Harlem River Drive - 1971 - Harlem River Drive

Harlem River Drive

1971

Harlem River Drive

01. Harlem River Drive (Theme) 4:05

02. If (We Had Peace Today) 2:56

03. Idle Hands 8:27

04. Broken Home 10:35

05. Seeds Of Life 5:07

Allan Taylor: Choir/Chorus

Andy González: Bass (Electric)

Barry Rogers: Trombone

Bernard "Pretty" Purdie: Drums

Bob Mann: Guitar

Bruce Fowler: Trombone

Burt Collins: Trumpet

Charlie Pamieri: Organ

Cornell Dupree: Guitar

Dean Robert Pratt: Drums

Dick Meza: Sax (Tenor)

Eddie Pamieri: Piano

Eladio Perez: Congas

Gerald Jemmott: Bass

Jimmy Norman: Vocals

Manny Oquendo: Congas, Cowbell, Timbales

Marilyn Hirscher: Chorus

Nicky Marrero: Drums, Timbales

Randy Brecker: Trumpet

Reggie Ferguson: Drums

Ronnie Cuber: Sax

Victor Venegas: Bass

The reason this record is "legendary" is because it marks the first recorded performances, in 1970, of Eddie and Charlie Palmieri as bandleaders. The reason it should be a near mythical recording (it has never been available in the U.S. on CD, and was long out of print on LP before CDs made the scene), is for its musical quality and innovation. The Palmieris formed a band of themselves, a couple of Latinos that included Andy Gonzales, jazz-funk great -- even then -- Bernard "Pretty" Purdie, and some white guys and taught them how to play a music that was equal parts Cuban mambo, American soul via Stax/Volt, blues, Funkadelic-style rock, pop-jazz, and harmonic and instrumental arrangements every bit as sophisticated as Burt Bacharach's or Henry Mancini's or even Stan Kenton's. One can hear in "Harlem River Drive (Theme)" and "Idle Hands" a sound akin to War's on World Is a Ghetto. Guess where War got it? "If (We Had Peace)" was even a model for Lee Oskar's "City, Country, City." And as much as War modeled their later sound on this one record, as great as they were, they never reached this peak artistically. But there's so much here: the amazing vocals (Jimmy Noonan was in this band), the multi-dimensional percussion section, the tight, brass-heavy horn section, and the spaced-out guitar and keyboard work (give a listen to "Broken Home") where vocal lines trade with a soprano saxophone and a guitar as snaky keyboards create their own mystical effect. One can bet that Chick Corea heard in Eddie's piano playing a stylistic possibility for Return to Forever's Light As a Feather and Romantic Warrior albums. The band seems endless, as if there are dozens of musicians playing seamlessly together live -- dig the percussion styling of Manny Oquendo on the cowbell and conga and the choral work of Marilyn Hirscher and Allan Taylor behind Noonan. Harlem River Drive is a classic because after 30-plus years, it still sounds as if listeners are the ones catching up to it. It's worth every dime you pay for it, so special order it today.

This is the only album by what may be called a musical project rather than a band by the name of Harlem River Drive. Those who find out that Eddie Palmieri and his brother Charlie were part of this project may be erroneously led to think that they are going to buy a Salsa record. Far from it! Though Latin influences are strong (particularly from the Timbales), the basic style is Funk, with a good dose of Jazz-Fusion. In 1971, only Santana, War and Earth, Wind & Fire and on the East coast, Joe Bataan were making music with a similar feel. The lyrics refer to the experience of life lived in the vicinity of the Harlem River Drive - socially conscious, critical. They would be cheesy if used like that today, but this was 1971, a different time altogether. The song songs are like jams. There are awesome excursions by the group members.

An overlooked gem worth the effort of chasing it.

Gaston - 1978 - My Queen

Gaston

1978

My Queen

01. Magnificent Choo Choo 4:59

02. Fantasy Garden 4:00

03. Clock In 2:57

04. My Dreams 4:21

05. My Queen 3:15

06. Clap Song 9:58

07. Love And Affection 5:05

Backing Vocals – Brodus Jackson, Robert Fluid, Valentino Burroughs

Drums – William Fewell

Guitar – Quincy Huitt

Keyboards – Valentino Burroughs

Percussion – Charles Howe, Randy Hudson

Piano – Jerry Reid

Vocals – Randy Hudson, Virginia Gaskins

An incredible record from the southern scene of the 70s -- a really unique set that's filled with righteous soul touches, and which really stands out from most other southern soul of the time! The feel here is often in a cosmic mode with plenty of jazz at the bottom -- a sound that's influenced by Earth Wind & Fire, but which is also carried off here in a more laidback mode that seems to get equal inspiration from soulful fusion of the mid 70s. The group has both male and female singers trading things back and forth nicely and sometimes coming together on the choruses -- creating an overall feel that's almost like Roy Ayers at times. And as with Ayers' best work, there's a tightness and focus to the whole record that's really wonderful -- a cohesive groove that's way more than just a few ensemble funk tracks cut in the studio, and which really displays a wide musical vision!

Eric Dolphy - 1964 - Out To Lunch!

Eric Dolphy

1964 

Out To Lunch!

01. Hat And Beard 8:23

02. Something Sweet, Something Tender 6:00

03. Gazzelloni 7:17

04. Out To Lunch 12:04

05. Straight Up And Down 8:14

Eric Dolphy - alto sax, flute & bass clarinet

Freddie Hubbard - trumpet

Bobby Hutcherson - vibes

Richard Davis - bass

Anthony Williams - drums

Recorded on February 25, 1964 at Van Gelder Studio, Englewood Cliffs, New Jersey

Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time Out, and its five Dolphy originals -- the jarring Monk tribute "Hat and Beard," the aptly titled "Something Sweet, Something Tender," the weirdly jaunty flute showcase "Gazzelloni," the militaristic title track, the drunken lurch of "Straight Up and Down" -- were a perfect balance of structured frameworks, carefully calibrated timbres, and generous individual freedom. Much has been written about Dolphy's odd time signatures, wide-interval leaps, and flirtations with atonality. And those preoccupations reach their peak on Out to Lunch, which is less rooted in bop tradition than anything Dolphy had ever done. But that sort of analytical description simply doesn't do justice to the utterly alien effect of the album's jagged soundscapes. Dolphy uses those pet devices for their evocative power and unnerving hints of dementia, not some abstract intellectual exercise. His solos and themes aren't just angular and dissonant -- they're hugely so, with a definite playfulness that becomes more apparent with every listen. The whole ensemble -- trumpeter Freddie Hubbard, vibist Bobby Hutcherson, bassist Richard Davis, and drummer Tony Williams -- takes full advantage of the freedom Dolphy offers, but special mention has to be made of Hutcherson, who has fully perfected his pianoless accompaniment technique. His creepy, floating chords and quick stabs of dissonance anchor the album's texture, and he punctuates the soloists' lines at the least expected times, suggesting completely different pulses. Meanwhile, Dolphy's stuttering vocal-like effects and oddly placed pauses often make his bass clarinet lines sound like they're tripping over themselves. Just as the title Out to Lunch suggests, this is music that sounds like nothing so much as a mad gleam in its creator's eyes.

