Peter Herbolzheimer working as The Galactic Light Orchestra for Polydor from 1974.
Review and line up lifted from discogs.com-guessing the write up is probably a translation(!?)
Bass - Bo Stief , Günter Lenz , Jean Warland , Rob Langereis
Drums - Kenny Clare , Ronnie Stephenson , Todd Cannedy
Executive Producer - Jimmy Pratt
Guitar - Heinz Kästle , Philip Catherine , Rolf Kästle
Leader - Peter Herbolzheimer
Organ - Dieter Reith , Rob Franken
Percussion - Claudio Szenkar , Horst Mühlbrand , Jimmy Pratt , Peter Herbolzheimer , Sabu Martinez
Piano - Horst Mühlbrandt , Ingfried Hoffmann
Trombone - Jiggs Wigham , Manne Gätjens , Nick Hauk , Otto Brendl , Rudi Fuesers , Åke Persson
Trumpet - Ack van Rooyen , Art Farmer , Eddie Engels , Hans Thomas , Jupp Kreuser , Palle Mikkelborg , Rick Kiefer , Ron Simmonds
Woodwind - Ferdinand Povel , Herb Geller , James Towsey
In essence, this album is a beautiful mixture of great themes from the classics, combined with the force and dynamism of one of the funkiest rhythm sections yet heard; the result is yours to judge and the rest assured that the album has had rave reviews across the world. The concept of this album is one of continual surprise, musical wizzardry and just sheer excitement. Peter Herbolzheimer and Jimmy Pratt have pulled together a wellknown international line-up of top class musicians (including "The Concert and Symphony Strings of Cologne"). It is an album of moods and colours, incorporating the sweeping grace of Grieg with "Anitra's Dance", the peace of Schumann with "Falling Asleep", the majesty of Bach with "Air", and a host of surprises including melodies from Tschaikovsky, Borodin. "Galaxis" is one of the few albums that cannot be categorized, cannot be faulted and cannot be put aside. There are so few musical productions that can equally well appeal to a broad spectrum of age groups ; and when one does appear, as "Galaxis" has, it is surely an event.
Ripped@320 from the MPS 4 cd Box Set Big Band Man.
Roland Kovac for Saba from 1964.
First posted at OIR in May 2006.
Jimmy Deuchar-Trumpet;Cliff Hardy -Trombone;Derek Humble-Alto;Charlie Drewo-Tenor;Jiohnny Fisher-Bass;Francis Coppetiers-Piano;Jimmy Pratt-Drums;Stuff Combe-Percussion.
This is what Johnny Trunk had to say about this lp of top quality european jazz
"At long last MPS records have re-issued this sci-fi jazz monster. 17 tracks cut in about 1964, and all about a flight into Space. Fantastic in every way. I nearly got really desperate, anxious and sweaty just trying to track one of these rare re-issues down. I think an original is about a monkey (£500), so I'm obviously not going to get one of them."
I did likewise-here's a 320 rip from the Speakers Corner 180g repress from 2000.Now read on:
At long last this extremely rare "concept LP" by the pianist and arranger Dr. Roland Kovac is available once more. The cover photo is a feast for the eyes, while the music is sheer delight for the ears. the ears. Amazingly enough, this music was originally recorded as an advertising gag for an atomic power plant. The plant was never put into operation however: luckily Roland Kovac persuaded SABA to take over the production costs and the sound Tapes. The soloists all came from West German Radio's Kurt Edelhagen Bog Band, and all are excellent interpreters of this complicated collage of short melodic fragments. Jazz friends will particularly enjoy listening to Service II, while Munich On The Mars will Make many smile at its humour. Derek Humble, probably one of the very best saxophone players in the history of the big band, makes each and every theme a little musical jewel in its own right. All in all this LP possesses not only documentary value but offers great music - even 40 years after its recording - which is on a par with the futuristic cover.
Mary Lou Williams released by Saba in Europe from 1963.
First posted at OIR in September 06.
Something a little different today with this beautiful,spiritual jazz lp by Mary Lou Williams which also features Grant Green and Percy Heath .I have posted the artwork from the Saba LP release although this 320 rip is from the re-issue cd from Smithsonian Folkways Recordings which also features 4 extra tracks.
