Waldo De Los Rios

Waldo De Los Rios y su Quinteto ''Los Waldos'' - En Europa
Hispavox/Music Hall MH-12.653 (1967)

Altho' listed as a solo effort this LP features the Argentine band Los Waldos which was formed by and included Waldo de los Rios. Based in Spain they appear to have disbanded in the late sixties when Waldo started his solo career.

Waldo de los Rios (arranger, piano)
Cecar Gentili (keyboards)
Willy Rubio (guitars)
Roberto Stella (drums)
Alberto Carbia (Bass)

Not entirely sure what compels me to listen to this occasionally 'cos it's a strange beast. Modal jazz meets easy exotica, avant-garde meets lounge... all peppered with groovy electronics. Definitely a curiosity.

1) El Hacha Y El Quebracho
2) Zamba En Nueva York
3) Tero Tero
4) El Algarrobo Que Hablará Con Los Pájaros
5) Metamorfósis Folkórica Sobre...
6) Así Nació El Carnaval
7) De Dónde Vienen Las Guitarras
8) Fuera De Ritmo
9) El Último De Los Matacos
10) Tertulia

Memphis Jackson

Milt Jackson with The Ray Brown Big Band - Memphis Jackson Impulse AS-9193 (1969)

Here's a very groovy big band outing from Milt Jackson & Ray Brown, off the top of my head I can't think of another release by either of them that matches the sheer good-time funkiness this LP manages to generate without losing their jazz sensibilities.

Featuring an all-star line up including Ernie Watts, Harold Land, Mike Melvoin, Wilton Felder, Earl Palmer, Joe Sample, Howard Roberts, Paul Humphries & Victor Feldman amongst many others.

1) Uh-Huh
2) One Mint Julep (One Way)
3) Oh Happy Day
4) Memphis Junction
5) Queen Mother Stomp
6) Braddock Breakdown
7) A Sound For Sore Ears
8) Enchanted Lady
9) One Mint Julep (The Other Way)
10) Picking Up The Vibrations

Vocal Ease

B.J. Ward - Vocal Ease Catfish 5C 062-24323 (1974)

Solo outing from Ms. Ward of 'Inner Dialogue' fame. A melange of jazzy, funky soft-rock musings out of Holland, highly sought after and fetching crazy money for an original - I'll let you believe the hype or otherwise. That said, what we do have are some groovy, upbeat covers of the likes of Neil Young, Tom Jones, Gerry Rafferty, The Beach Boys & Rachmaninov! along side groovy originals and lushly arranged jazzy ballads. All odd but it works very well.

The Dutch band feature Henny Kluvers - Flute, Frank van Luin - Bass Trombone, Richard Pullin - Trombone, Carl Schultze - Vibes, Donn Trenner - Piano & Organ, Thijmen Hoolwerf - Guitar, Frank Noya - Bass, Eric Ineke & Cor van den Berg - Drums, George Souto - Percussion with a string section comprising Sem Nijveen, Bennie Behr, Lex Cachet, Lucien Grignard, Ronald Kok, Guus Valten, G. Gerritsen & Carlo Carcassoia.

1) Vocalise
2) Keep It To Yourself
3) Earth Child - Moon Child
4) Here We Are
5) The Loner
6) Try To Remember
7) That's How The World Is Made
8) The Music Of Love
9) Billy's Blues
10) I Just Wasn't Made For These Times
11) Words On Words
12) I Don't Know Where I'm Going

Il Killer

Gianni Ferrio - Il Killer CAM SAG-9012 (1969)
Colonna Sonora Originale

Here's a kookie but infinitely groovy score to the Italian TV comedy "Il Killer". Here Ferrio blurs the edges of jazzy cool to sixties cheese and everything in between. Take some uptempo jazz, elegant lounge, soothing bossa, a hint of psychedelia - serve liberally with Hammond and horns and sprinkle with sitar. Voila, Molto Hip!

Finnish Big Band Jazz

Finnish Big Band Jazz - No Comments! Polarvox KJL-030 (1977)

Hold on to your seats! The cream of Finland amass to lay down one hell of a big band outing with the support of The Foundation for the Promotion of Finnish Music.

At the helm we have such luminaries as Heikki Sarmanto, Eino Virtanen, Kaj Backlund, Seppo Paakkunainen and Esa Pethman. Soloists include Juhani Aaltonen - saxophone; Olli Ahvenlahti - keyboards: Markku Johansson - trumpet & flugelhorn; Pentti Lahti - baritone sax; Pentti Lasanen - alto sax and Nono Soderberg - guitar.

Superb groovy seventies jazz of the highest order throughout culminating with the stone cold and break-heavy monster "Ufology". The text on the cover though plentiful is all in Finnish so I can't tell you any more so I'll let the music do the talking. Kindly enjoy...

1) No Comments
2) Something Keeps Us Busy
3) Balladi Savonlinnalle
4) Albright
5) From One To Twelve
6) Ufology

Geraldine de Haas

Geraldine de Haas - Self Titled Elsa Progressive Records 5804 (1978)

Geraldine de Haas, "The Jazz Lady" was born in Newark, New Jersey on January 16, 1935. As a young woman, de Haas sang and toured with her brother and sister as Andy and the Bey Sisters, initially starting out in the Miami club scene in 1958. When they returned to New York after several months, they went to several auditions that promised them a few weeks of club dates in Spain and London. However, their music proved wildly popular, and they went on a whirlwind tour all across Europe that lasted a year and a half. While the trio was in Europe, they became the featured act at the world famous Blue Note in Paris, and were featured in a jazz film directed by Roger Vadim. De Haas and her siblings returned to the United States in 1960, and began performing at jazz clubs and festivals across the country, and made several recordings, as well. The trio finally disbanded in 1966.

The early 1970s found de Haas joining the Free Street Theater in Chicago, and her theater career continued over the next two decades, with performances in Hair, Showboat and To Be Young, Gifted and Black, and numerous jazz performances, as well. She also began producing events during the 1970s, and in 1983, she presented the first Jazzfest at the South Shore Cultural Center in Chicago, which continues on to this day. De Haas also earned her B.A. in music education in 1980 from Chicago State University, and has taken other courses to continue her education since. In 1981, de Haas founded Jazz Unites, Inc., to further the growth and appreciation of jazz, and to educate people through the use of jazz. Since 1993, she has served as the president, CEO and artistic director. Over the course of her career, she has shared the stage with such jazz legends as Count Basie, Sarah Vaughan, Ella Fitzgerald, and her favorite, the late bass player Ray Brown.

I rediscovered this recently languishing in my collection and found myself really enjoying it - I hope you're the same.

1) Summers Of My Life - Summer's Gone
2) Love Is A Lonely Song
3) Wheels Of Life
4) Everything's Been Changed
5) How Can Anything Be Beautiful After
6) Your Love
7) Keep On Walkin'
8) We Made It Happen
9) While We're Still Young
10) My Way

Chicken Feathers

Monica Zetterlund - Chicken Feathers Sveriges Radio SR-1151 (1972)

OK so we all loved the last Steve Kuhn album (over 500 downloads thus far) and a hard act to follow. So let's stick with the majesty of Steve Kuhn and an LP that matches the previous post in quality with a groove quotient off the scale!

Swedish songstress Monica Zetterlund and her finest hour in my opinion. All tracks written and arranged by Kuhn on a Swedish only release featuring a veritable who's who of Swedish jazzers.

Arne Domnérus - Clarinet, Sax (Alto); Lennart Åberg - Flute, Sax (Tenor); Claes Rosendahl - Flute, Sax (Tenor); Erik Nilsson - Clarinet (Bass), Sax (Baritone); Jan Allan - Trumpet; Bosse Broberg - Trumpet; Bertil Lövgren - Trumpet; Sven Larsson - Trombone (Bass); Hakan Nyqvist - French Horn; Rune Gustafsson - Guitar; Bengt Hallberg - Piano; George Riedel - Bass; Alex Riel - Drums.

Easily one of my favorites and soon to be one of yours I have no doubt.

1) Chicken Run
2) The Baby
3) The Saga Of Harrison Crabfeathers
4) Raindrops Raindrops
5) Silver
6) Till Monica
7) The Thoughts Of A Gentleman
8) The Real Guitarist In The House
9) Pearlie's Swine
10) Ulla
11) Till Steve

Killer Kuhn!

Steve Kuhn - Steve Kuhn Buddah BDS-5098 (1971)

This album is just so damn good - it hurts. Kuhn's tour de force and definitely his hardest to find - this deserves a huge audience and warrants a sorely needed reissue.

Beauty, depth and weight in equal measure. Monster washes of fender rhodes, tender and soulful lyricism supported by a heavyweight cast which includes pumping bass by none other than Ron Carter, funky but never overpowering drums by Billy Cobham - in fact I've never heard him play better and percussion by Airto Moreira. Add to this already mouth-watering line-up a small string section arranged by Gary McFarland and we have a very special LP indeed.

I believe this was Gary McFarland's final recording date before his untimely and mysterious death but what a way to go..! Saying that though, this is all about Steve Kuhn and it's plainly his show - a handful of his finest compositions delivered in definitive fashion. I envy your first listen.

1) Pearlie's Swine (aka The Zoo)
2) Silver
3) Time To Go (aka Tomorrow's Song)
4) The Heat Of The Moment
5) The Baby (aka Saharan)
6) Hold Out Your Hand (aka The Drinking Song)
7) The Meaning of Love
8) Ulla (aka Remembering Tomorrow)

Melodia Ensemble Part II

Melodia Ensemble - The Works Of Duke Ellington Melodia C60-09261-2 (1978)

More hip Russian big band nuttiness for you - and one that may well have The Duke spinning in his grave! A first rate LP of funky and progressive arrangements of evergreens with real stings in their tails - a real surprising play throughout. All killer... etc.

I'll keep it short and sweet and let the music do the talking.

1) Take The 'A' Train
2) In A Sentimental Mood
3) It Don't Mean A Thing
4) Daydream
5) Cotton Tail

Melodia Ensemble

Melodia Ensemble - Concert In Bombay Melodia C60-14933-34 (1980)

Russian State label Jazzers in India - whatever next!

A killer LP of funky big band grooves. As is so often the case with Eastern European releases in the 70s & 80s, musical trends tended to lag behind their western equivalents, both technologically and stylistically and this release is no different - so don't let the year fool you.

The Jazz Festival in Bombay is one of the most exotic in the world. Unusual combinations of musical cultures from Africa, America, Asia and Europe, the presence of many distinguished masters of jazz and a sensitive and sympathetic audience - all of which made the festival "Jazz Yatra-80" an extremely happy and colourful one.

The brochure issued by the organizers of the festival - National Jazz Committee of India, Secretary General Committee Narayan Dzhaverm quotes Mahatma Gandhi and has become the motto of the festival: "I want the windows and doors of my house to be wide open. I give the cultures of all countries free entry into my house". Bulgaria, Germany, England, Sweden, Poland, USA, Yugoslavia, Finland, the Soviet Union - this is far from a complete list of participating countries in the festival.

So, back to the album... Original compositions, funky basslines, tight jazzy horns and plenty of Moog. Completely delicious and further proof, should you need any, that exceptional music can have the most unusual origins.

1) Holiday
2) Opus N° 2
3) The Old Fort
4) Whirlpool
5) Remembering A Friend
6) Birds In The Window

Cross Dressers!

Rolando & Luiz Antonio - Meu Coração É Um Pandeiro Ou... RCA Victor FPL-1 0117 (Fra) (1976)

Luiz Antonio was born in Tatui in the state of São Paulo and was in such bands as Pigalle, Som Okey 5 and Biriba Boys. Most notably, in 1972, he left for Barcelona and cut the immortal 'Brasil Aquarius y Luiz Antonio' LP. It was there in 1974, he met Rio born singer Rolando Faria, at that time in the group 'Ronie & Central do Brasil' (already posted on this blog).

France became their home and together they toured as Les Étoiles, adopting transvestite personas on stage as they brought Brasilian music to European concert-goers. From the 3 studio albums they recorded in France - this is their debut and what a belter.

Lots of great party-driven samba inflected tunes - the funky 'Chica-Chica-Boom-Chic' and 'Alô, Alô' were lifted for the single and amply demonstrate this. Other highlights for me include their beautiful harmonising on 'Você' and a killer rendition of Joyce's 'Nacional Kid'.

1) Chica-Chica-Boom-Chic
2) Você
3) Viola-Violar
4) Côco Verde
5) Estão Batendo
6) Antes Que Eu Volte A Ser Nada
7) Sol Negro
8) Nacional Kid Ou Brasileiro
9) Jeanne, La Française
10) Alô, Alô

Eliana Pittman

Eliana Pittman - Estrela É Lua Nova RGE XRLP-5.334 (1969)

Born Eliana Leite da Silva in Rio, 1945 and step-daughter to the great Saxophonist Booker Pittman. Eliana Pittman was not only a great beauty in her day but singer, actress and dancer who had an extraordinary rapport with her audiences, compared with the likes of Josephine Baker, Lena Horn and Carmen Miranda. She even hosted her own TV specials such as 'Eliana em Tom Maior', 'Positivamente Eliana' & 'Eliana Cravo e Canela'.

In 1969, Booker Pittman dies and Eliana starts to sing alone, the result is this cracking album produced by Joao Araujo, the highlight for me being a majestic cover and sublime arrangement of Tiempo de Verano (Summertime) and the incendiary Se Você Pensa. The rest of the album is varied combination of swinging Sambas, groovy Bossas and slow burning ballads.

1) Olelê... Cheguei Agora-Enxuga A Tristeza Do Olhar-Peixe Vivo-Bahia De Todos Os Deuses-Pra Que Dinheiro
2) Que Maravilha
3) Tiempo De Verano
4) Estrela É Lua Nova
5) Fim De Tarde
6) Viva A Vida!
7) Na Baixa Do Sapateiro
8) Se Você Pensa
9) Vou Morrer De Rir
10) E Você Nem Viu
11) Iá Ia Do Cais Dourado

The self-titled Argentine Fermata release of this LP the following year featured an additional track 'El Globo Rojo' or 'The Red Balloon'.

Fabiano Orchestra

Fabiano Orchestra - Butterfly Island Franck R Records 8.8002 (1979)

Cracking jazz fusion by the Jean-François Fabiano Orchestra out of Guadeloupe on a French only pressing. Deep spacey keyboard noodling and Rhodes solos courtesy Dominique Bérose, lively melodic horn lines, lyrical guitar licks and worldless females interspersed with tracks of a more West Indian bent. Top draw..!

1) Half Moon Bay
2) Fo Ça Changé
3) Créole
4) Rastaman Rock
5) West Indian Meditation
6) Butterfly Island
7) Fusion (Manahattan Pulse)
8) Pointe Des Chateaux

Doug Lucas

Doug Lucas - Niara RKM 97036 (1975)

Spiritual funky fusion from Brussels, Belgium by trumpeter Doug Lucas in a 'Placebo' fashion. All tracks penned by Lucas with a band featuring Yvan DeSouter (Bass) and Frank Wuyts (Keyboards). The album was reissued in the same year on Shadybrook Records in the States and was produced by Bruno Castellucci who can be heard on percussion duties.

1) Niara
2) Home Won't Know Me
3) Kinshasa Chant
4) One For You
5) When It Be The Morning
6) As If We Knew

Diane Tell

Diane Tell Pleiade 2424 165 (1977)

Singer, songwriter, guitarist, b Quebec City, to a Canadian father and US mother, 24 Dec 1957. Her childhood was spent between Paris, Montreal and Val-d'Or, Que. She studied violin and classical guitar at the CMM, and jazz guitar at Saint-Laurent College.

She hosted radio shows on Montreal station CKOI and, when she began singing, opened for Rick Derringer, Chris de Burgh and Leo Sayer. She sang in bars of Montreal's West End prior to recording her first album. Her romantic lyrics coupled with melodies inspired by jazz and South American music charmed critics immediately. Following a one-year stay in New York, she launched her second LP featuring the hit 'Gilberto'.

'Gone are the wooden clogs and prehistoric skirts, gone are the homespun recordings where spontaneity covered up for lack of technique, gone is the musical macrame and the political guilt feelings: Diane Tell heralds the era of technocrats and professionals, image-makers and career-builders,' Nathalie Petrowski wrote in Le Devoir (Montreal).

For her debut release, Diane Tell's beautiful Brasilian tinged pop-jazz album is sung entirely in French against a sophisticated selection of melodies.

1) Les Cinémas-Bars
2) Un Verre d'Amour
3) Bien
4) En Pleurer Ou En Rire
5) La Valse
6) Je N'En Peux Plus
7) Rendez-Vous
8) Mon Métier
9) La Vieille Mort
10) Un Nuage De Mots
11) La Vallée De La Mort

Nick Ayoub

Nick Ayoub Jazz Quintet - The Music Of Nick Ayoub Radio Canada International RCI-455 (1977)

Saxophonist, oboist, english hornist, composer, b Trois-Rivières, Que, of Lebanese parents, 7 Sep 1926, d Montreal, 2 May 1991. Raised in Montreal he took up in turn clarinet, tenor saxophone, oboe, english horn, and flute, and studied with Arthur Romano at the CMM. Studies in oboe followed with Harold Gomberg of the New York Philharmonic.
Ayoub began his professional career in 1943, soon playing tenor saxophone in the dance or jazz bands of Johnny Holmes, Maynard Ferguson, the saxophonist Freddie Nichols, and the trombonist Jiro 'Butch' Watanabe. Though a leading studio musician in Montreal by the early 1950s, and occasionally an oboist (and less frequently a saxophonist) with the MSO, he remained active in jazz. An Ayoub quintet performed at the 1963 Montreal Jazz Festival and other Ayoub bands (usually with trumpeter Alan Penfold and pianist Art Roberts) appeared in Montreal clubs, in concert and on various CBC radio jazz programs through the 1970s.

