chancey French Horn, Soloist
Patience Higgins Saxophone, Soloist, Sax (Soprano), Sax (Tenor)
Frank Lacy Trombone, Soloist
Don Byron Clarinet, Soloist, Sax (Baritone), Saxophone
Craig Harris Trombone, Soloist, Arranger
Lawrence Butch Morris Arranger, Conductor
James Spaulding Flute, Soloist, Sax (Alto), Saxophone


Cal Tjader on Fantasy from 1973 with a mixture of Soul,Pop,Classical and Jazz covers.
Yep,sounds pretty crappy but Cal just about pulls it off although some of it tests the patience(especially Ravel's Bolero).A lovely version of Gary McFarland's "Gary's Theme" and a nice drum percussion break down on"I Want You Back"are a couple of the highlights.
I guess this lp is one for the easy lovers but it's not without it's (dated)charm.Fuck it,I like it anyway so see what you think!!!
This actually made a cd reissue in Japan as part of the Free Soul Series -the vinyl is long deleted. I've taken this rip from the cd.


Joe Chambers' first solo effort from 1971/73 on Muse Records with the following line up :
Personnel: Joe Chambers (drums); Harold Vick (tenor saxophone, flute); Woody Shaw (trumpet); Garnett Brown (trombone); Omar Clay, David Friedman, Doug Hawthorne,Ray Mantilla (marimba, percussion); Cedar Walton (acoustic & electric pianos); George Cables (electric piano);Cecil McBee (Bass);Walter Booker, Richard Davis (Fender Bass).
As the title suggests this has lp something of the Latin/Spanish Tinge about it and has been a great favourite of mine for many years.Highly recommended.
Ripped at 320 from the original vinyl-there is a cd reissue on 32 jazz available with different cover art.


This is DEFINITELY my last repost for a while but as it's been regularly requested(my original shares are deleted)here is Latin Kaleidoscope for the third time.

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).

This is a repost from March and October 2006.

3 March 2007


Heads up everybody - Curved Air is back with a bang after a 4 month hiatus.So get your arse over there a bit smartish as the latest post is Pharoah Sanders' "Pharoah" on India Navigation from 1976 which features the superb "Harvest Time".
Don't stop there because Actuel has been on the repost tip and you can grab some great music again from Heldon to Freddie Hubbard to Ash Ra Temple.
Welcome Back Curved Air !