Τετάρτη, 28 Νοεμβρίου 2012
South African-born, often UK-based percussionist, band leader, record label owner and concert promoter, Bahula has produced some lovely music over the years.
Julian Bahula, famous throughout the 60's and early 70's in South Africa because of Malombo music, came to Britain, to exile from his home, in 1973, to begin all over again. He came to Europe with the band Jo'burg Hawk at a time when the politics of Apartheid were impacting both life and music making.
The early 80's brought about the birth of "Julian Bahula's Jazz Afrika", with Denmark's Michael Nielson and Britain's Dave Chambers on saxophones, South Africans Pianist Mervyn Africa on keyboards and Lucky Ranku on guitar, Italian bassist Roberto Bellatalla, bassists Dill Katz and Chucho Merchan, trumpeter Peter Segona and drummer Alan Jackson. The album made was called "Son of the Soil". Jazz Afrika, the name described the accent of the music rather than the ethnic composition or nationalities of the musicians; it brought together musicians from many backgrounds and countries; an exhilarating ensemble of excellence.
Τρίτη, 27 Νοεμβρίου 2012
Heavy heady funk from the 70s Nigerian scene – a wicked little record that's unlike anything else we've heard before! SJOB is a combo made from ex-members of the group of Sonny Okosuns – all top-shelf players who've clearly got their chops down in the groove department, but are also really willing to experiment with their sound as well! There's some hip spacey elements to the music – cool keyboards that weave in and out of the guitar and tighter rhythms – creating a sense of darkness that's totally great, even when things are still pretty funky. The structure of the tunes is far from familiar Afro Funk too – pretty offbeat and jagged – familiar rhythms one minute, then fresh ones the next!
Σάββατο, 24 Νοεμβρίου 2012
‘Ethno-jazz’ tracks,recorded in USA in 60’s and 70’s..The artists are Greeks, Armenians, Hebrews, Americans and others..Released with the Greek magazine ‘Jazz & Tzaz’. Rare stuff!
Enjoy! Vol.1 & Vol.2
Παρασκευή, 23 Νοεμβρίου 2012
Otis Redding / The Jimi Hendrix Experience – Historic Performances Recorded At The Monterey International Pop Festival 
Jimi Hendrix, Mitch Mitchell, and Noel Redding were the rage of England in that summer of love and psychedelica but they had yet to play the United States and thus were no more than a rumor to most of the Monterey crowd. Their appearance at the festival was magical: the way they looked, the way they performed, and the way they sounded were light years away from anything anyone had seen before.
The Jimi Hendrix Experience owned the future and the audience knew it in an instant. The banks of amplifiers and speakers wailing and groaning as Hendrix's fingers scurried across the strings of his guitar gave the trio's music as much density as other rock groups were getting out of the studio 8-track tape machines. And, of course, Hendrix is a masterful --though seemingly off-hand-- performer. Pete Townshend of The Who had become famous for destroying his guitar. Hendrix carried the ritual a couple of fantasies farther with lighter fluid and dramatic playing positions in "Wild Thing." When Jimi left the stage he had graduated from rumor to legend.
Otis Redding had been performing and recording for five years, but his fame and his following --despite a couple of undeniable hit records-- were largely confined to black rhythm and blues audiences in America and to Europe, where he and the Stax/Volt Revue had a justly fanatic following. The Monterey International Pop Festival was comprised of rock people who were still a year or two away from rediscovering their roots, "the love crowd," as he characterized them.
It's difficult to characterize the extent of his impact Saturday night. He was the last act in a day of music which had left the spectators satiated and pleasantly exhausted. Redding went on around midnight, close to the curfew agreed upon by festival organizers and the local police department and sherrif's office. Booker T. and the MGs and The MarKeys had played a brief instrumental set and played onstage to back Redding. Within moments after Otis Redding hit the stage, the crowd was on its feet, and --for the first and only time in a weekend of five massive concerts-- was impulsively rushing toward the stage to dance in the warmth of his fire.