Lovely deep and exotic jazz here released only in Canada. Funky modal grooves are interspersed with more contemplative, searching jazz cuts. A very fine album that deserves far wider recognition.

Ayoub fl, english horn, soprano saxophone, tenor saxophone, Penfold trumpet, Roberts piano, Angelillo double-bass, Masson drums.

1) Spanish Walk
2) Desert Boots
3) Kittens
4) Put It Out
5) Jazz Concertino Peridot
6) Jazz Concertino Turquoise
7) Jazz Concertino Opale
8) Jazz Concertino Saphir
9) Little Joey

Peaceful Morning

Rupert Cobbett - Peaceful Morning Soul Deep DM-776 (1976)

Another private press out of Ft. Lauderdale, FL. Eight original tracks - plenty of breezy beats and nice fender rhodes. You know the score..!

If you like today's funky rhythms, but miss the sounds of legitimate jazz then relax and listen to Rupert Cobbett. Although there is a definate jazz "sound" to Cobbett's music the word doesn't begin to get into the soul of the man's genius. It is more an experience than a sound. It swings like a cool breeze on a hot Jamaican night then mellows to greet the sundrenched "peaceful morning". Lay back and let it sink into your soul.
(taken from the original liner notes)

Rupert Cobbett - keyboards; Bill Prince - horns; Arlin Strader - percussion; Gary Phillips - bass; Produced by Dave Chiodo.

1) Ain't Done Nothing
2) A Song
3) December 18th
4) Se Sau
5) Where Are You Now
6) Blues For Dave
7) There's No End
8) Peaceful Morning

Ghetto Mysticism

Stanton Davis' Ghetto-Mysticism - Brighter Days Outrageous Records #2 (1977)

Any common musical adjective applies here - celestial, cosmic, spaced-out fusion, deep spiritual jazz, afro, poly-rhythmic funky soul, yada yada...

Original private '77 press out of Somerville, Massachusetts although recorded a year or two earlier, trumpeter Stanton Davis assembles a whacked-out melting pot of good grooves here touching a variety of bases. A pretty good listen right through.

Stanton Davis - fluegelhorn, trumpet (4,5), vocal (1,2,5,8,9), percussion (1), prepared piano (3), mellotron & string synthesizer (6); Leonard Brown - soprano sax (1,2,7,8,9); tenor sax (3,4,5), percussion (1,5,6); Bill Pierce - soprano sax (5), alto flute (3); Jerome Harris (listed as "Jerry Harris) - guitar (1,2,5,7,8,9), bass guitar (3,4,5,6), vocal (1,8,9); "King" Wellington - calypso guitar (5); Lee Genesis - vocal (1,4,5,8,9); J.O. Wharthon - vocal (1,5); Armstead Christian - vocal (2,7,8,9); Rénée Franklin - vocal (1,2,7,8,9); Jeannine Otis - vocal (5,8,9); Dan Windham - spoken word (9); Alan Pasqua - keyboards (1,3,4,5,6); Delmar Brown - keyboards (1,2,4,5,7,8,9), vocal (1,2,5,7,8,9); Mark Styles - synthesizer (3); Jeff Anderson - bass guitar (1); Craig Carter - bass guitar (2,7,8,9); Vinnie Johnson - drums (1,2,3,4,5,7,8,9), percussion (2,7,8,9); Les Lumley - congas (1,2,4,5,7,8,9), percussion (3); Keith Copeland - percussion (2); Alyrio Lima Cova - percussion (4,5)

1) Things Cannot Stop Forever (Poon Tang Tally-Wacky)
2) Space-A-Nova I
3) Play Sleep
4) Brighter Days/Brighter Daze
5) Funky Fried Tofu
6) Nida
7) Space-A-Nova II
8) High Jazz
9) High Jazz Reprise

'I wish to dedicate this album to all who can hear their Heartbeat, But especially to those that have heard the heartbeat of another as well. Brighter Days/ Brighter Daze'.
-Stanton Davis Jr.-

Aquarius

Aquarius - Aquarius Continental 1.07-405-098 (1976)

Here's a delicious slice of Bossa goodness, beautiful soulful vocals set to a dreamy backdrop of arrangements by Raymundo Bittencourt.

This one commands high prices and it's easy to see why within moments of touching the needle down! You may recognise some of the tunes, although the arrangements differ from those on the Burnier & Cartier LP. No Cláudio Cartier here, but you needn't worry, the same breezy vocal appeal comes from Octávio & Sonia Burnier (a la Ronie Mesquita & Central Do Brasil).

Raymundo Bittencourt (acoustic guitar, drums, vocal, arrangements); Octavio Burnier (electric guitar, vocal); Leonardo Luiz (piano); Alberto Arantes (bass) and Sonia Burnier (lead vocal) - all the ingredients are in place and if ever there were an album that embodies that groovy Brasilian spirit that is so in-demand now, this is it! Download now - thank me later.

1) Só Tem Lugar Pra Você
2) A Rã
3) Carolina
4) Falsa Baiana
5) Beijo Partido
6) Só Louco
7) Chega De Saudade
8) Tamanco No Samba
9) Europanema
10) Saudade Da Bahia
11) Atire A Primeira Pedra
12) Tibidabo
13) Pink Bar

Dale Jacobs

Dale Jacobs Group - Live At Puccini's Singwell SW-0003 (1971)

Must remember not to neglect the blog - so my apologies for the lack of updates.

This post goes out to Gary - I was prompted to remember this little treasure after seeing the cover art posted over at his blog 'El Reza'.

Puccini's in Vancouver was one of those restaurants and clubs that seemed to flourish in the seventies - the culmination of Dale's three year residency there being this superb album. Boy, what I'd give to dine and be witness to these sorts of performances nowadays!

The late Canadian Dale Jacobs blossoms on this live set and shows off his true keyboard dexterity even more so here than on his studio albums. We have true analogue wizardry here, no harsh and sterile 'bad-fusion' but slick, lyrical and beautifully funky instrumentals.

1) Discovery (CBC Radio Olympic Theme)
2) Visions Of Rio
3) Splash
4) Without Reservation
5) What Else
6) It's Only The Perfect Love
7) A Last Look At The Summer

Ambiance

Ambiance - Ebun DaMon DMRS-365 (1979)

Ambiance was a little known jazz fusion group out of Los Angeles who recorded on the small independent DaMon label. Their style incorporates Brazilian and Latin flavours with a righteous and soulful afrocentric jazz edge. Members include Daoud (Alto Sax, lute, Shekere, Flexitone, Agogo, Soprano Sax, etc..), Bob Selvin (Keyboards), Peter Lainson (Guitar, Tambourine), Paul Olguin (Bass), John Delatore (Drums), Sarah Flynn (Vocals) and Elisa Jones (Vocals).

I was prompted to remember this LP after seeing the compilation shared over at http://ileoxumare.blogspot.com - I think you'll agree this album is as strong in depth as that compilation - a solid listen right through without one weak track. A great record and one that deserves more than to languish in obscurity...

1) Bossa Monife
2) After June
3) Camouflage
4) O.F.C.
5) Ebun
6) Turnaround
7) Last Tango

A Flight To Rio

Os 3 Do Rio - A Flight To Rio Guilde Internationale Du Disques/Concert Hall SVS-2431-2431 (1966)

Time for some carnival rhythms!! Hip male harmonising drenched in samba and bossa beats. Both the French and German cover art is included for the completists.

1) A Voz Do Morro
2) A-B-C (Ragg Mopp)
3) Batida Diferente
4) Batucada
5) Estrada Do Sol
6) Fechei A Porta
7) Folha Morta
8) General Da Banda
9) Menino Jogando Bola
10) Minha Saudade
11) Mulata Ye-Ye
12) Peidrita Del Mar
13) Pita Camion
14) So Meu Coracao

The Baron

Baron Von Ohlen Quartet featuring Mary Ann Moss - The Baron Creative World CW-3001 (1973)

"John Von Ohlen is the aristocrat of the drums, and he consistently turns in the noblest performance of them all. I am so proud and pleased that Creative World could be the firm to release The Baron's first recording, because it is a milestone in the field of innovative jazz for small groups. The Baron already has an international reputation among the jazz cognescenti. He has been described as a "powerhouse." That he is. But he has submerged his tremendous talent on this first album with his own quartet, to come up with a sublime whole--he is still the driving force, but the other members of the group are given the opportunity to be heard at their best, and their best is a joy. This album not only demonstrates John's great talent, it is solid proof that he is on his way to becoming a major figure in jazz. " -- Stan Kenton

So many people have asked me for this, I caved in under the pressure. Sublimely mellow jazz funk on Stan Kenton's private label. Enjoy...

1) TERGIVERSATION
Whistle: Baron Von Ohlen
Solo: Steve Allee (electric piano)
2) VONETTA
Solo: Steve Allee (electric piano)
3) IT ONLY HAPPENS EVERYTIME
Vocal: Mary Ann Moss
Solo: Steve Allee (electric piano)
4) BESSIES BLUES
Solo: Claude Sifferlen (acoustic and electric pianos)
5) PEE WEE
Solo: Steve Allee (electric piano)
6) (YOU MAKE ME FEEL LIKE) A NATURAL WOMAN
Vocal: Mary Ann Moss
Solo: Claude Sifferlen (acoustic piano)
7) ELEANOR RIGBY
Solo: Steve Allee (electric piano)
8) RUNAWAY HEART
Vocal: Mary Ann Moss
Solos: Claude Sifferlen (electric piano); Steve Allee (Farfisa organ)
9) CANDY MAN
Vocal: Mary Ann Moss
Solo: Steve Allee (electric piano)
10) WHY DID I CHOOSE YOU
Vocal: Mary Ann Moss
11) PINNOCHIO
Solos: Steve Allee (electric piano); Claude Sifferlen (organ); Baron Von Ohlen (drums)

Flute & Nut

Harold McNair - Flute & Nut RCA Camden INTS-1096 (UK) (1970)

McNair started out at the Alpha Boys School under the tutelage of Victor Tulloch, whilst playing with Joe Harriott (a lifelong friend who considered McNair his de facto younger brother), Wilton 'Bogey' Gaynair, and Baba Motta's band. He spent the first decade of his musical career in The Bahamas, where he used the name Little G for recordings and live performances. His early Bahamian recordings were mostly in Caribbean musical styles rather than jazz, in which he sang and played both alto and tenor saxophone. He also played a calypso singer in the 1958 film Island Women. In 1960, he went to Miami to record his first album, a mixture of jazz and calypso numbers entitled Bahama Bash. It was around this time that he began playing the flute, which would eventually become his signature instrument. Initially he had some lessons in New York, but he was largely self taught. He departed for Europe later in 1960.

Like many other West Indian jazz musicians of the 1950s and 1960s (eg Harriott, Dizzy Reece and Harry Beckett), McNair moved to Britain. However, before arriving in London, he toured Europe with Quincy Jones and worked on film and TV scores in Paris. Once in London, he quickly gained a reputation as a formidable player on flute, alto and tenor saxophone, leading to a regular gig at Ronnie Scott's nightclub.
His playing drew the admiration of bass player Charles Mingus, who was in London to shoot the 1961 motion picture All Night Long. McNair was part of a quartet Mingus formed to rehearse with during his stay in Britain. Unfortunately, the band never played live in front of a paying audience, due to a ban imposed by the UK Musicians' Union on US musicians in British nightclubs. A recording of the band exists, playing the earliest recorded version of the now famous Mingus composition Peggy's Blue Skylight, but it has never been released, despite featuring in the movie itself. The Musician's Union ban was lifted later in 1961, leading to a residency by US tenor saxophonist Zoot Sims at Ronnie Scott's club. Ironically, McNair's own quartet were also on the bill, resulting in two of his performances appearing on the album made to commemorate the gigs, Zoot Live at Ronnie Scott's. Around the same time, he also recorded with the drummer Tony Crombie and the percussionist Jack Costanzo.

McNair briefly returned to The Bahamas, where he cut his first all jazz LP Up In The Air With Harold McNair, before settling back in London permanently. His first UK album as a leader, 'Affectionate Fink', was made for the fledgling Island Records in 1965. The session saw him team up with Ornette Coleman's then current rhythm section of David Izenzon (bass) and Charles Moffett (drums), for a set of standards played with hard swinging intensity. McNair equally featured his tenor sax and flute on this session, delivering virtuoso performances on both. His next (self titled) album, cut for RCA in 1968, was another classic and featured probably his most famous composition, 'The Hipster', which has become a perennial fixture on the playlists at jazz clubs and was included on Gilles Peterson's Impressed Vol.2 compilation of 1960s British jazz.
His next album was 1970's Flute and Nut (RCA), which featured big band and string arrangements by John Cameron. This was quickly followed up in the same year by The Fence, which moved in the direction of jazz fusion. Another self-titled album was issued posthumously by the B&C label in 1972, which mixed tracks from the 1968 RCA album with later, unreleased recordings. Notable recorded works as a jazz sideman included sessions with the jazz-rock/big band ensemble Ginger Baker's Air Force and John Cameron's Off Centre. He also recorded with visiting Americans including vocalists Jon Hendricks and Blossom Dearie, drummer Philly Joe Jones and saxophonist Eddie "Lockjaw" Davis.

1) The Umbrella Man
2) The Night Has A Thousand Eyes
3) You Are Too Beautiful
4) Barnes Bridge
5) Nomadic Joe
6) Herb Green
7) My Romance
8) Burnt Amber

Curt Cress Clan

Curt Cress Clan Atlantic ATL-50079 (1975)

So sorry for the lack of updates, I've been unwell and recovery has been slow. There's much I'd like to post in the forthcoming weeks (work & health permitting) so stay tuned.

Anyhow, time to get back into the swing of things with Curt Cress' funky debut LP.

Along with Udo Lindenberg, Mani Neumeier, Harald Grosskopf and Carsten Bohn, Curt Cress belongs to the most famous group of German drummers. He started his recording career at the age of 17 in the progressive rock group Orange Peel. Later he worked mainly with jazz-rock in groups like Passport, Atlantis and Emergency.

After four successful years, he left Doldinger's Passport in 1977 to form Snowball. In between, he had recorded this, his first solo album Curt Cress Clan with Volker Kriegel (guitar), Kristian Schultze (keyboards), Dave King (bass) and Ack van Rooyen (fluegelhorn). Nice line-up and the music doesn't disappoint - much sought after by beat diggers and Kraut Rock fans alike.

1) Cyclone
2) From The Back
3) Fields
4) Shuffle On Out
5) Delphine
6) 451271
7) No Answer
8) Moving Right Along
9) Funk Off

Natural Sources

Ronald Snijders - Natural Sources Private Pressing 6812 245 (Holl) (1977)

Ronald Snijders is considered to be the most swinging flutist in the Netherlands (Jazz magazine Jazz nu), and the inventor of African Surinam kawinajazz. He was born in Paramaribo, Suriname in 1951 and started to play the flute at the age of seven, influenced by his professionally flute playing father. In his youth he also practised guitar, sax, some piano and percussion, playing popular music, classical music, Brazilian music plus jazz.

In september of 1970 he settled in Delft, the Netherlands to study civil engineering, but about five years later he was a professional selftaught musician. Among his awards shines the Press prize at the prestigious NOS jazzconcours of 1973 in Laren, won with a flute solo. The legendary bandleader Boy Edgar who was presiding the jury said: Ronald Snijders has extreme skill and creativity. Jazz pianist Chick Corea wrote of him in 1976: You're a great flutist and an excellent composer…I'm sure people here in the United states will like your music a lot. And as jazz journalist Rudy Koopmans put it some years later: the most brillant fluteplayer in the field of improvised music in the Netherlands (Volkskrant).

Ronald Snijders produced and released twenty albums with innovative compositions of his own, varying in style from North American jazz and fusion to new African Caribbean jazz (among which Surinam kasekojazz and kawinajazz), Brazilian grooves and other worldjazz. Furthermore he played on albums of the Dutch Willem Breuker collective (in which he worked between 1974 and 1976), the partly Surinam Fra Fra big band and the Moroccan Weshm.

This, his debut release on his own Black Straight Music label, is a true collectors item. Not only does he play every instrument on the album, he is composer, producer and album art designer! Smooth, dense and spacey funky jazz with an exotic Brasilian-tinged flavour is order of the day. The man ticks every box here...enjoy!

1) Skin Source
2) Seven Wings
3) Galibi
4) Exchanged
5) Dagoe Sji Jorka
6) Busy Street
7) Todo Bere
8) Roseille
9) Temple Of Faith
10) Brazilian Blue

Explosivo!

Nelsinho e Sua Orquestra - Explosivo London LLB-1060 (1970)

An ultra-hip and incendiary big band bossa and samba blast courtesy Maestro and trombonista Nelsinho with suitably exploded cover art!

