Led Zeppelin - 1973 - The Drag Queen Of New Orleans

Led Zeppelin 

1973

The Drag Queen 

Municipal Auditorium, New Orleans, LA – May 14, 1973

101. Rock And Roll

102. Celebration Day

103. Bring It On Home Intro/Black Dog

104. Over The Hills And Far Away

105. Misty Mountain Hop

106. Since I’ve Been Loving You

107. No Quarter

108. The Song Remains The Same

109. The Rain Song

201. Dazed And Confused

202. Stairway To Heaven

203. Moby Dick

301. Heartbreaker

302. Whole Lotta Love

303. Communication Breakdown

This show in New Orleans was ten days into the first leg of Led Zeppelin’s American Tour and the band were really hitting their stride. Plant’s vocals are a little rough in spots but he does improve as the show goes on, however, there are many occasions where this adds emotion to his performance. The band more than make up for it as this is one of those nights where they just clicked and the performances keep getting better as the night progresses. New Orleans is also among some of the better sounding soundboards to surface from Zeppelin’s 73 tours, having a nice balance between the instruments.

Some of the first releases to compact disc were Live And Led Live and Live And Led Live Again from Flying Disc, Johnny Piston & the Dogs on Thin Men, and Drag Queen on the original Tarantura label. New Orleans 1973 on TDOLZ came out in 1999 and like all the others was exclusively from the soundboard. In 2006 a virtually complete audience source became available and both Bourbon Street Renegades on Empress Valley and The Witch Queen on Tarantura were released as 6CD sets containing both the audience and soundboard sources. The Drag Queen Of New Orleans from Godfather is the latest presentation of the New Orleans show this time in a 3CD format that gives priority to the soundboard with the audience source used to fill a couple gaps.

Moonchild use the excellent audience source for the first two minutes of “Rock And Roll” and transition to the soundboard just before Jimmy’s solo. The overall speed of the board tape runs slightly slower and isn’t really off by much so it isn’t a factor. The show is not without its problems. They band can’t seem to get the venue to turn the house lights down and after “Over The Hills And Far Away” Plant mentions the police presence and the fact that people are in the aisles. A really good “Since I’ve Been Loving You” is marred only by Plant’s vocal breaks. The first is almost disastrous but he makes do and the break after Jimmy’s solo is painful to hear him try and push it.

“No Quarter” is a highlight and Jones’ keyboards sound great in this recording. The Mellotron is also very prominent in “Rain Song”. No attempt to fill the gap in the soundboard source at the end of “Rain Song” due to the fact that the audience source is cut here as well. “Dazed And Confused” contains brief references to “Crossroads” and “Cat’s Squirrel” before settling into the “San Francisco” section. Page’s “Stairway To Heaven” solo is very smooth and Jimmy really develops some nice riffs here. John Bonham is introduced as “the Drag Queen from New Orleans” before 20 minutes of “Moby Dick”. Plant calls for “The Crunge” and “Cold Sweat” in the improv section of “Whole Lotta Love” but unfortunately doesn’t get it. Jones plays some impressive stuff under the Theremin solo and he and Bonham are really locked in. The audience source is used again to cover a gap in the “Whole Lotta Love” medley and the cross fades are almost seamless and are handled very well. “Communication Breakdown” has the “Cold Sweat” reference again in the middle jam and Robert’s vocals have somewhat improved for this track but what stands out here is Page’s blistering solo, proving the night belongs to him.

When compared with The Witch Queen, Tarantura got a livelier sound out of the audience source but the soundboard matrix I thought was a bit better on Moonchild. It is a bit crisper in the highs and the bass has a nice definition without overloading the recording. Bringing up the highs also brings up the hiss a little more so it comes down to personal preference. Either way, Godfather did a great job with the EQ and brought some life into the recording that is lacking in a lot of 73 soundboards.

The Drag Queen Of New Orleans from Godfatherecords is an excellent way of obtaining the (almost) complete performance without having to shell out for the more expensive six disc sets and can be easily recommended.

Bernt Rosengren - 1974 - Notes From Underground

Bernt Rosengren

1974

Notes From Underground

101. Theme from piano concerto no.2 in c-minor, op.18 [07:04]

102. In The Ocean [03:16]

103. Meyhane [03:13]

104. Gerda [07:27]

105. Fly Me To The Sun [05:14]

106. Gluck [06:16]

107. Some Changes I [08:59]

201. Some Changes II [09:22]

202. Iana Has Been Suprised In The Night [03:17]

203. Hakim Hanim [03:06]

204. Some Changes V [05:49]

205. Markitta Blues [03:44]

206. Splash [08:14]

207. Psalm [02:49]

208. Markitta Blues [00:55]

209. Some Changes VI [05:11]

Recorded 17-18 and 24-25 September, 1973, at EMI Studios, Stockholm, Sweden.

Track A1 from the original album has been deleted from the cd release for copyright reasons.

Maffy Falay,tp,darbuka(1/3)

Bernt Rosengren,ts,p(1/2 + 2/8),fl(2/2),taragot(2/3)

Tommy Koverhult,ts,fl(1/2),ss(1/4)

Bobo Stenson,p (1/1,4,5,7 + 2/1,4,5,7,9)

Torbjörn Hultcrantz,b,perc(2/2)

Leif Wennerström,dr,perc(2/2)

Okay Temiz,perc (1/1,2,4,5 + 2/1,3,4,5,7,9)

Bengt Berger,mridagam(1/1),tabla(1/4,5,7 + 2/1,4)

Salih Baysal,voc,v (1/3 + 2/3)

Bertil Strandberg,tb (1/4,5,7 + 2/1,4,5,7,9)

Gunnar Bergsten,bs (1/4,5,7 + 2/1,4,5,7,9)

Björn Alke,b (1/4,7 + 2/1,4,5,7,9)

Great LP that lives up to the hype. A spiritually charged session with all the players at the top of their game. Bobo Stenson and Okay Temiz really amaze me.