He rocked and rolled past the curfew with a dazzling performance which no one could think of stopping. That night he gave the Monterey International Pop Festival its high point and he was embraced by the rock crowd as a new-found hero. Six months later he was killed in a place crash, leaving Monterey as perhaps the high point in his performing career.
Τετάρτη, 21 Νοεμβρίου 2012
We had never heard Manu Dibango as melodic as this, and chances are you haven't either unless you have collected all the B-Sides from his singles and vinyl releases between '71 and '83. Happily, Melodie has done this for us. "No Sax Here" states the linear notes, and how true they are. If you thought Manu Dibango was a great sax player, wait until you here him on the marimba,xylophone and vibraphone. His mastery of melody and composition are all the more evident on the lush and varied songs provided here. "Miango Ma Tumba (village news)" starts off mellow enough, but builds into quite an orchestration. Standouts include "Dakar Streets," the Latin flavored "Besoka on salsa" and the solitude of "African Night Blues."
Κυριακή, 18 Νοεμβρίου 2012
Kalyanji Anandji is a name used by Indian composer duo known for its work on Hindi film soundtracks, particularly action potboilers in the 1970s. The name comes from first names of the Gujarati brothers that formed the duo, Kalyanji Virji Shah and Anandji Virji Shah.
DharmatmaDharmatama is a 1975 Hindi movie and the first Bollywood film to be shot in Afghanistan. It was produced and directed by Feroz Khan. The movie is the first attempt in India to localise The Godfather. The title character was based on matka (form of Indian gambling) king Ratan Khatri. It is said that Khan sat down with Khatri to learn more about him and understand the nuances of matka.
Apradh is a 1972 Hindi film produced and directed by Feroz Khan. It was Feroz Khans debut as a producer and a director. The film stars Feroz Khan, Mumtaz, Prem Chopra, Iftekhar, Helen, Faryal and Madan Puri. The films music is by Kalyanji Anandji. The film is famous for the song "Ae Nujawan Hai Sub", sung by Asha Bhosle. The song was later imitated by the hit The Black Eyed Peas song "Don't Phunk with My Heart" in 2005.
Anand (Feroz Khan) is a London returned teacher who has sought employment in a local school in India. Anand is attracted to Geeta, but Geeta shows no interest in him. Several female students are attracted to Anand. Anand naively is openly friendly with all his students, however, Anand faces trouble when one of his female students becomes pregnant, and he is accused of raping her.
Σάββατο, 17 Νοεμβρίου 2012
For those who don’t know, Mr. Blaine was a session drummer, and, though you might not recognize his name, many drummers of the early ’60s, considered him their “Chet Atkins!” Well, with his solo LP he gets down on some heavy instrumental, Hot Rod heat. For me, this is one of the better, more inventive, Hot Rod records as DTR&D is royally executed by the top LA session fellas. The list of “Young Cougars” is as long as my right arm, and DTR&D is produced in bright, booming ’60’s “Soundtrack” clarity by Lee Hazelwood.
Παρασκευή, 16 Νοεμβρίου 2012
A super nice LP of some pretty wild styles, oddball grooves and fairly tripped out blowing. Kingdom Come was his second album for Smithsonian Folkways back in 1979, and the opener Melted Soul sets the tone for the LP – a tripped out mixture of funky heavy drums, echoey guitars and modal piano that sounds like some late 70s Sun Ra jam, and is far too short for its own good. Elsewhere though, Charles loosens out into extended tracks, namely Kid Zaro, Right On, and Mr Zip, at times sounding like Phil Cohran or Joe McPhee, but keeping a distinct AEC or Black Renaissance style funk to proceedings. Kingdom Come is Cha Cha Shaw’s search to find the common melodies in different disparate styles, and combines abstract free jazz tones with spiritual gospel modes, while jamming over late 70s funk back beats. Way ahead of his time, and still taking cha-cha-chances!