Here's a review from allaboutjazz.com
Calling this album mainstream is a bit misleading, since it includes four pieces of choral/sacred music and one avant garde cut. In a way, it's the perfect mirror of where Mary Lou Williams was in the early 1960's, coming out of a nearly ten year absence from performance. At the beginning of that period she had devoted herself solely to religion and charitable work. Jazz-loving priests within the Catholic church convinced her to convey her religious feelings through what she did best: performing, composing, and arranging. Here we have some of the beautiful results.
The hymn “St. Martin de Porres” celebrates the life of a recently-canonized Peruvian patron saint of interracial justice, complete with modern jazz harmonies and rhythm patterns, ascending and descending chromatics and falls, with a brief, simple Latin piano interlude. The very hip jazz waltz ”Anima Christi” has the usual strong bass line of a Mary Lou Williams tune, here doubled by Budd Johnson on bass clarinet.
Vocal soloist Jimmy Mitchell reminds me of a higher-pitched Lou Rawls. Grant Green's clean, hip, tasty blues licks flavor the piece throughout. “Praise the Lord” brings together inspired gospel and the feeling of a great jam session, with swing era vet Budd Johnson wailing on tenor sax. Jimmy Mitchell quietly raps. By the time he sings “Everybody clap your hands now,” you'll be doing that or moving your body in some fashion.
Exploration was the hallmark of Mary Lou's career. Here she takes the journey into rhythms and deeply into the blues. At times her playing is very spare but deeply felt. “A Fungus A Mungus” takes the listener in a polytonal direction, hinting at her later interest in Cecil Taylor.
Bill Evans for MPS from 1974.
First posted at OIR July 06.
Symbiosis is a beautiful and vastly overlooked album in Evans’ prolific canon, yet one that needs to be seriously reckoned with. Ogerman, who had worked with Bill on two previous albums in 1963 and in 1965 (Bill Evans With Symphony Orchestra) , composed an adventurous and often hauntingly gorgeousl work in two parts. In the third section of the first movement, working over a slow and gentle jazzy swing, Bill plays long and fast- moving lines on electric piano that catch your ear with their shimmering beauty and complexity. Ogerman writes lush but never maudlin strings (and a few flutes) here in dense, often whole-tone and poly-chordal fashion underneath -- creating a perfect cushion for the pianist’s swirling right-hand lines. The Rhodes fits in well here, as it does sparingly in and out through Symbiosis’ framework. It is often used as punctuation at the end of a written ensemble phrase, or as an ensemble texture. Evans’ choices as to when to use the Rhodes or the Steinway are wise indeed, and not without great sensitivity, integrating seamlessly within the composition. Claus Ogerman as composer-arranger succeeds marvelously here with a work of great harmonic expression and rhythmic interest that showcases Evans’ lyrical expression and his obviously inherent classical strengths, yet within a composition that represents much of what jazz is about. (Ogerman would later do the same for tenor sax virtuoso Michael Brecker for his Cityscape album.) If we consider the aural comparisons to the other albums Bill did with orchestral accompaniment, it is far and away the most superior achievement, and may represent his best use of the electric keyboard in context. “Symbiosis” is far too important to be neglected as often as it has when jazz writers discuss Bill Evans albums. As biographer Keith Shadwick noted: “Evans brings to the work the consummate artistry and sensitivity that occurs when he is stretched and stimulated. His rubato playing in the opening and second movement sometimes alone, sometimes in unison with the strings, is both moving and immensely accomplished in a way that few jazz or classical pianists could have countenanced
Ripped @320 from the deleted 1994 Motor Music cd
Nathan Davis for MPS from 1966.
