ORGY IN RHYTHM

E.W.WAINWRIGHT JR'S AFRICAN ROOTS OF JAZZ

2012-01-27T19:12:00.005Z

E.W.Wainwright for Aroj USA from 1981.
E.W.Wainwright -Drums,Percussion ; Annette Lipson -Congas,Tambourine ; Cash Killion -Bass ; Lamont Davidson -Soprano ; Mack Rucks -Trumpet,Percussion ; Neal Kirkwood -Piano ; Ricky Kelly -Vibes.
Orell Allen - Vocal Director; Earline Love, Helen Banks, Maria Jones, Michelle McLorin, Marion Banks, Resa Hicks , Sharon Brown, Sonya McLorin, Theresa Grimes, Wanda Allen - Vocals

Afrocentric spiritual jazz on a private press making it's first appearance in blogland...a ridiculously rare heavy duty afro jazz killer.

HAROLD JOHNSON SEXTET - HOUSE ON ELM STREET

2012-01-21T08:12:00.002Z

Harold Johnson Sextet + for HME from 1967.
Harold Johnson - Piano ; David Crawford - flute; Billy Jackson - Conga; Alfred Patterson - alto sax; Mile Shaw - Tenor sax; Eddie Synigal - alto sax; Ronald Rutledge - Drums; Jimmy Nash - bass

West coast soul jazz with a latin tinge ....
Tough!

AKIRA MIYAZAWA - FOUR UNITS

2012-01-04T16:41:00.001Z

Akira Miyazawa for Union Japan from 1969.
Akira Miyazawa: tenor sax, flute; Masahiko Satoh: piano; Yasuo Arakawa: bass; Masahiko Togashi: drums.

The name Akira Miyazawa, rarely if ever, appears in jazz reference books, at least not in ones available in North America. Other than some sites selling his CDs, the internet does not offer much about the saxophonist. This is a shame since his recordings tell the story of an accomplished musician whose work has remained intriguing and fresh after almost four decades.
Four Units is a 1969 session that teams him with a Japanese rhythm sections for four originals and a jazzy reworking of "Scarborough Fair." The music threads the outer reaches of hard bop, adjacent to but not quite into the avant-garde realm. It also has a very Oriental feel to it, with the beautiful serenity of a Japanese Zen garden and the bluesy edge of a late night jam session.
The opening title track is the most adventurous. After Miyazawa's tenor sax states the angular but still melodious theme, the rhythm section improvises together and solos in tandem, using notes sparingly and the space between them very effectively. The other pieces also are edgy hard bop in style, with some adventurous soloing by Miyazawa on tenor and flute, along with the other members of the group. The closer, "Black Bass," is the closest to traditional hard bop.
Miyazawa sounds like Sonny Rollins on tenor but with slightly less bite in his tone. He only plays a little flute which, however, is not that memorable. Pianist Masahiko Satoh, who also arranged "Scarborough Fair," demonstrates strong classical sensibilities. Bassist Yasuo Arakawa and drummer Masahiko Togashi - who sounds a bit like Elvin Jones - have a unique rapport with each other when playing behind Miyazawa and Satoh in addition to being accomplished soloists in their own right.
Four Units reveals a unique and talented musician whose work deserves better and more widespread recognition. Review by Hrayar Attarian for AMG.

The very finest in Japanese Jazz....

HANS DULFER - EL SAXOFON

2011-12-23T14:44:00.001Z

Hans Dulfer for Catfish Netherlands from 1971.

Tracks 1 & 2 : Tenor Saxophone, Flute – Hans Dulfer ; Bass – Jan Jacobs ; Congas, Timbales – Steve Boston ; Congas, Timbales, Vocals – Groentjie

Tracks 3 & 4 add : Drums – Muhammad Ali ; Electric Bass – Jerome Hunter ; Guitar – John Schuursma ; Piano, Percussion – Bobby Few ; Tenor Saxophone, Bells – Frank Wright

Don't be fooled by the sleeve photo of Dulfer in flappers and daft hat - the music inside is hard as nails.

"El Saxofon" comes on like the bastard son of Sonny's "Jungoso" force fed a diet of speed and steroids and injected with the spirit of Sabu ....a monstrous banger of an album moving from cruiser weight Afro Cuban work outs to freeform blowing with Frank Wright joining Dulfer on Tenor and bicycle bell (!).
So hang on to your hat it's gonna be a bumpy ride!

THE DIAMOND FIVE - BACK TOGETHER

2011-11-27T08:33:00.006Z

The Diamond Five for BASF Netherlands from 1973.

Piano, Electric Piano – Cees Slinger ; Bass – Jacques Schols Drums – John Engels ; Tenor Saxophone – Harry Verbeke ; Trumpet, Flugelhorn – Cees Smal ; Vocals – Greetje Kauffeld (tracks: A2, B2, B4)

Mellow waxing from Cees Slinger and the gang featuring Greetje Kauffeld on three vocal cuts.

Perfect for a sunny sunday morning...

NEW RELEASES FROM FRIENDS OF OIR

2011-11-20T17:17:00.003Z

MARK WEINSTEIN - EL CUMBANCHERO

Latest offering from the mighty Mark Weinstein whose groundbreaking "Cuban Roots" album remains an OIR essential spin to this day.
Listen to three tracks from the album at Mark's myspace and don't forget to check out his excellent blog Jazzfluteweinstein where his latest post is about the making of "El Cumbanchero".

THE KRAMFORD LOOK - 1970

The Kramford Look - 1970 was sent over to me a while ago by an old friend who formed Wonderfulsound which recently released this modern day library/soundtrack influenced analogue gem.
Jonny Trunk wrote the sleevenotes which do a great job of summing it all up:

"It seems like I was asked to write some notes for this album based on the fact I might spot the references and therefore have something interesting to say about it all. Well the most interesting thing to start with is that I thought the opening track had some singing in it, and then I realized it was just the voices in my own head kind of singing along. Well that’s what I’m hoping it was.
I was also wondering what the Kramford Look is. Or where it is, how it is or when I can spot it happening. Or maybe it doesn’t. Good name though. "Justine" is quite spaghetti western, mixed with a bit of Pink Panther and the Prisoner which conjures up some fairly pleasing imagery. And by "Shoebox at Sea", it goes all sleazy and a bit sexy with some tickly keyboards, a touch of sax and some funny synthesis right at the end bit which could signify something fairly unnatural going on.
Paying careful attention to "Magic Plastic Home" I realised it has a most suitable title, because it’s all a bit sad and futuristic in that peculiar optimistic fashion they had a few decades ago and some still do in parts. It was during this track that I decided to call the label and ask a bit more about the Kramford Look and find out if that was the artist or the title or both. They weren’t that forthcoming but then again maybe my questions were a little vague. Anyway, it turns out that The Kramford Look is the name of the artist. I reckon he’s called something like Keith or Kevin Kramford in real life. Well whatever his real name may be, he knows how to write a melody. Especially for "Magic Plastic Home" (which I listened to twice in a row), where he sets up a sort of early 1970s telly thing with an unexpected wibbly wobbly noise which I very much appreciated. I was still humming the melody as the next number started. "Death Is Alive" is still in the made for TV vein, but earlier sounding with a bit of James Clarke sophistication and possibly a real electronic harpsichord, which anyone truly into esoteric listening goes a bit soft and funny when they hear it.
Then all of a sudden, by the track called Man On Bridge it’s like The Kramford Look got all fed up with referencing the late 60s and mid 70s music for TV and film and flips out with a Bolognese of frenetic techno pieces which sprout a retro head and have a go on a machine I’ve never seen before. Good work. The three words “quite well produced” sprung into my mind here, I was going to say really well produced and then thought that maybe if I got tested about that I might not know the right answers, so better to err on the side of musical caution I reckon. I still like the track though. Would sound great out very loud somewhere a bit fashion where it looks like people have cut their own hair and borrowed their spectacles from the pensioner next door.
Then he goes all funky soul and that, playing the fender Rhodes like a man with a jazz hobby and some mates with interesting trousers. This track could easily be lifted from the Blue Note period when the sleeves went all shit.
And then, before we realize it, he’s sneaked in another musical knod to dramatic library sounds before finishing off with a wade into more psychedelic, smokey waters ("Coast Ghost"). I think The Kramford Look was trying to make himself sound a bit like a woman here and I think it might have worked, but that may well be the voices in my head again. Interesting album I reckon. They may well pass on the sleevenotes though." Jonny Trunk - April 18, 2011.

TONY CROMBIE - WHOLE LOTTA TONY

Those nice chaps at Fantastic Voyage have been busy dusting off and reissuing some great British jazz dates from the Ember label.
"Whole Lotta Tony" and Ronnie Ross' "Stompin' With The Ronnie Ross Quintet" hit the racks on December 5th - I've got the Crombie date playing now and it's excellent.
3 cuts from each album are up exclusively on Soundcloud for OIR followers lugholes :
Tony Crombie soundcloud samples
Ronnie Ross soundcloud samples
They've already reissued The London Jazz Quartet set featuring Tubby Hayes which is well worth shelling out for...nice prices too which won't break the bank.

MICHAEL GARRICK R.I.P. 1933 - 2011

2011-11-14T19:04:00.015Z

I'm sad to say that Michael Garrick passed away last Friday leaving a legacy hard to rival on both the British and the worldwide jazz scene.
Tony Higgins,who compiled both the "Impressed" cds of British jazz and contributed the third unreleased volume to this blog last year was a friend of Michael Garricks so who better to pay tribute to him.

Michael Garrick 1933 - 2011

The death of Michael Garrick on 11 Nov 2011 brings to a close a most fascinating and extraordinary life dedicated to one thing - music. In the time I knew Mike, his humour, erudition and commitment was infectious and inspiring and it seemed entirely appropriate that I was playing his beautiful and haunting composition 'Black Marigolds', a track about loss and memory, the moment I heard the sad news. I'm not a believer in fate but this made me pause for a moment, think deeply and feel the moment. Thinking and feeling. Two qualities that Mike valued highly.

I first became aware of Mike Garrick in the early 90s through his contributions to the work of the Don Rendell-Ian Carr Quintet. I knew nothing about him other than his credit on the sleeve of 'Dusk Fire', as both pianist and composer of the title track. The music was entrancing, mysterious and evocative; it curled, danced and soared, at one time epic and majestic, at others intimate and personal. In essence, this was Mike's music - bold, inventive and fun. 'Dusk Fire' set me on an obsessive journey to explore this man's work, culminating in the two volumes of British modern jazz, 'Impressed', that I pulled together with DJ /radio presenter Gilles Peterson.

Contacting Michael to tell him that we were including his material on a compilation, he was initially a little guarded, yet curious. I suppose getting a call out of the blue about tracks that were 40 years old seemed novel, if not a little strange. It soon became clear that Mike's main interest was the here and now, not the past, and his main passion was performing. He loved to get out there and play. However, he was generous and patient with me and my endless stream of questions about his work with Joe Harriott, Ian Carr and others who held prime slots on my record shelves. He provided the introduction my sleevenotes to 'Impressed Vol. 1', and steered the reissue of his final Argo album 'Troppo' on CD for the first time. To get this music accessible again was a great thrill for me. Fortunately, all of his sublime Argo recordings are available once again.

I was also fortunate to work on the 2004 BBC TV series 'Jazz Britannia' that traced the post-war jazz scene in the UK. Mike featured in two episodes and appeared on the bill in the accompanying live concert at the Barbican alongside his old bandmates Don Rendell, Trevor Tomkins and Dave Green. Mike also led a big band through his own arrangements of Tubby Hayes' 'Down in the Village', Neil Ardley's 'Will You Walk a Little Faster' and presented a magnificent rendition of his own 'Black Marigolds' featuring his vocal muse Norma Winstone. Watching it from the stalls made me shiver in awe.

It soon became apparent that Mike was always looking for the joke in things. His quips and sparky conversation lifted the spirits and to see him bounce around his piano, beaming a smile, unable to contain himself as his band played away, really was life affirming. I looked forward to our conversations and meetings, him calling me 'The Professor' and telling me tales of gigging and recording in the 50s and 60s. Anecdotes included the time he gave Bill Evans a lift in his car, a Hillman Imp, driving up Hampstead Hill behind a lorry carrying tons of bricks. The lorry hit a bump in the road and some large bricks fell out, bounced off the road and spun toward the car , heading directly towards the windscreen and the face of Bill Evans. Mike, at the last second, managed to skid out of the way narrowly avoiding a nasty crash and a headline that would have forever have linked his name to the death of the world's leading jazz pianist. Of course, to hear Mike tell the tale in his own way was most of the story.

I felt very fortunate to have met and known Mike. Getting the chance to tell someone how much you enjoy their work, and see them genuinely moved by it, is very touching. Mike was a very genuine and emotionally open man. The depth and range of his music was extraordinary. From covering his beloved Duke Ellington to sacred music via poetry and folk, Mike's insatiable curiosity for life will always be with us - in his wonderful music. Thank you Mike. Play on
Tony Higgins

Mix courtesy of Blackclassical.

RIP Michael Garrick — Man have you EVER heard? by Space Invader Radio on Mixcloud

GREGORY CHARLES ROYAL - DREAM COME TRUE

2011-10-29T15:05:00.003Z

Gregory Charles Royal for GCR from 1979.

Bass – Clarence Lavelle Seay ; Drums – Jeff Corbett ; Flute Warren Taylor ; Piano – Geri Allen Saxophone – Warren Taylor ; Trombone,Vocal – Gregory Charles Royal

Private press business from Blakey protege Gregory Charles Royal who wrote,arranged, recorded,produced and issued this excellent session at the age of 17! Here's the liner notes by G.C. Royal:
"Dream Come True" marks a vision I've had for sometime. I hope that you enjoy the music as much as we enjoyed recording it. the compositions, which were for the most part written during a stay in Europe, all have their stories.
"Dancer" is about the gracefulness of a dancer. The melody of "Trying" is meant to illustrate end success in spite of temporary setbacks. "Spirit" Cry" says just what it is, the violent yet sonorous cry of our spirit. "Curtis" was written for my friend Curtis Fuller. The first half of the melody was taken from Curtis' statement on the bridge of " Invitation". "For You" was written for a close friend and "Dream Come True" sums of the reality of this dream!.
I would like to thank Art Blakely, Slide Hampton, and Woody Shaw for their musical support, and hope that this album marks the beginning of my dedication to the music.

SOUTHERN ENERGY ENSEMBLE

2011-10-22T09:00:00.003Z

Southern Energy Ensemble for Black Fire from 1976.

Bass – Michael Pitt (Wolf) Congas – Adolphus Maples (Peddie), Tony Joyner (Onginga) Drums, Percussion – William Johnson (Spike) Piano, Piano ,Fender Rhodes, Clavinet, Synthesizer – Nathaniel Lee (Nat)

Saxophone [Alto, Soprano], Flute – Al Clarke Trumpet, Flugelhorn – Marvin Daniels (Dash)Vocals – Adolphus Maples (Peddie), Garrie Wayne (Zeek), Judith Spears (Anglais), Marvin Daniels (Dash), Veronica Jones (Ronnie)

Righteous jazz funk banger with lashings of clavinet and the storming "Third House".

