30 August 2007

WALT DICKERSON PLAYS UNITY

























Walt Dickerson for Audio Fidelity from 1964.

Plays Unity [Walt Dickerson (vb), Austin Crowe (p), Henry Grimes (b),Edgar Bateman, Andrew Cyrille (d)]
In the early 1960s, when Dickerson first emerged on the scene, a number of musicians had already arrived at the conclusion that bebop, which had dominated jazz for two decades, was an increasingly inadequate system out of which to make a music that could embody the tensions, dangers, revelations and liberated energies of the times. His music, while not nearly as radical in its departures and explorations as, say, the music of Cecil Taylor and Ornette Coleman, certainly places him among the significant contributors to the jazz revolution of his era.
The first side long track of this lp is simply called Unity.The individuality of each musician is not stifled and the over all cohesiveness suggests unity.The element of freedom through unity is a refreshing quality found in any of Dickerson's works.
The two drummers on the date,Edgar Bateman and Andrew Cyrille sometimes play simultaneously ,sometimes alternately and sometimes contrapuntally.George Tucker is a very fine bassist whom Dickerson is fond of because of his compatibility,and Walter Davis Jr, a stylish pianist, completes a formidable rhythm section.
The improvisation that is displayed on High Moon presents the jazz conoissuer with a delightful array of nuances against a background of exciting chord patterns.To the discerning listener the intriguing superimpositions utilized by Dickerson are nothing short of amazing.
Taken from the sleeve notes.

DEVIL'S JAZZ PIT
















Heads up-Fantastic new jazz blog up and running from Japan courtesy of Jazz-Neko.
Great posts beautifully presented and its.......
ALL KILLER NO FILLER
Highly recommended-check it HERE

27 August 2007

RAY BARRETTO - TOGETHER























The Mighty Ray Barretto for Fania from 1971.
All Killer-No Filler-Highly Recommended.
Dusty Groove on the case:
An early 70s killer from Ray -- recorded right in the same era as most of his best albums! The feel here is strongly in the salsa mode -- as Ray steps effortlessly from the Latin Soul era into a whole new decade of musical magic. And like the best of his 60s work, Ray's salsa cooks at a level that's far hotter than most of his contemporaries -- with lots and lots of incredibly tight percussion, impeccable instrumentation, and even a more soulful approach to the vocals than usual. The album's got a short Latin soul groover called "Together", which has tight bass and a very catchy lyric; an extended Latin jazz version of "Tin Tin Deo", with some incredible piano that goes way way out over the groove; and plenty of other great Latin numbers, like "Invitacion Al Son", "Vive Y Vacila", "De Donde Vengo", and "Hipocresia y Falsedad".
Adalberto Santiago Vocal
Roberto Rodriguez Trumpet
"Papy" Roman Trumpet
Orestes Vilato Timbales
Tony Fuentes Bongo
Louis Cruz Piano
Andy Gonzalez Bass
Ray Barretto Conga, vocal

