Bobbi Humphrey for Blue Note from 1975 with the marvelous Mizel Brothers on production duties.Here's a review from AMG:
Bobbi Humphrey's groundbreaking collaboration with producer Larry Mizell reached its climax with Fancy Dancer, a record that expands their signature sound to its absolute breaking point. An absurdly lush mosaic of celestial flute solos, otherworldly keyboards, scorching Latin rhythms, and melodramatic vocals, it walks the tightrope between cosmic and comic, reveling in the kind of sonic indulgence that only the most expert musicians can pull off. To be blunt, Fancy Dancer is the fusion equivalent of fondue simmering and rich, sure, but cheesy as hell; it's also impossibly funky, with grooves so hypnotic and so allconsuming that its weaknesses are completely immaterial. Jason Ankeny, All Music Guide
Here's the line up:
Bass - Chuck Rainey
Clavinet, Conductor, Synthesizer [Solina], Trumpet, Vocals, Arranged By, Producer - Fonce Mizell
Conductor, Other [Copyist] - Sigidi
Congas - Mayuto Correa
Drums - Harvey Mason
Engineer - Steve Maslow
Executive Producer - George Butler
Flute, Vocals - Bobbi Humphrey
Guitar - Craig McMullen , John Rowin
Harp - Dorothy Ashby
Marimba, Vibraphone - Roger Glenn
Other [Coordinator] - William Jordan
Piano, Electric Piano [Fender Rhodes], Clavinet - Skip Scarborough
Piano, Electric Piano [Fender Rhodes], Synthesizer [Arp] - Jerry Peters
Piano, Producer, Arranged By, Conductor, Synthesizer [Solina], Synthesizer [Arp], Electric Piano [Fender Rhodes], Vocals - Larry Mizell
Producer - Chuck Davis
Remix - Chuck Davis , Steve Maslow
Saxophone [Tenor] - Tyree Glenn, Jr.
Technician [Assistant] - Jeff Hawks
Trombone - Julian Priester
Trumpet - Oscar Brashear
Vocals - Augie Rey , Jesse Acuna , Katherine Lyra , Rosario Davila , Sónia Tavares
This made a cd reissue in Japan a few years ago-this post is ripped from the original vinyl at 320
Eddie Harris hooked up with Lalo Schifrin -Piano and Arranger- for this 1963 session on Vee Jay.This has three Schifrin tunes including a nice version of "Samba para Dos" which is enough to recommend it in itself. Chuck Lampkin on Drums,Jimmy Rainey on Guitar,Art Davis on Bass and Jack Del Rio and Osvalo Cigno on Percussion.
Ripped from the original vinyl at 320.Reissued on cd-now deleted.
Jazz-Neko on the case again with the cover picture-thanks as always!
Charlie Rouse on his way south of the border stops in Brazil for this album on Douglas from 1977.Charlie enlisted the help of some top crack locals for this one-Dom Salvador,Amaury Tristao,Dom Um Romao,Portinho and Claudio Roditi and then hooked them up with some of NYCs finest-Ron Carter,Bernard Purdie and Clifford Adams.All Brazilian original compositions originals plus the inclusion of a belting version of Nascimento's "Cinammon Flower"plus a great cover of Dom Salvador's "Waiting on the Corner".
Another review from AMG:
While this is by no means an authentic attempt at Brazilian music, it features the collective application of Brazilian musical sensibilities combined with jazz and R&B guided by former Thelonious Monk tenor saxophonist Charlie Rouse. Rouselends his hard bop Monk-flavored chops by playing off of fiery Brazilian born trumpeter Claudio Roditi, trombonist Clifford Adams, pianist Dom Salvador and several percussionists, including groove master Bernard "Pretty" Purdie. While the obvious influence of the early '60s bossa nova craze spearheaded by Charlie Byrd, Antonio Carlos Jobim, and Stan Getz does occasionally rear its musical head, these creative players never succumb to simple imitation. ~ Al Campbell, All Music Guide
Reissued on cd by Douglas France in 1997-and not hard to track down on vinyl on ebay.
Independant funky fusion from Texas in the shape of Cumulo Nimbus on Fable Records from 1975.This has been a true collectors item for many years changing hands for silly money (I've been outbid on ebay more times than I care to remember)mainly on the strength of the magnicently titled furiously funky breakbeat and clavinet driven"March of the Goober Woobers".
As you can imagine I was delighted to see it's just been reissued on cd so I snapped one up at Dusty Groove and here it is in its magnificent entirety-all killer no filler!
Funky and free-thinking fusion from the Texas scene of the mid 70s -- a great indie album by a group who travelled in the same territory as the soul combo Starcrost! Although American, the work here has some great qualities that remind us of some of the best European fusion from the same time -- a sense of soaring, stretching energy -- and one that never resorts to too much jamming to carry across its message, and which juxtaposes heavier rhythms with some gentler tunes that really allow the horn parts some wonderful moments! Instrumentation include soprano sax, tenor, trumpet, electric and acoustic piano, and a fair bit of percussion too -- all recorded with a great sense of warmth, almost in the mode of some of the best Fantasy Records 70s sessions!