MICHEL KLOTCHKOFF TRIO + CHRIS WOODS - FULL SPACE

2011-10-16T13:58:00.000Z

Michel Klotchoff Trio & Chris Woods for Promophone France from 1976.

Michel Klotchkof - Piano,Keyboards ; Henri Boiron - Bass ; Bernard Malabre - Drums ; Jean-Pierre Lochesse - Bongos ; Chris Woods - Alto Sax;Flute.

Superb rare French modal/bop album from sometime Francois DeRoubaix collaborator Klotchkoff and his trio joined by Chris Woods and Lochesse's bongos. "Full Space" sets the scene a modal swinger with Woods tearing it up over clattering bongos and the trio in full flight - a jazz dancers delight!
'Francois, Gone But Remembered' is deep modality in memory of Francois De Roubaix who drowned in 1975 shortly before the session was recorded .Klotchkoff dedicated "Chris Cross" to Woods with whom the trio became friends after performing as his rhythm section in Paris (along with Marco Di Marco). "Waltz for Benjy" is more modal business in waltz time followed by the head noddin' boppin' "18 Rue De La Passarelle". Luis Eca's "The Dolphin" rounds off the album and was recorded live and is something of a showcase for Klotchkoff featured on piano, cello, glockenspiel and synthesizer.

JAYNE CORTEZ AND THE FIRESPITTERS THERE IT IS

2011-10-13T19:05:00.000Z

Over the past few years I've had so many requests for a repost of this cracker I thought I had better do the honours one more time..... so here it is.

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

NORTH TEXAS STATE UNIVERSITY LAB BAND LAB 78!

2011-10-09T17:04:00.002Z

N.T.S.U.Lab Band for N.T.S.U.Jazz from 1978.

Saxes: Steve Duke , Charlie Young , Bob Belden , Roger Holmes. Trumpets: Will Miller , Larry Spencer , Tom Delibero , Mike Steinel , Jim Powell. Trombones: Keith Adkins , James Caan , David Butler , Bill Franklin , Steve Thomas.Piano: Bob Snook. Bass: George Anderson. Drums:Gene Glover. Guitar:James Chirillo.
Percussion: Robert Landis , Rusty Wells.

One for Simon...
North Texas Big Band Banger directed by Leon Breeden and featuring a young Bob Belden on Tenor.
Tough.

MOUNT EVEREST - LATIN BLUE

2011-10-03T21:39:00.001Z

Mount Everest for Four Leaf Clover Sweden from 1983.

Gilbert Holmstrom - Tenor;Peter Almqvist - Guitar;Ben Beskalov - Piano,Hammomd B3;Yasuhito Mori -Bass;Michael Andersson - Drums;Arturo Trujillo - Congas, Percussion.

Gilbert Holmstrom dropped the avant garde pyrotechnics to record this solid latin session for FLC featuring Skrotbandet percussionist Trujillo and Peter Almqvist of Guitars Unlimited.
Swedish Samba Time.....

KAMAL ABDUL ALIM - DANCE

2011-09-05T16:06:00.000Z

Kamal Abdul Alim & The Brothers for Stash USA from 1983.

Kamal Abdul Alim - Trumpet ; James Spaulding - Alto & Flute ; Bobby Watson - Alto & Soprano ; Ron Burton - Piano ; Sabu Adeyola - Bass ; Idris Muhammad - Drums ; Abdul Wali - Guitar ; Abdus Saboor - Percussion.

Another first time out in blogland for this great set from Kamal and the Brothers.And what a band of brothers they were with Idris Muhammed holding down the rhythm section joined by ex Roland Kirk pianist Ron Burton and the Spaulding-Watson-Alim frontline horns.
"Brotherhood" was the thumpin' spinner way back when and made it onto a couple of comps however don't make the mistake of ignoring the rest of the lp as it's a complete cracker ranging from afro inspired jazz to some nifty modal styled tunes.

JUAN AMALBERT'S LATIN JAZZ QUINTET THE CHANT

2011-09-03T07:15:00.001Z

The Latin Jazz Quintet for Tru-Sound from 1962.

Juan Amalbert:Drums,Conga; Bobby Capers:Alto,Tenor; Manny Ramos:Drums,Timbales; Bill Ellington:Bass; Willy Gardner:Piano; Willie Rivens:Vibes; Victor Allende:Flute
Engineered by Rudy Van Gelder.

First time out in blogland for this excellent early 60's set from the mighty Juan Amalbert and co.

EUROPEAN JAZZ SPECIAL

2011-08-12T17:59:00.004Z

Stuff Combe 5 + Percussion

Drums,Percussion – Stuff Combe ; Piano,Electric Piano – Francy Boland ; Saxophone – Tony D'Adario ; Trumpet – Benny Bailey ; Bass – Bob Jacquillard.
M Records Switzerland 1974.

The Jan Huydts Trio - Trio Conception

Bass – Peter Trunk ; Drums – Joe Nay ; Piano – Jan Huydts
Philips Netherlands 1963.

Mantequilla Y Su Conjunto

Bass – Enrique Ponsa ; Drums – Jasé Farreras ; Piano – Ricard Miralles ; Saxophone – Salvador Font ; Trumpet – Manolo Mercedes
Discophon Spain (E.P.)1965

Georges Arvanitas Trio - Porgy & Bess

Piano - Georges Arvanitas ;Bass - Jacky Samson ; Drums - Charles Saudrais
AFA France 1973.

Juan Gonzalez Trio - I Remember Spain

Juan Gonzalez - Piano ; Peter Bockius - Bass ; Alvin Queen -Drums.
Stamy Records Switzeland 1982.

Five rarities all in a row - All from Europe - All new to blogland - All pricey hitters in their original vinyl format -
And all contributed to Orgy In Rhythm by Frederic Hartman who is both a record collector and dealer.
As befits this Euro Jazz Special Frederic's half French half German and currently resides in Spain.
Thanks a million Frederic !
Check out his current stock at Discogs:
http://www.discogs.com/seller/fedipetit
and don't forget to thank him in the comments!

All rips @320 from original vinyl - links in the comments as usual.
Please note the Rshare Link for Stuff Combe is dead-I've reupped it to Mediafire and left the link further down the comments.

THREE BLIND MICE SPECIAL

2011-07-23T06:39:00.002Z

Masarau Imada Trio + 2 - Green Caterpillar

TBM 39 1975
masaru imada : p/elp ;isoo fukui : b ;tetsujiro obara : d kazumi watanabe : g yuji imamura : perc

Isao Suzuki Quartet + 2 - Orang - Utan

TBM 44 1975
isao suzuki : b, cello, ep kenji mori : as, bcl, fl (1,2,4) kazumi watanabe : g osamu kawakami : b shinji mori :d mari nakamoto : vo (2)

Hiroshi Fukumara - Morning Flight

TBM 19 1973
hiroshi fukumura : tb shigeharu mukai : tb hiroshi tamura p tsutomu okada : b shinji mori : d

Here's three of the best from Three Blind Mice - Japan's premier jazz label - to wrap up the recent run on Japanese Jazz here at OIR.
Huge thanks go out to Bongohito who provided all three of the high quality rips + artwork and session details for this post.Find them all in the comments.
Respect and thanks to El Goog,Jazz Nekko,Wara Katsu,Taro Nombei,Vesper,Hoochie Coochie & Doyle C for keeping the Japanese Jazz fires burning.
To be continued......

TAKEO MORIYAMA QUARTET - MY DEAR

2011-07-14T19:06:00.000Z

Takeo Moriyama Quartet for Union Japan from 1982.
Takeo Moriyama - Drums ; Toshihiko Inoue - Tenor ; Mikinori Fujiwara - Tenor, Soprano ; Hideaki Mochizuki - Bass.

More Jap pressure...Moriyama drives the two sax frontline through a couple of incendiary post bop slash and burn originals,a brief solo drum feature introed and outroed by Inoue and Fujiwara and - the pick of the bunch for me - the clipped blurting saxes and menacing rumble of "No More Apple".
Tough.
Soon come - a triple whammy from Three Blind Mice courtesy of Bongohito.

THE FREEDOM UNITY - DOWN BY THE NAKED CITY

2011-06-18T14:07:00.001Z

The Freedom Unity for Victor Japan from 1970.
Takeshi Muraoka (ts,ss), Hiroshi Suzuki (tb), Hiromasa Suzuki (el p), Kunimitsu Inaba (b), Akira Ishikawa (ds)

An excellent obscure session from 1970 featuring a line up of soon to be stars of the Japanese jazz world.The group was pulled together by Hiromasa "Colgen" Suzuki for this one off project which was apparently influenced and inspired by the late 60s output of Miles Davis and his movements toward electric jazz.
"Down By The Naked City" is an extended piece by Suzuki in two parts ("The Doors Of Perception" & "The Dancing Protoplasm")while side 2 features three originals two by Suzuki and Takeshi Muraoka's grooving "The Equator".
Suzuki went on to record the ground breaking Rock Joints Biwa & Cither soon after this both of which have been recently reissued by Deep Jazz Reality Japan and are very highly recommended purchases.More info at Universounds.
All Killer No Filler...

GEORGE KAWAGUCHI'S THE BIG 4

2011-06-11T16:30:00.001Z

George Kawaguchi for TBM Japan from 1976.
Hidehiko "Sleepy" Matsumoto : tenor sax and flute, Hideo Ichikawa: piano and electric piano, Takashi Mizuhashi: bass, George Kawaguchi: drums.

Japanese All Star session led by drummer Kawaguchi for Three Blind Mice from 76 featuring the banging jazz dancer "Invader 7 ", a nifty latin 2 stepper "Monday Samba" and a ferocious hard bop tear up through "Albatross".A couple of funky blues and a C.Porter standard make up the rest of the album.
Solid....

AKIRA ISHIKAWA & COUNT BUFFALOS ELECTRUM

2011-06-05T19:07:00.001Z

Akira Ishikawa & Count Buffalos for Victor Japan 1970.
Akira Ishikawa-Drums:Kiyoshi Sugimoto-Guitar:Masahiko Satoh-Piano Clavinet:Ken Muraoka-Tenor & Soprano Sax:Hiroaki Suzuki Electric Piano:Masaaki Terakawa-Bass

Jazz Psych Rock Fusion banger from Count Buffalos.
This one's for Doyle -a (belated) Happy Birthday to you !

MASABUMI KIKUCHI IN CONCERT

2011-06-03T17:21:00.000Z

Masabumi Kikuchi Sextet recorded Nov 13th 1970 at Sankei Hall,Tokyo for Philips/Nippon Phonogram Japan.
Masabumi Kikuchi(elp,p), Kousuke Mine(ss,perc), Masahiro Kikuchi(org)Yoshio Ikeda(b), Hiroshi Murakami(ds), Keiji Kishida(ds)

Tremendous one cut a side live session with Kikuchi and brother Masahiro on keyboards, Kosuke Mine breathing fire on soprano plus a heavyweight double drummer rhythm section all anchored by the mighty Yoshio Ikeda on bass.
Side one is a pulsating,driving 25 minute take on the Kikuchi standard "Dancing Mist" while side two is another Kikuchi war horse the beautiful "Yellow Carcass In Blue".
All killer....

GUSTAV BROM - PLAYS FOR YOU POP JAZZ AND SWING

2011-05-14T14:29:00.000Z

Gustav Brom & His Orchestra for Opus Czechoslovakia 1976.
Conductor – Gustav Brom;Alto Saxophone, Soprano Saxophone – František Navrátil;Baritone Saxophone – Josef Audes;Bass Guitar, Bass – Jan Hubáček;Drums – Vítězslav Vavrda;Electric Guitar, Electric Piano [Fender] – Igor Vavrda; Organ , Electric Piano, Synthesizer , Piano – Milan Vidlák;Percussion – Václav Skála;Tenor Saxophone – Miloslav Petr; Tenor Saxophone, Flute – Zdeněk Novák;Trombone – Gustav Brom , Jan Formánek, Mojmír Bártek;Trumpet, Mellophone – Jaromír Hnilička, Jindřich Šmek, Václav Holub

Big Band Banger from Brom and the boys which is probably best know for the dance floor monster "Calling Up The Rain".Much of the rest of the lp is in much the same vein with driving horn charts coupled with scratchy guitar, organ and a banging rhythm section.
Mostly killer with a few snoozers....

MATUMOTO HIROSHI . ICHIKAWA HIDEO QUARTET - MEGALOPOLIS

2011-04-24T17:58:00.001Z

Hiroshi Matumoto & Hideo Ichikawa Quartet for Victor Japan from 1969.
Hideo Ichikawa(p), Hiroshi Matsumoto(vib), Kunimitsu Inaba(b), Motohiko Hino(ds).

First time out in blogland for this superb all killer piano and vibes led set from Japan.
Think Hutch-think MJQ-think again...this is just sublime.