Cornell Dupree - 1974 - Teasin'

Cornell Dupree 

1974 

Teasin'

01. Teasin' 3:54

02. Blue Nocturne 5:15

03. Jamaican Lady 3:52

04. Feel All Right 3:18

05. How Long Will It Last 3:21

06. What Would I Do Without You? 5:47

07. Okie Dokie Stomp 2:47

08. Plain Ol' Blues 8:12

Baritone Saxophone – Seldon Powell (tracks: 4 to 8), Trevor Koehler (tracks: 1 to 3)

Bass – Chuck Rainey

Drums – Bernard Purdie

Guitar, Sitar – Cornell Dupree

Keyboards – Richard Tee (tracks: 1 to 3, 5, 7, 8)

Percussion – Ralph MacDonald

Saxophone – David Newman (tracks: 1 to 3), Joe Farrell (tracks: 4 to 8), Seldon Powell (tracks: 1 to 3)

Trombone – Garnett Brown

Trumpet – Ernie Royal (tracks: 4 to 8), Joe Newman, Jon Faddis (tracks: 1 to 3)

Though he had been a key session player for Atlantic since the late 1960s, guitarist Cornell Dupree was finally given the opportunity to record his own date for the label in 1974. Teasin' was co-produced by Mark Meyerson and Michael Cuscuna. Dupree's band for the date was made up of ace session players including drummer Bernard "Pretty" Purdie, bassist Chuck Rainey, percussionist Ralph MacDonald, his fellow Stuff co-founder Richard Tee on keyboards, and saxophonist David "Fathead" Newman. Other horn players on various tracks include Joe Farrell, Ernie Royal, Jon Faddis, Joe Newman, Ernie Royal, Seldon Powell, and Garnett Brown. Given Dupree's pedigree, there's an unmistakable Southern Texas vibe on the set, although it was recorded in New York. It's most notable in the appropriately named "Blue Nocturne," the gospel-flavored "What Would I Do Without You," the rocking "Feel All Right," and the T-Bone Walker-influenced "Okie Dokie Stomp" (Walker was one of Dupree's biggest influences). But the guitar player's jazz-funk side gets plenty of play, too, evidenced the grooving title cut, "How Long Will It Last," and even the Caribbean-tinged "Jamaican Lady." The arrangements on these latter tunes recall the CTI sound quite a bit but are, as a whole, punchier and somewhat more dynamic. This is a feel-good date to be sure, but it features stellar musicianship, good charts, and excellent soloing from Dupree and Newman.

The first album as a leader by guitarist Cornell Dupree -- but one that was recorded after years of jazz, soul, and rock session and sideman work during the 60s and 70s! It's great to finally hear Cornell get out in front of the mix -- hitting those lean, stretched-out lines that always made other folks' records sound so great -- but which are even better here in the laidback, soulful setting of the album! Other players on the date include familiar partners Bernard Purdie on drums, David Newman on saxophones, Richard Tee on keyboards, Chuck Rainey on bass, and Ralph MacDonald on percussion -- and although recorded in New York, there's plenty of southern influences bubbling through the instrumental tracks.

Chico Hamilton Quintet - 1962 - Passin' Thru

Chico Hamilton Quintet

1962

Passin' Thru

01. Passin' Thru 8:16

02. The Second Time Around 3:11

03. El Toro 4:39

04. Transfusion 2:42

05. Lady Gabor 13:15

06. Lonesome Child 5:41

Bass – Al Stinson

Guitar – Gabor Szabo

Drums: Chico Hamilton

Tenor Saxophone – Charles Lloyd

Trombone – George Bohanon

Drummer Chico Hamilton's debut on Impulse featured his fifth Quintet, an advanced hard bop unit that sometimes hinted a little at the avant-garde. Instead of the trademark cello, the band featured trombonist George Bohanon. With Charles Lloyd (doubling on tenor and flute), guitarist Gabor Szabo and bassist Albert Stinson all contributing fresh new voices, this was a major band.

The New Dynamic Chico Hamilton Quintet - 1962 - Drumfusion

The New Dynamic Chico Hamilton Quintet

1962

Drumfusion

01. One For Joan

02. Freedom Traveler (Part I - Prayer)

03. Freedom Traveler (Part II - Journey)

04. Tales

05. Homeward

06. A Rose For Booker

07. Transfusion

Bass – Albert Stinson

Drums – Chico Hamilton

Guitar – Gabor Szabo

Tenor Saxophone, Flute – Charles Lloyd

Trombone – Garnett Brown

This is an LP long overdue to be reissued on CD. In 1960, Charles Lloyd succeeded Eric Dolphy in the Chico Hamilton Quintet, a cool jazz group famous for its use of a cello. However, since Nate Gershman (unlike his predecessor Fred Katz) did not improvise, the group was much more limited than its predecessors. By 1962, with the urging of Lloyd, Hamilton had completely revamped the personnel, having a quintet that replaced the cello with trombonist Garnett Brown and also included guitarist Gabor Szabo and bassist Albert Stinson. Drumfusion was the new band's debut and it is a strong effort, featuring group originals and exciting solos from Lloyd (on tenor and flute), Szabo, and Brown. The music is melodic at times but not boppish, free in spots but not avant-garde. This is a continually infectious and inspiring band, one that deserves to have all of its records reissued.

Drumfusion is an evolutionary leap for Chico Hamilton's Jazz music. It so different than his fourth quintet. I don't know what to compare it to. Any time I think of something to compare the music to, it's music that hadn't been released yet. If you're familiar with older Chico Hamilton recordings, it's as though Chico was inspired by Charles Mingus' ability to give musicians the freedom to have fun and be rowdy on an album like Blues & Roots, all while maintaining a structure.

Apparently the cellist in his previous quintet couldn't solo and that may have held back the group. This new quintet replaces the cello with trombonist Garnett Brown. You might think "Trombone? Womp, womp." but you'd be wrong. The dude's got serious chops. It's not at all surprising that he's had an extensive career as a sideman. The way that bassist Albert Stinson sets the pace for "Homeward" rocks. And what can you say about guitarist Gabor freakin' Szabo!? God, he's the man. He's so original.

The subtle but massive difference between this album and the ones that came immediately before it is that Charles Lloyd doubles on the flute and tenor saxophone, not the alto saxophone. That really brings Chico's music up to date, in the 1960s. Alto saxophone started become old hat in the 1960s.

The solos throughout the album are exciting. The drumming is awesome as usual. The bass is sharp. The compositions are unique and adventurous. No wonder Impulse Records scooped up Chico Hamilton after this.

Searing work from Chico's hip quintet of the early 60s – much more forceful than his 50s sides for Pacific Jazz, with a burning, full-on style that really puts the horns upfront! The group features tenor and flute by a young Charles Lloyd, great guitar by Gabor Szabo, and trombone by Garnett Brown – plus complicated rhythms from Chico on drums and Albert Stinson on bass – still managing to make things swing, and letting the whole session come off with a full-on, almost soulful/spiritual feel. Not as "out" as some of the Impulse work, not as wispy as his Reprise album, and with a much more pronounced swing than some of his other Columbia sides!

