orgyinrhythmredux

Yusef Lateef for Atlantic from 1975 Dusty Groove :A spacious mid 70s set from Yusef Lateef -- with some numbers showing his more soaringly spiritual bent -- and others hewing towards a more bluesy or loosely funky vein. Tracked live in San Francisco, some numbers were later augmented with overdubbed strings and vocals there's some nicely thumping elements of earthy percussion, loose moments, and quiet passages that sometimes build slowly, and at others change abruptly for maximum impact. The set features several longer selections, including the suite divided "Samba De Amor" in three sections, plus "Yusef's Mood" and "I Be Cold" all approach or crossing the 20 minute mark -- plus nice takes on "But Beautiful" and " A Flower". The group features Kenny Barron on piano and cowbell, Bob Cunningham on bass and bells, Albert Kuumba Heath on percussion and flute, and Bill Salter on bass alongside Lateef whose working with tenor sax, fl...

Peter Herbolzheimer working as The Galactic Light Orchestra for Polydor from 1974. Review and line up lifted from discogs.com-guessing the write up is probably a translation(!?) Bass - Bo Stief , Günter Lenz , Jean Warland , Rob Langereis Drums - Kenny Clare , Ronnie Stephenson , Todd Cannedy Executive Producer - Jimmy Pratt Guitar - Heinz Kästle , Philip Catherine , Rolf Kästle Leader - Peter Herbolzheimer Organ - Dieter Reith , Rob Franken Percussion - Claudio Szenkar ...

Roland Kovac for Saba from 1964. First posted at OIR in May 2006. Jimmy Deuchar-Trumpet;Cliff Hardy -Trombone;Derek Humble-Alto;Charlie Drewo-Tenor;Jiohnny Fisher-Bass;Francis Coppetiers-Piano;Jimmy Pratt-Drums;Stuff Combe-Percussion. This is what Johnny Trunk had to say about this lp of top quality european jazz "At long last MPS records have re-issued this sci-fi jazz monster. 17 tracks cut in about 1964, and all about a flight into Space. Fantastic in every way. I nearly got really desperate, anxious and sweaty just trying to track one of these rare re-issues down. I think an original is about a monkey (£500), so I'm obviously not going to get one of them." I did likewise-here's a 320 rip from the Speakers Corner 180g repress from 2000.Now read on: At long last this extremely rare "concept LP" by the pianist and arranger Dr. Roland Kovac is available once more. The cover photo is a feast for the eyes, while the music is sheer delight for the ears. the ea...

Mary Lou Williams released by Saba in Europe from 1963. First posted at OIR in September 06. Something a little different today with this beautiful,spiritual jazz lp by Mary Lou Williams which also features Grant Green and Percy Heath .I have posted the artwork from the Saba LP release although this 320 rip is from the re-issue cd from Smithsonian Folkways Recordings which also features 4 extra tracks. Here's a review from allaboutjazz.com Calling this album mainstream is a bit misleading, since it includes four pieces of choral/sacred music and one avant garde cut. In a way, it's the perfect mirror of where Mary Lou Williams was in the early 1960's, coming out of a nearly ten year absence from performance. At the beginning of that period she had devoted herself solely to religion and charitable work. Jazz-loving priests within the Catholic church convinced her to convey her religious feelings through what she did best: performing, composing, and arranging. Here we have som...

Bill Evans for MPS from 1974. First posted at OIR July 06. Symbiosis is a beautiful and vastly overlooked album in Evans’ prolific canon, yet one that needs to be seriously reckoned with. Ogerman, who had worked with Bill on two previous albums in 1963 and in 1965 (Bill Evans With Symphony Orchestra) , composed an adventurous and often hauntingly gorgeousl work in two parts. In the third section of the first movement, working over a slow and gentle jazzy swing, Bill plays long and fast- moving lines on electric piano that catch your ear with their shimmering beauty and complexity. Ogerman writes lush but never maudlin strings (and a few flutes) here in dense, often whole-tone and poly-chordal fashion underneath -- creating a perfect cushion for the pianist’s swirling right-hand lines. The Rhodes fits in well here, as it does sparingly in and out through Symbiosis’ framework. It is often used as punctuation at the end of a written ensemble phrase, or as an ensemble texture. Evans’ choic...

Nathan Davis for MPS from 1966. Nathan Davis (ts, ss, fl); Carmell Jones (tp); Francy Boland (p); Jimmy Woode (b); Kenny Clarke (dr) On 1 September 1965 a group of five musicians got together for a recording session at the SABA studio in Villingen - and one might quite justifiably label them all with the word "cosmopolitan". Kenny Clarke came from Pittsburg, Pennsylvania, known under the Muslim name of Liaquat Ali Salaam, made Paris his home; Jimmy Woode, also from Pennsylvania, lived with his Javanese wife in Cologne, Germany and in Holland; Francy Boland, the Belgian arranger and pianist, lived in Berlin and directed the European Big Band in Cologne; Nathan Davis came from the second largest jazz centre, Kansas City, and lived with his German wife in Paris; and finally Carmell Jones, his "buddy" of the past, spoke of himself as a Berliner..Although these musicians came from all parts of the globe, they met up together on common ground when it came to music. The ke...

