26 April 2008


I've updated O.I.R. Contributions and Shares-nip over and fill your boots with all 5 of Horace's Silver 'n' series plus Bill,Dudley,Bobby and a shed load more.
It's all good and it's all here!

24 April 2008


Bobby Hutcherson for Contemporary from 1982.
Bobby Hutcherson (vib, mar, perc); Herbie Lewis (b); McCoy Tyner (p); Billy Higgins (d)

This is one of vibraphonist Bobby Hutcherson's most unusual and interesting releases. The first half of the set features Hutcherson all by himself although, by utilizing overdubbing, he almost sounds like Max Roach's M'Boom ensemble. Hutcherson is heard on vibes, marimbas, bass marimba, chimes, xylophone and bells and these three selections are quite fun and energetic. The second half is more conventional, with Hutcherson welcoming pianist McCoy Tyner (in his first sideman appearance in a decade), bassist Herbie Lewis and drummer Billy Higgins for two standards and a pair of the vibist's originals. The quartet set is excellent but it is Bobby Hutcherson's solo performances that are most memorable and unique. ~ Scott Yanow, All Music Guide

Ripped @320 from the original vinyl.

19 April 2008


Adele Sebastian for Nimbus West from 1978.
Adele Sebastian-Flute.Vocals ;Billy Higgins-Drums,Gembreh ;Roberto Miranda-Bass ;Bobby West-Piano ;Rickey Kelley-Marimba ;Daa'oud Woods-Percussion
Terrific album of spiritual jazz - another one for the flute freaks !
From the liner notes:
Adele Sebastian joined the Pan Afrikaan Peoples Orchestra in the early 70s as a teenager.She played in the band until her death in 1983 of kidney failure at the age of 27.She rarely missed a rehearsal or performance.Remarkable since for a considerable length of time before her demise she had to go into a dialysis machine once a month to stay alive.She was an inspiration to everyone involved with her.
Dusty Groove say this:
A beautiful set of 70s soul jazz flute tracks featuring work by flautist Adele Sebastian, with backing by a hip group that includes Billy Higgins, Ricky Kelly, and Roberto Miranda. The tracks have a nice mellow Strata East/Black Jazz kind of sound to them and the production is equally hip and mellow, with a soulful approach that's righteous and gentle at the same time.

Ripped from the 2000 reissue on cd @320-expect to pay $100+ for the original vinyl according to soulstrut.

12 April 2008


Paul Horn for Columbia from 1963
Paul Horn - Flute,Melodica;Emil Richards-Vibes;Victor Feldman-Piano;Chuck Israels-Bass;Colin Bailey-Drums;Larry Bunker-Percussion
Produced by Irving Townsend.

As the title suggests this is Paul Horn's jazz impression of Alex North's original score to the film.As you may know I am something of a Paul Horn nut and this was the lp that switched me onto him.Quite simply this one is ...all killer no filler !
Very Highly Recommended.
Dusty Groove on the case:
Forget the silly title, and the fact that the record is based around the huge Burton/Taylor film of the same name this record is filled with great jazzy modal grooves, and has a killer sound throughout! The record is one of Horn's rarest, and it captures him at that key early 60s moment when he was moving into territory that melded jazz with Eastern sounds in a very cool way. Horn plays flute throughout, and he's backed by Emil Richards on vibes and Victor Feldman on piano -- both of whom are very much in the spirit of the whole recording.

Vinyl reissue has been kicking around for a few years but not too sure how official it is-no cd issue.(Not even in Japan)
Vinyl rip @320.

6 April 2008

"Why Do Gary Bartz, Eddie Henderson & Norman Connors Make Primates Scratch Their Head?"

The Okinawan Jazz Devil has been busy once again and I am very pleased to say that not only has he pulled out all the stops to bring us another momentous piece of rare jazz but he has requested it to be hosted here at Orgy In Rhythm.
So read on fellow jazz lovers, and prepare for a spiritual jazz tour de force and the answer to the title riddle!
Over to Jazz-nekko...............

It is a scary thing to guest post here at OIR. How could anyone ever possibly bring on the goods that deserve to sit on the same virtual shelf as Bacoso's? The fact that he began scratching his head when I enquired from the master himself about this set, gave me a bit of courage. I leave the final judgment in the ears of the listeners, but I wish to thank Bacoso for sharing his place with my weird musical tastes...

Gary Bartz is certainly on the top alto players of the modern generation, and like so many others - probably one of the most under-appreciated jazz artists. Eddie Henderson's horn is clearly influenced by Miles' early fusion period. Fellow Philadelphians, Elmer Gibson and Norman Connors have recorded with a "who's who" of jazz & fusion giants. It was only a year later that Connors became the Buddah Records Company's musical director.

This live set, "Live at Nemu Jazz Inn - 1" (1975, Nippon Columbia/Cobblestone VQ-7509-CO), was released only here in Japan and just 500 albums were pressed. This set does not even show up in any of the artists' discographies; makes you wonder if the artists thought it worthy.For more than one reason, however, this ol' devil sure thinks it worthy: I attended this Live at Jazz Nemu Inn with my brother and two friends of ours. The audience was 50% Japanese and 50% foreigners, mostly military personnel, as the club was not far from two bases. As you will hear, it was a quiet, respectful crowd but much of the raucous applause was cut out of the album. These guys were at the height of their artistic and imaginative skills. Connors led this set and personally selected the crew for their world tour. It was my first time to see Henderson in concert. Perhaps it is my bad memory or prejudice, but I cannot help but think his playing that night was a bit off. The sad part about this was that they did not include three other numbers – warm-ups – if you will, but the playing in those was also rather remarkable.

Please check out the comments box for more of this excellent review from Jazz-nekko - and,of course,the links!

2 April 2008


"In all beginnings...a mystical,magic force,
What course ,what destiny...determined in time"

Time for just one more then .....Strata East in full effect on this fabulous spiritual modal opus from Clifford Jordan with a double quartet line up from 1974.
Forst posted here 09/06.
Here's a great write up about this classic double lp by Kevin Moist from the superb

One of the coolest things about Strata-East was how it provided a space for previous-generation players often considered “too mainstream” by the freejazzers and “too weird” by the mainstreamers to move and grow in personalized ways. In the late ’50s and early ’60s Clifford Jordan was generally heard as a “Coltranesque” player, in his earlier classic style; but most of this Hesse-monickered double LP finds Jordan sailing beyond straight-ahead into deeper skies much more open and spacious. The homage to the inspiration of using swinging hard bop as a base for spiritual exploration is explicit on the tune John Coltrane, with its chant of “…Black Spirit… first newborn…”. While Jordan proves periodically here that he can wail whenever he wants to, mostly his tone and attitude are much less anguished than ’Trane’s often were, instead fountaining forth with a bountiful and dignified good-ness of nature that is at times almost buttery rich in its glow. Seemingly entirely recorded on “Stormy Monday, October 29, 1973”, there’s a loose but charged feel about the proceedings, probably accentuated by the session’s setup: Jordan and drummer Billy Higgins are constant on all tracks, but the bass and piano roles are divided between edgier cuts featuring Stanley Cowell and bassist Bill Lee (Spike’s dad), and more classicist numbers with pianist Cedar Walton and Sam Jones on bass. It’s easy to imagine everyone hanging around the studio egging each other on and feeding off the vibe of great musicians playing for themselves; much good spirit and positive energy radiate from this record.
320 rip from the cd issue on charly.