Namaz for Software Germany from 1980.
Bass - Alfred Henning Drums - Ralph D. Dietze Guitar - Werner Goos Keyboards - Joachim Essig Percussion - Ralf Moufang Vocals - Rachel Gould
Does what it says on the tin - 300mph latin bangers spliced up with a few funky cuts and one stinker.Big at the Electric Ballroom for Mr.Murphy back in the day where we threw ourselves around to "Mystic Latin" to the utter disdain of the decent dancers.Amazing the mess you could get yourself into at that shithole with the watered down lager,smuggled in vodka and a few spliffs.
If you think you recognise some of this a couple of tunes were comped on Glucklich 1 & 2 years ago.
Another wallet basher if you fancy a copy - check out the eye watering prices at popsike.com.
All killer no filler not quite!
Takeshi Inomata & Sound L.t.d. for King Records Japan from 1971.
Takeshi Inomata(drums)Shunzou Ohno (trumpet/flugelhorn) Shigehito Ohhara (elec.piano/ Hammond Organ /piano)J.F.Conception(sop.alt.ten.sax/flute)Jun Suzuki (elec.base/pianica/whistle solo)Takehisa Suzuki (trumpet/piccolo trumpet/flugelhorn)Shigemichi Dohmoto (trombone/vib.)Osamu Nakajima (percussion)Kimio MIzitani (elec.guitar/fork guitar/sitar)Toshiaki Yokota (flute/bass/alto flute/blockflute/piccolo)Noriaki Kanoh (narration)
This one's been on heavy rotation at Bacoso's Big Top for weeks a mad mix of psyche jazz fusion and whistling(!)...totally bonkers stuff from Inomata and his Sound of Sound crew.
Here's a review lifted from a thread on Japanese progressive rock over at ProgArchives.com put together by DamoX(Jap.Psych Specialist) which really captures the essence of the album:
A borderless creation by borderless musicians.
One of the matchlessly eccentric sound kaleidoscopes - even in Japan every reviewer called him as a musician with a warped soundscape. Yes, he might be a confuser (in a good sense). Amazingly, Takeshi promoted Noriaki KANOH, a young and promising photographer, to a narrator (free talker?) in this album. Such a strategy we could not find in another one in 1971. Anyway, 1971 was a golden year for Japanese progressive rock scene, as I've mentioned again and again ... and the credit of Kimio MIZUTANI can be found on lots of album sleeves in that year. Even in 'Innocent Canon', Kimio's aggressive guitar solo can lead all instruments and all listeners. And yeah, Takeshi's strict drumming absolutely can support this 'air' and 'ground'. The narration by Noriaki (currently he's called 'Tenmei' though) is sometimes lazy, sometimes unique, and sometimes ardent. Mysteriously, for me his talk was boring previously, but to listen to this stuffs again and again has interested me in his fuzzy fascination for music.
This album cannot be discussed only under the category of jazz-rock, though Takeshi was (and is) a renowned Japanese jazz drummer indeed. Kimio's heavy guitar and ethnic sitar, Toshiaki YOKOTA's mind-altering flute, and especially Noriaki's flat narration - all elements can make these songs more psychedelic and more avantgarde. Listen to the first track Introduction directly ... heavy, headaching, hypnotic riffs and enthusiastic but level narrations are very typical upon Japanese psychedelic progressive rock scene in the early 70s. In the next The Death Of Janis (dedicated to Janis Joplin) Toshiaki's flute solo is very mind-blowing, in spite of Noriaki's sensitive talk. The third Go For Nothing has violent 'NO!' voices and at the same time a delightful, pleasant jazz ensemble ... this contrast is wonderful. Alone, the sixth, is very impressive with Oriental fragile mood by Kimio's sitar. We feel impulsive tension even in the last song Epilog, where Jun SUZUKI's whistle be very comfortable indeed.
Highly recommended as a very strange footprint on Japanese music scene.
ALL KILLER NO FILLER!!!
Lloyd McNeill for Baobab Record Co. from 1978.
Acoustic Guitar - Amaury Tristao,John La Barbera/Bass - Buster Williams/Flute - Lloyd McNeill/Drums - Victor Lewis/Percussion - Dom Um Romao/Piano - Dom Salvador
Tuba - Howard Johnson/Vocals, Percussion - Nana Vasconcelos
Beautiful Brazilian influenced spiritual jazz from flautist Lloyd McNeill with his a top crack line up assembled from his days playing at The Tin Palace in NYC.
All Killer No Filler!
McNeill's superb first lp "Asha" has just been reissued by Universal Sound and is a very highly recommended purchase - check it out at Sounds Of The Universe.
Read more about Mr McNeill at lloydmcneill.com
Jorge Lopez Ruiz for Chango Argentina from 1980.
LEW SOLOFF (trp), FRED LIPSIUS (sax), JEREMY STEIG (fl), EDDIE GOMEZ (bass), ANTHONY JACKSON (el.bass), RAY BARRETO (congas), JORGE DALTO (p), "POCHO" LAPOUBLE (dr), JORGE LOPEZ RUIZ (bass)
Another first in blogland from OIR with this quality slab of latin fusion from Jorge Lopez Ruiz who also arranged and produced the album.A glittering all star line up produce a somewhat understated set of tunes three of which are penned by Ruiz and one each by Franzetti and Lapouble."El Candombe De Bolita" is a funky clavinet driven work out but overall the lp has a quietly exhilarating subtlety that provides a rich framework for the soloists.
This album is a real grower so give it a few listens and your patience will be well rewarded.
All Killer No Filler !