Cannonball Adderley - 1966 - Mercy, Mercy, Mercy! Live at The Club

Cannonball Adderley

1966

Mercy, Mercy, Mercy! Live at The Club

01. Introduction 0:07

02. Fun 7:33

03. Games 8:03

04. Mercy, Mercy, Mercy 5:07

05. Sticks 3:53

06. Hippodelphia 5:43

07. Sack 'O Woe 10:45

Alto Saxophone – Cannonball Adderley

Bass – Vic Gatsky

Cornet – Nat Adderley

Drums – Roy McCurdy

Electric Piano – Joe Zawinul

Producer – David Axelrod

Although supposedly recorded "Live At The Club" (Chicago, Illinois) this album was in fact recorded at a "live" session in the Capitol Tower in Hollywood, Los Angeles.

The songs are recorded October 20, 1966 in Studio A and take place in front of an audience.

Cannonball Adderley's most popular album, Mercy, Mercy, Mercy wasn't actually recorded "Live at 'The Club'," as its subtitle says. The hoax was meant to publicize a friend's nightclub venture in Chicago, but Adderley actually recorded the album in Los Angeles, where producer David Axelrod set up a club in the Capitol studios and furnished free drinks to an invitation-only audience. Naturally, the crowd is in an extremely good mood, and Adderley's quintet, feeding off the energy in the room, gives them something to shout about. By this point, Adderley had perfected a unique blend of earthy soul-jazz and modern, subtly advanced post-bop; very rarely did some of these harmonies and rhythms pop up in jazz so saturated with blues and gospel feeling. Those latter influences are the main inspiration for acoustic/electric pianist Joe Zawinul's legendary title cut, a genuine Top 40 pop hit that bears a passing resemblance to the Southern soul instrumentals of the mid-'60s, but works a looser, more laid-back groove (without much improvisation). The deep, moaning quality and spacy texture of "Mercy, Mercy, Mercy" stand in contrast to the remainder of the record, though; Nat Adderley contributes two upbeat and challenging originals in "Fun" and "Games," while Zawinul's second piece, "Hippodelphia," is on the same level of sophistication. The leader's two selections -- the gospel-inflected "Sticks" and the hard-swinging, bluesy bop of "Sack O' Woe" (the latter of which became a staple of his repertoire) -- are terrific as well, letting the group really dig into its roots. Adderley's irrepressible exuberance was a major part of his popularity, and no document captures that quality as well -- or with such tremendous musical rewards -- as Mercy, Mercy, Mercy.

If the 60's ever had a "hit" jazz record, it was probably this one! The album's a sparkling live session featuring the trademark soul jazz sounds of the Cannonball Adderley group with Joe Zawinul on acoustic and electric piano, and brother Nat Adderley on cornet. The tracks have a long soulful groove, with gutbucket solos from the 3 above-mentioned players, and tight live production by a young David Axelrod.

Gary Chandler - 1972 - Outlook

Gary Chandler

1972

Outlook

01. Baby Let Me Take You (In My Arms) 10:05

02. Flamingo 6:30

03. Kaleidoscope 4:35

04. The Jet Set 4:00

05. Blue Dues 7:15

Congas, Tambourine – Buddy Caldwell (tracks: A1, B1 to B3)

Drums – Idris Muhammad (tracks: A1, B1 to B3)

Drums – Robert Battle (tracks: A2)

Electric Bass [Fender] – Gordon Edwards (tracks: A1, B1, B3)

Guitar – Cornell Dupree

Organ – Ceasar Frazier

Saxophone [Tenor] – Harold Ousley

Trombone – Dick Griffin

Trumpet – Gary Chandler

This is a great set of groovy soul jazz by funky trumpet man Gary Chandler. Notable musicians joining him are drummer Idris Muhammad, soulful guitarist Cornell Dupree and organist Ceasar Frazier, whose Hammond really pulls this album together. Harold Ousley and Dick Griffin, players I am not yet familiar with, join in on tenor and trombone respectively.

Muhammad is missed on the second track, Flamingo a ballad where he is replaced by Robert Battle. This track loses some of the steam the opener brought to the table.

The two highlights book end the album. Both upbeat funky soul jazz with great extended solo jams. On the closer, Blues Dues Muhammad pushes himself on the drums and takes a standard blues progression out of mediocrity.

Also of note, Rudy Van Gelder appears as engineer. The sheer amount of music that man witnessed astounds me every time I read his name on a record. Respect.

Maybe the only album ever issued under the name of trumpeter Gary Chandler -- but a smoking little set that rivals some of the best jazz funk records at the start of the 70s -- including heavyweight classics on Prestige by Melvin Sparks, Leon Spencer, and Boogaloo Joe Jones! The feel here is very similar to those -- given that the short-lived Eastbound label not only featured production work from Bob Porter, who handled the best Prestige funk sets -- but also because the lineup here is filled with some of the top contemporaries from that scene -- including Harold Ousley on tenor, Caesar Frazier on Hammond, Cornell Dupree on guitar, Dick Griffin on trombone, and the mighty Idris Muhammad on drums! Idris keeps things nice and funky, and tracks are long, and filled with smoking solos -- the most famous of which is the album's cover of "Baby Let Me Take You In My Arms", with an excellent break intro -- which has been sampled heavily over the years

Caesar Frazier - 1975 - '75

Caesar Frazier

1975

'75

01. Mighty Mouse 5:20
02. Summer Breeze 5:41
03. Sweet Children 5:46
04. Funk It Down 5:23
05. Living For The City 6:02
06. Walking On The Side 5:00

Piano, Electric Piano – Horace Ott
Baritone Saxophone – Babe Clarke
Bass – Wilbur Bascomb
Congas – Buddy Caldwell (tracks: A1, A2, B3)
Drums – Bernard Purdie (tracks: A3 to B2), Jimmy Young (tracks: A1, A2, B3)
Guitar – Cornell Dupree (tracks: A3 to B2), David Spinoza (tracks: A1, A2, B3), John Tropea (tracks: A1, A2, B3), Richie Resnikoff (tracks: A3 to B2)
Organ, Electric Piano, Clavinet, Soloist, Keyboards – Ceasar Frazier
Soloist, Guitar – David Spinoza
Tambourine – Joe Venuto (tracks: A3 to B2)
Tenor Saxophone – Charlie Brown
Trombone – Garnett Brown
Trumpet – Joe Shepley, Jon Faddis

Released in 1975, Caesar Frazier returned to the Eastbound/Westbound Family for a second solo album. Caesar’s deeply funky take on what we now call Soul Jazz is performed with even more confidence and bravado. His mastery of the Hammond organ now on full display and backed by another monstrously funky studio band, Caesar takes the listener on a journey through driving, uptempo originals and slow groove covers. Every note played is supremely elegant, and of course massively funky.