Misty In Roots - 1979 - Live At The Counter Eurovision

Misty In Roots

1979

Live At The Counter Eurovision

01. Man Kind (5:14)

02. Ghetto Of The City (6:29)

03. How Long Jah (6:05)

04. Oh Wicked Man (4:09)

05. Judas Iscariote (3:37)

06. See Them Ah Come 6:09)

07. Sodome And Gomorra (6:43)

Walford Tyson

Anthony Henry

Delford Briscoe

Lawrence Crossfield,

Joseph Charles

Niles Hallstone

Winstone Rose

Julian Peters

Recorded at the Cirque Royal in Brussels on March 31 and April 1, 1979

Mention 'live' reggae music and unless you're there at the gig most people tend to avoid it, but this is one of the toughest yet uplifting statements of roots music ever committed to tape. Misty were at the top of their game when they recorded this and you can tell. Misty manage to avoid the usual pitfalls of recording live roots music, the tendency to 'fake' the 'dub' effects for instance and the music is presented in a very natural, powerful manner. One of the true tests of a great album, for me, is when it creates its own 'time and space' and this one never fails to. Running at a fairly short 38 minutes it still seems like a whole 'show' and you definitely know you've been played to. Deep, righteous and heavy essential roots reggae music.

“When we trod this land. We walked for one reason. The reason is to try to help another man to think for himself. The music of our art is Roots music. Music which recalls history, because without the knowledge of your history you cannot determine your destiny. The music about the present, because if you’re not conscious about the present – you’re like a cabbage in this society. Music which tells about the future. And the judgement which is to come. The music of our art is Roots. Presenting Misty In Roots. Roots music for everybody. I’d like to say good evening – or good morning. This one called “Mankind” you a sinner…”

For a “live album” to be a band or artists most essential release is a rare thing. A few albums spring quickly to mind, It’s Alive (Ramones), Land Speed Record (Husker Du) – but they’re not those bands best albums by some distance.

Live from the Counter Eurovision ’79 is not only a live album but the debut album from Misty In Roots. Whilst most debut albums are urgent and full of creative necessary passion, to capture this essence in a live show, as a first release is quite something else. It stands as the bands best album and is unique on many levels as such

Mankind with that spoken introduction has passed into legendary status and is known better for being sampled than the actual song arguably. A mellow Reggae / Roots skank with bubbling under words of real warning. A track that bleeds sub-culture and escape, disassociation with the world then… and now.

The musical licks and hooks pull deeper on Ghetto Of The City, laid back rhythms paint a true picture of the Inner-City, here – there and everywhere. “Dreams are just an illusion, pavements are not gold” The realism, you can feel it. The song is a fighting song yet keeps its hands down, peace and bleak hope somehow comes through in vibe and delivery. Its communal feel is its real power.

How Long Jah is a slow burner. The power of the album is that it just keeps getting better with each listen. Suffering and pain is countered with equal rights and justice for all mankind. The vibe is totally uplifting. Hope in the face of despair. Almost a biblical feel yet no religion is outlined – just hope and positivity in the face of real dread.

Delicate organ swirls pad out throughout Oh Wicked Man again with fantastic late 70’s skank musically. There are no expletives on the album – but the backing vocal “eh’s” and “uh’s” suggest so much disdain – and it’s more effective that way – retreating to that subculture and desire to be away from war, oppression and inequality.

Judas Iscariot lifts the musical bar. Hooky and intriguing it takes the album again yet deeper. The album works, as all great albums do – as a whole – and this is a highlight in a near flawless and timeless release. No hits here however, just ones to the real senses.

See Them A Come and more other worldly / speaking in tongues / background muttering noises. That spiritual, all encompassing reality check of the real world. An open invite to step away from most that is wrong is suggested oh so clearly via the power of music and defiant vibe. “See them a come, but me not run“. Near spiritual – yet for all.

“In roots, imagine, trees are known by their fruits, but the children of man that invent military weapons, to gain supremacy, I say natural progression, misty in roots”. The final track Sodom and Gomorrah loops back to the open track stinking of wisdom. The smell is good. Again warning. This time more direct with words of total destruction filling the track. What mankind can do to itself. Look out for others. Somehow fight against this from whatever sub-culture. That vibe.

Roots and Reggae is not one of my best known or indeed favoured genres of music. Yet this album elevates to be one of my real favourites and I’ve had it on repeat for over a month now. That depth and vibe – nay purity even. A reaching hand and denial from 1979 that fits the mood of 2017 far better than they (Misty In Roots) would ever have dreaded in ’79. A stone cold classic of an album. If the time is not right for your ears, come back in 5 years – you’ll get there…

Not just the best live reggae album but arguably the best live album of all time, Live At Counter Eurovision 79 captures Misty In Roots at their devotional, political and philosophical finest

“If you’re not conscious of the present you’re like a cabbage in this society” I like the spoken introductions as much as the seen sprawling songs on this album, which I love more than any other album by a UK reggae band… if not any other band.

With their devotional mantras, Misty In Roots sound like Rastamen from a tenement yard in Kingston but were a socially conscious collective from Southall. The distinctive organ sound that carries the songs makes them unique.

I first saw them at the Hope & Anchor in 1978, the year this album was recorded live in Belgium, and a year or two later at Camden Town Hall for a Rock Against Racism benefit. One of the collective, Clarence Baker, had been savagely beaten by the notorious thugs of the police SPG – ironically at an anti-racist march – in Southall.

I also saw them with The Ruts, who recorded a song about that example of police brutality called Jah War. Misty had loads of members, as I recall, including about half a dozen singers. I’m pleased to learn that they are still performing, and still recording for Peter Gabriel’s Real World label.

This is the opening song of the set, Mankind; I especially love that spoken beginning, easing the listener into their conscious world. Some of the album was played at the funeral of DJ John Peel, who championed them in the early days, which may well be how I first heard them on his nightly Radio 1 show.

Johnny Dyani - 1979 - Song for Biko

Johnny Dyani

1979

Song for Biko

01. Wish You Sunshine 6:10

02. Song For Biko 4:51

03. Confession Of Moods 8:20

04. Jo'burg - New York 16:29

Johnny Dyani – bass

Dudu Pukwana – alto saxophone

Don Cherry – cornet

Makaya Ntshoko – drums

Recorded July 18th, 1978

Song For Biko is a forgotten avant-garde Jazz classic, in the same company as Prince Lasha and Sonny Simmons' Firebirds. Cornetist Don Cherry may be the only well-known member of the quartet but he's the least interesting. He's the one that will lead people to quickly compare this album to Ornette Coleman's work. The other three musicians are from South Africa and bring a very different approach and sound to the table. It's like hearing guitarist Gabor Szabo for the first time. His combination of Hungarian Folk and Jazz is fascinating. Same thing here. Makaya Ntshoko's drumming is quite busy and very heavy. It gives the album a Rock feel at times. I'm surprised that alto saxophonist Dudu Pukwana's legacy is relatively obscure. He had some serious fire and passion at his command. The 16 minute "Jo'Burg - New York" is the most fascinating song. Everybody shows what they're made of, laying down a truly priceless slice of Jazz. The biggest surprise for me was bassist Johnny Dyani. He doesn't sit back and act content to play some boring walking bass line. He smacks the hell out of his bass. He makes it talk to you and you really get the impression that you are listening to his very core. If I hear more of his work I just might start calling him my favorite bassist period. He's THAT good. You could compare him to Cecil McBee and Richard Davis. He travels in those regions of emotive force.