Francy Boland for Saba/MPS from 1967. First posted at OIR May 06. Jean Warland Bass;Kenny Clarke Drums;Francy Boland Piano, Keyboards;Fats Sadi Bongos Jimmy Woode Bass ; Wolfgang Hirschmann Engineer ; Gigi Campi Producer, Supervisor Lovely piano trio lp from Francy Boland with the great Fats Sadi on bongos.Recorded for Saba in 1967 this one features the full tilt Expresso Loco and 5 more Boland penned compositions along with a couple of standards and Jimmy Woode's Rosa de Luxe.I'm a big fan of Boland and this album is a good opportunity to hear him stretching out away from his usual setting with the Clarke Boland Big Band. Ripped @320 from the long deleted Japanese 1999 cd reissue.

Peter Jacques Orchestra for Center a subsidiary label of MPS from 1970. First posted at OIR May 06.The review was lifted from Dusty Groove. Another treat from MPS.This is a beautiful piece of breezy bossa from 60s Germany - a classic sound library session by pianist Pete Jacques, filled with lightly dancing rhythms, crackling acoustic percussion, and lots of cool wordless vocal bits next to the instruments! The sound is very much in the best MPS mode a mixture of jazz and easy with just the right influences from Brazil all crafted together with magnificent sound and a timeless groove that's far less cheesy than some of the American albums of this type from the time .There's a really dynamic feel to Jacques orchestrations on the set an interweaving of the understated and baroque modes going down in Brazil at the time filtered through a German postwar ideal that imagines the sound with an even cleaner vision than the original. 320 rip from the 2005 Sonorama cd reissue.

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Don Ellis for MPS from 1974. * Don Ellis - Trumpet* Israel Baker - Violin* Erno Neufeld - Violin* Jacob Krachmalnick - Violin* George Vinci - Violin* Shirley Cornell - Violin* Marcia Van Dyck - Violin* Marvin Limonick*Violin* Allan Harshman - Viola* David Schwartz - Viola* Myra Kestenbaum - Viola* Samuel Voghossian - Viola* Alfred Barr - Viola* Dan Neufeld - Viola* Raphael Kramer - Cello* Frederick Seykora - Cello* Ronald Cooper - Cello* Catherine Gotthoffer - Harp* Larry Carlton - Guitar * David Cohen - Guitar* Tommy Tedesco - Guitar* Milcho Leviev - Keyboards* Ray Brown - Bass* John Guerin - Drums Haiku (1974) represents another radical departure from both the conventions and the direction Ellis had been setting for himself and his ensemble. This recording features pristine chamber music-like settings of Ellis's favorite examples of ancient Japanese Haiku poetry, and foreshadows the "New Age" textures that became popular during the 1980s. Ellis provides the verbal n...

Cannonball Adderley - alto sax Nat Adderley - cornet Yusef Lateef - sax, oboe, flute Joe Zawinul - piano Sam Jones - bass Louis Hayes - drums

Yusef Lateef for Impulse from 1964. Bass - Ernie Farrow; Drums - James Black ;Piano - Mike Nock ;Saxophone [Tenor], Flute, Oboe - Yusef Lateef ;Trumpet - Richard Williams ; Producer - Bob Thiele Recorded at Pep's Lounge, Philadelphia, Pa. June 29, 1964. Unreleased until 1976. This features the old Dingwalls raver "Brother John" but every cuts a cracker on it - highly recommended. The group features some amazing piano from Mike Nock vamping and grooving along at a pace that brings out the best in Lateef's reeds and the shimmering trumpet of Richard Williams and the record combines all of Lateef's exotic work on flute and saxes with a groove that you'll hardly hear on other albums. 320 rip assembled from the Live at Peps cds.

Eric Kloss for Muse from 1975. Eric Kloss-Sax;Barry Miles-Keyboards;Vic Juris-Guitar;Harvie Swartz-Bass;Terry Silverlight-Drums Eric Kloss joined forces with Barry Miles' Silverlight on this outing and for touring at the time.The results aren't quite as fusion orientated as the Silverlight connection might lead you to believe and it's not until the final "Headin' Out" that we get some balls out banging fusion.Solid album overall although I could have done with out the ghastly "Scarborough Fair". Ripped@320 from the original vinyl - no reissues.

Yusef Lateef for Impulse from 1965. Features the killer cut "Headhunters" The emphasis is on older tunes and styles on this Yusef Lateef Impulse! album. Lateef (switching between tenor, flute, and oboe) plays such numbers as "Straighten Up and Fly Right," "Ghost of a Chance," "Exactly like You" (on oboe), and "Rosetta" along with some group originals. Lateef has long been a true original, and he revitalizes the standards while always swinging and being a bit unpredictable. Well worth searching for, this was Lateef's final Impulse! album before switching to Atlantic. Scott Yanow AMG. 320 rip from the Verve 2004 cd reissue.