JOHN LEE & GERRY BROWN - INFINITE JONES

2011-04-13T14:37:00.000Z

Jon Lee & Gerry Brown for Keytone from 1973.
Gerry Brown (drums, percussion)John Lee (bass, Fender bass, percussion)Gary Bartz (alto & soprano saxophones, slidewhistle, percussion)Chris Hinze (flute, alto & bass flute, piccolo, bamboo flute)Henny Vonk (vocals, percussion)Howard King (percussion)Rob van de Broek (piano, electric piano)Hubert Eaves (piano, electric piano, percussion)Jasper Van 't Hof (piano)Wim Stolwijk (piano, voice)

Forget all the dross that Lee & Brown knocked out during the 70's this was their first lp a slammin' slab of spiritual fusion which blows the shit out of their later output.
Michael Cuscuna (no less) wrote these excellent sleeve notes:

Infinite Jones is an outstanding recording from two outstanding musicians, John Lee and Gerry Brown. They have totally absorbed the various vocabularies of every musical idiom of the day and added their own fiercely creative energies to that knowledge. This album will prove that beyond doubt.
John and Gerry first established themselves within the New York and Philadelphia music circles. Gerry has worked with such diverse musicians as Lionel Hampton and Stanley Clarke, John has played with Max Roach, John Henderson, Pharoah Sanders and others, as a team they worked together in several groups, most notably that of tenor saxophonist Carlos Garnett.They expanded their reputations further when they moved to Holland to join Chris Hinze's Group. While Chris' recording schedule and tours are quite demanding, the duo found time to play with Joachim Kuhn and to write and record this, their first album as leaders.
Their compatriots here are from two basic sources. Hubert Eaves and Howard King are in Gary Bartz' NTU troupe, while the remaining sidemen have all worked with Chris Hinze.
The title tune kicks off in a contemporary funk groove with bass, drums and electric piano, Henry Vonk's voice and later Gary's soprano come in to state the theme, which moves as a half tempo feel across the rhythm section. Eaves' electric piano and Gary's soprano sax are the featured soloists, a series of haunting voice-organ pedaltones move beautifully under the rhythm section and soloists.
Deliverance, whose theme is stated by the rhythm as well as the melody instruments, is the longest and freest piece on the album. Bartz gets off some beautiful statements on the soprano, followed by Gerry's first drum solo, which is an exercise in descending dynamics. Bartz steps out again as the band gradually builds in intensity. John Lee's electric bass solo grows not only in power but in the intensity of his statements, with free and complimentary support from the piano and drums. Jasper van 't Hot turns in a great electric piano solo, check the way John's bass glisses and Gerry's drum figures lock in together under him, some raspy thrills from Bartz make the transition into Gerry's next drum solo an impressive, if not brief tour de force, after which the band rejoins for a brief statement of the theme.
Jua strikes the ears as an impressive extension of the classic John Coltrane Quartet, not only in the feel of the rhythm section (check the left hand on the acoustic piano), but also in the development of a basic six note theme into a full tune and then into a full performance. The first solo is Chris' flute as the rhythm section turns on in a rolling six/eight the band lightens up for a swaying entrance of Bartz' soprano sax and then begins to build back up their original level. There are several amazing moments in the Bartz' solo when the sax and drums lock firmly together in their phrasing. Gerry's Absitively Posolutely begins with a drum solo that evolves into a rockish beat with percussion support. Bartz comes in with a slidewhistle as the drums grow more frantic and insistent until this unusual piece comes to an end.
Rise On has an underlying samba feel with the alto sax, flute and voice reading the theme. The tune is basically a showpiece for Gary's alto with John's delightful glissando occasionally stealing the spotlight. Chris Hinze's Who Con See The Shadow Of The Moon opens with the alto sax, arco bass and voices playing and even dirgelike line with the alto flute playing over them, eventually brushes and electric piano are introduced to apply a marchlike tempo under the line, then the rhythm section breaks into a controlled dark-baroque feeling for a brief solo and extended bass solo.Bamboo Madness offers a catchy theme played by the unique combination of bamboo flute, acoustic bass and percussion.
My enthusiasm for Infinite Jones is inexhaustible. With each listening new musical discoveries reveal themselves to me. It is fitting that this album by John Lee and Gerry Brown would be as outstanding as their individual playing. What more can I say.
Michael Cuscuna Writer Critic, Producer New York

COLUMBIA READY-MADE JAZZ ROCK

2011-04-01T18:05:00.002Z

A few years ago Konishi Yasuharu pulled together a reissue series of 9 rare 70's Japanese jazz-rock albums from Columbia Japan to celebrate the 100th anniversary of Columbia.I posted the first of the series Count Buffalo's Soul & Rock here and following this was contacted by Bongohito,a reader of this blog,who kindly sent me rips of two more albums from the series.
I have ripped my copy of Keito Miho's Sachio:Sound Poesy to make a triple whammy of Japanese "Jazz Rock".Don't take the genre title too seriously and expect a lot more bossa/now sound than jazz rock on most of these tracks!
Thanks to chipple.net whose reviews I have plundered for these posts-read the rest of his musings on the series at his blog.

KEITO MIHO & HIS GROUP - SOUND POESY SACHIO

2011-04-01T18:04:00.005Z

A very interesting album, featuring soft rock and bossa nova covers plus a few originals by jazz pianist Miho Keitarō and "his group" (no details whatsoever about the other musicians).
I was attracted to this one as soon as I saw the series' jacket line-up, and if you'd hope for a racing theme you won't be disappointed. The A side is instrumental and very conceptual, with racing sounds and announcements in Japanese over and between the songs! Side B has no racing sounds and several of the songs have female vocals (from scat to English and Portuguese vocals). The song "Remember Of Paris" has an overlaid dialog. The whole holds together very well. Excellent album!
Reading the short liner notes written by Miho made this album even more interesting. It tells about "Sachio", a racer and music lover who came to see his band play in Roppongi and made the comment "the sound is hard!", making Miho rethink his directions. The album is a collection of songs Sachio likes, but "if he would hear it, he'd probably say 'it sucks.'" A comment that made me grin.
At that point I still didn't know who's that "Sachio" so I did a bit of research. Turns out that the Paris-born racer and fashion model, Fujisawa Sachio, died in a test run accident in early 1969 at the age of 25, so this album (released later the same year) is clearly an homage. Kamayatsu Hiroshi was also friends with Sachio and dedicated a song to him, "So Long Sachio". We also learn that the people who talk about their Paris memories are Sachio and Miho themselves, a very rare recorded dialogue.
Review from chipple.net

NORIO MAEDA & JIRO INAGAKI ALL STARS THIS IS JAZZ ROCK

2011-04-01T18:04:00.003Z

This album features Maeda Norio (Hammond organ) and Inagaki Jirō (tenor sax), accompanied by trumpet, guitar (Sugimoto Kiyoshi also on Count Buffalo's album above), bass, drums and latin percussions. It seems like these two are still making music together to this day! The presence of the two lead instruments is felt throughout the album, which is mostly rock but with a touch of jazzy solos (far from being as radical as Count Buffalo's Soul & Rock [a previous OIR post]).
Review from chipple.net
Big thanks to bongohito who contributed this post.

SOUL TRIPPER - THE WIP

2011-04-01T18:03:00.000Z

The black jacket showing a hippie sitting in the dark didn't particularly attract me, but I was pleased with the music. The liner notes don't tell us much about the members other than leader Iiyoshi Kaoru (piano/organ), but he's accompanied by guitar, bass, drums, flute/horns and sometimes strings. Not much of a jazz feel here.
Review from chipple.net
Big thanks to bongohito who contributed this post.

HIROMASA SUZUKI - COLGEN WORLD

2011-03-20T12:48:00.000Z

Hiromasa Suzuki for Toshiba EMI Pro-Use Japan from 1976.
Hiromasa Suzuki:Piano ; Motohiko Hino:Drums ; Kunimitsu Inaba:Bass.

Beautiful acoustic piano trio business from Japan.Recorded for the pro-use series so it's a sonic treat.
All killer no filler.

CULTURES OF SOUL : STANTON DAVIS' GHETTO / MYSTICISM - BRIGHTER DAYS

2011-03-10T19:05:00.000Z

Highly recommended reissue business:Released for the first time on CD coming out on March 15th.
Cultures of Soul Records are proud to bring you this brilliant Jazz Funk masterpiece, Stanton Davis and the Ghetto Mysticism Bands’ Brighter Days album.
Stanton Davis originally created this seminal jazz funk masterpiece back in 1977. It’s being reissued for the first time on CD after many years of being left in obscurity. Every track from start to finish is top notch, featuring beautiful instrumentation and complex arrangements.
Stanton Davis was mentored by the great jazz legend George Russell and later formed the Ghetto Mysticism Band in Boston, MA. He and the group performed exciting live shows in the city all throughout the ‘70s.
Brighter Days showcases an array of uptempo jazz funk stylings, from the fast-paced fury of “Things Cannot Stop Forever” to the deep space sound of “Space A Nova I” (already featured on Gilles Peterson’s Revolutionary Jazz compilation) to the atmospheric instrumentation of “Play Sleep” to the beautiful vocals of “Brighter Days” and the loose funk groove of “Funky Fried Tofu.”

Les McCann & The Jazz Crusaders - Jazz Waltz

2011-03-02T08:17:00.000Z

Les McCann & The Jazz Crusaders for Pacific Jazz from 1963.
Les McCann (piano, electric piano, organ)Wilton Felder (tenor sax)Wayne Henderson (trombone)Joe Sample (piano, organ)Robert Haynes (bass)Stix Hooper (drums)

The funky piano of Les McCann hooks up with the raw soul jazz of the early Crusaders for this excellent set of short, sharp swinging cuts."Damascus" and "Spanish Castles" hit a marvelous modal mode but the whole album is a cracker.
Unbelievably never reissued and this is the first time it's been posted in blogland - All Killer No Filler.
Edited Sleeve Notes by Joel Dorn:

We should all be thankful that in the past when World Pacific or Pacific Jazz brought musicians of stature into the studio to record together, the pairings were not based upon name value alone. Rather empathy and adaptability were used as criteria.
Some memorable Pacific Jazz combinations have been Richard "Groove" Holmes and Gene Ammons ("Groovin' With Jug" PJ-32) and Les McCann and Stanley Turrentine (Les McCann in New York PJ-45). These albums were successful because all parties concerned had a common ground upon which they could meet.
It is for precisely the same reason that this particular album is a success. Les and the Crusaders are possessed of a common denominator in their familiarity with the blues. McCann's primal funk and the Crusader's searing Texas preaching have a natural affinity for each other.
McCann rode the crest of the late fifties soul wave and while others of that era have been washed ashore, Les is still riding high. While the Crusaders didn't make as great an initial splash as McCann, their popularity has been growing steadily, especially in the East where they have yet to be seen in person. Beyond any doubt they are one of the two or three most substantial jazz groups to emerge in the sixties.
I am reluctant about any discussion of the music in this album because I hate to use words to attempt to describe something the ears can understand fully and without any preliminary explanation.
In closing I would inject one brief personal note. Recently when the Ray Charles Band had a two-week stand not far from Philadelphia I had the chance to hang out with my good friend David "Fathead" Newman whose been with Ray Charles for years. "Fathead" is recognized as the current dean of the Texas school of tenor playing. Sometime during the two weeks I happened to ask him what he thought of the Crusaders. His answer was simple. He smiled broadly and said "Yeah." This is much akin to having George Bernard Shaw give you an A in English composition. Need more be said.

SOUND RINGS LIKE AN ECHO IN THE WOODS

2011-03-02T00:11:00.004Z

Blackclassical is back with another stellar mix of jazz,poetry and all things righteous....grab the fucker:
http://i.mixcloud.com/CQ8qX

I recently managed to get this picture of Blackclassical in a rare moment of relaxation away from the hectic schedule of his bedroom studio

MAL WALDRON - TERUMASA HINO REMINICENT SUITE

2011-02-06T17:15:00.005Z

Mal Waldron & Terumasa Hino for Victor Japan from 1972.
Terumasa Hino (tp) Takao Uematsu (ts) Mal Waldron (p) Isao Suzuki (b) Motohiko Hino (d) Yuhji Imamura (per)

Waldron sits in with Terumasa Hino's 72 quintet (taking the piano chair of Mikio Masuda) for this magnificent recording featuring two epic cuts spanning a side a piece with composing credits split between Waldron and Hino.Something of an obscurity even to Waldron fans this has never seen a vinyl or cd reissue even in Japan which is a great pity as its a phenomenal lp.
"Reminicent Suite" is by Waldron and opens with a typical hammered down solo piano theme rapidly picked up by the rest of the quintet which is then comprehensively shredded,mangled and spat out until around 15 minutes when the vamp slides into a beautiful coda creating a more reflective mood for some lyrical work by Hino, Uematsu and Waldron who then bring the track to a close with a brief restatement of the theme.
"Black Forest" is a churning 6/8 styled naningo the soloists darting out from the thickets of percussion with Waldron battering the cyclical motif into submission.Hino and Uematsu drop rip roaring solos followed by Waldron and then its over to Motohiko Hino and Suzuki before back into the theme for conclusion.
Breathtaking stuff and a huge favourite over here at Bacoso's Big Top.
All Killer No Filler!

ROY PORTER SOUND MACHINE - JESSICA

2011-01-30T13:25:00.003Z

Roy Porter Sound Machine for Chelan USA from 1974.
Roy Porter: Drums - Jimmy Holloway, Leslie Hargrove: Guitar - Tollie Moore: Electric Piano - Bob Davis: Organ - Charles Jones: Fender Bass - Oscar Dye: Congas - Hense Powell, James Smith: Trumpet, Flugelhorn - Lester Robertson: Trombone - Jack H. Fulks: Tenor Sax, flute - Sone' Campbell: Tenor Sax.

Ridiculously hard to find private pressing out of LA from drummer Roy Porter and his Sound Machine.
Every cut a stone cold killer on this fully loaded breaks and beats bomb - shufflin' beats and drums all over ""Funky Twitch" fucked up funky latin madness on "Wow" while "Drums for Darryl" is a scrambler and drums duet and of course the organ grinder groove of "OOh La La".

All Killer No Filler No Doubt Whatsoever.

GEORGE GRUNTZ - NOON IN TUNISIA

2011-01-21T07:57:00.001Z

George Gruntz for Saba from 1967.
Piano, Conductor, Composed By - George Gruntz ; Soprano Saxophone, Flute, Tambourine - Sahib Shihab ; Bass - Eberhard Weber ; Drums - Daniel Humair ; Violin - Jean Luc Ponty ; Goblet Drum [Darbouka] - Hattab Jouini , Salah El Mahdi ; Ney - Salah El Mahdi ; Oboe [Zoukra] - Moktar Slama ; Percussion [Bendire] - Hattab Jouini , Jelloul Osman , Moktar Slama , Salah El Mahdi ; Tabla - Hattab Jouini , Jelloul Osman ; Bagpipes [Mezoued] - Jelloul Osman.
Producer - Joachim Ernst Berendt

George Gruntz organized this studio recording as an opportunity for blending the worlds of jazz and Arabian music, though utilizing original music of his own. With Sahib Shihab (soprano sax, flute, and tambourine), violinist Jean-Luc Ponty, bassist Eberhard Weber, and drummer Daniel Humair, plus four Bedouin musicians playing traditional Arabian reed, string, and percussion instruments, Gruntz conceived the nearly 31-minute six-part "Maghreb Cantata" as the centerpiece of the date. The composer's themes are essentially brief modal statements utilized as jumping-off points for the musicians' improvisations. Bracketing the suite are two vocal numbers that incorporate the chanting of centuries-old Arab poems. Open-minded jazz fans will find this unusual session both intriguing and infectious.Ken Dryden.

All Killer No Filler.

NAOSUKE MIYAMOTO SEXTET - STEP!

2011-01-10T23:45:00.000Z

Naosuke Miyamoto Sextet for Three Blind Mice Japan from 1973.

Kunji Shigi - trumpet & fluegelhorn; Takashi Furya - alto sax; Takeshi Goto - soprano sax & tenor sax; Masayoshi Yoneda - piano; Naosuke Miyamoto - bass; Shoji Nakayama drums

Those of you with long memories may remember a comp I put together and posted here back in 2006 entitled "The Mood Is Modal" which opened with Naosuke Miyamoto's sublime modal masterpiece "One For Trane".Now and only 5 years later(!!!) here's the whole lp for the first time in blogland and it's a bomb.
Miyamoto had been recording since 1960 with the likes of Sadao Watanabe and George Kawaguchi (more from him in a future post) and was something of an old pro when he assembled this sextet using players from both the new generation of young lions and more established musicians.Two Harold Land compositions (check the storming version of "Step Right Up To The Bottom" ) and three originals from Goto,Yoneda and Miyamoto make up the writing credits and it's on "One For Trane" & "Where Do They Go?" the influence of the Coltrane/Shorter modal school is at it's best.
Fiery and beautiful music throughout this really is ....

