29 February 2008


Hampton Hawes
for Prestige from 1973.
Hampton Hawes-Electric/Acoustic Piano;Bob Cranshaw-Electric Bass;Kenny Clarke-Drums

Hampton Hawes live at Montreux produced by Orrin Keepnews.Here's a very underwhelming review by you know who at amg:
This live LP mostly features Hampton Hawes on electric piano, performing at the 1973 Montreux Jazz Festival in a trio with electric bassist Bob Cranshaw and drummer Kenny Clarke. Hawes interprets three of his originals, Sonny Rollins' catchy "Playin' In the Yard," and "Stella By Starlight." Although well-played, little memorable occurs, and Hawes never did sound as distinctive on keyboards as he did on acoustic piano. ~ Scott Yanow, All Music Guide
320 rip from the 2003 Fantasy cd reissue.


Ray Barretto for West Side Latino from 1967.
Descarga steamrollers,proto salsa mambos , boogaloo , Latino con Soul says it all - this one's got the lot!

Firmly in the boogaloo (Latin soul) era, Latino con Soul would be Barretto at his hippest -- except for the pernicious strings. "Eras" is remade with a sappier, poppier sound; this time vocals are by Adalberto Santiago and Pete Bonet. Of the two fine boogaloo tracks, DJs are likely to find "Do You Dig It?" more useful. Otherwise, all are solid Latin, Latin jazz, and percussion tracks, two-thirds of them originals. Henry Jerome's production ensures that the horns are prominent, especially on "Trompeta y Trombon." ~ Tony Wilds, All Music Guide
Ripped @320 from the long deleted Polydor cd issue in 1994.


Harold Land
for Muse from 1981.
Harold Land (ts); Bobby Hutcherson (vib); George Cables (p); Oscar Brashear (tp); John Heard (b); Billy Higgins (d); Ray Armando (perc)

Maybe best known for his 1959 Contemporary album The Fox, tenor saxophonist Harold Land spent the '50s and '60s rebuking the stereotype of the West Coast sound being all wafer-thin with his robust and intense work as both a solo artist and sideman. And while he slowed down a bit in the '70s, Land came roaring back with this exceptional effort from 1981. Both the playing and the songs are all top notch. To help out, Land enlists the fine talents of drummer Billy Higgins, vibraphonist Bobby Hutcherson, pianist George Cables, trumpeter Oscar Brashear, and bassist John Heard. Highly recommended. ~ Stephen Cook, All Music Guide
Ripped from original vinyl @320.

26 February 2008


Billy Harper
for Strata East from 1973.
First posted here in late 2006-seems a timely juncture to repost this cracker.
This great group of players are joined by a quintet of voices including Eugene McDaniels on a couple of tracks who sing behind the jazz players in an uplifting spiritual mode that cries out with the new soul jazz freedom of the 70s.
More info on this here from KFJC:
Texas-born saxophonist Billy Harper had played with many of the greats (Gil Evans, Art Blakey, Elvin Jones) before recording this first album as a leader in 1973. Influenced heavily by Coltrane, Harper was part of the “black consciousness” movement in jazz, which fueled such artist-owned labels as Strata-East in New York, Tribe Records in Detroit, and Black Jazz in Chicago. This session for Strata-East features an all-star cast, including George Cables (piano), Reggie Workman (bass), Julian Priester (trombone), Billy Cobham (drums), and more, including a special appearance by drummer Elvin Jones on the track “Sir Galahad.” One of the quintessential traits of this strain of jazz, the vocal chorus, is featured prominently on the two tracks from Side Black, linking the music to its roots in gospel. The equally-important blues influence shines through clearly, as well; just check out the track “New Breed” for evidence of that. All in all, an impressive debut from Mr. Harper. Interesting bit of trivia: Harper’s next album release was BLACK SAINT, inaugurating the label of the same name, which is still active today.
320 rip from the long deleted Strata East cd issue.