Gary Bartz for Milestone from 1968 Charles Tolliver (trumpet), Gary Bartz (alto sax), Pharoah Sanders (tenor sax), Stanley Cowell (piano), Reggie Workman (bass), Freddie Waits (drums) A fantastic album of spritual jazz-Dusty Groove on the case: Another Earth is amazing one of the first lps that Gary Bartz ever cut done during a time when he'd been working with Max Roach and a super-hip group of younger soul jazz players who would go onto shape the sound of the 70s. Bartz leads a group that includes Stanley Cowell, Freddy Waits, Charles Tolliver, Pharoah Sanders, and Reggie Workman -- and the music sounds like it was lifted from one of the best albums on Strata East from the 70s. There's no funk, no vocals, no weird rhythms just pure spiritual jazz, played to perfection, and filled with a creative vitality that most of the players had lost a few years later. Ripped @320 from the Milestone cd reissue in 1998.

Freddie Hubbard for Blue Note from 1987. 1/2:Freddie Hubbard (tp) Stanley Turrentine (ts) Larry Willis (el-p, syn) George Benson (g) Wayne Braithwaite (el-b) Idris Muhammad (d, tamb) 3/4:Freddie Hubbard (tp) Ralph Moore (ts) Larry Willis (p) Rufus Reid (b) Carl Allen (d) This lp captures the great trumpeter Freddie Hubbard at the age of 48 just before he began to decline. Hubbard is heard in excellent shape on two selections apiece with two separate bands. One group, a sextet with tenor-saxophonist Stanley Turrentine and guitarist George Benson, recalls the trumpeter's glory days on CTI although the material ("Battlescar Galorica" and "A Saint's Homecoming Song") was of recent vintage. The other band, a quintet with tenor-saxophonist Ralph Moore, looks back toward his earlier Blue Note and Atlantic days; they perform two Hubbard originals ("The Melting Pot" and "Life Flight"). Overall this set (from an era when the veteran trumpeter was b...

Freddie and the guys in MORE ultimate 70s gears!Very dissapointed at the absence of a neck scarfe a la herr herbolzheimer as I have seen pics of Freddie featuring one but I believe Airto really takes the crown on this one-what the fuck has he got on!!! But in all seriousness this clip from the 1975 Downbeat awards really kicks ass.Fred still had his chops and could blow like a muthafucker and the band...well,what can you say :Chick Corea, keys; Stanley Clarke, bass; Lenny White, drums; Airto, percussion. It's still de rigeur to look down yer nose at fusion but it's the music I grew up with and it opened many musical doors for me-some of it was undoubtedly shite but stuff like this is just bloody marvelous! Actually this clip is just a tenuous link to say simon has done a sterling job on Fred's Polar AC over at neverenoughrhode s - and I'm gonna post some Airto a la CTI.Comin'up next.

> The Teutonic Titan leads his RC&B through a banging rendition of "Wild Chick" with a great piece of organ grandstanding from Dieter Reith,no less.This has all the boys on it-Art Farmer,Philip Catherine,Kenny Wheeler,Palle Mikkelborg,Bo Stief etc and features Herr Herbolzheimer grooving around the studio with the ultimate 70s fashion statement yep it's that orange neck scarf....GEARS!!! Here's a few words that Dieter Reith left at the youtube post regarding the sound he was getting out of his organ at the time: The "thing" which I used by that time was called "compact phasing" and had been developed by a little german team which doesn't exist anymore. It was an experiment. Normaly I used 2 leslies during my time with the RHYTHM COMBINATION & BRASS. Today only 1. Roadies are too expensive. Now,where to get an orange neck scarf....

Mongo Santamaria for Fantasy from 1962. Rolando Lozano (fl) Jose "Chombo" Silva (ts) Felix "Pupi" Legarreta (vln) Joao Donato (p, tb) Victor Venegas (b) Julito Collazo, Cuco Martinez, Mongo Santamaria (per) "The Blackhawk", San Francisco, CA, 1962 Reposted from the early days of this blog-ripped@320 this time from the original vinyl.Essential! Heavy heavy heavy descarga session from way back when Mongo was still killing 'em dead and hadn't sold out to lame soul covers and boogaloo nonsense.Features the ferocious "Bacoso "which develops into a scorching percussion battle mid way through and the storming "Descarga at the Blackhawk". Interestingly enough one of Joao Donatos first u.s.recordings on which he plays both piano and trombone - he contributes "Bluchanga" .One of the great latin lps of the 60s. BTW Check out oir contributions and shares -pekis has been on the case with a couple o' hunks o' funk from the g...