Lots of groovy uptempo and well selected tracks makes this a very solid listen. Dance orientated beats with punchy horns and slick rhythm guitar in the mix, punctuated by vocals on some tracks. Light the fuse, stand well back and enjoy...

1) Fumace
2) Essa Moça Tá Diferente
3) Coqueiro Verde
4) Samba Sem Viola
5) Um Samba Só Não Dá
6) Pigmalião
7) Fotograma
8) Aqui É O País Do Futebol
9) Se Voce Quiser Mas Sem Bronquear
10) Morte Do Amor
11) Comunicação
12) Vou Deitar E Rolar

Melvyn Price

Melvyn Price - Rhythm and Blues Mel-Dor PR-1003 Sweden (1974)

"Melvyn Price? Sounds familiar but I can't quite place him". Not surprising really as Detroit born Price is virtually unknown outside of Sweden where he made his home in the late sixties.

His debut LP release in 1970 entitled "Jazzbalettrytmer" or Jazz Ballet Rhythms was pressed on his own private label "Price" after requests from Jazz Ballet students. However this album, his third, a totally obscure Swedish only release is his finest effort. A percussive and funky jazz belter!

Joining Price on congos and bongos is an all Swedish rhythm section and includes Björn Alke & Guy Roellinger on bass, Björn Wolff on piano, Fredrik Norén & Gunnar Nyberg on drums, Ed Epstein on tenor sax and Jon Dill & Luis Agudo helping out on persussion. Melvyn Price can also be heard (obviously) on trombone.

I think you'll like this one, let me know what you think...

1) Voodoo Love Dance
2) Toward Brazil
3) Behind Kungsträdgården
4) Happiness Is...
5) Five O'Clock Traffic
6) Last Train

Now available at Wax Poetics Digital

http://digital.waxpoetics.com/search/?artist=Melvyn+Price

The Brazilian Suite

Rogerio Duprat - The Brazilian Suite KPM-1071 (1970)

"A modern theme suite written in filmic style by the highly acclaimed Brazilian composer Rogerio Duprat".

Mainly notable for forging the Tropicalia movement and his associations with Caetano Veloso, Gilbert Gil, Tom Zé, Gal Costa, Nara Leão and Os Mutantes. Rogerio Duprat was to abandon the commercial market following problems with deafness caused by interminable hours of studio time, and began to dedicate himself to the production of library music.

This early example for the legendary London based KPM library was never to be bettered in my opinion. A melting-pot of percussive and funky rhythms and moods, imagine a movie score to a spy flick set in Rio that never was - and you'll have some idea.

1) Theme Montage
2) Setting The Scene
3) Spotlight
4) Commerce In Rhythm
5) Percussion Highway
6) Tropical Green
7) Meeting In Brazilia
8) Rio Back Street
9) Flute Formula
10) Skilful Manoeuvre

Hora Time

Rildo Hora - A Vez e A Hora De Rildo Hora RCA Victor SBB-0435 (1971)

If you find Brasilian choro and frevo a little too ethnic or hardcore for your tastes, may I suggest this small offering as a way in. Samba legend Rildo Hora constructs this perfectly realised album of styles that for me encapsulates the sound of Brazil. The sound may derive from homegrown and regional musical styles but in Rildo's hands we have something greater than the sum of its parts. Be sure, this album rocks.

Virtuoso harmonica player, guitarist and composer Hora lets loose a cracking batch of party driven tunes - groovy and danceable, vocally stirring and percussively infectious, a real winner and a musical education.

1) Leonor
2) Panorama, Segundo Rodrigo
3) Assim Na Terra Como No Céu
4) O Pião
5) O Empanador
6) O Saci-Pererê
7) A Canoa
8) Tantas Ruas Namorei
9) Canção Que Nasceu Do Amor
10) Ciranda, Terezinha E Passaraio
11) O Contador De Estórias
12) Chorar Pra Quê

Tokyo Union's Scandinavian Suite

Tatsuya Takahashi & The Tokyo Union - Scandinavian Suite TBM-1005 (Jpn) (1977)

Big band pyrotechnics by the 20-piece Tokyo Union. This is no sleepy Scandinavian voyage, more a groovy collection of orchestra and electronics in the shape of six varied stormers written by legendary Japanese bandsman Bingo Miki and perhaps a little more accessable and funky then some of the big band outings released under his own name around the same period.

Familiar orchestral colours are melded with more progressive and funky arrangements and styles of the period culminating with the monstrous cop-show theme sounding "Children At Play". A surprising and original jazz album that's a pleasure from start to finish.

Yoshifumi Tada, Hiroshi Abiko, Motoharu Suzuki & Tomokazu Saio - trumpets
Eijiro Miyazaki, Kiyotaka Uchida & Koichi Okada - trombones
Kenichi Sudare - bass trombone
Keiji Hori & Hiroshi Yaginuma - alto saxes
Seiji Inoue - tenor sax
Takemi Ishikane - baritone sax
Masahiro Kanayama - piano
Yoshinori Ishida - bass
Kazuhiro Ebisawa - drums
Kenichi Araya & Takao Naoi - guitars
Yuji Imamura - percussion
Mickey Yoshino - synthesizer
Tatsuya Takahashi - leader & tenor sax

Part I Midnight Sunrise
Part II Sketches Of Munch
Part III The Legend Of Garbo
Part IV Anderson Fantasia
Part V Sibelius' Testament
Part VI Children At Play

London All Stars

Le London All Star - British Percussion Barclay BB-86 (1965)

It's always nice to share a rare record but what about an album that many cite as not existing at all!

Picture the scene, February 1965 and Eddie Barclay, the millionaire playboy owner of Eddy Mitchell's label, the eponimous French Barclay asked Bob Graham, the most prolific and often uncredited session drummer to emerge from the UK pop scene, to produce an album for the French market. Credited to Le London All Star, "British Percussion", released in September 1965, was a stereo showcase, and featured a stunning array of British musicians.

The higher calibre of studios and musicianship in London attracted many acts from abroad. The French pop star Eddy Mitchell was a regular visitor, recording at least eight EPs in London. For Mitchell's releases the session men were dubbed "The London All Stars". Graham recalls: "Charlie Katz rang - 'please be at Pye records, don't ask who the artist is'. I plodded along there, said to (engineer) Bob Auger 'who is it tonight?' - 'Eddy Mitchell', 'who the hell is Eddy Mitchell?". Every record on the Barclay label credited to The London All Stars features Graham, Jimmy Page and Big Jim Sullivan. Other French acts like Francoise Hardy, Michel Polnareff, Eric Saint-Laurent and Sylvie Vartan would also record in London.

Graham used his session colleagues - guitarist John McLaughlin, bassist Alan Weighell, drummers Andy White and Ronnie Verrall. Jimmy Page's contribution was significant. He played lead on every track and co-wrote three with Graham. Before the album's release, Barclay offered Graham a job. "I was taken on as the head of Barclay Records UK. I didn't speak much French, I had an interpreter with me all the time. My job was to produce English artists for the French market. When I joined Barclay I began to stop playing, I just got so tired from the work load. I was tired of playing music I didn't like. Clem Cattini took on a lot of the drumming when I moved from session work".

Finding English language acts for the French market was a somewhat random process. "We put ads in the trade papers - 'artists wanted for auditions'. I produced the In-Betweens (the precursors of Slade) for Barclay at Pye Number 2. I also produced an EP from the singer from Billy Gray and the Stormers, he was called Le Frizzy One. That was Carter, Lewis and Jimmy Page". Ultimately, the French didn't take to the British acts: "You could not get anything English off the ground in France. I got pretty fed up flying backwards and forwards twice a week and I decided to call it a day with Barclay".

But what of the music I hear you ask. Well, it's a joy from start to finish. A bombastic blend of mod groovers that's hard to match - a supreme and swinging blend of jazz and R 'n' B. Banks of trumpets, trombones and french horns blare to the incessant "Mohawk" meanderings of Kenny Salmon's organ. Not only do we have Led Zep's Page on lead but an early outing for John McLaughlin on rhythm guitar makes this an important date. Mr.Page himself once stated,”No such record was made”, and numerous other collectors have also declared this record as myth.

Recorded in Pye Studios, London in a single session - this is history in the making. Their version of 'Image' is perhaps the finest I've ever heard. The real sound of "Swingin' London".

1) Stop The Drums
2) Mexican Shuffle
3) Coming Home Babe
4) Drum Stomp
5) Watermelon Man
6) More (Theme from Mondo Cane)
7) Beefeater
8) Image
9) Night Train
10) Spanish Armada
11) Lord Byron Blues
12) Salvation

Waltel Branco

Waltel Branco - Assim Na Terra Como No Céu Fermata FB-298 (1970)

Here's an oddity perhaps someone can throw a little light on. Massively groovy soundtrack work by Waltel Branco from TV novelas made in 1970. The bulk is lifted off the classic 'Assim Na Terra Como No Céu' however it features titles that were not on the original soundtrack release.

All tunes are penned by Branco but musicians include Roberto Menescal, Jose Roberto (Azymuth), Umas & Outras and the enigmatic Orquesta CBD amongst others. Very funky in places with many tracks infused with the progressive and complicated arrangements of turn-of-the-decade Brasil. Essential...

Carlos Piper Spectacular!

Carlos Piper Orquestra - O Som Espetacular Da... Continental PPL-12.196 (1965)

A huge barnstorming orchestral affair courtesy the enigmatic trumpeter and bandleader Carlos Piper. If you're a fan of in-your-face big band blow-outs then this is for you. A great selection of Brasilian, international and movie hits of the day given the 'off the scale' Piper treatment. Who's heard a better Hava Nagila than this - one to drop at a flagging Barmitzvah.

1) Nana
2) Balanço Zona Sul
3) Bye Bye Love
4) A Hard Days Night
5) Hava Nagila
6) 55 Days At Peking
7) Pink Panther Theme
8) From Russia With Love
9) Consolação
10) Aurora
11) Perdido
12) Like Someone In Love

Tilim

Arnaud Rodrigues - Tilim Copacabana CLP-11621 Soundtrack (1970)

I had planned to post this next week - but what the hell! There's no time like the present.

A rare score to a bittersweet black and white Brasilian telenovela about a pitiful young orphan boy, written by Dulce Santucci and directed by Wanda Kosmo - I bet you're excited now!

But wait, this is a lovely soundtrack full of wonderful surprises. Who can resist the dreamy groove of "Lot" or the funky "Victor Tema". Arnaud Rodrigues produces, performs and co-writes some of the tracks along with Adylson Godoy, Eduardo Gudin and Mario Albanese - there's even a couple of tunes penned by Toots Thielemans and Barry, Robin & Maurice Gibb. Add the production talents of Jose Briamonte, Cyro Pereira and Luiz Chaves to the proceedings and you have something very special indeed.

1) Tilim
2) Lot
3) Ruas
4) Imaginação
5) Lady Fingers
6) Seven Seas Symphony
7) Mamãe Adriana
8) Tema De Victor
9) Brincando De Brincar
10) Cris e Raul
11) Tema De Anita
12) Eu, Tilim

Bossa Brass

Bossa Brass - Apresenta A Música Maravilhosa De Antonio Carlos Jobim Plaza PZ-13002 (196x)

I don't know a great deal about this set up but it's a fun ride while it lasts. A catchy, jaunty hommage to Jobim with a veritable cornucopia of stellar artists participating.

Recorded at Estudio CBS e Rio Som, produced and directed by Henrique Gandelman and arranged by Clelio Ribeiro. The band features no less than Waltel Branco & Waldir Marinho on bass, Geraldo Vespar on guitar & Gilson Mello on rhythm, "Fats" Elpidio on piano, Waldemar Moura on trombone, Clelio Ribeiro and Jose Barretto on trumpets amongst others...

1) Vivo Sonhando
2) Agua de Beber
3) Garota de Ipanema
4) Desafinado
5) Insensatez
6) Só Tinha de Ser Com Você
7) Corcovado
8) Meditação
9) Samba de Uma Nota Só
10) O Morro Não Tem Vez
11) Só Danço Samba
12) Inútil Paisagem

Rino De Filippi

Rino De Filippi - Riflessi Edi-Pan MPS-3017 (1975)

A slick, stand-out Italian library LP for your delectation. I'm a little pressed right now so I'll let the tunes speak for themselves - this one's choc-a-block full of summery, keyboard-laden moods and grooves.

1) Riflessivita
2) Iconoteca
3) Club
4) Viaggio Del Mondo
5) Ultime Luci
6) Collettivita
7) Laguna Borroca
8) Galleria Borroca
9) Burlesco
10) Momento Spensierato

Solar Visions

Larry Bright - Solar Visions Crosswind CWR-301 (1978)

Larry Bright's brilliant fusion drumming has earned him a place as one of the hottest jazz performers around, he now coaches drummers and has become somewhat of a celebrity recently with the release of a video drumming tutorial. His advanced rhythm patterns and explosive style have gained him acclaim as the preferred drummer for progressive jazz artists worldwide.

Larry has played with many leading musicians including Sun Ra, Carl Filipiak, Curtis Mayfield, John Lee Hooker and Ben E. King, to name a few.

He made a couple of albums, but most notably this effort is a stunning underground classic. Awe inspiring spiritual jazz coupled with smooth and complex fusion rhythms, dancefloor-friendly in places but super cool throughout - a real favorite of mine.

This cosmic funky fusion masterpiece was released on the tiny Pennsylvania independant Crosswind Records and has almost vanished into obscurity - typical!

1) Aura Part II
2) What About Me
3) The Big Apple
4) Aura Part I
5) Midnight Magic
6) Tomorrow's End
7) Solar Visions
8) Beauty And Grace

Steve Kuhn

Steve Kuhn - Live In New York Cobblestone CST-9020 (1972)

Brooklyn-born Steve Kuhn was fascinated with jazz very early in his life. He began classical piano lessons at age five and soon began to "improvise and syncopate the classical repertoire."

In his early teens, Kuhn studied with legendary teacher Margaret Chaloff who schooled him in the "Russian Technique", an invaluable tool for tone production and projection. Chaloff's son, Serge, baritone saxophonist for Woody Herman, hired the 13 year-old pianist to play in his group. Throughout his teens Kuhn continued to play in Boston jazz clubs with visiting celebrities; Coleman Hawkins, Chet Baker and Vic Dickenson.

After graduation from Harvard College, Kuhn attended the Lenox School of Music where he met and played in a group with fellow-students Ornette Coleman and Don Cherry. The faculty included Bill Evans, George Russell, and Gunther Schuller. While at Lenox, Kuhn met trumpeter Kenny Dorham and began a two-year stint, interrupted when Kuhn was asked to join John Coltrane's newly-formed quartet.

Kuhn next joined Stan Getz's band, which included bassist Scott LaFaro. After a year with Art Farmer, he formed the first Steve Kuhn Trio, with drummer Pete LaRoca and bassist Steve Swallow. At the end of the 1960's he spent four years living in Europe, where his performances had a significant impact upon local players. Upon returning to the United States, Kuhn began his long-term affiliation with ECM, resulting in a string of important albums including Trance, Ecstasy, Non-Fiction and the collaborations with Sheila Jordan; Playground and Last Year's Waltz.

This may well be my favorite Steve Kuhn LP, a seldom documented but brilliant live performance that features the compulsive groover "Gloria's Theme", if you're not familiar with it then I envy your first listen.

Our leader's piano & electric piano are joined on this set by George Mraz on bass, Sue Evans on percussion and a stellar performance by Bruce Ditmas on drums.

1) Gloria's Theme
2) The Child Is Gone
3) The Real Guitarist In The House
4) The Saga Of Harrison Crabfeathers (aka Poem For No. 15)
5) Chicken Feathers
6) Ida Lupino
7) Raindrops, Raindrops
8) Thoughts Of A Gentleman

Guilherme Coutinho

Guilherme Coutinho e Seu Conjunto - Procura-Se Chantecler CMGS-9040 (1971)

Here's another genre blurring recording courtesy organist Guilherme Coutinho. A mammoth melange of groovy, funky club tunes just ripe for dancing. Infectious samba flavoured afro-latin cuts give way to funky breakbeats and easy jazzy ballads, all in all a little known and catchy tour de force. Miss this one at your peril...

Joining Guilherme on piano & organ are Fernando on drums & percussion, Tangerina on bass and the soulful vocals of José Carlos and Walter Bandeira.

1) Saravá Babalorixá
2) Faléncia
3) Tributo A Mim Mesmo
4) Adios, Guadalajara
5) Vai Lá
6) Crepúsculo
7) Papa Jimmy
8) Vira Bróto
9) Trepadeira
10) Bar Do Parque
11) Baby
12) Belo Kid

Mike Nock Underground

Mike Nock Underground - Between Or Beyond MPS/BASF CRM 722 (1970)

Mike Nock has long been one of the top modern jazz keyboardists to emerge from New Zealand. He began taking piano lessons from his father when he was 11 and began gigging four years later and at 18 moved to Australia. After heading a trio that toured England in 1961, Nock went to the U.S. to attend the Berklee College of Music. After a year he dropped out of school to be the house pianist at a Boston club and had opportunities to work with Coleman Hawkins, Pee Wee Russell, Phil Woods and Sam Rivers among many others. Nock gained some recognition during this period as a member of Yusef Lateef's band (1963-65). He led his own combos, gigged for a short period with the Jazz Messengers and eventually moved to San Francisco where he worked with John Handy.


