22 February 2009


Jack Costanzo for GNP from 1956.
Jack Costanzo: Bongos and Leader/ John Anderson, Paul López, Tony Terran: Trumpets
Willy Gallardo: Timbales/ Manuel Ochoa (Kaskara): Vocals and Maracas /Eddie Gómez: Claves/
Ramón Rivera: Conga/Eddie Cano: Piano/Ernesto Montez: Bass/Marda Saxon: Vocal

Hard as nails latin banger - All Killer No Filler - highly recommended!
"Abaniquito" was the dance floor destroyer back in the day - you needed an oxygen mask after cutting the rug to that one!
Here's a review by John Child:
Dubbed "Mr. Bongo" by the eminent jazz critic Leonard Feather, Jack Costanzo is credited with introducing the bongos into American popular music when he joined Stan Kenton's band in 1947.
He deliberately emulated the trumpet conjunto format of Cuba's La Sonora Matancera to achieve the album's fat sound and tips his hat to the group by covering their hit "Melao de Caña". Personnel include the incredible pianist Eddie Cano and trumpeter Paul López, who wrote most of the arrangements and features on "Caravan" and "Just One Of Those Things". Jack describes Eddie as"an exciting soloist taking after the master Noro Morales, who played like a conga drum player and I know the pianos yelled for help when he hit them." Eddie particularly shines on the novelty "Chopsticks Mambo". In fact, we are spoilt for Cano solos, by my count, he features on another six tracks. Jack's keeps his soloing to a minimum, but the driving "Abaniquito" showcases a fine example of his hard-hitting bongo pyrotechnics. Singing lead vocals on Mr. Bongo are Kaskara (Manuel Ochoa) and Jack's wife at the time, Ohio-born Marda Saxon. Kaskara was born in Holguin, Cuba, and relocated to the US in 1945 where he worked with Pérez Prado and René Touzet prior to his association with Costanzo.

20 February 2009


Potter & Tillman for Poet Records from 1981.
Rare private press album on a jazz funk tip from Potter and Tillman which has also been referred to/known as "Steinway & Sons"
Not my usual bag but there's a few bombs on here in the shape of "New Anniversary Waltz" and "Sing A Simple Song Of Praise" plus the two intro cuts.
One for the soul boys in 81...and probably now for many of the followers of OIR(or possibly not given only 3 comments against 200+ d/loads in first 2 days)

15 February 2009


Les McCann for Pacific Jazz from 1964.
Best album Les ever did imo which features the mighty latin dancefloor bomb "McCanna".
Les plays with his LTD trio, plus the added percussion of Willie Correa, who plays bongos, conga, and timbales on the album for a strong latin feel that's missing from Les' other recordings.5 cracking originals,couple of standards(just love the rolling "St James Infirmary")and a stomping Mancini-Mercer tune.
Can't believe this has never got a reissue.
All Killer No Filler.


Kathryn Moses for PM Records from 1979.
Kathryn Moses Vocals,Flutes & Saxophones ;Doug Riley Pianos ;Robert Piltch Guitars
Erica Goodman Harp ;David Piltch Basses ;Terry Clarke Drums ;Buff Allen Drums
Don Alias Percussion

And another one for the flute freaks this time from the vaults of PM Records who were responsible for some of the most hard ass fusion committed to vinyl-think Steve Grossman , Stone Alliance ,Elvin Jones.Well,here's something a little different from them.
"Music In My Heart" was the big tune back in the day for the likes of Paul Murphy and Chris Bangs along with the funky "Lucky Duck".
Dusty Groove had it on a blink and miss it cd reissue from Celeste(now oop) so here's their review.My post is ripped from the original long gone vinyl:

The second album from Kathryn Moses a sweet mix of warm vocals, funky flute, and even a bit of sax! Kathyrn's as great a singer as she is an instrumentalist and the album offers equal parts of her talents stepping out with a style that's often a bit funky at the bottom, with an electric mixture of flute, guitars, percussion, and bass. Gene Perla produced the record, and it's got a fair bit of choppy grooves that are right up there in the best PM Records mode more proof that the Canadian scene could groove nicely when it wanted.

8 February 2009


Ray Mantilla for Inner City from 1977.
Ray Mantilla-Percussion;Jeremy Steig-Flute;Carl Ratzer-Guitar;Eddie Gomez-Bass;Joe Chambers-Drums,Piano,Marimba

Heavy duty latin business from Ray replete with white trousers, purple polo neck , medallion and a shit eating grin - GEARS!!!!!!
All Killer No Filler - end of story.

7 February 2009


Eddie Marshall for Timeless from 1977.
Emanuel 'Manny' Boyd (ss, ts), Bobby Hutcherson (vib), George Cables (p), James Leary (b), Eddie Marshall (d, per)

Check the line up - yep it's Hutcherson's band from the mid 70s but with the drummer as leader.
Four compositions from Marshall,one from Hutch and an old warhorse in "Salt Peanuts".
Quality assurance guaranteed no need to sit and pontificate about this one!
Here's an excerpt from an interview which Eddie did with Eric Muhler :
Eric: How many CD's have you recorded in your own name?
Eddie: Just one. One CD and one album.
Eric: Record album? That vinyl stuff that nobody knows about anymore? (Laughter)
Eddie: Yeah. I don't know if I even have it here. In my own name that's what I've done.
Eric: Really? How come not more?
Eddie: Because…you make records to sell them! (Laughter)
Eric: Not necessarily! (More laughter) Not here in the Bay Area!
Eddie: The first one I made I was working with Bobby Hutcherson. It was a long time ago. It was called Dance of the Sun, which was really, really a good album. The second one I made which is a CD I made four or five years ago; I actually made the CD because I wanted to get my tunes on a CD so I could send them to different artists. That was my main purpose for it. Then I said, "I'll just make it and sell them on the gig." And I've done neither! (Laughter) I always forget to bring them on the gig! I can't sell them on Bill's gig because my music's a different type of music. It's a different type of thing altogether. Which is why I never made records. When I got into the business, it wasn't to have a band. The reality of that was brought home to me about five years ago when I had this CD and I was trying to shop it around, and one record company said, "You know, drummer albums hardly ever sell. The last drummer that really sold albums was Art Blakey." And it's true, too. Then he says, "Right now, Roy Haynes, one of the greatest drummers ever, he can't get a record contract." I've always had to make a living playing music, so my idea was to play a lot of different styles and be a real good sideman. That's what I've always tried to do. Even from the git go that was the idea. I wanted to play in Little Richard's band but I didn't want to be Little Richard! (Laughter) I just wanted to be in the band!