Nathan Davis (ts, ss, fl); Carmell Jones (tp); Francy Boland (p); Jimmy Woode (b); Kenny Clarke (dr)
On 1 September 1965 a group of five musicians got together for a recording session at the SABA studio in Villingen - and one might quite justifiably label them all with the word "cosmopolitan". Kenny Clarke came from Pittsburg, Pennsylvania, known under the Muslim name of Liaquat Ali Salaam, made Paris his home; Jimmy Woode, also from Pennsylvania, lived with his Javanese wife in Cologne, Germany and in Holland; Francy Boland, the Belgian arranger and pianist, lived in Berlin and directed the European Big Band in Cologne; Nathan Davis came from the second largest jazz centre, Kansas City, and lived with his German wife in Paris; and finally Carmell Jones, his "buddy" of the past, spoke of himself as a Berliner..Although these musicians came from all parts of the globe, they met up together on common ground when it came to music. The key work, That Kaycee Thing, embraces tradition without, however, becoming nostalgic, offering a portrait of pulsating night-life and building a bridge between the swing of Count Basie and the be-bop of Charlie Parker. Light and melodic compositions such as the Black Forest Waltz, alongside the gripping Train Of Thought, a dedication to John Coltrane and Eric Dolphy, could be mentioned as the most outstanding and typical "trademarks" for this super band, whose rhythm group must surely be one of the very best that big-band jazz has to offer. "Squares" could never dance to this music (and they'd be better off not trying): this is music to get every "hip" person on the move!
320 rip from the long gone 1998 Motor Music cd reissue.
Francy Boland for Saba/MPS from 1967.
First posted at OIR May 06.
Jean Warland Bass;Kenny Clarke Drums;Francy Boland Piano, Keyboards;Fats Sadi Bongos Jimmy Woode Bass ; Wolfgang Hirschmann Engineer ; Gigi Campi Producer, Supervisor
Lovely piano trio lp from Francy Boland with the great Fats Sadi on bongos.Recorded for Saba in 1967 this one features the full tilt Expresso Loco and 5 more Boland penned compositions along with a couple of standards and Jimmy Woode's Rosa de Luxe.I'm a big fan of Boland and this album is a good opportunity to hear him stretching out away from his usual setting with the Clarke Boland Big Band.
Ripped @320 from the long deleted Japanese 1999 cd reissue.
Peter Jacques Orchestra for Center a subsidiary label of MPS from 1970.
First posted at OIR May 06.The review was lifted from Dusty Groove.
Another treat from MPS.This is a beautiful piece of breezy bossa from 60s Germany - a classic sound library session by pianist Pete Jacques, filled with lightly dancing rhythms, crackling acoustic percussion, and lots of cool wordless vocal bits next to the instruments! The sound is very much in the best MPS mode a mixture of jazz and easy with just the right influences from Brazil all crafted together with magnificent sound and a timeless groove that's far less cheesy than some of the American albums of this type from the time .There's a really dynamic feel to Jacques orchestrations on the set an interweaving of the understated and baroque modes going down in Brazil at the time filtered through a German postwar ideal that imagines the sound with an even cleaner vision than the original.
320 rip from the 2005 Sonorama cd reissue.
Don Ellis for MPS from 1974.
* Don Ellis - Trumpet* Israel Baker - Violin* Erno Neufeld - Violin* Jacob Krachmalnick - Violin* George Vinci - Violin* Shirley Cornell - Violin* Marcia Van Dyck - Violin* Marvin Limonick*Violin* Allan Harshman - Viola* David Schwartz - Viola* Myra Kestenbaum - Viola* Samuel Voghossian - Viola* Alfred Barr - Viola* Dan Neufeld - Viola* Raphael Kramer - Cello* Frederick Seykora - Cello* Ronald Cooper - Cello* Catherine Gotthoffer - Harp* Larry Carlton - Guitar
* David Cohen - Guitar* Tommy Tedesco - Guitar* Milcho Leviev - Keyboards* Ray Brown - Bass* John Guerin - Drums
* David Cohen - Guitar* Tommy Tedesco - Guitar* Milcho Leviev - Keyboards* Ray Brown - Bass* John Guerin - Drums
Haiku (1974) represents another radical departure from both the conventions and the direction Ellis had been setting for himself and his ensemble. This recording features pristine chamber music-like settings of Ellis's favorite examples of ancient Japanese Haiku poetry, and foreshadows the "New Age" textures that became popular during the 1980s. Ellis provides the verbal narration of each for the ten settings himself. Ellis's stylistic development is best demonstrated on this release in the selection "Children," which features a sublime counterpoint writing in a 7/8 canonic passage.
Ripped@320 from the original vinyl-no reissues.
Cannonball Adderley - alto sax Nat Adderley - cornet Yusef Lateef - sax, oboe, flute Joe Zawinul - piano Sam Jones - bass Louis Hayes - drums
Yusef Lateef for Impulse from 1964.