24 February 2008


Benny Maupin
for Mercury from 1978.
Bennie Maupin : soprano saxophone, tenor saxophone,bass clarinet, flute, Eu synthesizer computone synthesizer winddriver,bass marimba, glockenspel
Bobby Lyle : acoustic piano, electric piano, clavinet
Harvey Mason : drums
Michael Sembello : acoustic guitar, electric guitar
Abraham Laboriel : bass
Mingo Lewis : congas, miscellaneous percussion
Onaje Allen Gumbs : electric piano (on 5,6)
Beverly Bellows : harp (on 2)
Patrick Gleeson : synthesizer programming
Derrick Youman : vocal colors (on 4)

Produced by Pat Gleeson
All selections written by Bennie Maupin, except
Track 5 written by Onaje Allen gumbs
Arranged by Bennie Maupin, except track 5 by Onaje Allen Gumbs
Tracks 3,4,6 co-arranged by Onaje Allen Gumbs
Recorded at Conway Records, Inc., Los Angeles
Mixed at Different Fur, San Francisco
Recording Engineer : Steve Montoani / Additional Engineering : Seth Dworken
Mastered at Kendun Recorders, Burbank / Mastering Engineer : Johnny Golden
Phonogram/Mercury A&R : Gerry Hoff
Front Cover Collage : Betye Saar / Design : Desmond Strobel
Photographer : Jonathan Exley

Here's a pretty accurate write up from yofriend who reviewed this at rateyourmusic:
Moonscapes was released a year after his first Mercury album, and it would remain the last album Bennie Maupin was to release for that label, the last album at all as a leader, really. This time, he recorded a more formalized Jazz fusion album. Rock isn't part of the formula, but Funk isn't, either, in spite of the occasional funky bass lines here and there. With the song Just Give It Some Time, Maupin made a concession to the contemporary crossover audience. As for the rest, the listener will find a collection of ambitious electric Jazz music. Even though it was not quite as consistent as the last record, Moonscapes was still way above the bulk of releases of so-called Jazz albums in 1978. His very individualized style on the soprano and tenor saxes, bass clarinet and flute may be admired throughout the album. And there are a few standout tracks: Anua; A Promise Kept and Farewell To Rahsaan.

Ripped @320 from the original vinyl-no reissues.

23 February 2008


El Reza's
been resucitated and is now back in action hosting comps by the man himself and guest posters.Some magisterial jazz there already and more on the way-all killer no filler!!!
Yours truly has been asked to contribute so watch out for a heavy duty special coming soon.

16 February 2008


Pharoah Sanders for Theresa from 1981.
Side 1 & 2 here. Side 3 & 4 here.
This was the first Pharoah Sanders album I bought way back in 1982 and I guess the rest is history.I snapped up most of his catalogue over the years (posting many of the harder to find Impule lps here)and have seen him play live on numerous occassions.I still rate this double vinyl set as much now as I did then so here it is ripped from the original Theresa vinyl @320.I can't find it posted anywhere else in Blogland which is surprising so another first at Orgy In Rhythm.
Very Highly Recommended.

Personnel: Pharoah Sanders (tenor saxophone, vocals, bells), B. Kazuko Ishida, George V. Johnson (vocals), Danny Moore (trumpet), Steve Turre (trombone), Lois Colin (harp), Bobby Hutcherson (vibraphone), Joe Bonner (piano, background vocals), John Hicks (piano), Peter Fujii (guitar, background vocals), Jorge Pomar (bass, background vocals), Art Davis (bass), Babatunde (drums, percussion, background vocals), Elvin Jones, Billy Higgins (drums), Big Black (percussion, background vocals).

A two-LP set on Theresa this features Pharoah Sanders in excellent form in 1981. Sanders sounds much more mellow than he had a decade earlier, often improvising in a style similar to late-'50s John Coltrane, particularly on "When Lights Are Low," "Moments Notice" and "Central Park West." The personnel changes on many of the selections and includes such top players as pianists Joe Bonner and John Hicks, bassist Art Davis, drummers Elvin Jones and Billy Higgins, vibraphonist Bobby Hutcherson, trombonist Steve Turre, trumpeter Danny Moore, a harpist and (on "Origin" and "Central Park West") five vocalists. The music always holds on to one's interest, making this one of Sanders's better later recordings. ~ Scott Yanow, All Music Guide

15 February 2008


Matti Oiling for Finleavy from 1970.