All Killer No Filler!

COUNT BUFFALO & THE JAZZ ROCK BAND SOUL & ROCK

2010-12-24T20:13:00.007Z

Count Buffalo & The Jazz Rock Band for Denon Japan from 1969.
Ishikawa Akira (drums) Terakawa Masaoki(bass)Masahiko Satō(piano)Hiromasa Suzuki (piano) Kiyoshi Sugimoto (guitar)Takeru Muraoka (sax).
First time out in blogland for Akira Ishikawa and the gang with a wacked out free reaching fist full of originals and covers busting loose from late 60s Japan.

Review from chipple.net:
When I heard the term "jazz-rock", I didn't really know what to think, but hearing this release seemed to make it all clear. Rock songs are performed in a quite normal way, or so you'd think until some improvised jazz solos come up half-way, with sometimes one player keeping his feet on the ground until everyone comes back to the main theme for the end of the song. Not knowing better, the jazz parts reminded me of when I saw Ōtomo Yoshihide New Jazz Ensemble. Being a drummer, I also very much enjoyed leader Count Buffalo's energetic and creative playing. I was especially impressed by a cover of the Beatles' "Michelle", song that I never liked so much, but this cover really made me appreciate it. Original songs "The Cougar" and "No More Than A Drop", both written by pianist Satō Masahiko, definitely stand out.

A Merry All Killer No Filler Christmas to one & all!

Francisco Mora Catlett - Mora!

2010-12-18T10:10:00.003Z

Francisco Mora Catlett for AACE(Americas Authority Creative Experience)from 1986.

Francisco Mora Catlett-Drums & Percussion;Kenny Cox-Piano;Rodney Whitaker-Contrabass;Vincent Bowens-Tenor,Flute;Emile Borde-Steel Drums & Percussion;Alberto Nacif-Quinto,Congas & Percussion;Jerome Le Duff-Berimbau & Percussion;Teresa Mora-Vocal & Percussion.

Heavy duty private press business out of Detroit with this rare afro-cuban jazz banger.
Words won't do it justice so let the music do the talking......
All Killer No Filler!

VALERIE CAPERS - PORTRAIT IN SOUL

2010-11-21T19:28:00.013Z

Valerie Capers for Atlantic from 1966.
Valerie Capers - Piano;Vincent McEwan - Trumpet;Robin Kenyatta - Alto Sax;Frank Perowsky - Tenor Sax;John Daley Bass;Charlie Hawkins - Drums;Richard Landrum - Latin Percussion

First time out in blogland for this terrific obscurity from the blind pianist who has played with Dizzy Gillespie, Max Roach, Ray Brown, Paquito D'Rivera, Tito Puente but is still probably best known for her time with Mongo Santamaria.
Five self penned originals plus one standard which range in diverse styles from the rousing opener of the Billy Taylor influenced "Little David Swing" to the modal "Odyssey" to the sublime latin serenity of " Subrosa" to the hip swingin' groover "Hey Stuff" and the rousing soul jazz sound of "Kenne's Soul".

All Killer No Filler.

BOBBY JASPAR

2010-11-10T15:12:00.005Z

Bobby Jaspar for Barclay France from 1958.
MICHEL HAUSER (vibes and xylophone), FATS SADI (vibes) PAUL ROVERE & JIMMY MERRIT (bass), HUMBERTO CANTO (bongos), KENNY CLARKE (drums)

Staying in Europe but from a few years earlier here's a cracking flute tootling bongo bopping finger snappin head nodding all killer session for the flute freaks led by Bobby Jaspar.The European connection comes full circle with this album which features Fats Sadi & Kenny Clarke who would go on to work with Sahib Shihab in both the illustrious Clarke Boland Band and his solo projects.Also of note is the appearance of Jimmy Merrit who would go on to anchor so many Jazz Messengers LPs of the 60s and in later years form an integral part of Lee Morgan's ensemble.

SAHIB SHIHAB - SAHIB'S JAZZ PARTY

2010-11-01T19:35:00.009Z

Sahib Shihab for Debut Denmark from 1963.
Sahib Shihab - Alto Sax,Baritone Sax,Flute; Allan Botschinsky - Flugelhorn; Ole Molin - Guitar ;
Niels -Henning Orsted Pederson - Bass; Alex Riel - Drums; Bjarne Rostovold - Snare Drum

All killer modal to bossa to blues business from this terrific super rarity recorded during Mr. Gregory's long sojourn in Scandinavia supported by a veritable who's who of then emerging Danish talent.
I've ripped it from the oop Japanese cd reissue but used the original lp format for this post. I couldn't stretch to the wallet pounding price of an original lp!

IMPRESSED 3 - HERE & NOW !

2010-10-01T12:46:00.008Z

As you will all know from my previous post Impressed 3 was good to go until Universal pulled the plug on it. Compiled single handedly as a labour of love by Tony Higgins (who had previously put together Impressed 1 & 2 with G.Peterson) this third volume was shelved by Universal and nobody would have been any the wiser ...if Tony hadn't left a comment at my Stan Tracey post mentioning this fact. So I posted up the track listing and Don Rendell's notes courtesy of Tony and got a stack of comments and a lot of interest.
So now here's the good news - Tony Higgins has sent me a CDR of Impressed 3 pulled together from his original vinyl and given the go ahead for it to be made available here at Orgy In Rhythm ! Tony has also sent me two collages which he put together to be used for the artwork on the intended release along with a superb set of copius sleeve notes about each featured track and Don Rendell's previously posted intro essay. I have included all of these in the download file and also used one of the collages to head up this post.
So big big thanks go out to Tony Higgins - please leave a comment to show your appreciation for all the work he has put into this magnificent compilation and his decision to share it with us.

1.Collin Bates Trio - Brew
2.London Jazz Four - Song For Hilary
3.Tubby Hayes Quartet - Finky Minky
4.Don Rendell - Euphrates
5.Vic Lewis - Last Minute Bossa Nova
6.Kenny Wheeler - Don the Dreamer
7.Ralph Dollimore - Spikey
8.Dick Morrissey - Sunday Lunch
9.Quincicasm - Trent Park Song
10.Ronnie Stephenson / Kenny Clare - Caravan
11.Johnny Hawksworth feat. Hampton Hawes - Jazz Rule
12.Dick Morrissey - Storm Warning

And I'm sure I don't need to tell you that it is of course
ALL KILLER NO FILLER !

IMPRESSED 3

2010-09-22T09:35:00.004Z

If you trawled the comments on Stan Tracey's Latin American Caper you will no doubt have been intrigued to see this from Ramu:

Hi, I tried to get Windmill Tilter reissued years ago as part of the Impressed Re-pressed series (I helped compile the Impressed comps with Gilles P). Manged to get a first batch of reissues out (Mike Taylor, Neil Ardely, Amancio D'Silva etc..) but Universal, as ever lost faith, let it all slip iaway to labels like BGO and Vocalion. Had a killer hitlist of all the Lansdowne stuff - Rendell Carr, Hum Dono etc... they couldn't care less. Treat their catalogue - and music fans - with contempt. Impressed 3 has been ready to go for about 6 years - and Universal??? What do you think, not awhiff of interest. Shame, as it has top stuff from Dick Morrissey, Kenny Wheeler, Quincicasm, Don Rendell etc on it. Don even wrote an introductory piece for my notes... maybe you could post it on here!!

True to his word Ramu has sent over what would have been track listing for the shelved "Impressed 3" and included Don Rendell's sleeve notes.
What a tragedy that this will never be issued..and good luck to anybody trying to track 'em ALL down!

Collin Bates Trio - Brew
London Jazz Four - Song For Hilary
Tubby Hayes Quartet - Finky Minky
Don Rendell - Euphrates
Vic Lewis - Last Minute Bossa Nova
Kenny Wheeler - Don the Dreamer
Ralph Dollimore - Spikey
Dick Morrissey - Sunday Lunch
Quincicasm - Trent Park Song
Ronnie Stephenson / Kenny Clare - Caravan
Johnny Hawksworth feat. Hampton Hawes - Jazz Rule
Dick Morrissey - Storm Warning

Don Rendell's sleeve notes:

I knew and played with many of the musicians on this album. The jazz scene in those years seemed very sure of itself and was moving progressively forward into new creative areas almost day by day. Through my resolve to be a jazz musician, I left the touring big bands I played with - Oscar Rabin, Ted Heath, Cyril Stapleton - and, in 1950, became a founder member of the Johnny Dankworth Seven. Back then, on a gig at a club in Acton, the sound from a young tenor player in the interval group caused us to return from the bar to hear him. That was our first introduction to Tubby Hayes, who, in an all too short career, achieved international acclaim. A second tenor saxophonist featured on this album is Dick Morrissey. He also maintained a consistent level of creative improvisation in his playing and gained worldwide recognition. Sadly, both of these musicians have long left us - but for sure you can hear their music living on through these and many other recordings. Sometime around 1953, I left the Johnny Dankworth Seven and formed a small group with Ronnie Ross (baritone), Damien Robinson (piano), Don Lawson (drums) and, for a few weeks, a new arrival from Canada - Kenny Wheeler. A few years later Kenny appeared on an album I made for Denis Preston's Pye Nixa label. His contribution to this compilation is 'Don the Dreamer', a title relating to his musical interpretation of Don Quixote's fanciful exploits. Pianist/composer Ralph Dollimore was everywhere on the London Jazz scene. I recall a recording session with him, put together by Mike Nevard of the Melody Maker, that introduced us to the Belgian pianist and band-leader Francy Boland. That session also included Jimmy Skidmore, Phil Seaman, Keith Christie, Jimmy Deuchar, Jo Hunter, Allan Ganley and Dill Jones. Vic Lewis led a big band in those years. A much more jazz oriented group than most, he recognised the genius of the Stan Kenton Orchestra and this was reflected in Vic's charts for his own band. In 1956 I was deputising, together with Harry Klein (baritone), on Kenton's European tour. Vic Lewis came to the Paris concerts and was suddenly also a dep - filling in for a trombone player who, as Ronnie Scott used to say, 'was suddenly taken drunk.'Three other outstanding British jazz musicians playing in different groups on this compilation are Peter King (alto), Stan Tracey (piano) and Harry South (piano). My own track 'Euphrates' is an original piece in 3/4 that relates to the floating feeling of a river - sometimes calm, then strong winds raise the waves and then it subsides again. It was recorded in a Manchester record store, the Avgarde Gallery, in 1973. However, none of us knew this at the time, so it is a genuinely 'live' piece With excellent piano from Joe Palin, Ian Taylor on bass and Gordon Beckett on drums. A further fact is that none of the Joe Palin Trio had heard of or seen a chart of 'Euphrates' until that moment - it was true instant jazz improvisation. Ten years later Tony Williams from Spotlite Records got hold of the 'unknown' recording and released the LP 'Live at the Avgarde Gallery'. In conclusion I sincerely commend Tony Higgins & Gilles Peterson for making this and the previous two volumes of Impressed available so a younger generation can hear home grown jazz in progress. Don Rendell, London, March 2007

STAN TRACEY - THE LATIN AMERICAN CAPER

2010-09-06T08:48:00.007Z

Stan Tracey, his Piano, Big Brass & Woodwinds for Columbia UK from 1969.
Stan Tracey - Piano & Musical Director ;Kenny Baker, Derek Watkins, Eddie Blair, Les Condon - Trumpets ;Keith Christie, Maurice Pratt, Bobby Lambe - Trombones ;Chris Taylor, Roy Willox, Ray Swinfield - Flutes ;Ronnie Chamberlain, Don Rendell, Derek Collins - Clarinets ;Barry Morgan - Drums & LA Percussion ;Dennis Lopez, Stuart Gordon - LA Percussion ;Lennie Bush or Dave Green - Bass ;Alan Branscombe -Vibraphone & Marimba
Recorded at Lansdowne Studios in London on July 16/17 1968
Supervision - Denis Preston;Sleevenote - Peter Clayton;Engineer - Adrian Kerridge

Here's Peter Clayton's excellent sleeve notes :
Stan Tracey is one of those people who could go to a fancy dress ball in full klu klux clan regalia and still be instantly recognisable. I'm speaking figuratively, of course: for him to appear physically outlandish is unthinkable. You could set him down on London Bridge Station any weekday afternoon around 5.30 and lose him in the crowd. It is in the artistic sense that Stan's craggy, positive personality breaks through any attempt to disguise it.
Not that any too deliberate attempt has been made in the case of this, at first sight, uncharacteristic album, The sombrero and poncho were not intended as camouflage but as a stimulating splash of specialised colour to help Stan think himself into an unusual and indeed unlikely situation. the idea, in fact, was not to produce a Latin-American album by Stan Tracey, but a Stan Tracey album with Latin-American overtones. And since the whole project was in a sense an adventure the avuncular title of LATIN-AMERICAN CAPER at once suggested itself.
At the core of the music thus created is the Stan Tracey Trio - Stan on piano, Lennie Bush on bass and Barry Morgan, drums. With the addition of sundry Latin-American percussive noises and Alan Branscombe on vibes or marimba this is the small group which performs Because I Tell You So, Ouida and Obiah.
Another of the groups involved is the Stan Tracey Big Brass - a variant of the ten piece brass choir already heard on the Tracey-Bilk collaboration BLUE ACKER (Columbia TWO 230) and Stan's Ellingtonian tribute, WE LOVE YOU MADLY (Columbia SCX 6320). The Big Brass is featured on Capullito De Aleli, on One For Bo Bo and on What Else Can You Do With A Drum?
The third and perhaps most intriguing ensemble is what in score-readers' parlance is simply referred to as "WW" - or woodwind. From a front line of three flutes and three clarinets this combination produces the most satisfying of sounds, quite unlike anything that Stan has written before. If I say, for instance, that it has something of Gil Evans about it (especially on Come Out And Meet Me Tonight) it is only to convey an idea of its atmosphere. It is not like the writing of Gil Evans, but it's nearer than anything else. One For Sass and Bakiff are the other two titles by this particular group, which is also notable for having Don rendell amongst its clarinetists and solist on One For Sass, and Chris Taylor of the Philharmonia among the flutes. It is Chris who plays the opening theme of Come Out And Meet Me Tonight.
Stories go with some of the titles. What Else Can You Do With a Drum? is from Duke Ellington's least played suite - A Drum Is A Woman. (If Stan were the sort of man to believe in deification there's no doubt his musical diety would be Ellington!). Because I Tell You So is a Tracey original (even his titles bear his hallmark) and was once intended as a part of the WITH LOVE FROM JAZZ suite (Columbia SCX 6205) but somehow got left out. The Sass of One For Sass is Stan's daughter, Sarah. The woodwinds handle this one with the kind of forcefulness one doesn't normally associate with flutes and clarinets. Ouida is not a further excursion into English literature. (I doubt the novels of that curious Victorian authoress would stimulate even Stan's quirky musical mind into activity!). Capullito De Aleli, for Big Brass, shakers, bangers and scrapers, is the classic Noro Morales speciality.
Stan first came across Come Out And Meet Me Tonight on an Art Blakey album. There's fascinating voicing for woodwinds on this one. Obiah is something to do with black magic. I don't know what exactly, but it's a word much connected with the occult arts in Caribbean society. Bakiff is the old Juan Tizol number associated, like Tizol himself, with the Ellington orchestra. One For Bo Bo is the brother of One For Sass, Bo Bo being Stan's code name for his young son, Clark.
Despite protestations that he's not really a Latin-American man, Stan does seem to have been affected by the percussive nature of the music. I've seldom heard him so crisply reminding us that the piano is, after all, a percussion instrument. Obiah is probably the track that points it up most, but the driving effect is there even on a ballad like Because I Tell You So. For me it's the quality that makes the jazz piano the exciting thing it is. Fats Waller, Duke Ellington, Cecil Taylor and Thelonius Monk have all been aware of little levers working little hammers and haven't wasted their time trying to turn the instrument into a sort of keyboard trombone. It is this kind of attack, moreover, which helps generate the swing without which the whole point of jazz, Latin-tinged or otherwise, is lost.