Bass - Ernie Farrow; Drums - James Black ;Piano - Mike Nock ;Saxophone [Tenor], Flute, Oboe - Yusef Lateef ;Trumpet - Richard Williams ; Producer - Bob Thiele
Recorded at Pep's Lounge, Philadelphia, Pa. June 29, 1964. Unreleased until 1976.
This features the old Dingwalls raver "Brother John" but every cuts a cracker on it - highly recommended.
The group features some amazing piano from Mike Nock vamping and grooving along at a pace that brings out the best in Lateef's reeds and the shimmering trumpet of Richard Williams and the record combines all of Lateef's exotic work on flute and saxes with a groove that you'll hardly hear on other albums.
320 rip assembled from the Live at Peps cds.
Eric Kloss for Muse from 1975.
Eric Kloss-Sax;Barry Miles-Keyboards;Vic Juris-Guitar;Harvie Swartz-Bass;Terry Silverlight-Drums
Eric Kloss joined forces with Barry Miles' Silverlight on this outing and for touring at the time.The results aren't quite as fusion orientated as the Silverlight connection might lead you to believe and it's not until the final "Headin' Out" that we get some balls out banging fusion.Solid album overall although I could have done with out the ghastly "Scarborough Fair".
Ripped@320 from the original vinyl - no reissues.
Yusef Lateef for Impulse from 1965.
Features the killer cut "Headhunters"
The emphasis is on older tunes and styles on this Yusef Lateef Impulse! album. Lateef (switching between tenor, flute, and oboe) plays such numbers as "Straighten Up and Fly Right," "Ghost of a Chance," "Exactly like You" (on oboe), and "Rosetta" along with some group originals. Lateef has long been a true original, and he revitalizes the standards while always swinging and being a bit unpredictable. Well worth searching for, this was Lateef's final Impulse! album before switching to Atlantic.
Scott Yanow AMG.
320 rip from the Verve 2004 cd reissue.
Gary Bartz for Milestone from 1968
Charles Tolliver (trumpet), Gary Bartz (alto sax), Pharoah Sanders (tenor sax), Stanley Cowell (piano), Reggie Workman (bass), Freddie Waits (drums)
A fantastic album of spritual jazz-Dusty Groove on the case:
Another Earth is amazing one of the first lps that Gary Bartz ever cut done during a time when he'd been working with Max Roach and a super-hip group of younger soul jazz players who would go onto shape the sound of the 70s. Bartz leads a group that includes Stanley Cowell, Freddy Waits, Charles Tolliver, Pharoah Sanders, and Reggie Workman -- and the music sounds like it was lifted from one of the best albums on Strata East from the 70s. There's no funk, no vocals, no weird rhythms just pure spiritual jazz, played to perfection, and filled with a creative vitality that most of the players had lost a few years later.
Ripped @320 from the Milestone cd reissue in 1998.
Freddie Hubbard for Blue Note from 1987.
1/2:Freddie Hubbard (tp) Stanley Turrentine (ts) Larry Willis (el-p, syn) George Benson (g) Wayne Braithwaite (el-b) Idris Muhammad (d, tamb)
3/4:Freddie Hubbard (tp) Ralph Moore (ts) Larry Willis (p) Rufus Reid (b) Carl Allen (d)
This lp captures the great trumpeter Freddie Hubbard at the age of 48 just before he began to decline. Hubbard is heard in excellent shape on two selections apiece with two separate bands. One group, a sextet with tenor-saxophonist Stanley Turrentine and guitarist George Benson, recalls the trumpeter's glory days on CTI although the material ("Battlescar Galorica" and "A Saint's Homecoming Song") was of recent vintage. The other band, a quintet with tenor-saxophonist Ralph Moore, looks back toward his earlier Blue Note and Atlantic days; they perform two Hubbard originals ("The Melting Pot" and "Life Flight"). Overall this set (from an era when the veteran trumpeter was being overshadowed by Wynton Marsalis) gives listeners one of the last opportunities to hear Freddie Hubbard in peak form. ~ Scott Yanow, All Music Guide
Ripped@320 from the original vinyl-no reissues.