Read the rest of the interview here.
This cd was deleted years ago although you may snag one on ebay.

2 February 2009


Dewey Redman for Galaxy from 1979.
Dewey Redman-Tenor,Musette,Harp,Vocal;Fred Simmons-Piano,Cowbell;Mark Helias-Bass;Eddie Moore-Drums,Percussion,Saw,Vocal.

Paul Murphy flogged this to Chris Bangs who would drop the cut "Unknown Tongue" from the lp in his DJ sets back in the early 80s which is where I first heard it.What a tune!!!
Kicking off with the high pitched Middle Eastern whine of Dewey on musette which is joined after a few minutes with the bowed bass of Mark Helias....then comes the marching snare and percussion of Eddie Moore and the bow is dumped for a bass line worthy of Cecil McBee while the musette keens on....until the whine drops down and out while the bass/percussion remain then Dewey begins speaking in tongues...shouting and gabbling away like a man possessed but that rhythm keeps it all storming ahead...then back in with the musette to a fade...Bomb!
Can you imagine the impact this had on a crowd of southern soul boys all waiting to hit the floor to Lonnie Liston Smith and Donald Byrd? Well funnily enough it did fuck all to 'em which either goes to show that most people were either totally off their heads or didn't listen to the music anyway.I of course belonged in the former crew as it helped deaden the boredom of hearing "Expansions" for the umpteenth time that week.And given some of the utter shite that got played in those days you were probably better off not listening to it anyway.
And yes,before you ask, that is a version of Gilbert O'Sullivan's nauseating vomit fest "Alone Again" lurking on side 1 - but trust Dewey to give it a good overhall in a mutant bossa stylee.

Here's a review of the lp from Scott Yannow:
This is one of tenor-saxophonist Dewey Redman's more accessible sessions. With the assistance of pianist Fred Simmons, bassist Mark Helias and drummer Eddie Moore, Redman is heard on the lyrical ballad "Alone Again (Naturally)," a bossa nova, jamming over parade rhythms and performing originals that sometimes are advanced bop. The music is excellent although not as explorative as most of Redman's other recordings.

1 February 2009


Don Burrows for Columbia Australia from 1969.
Haven't posted a soundtrack for aeons so here's a piece of vinyl all the way from Simon's homeland via the miracle(or should that be curse?)of ebay.
Now very rare and highly collectible, it is in its own right a very fine set of late Sixties Australian modern jazz, performed by the cream of Sydney's jazz and studio session scene of that time including Burrows, George Golla, Graham Lyall, Ed Gaston and John Sangster
Here's what James Pianta from Votary Records (who put it in his top 10 Aussie albums) had to say about it at aussiefunk blogspot:
2000 Weeks OST – Don Burrows (1968)
OK, I must admit that a lot of Burrows solo work in the 70’s is not really my thing. I guess that’s the problem with being so prolific, some work is bound to suffer. But this late 60’s soundtrack to the Tim Burstall film on the other hand is simply brilliant. I have never seen the film, as I don’t think it ever saw a VHS release. It’s a dark and Moody score that seems to have slipped away from public consciousness. According to inside information, the film apparently flopped and therefore so did the soundtrack. I believe American Lyricist Paul Francis Webster (The shadow of your smile, etc.) actually set some lyrics to the theme but when the film sank so did Burrows chance to become apart of the popular songbook. Sadly, a missed opportunity. Great Australian jazz score nonetheless.

Johnny Trunk had this to say about it - and if it wasn't for hearing a track from it on his excellent radio show some years ago I would still have been in ignorance of this terrific lp:
2000 WEEKS - DON BURROWS: I love the internet. You can't find an Australian LP anywhere in Australia and then up it pops in Islington. I mean what happened and like how did it get there. This is dead good, lots of waltzes, superb flute from John hairy Sangster and more besides. A great and unusual Australian soundtrack, that sounds rather like a British jazz record but with slightly less pretension and a bit more sweat. Well I know what I mean.

So there you have the experts opinion - now make your own mind up.
And be warned if you want one it can be a bit pricey .


Les Demerle for Bar T from 1978.
Les DeMerle-Drums;Dido-Percussion;Don Menza-Tenor,Soprano,Flute;Jim Coile- Alto , Tenor,Soprano,Flute;Rex Robinson-Bass;Ramsey Embick-Rhodes,Clavinet,Synthesizers;Ralph Rickert - Trumpet,Flugelhorn;Ronald Muldrow-Guitar

Les DeMerle and Transfusion with another supercharged 70s fusion banger.Heavier on the funk side for this outing with some fucking awful vocals from Josh Hanna thankfully limited to a couple of cuts.Subtle it aint but Don Menza's "Sambandrea Swing" sets the floor on fire and Stu Goldberg's "Quetzal" is pretty good too.