private press

The Billy Norine Group

2012-01-25T03:35:00.000-08:00

The Billy Norine Group

Norinian Records NR 11754-2.

Recorded and Mixed at Baker Street Studios, Watertown Mass. April 25/26 1980.

Another incredible private press album, and a first for the world wide web. The much overlooked Billy Norine producing an amazingly percussive adventure with;

Billy Norine; Drums

Steve Olenick; Synthesizer

John Shapiro; Vibes

John Laine; Piano

Mark Carlsen; Bass

Ray Frisby; Percussion

"Billy Norine was one of my brightest pupils, whose remarkable drumming skills and compositional sense are the result of intentsive study and dedication"

George Russell

Check it out

Rick Lawn

2012-01-18T11:59:00.000-08:00

Rick Lawn's POWER OF TEN

EARTH TONES

A recommendation of the highest order. A classy new release from the man behind the ultra rare "Compass Rises" private press on schoolhouse records, Ohio. These guys should be supported and heard. Drop by Rick's place and find out more ...

Info:

http://ricklawn.com/power-of-10

Essential gears!

Drum Circus

2012-01-13T12:22:00.000-08:00

Drum Circus : Magic Theatre.

Recorded 1971, Horst Jankowski.

Killer tune lifted from this rare cd lp. Pointed in the direction of this one by Arkadin and El Reza no less. Papera cannot be played to loud, heavy jazz percussion, short but sweet.

Essential ....

Back by popular demand #2

2011-12-28T09:29:00.000-08:00

Bobby Hutcherson and Harold Land.
Recorded live in Hamburg, Germany 1969/1970.

Been saving the best till last, with this Dynamite set from Bobby Hutcherson.
Four tracks from 2 different dates. Infomation for these is a little hard to come by, with the pianists changing from Hal Galper on the '69 set, to Stanley Cowell on the 1970 set.

Oleo 11:58
Four 10:39
Recorded 5th May 1969.

Same Shame/Blow up 36:00
Oleo 7:17
Recorded 19th August 1970.

The recording is not as polished as the previous Hutcherson posts, and for me, all the better for it. Needless to say, all 4 tracks are incredible, but you need to hear Same Shame. 36 Minutes of of pure jazz heaven.

Forgot to mention, the excellent artwork is by that man Greg again.

Stone Cold, Solid Gold!

Back by popular demand #1

2011-12-24T08:05:00.000-08:00

Bobby Hutcherson and Harold Land.
Recorded live at the Jaun les Pins Jazz Festival, Antibes, 26th July 1969.

Same Shame
Spiral
The Peacemaker

Not just rare, impossible to find!

Another top notch Cover design from Greg

Thanks as ever.

Arthur Verocai : Killer track

2011-12-22T03:51:00.000-08:00

Authur Verocai S/T from 1972

What an album, what a tune !!!!

Sylvia

Info and Bio @

http://www.ubiquityrecords.com/artists/ARTHUR-VEROCAI.html

Wayne Shorter (Bomb!)

2011-12-11T12:31:00.000-08:00

De Pois do Amor, O Vazio (After Love, Emptiness)

Taken from Odyssey of Iska.

Blue Note King GXK 8080 (Japanese Press)

Recorded at A&R Studios, New York, 26th August 1970.

Produced by Duke Pearson.

Quite possibly, my all time favourite track. Eleven and a half minutes of pure heaven from an incredible line-up. The whole album is breathtaking, with both Ron Carter and Cecil McBee on basses, Dave Friedman on vibes, Gene Bertoncini guitar plus more. But, and from the liner notes "The three percussionists also were delegated to special roles. The regular drum part was played by by Al Mouzon, whose celebration of life brings De Pois do Amor, O Vazio to a mind-shaking climax."

If you've never heard this .... well.

Jazz in the Classroom #2

2011-11-30T04:10:00.000-08:00

Another beautiful track lifted from this pretty rare private press album out of Boston from 1972. It's called Events and features Salvatore Spicola on tenor.

From the liner notes;

Events finds Sal Spicola, tenor sax, offering both the original melody and the jazz solo. The melodic foundation for this piece comes from the simple intervallic relationship of: down a 4th, then, up a 2nd; and is heard throughout. The rubato section with Richie Caruso, soprano sax, and Al Ulanowsky, piano, demonstrates Jack's (Jaxon Stock) gentle side.

Heaven

Worlds : As Time Flows On.

2011-11-18T10:37:00.001-08:00

Worlds : As Time Flows On.

World Production Label, J-World-BSE-2.

Recorded in Boston, February 1977.

Released Roxbury, Massachusetts 1980.

The follow up to the ultra rare World's Experience Orchestra-The beginning of a new birth lp (World Productions BSE-1) This features a smaller line-up than the previous album, with Roy Hall (vocalist/percussionist) being the only musician added to the group.

For my part, this one takes a few listens following the expectations of the first killer album release. However, it's a fine album which grows with time, or as time flows on . . . .