Bassist Johnny Dyani had a large tone and a relaxed yet authoritative style. On this classic SteepleChase release he teams up with two other South African expatriates (altoist Dudu Pukwana and drummer Makay Ntshoko) plus cornetist Don Cherry for music that is haunting, emotional, somewhat adventurous, yet also melodic. While "Song for Biko" is the most memorable piece, all five of Dyani's originals (including the 16-and-a-half-minute "Jo'burg-New York") are special. The music combines together Dyani's South African folk heritage with Ornette Coleman's free bop and elements of avant-garde jazz. Highly recommended.

Johnny Mbizo Dyani - 1987 - Together

Johnny Mbizo Dyani 

1987

Together

01. Together

02. Johnny's Kwela

03. Marabi Soweto

04. High Priest

05. Kalahari

06. Crossroads

07. Tula Tula

All compositions by Johnny Mbizo Dyani, except 7, traditional, arranged by JMD.

Johnny Mbizo Dyani - keyboards, vocals

Dudu Pukwana - altosax, whistles

Virimuje Shimmy Radise - tenor sax

Kenny Hakansson - electric guitars

Hassan Ban - congas

Bosse Skoglund - drums

Felix Perrera - South African trad. harp

Produced by Stanley Koonin at Sound City Studios, Stockholm, Dec.1979-Jan.1980.

This was released posthumously on the Cadillac label in 1987 and label head John Jack is listed as executive producer, though whether he may have had anything to do with the original sessions is not clear.

Following Dudu Pukwana's Zila, here's Johnny Mbizo Dyani's Witchdoctor's Son. This is not to be confused with the Witchdoctor's Son that came out on the Steeplechase label with a different line-up, though with Dudu Pukwana in both. This here is a Swedish - South African crew assembled by Mbizo for a session in Stockholm in late 1979 - early 1980. Most of the South Africans on the record were living in Sweden at the time, including Mbizo while Pukwana flew in from London for the session. Kenny Haakonson, guitarist with the prog rock outfit Kebnekajse was roped in as well as drummer Bosse Skoglund, old chums of Mbizo.

What we have here is one side of Mbizo compositions drawing on the popular SA music of the 50s and later, one traditional (in fact the same tune as the one on the Zila album posted previously), one quickie fusion number and then the odd one out, I thought, "Kalahari", named after the Botswana desert. Here Haakonson gets to do a proggish uptempo piece which would not out of place on a Kebnekajse record from the 70s, though normally not associated with Mbizo, though . Mbizo has vacated the bass for keyboards and handles vocal duties on this record.

Johnny Dyani - 1978 - Witchdoctor's Son

Johnny Dyani

1978

Witchdoctor's Son

01. Heart With Minor's Face 04:17

02. Ntyilo Ntyilo 05:15

03. Radebe 06:24

04. Mbizo 04:46

05. Eyomzi 06:57

06. Magwaza 13:06

07. Radebe (tk 1) 08:05

08. Heart With Minor's Face (tk 2) 04:25

09. Ntyilo Ntyilo (tk 1) 03:57

10. Magwaza (tk 1) 10:05

Bass, Piano, Vocals: Johnny Mbizo Dyani

Saxophone: John Tchicai, Dudu Pukwana

Guitar: Alfredo Do Nascimento

Drums: Luez "Chuim" Carlos De Sequaira

Congas, Percussion: Mohamed Al-Jabry

Since his arrival in England as a South African expatriate in the early '60s and as a member of the Blue Notes, bassist Johnny Dyani served as a powerful and creative component of innumerable ensembles (including those led by Abdullah Ibrahim and Chris McGregor) before releasing a series of albums under his own name in the late '70s and '80s. Witchdoctor's Son is certainly one of the best of these, featuring the wonderful dual reed frontline of John Tchicai and fellow ex-pat Dudu Pukwana. The pieces reflect Dyani's upbringing in the township style prevalent in South Africa, a joyous, surging music which seeks to transcend the horror of everyday life as experienced by the native majority. None of the compositions give a better example of this than the superb concluding number, "Magwaza," a traditional song arranged by Dyani with a grooving, elastic bassline that is absolutely irresistible and which provides fertile ground for inspired solos by Tchicai and Pukwana. Dyani would die far too early in 1986, but his warmth and utter musicality happily found expression in several small group recordings made in the prior ten years, of which Witchdoctor's Son is a sterling example. Highly recommended.

Johnny Mbizo Dyani (Nov. 30, 1945 — Oct. 24, 1986) was a South African double-bassist who emerged as one of the founding members of Cape Town jazz heroes the Blue Notes, in which he played alongside saxist Dudu Pukwana, drummer Louis Moholo, and trumpeter Mongezi Feza.

Just as the Blue Notes began making waves in Europe, Dyani departed in 1966 to tour Argentina with American saxist Steve Lacy. The following year, Dyani and Moholo played alongside Italian trumpeter Enrico Rava on Lacy’s The Forest and the Zoo album. Over the next five years, Dyani also appeared on albums by Al Shorter, Don Cherry, John Stevens, and former band-mate Chris McGregor.

In 1972, Dyani and Feza formed a surname-sake free-jazz trio with Turkish percussionist Okay Temiz. Their album, Music for Xaba, Vol. I, was issued the following year on Sonet. A second volume would appear in 1979, four years after Feza’s passing, which sparked the Blue Notes 1976 reunion album Blue Notes for Mongezi.

Dyani and Temiz recorded one further album, Witchdoctor’s Son, in 1976. That same title would also be used for Dyani’s first solo album, recorded with Pukwana and Danish saxist John Tchicai and released in 1978 on SteepleChase. That same year, he played in Moholo’s eponymous octet for the album Spirits Rejoice! The late ’70s also found the bassist’s name on albums by Dave Murray, Dollar Brand, Joe Bonner and Phillip Wilson.

In 1979, Dyani released his most popular album, Song for Biko, with a newly formed quartet comprised of Cherry, Pukwana, and drummer Makaya Ntshoko. A string of further solo and collaborative efforts would follow into the mid-1980s, which also found Dyani behind U.S. vibist Khan Jamal and beside Nowegian saxist Frode Gjerstad in the free-jazz trio Detail.

