orgyinrhythmredux

Joao Donato for Pacific Jazz from 1965. Donato at the piano, Milton Banana on drums, Tião Neto on bass and Amaury Rodrigues, percussion. Donato dropped the vocals for this top crack jazz influenced bossa session which spawned the classics "Tim Dom Dom ","Tema Teimoso"(later covered by Cal Tjader),"Minha Saudade" and the dance floor swingers "Caminho de Casa" and "Vamos Nessa". The lp was originally issued in Brazil as Muito a Vontade in 1960. Highly Recommended.

Joao Donato for Mercury from 1975. More beautiful funky bossa from the great Joao Donato.Originally posted here late 2006. Thom Jurek nailed it with this review: This funky bit of samba by the king of bossa pianists was the second such album he recorded in the middle of the decade. Moving away from his earlier bossa nova and Latin jazz sound, João Donato cut Quem E Quem a year earlier with stellar results: The disc landed him on the charts for the first time in three years and was actually distributed in the U.S. to the fusion-hungry jazz audience. Lugar Comum is another step away. The bossa has been replaced by a more pronounced samba sound and there are few acoustic pianos on the disc at all. Furthermore, in addition to funking it up -- in that light, airy, breezy Brazilian way -- on electric keys, Donato handles all the lead vocal chores himself. As for his voice, well, Tom Jobim's is worse, but not much. Nonetheless, Donato's arrangements are lush, tight, and full of life a

Joao Donato from 1973-discovered and issued by Whatmusic in 2005 Musicians: Joao Donato: piano / scat;Tita Lobo: viola / scat;Eduardo Lobo: drums;Edson Lobo: bass;Bill Horne: Mellophone;Edison Machado: drums;Ion Muniz: flute;Edson Maciel: trombone;Barnabé Ferreira: bass Review edited from the sleeve notes: Over thirty years ago, in 1973-1974, some high calibre Brazilian bossa nova musicians met regularly at Bill Horne's place in Leblon, Rio de Janeiro. Bill, a flute, flugelhorn and mellophonium Brazilian player, had a small recording studio in his penthouse in which he was the engineer. It was equipped with a 4-track recorder, a Steinway and a Fender-Rhodes piano. João Donato used to hang out at Bill's place, often in the company of guitarist and singer Tita, drummers Eduardo Lobo and Edison Machado, bassist Barnabé Ferreira, flautist Ion Muniz and trombonist Edson Maciel, all of them highly recognized musicians in future years. The meetings were pretty casual: Donato would sho

7" single by Paul Horn for Paramount from the early 70s . One for the CTI/Kudu heads!(Pekis where are you?).Only the second 7 I've posted here but it's a cracker! So there I was having a few beers one night and shooting the breeze on line about cinema in the 70s with my learned friend xmnr0x23,the professor of axography,when he comes up with a line about Jodorowsky's El Topo and have I ever heard the Paul Horn version of "The Desert Is A Circle" ? Have I fuck!!!!!Has he???No way!!!Does it really exist???He must be making it up!!! But he's not.....Professor Axe wings over a comment from a site dedicated to the mighty Claus Ogerman which reads: "Dave Blume my friend and producer for Paramount Records, brought in jazz musician PAUL HORN to my studio SOUND IDEAS, and we recorded two tunes for 45 RPM, "The Desert is a Circle", based on the music of the film's original composer Alexandro Jorodorowsky, and "JOY", composed by Paul Hor

The Drum Session for Philips Japan from 1974. Drums - Louis Bellson , Paul Humphrey , Shelly Manne , Willie Bobo/Keyboards - Mike Wofford/Bass - Chuck Domanico/Saxophone, Flute - Jerome Richardson/Trumpet - Bob Bryant Producer - Oliver Nelson A true feast of Orgy in Rhythm for this super heavy percussion and drum battle recorded direct to disc over four sides of vinyl in California for the Japanese audiophile market. As you might imagine this is a real banger from start to finish stuffed with beats and breaks and plundered for samples by the likes of The Beastie Boys(Shake Your Rump from the monster break on Super Mellow).But it's much more than a series of extended drum solos with most cuts featuring swinging and funky accompaniment by Bobby Bryant, Jerome Richardson, Mike Wofford and Chuck Domanico with Willie Bobo adding latin flavours - although we do get "Drum Battle Sections 1 & 2" with four kits battering it out together and in relay. From the jazz dance "