26 August 2007

JACK COSTANZO AND HIS LATIN ORCHESTRA - CHA CHA CHA























Jack Costanzo and his Latin Orchestra for Tops Records from 1957.
Don't be fooled by the cover or title into thinking this is a lame bit of cha cha cha/exotica-in fact it's a really tough Afro Cuban session from Mr Bongo.Have a read of the sleeve notes:
"Mr. Bongo Plays Hi-Fi Cha Cha" marks the most authentic presentation yet of the passion, spirit and pulsating beat of the music native to Cuba. It possesses all the rocking excitement of a Cuban dance with the powerful four-trumpet team : the comple yet rock-steady rhythm section of bongos, congas, timbales,string bass and piano; the happy, uninhibited vocal trios and soloists. The virtuoso brilliance and unflagging beat of Jack "Mr. Bongo" Constanzo leads the orchestra and singers through the exciting rhythms of Cuba.
From Havana to Hollywood the bongo beat is sweeping the continent. Like economy runs and TV spectaculars, bongo parties are developing into a revered Institution as thousands of unrelenting tyros nurse sore fingers and aching wrists trying to make the skins speak Cubano
For Jack Costanzo, bongo beating is like breathing. That this analogy is honest is borne out by his certain title, "Mr. Bongo". In this album, rousigly backed by his famous orchestra and vocalists, Mr. Bongo steps out, daring to bring into your homethe inflammable rhythms of Cuba.
Costanzo's professional laurels include many "firsts". The handsome, thirtyish Chicagoan was the first bongo drummer to work with a name jazz orchestra, joining the exciting Stan Kenton organization in 1947 and working with Stan for two years.His outstanding performance on the Kenton recordings of "Peanut Vendor," "Journeyto Brazil" and "Bongo Riff" made the American public aware for the first time of the"little drums with the big sound".
Jack gained further fame when he augmented the Nat "King" Cole Trio from February 1949 to September 1953, establishing him as the first bongoist to play with such a trio.His recordings with the velvet-voiced Cole include "Calypso Blues", "Lush Life" and"Strange," numbers which became standard repertoire in their tours of Europe, Hawaiiand Stateside
Since 1954, Constanzo has been an integral part of the acts of Peggy Lee and franticFrances Faye, with whom he recorded and appeared at lavish spots such as Hollywood's Giro's, Las Vegas' Sands Hotel and the Fairmont in San Francisco.Moreover, and just for the record, this young man with the heap big beat has appearedin the top concert emporiums on both coasts - Carnegie Hall (with Kenton) and theHollywood Bowl (with La Lee}
No less extensive is Mr. Bongo's record in motion pictures and television. Lucky man,he's even worked with Marilyn Monroe "NO BUSINESS LIKE SHOW BUSINESS" andGrace Kelly "TO CATCH A THIEF". There's no percentage in trying to count a top video show with music where Jack hasn't either sparked the studio orchestra or appearedon camera.
A brief rundown of his other musical credits reads like a roster of Who's Who in Showbusiness:
Bands - Ray Anthony, Rene Touzet, Xavier Cugat, Lecuona Cuban Boys, PerezPrado, Billy May, Charlie Barnet and aforementioned Stan Kenton.
Personalities - Desi Arnaz, Ima [sic] Sumac, Frank Sinatra, Danny Kaye, and Gary Crosby.
Also well known as a bongo and conga instructor, the virtusoso numbers among hispast pupils some of Filmland's very brightest stars.
Constanzo's latest coup is a pact with 20th Century Fox for a musical role in thepicture, "Bernardine". He has recorded sound tracks for many famous films, latestbeing "The Story of Mankind" and Jerry Lewis' first movie as a single, "The DelicateDelinquent."
Ohio-born vocalist Marda Saxon is one of the very few non-Latins to performsuccessfully the authentic Cuban songs in this album. Originally a dancer with thefamous Afro-Cuban Sans Souci Troupe, Marda has been with the Costanzo Orchestra since its organization in April 1956. She joined the band at its first location, BenPollack's renowned restaurant on Hollywood's Sunset Strip, and has made personal appearances and recordings with Mr. Bongo since that time. In this album she sings inJarochita, Silencio and Bonco.
The rich vocalizmgs of Kaskara have been entertaining American fans of Cuban music since 1945 when he first came to the U. S. Born in Holbuin, Orienre, Cuba, Kaskarahad worked primarily with the bands of Perez Prado and Rene Touzet prior to his present association with the Costanzo Orchestra. He previously recorded with Touzetand is here featured in the vocals of Jarochita; Que Dichoso Es; Nana Secre; Jack,Jack, Jack, Quiere; Rabo E. Mula. Jack Costanzo appears through the courtesy of Zephyr Records.
This has been reissued on vinyl in various guises over the years and even made it to cd (now long deleted)in 1983 for Palladium the Spanish Latin reissue specialists.

PETER HERBOLZHEIMER RHYTHM COMBINATION AND BRASS - I HEAR VOICES


























The return of the Teutonic Titan of the Trombone Herr Peter Herbolzheimer this time accompanied by Sanne Salomonsen & The Voices on Polydor from 1978.
I have to say that as much as I am a fan of Herbolzheimer I am not greatly enamoured with this session-however,as the RC&B posts I have put up in the past have been massively popular with visitors to OIR I thought it was only fair to let you make your own minds up.From a personal point of view I find the vocals too in yer face and as for guitarist Eef Albers...well I'd like to stick his screeching rock guitar pyrotechnics up his oompah.
Still this LP has it's moments although if I never heard another version of Birdland again I would not be too bothered.See what you think about it and leave your thoughts in the comments-after all one man's meat is another man's poison -even so some of this still smacks of arsenic to me !!!
Ripped from the original vinyl @320 -No Reissues.