In October 1986, Dyani died shortly after a performance in West Berlin. His passing inspired a second Blue Notes reunion album, Blue Notes for Johnny. In 1988, a vaulted 1972 Dyani Temiz Feza recording session was issued as Rejoice on Cadillac Records.

Okay Temiz & Johnny Dyani - 1976 - Witchdoctor's Son

Okay Temiz & Johnny Dyani

1976

Witchdoctor's Son

01. Gece [The Night] 3:38

02. Yesil Fener [I'm A Green Lamp] 5:37

03. Sark Gezintileri [Orient Trip] 4:06

04. Karadeniz Dalgari [Black Sea Waves] 2:03

05. Doktur [Play For Me] 4:06

06. Elhamdulillah Marimba [Marimba] 6:09

07. Hepimiz Icin [It's For You All] 3:49

08. Ben Muslumanim [I'm Muslim Man] 4:36

09. Moriva [Moriva] 7:30

Bass, Piano, Vocals – Johnny Dyani

Clarinet, Violin – Saffet Gundeger

Drums, Percussion – Okay Temiz

Electric Bass – Oğuz Durukan

Saxophone – Gunnar Bergsten

One of the hippest albums we've ever heard from bassist Johnny Dyani – and that's saying a lot, given his tremendous records of the 70s! The album's different than the album that Johnny recorded with fellow Blue Notes members on the Steeplechase label – and instead, the group here is led by percussionist Okay Temiz, and mixes Johnny's round, bold lines on acoustic bass with additional electric bass, plus clarinet and saxes too! The tunes are heavily rhythmic – still jazz, but with very strong global currents too – an even rootsier vibe than most jazz of the South African scene from whence Dyani came – in a mode that really seems to set him free. Johnny also plays a bit of piano, too – and the tracks are a mix of Dyani originals, plus Temiz arrangements of traditional Turkish tunes.

The recording captures a complex, funky and musically together exploration of folk themes, jazz messages and popular directions. After many years together discovering both South African and Turkish sources, Temiz and Dyani were intimately versed in each other’s traditions. Side one features material arranged by Temiz, and the second has material arranged and composed by Dyani – including a stunning arrangement of Don Cherry’s Elhamdulilhah Marimba with Dyani on piano and voice.

‘The visionary Turkish percussionist and the great South African bassist were introduced by Don Cherry in 1969, when Dyani moved to Sweden after the break-up of The Blue Notes. They worked together regularly over the next decade, starting out with Cherry in the Eternal Ethnic Music trio.

“Another world,” recalls Temiz. “At that time I was trying to learn as a big band jazz drummer, and when I met Don Cherry, I said, forget it. We played another kind of music. Indian music, Turkish music, Bulgarian, Chinese, you know… All kinds of music.” “Every musician,” Dyani said later, “should realize and acknowledge that folk music is the backbone of every music.”

Recorded in Istanbul in 1976; originally released in an edition of one thousand copies only, on the Turkish label Yonca. The first side features Turkish material arranged by Temiz; the second, SA-oriented music put together by Dyani, opening with a stunning interpretation of Cherry’s Marimba

Mystical grooves, deep forest psychedelic sounds, and freaky, wild, joyful sunny dances all happen here in less than 45 minutes. That review is actually quite ironic because the production is fine and, especially, because these rythyms and beats are very tight (well, it's Okay Temiz). I was shocked at first when reading that "some musicians sound behind the beat". Just listen to "Yesil Fener". That's some savage 9/8 madness in the greatest Turkish tradition.

Get this one. It's... spiritually enhancing, to say the least.

Lennart Åberg - 1977 - Partial Solar Eclipse

Lennart Åberg

1977

Partial Solar Eclipse

01. Partial Solar Eclipse I 8:12

02. Partial Solar Eclipse II 6:04

03. Partial Solar Eclipse III 6:45

04. Partial Solar Eclipse IV 9:44

05. Partial Solar Eclipse V 4:24

06. Partial Solar Eclipse VI 6:52

Bertil Lövgren trumpet, fluegelhorn

Ulf Adåker trumpet, fluegelhorn

Jan Kohlin trumpet, fluegelhorn

Håken Nyquist french horn, trombone, fluegelhorn

Stephen Franckevich trumpet (VI)

Lars Olofsson trombone

Sven Larsson bass trombone, tuba

Jörgen Johansson trombone (VI)

Lennart Åberg soprano saxophone, tenor saxophone, alto saxophone

Ulf Andersson alto saxophone, piccolo, flute

Tommy Koverhult soprano flute, tenor flute

Erik Nilsson baritone saxophone, bass clarinet, flute

Bobo Stenson piano, electric piano

Harald Svensson synthesizer (I, IV)

Jan Tolf electric guitar (I, II, III, VI)

Palle Danielsson bass (I-V)

Stefan Brolund Fender bass (I, II, VI)

Jon Christensen drums

Leroy Lowe drums

Okay Temiz percussion (I, II, III)

Recorded September 5-9, 1977 at Metronome Studios, Stockholm

Swedish saxophonist Lennart Åberg assembles a force to be reckoned with for this out-of-print JAPO release. Fronting a 20-piece ensemble that includes early appearances by pianist Bobo Stenson, bassist Palle Danielsson, and drummer Jon Christensen, Partial Solar Eclipse plays out in a six-part suite of epic proportions. The trumpet-led swell of Part I gives way to a groovy bass line amid big band brilliance infused with Brazilian percussion (courtesy of Okay Temiz). A soaring solo from Åberg flirts with the clouds even as it transcends them in fiery sunset. The twinned bass action from Stefan Brolund and Danielsson impels the spirit toward Stenson’s winding finish. Out of these dense beginnings comes a mosaic of hues and textures. From the flanged ground line and backing horns of Part II, which sound like a warped version of “Baby, You’re a Rich Man,” to the oozing finality of Part VI, the album as a whole bursts with a jazz that squeals, “I made it!” Jan Tolf’s guitar work is the conclusive highlight, along with the florid and soulful tenor work of Åberg himself. Between the two we find the Motown edge of Part III, with its radiant flute and oceanic pianism, and the killer baritone work in Part IV of Erik Nilsson, who also unleashes a fabulous bass clarinet solo over the chalky backdrop of Part V.

This is an album that foregrounds itself by foiling the otherworldliness of all that came before. In so doing, it offers the glare of its namesake without the need for glasses. It’s an intense thrill ride, to be sure, but one that offers choice rewards even (if not especially) for those not tall enough to enter.