Πέμπτη, 15 Νοεμβρίου 2012
This gentle, understated album shows NY guitar madman, Marc Ribot, extending his diverse reperatoire into Haitian folk-based compositions. Playing the music of this former Harry Belafonte guitarist--as well as his former guitar teacher--Ribot trades in his patented twangy tones, stylistic collages, and sheets of noise for a more subtle, clean sound. Like Heitor Villa Lobos in Brazil, Casseus was interested in creating a National classical music based on local folk-melodies. Unfortunatley, apart from a few recordings in the fifties and sixties, Casseus' music was never really documented or studied, until now. In spite of the folksy veneer of this recording, "The Works of Frantz Casseus" reveals a lot about Ribot's musical roots, and helps to explain his interest in eccentric musical contexts. Quirky and unpredictable, Casseus' compositions stroll along into strange places; they reveal a quick wit and ironic humour that is much closer to Ribot's own work than may be expected. These are complex compositions that demand a virtuoso like Ribot, someone who can quote a wide range of styles and musical concepts on a dime. This album is a wonderful ode to a little-known composer, and an intersting diversion for those familiar with Ribot's other work.
Τετάρτη, 14 Νοεμβρίου 2012
Fabulously funky sounds from the Czechoslovakia. These tracks are mostly cover versions of songs by American artists but there's enough energy and personality here to make this album a very worthwhile listen with some great party starters. And both sides end with a mind-melting instrumental freak-out!
Τρίτη, 13 Νοεμβρίου 2012
Feast of the Mau Mau combines two Hawkins albums dating from 1969 and 1970. The first half comprises What that is, recorded live at a North Hollywood club with two different ensembles. Hawkins not only made his living performing live, but he also flourished on stage-as these recordings make quite abundantly clear. What that is finds Hawkins in the company of some stellar and sympathetic accompanists, including drummer Earl Palmer, bass player Lyle Ritz, guitarist Herb Ellis, and pianist Grahame Bond.
The second half of this set was originally released as a self-titled album in 1970. It's a bracing mix of swampy grooves, rockabilly carousing, soulful blues, and flat-out screaming. Hawkins' roots include doo-wop and jump blues, but he throws it all into a stew completely of his own making. A bold personality, Hawkins imbues his songs with complete and undeniable commitment.
Δευτέρα, 12 Νοεμβρίου 2012
Aura Urziceanu (aka Aura Rully, Aura Borealis) was born in 1946 in Bucharest in a family of musicians. She started studying the violin with her father when she was 5 and singing when she was 16 years old. In 1969, after being awarded the second prize at the National Festival in Mamaia, she left for a long tour in Canada and USA, where she appeared on stage together with Duke Ellington and Ella Fitzgerald.
Σάββατο, 10 Νοεμβρίου 2012
It isn’t often that a young musical group discover themselves, and at the same time, discover their music. Such was the case with the Shades Of Black Lightning. When the Shades first came to my attention, the group was in the midst of developing. They had an exciting style in Rhythm and Blues.
Coming into the studio gave them further opportunities for experimentation. Here, the creativity and imagination of the individual members flowered, matched by enthusiasm and the joy found only in people who love what they are doing.
They have come to this happy point in their development. They want to share it with you. I think you’ll agree that the Shades are different. They bring with them sound of today and previews of tomorrow. (Freddie Piro – Album Liner Notes)
Παρασκευή, 9 Νοεμβρίου 2012
This is the soundtrack of the movie Paraggelia of Paulos Tassios that was made in 1980.It is a collaboration between the poet Katerina Gogou and composer Kyriako Sfetsa.
Gogou was one of the most important underground poets of that period.On this album she recites poems from her first two poetic works.