Great instrumental funk record. I did recognize 3 breaks. The track Sweet Children has been sampled by Kanye West, for the track "real people". Funk It Down has been sampled by gang starr twice!! The start of the song has been used in the song "speak ya clout" for guru's part, then at 1 minute comes in a horn, that's used for another gang starr song "Ex To The Next Girl". Even if your not into rap breaks I'd recomend this album to fans of Booker T & the MG's, it's similar in style.

The second great album from organist Ceasar Frazier -- a tightly grooving set that expands his sound a bit from the first! All the best elements are still in place here -- including funky organ from Ceasar, production from jazz funk maestro Bob Porter, and a hip range of players that includes Horace Ott, Wilbur Bascomb, and Bernard Purdie. But the overall sound is somewhat shifted too -- brought more into the tightly jamming jazz funk mode of the mid 70s -- a bit richer and fuller overall, yet never in a way that's slick or sloppy -- just more like some of the best later sides on Prestige or Fantasy from the same stretch. The record features a crazy version of the "Mighty Mouse Theme", a mellow take on the Isley's "Summer Breeze", Stevie Wonder's great "Living For The City", and the original "Funk It Down"

Caesar Frazier - 1972 - Hail Caesar!

Caesar Frazier 

1972 

Hail Caesar!

01. Hicky-Burr 8:05

02. Ellie's Love Theme 5:00

03. See-F 4:37

04. Hail Ceasar! 6:23

05. Make It With You 4:42

06. Runnin' Away 4:55

Bass [Fender] – Gordon Edwards

Congas – Buddy Caldwell

Drums – Idris Muhammad

Guitar – Melvin Sparks

Organ – Ceasar Frazier

Tenor Saxophone – Houston Person

Trumpet – Cecil Bridgewater

After a career as a sideman for greats like Marvin Gaye and Lou Donaldson, Caesar Frazier stepped into the driver’s seat in 1972 for his debut solo LP. Featuring his impeccable organ playing throughout, it’s been a staple for crate diggers and hip hop producers alike for decades. Caesar is joined by a who’s who of funky jazz musicians (Houston Person, Melvin Sparks and Idris Muhammad) to make Hail Ceasar! a masterclass in laid back grooves. Between the assured originals and instinctively chosen covers, there is no doubt this is one of the greatest examples of Soul Jazz the 70s (or any decade) produced.

Born in New York City, raised, and educated in the South, Midwest, and West Coast, Caesar Frazier has spent his entire life since the age of fifteen, performing in bands, orchestras, and as a solo artist. As a recording artist, Caesar recorded numerous albums as an instrumentalist and vocalist. Over the years he also has accompanied other artists as a studio musician. One of the numerous highlights of his musical career include the time he spent traveling on mega concert tours as Marvin Gaye's keyboard accompanist. While working with Marvin and having personal conversations regarding musical concepts, the lessons learned left their foot print on his understanding of effective performance.

Caesar grew up hearing and being forever influenced by many of America's greatest artist that covered most all of the popular music genres. "I heard the greatest country artist, blues artist, rock and roll artist, rhythm and blues artist. And, loved it all. Another of the highlights of his musical life have been having numerous popular artists of recent years, use songs written by him to garner hit records. The rapper, Kanye West, rapper / actor "Common", the hip hop group "Gangstarr", are some of the current popular artists that have used songs written by Caesar Frazier to garner hit records.

To further broaden his understanding of the music & media business, Caesar earned an Associates Degree in Broadcast Communications, worked as the music director of a smooth jazz station, did "talk radio", was a news anchor, reporter, and news writer for broadcast and an"On Air Announcer".

"What a wonderful way to spend my life....doing what I've loved all of my life!"

Bill Mason - 1972 - Gettin' Off

Bill Mason

1972

Gettin' Off

01. Gettin' Off 7:20

02. Let's Stay Together 8:00

03. Now Run And Tell That 6:55

04. Stone 5:40

05. Mister Jay 4:07

Congas – Ron Coleman

Drums – Idris Muhammad

Electric Bass [Fender] – Gordon Edwards

Guitar – Wilbert Longmire

Organ – Bill Mason

Tenor Saxophone, Flute – Hubert Laws

Trumpet – Gary Chandler

Originally hailing from Columbus, Ohio, where he was born in July 1948, Bill Mason, the son of a Baptist minister, had first learnt music in church. Starting out on piano he switched to organ in his late teens. Mason had come to Bob Porter's attention when as part of the Bryant group he recorded at Prestige on two sessions in March and October 1971. These sessions produced Bryant's hottest and funkiest albums for the label-.-Fire Eater (originally PR 10014 and now available on PCD 10014) and Wildfire (PR 10037). For his debut (only?) album as a leader, Porter lined up the same studio - Rudy Van Gelder's - and the same drummer - Idris Muhammad - as the Bryant dates. The other musicians included the well known sounds of Hubert Laws on reeds, and guitarist Wilbert Longmire, the lesser-known talents of conga player Ron Coleman, and bass player Gordon Edwards, as well as Eastbound's other new signing, trumpeter Gary Chandler.

Chandler, by no small coincidence, had been playing around Columbus, where he had ended up after leaving the United States Air Force in 1963. A full ten years older than Mason, he had played with many of the names on what appears to have been a thriving Ohio club scene, including Don Patterson, Hank Marr and Benny Maupin. This led to him joining the Motown Revue and eventually in joining Lou Donaldson's group where he remained (at least) until the recording of his debut album. Strangely, he never appeared on any of Donaldson's recordings of the time - although on a six month break from Lou he made two dates for Charles Earland, another of Donaldson's alumni. Those two albums Living Black (originally PR 10009 and now available on CDBGPD 118) and Soul Story (PR 10019) were both produced by Porter, who decided it was time for him to make a record in his own right. Joining Gordon Edwards and Muhammad this time were Caesar Frazier, Cornell Dupree, Buddy Caldwell, Dick Griffin and Harold Ousley, to create the band that made the trek up to Van Gelder's studio.

Both albums showed the players to be in command of the idiom, as the blues there were also covers of recent hits but most importantly, the funky originals really ruled the roost. Look no further than the tightened groove of Chandler's Kaleidoscope or Mason's fantastic Stone for definitive proof. These albums meant little at the time and are now sought-after collector's items. Get your hands on them now whilst you can.

Best known for his supporting work on Rusty Bryant's Prestige dates Fire-Eater and Wildfire, Bill Mason proves himself a formidable leader with his lone solo session, the aptly titled jazz-funk outing Gettin' Off. Recorded with the estimable talents of drummer Idris Muhammad and tenorist Hubert Laws, the album's physicality is astounding; Mason is a superbly soulful Hammond organist, conjuring spiraling, spellbinding grooves that seem to grow deeper and more relentless with each successive track. He's also a fine composer with originals like "Mister Jay" and the scorching title cut standing tall alongside covers highlighted by Al Green's immortal "Let's Stay Together." (Gettin' Off was reissued on CD in 1999 as half of a Westbound two-fer with Gary Chandler's Outlook.)

Grover Washington, Jr. - 1975 - Feels So Good

Grover Washington, Jr. 