First time out in blogland for this lp which has never made a reissue in any form. Even though Mr Tracey regards it as his "least favourite session of all time" it's still(for me if nobody else!).....
All killer no filler !

MAL WALDRON - SPANISH BITCH

2010-09-01T12:52:00.000Z

Mal Waldron for JVC/ECM Japan from 1971.
Mal Waldron (p) Isla Eckinger (b) Fred Brasful (d)
Ludwigsburg, West Germany, September 18, 1970

This has been on my "most wanted" list for some time so I was bowled over to receive the actual LP through the post last week purchased from Japan (at considerable cost it should be said) and sent as a thankyou gift from one of the followers of this blog.
So stand up and take a bow Munnnnnph !!! Thanks a million - what a guy!

Recorded and produced by Manfred Eicher this is only the second recording for ECM (the first being Waldron's Free At Last).Recorded prior to Eicher setting up his own label both albums were picked up and issued only for the Japanese market by JVC's Globe subsidiary . Despite it's historic importance "Spanish Bitch" has never seen a reissue in either cd or vinyl format thus making it extremely hard to track down.
So here it is - 3 long Waldron compositions plus a comprehensive shredding of "Eleanor Rigby" through Mal's mangle. Waldron's wall of sound soloing is in full effect throughout the lp complete with his banging keys in the lower registers and usual dissonant chords-"Black Chant" and "All That Funk" are just immense!
Fred Braceful's intricate drumming drives the music forward sounding like a proto-breakbeat blueprint with it's meticulously placed accents and beats while Isla Eckinger anchors the whole thing down before it spirals off the planet!
All Killer No Filler ....and don't forget to say thanks to Munnnnnph.

MICHAL COCHRANE QUINTET - ELEMENTS

2010-08-18T20:05:00.005Z

Michael Cochrane Quintet for Soul Note Italy from 1985.

Michael Cochrane, Piano; Tom Harrell, Trumpet ; Bob Malach, Tenor Saxophone, Flute; Dennis Irwin, Bass; James Madison, Drums

What a cracker - dont let anyone tell you that the 80s were a total wasteland for jazz.
Chock full of Modal, Waltz, Bossa, Bop, Jazz Dancers .... it's all here and it's all good !
All Killer No Filler.

HINO = KIKUCHI QUINTET

2010-08-14T11:17:00.005Z

Terumasa Hino & Masabumi Kikuchi Quintet for Tact/Columbia Japan from 1968.
Terumasa Hino (tp)Masabumi Kikuchi (p)Takeru Muraoka (ts)Kunimitsu Inaba (b)Motohiko Hino (ds)

Terrific modal - hard bop session from the two leaders who would go on to blaze the electric jazz trail in Japan.This session sounds heavily influenced by the classic Miles Davis Quintet of the mid sixties although the four compositions are all originals by Kikuchi.Great heads and arrangements open up leaving plenty of space for exploratory soloing from Hino,Kikuchi and Muraoka supported by the supple rhythm section of Motohiko Hino and Kunimitsu Inaba.
All Killer No Filler!

SADAO WATANABE QUARTET - SWISS AIR LIVE AT MONTREUX 1975

2010-08-06T19:32:00.004Z

Sadao Watanabe Quartet for CBS Sony Japan from 1975.

Sadao Watanabe (as,fl,sn) , Takehiro Honda(p) , Osamu Kawakami (b) , Shinji Mori (ds)
Recorded at Montreux this powerful acoustic quartet session continues to reflects the African influences prevalent in Watanabes mid 70s sets "Mabali Africa" & "Kenya Ya Africa ".
Over 5 original compositions Watanabe blows long and hard his playing a million miles from the fusion fluff he was to churn out in later years while Takehiro Honda nearly steals the show with his thunderous piano runs and vamps.
全キラー無フィラー

SANSARA MUSIC BAND

2010-07-18T09:52:00.005Z

Sansara Music Band for Sonet Sweden from 1977.

Bernt Rosengren , Bronislav Suchanek , Fredrik Norén , Jojje Wadenius , Lars Färnlöf , Staffan Abeleen , Willy Ekwe.

Excellent set of Swedish jazz recorded at Fasching Jazz Club in Stockholm featuring three extended live interpretations of the wonderful compositions of Lars Farnlof.
"Birthcry" and "Cameleont" first saw life as part of Farnlof's rare 1969 "Chameleon" soundtrack and the former was also featured on the 1976 "Sansara Music Band Plays The Music Of Lars Farnlof" on which "Boutique Sandham" also appeared.
All Killer No Filler.

I have put a new RShare link in the comments as there appears to be a problem with Mediafire.

JOE HENDERSON AND KIKUCHI,HINO IN CONCERT

2010-07-10T05:47:00.007Z

Joe Henderson for Fontana Japan from 1971.
Joe Henderson - tenor saxophone Terumasa Hino - trumpet Kousuke Mine - alto and soprano saxophones Masabumi Kikuchi - piano, electric piano Yoshio Suzuki - bass Hiroshi Murakami & Yoshiyuki Nakamura - drums

Recorded at the Tokyo Toshi Center Hall, Tokyo, Japan, on August 5, 1971, this live set features Henderson with an incredible line up of Japanese young lions.The session took place the day after Henderson's appearance at the Junk Club, Tokyo, for the recording of 'Joe Henderson In Japan' on the Milestone label and is something of a different beast.
"Sunrise In Tokyo" kicks us off with a terrific head and solos from the three major protagonists while "So What" is taken at a rapid tempo and again showcases the big three from the lp title."Get Magic Again" is a more abstract piece moving into New Thing territory with great piano from Kikuchi who penned the title.
全キラー無フィラー

RAINER PUSCH QUARTET - JOURNEY AGENT

2010-06-24T18:43:00.005Z

Rainer Pusch Quartet for Software Music Germany from 1981.
Rainer Pusch saxophone ;Klaus Wagenleiter piano Thomas Stabenow bass ;Mickey Kersting drums

An interesting acoustic session from Germany lead by Rainer Pusch with an electric energy to the rhythms that's somewhere between American soul jazz of the 70s, and some of the German fusion of the period particularly that inspired by Brazilian jazz.
Best known for the version of Pascoal's "Mixing" which was a ballroom banger for Paul Murphy back in the day.A couple of cuts were also featured on Rainer Truby's Glucklich compilations.
A tough one to track down in vinyl format this was reissued by Creole Stream Japan for a blink and miss it CD reissue some years ago.
Aller Killer Kein Füller.

MARTIAL SOLAL JOUE MICHEL MAGNE ELECTRODE

2010-06-05T12:54:00.008Z

Martial Solal plays Michel Magne for Ducretet Thomson France from 1968.
Composer - Michel Magne ;Piano - Martial Solal;Double Bass - Gilbert Rovère;Drums - Charles Bellonzi; Arrangements - Jean-Claude Vannier

Magne had been working on film soundtracks for years when a Pathe Marconi producer named Jaques Poisson suggested to Martial Solal that it might be interesting to put together an album based on Magne's compositions.Solal,himself a brilliant soundtrack composer,agreed.Magne brought to the project two critical parts - his compositions and a young arranger bubbling over with unusual ideas by the name of Jean-Claude Vannier who would go on to a creative partnership with Serge Gainsbourg and record "L'enfant Assassin Des Mouches".in 1972
Vannier discussed the "Solal Joue Magne" session before recording commenced and Magne gave hin carte blanche with it and to take a direction that was "dazzling and unhinged".Magne knew that Vannier's taste for organised delirium matched his own and this was reflected in accelerating the tempos here and there,breaking off the rhythm, dropping in short horn solos and creating a system on one piece where everyone improvised over a single note without any harmony.

As Johnny Trunk says :" The best way for me to describe it is jazz but played in a sort of avant garde soundtrack way. So just as you think you understand it you don’t."
And it is,of course:
Tout le tueur aucun remplisseur!

NAMAZ - 300 M.P.H.

2010-05-28T10:42:00.007Z

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 - INNOCENT CANON

2010-05-15T12:58:00.012Z

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 - TORI

2010-05-08T15:52:00.006Z

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 - ENCUENTRO EN NEW YORK

2010-05-04T10:26:00.006Z

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 !

ST TROPEZ JAZZ OCTET - JAZZ GOES SWINGING

2010-04-25T11:12:00.010Z

St Tropez Jazz Octet aka Johnny Dover Octet for Europa from 1969.
First time out in blogland for this great Belgian lp of swinging big band tunes. Similar in style to the Clarke-Boland sound and interesting to also note that this was apparently Marc Moulin's first recording session.
Here's an excellent write up from Blast Kid's well researched series "Focus on European Jazz" over at Laid Back. Check more of his writing out here.

‘Jazz Goes Swinging’ is the title of a late sixties record by the St. Tropez Jazz Octet, a different name for the Belgian Johnny Dover Octet. Their sound is often compared to the Clarke-Boland Big Band style, which I can understand, but certain record dealers want to make you believe that Sahib Shihab played on it to raise the price, but that’s not the fact. Information on who the players were is hard to find, and a lot of speculations have been made. I know for sure that Johnny Dover, Alex Scorier, Freddy Rottier and Marc Moulin are on the record, and although I don’t want to speculate too much, I’d dare to make an educated guess by saying that the rest of the personnel included Nicolas Kletchovsky, , Richard Rousselet a.o. (indeed, all of them would later play with Placebo).

THE MIKE TAYLOR TRIO - TRIO

2010-04-14T15:40:00.007Z

Mike Taylor Trio for Columbia Lansdowne from 1967.
Mike Taylor - Piano ; Jack Bruce / Ron Rubin - Bass ; John Hiseman - Drums.

This was reissued as part of the Impressed Repressed series on cd and is now well out of print with the only one on Amazon for sale at £140.The original lp still goes for a wallet pounding £3-600 due to it's rarity and of course it's one of Denis Preston's stellar productions for the famous Lansdowne series so you know that's a real seal of quality.Certainly one of the most challenging and powerful jazz recordings of it's time.
Here's a review from John Fordham:
Mike Taylor died, probably by his own hand, at age 31 in 1969, having realised a fraction of his potential as a composer and player, and written for the New Jazz Orchestra, singer Norma Winstone and the rock band Cream. Cream's singer and bassist Jack Bruce and Ron Rubin (occasionally) are on acoustic bass here, with Jon Hiseman on drums, a line-up that highlights the close links between 1960s Britain's creative rock and R&B scenes and the jazz of the time.
Taylor is a highly rhythmic pianist whose dense chord clusters often travel in tandem with Hiseman's sensitive and flexible percussion. His handling of standards such as All the Things You Are is enigmatically fascinating, while his own rhapsodically wayward Just a Blues is a lot more than just a blues. And the improvisation against Hiseman's brushes and Bruce's emphatically voluble bass on While My Lady Sleeps is the kind of extended long narrative on a standard that Bill Evans was feted for.
A unique and very affecting set.

First time out in blogland and you know it's gotta be .....All Killer No Filler!

THE LONDON JAZZ FOUR - TAKE A NEW LOOK AT THE BEATLES

2010-04-12T13:39:00.005Z

London Jazz Four for Polydor from 1967.

Mike McNaught-Piano,Harpsichord ;Ron Forbes-Vibes; Brian Moore -Bass; Len Clarke-Drums .

I never could and still can't stomach The Beatles but this is a real corker of an album that somehow transcends the original songs to the extent that many of the tracks don't sound like Beatles covers at all!
Here's a write up from AllAboutJazz:
This Brit quartet made the songs of the Fab Four their own, taking a lot of risk in reinterpreting many timeless classics but also approaching lesser-known Lennon-McCartney tunes (sadly, there are no Harrison compositions on the album). The result is a collection of songs that sound almost if they were completely new. For instance, "I Feel Fine" receives a Bach-like harpsichord riff that repeats itself throughout the track, the rest of the instruments basically improvising around the song's original melody.
John Lennon's Dylan-esque "Rain gives a lot of space for vibes player Ron Forbes and pianist Mike McNaught alternately to showcase their visions on each song. Gone is the song's original dark feel, which is replaced by a slow, peaceful one. The early tune "Yes It Is" is barely recognizable, featuring percussion, finger cymbals, and a triangle as backdrop for the piano, which sounds as if McNaught's fingers had a hard time moving over the keys, giving an otherwise simple song an eerie, almost ghostly feel.
The quartet swings through "Please Please Me" and "Things We Said Today", but the latter has more of a Latin jazz sound with some Afro undertones. "A Hard Day's Night" turns out to be one of the best tracks on the lp. The song morphs into a jazz waltz, which is an interesting development. Also pay close attention to the playfulness and simplicity of the musicians' take on "Yellow Submarine".

GINGER JOHNSON & HIS AFRICAN MESSENGERS - AFRICAN PARTY

2010-04-08T14:38:00.013Z

Ginger Johnson and his African Messengers for Masquerade UK from 1967.

The last one in this series of latin/afro/percussion posts and it's a monster proto AfroBeat /Highlife session featuring Ginger Johnnson with his African Messengers recorded at Sound Techniques in London in the midst of the swingin' sixties.
"Talking Drum" was the bomb back in the day but its all just as good...
All Killer No Filler!