A vinyl rip has been lurking on the net for some time - do yourselves a favour and get your earholes around a 320 rip from the cd reissue which is now available at Dusty Groove.Consequently this post is up for 48 hours then it will be deleted.
Mighty Mongo from 1964 on Riverside.One of my favourite Mongo albums this one is a cracker not least for Marty Sheller's furious "Dirty Willie" .Here's a review from Dusty Groove :
A killer early album by Mongo Santamaria -- almost an equal blend of jazz and Latin rhythms, and a great illustration of the unique contribution that he was making to both types of music back in the 60s! Mongo's group here is filled with some really great horn players -- Nat Adderley on cornet, Marty Sheller on trumpet, Ronnie Capers on alto sax, and Pat Patrick on baritone -- really hitting a hard-edged groove that's as filled with soul jazz solo inflections as it is with Mongo's great work on percussion! The reeds bring a sharp edge to the record that keeps on going throughout -- pushing the set with a lot more soul than other Latin sides from the time, particularly those in the charanga mode and most tracks are short and feisty.
Ripped at 320 from the Japanese cd reissue in 1993-no vinyl reissue.
Here's Charlie letting it rip 1989
The Prestige posts keep rollin' on with another banger from Charles Earland recorded in 1971.
Motown 67 had this to say about it at Soul Strut:
Charles Earland and his band of players including Houston Person and Maynard Parker jump start things with the rousing funk-jazz of Betty’s Dilemma with some pounding drums by Jesse Kilpatrick who lets loose with a long LOOOOONG drum break as well. Earland changes pace with the next song, Love Story with its moody beginning before going into a little vamp, probably the only version of this song I’ve ever actually liked. On the second side Earland returns to his more traditional, swinging soul-jazz with One For Scotty. The band also does a decent cover of S. Wonder’s I Was Made To Love Her. Probably one of Earland’s best albums.
This has never made a reissue on lp but I seem to remember a couple of tracks from it have made compilation albums-anyway here it is in its entirety ripped at320 from the original vinyl.
Dave Pike with a Caribbean flavour for New Jazz(a subsidiary of Prestige)recorded in 1962.Ahmed Abdul-Malik splits the bass duties with George Duvivier,Tommy Flanagan on Piano,Jim Raney on Guitar,Willie Bobo and Ray Barretto on drums and congas respectivly and Leo Wright on Flute and Sax.
Dusty Groove write this about the album:
Don't let the "limbo" in the title put you off because this isn't some early 60s gimmick session, designed to cash in on a dance craze and instead, it's a wonderful early Latin set from the great vibist Dave Pike! In fact, given the strength of the grooves here, it would be plenty darn hard to do any limbo action to this one because the rhythms are bouncy, modal, and very very groovy served up by Pike on vibes, in a lineup that includes Ray Barretto on conga, Ahmed Abdul-Malik on bass, and Leo Wright on flute and alto plus a few other straight jazz players like Jimmy Raney on guitar and Tommy Flanagan on piano.
Ripped at 320 from the US cd reissue in 2000.
Freddie Roach's righteous first date for Prestige in 1967 after he left Blue Note.
Dusty Groove had this to say about it:
Quite an unusual album from organist Freddie Roach and probably the most progressive record he ever made! The setting here is different than Freddie's usual small combo mode a larger group that features tenor, soprano, trombone, and flugelhorn -- and Roach doesn't just play organ, but also blows a bit of flute, and even sings some fairly political lyrics on one track! The "My People" title is echoed in the liner notes, which were written by Freddie as they offer some strong political opinions on freedom alongside the usual comments on the tracks! There's a really righteous vibe here that opens the door towards more experimental organ albums of the 70s particularly those of Doug Carn.
Ripped at 320 from the Japanese CD reissue
A typical banging latin soul album by Pucho and his Latin Soul Brothers from 1966 for Prestige - heres the band:
James Phillips:Bass/John Spruill:Piano/Noberto Apellaniz:Bongos/William Bivens:Vibraphone
Vincent McEwan:Trumpet/Henry "Pucho" Brown:Timbales/Harold Alexander:Flute,Sax/
Claude Bartee, Jr.:Sax/Bill Curtis:Drums/Richard Landrum:Conga
As he did on his previous session, Pucho mixed pop and soul hits with the stronger stuff. That means the best and funkiest pieces--"Aye Ma Ma," "Soul Yamie," and a typically irreverent cover of "Caravan"--are mixed with the likes of "Reach Out I'll Be There" and "Alfie."AMG
Thanks to Jazz-Neko who came up with the cover picture for me-great work as always.
The great George Braith killing it stone dead for Prestige from 1966.A line up to die for-Grant Green,John Patton,Eddie Diehl,Victor Sproles,Ben Dixon and the hard hands of Richard Landrum.And the music...well what can you say: "Cantelope Woman","Hot Sauce","Crenshaw West""Chunky Cheeks"not a duffer in sight-everyone a winner.