24 August 2007

ROLAND KIRK - SLIGHTLY LATIN























A perennial favourite here at Bacoso's Big Top this is the fabulous Roland Kirk for Limelight Records from 1965.Check "Juarez" for a jaw dropping Mingus/Tijuana Moods styled latin bomb propelled by Montego Joe and Manuel Ramos ; "Raouf" which is just fucking bonkers-Coleridge Perkinson never arranged for vocals this well again ;"Walk on By" which rips into the Bacharach standard with a free for all pandemonium of sound booted along by Kirk doubling up on tenor and baritone.Highly Recommended !!
Virgil Jones-tpt Martin Banks-flg Garnett Brown-tb Horace Parlan-p,cel Eddie Mathias-b Sonny Brown-d, nagoya harp Montego Joe-cga Manuel Ramos-perc Choir Coleridge Perkinson-cond

Dusty Groove raved about it and there usual over the top enthusiasm is entirely justified in this instance:
Unbelievable! This is one of the maddest Roland Kirk albums of all time -- and it's also one of the hardest to find! The title says "Slightly Latin", but it's more of a mixed-up Now Sound/Bacharach-ish blend of orchestrations and voices, plus Exotica tinges, with Roland playing some very off-kilter reed solos on flute and various saxes. The sound is incredible, and the arrangements are incredibly strange -- and the album sounds like nothing that Kirk (or anyone else) has ever done! Highlights include "Shaky Money", "Safari", "Ebrauos", "Raouf", "Juarez", and a wild version of "Walk On By". The whole thing's wild, though, and it never lets up for a minute! More "out" than "easy", and a real treasure that's the kind of reissue we like to get behind!
Ripped from the original vinyl @320.I've posted the cover from the DG reissue but my copy has a picture of Kirk in the studio with a beret on and a mike hanging in front of him.

JACKIE MCLEAN & MICHAEL CARVIN - ANTIQUITY























Jackie McLean with Michael Carvin for Inner City from 1975
Two files-McLean & Carvin
This unusual project matches alto saxophonist Jackie McLean (also heard on flute, percussion, and a little bit of piano) and drummer/percussionist Michael Carvin in a set of duets. The music (all originals) is atmospheric and often haunting, making a lot of use of space. Some sections meander, but the four-part title piece (which depicts slaves crossing the Atlantic Ocean) certainly holds one's interest. This is a unique project in the discography of Jackie McLean, and is well worth a few close listens. ~ Scott Yanow, All Music Guide
Worthless bit of useless info:De I Comahlee Ah was sampled on one of those Kraut DJ (Michael Reinboth?) 12"s on Compost(don't bother hunting it down-it's crap)
Ripped @320 from the original vinyl-Steeplechase put it out on cd in Europe but it's not that easy to find

18 August 2007

PAUL GONSALVES QUARTET - BOOM-JACKIE-BOOM-CHICK


























Paul Gonsalves for Vocalion from 1964.
Paul Gonsalves-Tenor;Pat Smythe-Piano;Kenny Napper-Bass;Ronnie Stevenson-Drums
What better way to celebrate a million hits at Orgy in Rhythm than with one of the most expensive and toughest albums ever to track down.This sells for over a grand on ebay if it shows up and the recent Japanese vinyl repress is now appearing at $400 !!!! Only 500 copies were pressed on the British lable Vocalion and since the title track appeared on the second volume of the " Impressed With" British Jazz comp it's desirability has increased further still.The latin flavoured title track is a dedication to Jack Sharpe,one time jazz club owner,taxi driver and legendary London character.Gonsalves was a good mate of Sharpe's, and Jackie "supervised" the album. Gonsalves died in Sharpe's flat in 1974.
Here's a write up from Dusty Groove who had the recent Japanese cd issue in stock but have now sold out (like most other places)
Tremendous work from saxophonist Paul Gonsalves -- one of his rare UK sessions from the 60s, all of which show that he had a tremendous sound that went way beyond his more famous work with Duke Ellington! The style here is tight, hip, and very grooving -- work by a quartet that features Gonsalves on tenor, plus Pat Smythe on piano, Kenny Napper on bass, and Ronnie Stevenson on drums -- all hitting a soulful hardbop style that's very much like the best Tubby Hayes records from the time! Gonsalves' tone is incredible -- with that raspy, almost flatted mode that he used with Ellington -- and it really stretches out here with plenty of room for creativity, in a way that makes us wonder why nobody ever got this one issued over on our side of the Atlantic.
Ripped @320 from the Japanese cd issue.