Barney Wilen for Saravah from 1972. Barney Wilen (ts) Michel Graillier (el-p) Pierre Chaze (g) Christian Tritsch,Simon (el-b) Micheline Pelzer (d) Didier Leon (takamba, oud) Caroline de Bendern, Marva Broome, Babeth Lamy, Laurence (vcl) Completely bonkers mash up of afro to free jazz with field recordings and vocal harmonies - out there and all the better for it.Recommended. In 1970 Barney Wilen assembled a team of filmmakers, technicians and musicians to travel to Africa for the purpose of recording the music of the native pygmy tribesupon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avantjazz sensibilities with African rhythms, ambient sound effects and melodies rooted in American blues traditions. Cut with French and African players including guitarist Pierre Chaze, pianist Michel Graillier and percussionist Didier Leon, this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, streetlegal funk.W...

John Taylor for MPS from 1973. John Taylor-Piano;Chris Lawrence-Bass;Tony Levin-Drums One of the hippest piano trio sessions ever on MPS a bold little set that features the British pianist John Taylor in a trio with Tony Levin on drums and Chris Lawrence on bass! Taylor's got a style that's quite unique with bits of early Chick Corea-esque lyricism, and touches of McCoy Tyner modalism, but also a singing approach to chords that's lively without ever being sloppy and which pushes the album with a tremendous amount of energy! The record's quite possibly the best that Taylor ever recorded and really one of the high points in the MPS trio session tradition.Dusty Groove(No longer in stock) Ripped from the deleted 1998 Japanese cd reissue by Jaspac.

Art Farmer for MPS from 1970. Art Farmer-Fluegelhorn;Jimmy Heath-Sax,Flute;Fritz Pauer-Piano;Jimmy Woode-Bass;Erich Bachtragl-Drums. Produced by Joachim Berendt. A couple of tracks that really stand out on this solid lp are the speedy samba "Cascavelo" and the Jimmy Heath penned "The Gap Sealer". This album features a standard quintet with fluegelhornist Art Farmer, Jimmy Heath (on tenor, soprano and flute) and pianist Fritz Pauer taking the solos. What makes this out-of-print LP more special than normal are the six rarely performed compositions, none of which became standards but all of which hold one's interest. Tom McIntosh's "The Day After," the Farmer-Heath collaboration "Con-Fab" and Fritz Pauer's "Whole Tone Stomp" are good vehicles for these musicians' talents. ~ Scott Yanow, All Music Guide. Ripped @320 from the original vinyl.

Nelson Riddle for MPS from 1972. Three in a row for the most perfect sound today kicking off with the lush strings of the Nelson Riddle Orchestra featuring compositions by Claus Ogerman,Tom Jobim,George Harrison and more topped off with three beauties from Mr Riddle himself. High brow pop/mor rather than jazz this will really appeal to the lounge lovers among you.Personally I can't get enough of "Lamento", "Sao Paulo","My Life" and "Changing Colours" although I have to draw the line at "Close to You" and "My Sweet Lord" ! Give it a listen and see what you think-goes down well with a cocktail on the beach in the sunshine.I'll have to make do with a pint of lager in a beer garden this afternoon ! Ripped from the now deleted MPS Silver collection cd @320

Paul Horn for Columbia from 1962. This features the wonderful modal piece "Abstraction" In the early 1960's, Paul Horn was a swinging and advanced improviser whose music reflected an interest in third-stream music while remaining tied to the bop/cool tradition. With his regular quintet of the era (which also includes vibraphonist Emil Richards, pianist Paul Moer, bassist Victor Gaskin and drummer Milt Turner), Horn (on alto, flute and bass flute) performs five of his originals, a song by Moer, Dr. Seuss' "Just Because We're Kids" and "Lazy Afternoon." This out-of-print LP was one of Horn's finer jazz dates. ~ Scott Yanow, All Music Guide Ripped@320 from Oldies cd reissue.

Mighty Mongo for Tropical Budda from 1984. Mongo hooked back up with the great Marty Sheller for this excellent latin jazz lp which was coordinated by none other than Jack Hooke DJ extrodinaire and the man behind the Monday night salsa meets jazz sessions at the Village Gate. Two essential cuts on this one:"Power Struggle" and "Espiritu Libre"(which has just had a reworking by Beatkonducta!) Descarga.com wrote this: With Bobby Sanabria, Eddie Resto, Tony Hinson, Eddie Allen, Pablo Rosario, Sam Furnace and Bob Quarantas. Includes beautiful interpretations of Marty Sheller's "Mañana Wilson" and "Tish," Sam Furnace's "Zimbabwe," Bobby Sanabria's" Con Hache," "Espiritu Libre" by Eddie Allen and many others.Produced by Henry Montalvo and Vicente Iturbides.Highly Recommended. Ripped @320 from original vinyl.

Jay Hoggard for India Navigation from 1982. Pianist Anthony Davis (who contributed one of the four originals), co-stars with inventive vibraphonist Jay Hoggard on this adventurous set. Dwight Andrews is heard from on bass clarinet, the great Cecil McBee is on bass, and the remainder of the group includes drummer Billy Hart, percussionist Don Moye and Wilson Moorman III on tympani. The lengthy interpretations (ranging from 8½ to 13½ minutes) are episodic and contain more than their share of surprises and atmospheric moments. ~ Scott Yanow, All Music Guide Ripped from the original vinyl@320-no reissues.