Lars Gullin - 1974 - Bluesport

Lars Gullin

1974 

Bluesport

01. Pontus 6:11

02. Mazurka 7:42

03. Bluesport 6:57

04. Omericano 11:36

05. Holy Grail 4:23

06. Motorcykeln 5:24

Alto Saxophone – Lennart Jansson

Baritone Saxophone, Piano – Lars Gullin

Bass – Björn Alke

Congas – Ahmadu Jarr

Drums – Fredrik Norén, Rune Carlsson

Electric Bass – Jan Bergman

Electric Guitar – Amedeo Nicoletti

Flugelhorn, Trumpet – Maffy Falay

Flute – Gunnar Lindqvist

Percussion – Okay Temiz

Piano – Lars Sjösten

Producer – Gunnar Lindqvist

Sopranino Saxophone – Lennart Åberg

Tenor Saxophone – Bernt Rosengren

Trombone – Bertil Strandberg

Recorded at EMI Studios, Stockholm, Sweden, September 8 (A1, A3) and 9 , 1974.

One of the top baritone saxophonists of all time and a giant of European jazz, Lars Gullin would be better known today if he had visited the U.S. often and if excessive drug use had not cut short his career. Early on he learned to play bugle, clarinet, and piano, and was actually a professional altoist until switching to baritone when he was 21. Sounding somewhere between Gerry Mulligan and Serge Chaloff, Gullin played in local big bands in the late '40s and was in Arne Domnerus' sextet (1951-1953), but is best known for his own small-group recordings. He played with such touring Americans as Lee Konitz (a major influence), James Moody, Clifford Brown, Zoot Sims, and Chet Baker, and recorded frequently during 1951-1960, with "Danny's Dream" being his most famous composition. Gullin also recorded a bit during 1964-1965, but made only one later session (1973). Despite a lot of accomplishments in the 1950s, he did not live up to his enormous potential. Gullin can be heard at his best on five Dragon CDs released as The Great Lars Gullin, Vols. 1-5.

Bernt Rosengren Big Band - 1977 - First Moves

Bernt Rosengren Big Band

1977

First Moves

01. Manhattan Reflections

02. You've Changed

03. My Song Is Blue

04. Felicidade

05. First Moves

06. Det Finns (So Many Things)

07. Beat Me Again

08. Meaning Of The Blues

09. Give Me Peace

Gunnar Bergsten, baritone saxophone

Torbjörn Hultcrantz, bass

Lars Bagge, bassoon, horn

Lennart Jansson, clarinet, bass clarinet, soprano, alto and baritone saxophone

Johnny Martinez, congas

René Martinez, congas

Sabu Martinez, congas

Lars Färnlöf, cornet, flugelhorn

Leif Wennerström, drums

Bernt Rosengren, flute, alto and tenor saxophone

Tommy Koverhult, English horn, soprano and tenor saxophone

Okay Temiz, percussion

Claes-Göran Fagerstedt, piano

Bobo Stenson, piano, electric piano

Anders Lindskog, tenor saxophone

Jan Jansson, trombone

Janus Miezek, trombone

Lars Olofsson, trombone

Lennart Löfgren, trombone

Sven Larsson, bass trombone

Björn Borg, trumpet

Bertil Lövgren, trumpet, flugelhorn

Maffy Falay, trumpet, flugelhorn

Nannie Porres, vocals

Bennie Svensson, vocals

Recorded April 12-15, 1977, at EMI Studios, Stockholm, Sweden.

Rosengren first played professionally at age 19, as a member of the Jazz Club 57, and two years later in 1959, he played in the Newport Jazz Band. Roman Polanski's film score composer Krzysztof Komeda used Rosengren in the performance of his jazz score for Polanski's film Knife in the Water (1962). Rosengren recorded a string of highly regarded albums in the 1960s and 1970s, including Stockholm Dues (1965), Improvisations (1969), and Notes from Underground (1974).

Rosengren played in a sextet led by George Russell in the 1960s in Europe. Later in the decade, he moved from hard bop into post-bop experimentation, playing with Don Cherry; in the 1970s, as a member of Sevda led by trumpeter Muvaffak "Maffy" Falay, he began working with elements of Turkish and Middle Eastern music. He also formed his own big band in the 1970s.

In the 1980s, Rosengren worked frequently with American jazz musicians such as Doug Raney, George Russell, Don Cherry and Horace Parlan. He recorded an album of songs from Porgy & Bess in 1996.

Chris Mosey, a jazz critic from All About Jazz, said in his review of Rosengren's album I'm Flying (2009): "All in all, I'm Flying is a worthy Golden Record." Jack Bowers, also writing for All About Jazz, wrote in his review of the same album: "Rosengren, for his part, is a model of elegance and consistency, inspiring his companions without stealing their thunder. Together they comprise a tight-knit and consistently engaging foursome. Besides blowing superbly, Rosengren wrote seven of the album's twelve selections. – Rosengren rides their talents like an Indy car driver, and the result is an exemplary team effort that is as stylish as it is rewarding

Johnny Dyani, Mongezi Feza, Okay Temiz - 1988 - Rejoice

Johnny Dyani, Mongezi Feza, Okay Temiz 

1988

Rejoice

01. Mad High 11:03

02. Makaya Makaya 11:07

03. Pukwana 9:02

04. Imbomgolo 12:07

Bass, Vocals – Johnny Dyani

Drums [Turkish], Percussion – Okay Temiz

Trumpet, Vocals – Mongezi Feza

Recorded at the Filial of the Museum of Modern Art, Stockholm, Sweden, October 21st 1972

The life of Johnny “Mbizo” Dyani (1945-1986), bassist with the legendary South African jazz troupe the Blue Notes, is celebrated by the reissue of two recordings dating from his period living in Sweden. “Rejoice”, culled from a live concert with trumpeter Mongezi Feza and drummer Okay Temiz, and the studio recording “Together” featuring Dyani’s group Witchdoctor’s Son, were issued posthumously, the latter in 1987, “Rejoice”a year later; both are treasured collectors’ pieces in their original vinyl formats.