1975

Feels So Good

01. The Sea Lion

02. Moonstreams

03. Knucklehead

04. Feels So Good

05. Hydra

Piano, Electric Piano, Synthesizer – Bob James

Bass – Gary King (tracks: A1 to A3)

Bass – Louis Johnson (tracks: B1, B2)

Bass Trombone – Alan Ralph

Bass Trombone – Dave Taylor

Cello – Charles McCracken

Cello – Seymour Barab

Drums – Jimmy Madison (tracks: A3)

Drums – Kenneth "Spider Webb" Rice* (tracks: B1, B2)

Drums – Steve Gadd (tracks: A1, A2)

Guitar – Eric Gale

Oboe, English Horn – Sid Weinberg

Percussion – Ralph MacDonald

Tenor Saxophone, Soprano Saxophone – Grover Washington, Jr.

Trombone – Barry Rogers

Trumpet, Flugelhorn – John Frosk

Trumpet, Flugelhorn – Jon Faddis

Trumpet, Flugelhorn – Randy Brecker

Trumpet, Flugelhorn – Bob Millikan

Viola – Al Brown

Viola – Manny Vardi

Violin – Barry Finclair

Violin – David Nadien

Violin – Emanuel Green

Violin – Guy Lumia

Violin – Harold Lookofsky

Violin – Lewis Eley

Violin – Max Ellen

Violin – Raoul Poliakin

Recorded at Van Gelder Studios in May and July 1975

The aptly titled and much-sampled Feels So Good represents the creative apex of Grover Washington, Jr.'s sublime electric funk sound. Its shimmering, soulful grooves refute the argument that smooth jazz is little more than mere ambience, combining expert playing and intricate songwriting to create music that is both compelling and comforting. Arranger Bob James is in top form here, creating the spacious, rich milieus that are his trademark, but regardless of the name above the title, bassist Louis Johnson is the real star of the show. His supple rhythms percolate like coffee, adding oomph to the bottom of highlights "Hydra" and "Knucklehead" while Washington's cream-and-sugar soprano sax solos soar over the top.

An incredible batch of electric funk from Grover Washington Jr – easily one of his best albums ever! The record really picks up from the sweet CTI sound of the 70s – taking Bob James arrangements with a lot of space and electric keyboards, and letting Groover blow some wonderfully soulful lines over the top on soprano sax! The album's got some really wonderful funk tracks that feature a mad mix of drums, bass, and lots of that Bob James "space" – including the massive cuts "Hydra" and "Knucklehead" – both of them magic!

La Fantastica - 1971 - From Ear To Ear

La Fantastica

1971

From Ear To Ear

01. Borinquen

02. Con Quien Andas

03. Latin Blues

04. Ya No Te Quiero

05. Negrita Mia

06. Telegrama

07. M & M

08. Sassie

Samuel León – Tenor Sax, Vocal, Leader

Willie Nuñez – Piano

Loui Rodríguez – Trumpet

Johnny Galidez – Tenor Sax

Steven Thorten – Congas

Ralphy (Chuleta) – Lead Vocal

Carlos Pérez – Bass, Vocal

Gregory Swift – Vibes

Santos Rivera – Trumpet

Tito Occasio – Timbales

Chuito Nuñez – Bongos

This brash, big band Latin orchestra from Brooklyn debuted on Ghetto Records with an underground Salsa album which also contains beguiling, English-language Psychedelic Soul of “Latin Blues.”

Ghetto Records was Latin music legend Joe Bataan’s way to get over on The Man and out of the ’hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now.

Underground salsa from Orquesta La Fantastica – the group's debut from the early 70s, originally issued on the tiny Ghetto Records label! The album's a great illustration of the way that the regular Latin codes of the mainstream got broken down on the fringes – as the sounds and styles here are familiar at the outset, but often have little twists and turns you'd never find from bigger acts on Fania or Tico. Instrumentation includes a fair bit of vibes – often used mostly with the rhythm, but sometimes bursting out on their own – and there's also a strong tenor sax in the group, fleshing out the sound strongly next to the trumpets.

Papo Felix Meets Ray Rodriguez - 1971 - Papo Felix Meets Ray Rodriguez

Papo Felix Meets Ray Rodriguez

1971

Papo Felix Meets Ray Rodriguez

01. Para Puerto Rico Voy

02. Work Out (Part 1)

03. Hechate Pa Ya

04. Senor Flauta

05. Felix The Cat

06. Work Out (Part 2)

07. Solo Me Admiras

08. Bob And Bill In E Minor

Produced By Joe Bataan & George Febo

All Arrangements & Music by Bob Rodriguez

Music Direction By Joe Bataan

Originally recorded at BWAY Sound

Engineer – Jat Jacques

Album Design – Izzy Sanabria & Ralph Mulett

One of Ghetto Records most lauded recordings containing epic examples of Big Band Salsa, Horace Silver-flavored Modal Jazz and Soulful Grooves - masterminded by a young Bobby RodrÌguez with vocals by Papo Felix. Ghetto Records was Joe Bataan’s way to get over on “The Man” and out of the ‘hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel. As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault. Hatched from desperation yet full of hope Ghetto Records came crashing down

A killer set of New York Latin from vocalist Papo Felix and bandleader Ray Rodriguez – recorded slightly after the Latin Soul generation, but done with plenty of dark little edges – thanks to production from Joe Bataan! There's a bit of salsa in the mix here, and a bit of descarga jazz too – all coming together in a tightly rhythmic mode that's almost better than most of the bigger name work coming from the scene at the time. Most tunes have a sharp, catchy sort of groove – definitely an heir to the Latin Soul sound.

Bobby Hutcherson - 1975 - Montara

Bobby Hutcherson

1975

Montara

01. Camel Rise 5:33

02. Montara 4:56

03. (Se Acabo) La Malanga 4:16

04. Love Song 5:36

05. Little Angel 3:54

06. Yuyo 6:41

07. Oye Como Va 5:08

Bass – Chuck Domanico (tracks: 1, 4, 5)

Bass – David Troncoso (tracks: 2, 3, 6, 7)

Electric Piano – Larry Nash

Flute – Ernie Watts (tracks: 2 to 7)

Percussion – Bobby Matos

Percussion – Johnny Paloma

Percussion – Ralph MacDonald (tracks: 1, 4, 5)

Percussion – Rudy Calzado (tracks: 2, 3, 6, 7)

Percussion – Victor Pantoja

Piano – Eddie Cano (tracks: 2, 3, 6, 7)

Soprano Saxophone – Plas Johnson (tracks: 4, 5)

Tenor Saxophone – Ernie Watts

Trumpet – Blue Mitchell (tracks: 2 to 7)

Trumpet – Oscar Brashear (tracks: 1 to 3, 6, 7)

Vibraphone, Marimba – Bobby Hutcherson

Recorded August 12 & 14, 1975.