JULIAN PRIESTER PEPO MTOTO - LOVE, LOVE

























Julian Priester (Pepe Mtoto) for ECM from 1974.
Keeping the Bayete connection going this slab of bass driven fusion features Bayete Umbra Zindiko on keyboards along with Patrick Gleeson and it's a killer !
Heres a great review from Colin Buttimer at BBC Jazz Review:
Let's not beat about the bush. Love, Love is a monster of an album. Despite its age (30+ years), it's a must for anybody interested in living, breathing, unexpected music. Julian Priester was an alumnus of Blue Note, Sun Ra and most importantly for this record, of Herbie Hancock's revolutionary Mwandishi group which recorded only three albums in its all too brief lifetime.
Each of those Mwandishi albums was a brilliant melding of the cosmic and earthy, extemporisation and groove. Love, Love was recorded after Hancock dissolved his sextet in order to explore an avowedly populist angle with the hugely successful Headhunters. Together with trumpeter Eddie Henderson's two post-Mwandishi albums, Realization and Inside Out, Love, Love represents one of the late masterpieces of a style later christened "Kozmigroov".
Although comprising two lengthy slabs of music clearly intended to be heard as a suite, it's side one (as it was in the days of vinyl) that grabs the listener by the lapels and proceeds to groove remorselessly for a full nineteen minutes. Love, Love however is no feelgood piece of happy-go-lucky frippery. Rather, its relentless bass vamp is likely to plough a deep furrow through your consciousness. Spine tingling shaken percussion presages the arrival ofNyimbo Henry Franklin and Ron McClure's basses which well up and sweep forward, singularly intent upon adhering like superglue to the groove.
For the next 18 minutes, a host of players appear and disappear like spacecraft attacking offworld teflon-coated targets. synthesist Pat Gleeson, saxophonist Hadley Caliman, guitarist Bill Connors and drummers Eric Gravatt and Leon Chancler are among a host of star contributors. As hypnotically repetitive as Donna Summer and Giorgio Moroder's "I Feel Love", as deep as Parliafunkadelic or Miles Davis's Dark Magus band on their darkest days, it's also difficult to resist associating the title track with the deliberate hypnosis of longform techno.
Side two, "Images/Eternal Worlds/Epilogue" is an ambitious medley that sucks cataclysm, spookiness and melody into close orbit. Less single-mindedly cohesive, it's still a stunning piece of electric jazz, a thrashing, roiling beast that serves to remind how brilliant this shortlived period of hothouse innovation was. It's taken ECM far too long toissue this on CD, but thank goodness they've finally done so.
Personnel: Julian Priester: trombones, baritone horn, post horn, whistle flute, cowbell, small percussion, ARP 2600 synthesizer, Proto-type ARP string synthesizer; Pat Gleeson: ARP 2600 synthesizer, ARP Odyssey synthesizer, Moog III, Oberheim digital sequencer; Hadley Caliman: flute, saxophones, bass clarinet; Bayete Umbra Zindinko: fender rhodes, piano, clavinet D-6; Nyimbo Henry Franklin: fender bass, acoustic bass on all except “Love, Love”; Ndugu Leon Chancler: drums on all except “Love, Love”; Mguanda David Johnson: flute, soprano saxophone on all except “Love, Love”; Kamau Eric Gravatt: drums, congas on “Love, Love”; Ron McClure: fender bass on “Love, Love”; Bill Connors: electric guitar on “Love, Love.”

Well ECM may have reissued it on cd but this rip is taken from the original vinyl @320 and comes very highly recommended !