Barry Miles for London from 1974. Barry Miles-Keyboards,Vocals;Jeff Mironov,Bill Washer-Guitar;Harvie Swartz-Bass;Terry Silverlight-Drums;Jimmy Maelen,Tony Pagano-Percussion. So you like your fusion,right?You want impossible time signatures,super speed sambas,explosive all over the kit drumming,mini moogs and the occasional hokey vocal cut?Best you snag this one fast! "Los Viajeros" is the bomb on this solid album of banging fusion...well ,solid if you take the two numbers out where Barry's tonsils are let loose!An enjoyable romp none the less but don't say I didn't warn you about the mini moogs!!! Ripped from the original vinyl @320-no reissues.

Marco Di Marco for Modern Jazz Records from 1973. Marco Di Marco on Piano and Fender Rhodes with Jacky Samson on Bass and Charles Saudrais on drums (who were both part of the groundbreaking George Arvanitas Trio) Dusty Groove raved about it: One of our favorite piano jazz albums of all time a slyly funky set from the legendary Marco DiMarco and one that features him on both acoustic piano and Fender Rhodes! The beauty of this record is hard to describe in words as it's simple and subtle, but with a depth that has pleased our ears for years of listening. Marco's keys are backed by the incredibly round, warm bass tones of Jacky Sampson and drumming is in a nicely snapping mode by Samson's longtime partner in rhythm, Charles Saudrais. The set was recorded live in Paris in the early 70s and Marco tipples the Fender Rhodes incredibly on the slow funk classic "I Mei Ricordi" then grooves into acoustic piano on tunes that include "Le Mors Aux Dents", "Au B...

Yusef Lateef for Argo from 1958. While we all get carried away with the spiritual jazz theme which has been a unifying thread in blogland of late let's not forget the Detroit originator who has burned a trail in exotic,modal and spiritual jazz from the 50s right up to the present day-the mighty Yusef Lateef. All three of these themes are represented on this live date recorded at Cranbrook University in 1958 moving from the spiritual "Let Every Soul Say Amen"the modal "Morning"the exotic "Brazil"and the 15 minute hard bop/afro cuban workout of Gillespie's "Woody n You" which at 8 minutes moves into a Blakey styled rhythmic mash up with Lateef speaking in tongues over a furious percussion break towards the finish.A truly righteous lp, and one of the first powerful flowerings of the Detroit underground. Here's what Time had to say about it upon release in 1959: Lateef at Cranbrook (Yusef Lateef, tenor sax; Frank Morelli, baritone sax; Te...

Hastings Street Jazz Experience for Midnite Records from 1976. A truly fabulous Big Band album of spiritual jazz from Detroit with a thirty plus member line up featuring Tribe and Strata East stalwarts such as Phil Ranelin,Miller Brisker and Nasir Hafiz plus guest vocalist Kim Weston of Motown fame. Highly Recommended. From the sleeve notes: The Hastings Street Jazz Experience was founded in 1972 by musicians Ed Nelson,Dedrick Glover and Charles Miles.Miller Brisker and Ed Nelson,who is percussionist on on all of the compositions,have to be seen as the driving force both musically and from a production standpoint.The musicians on this date all agree that without their energy and persistence the album would never have been finished.Miller Brisker,whose solo on Ja -Mil firmly demonstrates his lyricism and his ability to swing,is also the founder of the Detroit Jazz Composers Ltd which is responsible for all the compositions rendered here.It is especially rewarding to hear Teddy Harris...

Paul Horn for Columbia from 1961. Paul Horn (alto saxophone, flute); Emil Richards (vibraphone); Paul Moers (piano); Jimmy Bond, (bass). Milt Turner (drums). More flute to boot featuring the sublime modal masterpiece "Mirage For Miles". Highly Recommended. This sadly out-of-print Columbia LP features Paul Horn at the peak of his jazz powers. Horn, who after 1967 would stick mostly to mood music, was a fine jazz improviser who fell between cool jazz and hard bop. He doubles on alto and flute on six originals (including the lengthy "Mirage for Miles") plus "Without A Song" and "My Funny Valentine." Also in fine form are vibraphonist Emil Richards, pianist Paul Moer, bassist Jimmy Bond and drummer Milt Turner. ~ Scott Yanow, All Music Guide Ripped @320 from the Collectables double cd reissue.

James Clay For Riverside from 1960. And another one for the flute freaks! James Clay (f, ts), Nat Adderley (c), Victor Feldman (vib), Gene Harris (p), Sam Jones (b), Louis Hayes (d) James Clay only led two record sessions before settling in obscurity in Texas, where he would not be rediscovered until the late '80s. Cannonball Adderley helped present him on Riverside in 1960, so it seemed fair that Clay utilized several of Adderley's sidemen on this session (cornetist Nat Adderley or vibraphonist Victor Feldman, bassist Sam Jones, and drummer Louis Hayes) along with a young Gene Harris on piano. Clay splits his time between his lyrical flute and tough tenor, proving to be an excellent bop-based improviser.Scott Yanow AMG. 320 rip of the original lp format from the OJC CD reissue-buy the cd for bonus tracks.