With the possible exception of Grover Washington's Feels So Good, no other album captured the spirit of jazz in 1975 like Bobby Hutcherson's Montara. Recorded in his hometown of L.A., Montara is the very sound of groove jazz coming out of fusion, and Latin jazz's tough salsa rhythms coming home to roost in something more warm and effluvial that would meet the populace where it was changing and mellowing out rather than making it sit up and take notice. That said, Montara is, like the Washington record, a masterpiece of the genre even though it isn't celebrated in the same way. Featuring a stellar cast of musicians -- among them Willie Bobo, Blue Mitchell, Bobby Matos, Ernie Watts, Harvey Mason, Plas Johnson, Fred Jackson, Larry Nash, and Chuck Domanico -- Montara is a portrait of Hutcherson's complex gift of subtlety and virtuosity. Whether it's the funky Weather Report dance of "Camel Rise," with Nash's electric piano and the horns weaving around one another in a soulful samba melody, the sweet soulful groove of the title track, where Hutcherson's solo lilts to the point of actually singing, the killer Cuban salsa of "La Malanga," done in complete minor-key frenzy (all the while without losing the easy, slippery grace of soul-jazz), the shimmering echoplexed electric piano and vibes interplay on "Love Song," or the steaming, burning gasoline orgy of Hutcherson's read of Santana's "Oye Como Va," with a killer flute line by Watts winding its way through a knotty bassline and multi-part percussion, the effect is the same: blissed-out moving and grooving for a summer day. Hutcherson's chameleon-like ability to shape-shift is truly remarkable as a sideman and especially as a leader. He never overplays, his charts are tight, and he always creates a band vibe. Almost all of his solo recordings reflect the strengths of the ensemble rather than his strengths as a soloist. Montara is one of the great feel-good jazz albums of the 1970s, one of the great Latin jazz albums of the 1970s, and one of the great groove jazz records. Seek it out without hesitation.

Like many jazz musicians weaned on Bird and Diz, Hutcherson embraced Latin rhythms throughout his career, and this beautiful album, one of his best Blue Note offerings, is the session where he goes fully ‘south of the border’. A formidable percussion section featuring legendary congueros, Bobbby Matos and Victor Pantoja provides a steady moving carriage for the arrangements whose variety of themes, some short and stabbing, others long and winding, are well negotiated by a crack rhythm and horn section. A few of George Cables’ excellent tunes feature, but the masterstroke is a reprise of ‘Oye Como Va’. It has the power of Latin rock typified by the version by the iconic Santana band, which featured Pantoja, and the swing of the original by the equally great Tito Puente. There remains a lot of fine music to reissue from Hutcherson’s sprawling back catalogue, but this is a particularly wise choice.

One of our favorite Bobby Hutcherson albums ever – and a magical session filled with electric Latin vibes! The album's quite a different one for Bobby at the time – as it has him working with some larger arrangements, in a soulful west coast groove that's almost got the feel of a hip 70s soundtrack. Bobby's vibes are nicely set up against Fender Rhodes on most tracks – and the group's got some added Latin percussion that really opens up the rhythms. The whole thing's totally wonderful – brimming over with sun and soul, the kind of magic record that will never be made again!

David Axelrod - 1977 - Strange Ladies

David Axelrod

1977

Strange Ladies

01. Aunt Charlotte 4:46

02. Mujer Extrana (Strange Lady) 9:18

03. Tony Poem 4:50

04. Mrs. O.J.A. 5:38

05. Terri's Tune 6:44

06. Sandy 5:44

Bass - Jim Hughart

Cello - Anne Goodman , Nat Gershman

Drums - Earl Palmer

Guitar - Billy Fender , Jay Gradon

Horns, Woodwind - Buddy Collette , Ernie Watts , Jackie Kelso (tracks: B1, B3) , William Green

Keyboards - Don Randi

Percussion - Mayuto Correa

Trombone - Benny Powell , Jimmy Cleveland

Trumpet - All Aarons , Bobby Bryant

Vibraphone - Gene Estes

Viola - Alex Nieman , Gary Nuttycomb , Rollice Dale

Violin - Arthur Brown , Bobby Bruce , George Poole , Janice Gower , John Santulis , Marilyn Baker

A great little groover from David Axelrod – cut years after his more famous work at Captiol, and more of a funky fusion record, but still pretty darn great! The record's got lots of nice keyboards, and is sort of an extension of the style he begun on the Heavy Axe album from the mid 70s. Arrangements have a great sense of space and spareness, which makes the cuts standout from the usual jazz funk numbers of the time – and which create the same sort of juxtaposition of silence and funk that's made Axelrod's earlier albums a favorite with sample-heads for years.

Cannonball Adderley - 1974 - Love, Sex, And The Zodiac

Cannonball Adderley

1974 

Love, Sex, And The Zodiac

01. Introduction 0:57

02. Aries: Damn Right 3:20

03. Taurus: Wampus Cat 2:15

04. Gemini: Ecstasy 4:08

05. Cancer: All Sides 3:55

06. Leo: Rosebud 3:58

07. Virgo: For Pam 3:09

08. Libra: Patricia 3:01

09. Scorpio: Back "A" Town 1:33

10. Sagittarius: West Texas 2:26

11. Capricorn: The Gentle 2:55

12. Aquarius: Humanity Plus 2:53

13. Pisces: Allison's Trip 3:51

Alto Saxophone – Julian "Cannonball" Adderley

Bass – Walter Booker

Cornet – Nat Adderley

Drums – Roy McCurdy

Electric Piano – Hal Galper

Electric Piano, Clavinet, Synthesizer – George Duke

Piano [Acoustic] – Jimmy Jones

Producer – Cannonball Adderley, David Axelrod

Written-By, Narrator – Rick Holmes

Jazz saxophone great Cannonball Adderley is not usually thought of as a novelty artist, or even one who made embarrassing sellout moves to the pop market, regardless of his success with soul-jazz and his hit 1967 single "Mercy Mercy Mercy." This 1974 album, however, can scarcely be thought of as anything but an embarrassing novelty, and one that will have little appeal to fans of the records for which Adderley is most famous. The real artist on this album is not so much Adderley as Rick Holmes (jazz DJ on Los Angeles radio station KBCA), who wrote and narrated the voice-overs to which Adderley and other musicians supplied a musical backdrop. In common with numerous other records around the Age of Aquarius, it has one track for each astrological sign. In smooth hip period DJ patter, Holmes declaims homilies as to how those born under each sign integrate both sex and love as part of their being. A cast of musicians, including Cannonball, his brother Nat Adderley on cornet, and George Duke on electric piano, backs Holmes' unctuous musings with sketchy fusion instrumentals, co-produced by David Axelrod and Cannonball. The end result is too frivolous to find favor with those who take astrology seriously, yet too serious-minded to be nearly as funny as intentional parodies of self-helpish narratives (like National Lampoon's "Deteriorata"). Maybe it was hoped that some swinging bachelors would use it as seduction music, but if so, their targets were more apt to sink into derisive giggles than submit to conquest. Good for a laugh or two for those with an appetite for tacky music in the incredibly strange music genre, it bears little relation to either the straight-ahead jazz or more pop-oriented jazz for which Cannonball Adderley is most esteemed.