Πέμπτη, 8 Νοεμβρίου 2012
Winds & Skins transpired to be the very last set of recordings made by Afro-Cuban percussionist Sabu Martinez, who sadly passed away precisely one month after this December 1978 session was committed to tape. The album draws a line under a career that saw the illustrious musician performing alongside Dizzy Gillespie and Art Blakey as well as releasing a string of out-and-out classic Latin jazz records. Here the noted conguero teams up with the lauded saxophonist/flautist Sahib Shihab, who himself played with Charlie Parker, Miles Davis, John Coltrane, Thelonious Monk, Art Blakey and Quincy Jones among others. Shihab makes great use of electrified sax on pieces such as 'The Distorted Sioux Indian', a strange combination of incredibly organic, multi-layered percussion (beautifully mixed too, it should be said) and jarringly robotic staccato phrasing from the reeds. Elsewhere 'Ghandi's Candies' taps into a surreal kind of Easternised harmony with an off-kilter rhythmic complexity, only for the main set to be closed by an arrangement of traditional tune 'Arroz Con Leche', returning Martinez to his Latin roots. The finale to the disc is a bonus track, capturing Martinez's first ever recording in Sweden, described as a 'jingle' (it's actually around four minutes long) for radio, committed to tape in 1967. Wonderful stuff all round.
Δευτέρα, 5 Νοεμβρίου 2012
Ethnic Expressions by Roy Brooks & the Artistic Truth is one of two recordings drum master Roy Brooks cut for the tiny Afrocentric New York imprint Im-Hotep. Released in 1973, it has been one of the most sought-after "Holy Grail" recordings on the collector's market, with copies selling at auction for over $1,200. The reason is not merely its rarity, but the stellar quality of its music and the focus of its vision reinventing the unity of African-American self-determination through music. Recording at Small's Paradise in Harlem on the tenth anniversary of the assassination of John F. Kennedy, this large collective of musicians created a positive, musically sophisticated, emotionally powerful performance that epitomized 1970s jazz as it incorporated the free, progressive, and spiritual jazz elements of the 1960s in a setting that also included soul and blues expression. The personnel includes Brooks on drums and percussion; Olu Dara and Cecil Bridgewater on trumpets and flügelhorn; Hamiet Bluiett, Sonny Fortune, and John Stubblefield on saxophones, flute, and bass clarinets; pianists Joe Bonner (acoustic) and Hilton Ruiz (Rhodes); bassist Reggie Workman; and Richard Landrum and Lawrence Williams on African percussion. Vocalist Eddie Jefferson also appears on the "The Smart Set" and "Eboness," at his most expressive and soulful. The album's five tracks include two longer pieces in "M'Jumbe" (whose arrangement reflects the time Brooks spent with Charles Mingus a year earlier) and the closing "Eboness (Kwanza)," as well as three middle-length pieces
The 16-minute "M'Jumbe" begins in a free call and response between trumpet, percussion, and bowed bass, gradually adding more instruments until its groove emerges at two minutes and its melody unfolds near the three-minute mark. Even as the horn sections quote the theme, improvisation moves in and out, funky themes are introduced with another melodic statement, and brief moments of free playing slip through before formal solos are taken. The tune is always circular due to its impeccably preeminent rhythmic elements. "The Last Prophet" showcases the band's groove side with stellar piano work from Bonner and a horn section in full swagger. The interplay between Workman and Brooks is magical. Jefferson's hip R&B roots are brought into play on the finger-popping "The Smart Set" and his blues authority on "Eboness," with some deep soul work from Workman and Ruiz as well as a fine flute solo from Fortune. On "Eboness (Kwanza)," the vocalist referred to as "Black Rose" is Dee Dee Bridgewater. This is a bona fide jazz classic; its importance as an example of the best that jazz had to offer in the 1970s cannot be overstated.
Πέμπτη, 1 Νοεμβρίου 2012
More BBQ sauce-smeared Memphis soul classics from organist Booker T. Jones, guitar man Steve Cropper, bassist Duck Dunn and drummer Al Jackson, including "My Sweet Potato," "Soul Jam" and "One Mint Julep." This funky, slow-cooking, instrumental outfit, comprised of two blacks and two whites, set the standard for musical as well as racial harmony while carving out a masterful recording career that landed them in the R&R Hall of Fame.