I've updated O.I.R. Contributions and Shares-nip over and fill your boots with all 5 of Horace's Silver 'n' series plus Bill,Dudley,Bobby and a shed load more. It's all good and it's all here !

Bobby Hutcherson for Contemporary from 1982. Bobby Hutcherson (vib, mar, perc); Herbie Lewis (b); McCoy Tyner (p); Billy Higgins (d) This is one of vibraphonist Bobby Hutcherson's most unusual and interesting releases. The first half of the set features Hutcherson all by himself although, by utilizing overdubbing, he almost sounds like Max Roach's M'Boom ensemble. Hutcherson is heard on vibes, marimbas, bass marimba, chimes, xylophone and bells and these three selections are quite fun and energetic. The second half is more conventional, with Hutcherson welcoming pianist McCoy Tyner (in his first sideman appearance in a decade), bassist Herbie Lewis and drummer Billy Higgins for two standards and a pair of the vibist's originals. The quartet set is excellent but it is Bobby Hutcherson's solo performances that are most memorable and unique. ~ Scott Yanow, All Music Guide Ripped @320 from the original vinyl.

Adele Sebastian for Nimbus West from 1978. Adele Sebastian-Flute.Vocals ;Billy Higgins-Drums,Gembreh ;Roberto Miranda-Bass ;Bobby West-Piano ;Rickey Kelley-Marimba ;Daa'oud Woods-Percussion Terrific album of spiritual jazz - another one for the flute freaks ! From the liner notes: Adele Sebastian joined the Pan Afrikaan Peoples Orchestra in the early 70s as a teenager.She played in the band until her death in 1983 of kidney failure at the age of 27.She rarely missed a rehearsal or performance.Remarkable since for a considerable length of time before her demise she had to go into a dialysis machine once a month to stay alive.She was an inspiration to everyone involved with her. Dusty Groove say this: A beautiful set of 70s soul jazz flute tracks featuring work by flautist Adele Sebastian, with backing by a hip group that includes Billy Higgins, Ricky Kelly, and Roberto Miranda. The tracks have a nice mellow Strata East/Black Jazz kind of sound to them and the production is equally h...

Paul Horn for Columbia from 1963 Paul Horn - Flute,Melodica;Emil Richards-Vibes;Victor Feldman-Piano;Chuck Israels-Bass;Colin Bailey-Drums;Larry Bunker-Percussion Produced by Irving Townsend. As the title suggests this is Paul Horn's jazz impression of Alex North's original score to the film.As you may know I am something of a Paul Horn nut and this was the lp that switched me onto him.Quite simply this one is ...all killer no filler ! Very Highly Recommended. Dusty Groove on the case: Forget the silly title, and the fact that the record is based around the huge Burton/Taylor film of the same name this record is filled with great jazzy modal grooves, and has a killer sound throughout! The record is one of Horn's rarest, and it captures him at that key early 60s moment when he was moving into territory that melded jazz with Eastern sounds in a very cool way. Horn plays flute throughout, and he's backed by Emil Richards on vibes and Victor Feldman on piano -- both of whom...

The Okinawan Jazz Devil has been busy once again and I am very pleased to say that not only has he pulled out all the stops to bring us another momentous piece of rare jazz but he has requested it to be hosted here at Orgy In Rhythm. So read on fellow jazz lovers, and prepare for a spiritual jazz tour de force and the answer to the title riddle! Over to Jazz-nekko............... It is a scary thing to guest post here at OIR. How could anyone ever possibly bring on the goods that deserve to sit on the same virtual shelf as Bacoso's? The fact that he began scratching his head when I enquired from the master himself about this set, gave me a bit of courage. I leave the final judgment in the ears of the listeners, but I wish to thank Bacoso for sharing his place with my weird musical tastes... Gary Bartz is certainly on the top alto players of the modern generation, and like so many others - probably one of the most under-appreciated jazz artists. Eddie Henderson's horn is ...

"In all beginnings...a mystical,magic force, What course ,what destiny...determined in time" Time for just one more then .....Strata East in full effect on this fabulous spiritual modal opus from Clifford Jordan with a double quartet line up from 1974. Forst posted here 09/06. Here's a great write up about this classic double lp by Kevin Moist from the superb www.dreamgeo.com/Strata-East. One of the coolest things about Strata-East was how it provided a space for previous-generation players often considered “too mainstream” by the freejazzers and “too weird” by the mainstreamers to move and grow in personalized ways. In the late ’50s and early ’60s Clifford Jordan was generally heard as a “Coltranesque” player, in his earlier classic style; but most of this Hesse-monickered double LP finds Jordan sailing beyond straight-ahead into deeper skies much more open and spacious. The homage to the inspiration of using swinging hard bop as a base for spiritual exploration is expli...