Milt Jackson for Verve from 1965. Milt Jackson - Vibraphone* Cedar Walton - Piano* James Moody - Reeds* Ron Carter - Bass* Otis Finch - Drums Review purloined from Amazon-excellent piece of writing from Stephen Reddy: Milt Jackson at the Museum of Modern Art is one of the many live jazz record dates that should be better known than it is. Perhaps it's because the LP has been unavailable in America since the early '70s; it was released on CD only briefly in Japan. Verve's brilliant Originals series has remedied this situation by issuing the gatefold-sleeve of the LP in a fine edition on compact disc (with the original liner notes pasted into a handsome booklet with the original photos). Released in 1965, shortly after the concert took place, this set is regarded by jazz historians as one of the greatest concerts ever to be performed during the MOMA's terrific free concert series during the '60s. During a rare respite from the Modern Jazz Quartet, Jackson was able to

Jorge Dalto for United Artists from 1976. Jorge Dalto-Fender Rhodes,Acoustic Piano,Clavinet,ARP,Minimoog;Bernard Purdie-Drums;Carlos Martin-Congas;Rahsan Jemmott-Bass;Ronnie Foster-Minimoog;Tom Malone-Trombone;Sheldon Powell-Tenor;Jerry Dodgion-Alto,Flute;Ernie Royal,Victor Paz-Trumpet;Tony Jiminez-Percussion;Adela,Ruben Blades,Jorge Dalto-Vocals. Produced by Teddy Reig From the sleeve notes: "If you are a Latin you will already know what the title means.If not ask a latin and he will tell you "Chevere" is latin hip for groovey...among other things. Whether you know what chevere means or not is really immaterial to the music.It's contemporary.Very much to the kind of jazz flavoured instrumental sound that has grown in popularity over the past year...with one very important difference.The music is from Dalto.And this means the sounds are very musical and very exciting.What you have in this album is a bright,fresh and musical use of electronic keyboard instruments in

Cesar Ascarrunz for Flying Dutchman from 1975. Produced,Arranged,Conductor - Teo Macero; Bass - Harold Martin , Thomas Rutley Bongos, Bells - Willis Colon Congas - Francisco Aquabella Drums - Tony Smith Flute - Hadley Caliman Guitar - Jim Vincent , Joe Jammer , Stephen Busfield Piano - Cesar Ascarrunz ,Mark Levine , Merl Saunders Saxophone [Alto] - Martin Fierr Saxophone [Soprano] - Steve Marcus Saxophone [Tenor] - Hadley Caliman , Martin Fierro Timbales - Benny Velarde Trombone - Jules Rowell Trumpet - Joseph Ellis, Jr. Vocals - Benny Velarde , Francisco Aquabella , Linda Tillery , Tony Smith , Willie Colon And here's another post inspired by yet another discography blog - this time it's my old boozing partner Reza who has turned the spotlight on the mighty Flying Dutchman label.Marvellous stuff!!! Dusty Groove: An excellent lost Latin Funk album from the early 70s west coast scene featuring a group led by Latin pianist and promoter Cesar Ascarrunz and including some

Harold Land for Mainstream from 1971. Originally posted 2006 at OIR. Harold Land- Tenor Sax N'Dugu- Drums Bill Henderson- Piano & Electric Piano Bobby Hutcherson- Vibes and Marimba Harold Land, Jr.- Piano & Electric Piano Woody Theus- Drums Reggie Johnson- Bass Produced by Bob Shad Inspired by the great Mainstream discography blog created by Cheeba I thought I'd repost this little beauty from the label of the Red Lion with a fresh 320 rip. Not quite fusion not quite new thing not quite bop - just a hard hitting piece of jazz from Harold Land at the start of the 70s.His son is featured with Bill Henderson on both electric and acoustic piano and Bobby Hutcherson is deep in the mix along with pile driving drumming by Woody Theus and Ndugu especially on Black Caucus.This is uncompromising music from Land and his group.