During 1968-70 Nock was involved with fusion, leading the seminal jazz-rock group The Fourth Way. After a few years he became a studio musician in New York (1975-85) and then returned to Australia where he has been busy as both an educator (teaching at the N.S.W. Conservatorium of Music) and as a musician, occasionally revisiting the U.S. As a leader, Nock recorded as early as 1960 (Move which was recorded in Australia) and has made records for Capitol (with the Fourth Way), MPS & Improvising Artists (in a band called Almanac).

This album, recorded in the legendary MPS Studio Villingen features Mike Nock on piano & electric piano, Ron McClure on electric bass and Eddie Marshall on drums in a funky, spacey, modal jazz groove. One of the toughest to find from the Saba/MPS/BASF stable.

1) Outfall
2) The Squire
3) Hobgoblin
4) Between Or Beyond
5) Space Bugaloo
6) Lady Love
7) Wax Planet
8) Denim Dance

Peru's Bossa 70

Bossa 70 - Bossa 70 Philips 6350-003 (Peru) (1970)

Bossa 70 was the brainchild of Nilo Espinoza, a Peruvian musician with a Brazilian heart. Nilo, a classically trained musician, was the top flute player in Peru in 1960. In 1961 he was honored with a scholarship to Austria to study advance classes of his instrument as well as other kinds of wind instruments. He lived in Europe for five years. It was during that time that he developed a profound attraction for all forms of the jazz language.

When he returned to Peru, in 1966, Nilo approached the best musicians he could find to form a group to play jazz and Bossa-nova, the new music craze from Brazil. Very soon they found out there were not too many followers for their preferred musical styles. The group decided to play popular dance music on a part time basis so everyone in the band could make a living. They named the group Los Hilton's, because they got a gig as the house band in the best International Hotel in Lima, Peru, called "Hilton".

They had several singers during the time they played at the Hilton. This was their major weakness, since it was hard to find a singer that could feel comfortable singing jazz and Bossa-nova as well as popular music. In 1967 they recorded an long-play under the name Los Hilton's, which became extremely rare, since the Peruvian record label printed only 200 copies. The tracks on the album are a compilation of original compositions with some popular songs, played in The Hilton' s style.

In 1968 the group got busy giving concerts of jazz and Bossa nova. They decided to change their name to Bossa 70, to reflect the musical style they were going to offer, specially after their main singer was replaced by Carmen Rosa Basurco. Carmen Rosa was a beautiful black woman that could sing in English, Portuguese and Spanish, and also had an electrifying personality with good control of audiences. As a means to promote their new name the group recorded a mini-lp with four fantastic songs. 100 copies were pressed and giving as a prize during the concerts and to personal friends and family.

In 1970, to commemorate the anniversary of the band, they recorded a long-play for Phillips, represented by El Virrey in Peru. The label pressed 300 copies that were sold quickly. In 1972 the members followed their own musical paths, Enrique "Pico" Ego Aguirre, leader of Los Shain' s went on to form the band Pax. Otto De Rojas played keyboards on the Traffic Sound "Tibbet's Suzetts" album & finally Nilo Espinoza formed Nil's Jazz Ensemble who went on to record the only great jazz funk lp from Peru (MAG-LPN 2535).

Nilo Espinoza: Sax, Flute & Vocals
Enrique Sescun: Trumpet,Trombone & Vocals
Carmen Rosa Basurco: First Female
Otto De Rojas: Progressive Keyboard & Chorus
Roberto Rafaeli: Bass & Chorus
Tito Cruz: Drums & Percussion
Enrique "Pico" Ego Aguirre: First Electric Guitar & Rhythm Guitar
Manuel Marañon: Percussion
Adolfo Bonariva: Timbales & Cowbell

1) Nubes
2) Get Out Of My Way
3) Te Quiero Bien
4) Think
5) Nunca Te Olvidare
6) No Sabes Nada De Mi
7) Me Quedo Con El Shingaling
8) Otra Vez
9) Birimbao
10) Cuelgalo Bien Alto

African Voodoo

Manu Dibango - African Voodoo PSI PSI-3036 (1972)

It is almost impossible to find a fitting description for a musician such as Manu Dibango who has made such an enormous contribution to African music as a whole. He is a saxophonist, nicknamed 'The lion of Cameroon'.

Originally trained in classical piano, his musical career began in Brussels and Paris in the 1950s. 1960 finds him in Congo as a member of African Jazz led by Joseph Kabasele (Le Grand Kalle)! He formed his own band in Cameroon in 1963, moving to Paris in 1965. His international breakthrough came in 1972 with Soul Makossa.

Manu Dibango is extraordinarily versatile, having played almost every style of music you care to mention: soul, reggae, jazz, blues and even this rare French library album on PSI. Forget what you know about the man for this one, considered by some as not only one of his finest albums but one of the strongest unreleased library LPs ever recorded. There's real strength in depth with many stand out tracks blurring the boundaries between Afro-Latin jazz, funk and fusion - a wonderful eclectic listen from start to finish.

1) Groovy Flute
2) Soul Saxes Meeting
3) African Pop Session
4) Walking To Waza
5) Out Of Score
6) Ba-Kuba
7) Zoom 2000
8) Aphrodite Shake
9) Wilderness
10) Jungle Riders
11) Iron Wood
12) Coconut

Central Do Brasil

Ronie & Central Do Brasil -S/T Tapecar LP-X.27 1975

Ronie Mesquita is most known for his stint as the replacement drummer of Bossa Tres, the group led by the great Luis Carlos Vinhas. Tempted by the lures of the bossa nova boom in America, and partly to escape the newly installed, US funded military regime, he along with many of his contemporaries went abroad to ply their trade. Playing in groups such as Gemini 5 & Bossa Rio (Sergio Mendes' b-group), he toured religiously covering the US, Mexico and Japan.

Returning home in the early 70's, he was at a crossroad. The demand for trios were at an all time low, safe dinner music was out. The underground was bubbling, with Tropicalia amongst the hottest of topics with his fellow musicians. The extensive travel partaken by said musicians had opened their eyes to many genres of music, and in turn seeped into their creative output.

Feeling ready to step out from the shadows of a decade long sideman, he returned home to assemble a crew of rotating musicans called Central Do Brasil. This lp being the 2nd release of his frontman career after the immortal "Bresil 72" of the the same year. It has elements of his samba jazz drumming roots, but peppered with a contemporary hint of soul with vocal arrangements by Octavio & Sonia Burnier of Burnier & Cartier fame.

Featuring: Ronie Mesquita (drums/percussion); Jorjão (electric piano); Decio Cardoso (bass);Zé Carlos (flute,tenor sax); Octavio Burnier (guitar); Jayme Luiz, Loawa Braz (vocals); Sonia Burnier, Raymundo Bittencourt (chorus); Chacau (Percussion)

1) Remelexo
2) Atoa, Atoa
3) Albatroz
4) Você Não Ser
5) Falsa Baiana
6) Visgo De Jaca
7) Somente O Samba
8) Madeira De Lei
9) Deus Te Acompanhe
10) Essa Maré

Big Parada

Formiga e Sua Orquestra - Big Parada Elenco ME-59 (1970)

Lots of cool Brasilian funkiness courtesy the legendary trombonista Formiga. One of the harder Elenco pressings to find, this LP features covers of the day done to a backdrop of blaring horns, organ, electric guitar and fat drums. Enjoy...

1) Pout-Pourri: I'm A Man - Looky, Looky
2) Teletema
3) Spinning Wheel
4) Chi Non Lavora Non Fa l'Amore
5) Pout-Pourri: Superstar - I've Been Hurt - My Pledge Of Love
6) Pout-Pourri: Smile A Little Smile For Me - Yester-Me Yester-You Yesterday - Everybody's Takin'
7) Hey Jude
8) Midnight Cowboy
9) Sugar Sugar
10) Pout-Pourri: Maquiagem - Take It Easy My Brother Charles - Pena Verde - Cara A Cara

O Grupo

O Grupo - O Grupo Odeon MOFB-3533 (1968)

Here's the rare debut album by O Grupo featuring a young Jayme Além of 'Jayme & Nair' fame. Truly gorgeous harmonising by this vocal quartet and a beautiful listen all the way through.

Stellar production talent in the form of Antonio Adolfo, Nelsinho & Ugo Marotta lend this recording some real class.

1) Alegria De Carnaval
2) Januaria
3) Passa Por Mim
4) Pelas Ruas Do Recife
5) Rosa Branca
6) O Bonde
7) Sa Marina
8) Eu E A Brisa
9) Morrer De Amor
10) Travessia
11) Diane
12) Maria, Carnaval E Cinzas

OK - until further notice I'm ditching the radio folks!

A more user friendly version is in the pipeline & will be incorporated into the new site at some point in the near future.

McGill Clan

McGill Clan - McGill Clan Orfeo 90526 (Uruguay) (1969)

No! Not some kilted Highland bagpipe troop but the exotic, psychedelic, Uruguayan jazz combo. This great LP is stuffed with fresh sounding cover versions and original arrangements, featurings the most obscure, groovy (and funky!) cover version of I'M A MAN (aka SOY UN HOMBRE). This particular psychedelic hammond version is propelled by funky bongos bashing away in the background with a lightly twisted, latin arrangement!

Lots of funky hammond and drums, acid guitar licks and fender bass riffs and superb groovy jazz with breakbeat drumming in the shape of DAYDREAM. The wicked fender basslines of AQUARIUS / LET THE SUNSHINE IN mashed together with lots of tempo changes, breakdowns and moody, funky rhythms. Groovy jazz instrumental PALMITOS CON SALSA GOLF (ultra-catchy psych organ, jazzy horns, funky drums, guitar, piano and bongos!) and the jazzy psycho-beat sounds of PROVISORIO SOUL. Oh, and they do a jazzed-up, groovy Mod sounding version of UP, UP AND AWAY aka ARRIBA, ARRIBA Y ADELANTE!

A real monster!

1) Acuario - Deja Que Entre El Rayo De Sol
2) Tu Me Fascinas
3) Soy Un Hombre
4) Cosas Amorosas
5) Provisorio Soul
6) La Feria De Scarborough
7) Ensueño
8) Arriba Arriba Y Adelante
9) Palmitos Con Salsa Golf
10) Camino De Moras
11) Buenas Noches Alejandro

88 Keys And A Girl

Reg Wilson - 88 Keys And A Girl United Artists UAS-6692 (1968)

Reg Wilson moves in many directions, but the music always comes out in good taste. I like his originals. Another big asset here, I feel , is the voice of Corinna Manetto, a girl who is obviously a good musician. In the past, I have frequently indulged a taste for wordless vocalizing when capable voices have been avaliable to me, & I really appreciate the way Manetto anticipates the flow of music. Background or foreground , under or over , Reg Wilson's music comes off. I like it...note by Duke Ellington.

Not enough Reg's for me in the lexicon of groove, save Tilsley & Guest! Here's a classy little rarity I'm sure will be appreciated.

1) Theme From The Thomas Crown Affair
2) 888
3) To Make It Right
4) Hushabye Mountain
5) Sylvia's Theme
6) At Home With Holmes
7) Knowing When To Leave
8) Tony's Theme
9) Sunny

Greg Alper

Greg Alper Band - Fat Doggie Adelphi AD-5009 (1978)

A happy & healthy 2007 to you all. Have been a little quiet on the posting front but am remedying that with this prize peice of groovy jazziness.

This is a quirky but strong album full of surprises. Heaven knows why it isn't more sought after considering the pedigree of the musicians and the quality of the tunes.

A very mixed bag this - a couple of opening dancefloor stompers give way to a handful of blisteringly tight & catchy jazz nuggets that you'll find yourself playing over & over again whilst uttering "why have I never heard of this LP?" It's this second half of the album that does it for me.

Along with Alper on saxes & flute, credits go to Rich Oppenheim (as) Ray Anderson (tb,vo) Al Clark (perc,vo) Richie Morales (ds) Ernie Provencher (b) Al Scott (b) Chuck Loeb (g) Steve Gutman (tp) Debbie & Olive Pointer, Jean Shaw (bg-vo).

1) Hole In Your Pocket
2) Fat Doggie
3) Give It Up
4) Huevos Nuevos
5) Cantaña Baratta
6) Suite For Renee
7) Five Verses For
8) Don't Ever Let Me Catch You

Bah, Humbug

Floral Pops 70 - Drum Christmas Para Bailar DIM Serie Especial E-108 (Spa) (197?)

A festive diversion - normal service will be resumed shortly!

I'm not a big fan of the Christmas record but this novelty is worth a listen. An obscure Spanish release with a groovy loungecore edge complimented by wordless 'Barbara Moore' style vocals. Might raise an eyebrow or two at the Christmas party.

1) Jingle Bells
2) White Christmas
3) Rudolph, The Red Nosed Reindeer
4) Here Comes Santa Claus
5) Winter Wonderland
6) Blue Christmas
7) When The Saints Go Marching In
8) Silent Night
9) I Saw Mammy Kissing Santa Claus
10) Santa Claus Is Comming To Town
11) Joy To The World
12) Ave Maria
13) Auld Lang Syne

Franko Xavier

Franko Xavier - Same Odeon SMOFB-3845 (1974)

Here's a gem. A high calibre funky samba soul LP you shouldn't be without...

1) Eu Sou Marinheiro
2) Di Bambue
3) Nana
4) Maria, Mariazinha
5) Linda
6) O Chamante
7) Antes Pouco Que Nenhum
8) Mane Joao
9) Somos Todos Irmaos
10) Canto Sul
11) Chuva Miuda
12) Tema Do Amor Amado

Stop, Look & Listen

Mario Castro Neves - Stop, Look & Listen Canadian Talent Library CTL S-5211 (1977)

An obscure Canadian library release by an artist who needs little introduction. So I won't, except to say any fans of that female led Sergio Mendes sound should not go without this little gem.

1) Sometime Love Affair
2) Feelings
3) Subtle Chemistry
4) All You Get From Love Is A Lovesong
5) Boca Grande
6) Stop, Look & Listen
7) Summersoft
8) Why Can't There Be You
9) This One's For You
10) Open Up (Try Understanding)

Keeping it short 'n' sweet today as I'm overwhelmed by other commitments and it's all hands on deck with regard getting the new site live - stay posted, it'll be worth the wait!

Caçhasa Suite

Lars Färnlöf, Staffan Abeléens Kvintett & Radiojazzgruppen - Svit Caçhasa SR Records RELP-1152 (Swe) (1973)

“Caçhasa” is singularly impressive, showing that while trumpeter and composer Färnlöf was quite comfortable writing for a larger group, he kept the musical landscape reasonably uncluttered and gave the ensemble and its component parts ample room to swing. Besides the members of the quintet, the soloists on “Caçhasa” include some of Sweden’s best — pianist Bengt Hallberg, guitarist Rune Gustafsson, saxophonist / flautist Lennart Åberg, drummer Egil Johansen, trombonist Lars Olofsson, baritone Erik Nilsson and others. This perceptively written and handsomely performed Jazz album really impresses and grooves hard from the opening bar to the last.

THE STAFFAN ABELEEN QUINTET
Lars Färnlöf : cornet, flugelhorn
Björn Netz : tenor saxophone
Staffan Abeleen : piano
Fredrik Norén : drums
Red Mitchell : double bass
THE SWEDISH RADIO JAZZ GROUP
Bosse Broberg : trumpet
Bertil Lövgren : trumpet
Jan Allan : trumpet
Håkan Nyquist : french horn
Lars Olofsson : trombone
Sven Larsson : bass trombone, tuba
Bertil Färnlöf : oboe, cor anglais
Arne Domnérus : alto saxophone
Claes Rosendahl : tenor saxophone, flute, alto flute
Lennart Åberg : soprano saxophone, tenor saxophone, flute
Erik Nilsson : baritone saxophone
Bengt Hallberg : piano
Rune Gustafsson : guitar
Stefan Brolund : electric bass
Egil Johansen : drums
Jan Bandel : congas

1) Mörkret Ler
2) La Bergerie I
3) La Bergerie II
4) Caçhasa
5) Delta Queen

Cult Of Marius

Marius Cultier - Ouelele...Souskai Fiesta 360 066 (1975)

This famed pianist was born in Martinique and when as a teenager he began touring the Caribbean & French Antilles participating in various events & contests it wasn't long before he gained notoriety from his peers. At 20 he shifts to Canada where his fame there allows him to promote the young jazz talents of the Antilles.

This album, cut in France has become somewhat of a cult latin jazz masterpiece - and whilst retaining that West Indian flavour is infused with the lateral jazz expressiveness of the day and a compulsive funky flare that is irresistable on the dancefloor. Don't miss the percussive fusion bomb 'Diamant', a true tour de force...

1) Ouelele
2) Missie Sirop
3) Diamant
4) Laini
5) Souskai
6) Ni Tellement Longtemps (Eh Oui Doudou)
7) Gade Boudin Madame
8) Rezouk Souvenir

Uncommonly good Werther!

Werther - Werther Stylo SSLP-1 (1970)

Here's one you don't see too often. A rare slice of jazzy bossa on the obscure Stylo label.

Werther (acoustic guitar &,vocals); Tranka (acoustic bass, tenor sax, piano); Luiz Roberto (drums); Bill Horne (flute, trumpet, melophone); Wanda, Helo, Malu, Carreteiro and Rupp (male/female chorus) with guest musicians featuring Edison Machado (drums); Naná Vasconcelo (percussion); Boi (bongo) and Toninho Silva (acoustic guitar).