Born Folorunso Johnson in Lagos, Nigeria, Ginger got his nickname because the hot sun turned his hair red and brought out his freckles. Possibly there is some Celtic blood in him, but he only admits to African and Brazilian heritage. Leaving home during World War II, Ginger became a sailor and his roaming took him to most jazz clubs of note in the world. Finally he came to England, and during the 1950's played with such names as Paul Adam, Harry Parry and Edmundo Ros. Forming his own Afro-Cuban band was the next step , and so the African Messengers were born. " All the music that we do is based firmly on African traditions," Ginger says. "So is rhythm and blues - but we try to get nearer the source, right down to the grass roots of the jungle - the sun, the heat, the insects, the abundance of life. And we overlay the whole with jazz - saxophone, guitar, brass, flute, and sometimes piano - because jazz is also derived from the old sources of Africa." Part of the compulsive beat is supplied by the 'talking drum' once used in the famous 'bush telegraph' system. The equivalent of the bass in Ginger's band - although he also uses an electric bass guitar - is the 'bush piano' a box-like instrument of wood fitted with thin metal tongues, which when flicked with the thumb, vibrate and give off thrumming bass notes. But Ginger's favourite instruments are his elephants feet. The elephant was killed by hunters in South Africa more than 100 years ago. The feet were hollowed out and covered with skin to form drums, and Ginger has played them for many years. They are prominent on several of his most famous songs.
Excerpts from sleeve notes by Frank Smyth, taken from the album Ginger And His African Messengers African Party.

SABU & HIS JUNGLE PERCUSSIONISTS - JUNGLE PERCUSSION

2010-04-02T10:24:00.003Z

Sabu and his Jungle Percussionists for Clarity from 196?.

This is a library(for want of a better word)lp from the UK label Clarity and not a record by Sabu Martinez."The ultimate in high fidelity recordings designed for your listening pleasure" is the header on the rear sleeve followed by a load of technical balls about full frequency,three track ampex recorders and Scotch 3M magnetic tape.Apparently the Sabu in the title is inspired by The Jungle Book but god knows who played on this session.I've researched it as far as possible and only know that price wise it ranges from the fiver I paid for mine some years ago to an eye watering £200 I spotted it for in some chancers list!
Sound wise it's one for the percussion beat heads - the lp seems switches between afro and latin styled percussion work outs plus chants on some.If you like the drums and chants albums from Tito,Mongo et al and you're not too bothered about authenticity you'll enjoy this one.

WALI AND THE AFRO CARAVAN - HOME LOST AND FOUND

2010-03-31T09:34:00.004Z

Wali and The Afro Caravan for Solid State from 1970.
Congas, Bongos, Vocals - Wali King / Congas - Robert Moore / Flute - Ray Lewis / Recorder [Tenor, Alto]- Jim Murray ,Vocals / Bass- Ronald Nance

All Killer No Filler Afro Jazz Percussion bomb via Texas from Wali King and the Afro Caravan.
Here's an excellent piece on this wonderful lp from Sonobeat Records:

In the mid '60s, the Afro-Caravan, formed and lead by 22-year-old Wali King, brought a new kind of percussion-based jazz to Central Texas. As comfortable and accepted at Austin's downtown hippy haven, the Vulcan Gas Company, as at the predominantly Black Austin east-side nightclub, The Afro, the hip ethnic jazz group garnered a following that crossed age and racial lines. Sonobeat's relationship with the Afro-Caravan began in August 1968, after Sonobeat Records owners Bill Josey Sr. and Rim Kelley (Bill Jr.) heard the group perform at the Vulcan.
The Austin-based Afro-Caravan were Wali King (congas and bongos), Robert Moore (percussion), J. Murray (tenor and alto recorders), Ronald Nance (bass violin), and Ray Lewis (flute). The group eventually took the name Wali and the Afro-Caravan. The combination of instrumentation, rhythm, and melodies were, as producers Bill Josey Sr. and Rim Kelley wrote in their liner notes for the Afro-Caravan's 1969 album, "rhythmic -- romantic -- thrilling -- appealing -- satisfying."
Work on the first album, Home Lost and Found (The Natural Sound), began in fall '68 at Sonobeat's Western Hills Drive studio in northwest Austin. Sonobeat released a limited non-commercial vinyl advance pressing of the album early in 1969. The "white jacket" release was intended primarily to attract a sale of the masters to a national label, which finally came in fall '69, almost a year after the album had been recorded. Liberty/UA Records -- which had purchased Johnny Winter's The Progressive Blues Experiment album from Sonobeat in '68 -- bought the Afro-Caravan album master. Sonobeat retained rights to the single, since neither of the songs on the single appeared on the album. Early in '70, Liberty/UA released Home Lost and Found on its Solid State jazz label. The album featured a highly stylized double-fold jacket with photography by L'Azul and Renate Taylor. Interestingly, the Solid State album cover shows the silhouettes of 6 performers, but the Afro-Caravan was a quintet.
Home Lost and Found was recorded on Sonobeat's Scully 280 4-track recorder in the spacious den at the Josey family home. The sessions -- which spanned several evenings -- yielded seven tracks, ranging in length from 4 minutes to over 11 minutes, the longer songs giving the Afro-Caravan plenty of room to stretch musically. Five songs were Afro-Caravan originals. The album received -- and, although out of print, even today receives -- excellent reviews, and Wali's arrangement of the traditional Hail to the King is considered an Afro-jazz classic. The album remains vital and musically relevant in the 21st century, validating the adage "everything old is new again."

TITO PUENTE - EN EL PUENTE / ON THE BRIDGE

2010-03-25T14:04:00.005Z

Tito Puente for Tico from 1969.
More Puente and as one recent comment here so accurately opined "Never enough Tito!"
Here's our man at the tail end of the sixties looking cool as ever skipping across the Brooklyn Bridge with the obligatory bit of skirt in tow.
"Fancy Feet" comes on like a latin Amphonic Music Library tune with the "In" sound of the sixties."Fuego Flamenco" kicks us into more familiar territory with an Iberian styled latin jazz bomb , Machito joins the party on "Congo Mulense" while "TP On The Bridge" is a mad mix of more In sound and Boogaloo.
Crazy Baby!!!

CHARLIE SANTIAGO & EDDIE MONTALVO - DRUM SOLOS VOL 3

2010-03-21T21:10:00.004Z

Eddie Montalvo & Charlie Santiago for Latin Percussion Ventures from 1978.
Eddie Montalvo & Charlie Santiago - Conga, Timbales,Bongo;Gilbert Colon - Electric Piano;Jose Santiago - Bass

The mighty Martin Cohen produced and master minded this stripped down set of tracks that was issued primarily as a percussion instruction album but it works well as a raw Latin jazz session as well.The 4 cuts on side 1 feature a complex rhythm section with solos while on side 2 they are repeated minus solos for the listener to practice and play against.Great stuff for latin beatheads and burgeoning percussionists alike.The album also features the old Ballroom banger "El Bollinski En D7".
Tough!

TITO PUENTE - MUCHO PUENTE / PLENTY PUENTE

2010-03-17T06:35:00.004Z

Tito Puente for Tico from 1964.
Mid 60s Tito in full effect with that raw Tico sound produced by Teddy Reig.Plenty of mambos,guaguagancos,cha chas and another cracking latin jazz killer cut in "Flamenco Mood".

AL ESCOBAR'S RHYTHMAGIC - VOLUME 2

2010-03-13T13:56:00.006Z

Al Escobar for Cadence from 1958.
Pete Candoli-Trumpet;Marvin Brown-Trumpet;Joe Dolny-Trumpet;Johnny Audino-Trumpet;Bob Eneveldson-Trombone;Herby Harper-Trombone;Dave Well-Trombone;Gene Sherry-French Horn;Dick Houlgate-Baritone;Herby Steward-Alto;Fred Provincio-Bass;Modesto Duran-Conga;Johnny Cheda-Vocal;Pollito Caserin-Vocal.

First time out in blogland for this very rare slice of vinyl from Escobar stuffed full of mambos and featuring one frantic banger in the shape of "Johnny's Special" - what a killer cut!
Nice!

THE SALSA ALL STARS

2010-03-13T11:55:00.004Z

Salsa All Stars for Salsa Records from 1968.
Charlie Palmieri - Piano ; Cachao Lopez - Bass ; Kako - Timbales ; Puchi Boulong, Victor Paz, Dave Gonzalez, Lionel Sanchez - Trumpets ; Mario Rivera, Richie Meza, Morty Lazzar - Saxophones ; Pupi Legarretta - Flute ; Louie Ramirez, Frankie Malabe, Johnny 'Dandy' Rodriguez, Tito Jimenez, Cortijito, Pedro Perdomo, Chickie Perez - Percussion ; Azuquita, Chamaco Ramirez - Vocals ; Hector La Voe, Yayo El Indio, Santos Colon, Chivirico Davila - Coros

Super heavy descarga session produced and directed by Al Santiago(who else?)which is essentially The Alegre All Stars working under the Salsa All Stars moniker for Mary Lou International's Salsa division after Santiago's Alegre label went bust.
Two monster long descarga jams on this one "Descarga De Cueros Y Vientos" and "Descarga En K" which are supplemented by 3 more straight ahead salsa cuts.
Killer!

JOE CAIN & HIS ORCHESTRA - LATIN EXPLOSION

2010-03-13T11:03:00.002Z

Joe Cain for Time Records from 1960.
Jerome Richardson-Flute,Saxes ; Clark Terry-Trumpet ; Jimmy Nottingham-Trumpet ; Frank Anderson-Piano,Organ ; Herbie Lovelle-Drums ; Jose Mangual-Bongos ; Chocolate-Congas ; Marcelino Valdes-Timbales ; Cachao-Bass ; Los Gatos-Chorus.

Big all star line up for this monster latin jazz session produced, arranged and conducted by Joe Cain.Raw as hell with the energy crackling from the wax this is one of the really great latin lps of the 60s.Mambo Stomp,Wobble,Afro Montuno,Mad Mambo...it's all here and its all good.
From the incredible Rhumba Jazz of "Que Paso" to the storming Afro-Mambo "Kenyatta" this album will slay you from start to finish.
All Killer No Filler.

LOUIE RAMIREZ - A DIFFERENT SHADE OF BLACK

2010-03-02T10:02:00.006Z

Louie Ramirez for Cotique from 1976.
Drums - Bernard Purdy /Guitar - Cornel Dupree /Congas - Arthur Jenkins /Percussion - Johnny Rodriguez /Piano - Paul Griffin /Saxophone - Bob Porcelli /Vibraphone, Timbales - Louie Ramirez / Bass - Gordon Edwards , Rasan Jemmott Mfalme , William Salter /Backing Vocals - Erik Alexander , Liz Lampert , Susan Skye

Louie Ramirez was way ahead of his time as always when he pulled together this masterful blend of latin, funk and disco for Cotique (a subsidiary of Fania)in 1976.Check out the line up - Dupree,Edwards and Jenkins of session supergroup Stuff with Purdy keeping it in the pocket and Ramirez and Rodriguez holding down the latin side of things. Mix these elements with loads of strings, hissing high hat, some girlie backing vocals and a bit of 70s cheese and you have a monster latin disco set with two stand out dancefloor bombs:
"Barrio Nuevo" does it for me every time with the intro timbale roll sliding into a not quite cha cha cha of guiro, vibes and strings which breaks out into mambo / mozambique styled sections for vibes and rhodes solo spots - it's all about the tension and release.
"Do It Any Way You Wanna" is the Peoples Choice tune -I lifted this excellent write up from Larry of the great Funky16corners :
His [Ramirez] version of ‘Do It Any Way You Wanna’ passes the original version and leaves it in the dust. The Ramirez take on the tune has a much more aggressive tempo and an absolutely dynamic arrangement. The opening shock of strings, giving way to the drum breakdown, then on to the familiar riff really grabs your ears in a way that the People’s Choice version never really achieves. It’s really mind blowing when you place the versions side by side, that the Louie Ramirez record, with its amazing blend of latin, funk and disco wasn’t a hit.

All Killer No Filler !

SOPHY - AMOR Y TENTACION

2010-02-23T13:50:00.009Z

Sophy for Tico produced by Tito Puente from 1969.
Only my second 7" feature here at OIR but it sets the scene for my next set of posts which go deep into the latin sound of the 60s & 70s.
I just love this gorgeous slice of breezy latin replete with bossa rimshots written by the great Tite Curet Alonso.Sophy belts out the vocal backed with strings,horns,vibes and even a cuica in the mix! Quality assured with the mighty Tito sitting in at the production desk.
Killer !

LES DEMERLE - TRANSCENDENTAL WATUSI

2010-02-20T13:38:00.005Z

Les DeMerle for United National Records from 1976.

Les DeMerle-Drums;Dido-Congas;Don Menza-Sax,Flute;Jim Coile-Sax;Rex Robinson-Bass;Ramsey Embick-Keyboards;Ronald Muldrow-Guitar;Ralph Bickert-Trumpet.

Super heavy funky fusion recorded live at Howard Rumsey's gaf in Redondo Beach.

Some great banging tunes but the killer cut is the 100m.p.h. bomb "Daggerpoint" which sounds like Barry Miles on amphetamines !

MARK WEINSTEIN - TIMBASA

2010-02-10T20:04:00.012Z

The mighty Mark Weinstein is back with another all killer no filler afro cuban jazz session. The man behind the greatest and heaviest latin session of all time the incredible "Cuban Roots" (click here to buy the cd )has pulled together a great new band featuring the the brilliance of Pedrito Martinez, a master of Cuban drumming in all of its forms and the winner of the Thelonious Monk Award for hand-drumming (the only time such an award has been given)."Timbasa" is a album that Pedrito made possible. He picked the musicians from among his closest associates and led them through 16 hours of non-stop recording of some of the most amazing Afro-Cuban Jazz that anyone has ever heard.
And amazing it is with storming covers of the standards "Milestones","Watermelon Man","Caravan"and "Footprints" mixed with new compositions "Timbasa","Kavaklari Cubano" "A Ernesto","Encuentro" plus an old favourite of mine "Just Another Gaujira".More about the album and its recording here.
All Killer No Filler indeed !!!
The album is now on general release and you can listen to tracks at Mark Weinstein's MySpace page here then put your money where your ears are and buy the cd here.
And last but not least read more about Mark and his music at his website jazzfluteweinstein.com
and at his fascinating blog jazzfluteweinstein.blogspot.com
Viva Weinstein!!!

GENE SHAW - CARNIVAL SKETCHES

2010-02-01T16:54:00.009Z

Gene Shaw for Argo from 1965.
First posted at OIR in 2006.

One of my favourite lps this is a real beauty on Argo from 1965. Gene Shaw leads a great group including Charles Stepney on Vibes,Richard Evans on bass and Ed Higgins on piano-it also features Richard Evans as composer and arranger.As the tile suggests it's a series of pieces with a real south of the border flavour which work beautifully.I won't pontificate on about this gem just do yourself a favour and down load it.Highly recommended.
Hard to track down on vinyl I picked this up on a Japanese cd some years ago.Needless to say thats been long deleted.
All Killer - No Filler.