Cecil McBee for Strata East from 1974 First posted at OIR 09/06. Here is my last post on Strata East for the moment and it's the great Cecil McBee I have so many albums with him as a sideman I thought it was fitting that this solo album by him should be posted.This features the terrific "Tulsa Black" track that was compiled by Soul Jazz some years ago for their Strata East cd. I have lifted this review from the always excellent and eminently readable Daily Jazz Blogspot -Jazz reviews and comment from one man with an unfeasibly large record collection. The bass has always been an essential component of the jazz rhythm section, simultaneously holding down the groove while marking out the changes. Bassists of the hard-bop era often got little in the way of solo space (they were too important to be allowed to wander off by themselves) but throughout the 1960s and 70s, perhaps thanks to the gargantuan presence of Charles Mingus, they began to take a more prominent role. Severa...

Shamek Farrah and Sonelius Smith for Strata East from 1977 First posted at OIR September 06. Another great session of spiritual soul jazz and one of the rarest albums on Strata East from 1976. Shamek Farrah's soulful alto is matched with the free spiritual piano of Sonelius Smith, for a totally memorable session that virtually defines the essence of the Strata East sound. The music is free, but not too free; lyrical, but never indulgent; and always turning over with a fresh sense of imagination, and a strident groove that's very much in the classic Strata East mode.The highlight of this lp is the latin romp of the 10 minute title tune a real banger of the first order.(David Murray also cut a fantastic version of this with his big band on "South of the Border" which i will post some day). This rip is from the original vinyl @320 but it did actually make a cd release in Japan on Bomba which I think is now deleted.

Shamek Farrah for Strata East from 1974. First posted at OIR in September 06. As Strata East got rolling one of the admirable things it was able to do was offer a platform to some more obscure artists who weren’t being heard elsewise, folks like Billy Parker’s Fourth World (including DeeDee, Ronald, and Cecil Bridgewater); the Washington, DC ensemble Juju (who evolved from an Art Ensemble knock-off into the great jazz-funk band Oneness of Juju by the mid-70s); and alto sax player Shamek Farrah. I don’t really know too much about Shamek except that he made two great albums of spiritual jazz for Strata in 1974 and ’77 (the second and half of the first in collaboration with pianist Sonelius Smith). Both are way cool, but my favorite is probably this one, recorded with 2 slightly different ensembles but consistent in style: largely dark, minor-mode pieces w/a drone implied or explicit and executed w/plenty of edge. The playing is chunky, heavy, and group-minded; Farrah emits a glorious wai...

Charles Rouse for Strata East from 1974. First posted at O.I.R. 09/06. The album "Two is One" was recorded in 1974 for Strata East and was Charlie Rouse's first date as both producer and leader.He pulled an interesting mix of players together for this date-Airto-Percussion,Azzedin Weston-Congas,Calo Scott-Cello,David Lee-Drums,Stanley Clarke-Bass, Paul Mitzki and George Davis on Guitars. "Bitchin'" opens the lp on a cool funky groove which flows along and then gets blown out of the window by the savage break beat battery of "Hopscotch".Joe Chambers wrote it-had to be a drummer,didn't it-and David Lee's funky drum patterns combine with Stan the Mans rumbling bottom end bass lock down to produce a monstrous proto-broken beat tour de force.This is followed by"In a Funky Way"which does exactly what it says in the title. "Two is One"is divided into two parts-one is two?- and is an incredible sucession of different rhythms.In...

Music Inc. for Strata East from 1971. First posted at O.I.R. September 2006. CHARLES TOLLIVER-TRUMPET;CECIL McBEE-BASS;STANLEY COWELL-PIANO;JIMMY HOPPS-DRUMS Reeds and Flutes:JIMMY HEATH CLIFFORD JORDAN BOBBY BROWN WILBUR BROWN Trumpets:RICHARD WILLIAMS VIRGIL JONES LARRY GREENWICH DANNY MOORE Trombones:GARNETT BROWN CURTIS FULLER JOHN GORDON DICK GRIFFIN Tuba and Baritone Sax:HOWARD JOHNSON This was the first release from Strata-EastRecords, the label created in 1971 by Music Inc.'s co-leaders, Charles Tolliver and Stanley Cowell. For the debut, the two lead an advanced, hard bop session of their own compositions arranged for a quartet augmented by a 13-member brass and wind orchestra. The writing has an affinity with McCoy Tyner's modal hard bop from this same period, e.g Tyner's Extensions (Blue Note). Similarly, Cowell's playing shares with Tyner's a powerful technique, effective use of rippling two-handed arpeggios, and an ability to make its presence felt in...

Charles Tolliver for Strata East from 1988. Charles Tolliver - Trumpet ;Alain Jean - Marie - Piano ;Ugonna Okegwo - Bass ;Ralph Van Duncan - Drums check this out from Charles Tolliver : Tolliver is joined by a trio of remarkably proficient, European-based musicians on this recording because, as he notes, his usual group experienced transportation problems. After only one rehearsal, Guadaloupean-born Alain Jean Marie(piano), British-born/West Germany-reared Ugonna Okegwo(bass), and American ex-patriate Ralph Van Duncan (drums) were able to play Tolliver's music with exceptional expertise. Four of Tolliver's distinctive compositions are given extended treatment, allowing each musician to exhibit his improvisational expertise. Once again we have aural evidence of the existence of musicians outside of the USA who can play this music and play it skillfully as their American brothers. Tolliver's bright, well-rounded trumpet sound is front and center here, to remind listeners that...