With songs by Werther/Gil, Ricardo Arnt, Arthur Verocai/Paulinho Tapajós, Toninho Horta, Caetano Veloso and others. Slick, infectious and haunting - this LP delivers on several fronts.

1) Terça-Feira
2) Leilão
3) Catavento
4) Mudança
5) Litoral
6) Estuário
7) Mararia
8) Lenda
9) Aprestentação
10) Rei Do Chão
11) Dimensão
12) Ave Maria

Blog Radio

With the jukebox you can control which song you want to hear! I have kept the file quality to size ratio to a happy medium to ensure decent sound whilst download pauses are connection speed dependent. The selection will be updated frequently so remember to tune in. Enjoy...

Bossa Filipino

Bong Penera - A Samba Song Penny Rose TSP-5190 (Phil) (1974)

A SAMBA SONG is Bong Penera’s debut album. A Samba Song – as bright as the sunny weather of Manila, is one of the earliest compositions of Bong Penera with the Batucadas. This tune is further given an infectious flow with Brazilian guest Singer Maria Dulce Soares Da Silva singing it in her native language. Copyright is 1974 and produced by Penny Rose Production, the back cover has a short story about the album written by Ding Quejada.

When in 1968, Bong Penera organized a jazz ensemble called the "Shades of Latin" there were certain forces which collaborated to dismiss jazz as a popular idiom as no more than an afterthought of the Existential Satre confined to a numbered few. There was no market for jazz or particularly for the Brazilian bag. And yet in was during these times that Sergio Mendes and Brasil '66 took the South American fever with them to Intercon and Astrud Gilberto to Sheraton and Gary Burton to workshops. Sadly though, one had to be moneyed to see them, understandably, an elitist sect was the only target and type of audience that could patronize jazz. The "Shades of Latin" played at Carbungco’s in Quezon City and in private parties whose people knew Jobim, Badin Powell, Mendes & Walter Wanderley. Eventually, as commercial music surged higher in the charts and the vitality of bossa nova or jazz was getting down under such groups as the "Shades…." had to stop and give way to the trends. The parties soon disappeared including the Carbanco stint, soon it seemed to have been announced that jazz has gone and that the "Shades…" have vanished to obscurity.

But despite the obstacles and brave enough to cross the currents of commercialization, Penera organized the BATUCADA in 1973 and rapidly made it to the top, a rise which he himself did not expect and which music critics describe as "Phenomenal." Perhaps the audience has matured or the trends have changed but whichever reason, concert after concert, performance after performance, the Batucada drew raves and ovations. Bong first involved his Batucada into the jazz revival movement at the Extension with his good friends Lito Molina & Co. and what happened afterwards is history. Offers for nightclub dates, travel abroad and recordings, television performances, movies scores and concerts soon came, Today, Bong Penera & the Batucada is practically the only jazz group that actually made it while using the Brazilian idiom. But why Brazilian? One may ask. Or what accounts for the wide appeal of the Batucada? What brings the jazz buffs to pack at Pension Filipina, Bacchus Pub and Batik Inn?

Firstly, the Batucada is probably the only jazz group that could remain a trio and still retain the sound of a full band. It’s a tease in a way and its diminutive size has baffled many. It plays music that is versatile, universal and certainly rhythmic. Of all the elements that make up the art we know as music, the most fundamental is rhythm. The pulse, the beat—this is the foundation of it all, natural and inevitable, growing out of life itself. The cycle of night and day, the turning seasons of the years, the beat of one’s heart, the steady pace of one’s footsteps, these things are always with us, we are surrounded by rhythm. Thus explains Bong as he points out the particular adherence to the Brazillian idiom and as to why he chose the name "Batucada" which means, "beat." Their music is just it –pulsating, never giving too much or forcing too much, sometimes aggressive, sometimes funky, or soulful and seasoned with sophistication and a case definitely beyond their years. There are depth but not the kind that is confined to the intellectual alone, and there is the dynamic creativity evident in their performances: not one piece is repeated exactly the same as it was first played. There is always something new to look forward to. This is obviously the reason why Bong’s concerts have always been full packed: the Thomas Jefferson Cultural Center had to drive away people for lack of room. The UP Los Banos Concert had to go on for three hours instead of the original one and half, or why the Phil-am life concert had to have a repeat.

The Brazillian syndrome with which Bong Pinera & the Batucada grew and permeated the local jazz scene is an act definitely arduous to follow. Their music rose out of pure talent and creativity devoid of any limitation so characteristic of our local jazz bands. Pong Penera is unique by and in himself. He is certainly an accomplished musician and one of the most gifted. He is of course many things too, being a poet, playwright, essayist, professor, painter all rolled into one. He plays guitar quite well and is gifted with an intimate, sensitive and poetic singing voice. His band aptly called the "Batucada" is also unique, Sonny Nabong plays bass, Nick Boogie is on percussion and Ding Poblete is on drums. And all these guys swing and sway with the Brazillian spirit you think that were imported from Rio. As you can see in this album. The girl who sings the Portuguese lyrics of the title tune is a Brazilian who goes by the name of Maria Dulce Soares de Silva, while Norina Ramirez does the English version. The fine supporting flute lines belong to Pete Canson.

This is Bong Penera’s first album (probably the first local jazz album) and he‘s naughty enough to pave packed only 10 songs. The feeling it leaves the listener is that of being "biten" and its goddamn great for a maiden LP.

1) A Samba Song
2) A Tear For Sunrise
3) Wordless
4) Longing
5) Rosita Maria
6) Beat Contemplation
7) Afraid To Be Known
8) And I Will Sing
9) Samba Madrugada
10) A Samba Song No. 2

Eclectic Elek Tricks

Elek Bacsik - Bossa Nova Fontana 460.112 TE (Fra) (1962)

Hungarian guitarist Elek Bacisk was a cousin of Django Reinhardt, but as Bacsik reminded Leonard Feather "we gypsies are all related!" and continued his tradition of blending swing and gypsy elements into a coherent, expressive jazz mode.

Bacsik initially studied classical violin and played gypsy songs in Budapest, then switched to jazz guitar. [In 1975 he recorded a violin album "Bird and Dizzy"]. As a teen, he recorded in a band with alto saxophonist Gabor Szabo and trumpeter Jozsef Quitter, then later toured Europe with Mihaly Tabanyi's band.

Bacsik moved to Paris in 1959, and through the early and mid-'60s recorded and played with visiting American musicians, among them Art Simmons, Quentin Jackson, Lou Bennett and Dizzy Gillespie. He also did sessions heading his own bands. Bacsik emigrated to America in 1966, and worked from 1967-1974 with Teresa Brewer before cutting his own sessions. He appeared at the 1974 Newport Jazz Festival and 1984 Olympic Games Jazz Festival in Los Angeles.

Elek was born in 1926 into a Hungarian gypsy family. He studied the violin at the Conservatory in Budapest but taught himself the guitar and went on to play jazz in Switzerland and France where he played with Dizzie Gillespie.

In 1962 he recorded a LP as leader "The Electric Guitar of the Eclectic Elek Bacsik". On this album his style displays a much closer affinity to Tal Farlow and Johnny Smith than the European gypsy genre where he overdubs a second, mainly rhythm guitar part.

In 1966 he moved to the USA but became submerged in the cabaret scene in Las Vegas. As Leonrad Feather puts it in his liner notes to "Eleck Bacsik: Bird & Dizzy" (Flying Dutchman) 75: "Bacsik was philosophical about the contrast of the matchless talent he displays here [on violin] and the total anonymity of his life in Las Vegas, where he has lived since 1967. "I spent a couple of years at the Riviera Hotel; moved around from one casino to another for a year; spent four years at the Hilton, and for the past year I've been at the Sahara". Asked whether he had ever had a chance to express himself in that so-called entertainment capital of the world, Bacsik promptly replied "No way!" I'd like to play some jazz club, and let the jazz audience hear me at some festivals".

In 1973 he began working with Bob Thiele and released two more LPs as well as playing at the Newport Festival. But just as this seemed to be bringing him to public attention once more he faded back into the shadows. He died in 1991 largely forgotten by the jazz community.

1) Desafinado ''Faits Pour S'aime''
2) Recado ''Loin De Fol''
3) Samba De Una Nota ''Chanson Sur Une Seule Note''
4) Stardust Bossa Nova

Sound Clips?

Am playing around with various audio extras to offer u guys. You should hear a brief preliminary sample as this page loads (don't worry - it won't loop you to insanity!).

What say you? On-demand sound samples from forthcoming posts/regularly updated background music? All feedback gratefully received.

My regards to you all...

Filó

Filó Machado - Filó Chantecler 2.08.404.102 (1978)

Singer, composer, multi-instrumentalist, arranger and producer Filó Machado was born in Ribeirão Preto (São Paulo) in 1951, on February 3rd. He started working as a singer in clubs when he was ten years old.

He has appeared with the most illustrious artists in international music such as Michel Legrand, Paul Mauriat, Jon Hendricks, Jane Duboc, Ivan Lins, Leny Andrade, Tito Madi, Joyce, Hermeto Paschoal, Johnny Alf, & Flora Purim to name but a fraction!

This, his debut album recorded in 1978 displays a variety of styles and is a hugely enjoyable listen boasting a handful of sultry & bouncy club tunes. In addition Aluizio Pontes & Roberto Sion add to the feel-good factor. Enjoy...

1) O Polvo
2) Viver E Sonhar
3) Tigre De Bengala
4) Ponta De Faca No Peito
5) Fatos Da Visao
6) Menino Diabo
7) Velha Cidade
8) Gira Sol
9) Pindorama
10) Ascensao

Jayme Marques

Jayme Marques RCA SPL1-2453 Spain (1976)

Jayme Marques was born in Campo Grande, capital of Mato Grosso del Sur, Brazil on June 12th 1936. After moving to Sao Paulo at 20, he arrives in Europe and soon to be homeland of Spain where he becomes musical director of La Orquesta Orfeo.

Notable jazz guitarist, composer and singer, Jayme Marques has collaborated with the likes of Augusto Algueró, Pedro Iturralde, Tete Montoliu, Ramon Farran. and Paco de Lucía, with who he fused flamenco with Brazilian music.

He has accompanied in world-wide tours such artists as Jacques Brel and Maysa Matarazzo, as well as sessions with Thad Jones, Lionel Hampton & Pat Metheny. He was largely responsible in introducing Bossa Nova and Samba to Europe.

Marques maintains his residence in Spain and in 1965 he moves to Palma de Mallorca where he he resides for 20 years, collaborating with Serrat, Josefine Baker, Tom Jones and Matt Monro. Creator of La Balerar Big Band, Marques ends his stay on the island directing the spectacular “In Memorian A Duke Ellington”. He then moves to Madrid where he lives at the moment, collaborating with Spanish television TVE.

This rare LP was produced & recorded exclusively for TVE for the Saturday TV program “Directísimo” in 1976. Presenter Jose Maria Iñigo personally requested Jayme Marques perform in the program, for which the musician prepared the tunes that appear on this record.

With great musicians like Rafael Ferro (keyboards), Pedro Iturralde (tenor sax and flute), Tito Duarte (percussion) & Pepe Sanchez (drums), this is an eclectic treat for lovers of jazz funk, big band jazz & bossa!

1) In The Mood
2) Dark Orchid
3) Boato
4) This Way
5) Balada
6) Little Brown Jug
7) Summertime
8) Garota De Ipanema
9) My Friend Willie
10) U.S.

Jazz Q

Martin Kratochvil's Jazz Q - Tidings Supraphon 1115 2450 (1977)

Czechoslovak organist, pianist, composer and successful owner of the BONTON label was a pioneer in the use of electronic keyboards and computers in music. In 1965, he founded his first amateur jazz group, the Jazz Q, a member of which was the well known flutist Jiri Stivin. But Jiri left the formation in 1970, when Martin changed his musical orientation, heavily influenced by the likes of Chick Corea and John McLaughlin.

Along with Martin's keyboards the band's setup here comprised Lubos Andrst on guitar, Premysl Faukner on bass and Jaromir Helesic on drums. Here's a nice slice of Eastern European funky jazz-fusion, recorded in Praha/Czech Republic in 1977.

1) The Bed-Time Witch
2) Resurrection
3) Footprints
4) Allegory
5) Icicles
6) Weathercock
7) Diamonds
8) Happy-Go-Lucky

'Harper'

Johnny Mandel - Harper Mainstream S-6078 (1966)

This is a different kind of cat named Harper... and excitement clings to him like a dame!

Private eye Lew Harper shows up early at the Southern California estate of Elain Sampson. She offers a drink, he declines, "I thought you were a detective," she says. "New type," Harper answers. Paul Newman memorably plays that new type in Harper, based on Ross MacDonald's The Moving Target. The first detective film in Newman's then 23-film career (he later reprised Harper in The Drowning Pool), Harper revitalized the genre. Newman's sleuth chews gum fast...and slips out of jams even faster as he unravels a twisted case of kidnapping and murder. William Goldman's clever screen-play throws quips and a parade of LA-LA-Land characters Harper's way. There's a woman of means (Lauren Bacall), a gun-toting attorney (Arthur Hill), a poolside gigolo (Robert Wagner), a boozy ex-starlet (Shelley Winters), a jazz junkie (Julie Harris), Harper's estranged wife (Janet Leigh) and the unholy order of the Temple of the Clouds (led by Strother Martin). Each may possess a clue. Or a bullet for Harper.

For me, this soundtrack has it all. A groovy main theme, a couple of cracking vocal numbers by Ruth Price and soul superstar Sam Fletcher, beautiful jazz ballads penned and played by Andre Previn and the obligatory mod-swinging crime tunes. A really great listen all the way through, the epitome of cool!

1) Harper (Main Title)
2) Quietly There
3) Magnus Cum Louder
4) Livin' Alone
5) Harper Does It Better
6) Mexican Breakfast
7) Sure As You're Born
8) Harper's Ferry
9) Temple Of The Clouds
10) Bel Air
11) Finale (Susan)

Nova Bossa 4

Nova Bossa 4 - 'Self Titled' Odeon LDF-4378 (1969)

Download now, ask questions later! Some terrific bossa vocals here courtesy the obscure Nova Bossa 4 out of Argentina. Groovy harmonies with the odd psyche touch, dig the infectious organ led 'Muchacho De Moda'. Quality all the way...

1) Asegura Este Samba (Ogunhe)
2) Insensatez
3) Mi Bien (Meu Bem)
4) Muchacho De Moda (Rapaz De Moda)
5) Andante (Si Manda)
6) Tristeza
7) El Teléfono (Telefone)
8) El Grande Amor (O Grande Amor)
9) Queda Mal Con Dios (Fica Mau Com Deus)
10) El Día Que Lloré (O Dia Que Chorei)
11) Canto
12) Llorando Por Mí (Chorando Por Mim)

Wlodzimierz Nahorny

Wlodzimierz Nahorny - Jej Portret Muza SXL-0703 (1970)

Pianist, saxophonist, flautist, arranger and film composer, Polish Jazz legend Wlodzimierz Nahorny was born in 1941 and made his debut on stage in 1959. The ubiquitous Nahorny is to be found on many of the most important Polish jazz recordings and similarly graced many a star-studded festival line-up throughout Europe, U.S. & Asia during the sixties and seventies. In 1966 he received a prestigious modern jazz laureate in competition in Vienna.

The Polish Muza record label is a firm favorite of mine, with a dazzling output of both traditional and like this album timeless modern jazz classics. This fine LP boasts many nice tunes and has a dreamy, melancholic flavour but nevertheless that vital component so essential in meriting a post on this blog. The highlight for me being the laid-back groove of the 'Hole In The Ground' theme.

1) Jej Portret (Her Portrait)
2) Powiedzielismy Juz Wszystko (We've Said Everything)
3) Cala Jestes W Skowronkach (There Are Skylarks All Over You)
4) Melodia Z Filmu ''Dziura W Ziemi'' (Theme From The Motion Picture ''Hole In The Ground'')
5) Taki Dzien (What A Day)
6) Mowily Mu (They Told Him)
7) Niech Pan Mi Nie Odslania Wnetrza (Leave Me Alone)
8) Wroce Do Ciebie (I'll Be Back)
9) Jest Warszawa (But Warsaw Still Is)
10) Obok Nas (Beside Us)
11) Wlasnie Tego Dnia (This Very Day)
12) Trzymajac Sie Za Rece (Holding Hands)

Update!

Sorry for the lack of updates recently I have been out of the country. Stay tuned for more of the good stuff...

A Night In The '706' Club

Eduardo Prates e Seu Conjunto & Fernando Martins e Seu Conjunto - Uma Noite No 706 Philips 6349.336 (1977)

This will satisfy lovers of Fender Rhodes led jazzy bossa. Lots of funky tunes here awash with groovy male & female vocals.

This session was recorded live at the "706" club in Rio and features a side each by Eduardo Prates & Fernando Martins with their respective groups.