MEDIAFIRE

2010-01-30T11:53:00.001Z

Mediafire links are now available in the relevant comment boxes for Herbie Hancock , Mal Waldron and The Jazz Hip Trio's Portraits

COMMENT MODERATION , SPAM AND RAPIDSHARE

2010-01-28T14:31:00.011Z

To my utmost annoyance I am now having to personally moderate the comments left at Orgy In Rhythm due to a few shitty fuckers who have chosen to dump their totally worthless spam in the comments boxes at this site.
So from now on all comments-good or bad-will be posted as usual but I will now remove the crap that the spam spewing pricks leave.Genuine commentators will just have to wait a little longer to see their words of wisdom - or rubbish as the case may be - appear here at OIR.
While I am on the subject of comments I have been receiving a number telling me readers are having problems downloading links or that links have been removed or Rapidshare are directing them elsewhere within their site.I have now checked my last 25 posts to find that Rapidshare have pulled the majority for copyright violation "This file is copyrighted and may not be distributed without permission of the copyright holder etc etc" which is very unusual and has not happened to me before in such numbers - in fact I believe this to be a ploy of Rapidshare to get downloaders signed up for their service and then...well who knows?However please do continue to trawl the Orgy In Rhythm archives as with the exception of the rapidshare.de posts from a couple of years back there are still 100s of dload links still active.
I will now be switching to Mediafire for all future posts and to reup a few of the recent deletions.
Anyway here are a few polite points I want to make to all Orgy In Rhythm visitors :

1.This is a blog not a library.It is not my job ; I don't get paid for it ;I run it on my own.If an album appears here I have bought it.I do not share third party rips or material from soulseek etc.
2.As stated above I have used Rapidshare for 5 years and consequently all my currently available 300+ files are stored there.These will continue to be available until (or if) Rapidshare pull them for either copyright violation or lack of use.
3.Links that have expired due to lack of dloads,time etc will be marked
"The file could not be found. Please check the download link."
Please don't expect a response to comments asking me if I will re-up these dead links or any pulled for other reasons.It isn't that I find it annoying it's just a waste of your time as I am not here to reup files upon request.Some old posts will undoubtedly re-appear from time to time and I will make the decision which ones will be selected.
4.Last but not least the comments to dloads ratio is usually pretty poor.If you don't want to comment thats fine by me but f' fucks sake don't be one of the scrounging shitlegs who only ever leave a comment to ask for a repost or a reup.

Rant over I'm off to the pub.

JAZZ HIP TRIO - JAZZ EN RELIEF

2010-01-12T22:25:00.004Z

Jazz Hip Trio for Riviera France from 1967.
Jean-Bernard Eisinger Piano ; Roger Luccioni Bass ;Daniel Humair Drums.

More beautiful music from France on this the first Jazz Hip Trio LP.
"Orange Boom" was the big tune back in the day but the rest is just fabulous.
Needless to say.....All Killer No Filler
Another first in public blogland here at OIR.

MAL WALDRON - TOKYO BOUND

2009-12-20T20:32:00.007Z

Mal Waldron for RCA Victor Japan from 1970.
Mal Waldron-Piano;Takeshi Inomata-Drums;Yasuo Arakawa-Bass

Tremendous all killer trio date with Waldron joined by a top flight Japanese rhythm section on four original compositions which only saw a release in Japan.Check out the rocking intensity of "Rock One For Jimbo San" and "Japanese Island" which builds from an ominous brooding intro into a marvellous modal waltz."Atomic Energy" blows up with a headlong banging vamp from Waldron's left hand while the right runs all over the keys and then to close "Mount Fujiyama" a more introspective rumination and dissection of the tune's theme.
Inomata's drumming is a revelation throughout the session intricate yet swinging with fantastic use of cymbals.(Don't forget to check out Inomata's Sound of Sounds lp also recorded in 1970 which I posted here during the summer)
Respect to El Goog for introducing me to this great album.I finally picked a copy up from Japan via ebay last month - not cheap but worth every penny.
Very highly recomnmended.

THE HERBIE HANCOCK TRIO

2009-12-13T08:47:00.003Z

Herbie Hancock for Sony Japan from 1977.
Herbie Hancock-Piano;Ron Carter-Bass;Tony Williams-Drums

The big three keep it strictly acoustic for this Japanese only release from CBS Sony. 4 originals from Herb plus a rapid romp through "Milestones"...tough stuff.

The first V.S.O.P. tour triggered a flood of recording activity in July 1977, but only a fraction of it was released in the U.S. This session, recorded in San Francisco just days before the Quintet concerts in Berkeley and San Diego, finds Herbie Hancock, Ron Carter and Tony Williams mixing it up sans the horns and the results are more reflective and cerebral than the full Quintet concerts. Hancock is thoroughly in control of the agenda while Williams throws in those meter-fracturing flurries that keep everyone on their toes. There is a startling re-interpretation of "Speak like a Child" which is significantly tougher and busier than the wistful Blue Note version, as well as challenging Hancock originals like "Watcha Waiting For" and "Watch It." This is uncompromising acoustic jazz, commercial anathema in the electronic '70s -and thus, only Japan got to hear it. Richard S. Ginell.

JAZZ HIP TRIO - PORTRAITS

2009-12-06T16:56:00.007Z

Jazz Hip Trio for Riviera France from 1968.
Jean-Bernard Eisinger Piano ; Roger Luccioni Bass ;Daniel Humair Drums.

Piano trios are the theme for my the next few posts and what better way to start than with some beautiful music from France on it's first time out in blogland here at OIR.
10 original compositions which grow and grow on repeated listening - get past the "Sidewinder" influenced dance floor intro tune "Bat Rock" and you're in for a swinging set of subtle trio sounds.Of course it's gotta be......
All Killer No Filler

THE DIAMOND FIVE - BRILLIANT !

2009-11-26T22:05:00.005Z

The Diamond Five for Fontana from 1964.
Personnel: Cees Slinger: piano; Harry Verbeke: tenor sax; Cees Smal: trumpet, cornet and valve trombone; Jacques Schols: bass; Johnny Engels: drums.
Please check the comments as Chazz has also ripped The Five Diamonds-Finally After Forty Years cd reissue from Japan and will be posting the link shortly.Over to you Chazz!

I don't post donations at OIR but just had to make an exception when this was winged across the pond to me from Chazz Katz.It's a very rare piece of hard bop from Holland which made a blink and miss it reissue on cd some years ago in Japan (original vinyl goes for silly money anywhere between $600-$1000) and has never appeared in blogland before.Here's the notes and cheers to Chazz for his rip!
Nice work chap - All Killer No Filler!

The Diamond Five, a Dutch quintet led by pianist Cees Slinger, was founded in 1959 and lasted until 1965. They were based at the Sheherazade Club in Amsterdam and were quite popular, playing all over Holland and accompanying expatriate American musicians on their visits to Amsterdam. However, when the club closed its doors due to a shift in popular interest from jazz to rock music, the quintet disbanded. This 1964 recording is their only session available on CD. The music is hard bop on the surface, but is neither formulaic nor a copy of the genres imported from the U.S.
The musicians are quite unique in their style. Slinger plays sparse notes on his solos, utilizing well-placed pauses in the music to create melodic hard bop with hints of more forward-looking styles. The other outstanding soloist is tenor saxophonist Harry Verbeke, whose solos (in contrast to that of the leader) are filled with a multitude of notes played in the modal vein. The others are also quite stellar, the bass and the drums providing a loose bluesy support and horn man Cees Smal adding something unique with the sounds of his different horns, switching between valve trombone, cornet and trumpet.

BOBBY HUTCHERSON - CIRRUS

2009-11-13T18:25:00.007Z

Bobby Hutcherson for Blue Note from 1974.
Hutch is playing four sets in London this weekend so Katonah from Private Press and I will be propping up the bar for his late spot at Scotts tomorrow night.
So here's a 3rd repost for his evergreen "Cirrus" ....All Killer No Filler.

This was my very first Bobby Hutcherson post here at OIR back in may 2006.It was ripped from my vinyl copy @192 in those days-I've reupped it @320 this time and taken it from the superb Mosaic Select box set.Here's my original narrative:
Cirrus finds Bobby Hutcherson resuming his partnership with tenor saxophonist Harold Land, and the results are marvellous. The pair work with pianist Bill Henderson, trumpeter Woody Shaw, bassist Ray Drummond, drummer Larry Hancock, saxophonist/flautist Emmanuel Boyd and percussionist Kenneth Nash on this set of originals.The album starts with a great version of Woody Shaw's "Rosewood" while the rest of the set is written by Hutcherson and includes "Even Later".Highlight of the lp for me is the atmospheric and brooding "Zuri Dance" - what a corker !

DAVE PIKE - LET THE MINSTRELS PLAY ON

2009-11-12T21:21:00.003Z

Dave Pike for Muse from 1978.
Vibraphone - Dave Pike / Bass - Luther Hughes / Cello - Luther Hughes / Drums - Ted Hawkes / Guitar - Ron Eschete / Keyboards , Sax - Tom Ranier / Vocals - Carol Eschete.
KGML has just posted "Spirits Samba" so dug the lp out for those who would like to hear more.
Picked this up in Tony Monson's Disc Empire in the early 80s after hearing Chris Bangs spinning "Swan Lake" and found it had yet another bona fide jazz dance classic to be featured in the shape of "Spirits Samba".
Here's an apathetic review from amg:
Some Afro-Latin, some fusion and things in between from vibist Dave Pike. Pike is a good player, but sometimes his arrangements bog down between pop and jazz. His style is more remniscent of Red Norvo, with its lighter, less aggressive and flowing lines.

RANDY WESTON - BLUE MOSES

2009-11-07T10:52:00.005Z

Randy Weston For CTI from 1972.
Arranged By - Don Sebesky;Bass - Bill Wood (2) (tracks: B1) , Ron Carter ;Drums - Bill Cobham ;English Horn, Clarinet, Flute - George Marge ;Flugelhorn - Alan Rubin , John Frosk , Marvin Stamm ;Flute - Hubert Laws ;French Horn - Brooks Tillotson , James Buffington ;Oboe, Clarinet, Flute - Romeo Penque ;Piano - Randy Weston
Saxophone [Tenor] - Grover Washington, Jr ;Synthesizer [Moog] - David Horowitz
Trombone - Garnett Brown , Warren Covington , Wayne Andre ;Trombone - Paul Faulise
Trumpet - Freddie Hubbard ;Vocals - Madasme Meddah

Super heavyweight banger from CTI - trust Randy Weston to dispense with Creed Taylor's saccharine stylings.All Killer blah blah blah....
Another underwhelming review from Mr Yannow:
Randy Weston's most popular record, this Lp (which he had mixed feelings about) features Weston not only on piano but electric keyboards. Backed by Don Sebesky arrangements and assisted by trumpeter Freddie Hubbard and tenor-saxophonist Grover Washington Jr., Weston plays quite well on four of his compositions; best-known are "Ganawa (Blue Moses)" and "Marrakesh Blues." The music retains the African feel of most of Weston's latter-day playing but also has some commercial touches that do not hurt the performances. This rewarding date has not yet been reissued on CD. ~ Scott Yanow, All Music Guide
Fantastic cover art from Pete Turner - I highly recommend his book here.

TUBBT HAYES - TUBBS IN N.Y.

2009-10-31T16:02:00.004Z

Tubby Hayes for Fontana from 1961.
Saxophone [Tenor] - Tubby Hayes; Bass - George Duvivier; Drums - Dave Bailey ;Piano - Horace Parlan ;
Trumpet - Clark Terry;Vibraphone - Eddie Costa
Another first in blogland for this British vinyl rarity at OIR with Tubbs keeping heavy company in NYC . Apparently there was legal wrangling about who owns the masters so don't hold your breath waiting for a cd issue.The last one got pulled pronto upon release in 1990.
The swaggering "A Pint Of Bitter" was my very first exposure to Hayes back in the early 80s - I just love that tune - but the rest is just as good with flat out romps through "Opus Ocean" and "Airegin" plus a wonderfuly swinging "Soon" . Nice!

TUBBY HAYES QUARTET - TUBBY'S GROOVE

2009-10-30T17:31:00.006Z

Tubby Hayes for Tempo from 1960.
Tubby Hayes (ts), Terry Shannon (p), Phil Bates (b), Phil Seamen (d).
"Tin Tin Deo" killin' it every time for me on this rare piece of British wax from 50 years ago.
Simon Spillet has written a fascinating piece on Tubby at Jazzscript and here's his take on this album:
I think it's one of Tubby's best ever studio recordings and catches him very much in his prime. I suppose that the stand-out track for me has to be Sunny Monday with its unaccompanied tenor choruses. The tone is big, the rhythmic delivery is full of confidence and the sheer enthusiasm shines through half a century on.

STAFFAN ABELEEN QUINTET -PERSEPOLIS

2009-10-15T18:27:00.005Z

Staffan Abeleen for Philips Sweden from 1964.
Staffan Abeleen-Piano ; Lasse Farnlof - Trumpet ; Bjorn Netz - Tenor ; Bjorn Alke - Bass ; Bosse Skoglund - Drums

More top draw business from Sweden making a first appearance in blogland.Modal to bossa to ballads this one's got the lot:
ALL KILLER NO FILLER

BERNT ROSENGREN BIG BAND - FIRST MOVES

2009-10-01T13:39:00.004Z

Bernt Rosengren for EMI Sweden from 1977.

Bassoon, Horn - Lars Bagge/Clarinet, Clarinet [Bass], Saxophone [Soprano, Alto, Baritone] - Lennart Jansson /Congas - Johnny Martinez , René Martinez , Sabu Martinez
Cornet , Flugelhorn - Lars Färnlöf /Drums - Leif Wennerström/Flute, Saxophone -Bernt Rosengren /Horn [English], Saxophone - Tommy Koverhult / Percussion - Okay Temiz / Piano - Claes-Göran Fagerstedt / Piano, Piano [Electric] - Bobo Stenson / Saxophone [Baritone] - Gunnar Bergsten / Saxophone [Tenor] - Anders Lindskog / Trombone - Jan Jansson , Janus Miezek , Lars Olofsson , Lennart Löfgren / Trombone [Bass] - Sven Larsson /Trumpet - Björn Borg /Trumpet , Flugelhorn - Bertil Lövgren , Maffy Falay / Bass - Torbjörn Hultcrantz

Back over to Sweden for this killer big band session led by Bernt Rosengren and featuring some big names such as a pre-ECM Bobo Stenson,the wonderful Lars Farnlof and none other than the mighty Sabu Martinez.
Check out the percussion destruction of "Felicidade" with Sabu plus sons Johnny and Rene Martinez beating the crap out of the Jobim bossa standard... Murdah!!!