REJOICE is a trio album with Dyani's compatriot Mongezi Feza and Turkish percussionist Okay Temiz, recorded at the Museum of Modern Art in Stockholm in October 1972, during a Swedish tour. Sadly by the time the album was actually released in 1988 only one member of the group remained, Feza having died in 1975 aged 30 and Dyani in 1986 aged 39. Both musicians had left South Africa as members of the Blue Notes group, settling in London never to return to their apartheid homeland. TOGETHER was also recorded in Stockholm, where Dyani was by then living, in Dec 1979 / Jan 1980. The group was put together specially with Dyani's old cohort Dudu Pukwana invited over from London to play. 'The music is very special. Transcending the boundaries of nations and cultures, Mbizo s enthusiasm spread and inspired the sessions with his intense passion. A passion which revelled in a nostalgia for the myths and melodies of Marabi and Kwela. Mbizo s life was music, he gave his life for music. These sessions are Mbizo's own testimony to the spirit of hope for the future, for a better world. It is a statement so filled with vitality and with the joy of rediscovered roots that it will stand as a signpost to the whole of his life and work.'

Dyani, Temiz, Feza - 1980 - Music For Xaba Volume Two

Dyani, Temiz, Feza

1980

Music For Xaba Volume Two

01. Mad High 13:00

02. Mighty Blues 8:10

03. Dear Africa 6:50

04. Makaya Makaya Makaya 9:05

05. Witchdoctor's Son 4:55

Bass, Piano, Vocals – Johnny Dyani

Drums, Percussion – Okay Temiz

Trumpet, Percussion – Mongezi Feza

Recorded at Theater Nine, Stockholm, Sweden on November 2nd, 1972.

Mongezi Feza began playing the trumpet very early, and by his teens was already playing professionally in groups, taking part in the very popular jazz competitions. Chris McGregor spotted him there and invited him to join the Blue Notes; with them he fled the country in 1964, playing first at the Antibes Jazz Festival and then in Zurich, London, and Copenhagen. Feza was a member of the ensembles McGregor led and played with Dudu Pukwana in his groups Assagai and Spear in the early '70s. In Flute Music (Caroline 1975), he plays flute and percussion on four original compositions, including the beautiful "Sondela." He was heard on Keith Tippett's huge Centipede (Septober Energy, RCA 1971); with avant-rock's Robert Wyatt (Ruth Is Stranger Than Richard, Virgin 1975), and in Henry Cow with Fred Frith (Desperate Straights and In Praise of Learning, Virgin 1974). In 1972, Johnny Dyani invited Feza to join the trio Xaba, with Turkish percussionist Okay Temiz. Feza recorded one of his last sessions (Diamond Express, Freedom 1977) with Dudu Pukwana. He passed away in 1975, from a combination of nervous disorder and untreated pneumonia; his friends and colleagues believed that his complaints were not taken seriously enough at the London hospital. Explosive yet lyrical, Feza was enamored of the style of Clifford Brown and Booker Little. His free improvisations, infused with the influence of kwela rhythms and African melodies, are a marvel of invention. With his premature death, the European jazz scene lost one of its most original voices and a person loved by audiences and colleagues alike.

Dyani, Temiz, Feza - 1973 - Music for Xaba

Dyani, Temiz, Feza

1973 

Music for Xaba

01. Idyongwana 9:30

02. Feelings 12:45

03. Traditional South African Songs 9:10

04. Görans Söder 11:30

Bass, Piano, Vocals – Johnny Dyani

Drums, Percussion – Okay Temiz

Trumpet, Percussion – Mongezi Feza

Recorded at Theatre Nine, Stockholm, Sweden, November 2nd, 1972.

A small contribution to the south African thread running through these pages, and by way of a response to a request, here's Music for xaba a great fusion of free jazz , tribal psychedelia and those unforgettable township melodies.

All these players had strong associations with Don Cherry.. and these sessions have a marked resemblance to many of his projects...(long may he be remembered).

To those who are familiar with Cherry and the many classics in the free ethno tribal trance out sub genre, but don't know this..its well worth checking out.

Tony Scott - 1973 - Manteca

Tony Scott

1973

Manteca

01. Manteca 9:45

02. 'Round Midnight 6:00

03. Lemon Drop 2:40

04. Billie's Bounce 7:20

05. Lover Man 5:00

06. One For Topsy 6:55

Tony Scott, clarinet, baryton, vocal

Kjell Öhman, organ

Rune Öfwerman, piano

Sture Nordin, bass

Ed Thigpen, drums

Okay Temiz, percussion

Sabu Martinez, congas

Jan Schaffer, electric guitar

Tony Scott (born Anthony Joseph Sciacca June 17, 1921 - March 28, 2007) was an American jazz clarinetist and arranger known for an interest in folk music around the world. For most of his career he was held in some esteem in New Age music circles because of his decades-long involvement in music linked to Asian cultures and to meditation.

Born in Morristown, New Jersey, Scott attended Juilliard School from 1940 to 1942. In the 1950s he worked with Sarah Vaughan and Billie Holiday. He also had a young Bill Evans as a side-man. In the late 1950s he won on four occasions the Down Beat critics poll for clarinetist in 1955, 1957, 1958 and 1959 He was known for a more "cool" style than Buddy DeFranco.

Despite this he remained relatively little-known as the clarinet had been in eclipse in jazz since the emergence of bebop. In 1959 he left New York City, where he had been based, and abandoned the United States for a time. In the 1960s he toured South, East, and Southeast Asia. This led to his playing in a Hindu temple, spending time in Japan, and releasing Music for Zen Meditation in 1964 for Verve Records. In 1960 a Down Beat poll for Japan saw readers there name him best clarinetist[6] while the United States preferred Buddy DeFranco. More recently he did a Japanese special on Buddhism and Jazz, although he continued to work with American jazz musicians and played at the Newport Jazz Festival in 1965.

In 1967 he put out his first album in eight years entitled Tony Scott: Homage To Lord Krishna. In the years following that he worked in Germany, Africa, and at times in South America.

He settled in Italy in the 1970s, working with Italian jazz musicians such as Franco D'Andrea and Romano Mussolini. He also played the part of a Sicilian-American Mafia boss in Glauber Rocha's film Claro (1975). In later years he began showing an interest in Electronica and in 2002 his Hare Krishna was remixed by King Britt as a contribution to Verve Remixed.

In 2010, a documentary film by the Italian director Franco Maresco about the life of Tony Scott was released titled Io sono Tony Scott, ovvero come l'Italia fece fuori il più grande clarinettista del jazz (English: I am Tony Scott. The Story of How Italy Got Rid of the Greatest Jazz Clarinetist).