Side A - Eduardo Prates e Seu Conjunto
1) Vai Levando
2) Papo Furado
3) O Que Vier Eu Traco
4) Bambo Do Bambu
5) Ajoelha
6) Partido Rico
7) Te Segura
8) Recordacoes De Um Batuqueiro
9) Voce Vai Ver

Side B - Fernando Martins e Seu Conjunto
1) Adeus, America
2) Rock-Enredo
3) Acreditar
4) Outro Amor
5) Jesuino Galo Doido
6) Antes Ele Do Que Eu
7) Perdoa
8) Maracatu Atomico

Os Tatuis

Os Tatuis - Os Tatuis Farroupilha LPFA-410 (1965)

Yet another early Bertrami brothers project, also known as Azymuth!. Here's a the slickest bossa jazz, the group's forward thinking arrangements are already self-evident on this perfectly realised album.

Os Tatuis are led by Jose or Ze Roberto on piano & Claudio Henrique on bass, the remainder of the group comprising Og Vasconcelos on Sax, Ivo Mendes on trumpet, Elizeu de Campos Vieira on drums with Aresky Aratto also on keys.

1) Vivo Sonhando
2) Nuvens
3) Inutil Paisagem
4) Voce
5) A Morte De Um Deus De Sal
6) Insensatez
7) A Bossa Do Ze Roberto
8) Primavera
9) Samba Do Aviao
10) Sou Sem Paz
11) Minha Namorada
12) O Menino Das Laranjas

A Musica De Briamonte

José Briamonte - Sambeco, A Musica De Briamonte RCA Victor BBL-1449 (1968)

Probably the rarest LP by this legendary songwriter, arranger & pianist. His talents often grace the grooviest sixties' bossa releases and this album is no exception.

Joined by the likes of Papudinho on trumpet, Raulzinho on trombone, Heraldo do Monte on acoustic guitar, Capacete & Guará on acoustic bass, Garoto on vibes, Chacau & Heitor on drums & percussion and Boneca on acoustic guitar.

Whether it's tight snapping jazz instrumentals or groovy bossa vocals, each tune is propelled in Briamonte's trademark swinging fashion - and with songs penned by Alan & Marilyn Bergman, Quincy Jones, João Donato, Luiz Carlos Vinhas, Milton Nascimento & Johnny Alf, as well as Briamonte himself, it's a great listen all the way through!

1) Roda De Samba
2) Selva
3) Moça
4) The World Goes On
5) Canto Pra Amada
6) Eu E A Brisa
7) Mr. King
8) Travessia
9) Watch What Happens
10) Januaria
11) Sonho Bom
12) Ye Me Le

Inner City Summer

Here's a compilation of lesser known summery jazz fusion tunes all taken from the U.S. Inner City label and are of a late seventies vintage. I did this one for personal consumption but thought you might enjoy it, so here it is with suitable cover art.

If there are enough takers, I'll post the second volume at a later date.

1) Sam Morrison - Song Of Landa
2) Arn Evans + Tradewinds - Song For The Changing Seasons
3) Jeff Lorber Fusion - Chinese Medicinal Herbs
4) Listen Featuring Mel Martin - Growing
5) Dry Jack - Heads In The Cloud
6) Solar Plexus - The Darwin Dilemma
7) Bert Ligon - River Journey
8) Didier Lockwood - Aspiring Answer
9) Cybill Shepherd - Triste
10) Kellis Ethridge - Pensacola Joy
11) Arni Egilsson - Hot Air On A G String

Guitarra Cósmica

Sebastião Tapajós - ... E Sua Guitarra Cósmica Forma VDL-114 (1969)

Sebastião Tapajós is a renowned Brazilian musician with over 50 recorded albums. A classically-trained violonista (acoustic guitar player), he soon awakened to his own musical expression, which bridges the gap between the rich Brazilian tradition and the delicacy, subtlety, and sophistication of the classical tradition. He received more than 20 awards in his career, including Germany's Album of the Year. Touring intensively through Europe, he has played and recorded with Gerry Mulligan, Astor Piazzolla, Oscar Peterson, Paquito de Rivera, Zimbo Trio, Hermeto Pascoal, and many others, with concerts attended by more than 600,000 people.

His father, who was his first teacher, prompted him to begin playing at nine. He continued to study as a self-taught, until he moved to Belém, in Pará, Brazil, studying musical theory with Professor Drago. In 1963, he moved again, this time to Rio, where he studied with Othon Salleiro. In 1964, he moved to Portugal, where he graduated from the Lisbon National Music Conservatory. Tapajós was already an active performing artist, performing concerts in Portugal and Spain. In Madrid, he studied with guitar master Emilio Pujol, having graduated from the Hispanic Culture Institute. Since 1968, his recordings have been released in Brazil, Argentina, Japan, and in most European countries. Returning to Belém, he spent some time there before moving again to Rio, in search of performing opportunities and at the same time researching Brazilian popular music. The first opportunity to perform came with a rendition of Villa-Lobos' "Concerto for Guitar and Orchestra," together with National Symphonic Orchestra, at the Teatro Municipal, Rio's most distinguished classical music concert house. The critics were very favorable, and he began to tour Brazil and the U.S., giving concerts. By and by, Tapajós began to demonstrate interest in writing Brazilian popular music. His compositions, always evidencing an original character while avoiding easy commercial references, are profoundly rooted in Brazilian tradition. In 1972, his Brasil/El Arte de la Guitarra was released by Discmedia/Trova-Alfa, with themes from classical and popular Brazilian composers, and his own compositions, together with a Weiss piece, "Allemande." After 1973, he toured Europe with great success. In that same year, he performed at the Folklore and Bossa Nova of Brazil Festival, accompanying Maria Betânia and Paulinho da Viola, and he recorded Bienvenido Tapajós for MPS. He then began an intense touring schedule through Germany, Austria, Denmark, Norway, Italy, Holland, Belgium, and other countries. He also makes a point in presenting to his European audiences other great Brazilian musicians, such as Maurício Einhorn, Zimbo Trio, Joel do Bandolim, Djalma Correa, Sivuca, and others.

In 1981, Sebastião Tapajós recorded with Zimbo Trio the album Sincopando, for Stockfisch. In 1982, his LP Guitarra Criolla was awarded, in Germany, as the Album of the Year. Two years later, he released Xingu, with Pedro "Sorongo" Santos and Djalma Correa, through Tropical Music. His LP Terra was also awarded as Best Foreign Album in Germany. In 1988, Sebastião Tapajós recorded Luá, Joá, with Maurício Einhorn, for Caju Music. In Brazil, he was awarded by the Academia Brasileira de Letras as the best Brazilian musician of 1992. In 1993, he recorded a CD entirely dedicated to Villa-Lobos' music, Villa-Lobos, for L'Art. In 1994, also for L'Art, he recorded another album with pieces mostly by Hispanic classical composers. But, in 1995, his Visões do Nordeste (L'Art) brought his own compositions with Northeast Brazilian rhythms; with only one song not written by him, the Northeastern folklore song, "Mulher Rendeira." With Brazilian pianist Gilson Peranzzetta, Tapajós recorded, in 1996, the album Affinities, mostly with compositions by the two. Rejecting being labeled as a "jazz" player, Sebastião Tapajós is simply a Brazilian music player.

1) Light My Fire
2) Rio Das Ostras
3) A Estrela E O Astronauta
4) Call Me
5) Luar Em Veropeso
6) Eu Quase Sozinho
7) Cantiga De Errante
8) A 200 P.H.
9) Zazueira
10) Wave
11) Sinhazinha
12) La Mentira

Paz

Paz - Kandeen Love Song Spotlite SPJ-507 (1977)

In 1974 keyboard player Geoff Castle joined Latin fusion band PAZ and started a Sunday night residency at the Kensington pub in Holland Park, which ran for 8 years. The band, led by the late Dick Crouch, who wrote most of the material, built a huge following and in 1976 recorded the first of many BBC broadcasts. The band’s first album “Kandeen Love Song”, issued on Spotlite Records in 1977, quickly became popular on the club scene.

The first side was recoreded in 1976, when Brian Smith was the main melodist, playing soprano & tenor saxes and some flute. By 1977 when the three beautiful tracks on the second side were made, Ray Warleigh had taken over on soprano & tenor saxes, but on this album concentrates on piccolo in superb fashion.

Stay awhile on that second side. On it you will hear the title track, a long leisurely rhapsodic piece heavily featuring the flute. Should you marvel at the length of Ray Warleigh's lines, as he elegantly spins improvisations, then that's because he is using cyclic breathing - in through the nose and out through the mouth at the same time, to sustain the phrasing - just like Roland Kirk. Incidentally, the theme of Kandeen Love Song is thousands of years old, a tune which so seized Dick Crouch when BBC producer Angela Bond sang it to him that he added the chords.

Another unique point about this album: Ron Matthewson , probably recognised as the leader on his instrument in Britain, plays bass guitar with Paz , wheras he usually uses string bass. It could well be the first time he's ever been recorded playing bass guitar.

There's also a contrast between the first and second sides. Even though you'd rarely realise it, the 1977 tracks are played totally "free", but the good sense and feeling of the musicians disguises the fact almost completely.

Dick Crouch wrote Crotales (means "strings of bells") and The Bell Tree on the first side - on both of them there's glorious resonant bass from Matthewson. Solar Wind is the keyboardist's, Geoff Castle, who comes from the very rich background of the National Youth Jazz Orchestra, Graham Collier and Nucleus. Yours Is The Light is from Santana's repertoire, a most melodic and exhilarating version.

Listen to Warleigh's stratospheric piccolo on both The Buddha and Time Stood Still, two peices which show how relentlessly the band continue to move forward in ideas, execution and taste.

(Side One)
Brian Smith - soprano, flute; Geoff Castle - keyboards; Phil Lee - electric guitar; Ron Matthewson - bass guitar; Dick Crouch - Electravibe, percussion; Dave Sheen - drums; Simon Morton - congas
Recorded in London - Tuesday 18th May, 1976.

(Side Two)
Ray Warleigh - piccolo, flute, alto flute; Geoff Castle - keyboards, synthesizer; Phil Lee - electric guitar; Ron Matthewson - bass guitar; Dave Sheen - drums; Chris Fletcher - congas; Dick Crouch & Simon Morton - percussion
Recorded in London - Saturday 25th June, 1977.

1) Crotales
2) Solar Wind
3) The Bell Tree
4) Yours Is The Light
5) The Buddha
6) Time Stood Still
7) Kandeen Love Song

Oscar Brown Jr. & Luiz Henrique

Oscar Brown Jr. & Luiz Henrique - Finding A New Friend Fontana SRF-67549 (1966)

Here's two artists who need no introduction. A rare coming-together by these great vocalists and friends who met at Greenwich Village's Cafe Au Go Go in August 1965. If truth be told, Brown's sly, sardonic vocal style isn't an exact fit for bossa nova; he has to rein himself in for this subtle, almost whispering idiom. But then, the songwriting collaboration works surprisingly well, mostly leaning toward a romantic bossa style, but occasionally hearkening back to Brown's North American hipster persona. And they wander off the territory altogether with Brown's playfully racy bossa calypso, "Wham! Bam! Thank You Mam!".

The album also includes a few Brazilian standards as appetizers before the collaboration begins in earnest. The multi-talented Brazilian Santa Claus, Sivuca, is responsible for three of the soft-focused arrangements, while Henrique takes charge of the rest.

1) Laia Ladaia
2) Nothin' But A Fool
3) Manha De Carnaval
4) Much As I Love You
5) I Had No Idea
6) Wham! Bam! Thank You Ma'm!
7) Finding A New Friend
8) Dawn Comes Again
9) Listen To Me
10) The Answer To My Prayer
11) Seeing Maria
12) Barra Limpa

Na Trilha De Osmar Milito

Osmar Milito - Na Trilha De Osmar Milito SOMA 409.6002 (1974)

Noted pianist Osmar Milito is owner of a strong harmonic sense, and has collaborated with amongst others Liza Minelli, Sammy Davis Jr., Pat Metheny, Cláudio Roditi, Hendrik Meurkens, Tony Bennett, Sarah Vaughan, Benny Golson, Spanky Wilson, Mark Murphy and Hermeto Pascoal.

Brother of Hélcio Milito (from the Tamba Trio), Osmar became a professional in 1964, backing Elis Regina, Silvinha Telles, Leny Andrade, Nara Leão, Paulo Moura, Edison Machado, Maria Bethânia, Gilberto Gil, Vinicius de Moraes, and Jorge Ben. After spending a season in Mexico, Milito settled in the U.S. for two years, during which he accompanied Sergio Mendes. Returning to Brazil in the '70s, Milito continued to work with top MPB artists such as Chico Buarque, Ivan Lins, and Nana Caymmi, and instrumental musicians such as Pascoal Meirelles, Márcio Montarroyos, Mauro Senise, and Paulinho da Costa.

I was going to post an individual film score by Milito but this fine album sports tunes taken from several Brasilian Novelas or soundtracks of which he recorded many and ably demonstrates the man's knack for penning hip, catchy and soulful bossas.

1) As Moças (Carinhoso)
2) Encabulada (O Primeiro Amor)
3) Hey Shazam (O Primeiro Amor)
4) Mandato (Selva de Pedra)
5) Corpo Sano Em Mente Sã (Selva de Pedra)
6) O Bofe (O Bofe - Abertura)
7) América Latina (Selva de Pedra)
8) Porcelana, Vidro e Louça (O Bofe)
9) O Primeiro Amor (O Primeiro Amor -Abertura)
10) Podes Crer (O Primeiro Amor)
11) Vou Disparar (O Primeiro Amor)

Edgar e Os Tais

Edgar e Os Tais - Cantárida RGE XRLP-5.350 (1970)

Great jazzy vocal bossa led and arranged by Edgar Gianullo and supremely groovy to boot!

Edgar Gianullo (vocal, guitar, bass); Toniquinho (drums); Vicente (bass, piano, organ, percussion); Neneco (vocal, percussion); Nelsinho (vocal, percussion, mouth tuba); Rosely (vocal); Sergio (organ, celeste, bass); Felpudo (trombone, trumpet); Vidal (tenor-sax, flute, piccolo)

1) Estou Dez Anos Atrasado
2) Queen Aparecida
3) Nao Deixo Voce Ir Embora
4) Dela
5) A Primeira Vez
6) Vou Me Pirulitar
7) Prólogo
8) Foi Tao Bacana
9) A Morena Lena
10) Quem Vem La (Vem Balancar)
11) Bambe-Lo
12) Alo-Helo

Fly Cruzeiro

Aquarius Producoes Artisticas - Brazil By Music 'Fly Cruzeiro' (1972)

Here's an absurdly rare promotional record for Brasil's Cruzeiro Airlines on their own label. Mellow yet groovy jazz fusion courtesy Marcos Valle and an early Azimuth incarnation.

1) Jingle Cruzeiro
2) Esta Fazendo Um Ano - Aquarela Do Brasil
3) Zazueira - Mas Que Nada
4) Tristeza
5) Aqui E O Pais Do Futebol
6) Ate Pensei
7) Zanzibar
8) Nao Tem Solucao - Marina - ...Das Rosas
9) Samba De Verao
10) Prenda Minha
11) Asa Branca
12) Wave

Collage

Here's a personal compilation of ultra-hip vocalese-jazz recordings by Estonian group Collage culled from their impossible-to-find Russian Melodiya albums from the seventies. Legendary stuff this, impossible to adequately put into words and incomparable in form & delivery to anything I can immediately think of. Try Estonian Novi Singers & you'll have some idea!

This seven-piece consists of three female vocalists who sound like angels and four male musicians. Together they perform an incredible combination of jazzy, classical folk tunes and whilst many of the songs have an ethereal hymnal quality, they all come together to forge a timeless and irresistable groove!

Absolutely essential...

1) Mets Neidude Vahel
2) Halb Sirp
3) Petis Peiu
4) Kee, Pada
5) Neiud Lähevad Ära
6) Uni, Tule Silma Peale!
7) Memme Vaev
8) Ehted Kadunud
9) Kodukingu Kuusik
10) Neiut Pole Kodus
11) Vastlalaul
12) Oh, Seda Õnnista Eluga
13) Bossanova Hing
14) Üheskoos

(Translations available on request)

Also, until further notice all download links will be within the comments for each individual post.

Rodolfo Alchourron

Rodolfo Alchourron - Sanata Y Clarificación Vol. 2 Prodisa 47005 (Arg) (1974)

Rodolfo Alchourron - composer, arranger, director and guitarist has built an enviable reputation in many areas including television, cinema and theatre as well as many sought after studio and concert recordings.

After having received notoriety with 'classic' compositional prizes he turned toward more popular music styles and attracted by the jazz he learned as an adolescent was instrumental in the formation of diverse trios & big bands in the sixties.

Between 1970 and 1974 his "Sanata Y Clarificación" emerged as the evolution of jazz-rock began to take hold. As a result of frequent incursions into his own tango and folk roots, and the increasing interest in those forms, Alchourron began replacing the wind instruments in his group with bandoneón and built a repertoire that was strongly influenced by elements of Argentine music.

In New York between 1978 and 1989, with "Southern Exposure", he composed numerous songs and instrumental pieces, combining in all of them elements of jazz and South American music.

This superb and collectible LP boasts many of his leading contemporaries including Ruben Barbieri, Bernardo Baraj, Chachi Ferreyra, Mario Tenreyro, Adalberto Cevasco, Osvaldo Lopez, Gustavo Beitelman, Raul Parentella and not forgetting Argentinean legend Litto Nebbia.