A classic from Cannoball and producer-partner David Axelrod -- truly great stuff and maybe even better than the Zodiac set Cannonball did for Capitol! The formula is similar to that one -- with David Axelrod producing, electric keyboards by Hal Galper and George Duke, spacey solos by Cannonball and Nat Adderley, and some very hip recitations by Rick Holmes on love, sex, and the zodiac! Holmes is best known as the chappie who cut "Remember To Remember" years later with Roy Ayers -- but this album's got a similar "wisdom and knowledge" feel that's pretty wonderful.

Cannonball Adderley - 1972 - Soul Zodiac

Cannonball Adderley

1972

Soul Zodiac

01. Introduction 3:00

02. Aries 4:52

03. Libra 3:15

04. Capricorn 6:10

05. Aquarius 7:47

06. Pisces 3:53

07. Sagittarius 5:15

08. Gemini 4:35

09. Leo 2:51

10. Virgo 4:10

11. Scorpio 4:23

12. Cancer 2:45

13. Taurus 13:52

Alto Saxophone – Cannonball Adderley (tracks: A2)

Cornet – Nat Adderley

Double Bass, Guitar – Walter Booker

Drums – Roy McCurdy

Electric Piano [Fender Rhodes] – George Duke

Guitar – Mike Deasy

Narrator – Rick Holmes

Painting [Body Painting] – Abe Gurvin

Producer – David Axelrod

Soprano Saxophone – Cannonball Adderley (tracks: A3)

Tenor Saxophone, Flute, Tambourine – Ernie Watts

Liner Notes:

ASTROLOGY, the study of the signs of the Zodiac. How does one rationalize an development with astrological significance? RICK HOLMES, the creator of the narrative indigenous to the artistic creativeness formed in this recording, is a person whose day-to-day behavioral continuity by his own concepts of the influence of the activities of astrological movement. Mr. Holmes, well known in the greater Los Angeles area, is a radio personality who is recognised by various people who have the priviledge of being exposed to "RICK'S FAMILY AFFAIR" aired nightly on radio station KBCA-FM. (One of the most important outlets for Jazz and other musical expression, including sophisticated rhetoric, in Southern California.) Devoted listeners to Rick's program are well aware of his expertise with regards to astrology. This recording marks the first effort to broaden any interested audience or to enhance the awareness with regards to astrology or to enhance the awareness of people to whom the soulful exhortations of Rick have never been available.

Cannonball Adderley

A few seconds of spacy echo loops and you know where this album is coming from -- the early jazz/rock era, the Age of Aquarius and all that. Yet this crazy amalgam of jazz, rock, electronics, and spoken astrological advice by the popular Los Angeles DJ Rick Holmes actually works, for the music behind the soulfully intoned words is very inventive and Holmes plays effectively off its rhythms. Basically this is the Cannonball Adderley group (Nat, cornet; George Duke, electric piano; Walter Booker, bass; Roy McCurdy, drums), with the young eloquent Ernie Watts sitting in for Cannonball (who appears only on "Libra" and "Aries") on tenor and flute, and Mike Deasy contributing wild psychedelic guitar at times. Indeed Nat seems like just the nominal leader of the session -- Cannonball actually gets top billing as co-producer -- though he plays spiritedly at all times. The music is very eclectic, ranging from mainstream jazz to free-form freak-outs and even hilarious heavy metal rock on the stomping 14-minute "Taurus." Actually these were expansions of the directions the Adderley group was exploring at the time, and one wonders how they determined the idiom for each sign. Whether or not you accept astrology, this double set is a lot of fun.

One of the coolest, baddest, funkiest albums Cannonball Adderley ever recorded -- a massive suite of tunes based on the signs of the Zodiac, produced to perfection by David Axelrod, and featuring some hip recitations from the mighty Rick Holmes! The double-length set is completely compelling all the way through -- a darkly brooding batch of funky jazz that shows a strong Miles Davis electric influence at points, thanks to Nat Adderley's spacey trumpet lines, Mike Deasy's trippy guitar, and George Duke's excellent keyboards! Other tracks are a bit more laidback, fitting the mood of their respective signs -- and overall, the whole thing slips and slides wonderfully from cut to cut -- taking you through the star signs with a really righteous, soulful approach.

Candido Y Su Movimiento - 1972 - Palos De Fuego

Candido Y Su Movimiento 

1972 

Palos De Fuego

01. Palos De Fuego

02. Con La Bemba Para

03. Recordare Tu Boca

40. Ritmo Cubano

05. Bochiniches

06. El Lobo

07. Baby Doll

08. Something Smooth

Ghetto Records Inc.

Producer – Jorge Febo

Candido Rodriguez: Timbales, Vocals

George Haskins: Piano

Louie Gonzalez: Bass

Ray Millan: Bongos, Vocals

Ray Lorenzanz: Trumpet

Eddie Schnell: Trumpet

Al Acosta: Tenor Sax

Frank Rosa: Trombone

Recording Director: Jose Madera Jr.

Not the same Candido that you might know from Salsoul Records or 50s Latin fame – and instead a younger percussionist who cut this legendary album for Joe Bataan's Ghetto Records label! The set's got a rootsy vibe that's mighty nice – right up there with the best of the Fania salsa scene at the start of the 70s – and Candido plays timbales in a group that also features two trumpets, tenor, and trombone – plus lots more piano, bass, and percussion! You might have heard Candido's percussion in the groups of Ricardo Ray or Randy Carlos, but here he's a hell of a leader on his own

Joseph “Candido” Rodríguez’s was mentored by Tito Punete, and his debut features a fantastic mix of fiery Salsa, Latin Jazz and Sweet Latin Soul. This final entry in the Ghetto Records discography proved that when you’re Joe Bataan, you with a bang!

Ghetto Records was Latin music legend Joe Bataan’s way to get over on The Man and out of the ’hood, a bold move by an artist looking for independence and creative control in an industry that had exploited his talents and treated him like chattel.

As Bataan puts it today, “Ghetto Records was part of my journey, a stepping stone to everything else that I’ve done. I learned enough that it enabled me to get out of the box with my thinking, it showed me how to deal with adversity.” Like many dreams and schemes born of the street, this one was audacious, perhaps even reckless to a fault.

Hatched from desperation yet full of hope Ghetto Records came crashing down shortly after its inception. The seven albums in its discography languished out of print - until now. These are the definitive reissues of these albums, licensed from Joe Bataan, with his oversight and input into a 15 page oversize book by Pablo Yglesias that details Bataan’s larger-than-imagination life and his little Latin label that could.