Nils Sandström - 1972 - The Painter

Nils Sandström

1972

The Painter

01. I Remember Clifford 10:35

02. Manteca 6:42

03. Django 5:08

04. Cantaloupe Island 9:10

05. Woody'N You 4:20

06. Stella By Starlight 8:30

Recorded June 5, 1972 (track B1)

Recorded June 6, 1972 (tracks A1, A2, A3 & B2)

Recorded June 12, 1972 (track B3)

Nils Sandström: tenor saxophone

Björn Alke: bass

Leroy Lowe: drums

Claes-Göran Fagerstedt: piano

Lalle Svensson: trumpet

Gunnar Röjarn Nyberg: bells

Bengt Berger: cowbell

Ahmadu Jarr: congas, vocals

Akay Temiz: darbuka

Okay Temiz: talking drum

Stig Söderqvist: cornet

Robert Malmberg: piano

Nils Göran ( Nisse ) Sandström , born March 13, 1942 in Katrineholm , died September 8, 2021 in Skedevi district in Östergötland, was a Swedish jazz musician .

In 1958 , Sandström won the soloist class in TV jazz . In 1972 he received the Golden Disc award from Orkesterjournalen for his album The Painter . Among the musicians Sandström has played with are Monica Zetterlund and Red Mitchell. Until his death, he had a guaranteed income of at least five price base amounts per year from the Swedish state through the state income guarantee for artists . [

Sandström appeared every week in the half-hour long program Jazz with Nisse Sandström in P4 Östergötland .

He was married the first time to the administrator Gull-britt Sandström, the second time to the translator Inger Sandström and the third time to the folk high school teacher and textile artist Kerstin Hedman Sandström.

Sevda - 1974 - Live At Fregatten

Sevda

1974

Live At Fregatten

01. Taksim 10:15

02. Kaynasma 4:33

03. Ya Mustafa 5:42

04. Oyun Havasi 1:45

05. Köcekce 3:28

06. Veresiye Vere Vere 1:04

07. Nerede Bulmali 1:38

08. Balkan 7:17

09. Arabamin Atlari 1:38

10. Yesil Fener 1:13

11. Karsilama 1:15

12. Announcement 1:35

Bass – Björn Alke

Drums – Okay Temiz

Darbuka – Peter Smoliansky

Tenor Saxophone, Soprano Saxophone – Tommy Koverhult

Tenor Saxophone, Tárogató – Bernt Rosengren

Trumpet, Piano – Maffy Falay

Violin – Salih Baysal

Recorded at the Fregatten restaurant, Stockholm, during Stockholm Jazz Festival, August 1973.

Title as "Live At Fregatten" on cover, but as "Sevda At Fregatten" on back, spine and label.

l Sevda albums are recorded live, this one at Stockholm Jazz Festival in August 1973. Like their previous albums it opens with a taksim (an improvisation) by the wonderful violinist Salih Baysal, and then all hell breaks lose again. ”Live at Fregatten” has an altered line-up, with Björn Alke on bass instead of Ove Gustavsson, and Tommy Koverhult replacing Gunnar Bergsten on sax. Maybe that changed the musical chemistry of the band, as the album again has a different feel than Sevda's previous albums. Actually, this is very much Okay Temiz's album – he pushes the music ahead of him like a powered up high speed bulldozer, drumming away like a raging madman. I can almost see the faces of the other members while they're playing – ”man, Okay's really on tonight!”. ”Live at Fregatten” is every bit as essential as the ”Jazz i Sverige '72” and ”Live at Jazzhus Montmartre”, another a masterpiece from an almost unrivalled band. It should have been a great inclusion in the Caprice box set, but ”Live at Fregatten” was an original Sonet release.

Sevda - 1972 - Live at Jazzhus Montmartre featuring Salih Baysal

Sevda 

1972

Live at Jazzhus Montmartre featuring Salih Baysal

01. Taksim 9:45

02. Misket 6:40

03. Ya Mustafa 4:55

04. Çifte Telli 3:15

05. Köçekce 4:15

06. Oyun Havasi 1:40

07. Çadirimin Üstüne 1:45

08. Karsilama 2:15

09. Çadirimin Üstüne (Da Capo) 4:20

10. Naciye 2:00

11. Kürt Ali 4:40

Baritone Saxophone – Gunnar Bergsten

Bass – Ove Gustavsson

Drums, Darbuka – Okay Temiz

Trumpet, Piano, Darbuka – Maffy Falay

Violin – Salih Baysal

Turkish folk material.

Recorded March 23rd, 1972 at Jazzhus Montmartre, Copenhagen.

Free Jazz with turkish flavours! The beginning violin tone is quite jarring to me but when the music evolves and the rest of the band joins in the violin fits right in. The band joins towards the end of the first side and the group continues to play in full force to the end of the second side. I really liked the jam'ish and very rhytmical presentation. Okay Temiz really holds down the grooves, as usual. Even though the track listing says otherwise the whole album feels like a single tune, just changing periodically. Definitely worth a listen, definitely a unique view of free jazz.

Recorded on legendary Copenhagen jazz ground a mere week after ”Live i Sverige '72” and released in the same year, this is like a companion volume to the previous album. ”Live at Jazzhus Montmartre” captures Sevda in an even more expressive mood; the music is rawer and with an even greater Turkish emphasis. The playing is so intense it's almost dangerous – when at their most frenzied, I almost want to duck not to get hit in the head from the debris and splinters flying off the music. An incredible album.

From Jazz I Sverige ’72, Maffy Falay took a stripped-down version of Sevda and Salih Baysal across Europe, stopping over in Copenhagen, at Jazzhus Montmartre (1972) to record this live performance. Although there is a quintet, what sticks in the mind is the high and lonesome wail of Baysal’s violin. Falay had curated a myriad Turkish folk tunes and he opens the book on them here, virtually handing the floor to Baysal to play all of them virtually by himself; or at least that’s how the listener will remember the album to be – so imposing a presence is the violinist’s. Also, quite unbeknownst to many, the drummer Okay Temiz was extending his footprint into the nascent “World Music” planet. Sitting behind a very unusual looking drums-set made from beaten copper, clad in a variety of patterned shirts, Temiz brings a delicate balance between the music he played with Don Cherry rhythms and his deeper Turkish sensibility to this recording. “Ya Mustafa” is, perhaps, the most memorable song on this recording.

Sevda - 1972 - Jazz I Sverige '72

Sevda

1972

Jazz I Sverige '72

01. Taksim 2:35

02. Hicaz Dolap 2:50

03. Tamzara 11:40

04. Batum 5:25

05. Karadeniz 5:20

06. Makadonya 8:30

07. Çifte Telli 8:05

08. Karsilama 3:40

Baritone Saxophone, Flute – Gunnar Bergsten

Bass – Ove Gustavsson

Drums, Darbuka – Okay Temiz

Darbuka – Akay Temiz

Tenor Saxophone, Flute – Bernt Rosengren

Trumpet, Flugelhorn, Piano, Flute – Maffy Falay

Violin – Salih Baysal

Recorded at TV-2, Swedish Radio, Stockholm March 15th, 1972.