JAZZ QUINTET 60

2009-09-27T14:25:00.004Z

Jazz Quintet 60 from 1962 for Metronome Denmark.
Allan Botschinsky (tp), Niels Husum (ts), Bent Axen (p), Niels-Henning Orsted Pedersen (b), Bjarne Rostvold (ds).
Legendary Scandinavian rarity (Check the second mortgage prices on Popsike) from Denmark featuring a who's who of the Danish Jazz scene from the past 50 years.
First time it's has been posted in public blogland so don't sleep on this one :
ALL KILLER NO FILLER !

STAFFAN ABELEEN QUINTET - DOWNSTREAM

2009-09-19T12:10:00.003Z

Staffan Abeleen Quintet for Philips Sweden from 1966.
Staffan Abeleen - Piano ; Lasse Farnlof - Trumpet ; Bjorn Netz - Sax ; Bosse Skugland - Drums ; Paul Danielsson - Bass.
All compositions by Lars Farnlof

Scandinavia is the destination for my next batch of posts and what better way to start than with this superb album by The Staffen Abeleen Quintet playing the compositions of the wonderful Lars Farnlof.
Another first appearance in blogland but let the music do the talking ...
ALL KILLER NO FILLER

ARCHIE SHEPP & THE FAMILY OF PERCUSSION - HERE COMES THE FAMILY

2009-09-19T12:01:00.006Z

I have had lots of requests for a repost of this bomb from Archie Shepp and The Family of Percussion - so here it is.
First posted at OIR september 2006.
The Family of Percussion (Peter Giger,Trilok Gurtu,Doug Hammond and Tom Nicholas)are joined by Archie Shepp on this hard to find 1980 release from Nagara in Germany.
On "Here Comes the Family"the Family establish the basic form of the piece with their rhythmic and vocal opening with Shepp's flute fluttering above it all.Then he lets rip with what the liner notes call 'Poetic Recitation'but would probably be called rapping these days over a funky percussive backdrop .This tune is why the lp remains in such demand - a big play list favourite of djs world wide.
Next up is Shepp's "Street Song" the best cut on the lp for me,on which he blows his tenor freely over the drums,congas,bells and gongs.The piece ends in a crescendo of percussion culminating in a gong crash which fades into silence."Euterpe's Favorit"has Shepp back on flute with the family weaving a mystical feel behind him on bells,whistles,water pipes,gongs,rattles and drums.
"Ardopetori"starts side 2 with a mid tempo infectious rhythm established by shakers and log drum which builds slowly with Shepp soloing freely again on tenor.
"For Ti Roro"wraps it up and begins with the gentle,caribean sounds of steel drums until Shepp's soprano bursts in with a frenzy of excitement.This is the most free track with all the musicians reacting to each otherboth collectively and singularly until it finishes fittingly with the sound of the congas.
This came out on lp and cd but quickly dissapeared without trace.if you want a copy you gonna have to dig hard and have deep pockets!

HIROSHI SUZUKI - CAT

2009-09-07T12:24:00.009Z

Hiroshi Suzuki for Columbia Japan from 1975.
Hiroshi Suzuki-Trombone ; Hiromasa Suzuki-Keyboards ; Akira Ishikawa-Drums ; Takeru Muraoka-Sax ; Kunimitsu Inaba-Bass

More super rare J Jazz making a first appearance in blogland and this is an absolute beauty made up of 5 long cuts that hit the perfect balance between jazz and fusion.Acoustic bass meshed with subtle funky drums topped with lashings of Rhodes,trombone and sax deliver a really stretched out understated rolling groove.
The album just grows and grows with repeated listening and it's a big favourite over here at Bacoso's Big Top - no surprise that it's
ALL KILLER NO FILLER !

T. INOMATA & SOUND L.T.D. - SOUNDS OF SOUND L.T.D.

2009-08-29T12:51:00.005Z

Takeshi Inomata for Columbia Japan from 1970.
Takeshi Inomata (Drums & Percussion) Jun Suzuki (Electric Bass)
Shigetok Kamiya (Electric Guitar) Ryo Kawasaki (Electric Guitar)
Sho Imai (Trombone & Bass Trombone) Shigemichi Dohmoto (Trombone & Bass Trombone)
Takao Uematsu (Tenor Sax & Soprano Sax)
Fantastic lp of funky jazz from the Columbia issued Groovy Sound Series.
No idea who plays on it as the credits are all in Japanese but it's a monster session.
Check out "Mustache" and "Tak's Tune" for some severe beats from drummer/leader Takeshi Inomata.
All Killer No Filler - Highly Recommended!

HIDEO SHIRAKI - IN FIESTA

2009-08-18T20:59:00.008Z

Hideo Shiraki for Teichiku Japan from 1961.
Rare super tough hard bop session from Japan featuring the killer koto led and drum driven bomb "In Fiesta".
Reissued in Japan by Kyoto Jazz Massive for Think in a blink and miss it moment back in 2005 but now out of print.
The old Dusty Groove blurb:
A brilliant early album from Japanese drummer Hideo Shiraki a jazz session that bristles with the same intensity as key late 50s work by Benny Golson or Gigi Gryce! Although Hideo's leading the group on drums, his work on the kit is remarkably subtle done with the snappingly rhythmic style that marked some of Golson's best modern experiments of a few years before not nearly as bombastic as his stint with Art Blakey, and more in the rhythmically stepping quality of his work with Art Farmer in the Jazztet. Key players on the session include Hidehiko Matsumoto on tenor and flute and Yuzuru Sera on piano both of whom give the album a fluid grace that's really beautiful soulful edges that allow the record to stand equally next to anything coming out of the US at the time. One track features a bit of koto at the start -- echoing Shiraki's later world jazz experiments but most of the set is straight modern hardbop, with tracks that include "Blue Romeo", "Etude No 1", "Just One Or Eight", "You Don't Know What Love Is", and Benny Golson's "Five Spot After Dark".

LLOYD MCNEILL - TREASURES

2009-08-14T05:10:00.005Z

Lloyd McNeill for Baobab from 1976.
Lloyd McNeill-Flute ; Dom Salvador-Piano ; Cecil McBee-Bass ; Portinho , Brian Brake-Drums ; Ray Armando-Percussion.

One for the flute freaks on a private press out of NYC.
Heavy Brazilian infuences at work on this wonderful spiritual jazz session from the great Lloyd McNeill.Two originals,one standard and a cracking version of Salvador's "Salvation Army" which featured on Dom's '76 Muse debut "Minha Familia"(Available at Ile Oxumare).
Here's some info on Lloyd McNeill from the excellent Hipwax:
The first thing to know about Lloyd McNeill is that his are the very best soul-jazz flute LPs, and each is first-rate, a masterpiece of self-direction. The second thing to know is there is much more to him than his recorded legacy. He is one of those incredible, super-sensitive people who excels at every artistic idiom and endeavor; making wonderful music is just part of his flowing creativity. A professor (at Rutgers University, earlier Dartmouth), he has much to say about music and creativity as well as an impeccable gift for saying it...sensibly. McNeill's writings on his musical experiences provide invaluable documents of "the period" (late 1960s-1970s) as well as a rare glimpse at the joy of a relatively unsung master.
McNeill has played with jazz legends --Andrew White (his longtime collaborator/producer), Eric Dolphy, Sabu Martinez, Mulatu Astatke, among many others-- and he has had a significant hand in the arts scene of Washington, D.C. The major galleries of art, including those of the Smithsonian, sponsored multi-media "happenings" that soared far above the hippie caricature of acid rock with light show. During the first flowering of post-Civil Rights, African-American culture, the Lloyd McNeill Quartet's improvisitory, simultaneuous jazz and large-scale painting "happened" while a lucky, perhaps unsuspecting public drank it in.
McNeill believes his influences and their results in his art, music, and poetry are inseparable and mutually reinforcing. Time spent with Picasso in Cannes, 1965 led to new expressions in all three, for instance. And when one brushes against a force such as Picasso, just the idea of "meeting Picasso" has a certain momentum, never mind the inevitable casting of rays of a different kind of light. Canvas, vinyl, the stage, paper, and books of poetry offer a few key imprints of McNeill, and McNeill consistently pays tribute to many illustrious peers.
There are six albums, all produced and entirely under the artist's control. Each title surpasses anything comparable on the major labels, even Blue Note. The Black Jazz label may be roughly similar in style, but Asha and Baobab are wholly Lloyd McNeill. The records reflect none of the usual external trends from the decade in which they were recorded; all sound like 1971 rather than 1979. The final record even reprises the first (the exotic, broodingly moody "Asha"), and the sound throughout remains somewhat interchangeable and timeless. But each record has its own themes and currents, and even improvisation has its signatures and fingerprints.
Buying: Long out of print, collectors items, Lloyd McNeill records should be snapped up on sight. Hip Wax is pleased to offer two titles for which limited stock remains here.
Warning - McNeill lps can be damaging to the wallet.

SADAO WATANABE AND CHARLIE MARIANO - IBERIAN WALTZ

2009-07-28T22:29:00.004Z

Sadao and Charlie for Tact Japan from 1967.
Sadao Watanabe (as) , Charlie Mariano (as) , Masabumi Kikuchi (p) , Masanaga Harada (b) , Masahiko Togashi (ds) , Fumio Watanabe (ds)
This received a “Japan Jazz Award” on release.
Some severe blowing on this double alto led sextet featuring a young band of soon to be Japanese jazz luminaries.
The fast and furious "Palisades" was comped on the Sleepwalker Shibuya Jazz Classics.However the 16 minute title cut is the stand out tune an intense modal waltz with a Spanish tinge featuring coruscating solos from Mariano and Watanabe - hard core stuff.
Recommended.

JAMES MARENTIC SEXTET - NIMBUS

2009-07-23T20:21:00.004Z

James Marentic for Discovery from 1982.
James Marentic-Sax/Flute; Tom Harrell -Trumpet/Flugelhorn; Slide Hampton-Trombone; Larry Willis-Piano; Anthony Cox-Bass; Victor Lewis-Drums.

Storming post hard bop outing for Mr Marentic and his all star band. Check out the banging latin romp "Baile de las Cucharachas " which kicks off the lp in fine style and the Coltrane inspired "Nimbus". "Aphrodesia" has the inspiration of Kenny Dorham stamped all over it and no prizes for guessing who "Mr Silver I Presume" is aimed at
If you enjoyed Tom Harrell's "Aurora" post then this should be right up your street,round your corner and down your block!

CARTER JEFFERSON - THE RISE OF ATLANTIS

2009-07-10T07:47:00.007Z

Carter Jefferson for Timeless from 1978.
Terrific post bop album with latin influences -All Killer No Filler!

John Hicks (Piano), Terumasa Hino (Trumpet), Woody Shaw (Producer), Clint Houston (Bass), Victor Lewis (Drums),Carter Jefferson (Sax ), Lani Groves (Vocals), Shunzo Ohno (Trumpet), Steve Thornton (Percussion), Harry Whitaker (Piano)

Here's the customary underwhelming AMG review :
Tenor saxophonist Carter Jefferson made somewhat of a name for himself when trumpeter Woody Shaw chose him as a member of his first working quintet. Shaw is the producer of this album, Jefferson's fine debut (and evidently only) recording as a leader. Taking a cue from Shaw, the saxophonist sticks essentially to a quintet of trumpet and sax backed by all-star rhythm sections. Three of the tracks include hard bop trumpeter Terumasa Hino while the other three feature little-known Japanese trumpeter Shunzo Ono. Most of the tunes are firmly in the school of hard bop, the sort of music that Woody Shaw played so well. While there is not any new ground broken, it is all performed competently enough. While not as emotionally charged as his work with Shaw, Jefferson impresses with a fluid, mobile attack that shows a solid grasp of his material. If the groups seem to be sometimes merely going through the motions, there are nonetheless enough fine moments to make this a worthwhile purchase.AMG.

A reliable and advanced soloist who spent most of his career as a sideman, Carter Jefferson is best-remembered for his association with Woody Shaw during 1977-1980. Jefferson started on clarinet and played alto before settling on tenor, going on tour early in the backup bands of the Temptations, the Supremes, and Little Richard. In 1971, he moved to New York to attend New York University and soon spent two years with Mongo Santamaria and a period in 1973 as a member of Art Blakey's Jazz Messengers. After his important stint with Woody Shaw (with whom he recorded several times), Jefferson worked with many top players, including Elvin Jones, Roy Haynes, Cedar Walton, Jerry Gonzalez & the Fort Apache Band, Malachi Thompson, and Jack Walrath's Masters of Suspense. His premature death in Poland after emergency surgery was a major loss. Carter Jefferson only led one record, The Rise of Atlantis, on the Timeless label in 1978. AMG.

JULIO GUTIERREZ - PROGRESSIVE LATIN

2009-07-04T12:53:00.007Z

Julio Gutierrez for Gema from 1960.
The title says it all for this groundbreaking heavyweight descarga session...Highly recommended.
Has anyone out there got a copy of Gutierrez's "Havana BC" they want to sell me?If so leave me a message in the comments.

Progressive Latin should be considered a classic of Latin jazz if it isn't already. "Cosa Buena" cooks, and "Closing Time" is a slower bossa nova with flute and horns that captures the mood of a good night out at its end. "Yambambe," an Afro rhythm behind mostly piano, sounds more sophisticated than its simple construction. "El Altiplano" is supposed to be an Incan melody with Afro elements. In any case, vocal interjections pave the way for a longer descarga where a variety of intriguing elements (horns, flute piano, even organ) work together in their own weird ways and combinations. The "Route 66" theme arrangement is a coup; the sax and flute are recorded gorgeously, and the piano and conga pace it ideally, with brief drum solo breaks. "Sad City" is a haunting flute piece, while "Guantanamera" has an interesting change but there is only so much one can expect from this tune. "Malaguena" is another long descarga that gets a little wild. Progressive Latin is something of a masterpiece from the great arranger Julio Gutierrez. Tony Wilds

What impressed me most about this album is Julio's use of space and the length of the tunes, considering that in the era when it was recorded, 2 1/2 minute tunes were standard. Great musicians like El Negro Vivar (trumpet) and Chombo Silva (sax) were able to beautifully stretch out over an almost post-bop/Afro-Cuban jazz setting. There is some serious blowing on this disc. This is another essential Latin jazz gem from the late 50s/early 60s.
Jose Rizo

SONNY STITT - PRIMITIVO SOUL

2009-06-21T16:07:00.004Z

Sonny Stitt for Prestige from 1964.
Ronnie Mathews, Piano ; Leonard Gaskin, Bass; Herbie Lovelle, Drums; Osvaldo Martinez,Bongos ; Marcelino Valdez, Conga.

Inexplicably this has never been reissued which is a shame as it's a great jazz lp with an authentic latin feel."Slave Maidens" and "Barefoot Ball" do it for me every time but the rest of the album is cracking.

AMG review:Excellent soul jazz and blues numbers by alto and tenor saxophonist Sonny Stitt, who plays with almost unrelenting energy and drive throughout this session. This was a typical date, but Stitt's earthy playing moved it beyond cliche and convention.