Dusty Groove are on the case again:
A fantastic lost bit of soul jazz from the 60s! The great reedman George Braith makes a rare non-Blue Note appearance here -- working in a tightly grooving mode that's even groovier than his better-known work for that label! The group here features Grant Green on guitar and John Patton on organ -- in a mode that's somewhat similar to Patton's Blue John album from the same period -- a set that also featured these three players in the lead! Braith himself has a wonderfully quirky approach here -- one that's a fair bit like Roland Kirk, with lots of odd twists and turns on the reeds -- which include not just tenor sax, but also soprano and C Melody saxophone as well -- sometimes played together, ala Kirk! Braith's tone is amazing, and the set of tracks is nearly all original -- with titles that include "Hot Sauce", "Chop Sticks", "Chunky Cheeks", "Crenshaw West", and "Coolodge". A truly fantastic Prestige album -- but one that's always sadly overlooked!
Ripped at 320 from the 1996 Japanese CD reissue.
Felt quite ashamed of myself when I realised I have never posted any Ellington here at Orgy in Rhythm so here's a real corker from the Duke from 1963. This was the first album that opened my ears to his wonderful music when I picked I up a battered vinyl copy from a dumper bin many years ago.You'll be pleased to hear I've ripped this post from a cd reissue instead at 320.Here's a review from Andrew R Weiss which I lifted from Amazon:
This is the first album Ellington made for Reprise records. Reprise made a big deal of creating a separate production unit for Ellington and giving him full artistic control. Ellington had also made changes to his orchestra, the most important being the return of Cootie Williams, which gave him a trumpet section featuring Williams, Ray Nance, and Cat Anderson, and the other being the addition of Ernie Shephard on bass. The arrangement with Reprise and the new personnel must have agreed with him, because he came up with an entire album of new material, based on the "theme" of afro-bossa-nova rhythm. Ellington had just left Columbia records, and his last albums for Columbia were not especially inspired. This one is. It starts with a rollicking "Afro Bossa", which Ellington dubbed the "Gut-Bucket Bolero", and continues with a highly varied series of selections reminiscent in range and quality to "Such Sweet Thunder". Solos are great throughout, especially Nance, who seems more inspired by Williams' presence, Lawrence Brown, Williams, and (of course) Hodges and Gonsalves. Cat Anderson does a nice turn of high-note trumpet work on the last cut. All in all, a fine album. It got 5 stars from DownBeat magazine when it first came out, and it's well worthy of all of them. It's a shame that this isn't more easily available.
The fabulous Mizell Brothers on the case for Flautist Roger Glenn on the Fantasy label from 1976.
Probably the least well known of the Mizell Bros productions this one has a great line up-Mark Soskin,Paul Jackson,BillSummers,Ray Obiedo,Pete Escovedo with the wonderfuly named Gaylord Birch on drums.This album features the fantastic latin flyer "Rio" (an old favourite which Bangsy used to cain at The Rio in Didcot -anyone out there know what happened to Cos and Tim aka Meat?).
The whole album has the usual Larry and Fonce quality control stamped all over it with funky breaks, latin breaks ,percussion work outs and the great Mizell sound.
Yep,don't like to repeat myself but it's another all killer no filler from Orgy in Rhythm !!!
Ripped from the original vinyl at 320 -NO reissues(not even Japan)
And click here to find out more about the marvelous Mizells.
The Teutonic titan of the trombone is back at Orgy in Rhythm with a banging big band session from 1973 from MPS.Featuring many of the usual suspects :Art Farmer,Dieter Reith,Nils Henning Orsted-Pederson,Palle Mikleborg,Tony Inzalacao and the great Sabu Martinez this one is another all killer no filler masterpiece.A banging version of Weldon Irvine's "Mr Clean",the sitar led "Wild Chick"the rippling conga/drum driven "Green Witch" and the fantastic title cut-this album is up there with "Wide Open" as the best thing RCB ever did.Highly Recommended.
Big thanks to Japan's finest Jazz-neko for providing a great cover shot.
Ripped at 320 from the original vinyl-no cd reissue.
Brother Jack from 1968 on Cadet Records with album supervision by none other than our man at Cadet Richard Evans so you know this album has to be all killer no filler.
This one is brimming with goodies:"Jelly Jam"with a stonking break intro,"Win Lose or Draw","Hold It For A Minute" and "You Sho Walk Funky" -the whole album is a winner.
Here's what Motown 67 had to say about it at Soulstrut.com :
I thought I’d seen most of the Brother Jack McDuff records, but then I came across this gem. Wow is all I can say. I DIG this album. Win Lose Or Draw, Black Is! Jelly Jam (which starts with some funky drums), and You Sho Walk Funky are all banging funky jazz numbers. Hold It For A Minute is more jazz but is also nice, and McDuff even pulls off a good cover of Summertime. This is by far the best McDuff record I own. People, you gotta go find this record and get down.
So you can get down to it with a 320 original vinyl rip here !
For those of you who intend to re-post my link elsewhere don't bother re-upping it as it's pretty obvious it's originally come from Orgy in Rhythm.Just use my link and whether you acknowledge it came from here or not is up to you-I really don't mind ok?
And a big thanks to jazz - neko for the new cover scan-good work fellah!