Freddie and the guys in MORE ultimate 70s gears!Very dissapointed at the absence of a neck scarfe a la herr herbolzheimer as I have seen pics of Freddie featuring one but I believe Airto really takes the crown on this one-what the fuck has he got on!!!
But in all seriousness this clip from the 1975 Downbeat awards really kicks ass.Fred still had his chops and could blow like a muthafucker and the band...well,what can you say :Chick Corea, keys; Stanley Clarke, bass; Lenny White, drums; Airto, percussion. It's still de rigeur to look down yer nose at fusion but it's the music I grew up with and it opened many musical doors for me-some of it was undoubtedly shite but stuff like this is just bloody marvelous!
Actually this clip is just a tenuous link to say simon has done a sterling job on Fred's Polar AC over at neverenoughrhodes - and I'm gonna post some Airto a la CTI.Comin'up next.
The Teutonic Titan leads his RC&B through a banging rendition of "Wild Chick" with a great piece of organ grandstanding from Dieter Reith,no less.This has all the boys on it-Art Farmer,Philip Catherine,Kenny Wheeler,Palle Mikkelborg,Bo Stief etc and features Herr Herbolzheimer grooving around the studio with the ultimate 70s fashion statement yep it's that orange neck scarf....GEARS!!!
Here's a few words that Dieter Reith left at the youtube post regarding the sound he was getting out of his organ at the time:
The "thing" which I used by that time was called "compact phasing" and had been developed by a little german team which doesn't exist anymore. It was an experiment. Normaly I used 2 leslies during my time with the RHYTHM COMBINATION & BRASS. Today only 1. Roadies are too expensive.
Now,where to get an orange neck scarf....
Mongo Santamaria for Fantasy from 1962.
Rolando Lozano (fl) Jose "Chombo" Silva (ts) Felix "Pupi" Legarreta (vln) Joao Donato (p, tb) Victor Venegas (b) Julito Collazo, Cuco Martinez, Mongo Santamaria (per)
"The Blackhawk", San Francisco, CA, 1962
Reposted from the early days of this blog-ripped@320 this time from the original vinyl.Essential!
Heavy heavy heavy descarga session from way back when Mongo was still killing 'em dead and hadn't sold out to lame soul covers and boogaloo nonsense.Features the ferocious "Bacoso "which develops into a scorching percussion battle mid way through and the storming "Descarga at the Blackhawk". Interestingly enough one of Joao Donatos first u.s.recordings on which he plays both piano and trombone - he contributes "Bluchanga" .One of the great latin lps of the 60s.
BTW Check out oir contributions and shares-pekis has been on the case with a couple o' hunks o' funk from the great Jimmy Smith.
Barney Wilen for Saravah from 1972.
Barney Wilen (ts) Michel Graillier (el-p) Pierre Chaze (g) Christian Tritsch,Simon (el-b) Micheline Pelzer (d) Didier Leon (takamba, oud) Caroline de Bendern, Marva Broome, Babeth Lamy, Laurence (vcl)
Completely bonkers mash up of afro to free jazz with field recordings and vocal harmonies - out there and all the better for it.Recommended.
In 1970 Barney Wilen assembled a team of filmmakers, technicians and musicians to travel to Africa for the purpose of recording the music of the native pygmy tribesupon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avantjazz sensibilities with African rhythms, ambient sound effects and melodies rooted in American blues traditions. Cut with French and African players including guitarist Pierre Chaze, pianist Michel Graillier and percussionist Didier Leon, this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, streetlegal funk.Wilen pays little heed to conventional structure, assembling tracks like "Afrika Freak Out" and "Zombizar" from spare parts of indeterminate origins.Jason Ankeny, All Music Guide
A wild and groundbreaking record recorded by the great French tenor player Barney Wilen! Although he got his start as a bebopper in the 50's, Wilen sort of dropped out of sight by the end of the 60's and only emerged from time to time to cut strangely experimental sides. This record is unlike anything he ever made, and features a wild mix of African rhythms, ambient sound, and Wilen's deep deep tenor. By this point, Wilen had been absorbing a lot of different influences, from Coltrane, to Pharoah Sanders, to some of the European free players, and his sound is a weird mish mash of styles that weaves in and out of all the stuff on the record. It's a haunting bit of afro jazz and funky noise, with some cuts that are spacey, and others that are nice and funky. Dusty Groove.