Jazzy, groovy, sinewy funky fusion grooves combine to create another lost classic, one that I humbly attempt to resurrect for you here.

1) Algunos Dias, Algunas Noches
2) No Se, No Se, Preguntare Para Saber
3) Vals Turnco
4) Esas Dos Cosas Benditas
5) Casi Un Tango
6) Cuzco Sucio y Molesto, Largo De Aqui
7) Vals En La Muy Sostenido

http://rapidshare.de/files/20004925/Rodolfo_Alchourron_-_Sanata_Y_Clarificaci_n_Vol._2__1974_.zip

NB. Please ammend the running order of the titles in the zip file - I mistakenly numbered them in alpha order when they should read as above.

Irakitan

Trio Irakitan - Os Sambas Que Gostamos De Cantar Odeon MOFB-3010 (1964)

The original vocal set of Gilvan, João, Toni, Edinho, Odilon & Irakitan Brito aren't my favorite group by any means, concentrating on sedate bolero sambas and mariachi-style folk songs for the majority of their early years. However, syrupy romantic stylings aside, this LP is a true winner. Ultra-tight vocalese renditions of hits of the day with a crack backing section culminating in a handful of groovy & totally swinging tunes I'm sure you'll really dig! Their 'Moca' and 'Samba De Duas Notas' particularly memorable in my opinion.

1) Amor No Samba
2) Moca
3) Chorou, Chorou
4) So Danco O Samba
5) Estrada Do Sol
6) Garota De Ipanema
7) Amor A 120
8) Voce
9) Nao Fique Triste
10) O Barquinho
11) Samba De Duas Notas
12) Menina Flor

http://rapidshare.de/files/19041963/Trio_Irakitan_-_A_Bossa_Que_Gostamos_De_Cantar__1964_.zip

Temas Brasileños

Tete Montoliu - Temas Brasileños Ensayo ENY-303 (1974)

The outstanding Catalan jazz pianist, whose real name was Vicenç Montoliu i Massana was born blind in the Eixample district of Barcelona, and died in the same city. He was the only son of Vicenç Montoliu (a professional musician) and Àngela Massana, a jazz enthusiast, who encouraged her son to study piano and in 1944 engaged his piano teacher, Petri Palou. Before that, Montoliu had his first piano lessons with Enric Mas at the private school for blind children that he attended from 1939-1944 where he learned to read music in Braille.
From 1946 till 1953 he studied music at the Conservatori Superior de Música de Barcelona, where he met his first jam session fellows. Don Byas arrived in Barcelona in 1947 and introduced Tete to the Bebop style.

On March 13, 1956 he met the vibraphonist Lionel Hampton in a jam session in Barcelona. Montoliu toured with Hampton through Spain and France, had his first session as a leader in 1958 , and played with the touring Roland Kirk in 1963. Through the years, he also worked with such visiting Americans as Kenny Dorham, Dexter Gordon, Ben Webster, Lucky Thompson, and even Anthony Braxton.

On this LP, recorded in November 1973, of Brasilian themes he is joined by Alberto Moraleda on bass, Miguel Ángel Lizandra on drums and Pedro Díaz on percussion.

1) Generique-Manhã De Carnaval-Samba De Orfeu (From 'Black Orpheus')
2) Girl From Ipanema-Corcovado-Samba De Uma Nota So
3) Mulher Rendeira (Theme From 'O Canganceiro')-Bahía-Brasil
4) Canto De Ossanha-Ola-So Danço Samba
5) Desafinado-Meditaçao-Tristeza

http://rapidshare.de/files/18962923/Tete_Montoliu_-_Temas_Brasile_os__1974_.zip

Dancing Party

Various Artists - Dancing Party Odeon SMOBQ 9013 (Italy)

Here's an Italian library LP notable for some dreamy bossas in particular by Angel Pocho Gatti, who I have a soft spot for. No date given on the record but sounding like a late sixties/early seventies release.

Some premiere league Italian jazzmen are featured on this one playing a varied partly orchestral & beaty selection of tunes. Perhaps some more library LPs will be featured in the future should there be a demand.

1) Franck Pourcel - Je Reviens Te Chercher
2) N. Romano - Drums Blues
3) A. Pocho Gatti - Sentimental Bossa
4) Enrico Intra - Blues Per Noi (pt.1)
5) Pino Calvi - Tango For Brass
6) B. Pisano - For Scarlet
7) A. Pocho Gatti - Non Sei Mariu' Stasera
8) B. Pisano - Blue Ice
9) Pino Calvi - Blues For Brass
10) N. Romano - Blue Sunday
11) A. Pocho Gatti - Beautiful Day
12) Enrico Intra - Blues Per Noi (pt.2)

http://rapidshare.de/files/18403246/VA_-_Dancing_Party__197x_.zip

Come To Brasil...

Roberto Avila & Cachoeiras - Come To Brasil Plainis Phare CH-1267 (Swi) (1987)

Sorry for the the late update, I have just returned from Barcelona and am now renewed and ready for some special Easter shares.

Blogger has just wiped my not too inconsiderable introduction to this album and I don't really have the inclination at this time to repeat myself.

Don't let the year put you off with this one, it's a timeless classic and a real favorite I never tire of hearing. Guitarist and cavaquinho player Roberto Avila produces this sublime effort and whilst the title track & opener is a little commercial and probably the album's weakest tune the rest of it is an inspired listen and boasts some tremendously funky and jazzy tunes oozing grooviness and top class musicianship.

Swiss based Brasilian band Cachoeiras comprise Roger Blavia on percussion, drums & backing vocals, Ademir Candido on guitar, Eduardo "Dudu" Penz on superb form on electric bass, Paulo Menezes on percussion, Julinho Martins on keyboards, percussion & vocals, Marcelinho Martins on alto sax and female backing by Peggy Chew, Jackie Leite & Faffy Martins.

And who's that on flugelhorn? None other than Freddie Hubbard adding punctuation to a hitherto unknown but significant chapter in the history of Brasilian music. Who said music from the late eighties can't be groovy? No sir, not me...

1) Come To Brasil
2) Chorinho Prus Veio
3) Arara Sirio
4) Maybe You Know
5) Perto De Casa
6) Boca Do Mato
7) Samba Na Moita
8) Malvada
9) Baiao 171
10) Faffy Fofa

http://rapidshare.de/files/17734486/Roberto_Avila___Cachoeiras_-_Come_To_Brasil__1987_.zip.html

Quinteplus

Quinteplus - Quinteplus EMI S-10055 (1972)

More jazz from Buenos Aires this time and a killer batch of funky instrumentals from Quinteplus. Drum beats, fat strident basslines awash with warm fender rhodes and tight horns. There's all-round virtuosity on this rare Argentine set that rewards the listener with repeated listening.

Joining tenor sax superstar Jorge Anders are Carlos "Pocho" Lapouble on drums, Santiago Giacobbe on electric piano, Gustavo Bergalli on trumpet and Jorge González on electric & contrabass.

1) Loberman, El Hombre Lobo
2) Los Ejes De Mi Carreta
3) Blackman, El Justiciero
4) El Marques 1° Parte-2° Parte-3° Parte
5) El Pasito De Nano
6) Zamba De Mis Pagos
7) La Vuelta Del Elefantor
8) Oda A Billy Joe

http://rapidshare.de/files/17007873/Quinteplus_-_Quinteplus__1972_.zip.html

Sambacana

Quarteto Sambacana - Muito Pra Frente Odeon MOFB 3443 (1965)

Milton Nascimento & Pacifico Mascarenhas (vocals); Geraldo Vespar (guitar); J.T. Meirelles (alto sax & flute); Tião Marinho (bass); Wilson das Neves (drums); Ubirajara Cabral (piano); Ed Maciel & Joao Luis (trombone); Mauricio (trumpet); Moacir Marques (tenor sax); J. Claudio (vibes) and others...

1) Tom Da Canção
2) O Vento Que Soprou
3) Até Você Voltar
4) Aladim
5) Era Um Dia Assim
6) Estrela Caindo
7) Eu E Você
8) Sem Me Olhar
9) Fui Olhar Pra Você
10) Mesmo Céu
11) Você É Muito Mais
12) Tarde Azul
13) Apareceu Na Tarde
14) O Navio E Você

A great bossa LP with divine vocal harmonizing led by composer Pacific Mascarenhas...

http://rapidshare.de/files/16618753/Quarteto_Sambacana_-_Muito_Pra_Frente__1965_.zip.html

Psiu!...

Marcos Samm - Psiu!... Polydor LPNG 44.049 (1970)

Events are conspiring against me so I'll keep this one short and sweet. A killer LP with lashings of groovy bossa beats.

Funky, jazzy and soulful in equal measure and provided by such luminaries as Erlon Chaves, Ivan Paulo, Antonio Adolfo and Nonato Buzar with arrangements by Roberto Menescal. Sold?

1) Beija-Me
2) Ela
3) Menina Esperança
4) Meu Lugar
5) Canto Puro Amor
6) Faço A Festa
7) De Encontro Ao Vento
8) Rosa-Maria
9) Blue
10) Alô Helô
11) Psiu!
12) Por Quê - Minha Namorada


http://rapidshare.de/files/16126833/Marcos_Samm_-_Psiu_...__1970_.zip.html

Brazilian Octopus

Brazilian Octopus - Brazilian Octopus Fermata SFB-257 (LF-163) (1969)

Picture a band that features musicians from schools so different as the multi-instrumentalist Hermeto Pascoal, the post-tropicalist guitar hero Lanny Gordin, bossa nova pianist Cido Bianchi (former Milton Banana Trio), acoustic guitarist Olmir 'Alemão' Stocker and jazz bassist Nilson da Matta. The surprising meeting happened in 1968 and helped write a little known chapter in the history of instrumental music in Brazil called Brazilian Octopus, whose only release is hunted by record collectors. "This is undoubtedly the strangest Brazilian group ever", writes Marcelo Dolabela in his dictionary ABZ do Rock Brasileiro (printed on Estrela do Sul, 1987). "At that time, we didn't care about the money, we just wanted to play. It was a wonderful experience", recalls Celso Bianchi, also a maestro and arranger.

Brazilian Octopus was lined up in São Paulo in the beginning of 1968 by Lívio Rangan, manager of a textile factory that promoted musical fashion shows to promote their products. "Lívio used to like me a lot. He even claimed he was gonna turn me into the new Sergio Mendes", tells the musician, appointed by Rangan as the group's coordinator. In fact, Brazilian Octopus was born with uncommon space in the market: a contract for a year of work that included three months of rehearsals during which the musicians received salaries. At that time, the band also recorded an album with Japanese saxophonist Sadao Watanabe.

'Gigs In A Cage'
The music director of the shows was the tropicalist maestro Rogério Duprat. Gilberto Gil, Caetano Veloso and Eliana Pittman also participated. "I dressed up in a lion costume in many of those shows. The whole group dressed up in animal costumes and played inside a cage", Hermeto recalls. Despite their very different backgrounds, the members knew one another because they all hung out in the same venues, specially the nightclub Stardust (managed by Lanny's father), where Hermeto, Bianchi and Alemão often performed. "I remember that we were rehearsing when the news was broken that guitarist Wes Montgomery had passed away", says Alemão. "As usual, there were little quarrels", claims the saxophonist Carlos Alberto, noticing that the "incompatibility of ideas" was frequent within the group, especially when it was time to choose the set list. It was different when, after a few months into rehearsals, the event manager suggested that the group make an album. "Lívio Rangan thought that we could insert a number of radio-friendly songs into the disc", recalls Alemão, who was in charge of contacting songwriters with whom he had worked before. "I gathered a number of unreleased songs which were refused by Cido Bianchi, who was more interested in playing jazz. One of them was Jorge Ben's País Tropical", teases the guitarist.

"Even when we had to play French or Italian songs that were part of the factory's repertoire, we always did it with dignity. That work influenced many of the things that I do today. That's why I reckon music is universal. Everybody is influenced by everybody else", says Hermeto, who was responsible for coordinating collective arrangements after a few misunderstandings popped up among the musicians. He also wrote two themes featured in this very rare LP : Rhodosando and Chayê, which were pop and Cuban cha-cha-cha fusions. "I got inspiration from the fashion models to write those songs. I already played nightclubs, then, so I could play many different styles", remembers the musician from Alagoas.

'Unexpected Extras On The Cover'
Other members also contributed with original compositions: Alemão (Canção Latina, written with Vitor Martins), vibraphone player João Carlos Pegoraro (Summerhill) and Lanny (O Pássaro). The recording of the latter provoked an argument between Hermeto and the sound technicians. "Due to the song's repetitive melody, he wrote the counterpoint to be played by two flutes, just to liven it up a bit. But when he heard the mixed track, the counterpoint had vanished. Hermeto was so furious that he wanted to beat the technician up ", laughs saxophonist Carlos Alberto, who also recalls that Pascoal does not appear on the cover of the album because he couldn't make it to the photo shooting. A clerk from an advertising agency sat by the piano, instead - as well as an old timer, a dog and a child, who had nothing to do with the making of the album, but appeared on the cover. The shooting took place on a piece of land that looked like the surface of the moon - a reference to the space race between the USA and former USSR.

Produced by Mário Albanese and Fausto Canova, the album Brazilian Octopus features new arrangements for Casa Forte (Edu Lobo), Pavane (Gabriel Fauré), Canção de Fim de Tarde (Walter Santos and Thereza Souza), Gosto de Ser Como Sou and Gamboa (Mário Albanese and Ciro Pereira), exploring a characteristic sound yielded by the flutes with the vibraphone, organ and guitars. "We never received a penny for that LP. It seems that it was released in Europe, even enjoying a little success", says Carlos Alberto, who claims that the members of the band tried to talk to Fermata's CEOs and get to know about the sales. Instead of checks, all they got was laudatory comments and an invitation to make a new album. Figuring that they would not get any money from it, they turned it down. The octet ended right there and then.

1) Gamboa
2) Rhodosando
3) Canção Latina
4) Pavane
5) As Borboletas
6) Momento B/8
7) Summerhill
8) Gosto De Ser Como Sou
9) Chayê
10) Canção De Fim De Tarde
11) O Pássaro
12) Casa Forte


http://rapidshare.de/files/15711865/Brazilian_Octopus_-_Brazilian_Octopus__1969_.zip.html

São Paulo Jazz Funk

Banda Metalurgia - Banda Metalurgia Som Da Gente SD-6013 (1982)

Formed in 1980 and led by Trombonista Itacyr Bocato, this wonderful Brasilian jazz funk bomb boasts many great tunes. Slick jazzy rhythms set to a tight São Paulo horn section, very much akin to the more well-known Banda Black Rio and critically acclaimed on first release.

With Bocato on trombone are Lino Simão, Jacare & Julio Peluchi on saxophones, Nonô Camargo & Claudio Faria on trumpets, Mané Leao on piano, Marcelo Munari on guitar, Edu Fiore on bass and Claudinho on drums.

1) Multinacional
2) Amarelo
3) Impulso
4) Oi
5) Ap. 403
6) Barra Pesada
7) Lá Em Guayaquil
8) Ermelindo E Casanova
9) A Salsa E O Cheiro Verde
10) Esperando Edmundo
11) Em Tempo De Baeta
12) Samba Da Volta Ao Bernô

http://rapidshare.de/files/15386976/Banda_Metalurgia_-_Banda_Metalurgia__1982_.zip.html

Zimbo!

Zimbo Trio - Opus Pop Nº 2 Philips 6349 080 (1973)

Formed in 1964 in São Paulo by classically trained pianist Amilton Godoy, bassist/composer/orchestrator Luís Chaves, and drummer Rubinho (Rubens Barsotti).

They performed for the first time under the name of Zimbo Trio at Oásis nightclub in São Paulo, accompanying the famous actress and novice singer Norma Benguel in a show directed by Aluísio de Oliveira.

In 1965, the trio travelled to Lima and Buenos Aires, and it was at the festival of Mar del Plata, Argentina, they received the Cancioneiro das Américas award. They were then hired to perform regularly on the TV show 'O Fino da Bossa', produced by Elis Regina and Jair Rodrigues. The Zimbo Trio received awards for best soundtrack for the movies Noite Vazia (1965, Walter Hugo Khoury) and A Margem, (1967, Ozualdo Candeias).

In 1972, they toured Portugal and Spain with Elizete Cardoso. Accompanying the Brazilian singer Sílvia Maria on Adilson's "Heróica," The Zimbo Trio was awarded first prize at the Festival de Onda Nueva, Caracas, Venezuela. Since 1973 the trio has been in charge of the Centro Livre de Aprendizagem Musical (Free Center for Musical Studies), an entity dedicated to the teaching of a wide spectrum of musical styles.

With a career spanning 40 years, and more than 40 albums, including guest appearances, Zimbo Trio’s line-up has remained unchanged since its inception.

Although some of their LPs are quite pedestrian, they are true exponents of the bossa form and could even turn their hands to more progressive & funky fusion offerings. This album is pretty disimilar to that Zimbo sound boasting haunting renditions of Bach or Chopin classics turned inside-out into hip bossa grooves. Fans of wordless female vocals and dreamy scatting won't be disappointed.