Dusty Groove:A great bit of funky fusion from Finland -- recorded in 1970 by drummer Matti Oiling, one of the funkiest percussionists in Europe! The album kicks off with the amazing breakbeat track "Oiling Boiling" -- a monster number that no beathead should be without -- then rolls into a very tight batch of grooves played by a combo that includes organ, guitar, bass, and lots of funky saxes! The grooves are great -- a crossroads of 60s and 70s soul jazz expression, handled here with a quality level that sounds more like a record on a US indie than some overseas pressing.

Here's the riginal sleeve notes:
Can you imagine a lathe-hand who does lathing in his time off? Or a brick-layer who lays bricks for relaxation after his day's work? Hard to picture, isn't it? But I do know a number of professional musicians who relax by making music after a hard and sometimes quite exhausting session at the studio. But the difference lies in what you play in your leisure time. The musicians performing on this record have found a musical form that brings satisfaction and variation and gives them the chance to experiment and to create something new and still untried. That's real work therapy.
Matti Oiling - a first-class drummer - has gathered around him a number of fellow musicians whose vision and musical comprehension are harmonious and whose ways of thinking run parallel. They are all musicians of the young generation, to whom pop music and jazz music are equally close and whose artistic resources provide them with an opportunity of blending these musical elements. And when they want to make music, the music they make is pervaded by a sense of cheerfulness and humour.
You'll really enjoy this LP. Matti Oiling's solo - something he cooked up himself - is called "Oiling Boiling". The recipe, with spices, is provided by Matti himself. The "sound" idea is produced on a Lesley accessory.
Paroni Paakkunainen's soaring imagination is a triumph. His musical skill, uninhibited and humour-imbued, is full of surprises and a wicked Mephistophelean laughter pops up in his performances. Among his many instruments is the Bengal flute - featured in the piece by that same name. He has an impressive range of musical color.
Matti Bergström - apart from his Fender bass - introduces his Bascello, which lends its very "different" sound to the item entitled "Stratosphere Inspiration".
Nono Söderberg performs his solo "3/8 Of Nono" on his 1-Watt guitar amplifier - not to save the ears of the rest of the group but just to produce the right instrumental color.
Tuomo Tanska - organist, pianist and arranger - also appears on this disc as a composer. "Uncle Tom's Cabin" is his musical vision of a classic work.
Thanks to this record I have spent a very rewarding forty-five minutes - and listening to it, one can only feel a gluttonous delight in its surprising and revitalizing musical ideas. Pop and jazz fans will find something that distinguishes this LP record from other LPs - a terrific dose of happy music.
Ossi Runne, Conductor, Finnish Broadcasting Company TV 1

Ripped @320 from the original vinyl.

10 February 2008


Paul Horn
for Epic from 1976.
Produced by Teo Macero
Dom Um Romão -Percussion;Dom Salvador -Piano (Electric) Roberto Silva -Percussion, Drums;Egberto Gismonti-Guitar (Acoustic), Flute, Guitar, Bambuzal, Piano;Paul Horn-Sax (Alto),Piccolo, Flute, Flute (Alto), Flute (Bass);Ron Carter-Bass

Paul Horn joined forces with Egberto Gismonti and a staggering aray of Brazilian talent augmented by Ron Carter for this superb album penned in the main by Gismonti.
Standout track for me is the monsterous batucada "Salvador" which is just breath-taking!The rest of the album is just as good expertly blending Brazilian rhythms and Jazz into a homogeneous whole.
Very highly recommended.
Here's Paul Horn's notes from the rear of the lp sleeve:

I first heard Egberto Gismonti's music last summer when a Toronto musician played me a cassette of a Brazilian release of his.It knocked me out!The music was refreshingly different,so vital and spirited,so exquisitely melancholy at times and always played with impeccable musicianship.I told Teo my producer to find this cat wherever he is and bring him to New York so we can do an album.
Teo(ol'private eye)found him in Rio and one week later we were in the studio.Man,I had a ball!The band was cookin'and I mean really cookin'!The whole attitude was let's make some nice music-a far cry from the typical bored studio musicians looking at their watches and counting their bread.
Aside from his musical genius,Egbert is a beautiful human being,but I hardly expected otherwise.Watch out for him!He's the coming new star from Brazil.

Ripped @320 from the original vinyl.


Nat Adderley for Steeplechase from 1976.
Fernando Gumbs (bass) Onaje Allan Gumbs (piano) Nat Adderley (cornet) Ken McIntyre (alto sax, oboe, bassoon, flute, bass clarinet) John Stubblefield (tenor sax, soprano sax)Ira Buddy Williams (drums) Victor See Yuen (congas, percussion)
From the slamming opener"Funny Funny" to the super funky "K High"to the great title track by Harold Vick this one swings like a mutha.
All killer-No filler!
Ripped @320 from the Steeplechase cd.

7 February 2008


Michael White
for Impulse from 1972.
I first posted this back in August 2006 and the files have now been long gone so I thought I'd put it up again. This time I've ripped it @320 from the original vinyl.
Here's some more info about it from Kosmigroove:

I expect you're familiar with Michael White from John Handy's Quintet & The Fourth Way, both a-list ensembles. Pneuma's side-long title track's more on the cosmic/out side, starts out like an Art Ensemble record with small percussion, some nice inside-the-piano stuff from Ed Kelly, going on thru a series of encounters within the group (rhythm section's Ray Drummond, Kenneth Nash on percussion - strictly by hand). This whole side has more of an AACM feeling than a Miles kinda thing, but it is just *so* good. On the other side, "Ebony Plaza" is more inside, just over nine minutes of modal groove, Kelly doing his best McCoy Tyner impression in the background (he gets to do it in the foreground on "The Blessing Song"), and White blazing away on top. The kozmigroov charter-centric stuff is the last two cuts "Journey of the Black Star" adds a vocal quartet (Faye Kelly, Leola Sharp, D. Jean Skinner, Joyce Walker) contributing the profound sentiment "EE-yah" over & over & over again ... in "The Blessing Song" they actually get some lyrics before they sink into ooh-aah ... both cuts are midtempo infectious grooves (ok, I've started playing this one now, it just feels so Just-After-Sunset-Summer-Night I could die) - "Journey" is a bit more *pushed*, "Blessing" just sways into the sunset - both would be prime sweet-soul dancing cuts if it weren't for that lunatic scraping away like he wants to be (post-Miles pre-ALS) Coltrane on top (but that's what makes it *good*). This side is a great argument for the live drummer ... Nash patters around all over the place *tonally*, but damn if he isn't on that One ... always a groove, never the same.

5 February 2008


The Moon People for Speed from 1968.

Dusty Groove:One of the grooviest records ever recorded -- and pretty darn rare, too! The Moon People -- aka Los Astronautas -- were a Latin Soul studio band who played behind some of the other killer recordings on the Speed Label. They're best known for their sock-boogaloo instrumental "Land Of Love" -- a stone jammer which kicks off the album -- and their forte is blending together Latin rhythms, soul instrumentation, and kind of a mod 60s easy production style, handled here by maestro Morty Craft. The album's got a really really weird feel -- part Latin Soul, part 60s soundtrack -- almost as if Joe Cuba and Quincy Jones were hanging out together!

There's a fascinating write up on this crew over at Spectropop so if you're a sample spotter or just wanna bit more background on this lp it's well worth a visit.
320 vinyl rip-reissue appears to be out of stock most places.