Ripped @320 from the deleted Japanese cd reissue by Omagatoki.Two files as it's a double lp.
John Taylor for MPS from 1973.
John Taylor-Piano;Chris Lawrence-Bass;Tony Levin-Drums
One of the hippest piano trio sessions ever on MPS a bold little set that features the British pianist John Taylor in a trio with Tony Levin on drums and Chris Lawrence on bass! Taylor's got a style that's quite unique with bits of early Chick Corea-esque lyricism, and touches of McCoy Tyner modalism, but also a singing approach to chords that's lively without ever being sloppy and which pushes the album with a tremendous amount of energy! The record's quite possibly the best that Taylor ever recorded and really one of the high points in the MPS trio session tradition.Dusty Groove(No longer in stock)
Ripped from the deleted 1998 Japanese cd reissue by Jaspac.
Art Farmer for MPS from 1970.
Art Farmer-Fluegelhorn;Jimmy Heath-Sax,Flute;Fritz Pauer-Piano;Jimmy Woode-Bass;Erich Bachtragl-Drums.
Produced by Joachim Berendt.
A couple of tracks that really stand out on this solid lp are the speedy samba "Cascavelo" and the Jimmy Heath penned "The Gap Sealer".
This album features a standard quintet with fluegelhornist Art Farmer, Jimmy Heath (on tenor, soprano and flute) and pianist Fritz Pauer taking the solos. What makes this out-of-print LP more special than normal are the six rarely performed compositions, none of which became standards but all of which hold one's interest. Tom McIntosh's "The Day After," the Farmer-Heath collaboration "Con-Fab" and Fritz Pauer's "Whole Tone Stomp" are good vehicles for these musicians' talents. ~ Scott Yanow, All Music Guide.
Ripped @320 from the original vinyl.
Nelson Riddle for MPS from 1972.
Three in a row for the most perfect sound today kicking off with the lush strings of the Nelson Riddle Orchestra featuring compositions by Claus Ogerman,Tom Jobim,George Harrison and more topped off with three beauties from Mr Riddle himself.
High brow pop/mor rather than jazz this will really appeal to the lounge lovers among you.Personally I can't get enough of "Lamento", "Sao Paulo","My Life" and "Changing Colours" although I have to draw the line at "Close to You" and "My Sweet Lord" !
Give it a listen and see what you think-goes down well with a cocktail on the beach in the sunshine.I'll have to make do with a pint of lager in a beer garden this afternoon !
Ripped from the now deleted MPS Silver collection cd @320
Paul Horn for Columbia from 1962.
This features the wonderful modal piece "Abstraction"
In the early 1960's, Paul Horn was a swinging and advanced improviser whose music reflected an interest in third-stream music while remaining tied to the bop/cool tradition. With his regular quintet of the era (which also includes vibraphonist Emil Richards, pianist Paul Moer, bassist Victor Gaskin and drummer Milt Turner), Horn (on alto, flute and bass flute) performs five of his originals, a song by Moer, Dr. Seuss' "Just Because We're Kids" and "Lazy Afternoon." This out-of-print LP was one of Horn's finer jazz dates. ~ Scott Yanow, All Music Guide
Ripped@320 from Oldies cd reissue.
Mighty Mongo for Tropical Budda from 1984.
Mongo hooked back up with the great Marty Sheller for this excellent latin jazz lp which was coordinated by none other than Jack Hooke DJ extrodinaire and the man behind the Monday night salsa meets jazz sessions at the Village Gate.
Two essential cuts on this one:"Power Struggle" and "Espiritu Libre"(which has just had a reworking by Beatkonducta!)
Descarga.com wrote this:
With Bobby Sanabria, Eddie Resto, Tony Hinson, Eddie Allen, Pablo Rosario, Sam Furnace and Bob Quarantas. Includes beautiful interpretations of Marty Sheller's "Mañana Wilson" and "Tish," Sam Furnace's "Zimbabwe," Bobby Sanabria's" Con Hache," "Espiritu Libre" by Eddie Allen and many others.Produced by Henry Montalvo and Vicente Iturbides.Highly Recommended.
Ripped @320 from original vinyl.
Jay Hoggard for India Navigation from 1982.
