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)