12 August 2007

BAYETE UMBRA ZINDIKO - SEEKING OTHER BEAUTY



























Bayete for Prestige from 1972 with some righteous electric jazz.
Todd Cochran was now no more and henceforth known as Bayete Umbra Zindiko.This is a lethal dose of nasty spacefunk. The wah effects on "Don't Need Nobody" are possibly the most extreme use of the Fender Rhodes recorded.Believe it, this is as wild and filthy as early Funkadelic.(Quoted from Freeform)

Todd Cochrane (Pianos Clavinet Vocals), Frederick Berry (Trumpet) Augusta Lee Collins (Percussion ,Drums), Dave Johnson (Percussion Soprano Flute Vocals)Hoza Philips (Vocals)

9 August 2007

ARTURO SANDOVAL Y SU GRUPO - BREAKING THE SOUND BARRIER























Arturo Sandoval live in Chicago for the Chicago Caribbean Arts Association (CCAA)from 1983.
This is a small independant lable release documenting an incendiary afro-cuban live workout at The Bismark Hotel,Chicago pre Sandoval's defection to the USA.The session just blows everything he did afterwards into the dust and is easily the best music Sandoval recorded.No GRP lush production,no pissing around grandstanding with a bunch of faceless session musicians and no sloppy,saccharine commercial mush.Just raw,percussion driven descarga styled afro cuban jazz.
Check the charming,faltering spoken intro to "On Green Dolphin Street" and then be prepared for a conga/chekere fueled battering of this standard which can't fail to take your breath away.Traditional Cuban forms are contemporized in his interpretations of the romantic bolero(En Nostros)and,the conga(Regando Flores)and the danzon(Danzoncito)The conga and the danzon,which are particularly rich in afro cuban percussion,also contain elements of traditional chanting which find new expression in Sandovals advanced scat singing in "Blues ien Dos Partes" dedicated to Dizzy Gillespie and Clark Terry.The set was brought to a close and the crowd to their feet by the furious medley "Estoy Para'o" one of those remarkable fusions where jazz and latin are one.
Arturo Sandoval - Trumpet;Hilario Duran-Piano.Synthesizer,Jorge Reyes Hernandes-Bass;Bernardo Carrera-Drums;Ahmed Barroso Jorajuria-Guitar;Reinaldo Valera del Monte- Percussion.
Ripped from the original vinyl @320-No Reissues.

5 August 2007

HORACE SILVER - THAT HEALIN' FEELIN'






















Horace Silver for Blue Note from 1970.
Lyrics a bit to the pretentious side; music overcomes it.
- Ron Wynn, All Music Guide
Hmmmmmmmmmmmmmmmmmmmmmmmmm!
However in Bacoso's opinion :
Dashiki's a bit on the flamboyant side;Turban's looking really cool.

4 August 2007

PATRICE RUSHEN - PRELUSION





















Patrice Rushen for Prestige from 1974.
A fantastic bit of hard fusion from Patrice before she started warbling and going for the commercial market featuring Joe Henderson on Tenor-Highly Recommended.Here's Kirk DeGiorgio's take on it from his excellent Hall Of Fame.
Barely out of her teens - keyboardist Patrice Rushen started a trio of great albums for Prestige: Prelusion, Before the Dawn and Shout It Out in 1974 with guest Joe Henderson on tenor sax. Whilst the majority of side two veers into hard Headhunters style jazz/funk its the whole of side one that captures the attention. Both tracks are written by Rushen who plays acoustic and electric pianos as well as clavinet and ARP synthesisers. Both arrangements are lengthy, almost movie soundtrack in feel with excellent horn arrangements.
And here's Dusty Groove's review:
A great set from Patrice Rushen -- very different than her later R&B work from the 80s! The record's her first, and at the time, Patrice was much more of a jazz artist -- working here with a cool west coast set of players (Joe Henderson on tenor, Hadley Caliman on alto and soprano, and Oscar Brashear on trumpet), playing a range of keyboards, from acoustic and electric piano, to ARP, and clavinet. The tracks are long, and have a wonderfully composed soul jazz vibe -- feeling a heck of a lot like work on labels like Strata East, deeply dipping into a soulful bag that's solid and real, with no fakery or tricks to make the mood happen.
Ripped @320 from the Japanese cd reissue from 1993.

COLTRANE - ALABAMA

HUTCHERSON AND TYNER - AFRICAN VILLAGE

Masters at Work !

3 August 2007

CLARKE BOLAND BIG BAND - SAX NO END

Sahib Shihab and the guys in full effect !!!