Pianist Anthony Davis (who contributed one of the four originals), co-stars with inventive vibraphonist Jay Hoggard on this adventurous set. Dwight Andrews is heard from on bass clarinet, the great Cecil McBee is on bass, and the remainder of the group includes drummer Billy Hart, percussionist Don Moye and Wilson Moorman III on tympani. The lengthy interpretations (ranging from 8½ to 13½ minutes) are episodic and contain more than their share of surprises and atmospheric moments. ~ Scott Yanow, All Music Guide
Ripped from the original vinyl@320-no reissues.
Barry Miles for London from 1974.
Barry Miles-Keyboards,Vocals;Jeff Mironov,Bill Washer-Guitar;Harvie Swartz-Bass;Terry Silverlight-Drums;Jimmy Maelen,Tony Pagano-Percussion.
So you like your fusion,right?You want impossible time signatures,super speed sambas,explosive all over the kit drumming,mini moogs and the occasional hokey vocal cut?Best you snag this one fast!
"Los Viajeros" is the bomb on this solid album of banging fusion...well ,solid if you take the two numbers out where Barry's tonsils are let loose!An enjoyable romp none the less but don't say I didn't warn you about the mini moogs!!!
Ripped from the original vinyl @320-no reissues.
Marco Di Marco for Modern Jazz Records from 1973.
Marco Di Marco on Piano and Fender Rhodes with Jacky Samson on Bass and Charles Saudrais on drums (who were both part of the groundbreaking George Arvanitas Trio)
Dusty Groove raved about it:
One of our favorite piano jazz albums of all time a slyly funky set from the legendary Marco DiMarco and one that features him on both acoustic piano and Fender Rhodes! The beauty of this record is hard to describe in words as it's simple and subtle, but with a depth that has pleased our ears for years of listening. Marco's keys are backed by the incredibly round, warm bass tones of Jacky Sampson and drumming is in a nicely snapping mode by Samson's longtime partner in rhythm, Charles Saudrais. The set was recorded live in Paris in the early 70s and Marco tipples the Fender Rhodes incredibly on the slow funk classic "I Mei Ricordi" then grooves into acoustic piano on tunes that include "Le Mors Aux Dents", "Au Boeuf Gros Sel", "Valse", and "Par Avion". The album's got some great funky acoustic basslines and Marco's piano work is beautifully lyrical throughout!
Here's some more info about Marco di Marco from jazz.com:
Di Marco, Marco, pianist, composer; b. Bologna, Italy, 21 June 1940. His mother was Maria Sarti (born in Bologna (Italy), February 18, 1906 and dead in Bologna June 11, 1949). His father was Michele Di Marco (born in Trevico (Avellino) September 29, 1895 and dead in Bologna July 27, 1964). His sister, Anna Maria Di Marco (born in Rome February 18, 1931), is a piano teacher. Marco still lives and works in Bologna. He studied classical music in his youth with Enrichetta Sansilvestri, and in his late teens he studied harmony and composition with the eminent maestro Giordano Noferini. During the 60s and 70s, he had the luck to get at home precious teachings from Jack Reilly, Bill Evans, Keith Jarrett, Gordon Beck and Martial Solal. During those years his fame spread rapidly throughout Europe; Di Marco performed on French and Italian radio and television stations, and participated in many important international jazz festivals.
During 1977 and 1978 Marco Di Marco performed on Italian and French television, sometimes solo but also with French pianist Martial Solal, and as part of a trio or quartet together with Chris Woods. In 1981, Marco Di Marco made his debut in the United States.He performed in New York at the Jazz Forum on Broadway, at Cami Hall, at Gulliver's Club, and he also played an unforgettable solo piano recital at Carnegie Hall. "Marco Di Marco quartet in New York" was recorded during that same period in New York in collaboration with Dave Tofani, Jack Six and Ronnie Bedford. In 1983 Marco Di Marco performed at many concerts (which were aired on Italian Television) in trio with Niels-Henning Orsted Pedersen and Philip Catherine. In 1985 he performed a part of a duo with American pianist Mike Melillo.
Ripped@320 from the original vinyl.If you enjoy this and haven't bagged it yet my post of Marco's superb "Together in Paris" with Chris Woods is still active here.