1) Sevilla
2) Festa No Sertão
3) Wachet Auf Ruff Uns Die Stimme
4) Prelúdio
5) La Danse d'Anitra
6) Playera
7) Sicilienne
8) Largo
9) Narcisos


http://rapidshare.de/files/14902903/Zimbo_Trio_-_Opus_Pop_N__2__1973_.zip.html

Dr. Jorge López Ruiz

Jorge López Ruíz - Viejas Raíces II, De Las Colonias Del Río De La Plata Trova DA 5009 (Arg)(1976)

What can one say about legendary bassist Jorge López Ruiz that can do the man justice? He's a Composer and Director and has made music for more than 60 films, 40 Plays and 400 recitals. He was instrumental in the creation of the successful Argentinean record label TROVA, of which he was the first Director of A&R. During this period they made most of the recordings of artists like Vinicius de Moraes, Astor Piazzola, Dorival Caymmi as well as producer, arranger and director of stars like Sandro, Piero, Leonardo Favio and Sergio Denis.

Doctor of Music (Compostion & Performance) from Columbia Pacific University, Doctorship of The London Institute of Applied Research and Social Sciences Director of the Laboratory of Music Electro-Acoustics as well as recipient of too numerous awards & medals to list here!

In the first half of the 70's he gained Professorship of the Argentinean Institute Of Cinematography and in 1975 rose to the position of A&R Director of EMI-ODEON in Argentina.

His musical accomplishments are staggering, as well playing acoustic & electric bass on many respected jazz outings he's a mean cellist and pianist. He played with a legendary quintet led by Lalo Schifrin in 1956-1957 that featured saxophonist Gato Barbieri. López Ruiz had also been Schifrin's big band bassist along with Gato. He always played with the very best in Argentinean jazz.

The local scene in Argentina in the mid-70's was extremely conservative, with a majority of musicians, critics and media people dead against avant-garde jazz. Traditional and mainstream jazz seemed to be what most attracted the public; more modern jazz had only a moderate appeal. So the fact that some of the better-known modern jazzmen were ready for the challenge of free and avant-garde jazz, was almost intolerable to the rest of the musicians and the opinion makers. Then the listeners had their say and they responded positively to the challenging music this avant-garde minority was producing, much to the astonishment of everyone involved. This middle-class group of musicians, reacting in their own artistic way to the many challenges of the epoch, opened new ground for music development in Argentina.

The album I present today is musical testament to those troubled times - funky brooding jazz fusion that deserves a wider audience and a re-issue. Along with Matias Pizarro on piano and the great "Pocho" Lapouble on drums we are served up a delicious non-stop asssault on our senses. Again this is a lesser-known 'sequel' volume to the more in-demand Viejas Raíce I from the preceding year but is my personal favourite from this period in López Ruiz's career.

1) O'Placar
2) Para Nosotros Solamente
3) Balewada
4) Los Berugos Wor
5) La Hora de La Sed Maldita
6) El Viaje De Dumpty
7) Eterna Presencia
8) Mira Tú

As I have done on many an occasion, accompanied by this record, kick back with a cigar & an espresso and drink in the goodness of this timeless magnum opus...

http://rapidshare.de/files/14573732/Jorge_L_pez_Ru_z_-_Viejas_Ra_ces_II__De_Las_Colonias_Del_R_o_De_La_Plata__1976_.zip.html

Juvenile Gypsy Jazz

Boulou - With The Paris All Stars Barclay LP-80254 (Fra) 1964

The 13 Years Old Jazz Sensation From France!

Boulou Ferré was born of gypsy origin in Paris on the 24th of April 1951. At five years, Boulou sang all the solos of Dizzy Gillespie but started his musical studies at the age of seven with his father, Pierre Matelot Ferré, one of the main musicians in Django Reinhardt's and Stéphane Grappelli's Quintette du Hot Club de France. Along with jazz guitar he starts to study classical guitar with Francisco Gil and gives a first concert at the Guimet Museum at the age of eight.

At twelve, he accompanies Jean Ferrat who fell under his charm, it was then he signed with Barclay and recorded his first album in '63. In 1964 he plays during the first part of John Coltrane's concert at the Jazz festival of Juan les Pins. Boulou & les Paris All Stars is in fact his third album and features Pierre Michelot, Eddy Louiss, Kenny Clarke and Maurice Vander amongst other stars. This album was an homage to Charlie Parker and Dizzy Gillespie and was given 4 stars from Down Beat Magazine.

At the beginning of the Seventies, he appears with the vibraphonist and multi-instrumentalist Gunter Hampel, then with Steve Potts in company of Christian Escoudé and the Japanese pianist Takashi Kako. In 1974, it's with The Corporation Gypsy Orchestra, he grabs the attention of Carlos Santana and Frank Zappa et al.

Boulou went on to study harmony and composition with the french organist and composer Olivier Messiaen - and participate in a wide repertoire with several musicians such as Dexter Gordon, Dizzy Gillespie, Kenny Clarke, Wayne Marsh, Philly Joe Jones, Chet Baker, Stéphane Grappelli… He also composes music for movies and for television.

1) Mack The Knife
2) Groovin' High
3) Night & Day
4) Undecided
5) Blue'N Boogie
6) Salt Peanuts
7) A Night In Tunisia
8) Bluesette
9) I'll Never Smile Again
10) Ow
11) The Girl From Ipanema
12) Ascott

Thrill at the marvels of this thirteen year old. In his vocals you can hear he's but a boy but that's where the kiddiness ends! All this under the direction of Maestro Alain Goraguer. A treasure...don't you think so?

http://rapidshare.de/files/14264099/Boulou_With_The_Paris_All_Stars_-_The_13_Years_Old_Jazz_Sensation_From_France__1964_.zip.html

Big Band Explosion!

Gil Fuller-James Moody & The Monterey Jazz Festival Orchestra - Night Flight Pacific Jazz ST-20101 (1966)

Coming on strong like Oliver Nelson or Lalo Schifrin, this filmic sounding orchestral blow-out is so good it hurts. Sax and flute player James Moody joins Gil (real name Walter) Fuller on this lesser known Monterey Jazz Orchestra outing without Dizzy Gillespie this time, but that doesn't affect the quality one bit - inspired performances all-round.

Fuller has regularly collaborated with all the greats including Ray Charles, Stan Kenton & the aforementioned and close buddy Dizzy Gillespie and is the bandleader's bandleader. He was one of the first to compose big band charts in the bebop style and later formed his own own publishing company, a natural outlet when he branched out into writing texts about his music, including an analytical discussion of his arrangement methods.

Not an average batch of cover versions this, Fuller and Moody inject exciting variations into well-known tunes and the orchestra are tight and monumentally swinging. Not a dud note to be heard...

01) Tin Tin Deo
02) I'm In The Mood For Love
03) Night Flight
04) Our Man Flint
05) Seesaw
06) Batucada Surgiu
07) 17 Mile Drive
08) A Patch Of Blue
09) Latin Lady
10) Blues For A Debutante
11) Sweets For My Sweet
12) Wild Chestnuts


http://rapidshare.de/files/14031789/Gil_Fuller-James_Moody___Monterey_Jazz_Festival_Orchestra_-_Night_Flight__1966_.zip.html


A real eye-opener coming shortly in the form of a French guitarist and jazz-scat vocalist with a secret I am soon to reveal, one that I could barely believe myself.

Piri on Quartin

Piri - Vocês Querem Mate Quartin LP-RSQ3 (1970)

This release typifies the sound of Roberto Quartin's eponymous and short lived label. Dark, brooding jazz but always tight and groovy.

Again, a crack troop has been assembled here. Accompanying Piri's guitar and gentle vocals are Danilo Caymmi and Paulinho Jobim on flute, Jorge Marinho on bass, the ubiquitous Wilson Das Neves on drums and Juquinha on percussion. Tita also adds guest vocals.

Elements of bossa, psych, funk & folk are to be had on these 10 originals all composed by Piri himself.

1) Reza Brava
2) As Incríveis Peripécias De Danilo
3) O Som Do Roberto
4) Sombra Morta
5) Vocês Querem Mate?
6) Cupído Esculpido
7) Chão Vermelho
8) Lágrimas
9) Espiral
10) Porta Do Sol


More from Quartin's 60s incarnation 'Forma' Records coming soon...

http://rapidshare.de/files/13543939/Piri_-_Voc_s_Querem_Mate__1970_.zip.html

Grupo Medusa

Grupo Medusa – Ferrovias Som Da Gente SDG 18-83 (1983)

Here’s a favourite of mine, the smoothest and most perfectly realised Brasilian fusion from supergroup Grupo Medusa. The much maligned term ‘fusion’ conveys their effortless blend of jazz, bossa and homegrown ‘Nordeste’ leanings to the blistering funk of the title cut!

Formed in 1980, Ferrovias or 'Railroads' is their second album and comprises such luminaries as Amilson Godoy formerly of the Bossa Jazz Trio on piano & fender rhodes; famed guitarist Olmir Stocker (Alemão) who was part of Breno Sauer’s outfit in the 60s and member of the mythical Brazilian Octopus in 1968; bassist Cláudio Bertrami (brother of Azimuth’s José Roberto); drummer Chico Medori and percussionist Théo da Cuíca.

All the tracks are original, self-penned instrumental compositions and are co-produced collectively by the group.

1) Aduba-Lé
2) Lamentos
3) Fantasia
4) Cheiro Verde
5) Nordestina
6) Picadeiro
7) Ferrovias
8) Beija-Flor
9) Pouso Em Congonhas


http://rapidshare.de/files/13314956/Grupo_Medusa_-_Ferrovias__1983_.zip.html

The Real Erlon Chaves

Orquestra St. Moritz directed by Erlon Chaves - Procura-Se Uma Virgem CID-14.025 (1971)

Composer, arranger and pianist Erlon Chaves was born in Sao Paulo and began studying music at seven years of age. After making a big name in the '50s as a "nightclub" pianist he soon began his career as bandleader and joined TV Excelsior of Sao Paulo.

In 1965 he relocated to Rio De Janeiro where he became musical director for TV Tupi and later TV Rio. It was shortly after this he accompanied Elis Regina on her Olympia excursion in Paris.

His bands always featured some of the best musicians around, and in the seventies his repertoire was a groovy melange of poppy international and Brasilian hits. Although saying this, his talents as arranger graced some of the most funky and hip recordings of the era.

This definitive soundtrack from the Brasilian comedy Procura-Se Uma Virgem was an almighty blend of soft-porn stylings with slinky organ lines, tight percussion and bass and sexy wordless vocals rivaling anything coming out of Cinecitta at the time. Seldom shows up and when it does goes for an arm & a leg!

What more could one ask?

01) Procura-Se Uma Virgem (Prefixo)
02) Procura-Se Uma Virgem - Valsa
03) Grilo
04) Os 3 Ladrões
05) Uma Velha Bossa
06) Vamos Nós
07) O Anjo E O Diabo
08) Tema De Amor
09) Ba Oba Oba
10) Procura-Se Uma Virgem (Sufixo)


http://rapidshare.de/files/12989939/Erlon_Chaves_-_Procura-Se_Uma_Virgem__1971_.zip.html

Bossa De Jazz Moderno!

Sexteto De Jazz Moderno - Bossa Nova RCA Victor BBL-1222 (c1963)

OK... Here's a rare bossa set by Sexteto De Jazz Moderno featuring Jorginho on Alto sax, Aurino on Tenor, Fats Elpidio on Piano, José Menezes on Guitar with Ritmistas Plinio & Paulo completing the sextet.

All tracks are extended improvisations of some classic Brasilian evergreens.

01) Samba De Uma Nota Só
02) Barquinho
03) Samba Toff
04) Desafinado
05) Menina Feia
06) Lamento

http://rapidshare.de/files/12989033/Sexteto_De_Jazz_Moderno_-_Bossa_Nova__1963_.zip.html

Romano Mussolini Dies!

Romano Mussolini Trio - Mirage PDU Jazz A-6018 (Italy) 1974

I was intending to post some bossa stuff here today but before I do a quick word on Maestro Mussolini who passed away a couple days ago.

Romano Mussolini, jazz pianist and bandleader, the third and youngest son of Fascist dictator Benito Mussolini, was born on September 26, 1927 in Forlì in the Po valley and enjoyed a privileged childhood until the early years of the Second World War.

In 1943 he began experimenting with playing jazz on the piano, and was largely self-taught. After his father and his mistress, Carla Petacci, were shot while trying to escape to Switzerland in April 1945, Romano assumed a low profile, and after the war he launched his professional career as a pianist under the pseudonym “Romano Full”. By the mid-1950s, however, he had established a considerable national reputation under his own name, playing and recording with the trumpeter Nunzio Rotondo.

He led his own trio from the late 1950s onwards, the Romano Mussolini All Stars, and in 1959 supported a number of international guests, notably the Swedish baritone saxophonist Lars Gullin, the singer Helen Merrill and the American trumpeter Chet Baker, on visits to Italy. Baker was notorious for his drug dependency, and Mussolini remembered him as “dangerous to be around”, because of constant investigations by narcotics police. On the other hand, the pianist claimed not to remember the laid-back trumpeter’s first words to him, delivered in the hip tones of the ultra-cool jazzman: “Gee, it’s a drag about your old man.” They worked together at the Santa Tecla club in Milan, where, according to Baker’s biographer, James Gavin, “audiences flocked to see the younger Mussolini and a famous junkie on one stage”.

In 1963, leading his own band once more, Mussolini won the Italian critics’ album of the year prize for Jazz at Studio 7. At the same time, his style began to move from the cool West Coast modern jazz favoured by Gullin and Baker to more romantic fare, and by the following decade he was recording moody albums such as Mirage and Soft and Swing, leavened by his occasional high-octane jam sessions with the expatriate US clarinettist Tony Scott, who had settled in Rome.

By the 1980s, although his natural style on record had now developed further into one that drew heavily on Oscar Peterson’s playing, Mussolini began to play an even more traditional repertoire in public, recording with the guitarist Lino Patruno in his touring tribute to Louis Armstrong, as well as playing a very similar repertoire with the Austrian trumpeter Oscar Klein.
He was a favourite at Italian festivals throughout the 1990s and recently appeared as a guest at Europe’s biggest traditional jazz festival at Ascona in Switzerland with Patruno.

1) The Twitch
2) Omaggio A Oscar Peterson
3) Sweet Elisabeth
4) Hong Kong
5) Mirage
6) Blues For Alexandra
7) Rachel's Lullaby

GLAUCO MASETTI alto sax EMILIO SOANA trumpet PIERO MONTANARI bass ROBERTO SPIZZICHINO drums TULLIO DE PISCOPO percussion

Here's a real nice album cut by the maestro in 1974. It's fender rhodes all the way, both moody and groovy - a monster! ...might surprise a few of you!

http://rapidshare.de/files/12633037/Romano_Mussolini_Trio_-_Mirage__1974_.zip.html

Bobby Cole's Point Of View

Bobby Cole - A Point Of View Concentric S-1000 (1964)


This much sought after and timeless LP features 12 original compositions that show off the man's great songwriting, piano and vocal skills. He's ably accompanied here by Ralf Rost, Arnold Wise and Kathy Kelly in a totally swinging trio session, I'm sure you'll agree.

Side A
1) Status Quo
2) The Name of the Game Is Trouble
3) Lover Boy
4) You Can't Build A Life On A Look
5) But It's Spring
6) Heat

Side B
1) You Could Hear A Pin Drop
2) A Change of Scene
3) A Perfect Day
4) Elegy For Eve
5) No Difference At All
6) I'm Growing Old

During his career, among his many accomplishments, he was the musical director for Judy Garland at her final Palace performance, recorded for Columbia and for years was the house band at Sinatra's legendary "watering hole", "Jilly's". It was there that he started to develop his cult following.

Bobby Cole died a tragic death in a New York gutter outside of the club at which he was performing on December 19, 1997. He apparently fell, cracking his head on the curb, where he lay motionless for some time until someone finally called "911".

Files are encoded @ 192Kbps.

http://rapidshare.de/files/12302117/Bobby_Cole_-_Point_Of_View__1964_.zip.html

enjoy...

I launch this blog Quimsy's Mumbo Jumbo, God bless her and all who sail in her!

Gay Vaquer - The Morning of the Musicians RCA Victor (Brazil) 103.0059 (1972)

Personnel: Gay Vaquer (acoustic + electric guitars); Jane Vaquer (vocals); Luiz Eca (acoustic + electric keyboards); Paulo Moura (soprano and alto sax, flute); Novelli (amplified acoustic bass); Everaldo Ferreira and Bill French (drums, percussion)

1) 5:20
2) PEOPLES´S BLUES
3) A CYBERNETIC TRAGEDY
4) DIMENSIONS
5) AWAKENING IN ABSOLUTE-ELSEWHERE
6) FANTASTIC REALISM
7) DA CAPO AL FINE

For this inaugural voyage into musical mumbo jumbo why not try this Brasilian classic!

Brasilian music is my first love and this sort of LP goes a long way in explaining why, although I will not limit myself to posting music from this one genre.

Guitarist Gay Anthony Vaquer assembles an all-star line up of musicians for this breezy soft fusion tour de force. His then wife Jane (now known to many as Jane Duboc) can be heard on vocals.

Sweet and sublime one moment, progressive and funky the next - I hope you enjoy this little offering.

Files are encoded @ 192Kbps.

http://rapidshare.de/files/12227411/Gay_Vaquer_-_The_Morning_Of_The_Musicians__1972_.zip.html

Stick around, more to follow...