Sevda is a unique fusion of Turkish music and Swedish jazz, which grooves naturally in exotic time signatures (like 7/8 and 9/4), blending textures, rhythms and swinging improvisations into an exciting whole. It was recorded live at a TV studio, and at the time nobody had any idea it would be issued as a record. On drums is the great Okay Temiz, who also played with Don Cherry for some time (as well as did Maffy Falay)

One of my all time favourite bands operating on the progg/jazz scene, led by Turkish trumpeter Maffy Falay and featuring fellow countryman and drummer Okay Temiz, Fläsket Brinner saxophonist Gunnar Bergsten, and jazz pianist Bernt Rosengren to name a few of Sevda's original members.

Sevda was a very powerful unit, strikingly vital, organic, dynamic – everything you could ask for from a top notch jazz outfit. The Turkish harmonies enrich the music immensely, creating a tension field that is almost unique to Sevda (almost, because Okay Temiz's albums under the Oriental Wind banner were rather similar to Sevda).

If, as Whitney Balliett once suggested that “The French are old hands at introducing other cultures to themselves” and indeed to Europe (as Edmund Wilson said of Hippolyte Taine’s 1872 book Histoire de la Littérature Anglaise) then the Swedes are most certainly responsible for what is now the World Music phenomenon. To be exact, it was Don Cherry who first coined the term “World Music” to describe the music he had begun to play in the 1970’s. The iconic Swedish drummer Bengt Berger clearly remembers that. And even if – as has been rightfully posited in Jan Bruér’s excellent booklet notes in this collector’s edition of Sevda – the expression may have been used by others, it was certainly Cherry’s music that sparked the fire that has been raging ever since and has now enveloped the rest of the world as well.

Bengt Berger should know. He was in that seminal band led by Don Cherry. Berger went on to lead a band of his own not long after touring Europe with Cherry in the 1970’s. The band he led was called Rena Rama and the music if the music on their eponymously titled album is any indication, then the Swedes not only caught onto Cherry’s ideas very early but also introduced “World Music” not only to Europe, but back to the Indian subcontinent where they played more than once between the album’s release in 1973 and the mid-1980’s. In fact it was in 1984 (or 1986) that Don Cherry got up from within the audience, his fingers wrapped around his pocket trumpet, and ascended the music stage at Bombay’s Brabourne stadium to play with his old Swedish friends again.

This first fabulous live album by Sevda, does not include any of the music made by Don Cherry, or Bengt Berger or Rena Rama. Moreover, Moki Cherry, the Swedish artist, set designer and musician wife of Don Cherry isn’t included either. But there’s a stronger, Swedish connection for “World Music” of the day. However, it is this all-things-Swedish catalyst that probably hastened the chain reaction that exploded into World Music, whose thunder and lightning has been echoing all over the globe from the late 1960’s. This time Turkey has been drawn into the vortex only to emerge in the viscerally exciting music by the multi-instrumentalist Maffy Falay and Sevda.

Like Don Cherry’s own album for Caprice Records, Organic Music Society (made inside the Bucky Tent in Stockholm, Sevda was playing the Swedish music festival circuit from the end of the 1960’s. Maffy Falay had brought in his horns and reeds and was sitting in on piano, Bernt Rosengren and Gunnar Bergsten augmented the woodwinds section and Ove Gustafsson is on bass. Falay, who was already playing with fellow Turks Okay and Akay Temiz on drums and darbuka, brought in the Turkish violinist Salih Baysal to accentuate the “folksy” sound of the group. The move proved pivotal and Sevda was no longer a curiosity but one of the most popular bands on the music festival circuit in Sweden. Caprice jumped in and the producers made these tapes at Jazz | Sverige ’72. It’s as if Time is standing still, or at least the speed at which the earth is revolving on its axis has been halved. “Taksim”, a solo violin piece performed by Baysal throws the switch. The music that follows is absolutely transcendental especially the maddeningly beautiful “Makadonya”.

Aminata Fall & Xâlis - 1987 - Nâo

Aminata Fall & Xâlis

1987

Nâo

01. Nao 6:11

02. Chant Du Désert 5:09

03. You Make Me Feel Good 4:08

04. Usin'Ñaari Tali 3:21

05. Aminata 6:42

06. Spanish Date 7:23

07. Xâlis 3:31

08. Tam-Tam Touba 3:36

Alto Saxophone, Soprano Saxophone, Tenor Saxophone – Finn Martin

Bass Guitar – Raymond Dumbe

Drums – Brice Wassy

Keyboards, Vocals – Aminata Fall

Percussion – Maxidilick - Adioa

Trumpet – Patrick Artero

Look after afro jazz fusion album by guinean Keyboardist/singer Aminata Fall backed by the group Nao. We have several stand out tracks on Lp like Spanish Date a moody "dark jazz" instrumental, the spacy afro funk Nâo with funky drums, piano, horns section, violin and the superb voices of Aminata who sings in Bambara language not far from Ethio jazz, "Xamis" is a unusual afro jazz tune amazing 6/8 drums. While "Chant du Désert" is a fantastic cinematic tune.

Pretty unknown afro jazz fusion album by african Keyboardist/singer Aminata Fall. “Spanish Date” that sounds like an italian library track with very moody atmosphere. Great drums to sample too. But the standout track on this album is the deep afro funk “Nâo” with funky drums, piano, nice horns section, violin and the spacy voices of Aminata, and It somewhere reminds me some Ethio Jazz tracks. Hard to find ……~

Contemporary afro jazz fusion recording by female singer & pianist named Aminata Fall from Senegal. She’s backed by international jazz combo called “Xalis” formed by Big studio musicians & jazzmen, in first Patrick Artero (trump), Finn Martin (sax), Raymond Dumbe (bass), Brice Massy (drums) & Maxidilick-Adioa (perc) from Cameroon. The music sound deep jazz feat hard thumping drums and flying keyboard solo, but also funky on tune called “Nao”. Focus on deep afro dub tune called “Spanish date” will enjoy reggae music lovers. More african are the tunes “Aminata, Tam tam touba” in afro soukouss way. ………~

Obscure afro reggae fusion album by Aminata Fall from Senegal. with crossover fusion band, Xalis. must check for A1, that very popular tunes. I also love A4 track, that great afro reggae fusion. power recommended. ....~