Hats off to Ish over at Ile Oxumare who has got big love for Strata East and just to prove that love he's started The Strata East Fan Club Blog. It's a work in progress treaure trove full of great info,links and even merchandising so what better way to celebrate the mighty Strata East than to bring back a few choice crackers from the early days of O.I.R. when I ran the "Orgy In Rhythm Loves Strata East" series of posts.These were all at Rapidshare.de so the links have been dead and buried for a long time. I'm kicking it off with one that I didn't post at the time and I can't say I have ever seen it anywhere else in blogland so comin' up : Charles Tolliver At The Quasimodo Vol.2

Gary Bartz for Prestige from 1973. Gary Bartz-Synthesizer, Clarinet, Harmonica, Percussion, Harmonium, Sax (Alto), Sax (Soprano), Vocals;Hector Centeno-Guitar;Howard King-Drums;Hubert Eaves III-Piano, Clavinet;James Benjamin-Bass, Bass (Electric);Kenneth Nash-Percussion;Maynard Parker-Bass, Guitar One for ish. Dusty Groove says it like it is: One of the last Gary Bartz albums for Prestige and a really unique session with a different feel than some of his earlier work! Gary's still got plenty of angular funk in his sound here thanks to some edgey keyboards from Hubert Eaves but he's also tightened things up a bit without smoothing them out cutting down on the longer jams in favor of a more focused approach, and singing himself on many cuts, taking on the quirky lyrical role that used to be held by Andy Bey! Bartz also produced the record himself, but Larry Mizell handled the final mix giving the record a slightly spacier Mizell-inflected groove, but one that's not as full as...

Cal Tjader for Fantasy from 1973 Arranged and Conducted by Charlie Palmieri and Tito Puente. Total bomb from the Big Three-Cal,Charlie,Tito. Jose Merino-Trumpet, Louis Laurita-Trumpet, Jack Jeffers-Trombone,Tuba, Bobby Nelson-Tenor, Charlie Palmieri-Keyboards, Bobby Rodriguez-Bass, Enrique Davila-Timbales, Tito Puente-Timbales, Ismael Quintana-Percussion,Vocal, Victor Aviles-Vocal, Victor Velasquez-Vocal, William Rodriguez-Bongos, Luis Rodriguez-Conga. Dusty Groove love it: A really hard-hitting set from Cal Tjader and one that's done with a good dose of 60s Latin Soul as well! The album was recorded in the early 70s, but it's really got a late 60s New York flavor thanks to arrangers Charlie Palmieri and Tito Puente who cook up a groove that's sockingly soulful, and much more outta site than some of Tjader's other work from the time! The style here is more Fania than Fantasy Records and Cal jumps right in with some great work on vibes ringing out in a tight, Joe Cuba-es...

Sabu Martinez for SMC from 1960. Sabu-Conga;Rios-Piano;DelValle-Bass;Reynaldo-Timbales; Fuentes-Guiro;Vibes-Unknown Astronautas Thom Jurek on the case again: In the aftermath of the success of Sabu Martinez's Jazz Espagnole, he took the band out on the road. It fell apart after only a few months because of Sabu's inability to control his own destructive urges. Hence, Martinez picked up whomever he could find to try and re-create the music on Jazz Espagnole -- usually with disastrous results. However, a couple of those bands stayed together long enough to record a pair of albums for the SMC label in late 1960, the Astronautas de la Pachangas. Shrouded in mystery, with the name of the vibraphonist not even known and only Martinez credited with both his names -- the rest have names like Raynaldo, Del Valle, etc. -- the set while, not having the stunning character of Jazz Espangnole, is nonetheless an accomplished bit of recorded wizardry, and the cats came a long way from that fir...

Stone Alliance for PM Records from 1977. Three in a row for Gene Perla and Don Alias here at Orgy In Rhythm. Steve Grossman Tenor Saxophone/Gene Perla Bass, Keyboards and Guitar/Don Alias Drums, Congas, Guitar and Percussion/Santiago Giacobbe Piano/José Maria Loriente Congas, Bongos and Percussion Daniel Binelli Bandoneon/Roberto Valencia Percussion Recorded at Studio Netto,Buenos Aries by Jorge Da Silva/Produced by Nano Herrera and Gene Perla. The result of a State Department funded trip down thru South America this album has an even stronger latin influenced sound and features guest artists from Argentina.There's a great percussion workout on "Amigos" with Don Alias doing what he did best,the lovely sound of the Bandoneon is introduced on "I'll Tell You Tomorrow" and,of course,the raw latin funk of Steve Grossman's "Graciela". Stone Alliance never put a foot wrong for me,eschewing the commercial jazz funk of the day and producing a hard fusio...