2 February 2008


Karel Velebny for Saba from 1968.
A beautiful album of European jazz from the Black Forest produced by Willi Fruth in the Villingen Saba-Tonstudio.Best known for the charming"Nude"-you'll find the rest of the lp is of the same high standard .
Very highly recommended.
Karel Velebny-Vibes;Jiri Stivin-Flute;Ludek Svabensky-Piano;Karel Vejvoda-Bass;Josef Vedjvoda-Drums;Vlastimil Kala-Oboe;Miroslav Krysl-Bass Clarinet;Milos Petr-French Horn;Pavel Zednick-Bassoon.
Ripped @320 from the original vinyl.


George Braith
for Prestige from 1967.
Reposted but this time from a clean 3rd pressing which I recently picked up -its in good shape unlike the 1st press rip I originally posted:

Here's a real rarity from the great George Braith which was cut for Prestige in 1967 .I knew nothing about this fantastic piece of wax until I came across this review at Waxidermy
"One of the most unique & beautiful jazz albums I've ever heard! Sounds ranging from exotica with wordless female vocals, to free jazz - often all within the same track. Worlds away from the typical one dimensional soul jazz that Prestige was cranking out at the time, and from most jazz albums that came before it, or after it on any label. For those unfamiliar with Braith, he is most well know as one of the few horn players to embrace Roland Kirks' sticking a bunch of saxophones in your mouth technique. Far from having a large body of work (3 Blue Note lp's and one other on Prestige, if I'm not mistaken) this is considered by many to be his masterpiece. But, his other records are quite good, though different and and a bit more conventional. Highly recommended."
Once I read this I was on the hunt for a copy straight away-having all the Blue Notes he recorded I knew this lp would be a killer and I wasn't wrong.This is how Braith introduces the music in the liner notes.
"My love for sounds has introduced me to improvisational music.Many players are searching for instruments with varied temperaments.The search is justifiable since a definite number of sound vibrations striking one's ears will always produce a tone of a certain pitch.In so called dissonance there is much beauty untold.Spontaneous music fires the imagination ,provokes thought,and provides a keen sense of enjoyment."
320 rip from original vinyl-no reissues.

1 February 2008


Jayne Cortez and the Firespitters for Bola Press from 1982.

Jayne Cortez (voice) and The Firespitters - Abraham Adzinyah(conga), Bill Cole(shenai, flute, muzette, korean sona), Denardo Coleman(drums), Farel Johnson Jr.(bongo, bell, conga), Charles Moffett Jr.(tenor saxophone), Bern Nix(guitar), Jamaaladeen Tacuma(electric bass).

A pretty unique fusion of poetry,jazz and blues best known for the fantastic eulogy to the mighty Chano Pozo "I See Chano Pozo" a percussion heavy,rumbling bass driven chanting monster of a track with Cortez in full effect with her spoken word tribute to the conga king.

"I have read my poetry with some really great musicians," Jayne Cortez recently allowed. "I think, though, that my poetry swings with or without music." There’s much evidence to support this claim. For at least the past 30 years, Cortez has been an avatar of rhythmic agility in verse. Like her contemporary Amiri Baraka, she absorbed not only the techniques of an American poetic avant-garde but also the language(s) of the blues. The resulting poems translate the pulsation of the city into potent phraseology; they rumble, they smolder, they swing. All of which makes sense, given the poet’s singular history. Born in Arizona and raised in California, Cortez graduated from an arts high school, where she forged an identity as a writer and cellist. In 1954, at the age of 18, she married the iconoclastic saxophonist Ornette Coleman; two years later, they had a child. During the ’60s, Cortez struck out on her own — working for civil rights in Mississippi, organizing writing workshops in Watts, touring both Europe and Africa and finally emigrating to New York. She published her first book of poems in 1969. Cortez was for some time deeply invested in the ideology of the Black Arts Movement, and her work still conveys both political urgency and poetical rage. It also frequently address issues of feminism — or, perhaps more accurately, the complex matrices of womanhood.
Ripped from the original vinyl @320-no reissues