Brun & Berlioz - 1972 - Pop Organ & Percussion

Brun & Berlioz 

1972 

Pop Organ & Percussion

01. Jungle 4:00

02. Pauvre Carillon 2:46

03. Hungaria 3:55

04. Royaumont 6:35

05. Tarbouka Toccata 2:00

06. Cymbales De Gloire 5:30

07. Chant D'Espoir 4:30

08. Gouttes De Pluie 3:20

09. Cauchemar 4:00

10. Plongée 2:00

Organ – Michel Estellet-Brun

Percussion – Gérard Berlioz

Soprano Vocals – Jeanine Mere

The title of the album is clearly tongue-in-cheek, as this is a serious avant-garde work with organ, voice, drums and tuned percussion. Hard going if not into the academic side of music. Wouldn't be out of place on the more experimental Futura labels

A pretty extraordinary find, this French library duo presents an uncompromising behemoth of a sound, all organs and percussion as advertised on the sleeve, but you'd never crave for more instruments being included. Rather than playing it safe with melodic pop ditties a-la Jean-Jacques Perrey, Michel Estellet and Gerard Berlioz are obviously entering the upper echelons of human creativity with their mutant cobwebs of drones and oscillations - who would have thought a simple organ could sound as otherworldly as that? This truly defies categorization, drawing slight reminiscences only to the Futura label classics (such as Jean Guerin album) and maybe to a couple of notorious 1970s outsiders such as Don Bradshaw Leather or Sohrab Keyaniyan.

Black Artist Group - 2024 - For Peace and Liberty - In Paris, Dec 1972

Black Artist Group 

2024 

For Peace and Liberty - In Paris, Dec 1972

01. Part 1 3:35

02. Part 2 7:03

03. Part 3 7:06

04. Part 4 4:57

05. Part 5 4:45

06. Part 6 8:32

Drums, Percussion, Voice, Stylophone – Charles W. Shaw, Jr. (Bobo)

Saxophone, Marimba, Drums, Voice – Oliver Lake

Trombone, Congas, Voice – Joseph Bowie

Trumpet, Flugelhorn, Bass, Drum, Voice – Baikida E.J. Carroll

Trumpet, Voice – Floyd Le Flore

Recorded live at studio 104, Maison de la radio (O.R.T.F), Paris, 3 Dec. 1972

Founded in St. Louis, Missouri, in 1968, the Black Artist Group (BAG) can be viewed as a sibling organization to Chicago’s Association for the Advancement of Creative Musicians (AACM)—quite literally in the case of co-founder Joseph Bowie, the younger brother of AACM charter member Lester Bowie. Both were innovative cooperatives dedicated to evolving creative music, bringing together the threads of jazz, the European avant-garde, and a wide-ranging, Afrocentric view of musical tradition.

Where the two differed most prominently was in scope. The AACM is approaching its 60th anniversary, with an estimable and ever-expanding roster of musicians guided by its “Ancient to the Future” philosophy. BAG existed for only four years, from 1968 to 1972, before reconfiguring from a larger organization to a single ensemble. Only one album was issued under the Black Artist Group name, the live recording In Paris, Aries 1973. By contrast, the AACM’s flagship group, the Art Ensemble of Chicago, released 19 albums in the same timespan, alongside numerous titles by individual AACM members.

The St. Louis contingent’s documented output is now doubled thanks to the release of For Peace and Liberty. Recorded in December 1972, two months after BAG had followed its Art Ensemble brethren to Paris, the music has remained unheard since its original French radio broadcast. It’s a wildly different outing from its predecessor, recorded the following year. Aries 1973 trades in opposing dynamics, shifting constantly between the minimal and the raucous. For Peace and Liberty is more diverse yet urgent, guided by the drumming of Charles “Bobo” Shaw, who shifts from propulsive grooves to simmering tension, agitated clamor to pointillistic provocations.

Where the AACM musicians occasionally intersected with artists from other mediums, multidisciplinary collaboration was central to the BAG, which included dancers, theater artists, poets, and visual artists in its original form. That sense of the theatrical remains in the way that this 35-minute performance (divided into six sections on the WeWantSounds release) unfolds like a narrative with moments of bold theatricality, leaving one pining for a visual accompaniment.

“Part 1” begins the proceedings ceremonially, with all five members playing a Senegalese “welcome rhythm” on percussion instruments. Horns blare a discordant fanfare as Bobo Shaw moves to the drum kit with explosive intensity before shifting into a gentler, almost tidal interplay with Joseph Bowie’s congas and Baikida Carroll’s cowbell. Midway through “Part 2,” Oliver Lake’s alto sax weaves serpentine lines over the procession, goaded by blasts from a whistle.

“Part 3” dissolves into sounds and textures, unison horn lines punctuating guttural blasts from Bowie’s trombone, strangled vocalizations, shimmering percussion, and meandering trumpet explorations from Carroll and Floyd LeFlore. These snowball into a free improv avalanche on “Part 4,” which unravels into a cartoon-like burlesque of a military march, one of several points where the band’s impish sense of humor comes to the fore.

The finale locks into a taut funk that transforms seamlessly into a reprise of the opening Senegalese rhythm, a captivating illustration of the intimate ties between the music’s roots and future. Devoid of context, For Peace and Liberty is a thrilling, musically acrobatic live recording. As a vital document of an underrepresented movement and a formative period in the development of some of the music’s most influential philosopher-performers, it’s an essential release.

Wewantsounds presents the release of BAG's first album since 1973, For Peace and Liberty, recorded in Paris in Dec. 1972 when the musicians had recently arrived from St Louis. BAG only released one album during their existence. This long-lost performance, recorded at Maison de l'ORTF in optimal conditions just a few months previously, was thought lost until recently unearthed from the vaults of INA (Institut National de l'Audiovisuel). Here the group unleashes an incandescent 35-minute set mixing free improvisation and spiritual jazz with funk grooves. Released in partnership with the band and INA, the album features sound remastered from the original tapes, plus a 20-page booklet featuring words by Oliver Lake, Joseph Bowie, and Baikida Carroll plus Bobo Shaw's and Floyd LeFlore's daughters as well as extensive liner notes by BAG scholar Benjamin Looker and previously unseen photos by cult French photographer Philippe Gras. The Black Artist Group (BAG) was founded in St Louis, USA, in 1968 to promote local artists from the burgeoning Black Arts movement, including musicians, playwrights, dancers and poets. The BAG quintet heard here pulled together key musicians from the larger organization, including Oliver Lake on sax, Baikida Carroll, and Floyd LeFlore on trumpet, Joseph Bowie on trombone and Charles 'Bobo' Shaw on drums. The musicians emerged from the organization to become a vital force within the late '60s free jazz revolution. Modelled on the AACM and the Art Ensemble of Chicago with whom they had close ties, this subset of BAG musicians followed in the footsteps of their Chicago colleagues, relocating to Paris in the early '70s on the recommendation of Lester Bowie, Joseph's older brother. Arriving in the French capital in Oct. 1972 the group made an instant impact on its underground music scene. In December of that year, Andre Francis, ORTF's jazz supremo invited them onto his "Jazz sur Scene" radio show, which showcased four groups live over two hours. Arriving onto the stage of the prestigious Studio 104 auditorium of the Maison de la Radio, the group delivered a jaw-dropping 35-minute set that left the audience mesmerized. Only thanks to a chance listening of another concert -- where the BAG live set was buried within -- was the recording unearthed making this historic release possible fifty years on. The release counts as an invaluable document, shedding fresh light on one of the most fascinating groups in modern jazz history.