01 : Rain

02 : 9 Degrees Black Women Liberation

03 : Black Woman

04 : To do nothing is to move backwards

05 : It's all in the mind

Super rare spiritual jazz.

Dizzy Gillespie : Video

2011-10-29T10:36:00.000-07:00

Another supreme and super rare video from "that" secret source. Supported by Mike Longo, Red Mitchell and David Lee and recorded in France in 1970. Audio-visual loveliness abounds ...

Show the man some love and drop a comment by.

Special

John Coltrane

2011-10-20T12:27:00.000-07:00

John Coltrane : Transition

Impulse

Recorded at the Van Gelder Studios, June 1965.

To serve as a brief distraction from the constant pursuit of the ultimate spiritual jazz, privately pressed holy grails, possibly my personal favourite Coltrane gears. Surely the inspiration for all the spiritual offerings to follow. Powerful, beautiful perfection from the Master with McCoy, Jimmy and Elvin at their heights.

Joe Marillo Quartet :1978

2011-10-05T13:57:00.000-07:00

Affectionately known around town as the “Godfather of Jazz,” Joe Marillo has made his living for the past 29 years playing and teaching jazz in San Diego, a city that challenges the arts at every turn. Leading a life devoted to jazz is an impressive feat, especially so in the context of a place that, for example, allowed its symphony orchestra to disband without even a firm plan for its rebirth. In this city, jazz venues appear and quickly disappear, excellent jazz musicians get discouraged and move away, and jazz stars live in the area for the weather, but most often perform in other cities, countries, and continents.

Joe Marillo, described to me personally as a “genius” by another musician/teacher, excels on tenor saxophone as a master of improvisation. He travels between mainstream, bebop, ballads, and funky blues with ease, his haunting tone expressing his soul through the medium of his beloved jazz. In addition to the tenor, he plays alto saxophone, flute, and piano; he sings and composes as well.

Joe estimates that he has taught over 500 students over the years, with lessons in improvisation on the tenor and alto saxophones, flute, piano, bass, guitar, and voice. In addition to his teaching, Joe is compiling a book that presents his original method for playing jazz piano for the novice. Presently, his students range in age from 6 to 87. He continually acquires new students (mostly by word of mouth), and former students frequently call and visit. A tremendous love is evident between Joe and his students (and often their families as well).

Joe is unique in many ways. The first is the sheer beauty of the music he creates, with his inventive improvisation, his rich tone, and his inspired interplay with other musicians. As a leader of countless groups, he soars when playing with others of his calibre, yet is patient with the many beginning or less-experienced musicians he hires or invites to sit in. The second is Joe’s lack of ego involvement in the making of music. His generosity and non-competitive disposition lead him to share his substantial knowledge and experience with everyone. To Joe, the music is what is important; music politics and personality advancement do not interest him. The third quality is that of Joe’s devotion to bringing jazz to San Diego. In addition to his teaching, playing gigs, and serving as a jazz DJ, Joe founded the San Diego Society for the Preservation of Jazz, a non-profit organization designed to support the hiring of nationally known jazz artists. Serving as a booking agent, Joe hired and sat in with such notables as Joe Henderson, Stan Getz, Sonny Rollins, and Sonny Stitt. Noting the success of the program, management of the venue, a local hotel, dismissed Joe, tried to continue the program itself, and not surprisingly caused the program’s quick demise, as the hotel personnel “lacked Joe’s personal touch,” according to a newspaper account which named him its “Only the Strong Survive” award winner. Through the Society, funds were raised to purchase guitars for San Diego schoolchildren, whose music programs continue to dwindle.

Joe Marillo has received a number of honors in his career, but the one he is most proud of was awarded to him by the NAACP for his efforts in hiring African-American musicians. Joe is well aware of the origins of jazz and the debt owed to those who went before, including John Coltrane, Miles Davis, and Charlie Parker, some of his personal heroes.

Despite incredibly positive feedback from others-”musicians and fans alike” he remains modest about his gifts. Stan Getz’s son Steve (a friend and admirer) booked Joe’s quartet into the jazz festival at Glenwood Springs, Colorado, in the summer of 1997. After the concert the festival organizer told Joe that their performance was one of the best that the festival had experienced in its 12 years of featuring national and international stars. The audience, which had remained from the heat of the afternoon to the very cool of the evening, was equally enthusiastic, with many concertgoers of all ages dancing to the last selection, a wild rendition of Dizzy Gillespie’s “School Days,”with Joe on vocals.

Although Joe no longer plays the saxophone while swinging on a trapeze (as he did nightly in his younger days in Atlantic City), he has retained his robust sense of humor and an amazing level of vitality in his playing, studying, and teaching. When asked why this is so, he credits the fact that he is doing what he loves. Despite advice from others to broaden his base and play other types of music, Joe’s understanding of his true nature has led him to avoid non-jazz situations because of their draining effect on him.

As a jazz enthusiast since 1955, I had virtually given up on finding great live jazz in San Diego, where the commercial “jazz” radio station formerly boasted “Jazz for People Who Don’t Like Jazz.” When fate, in the form of a longtime friend and jazz fan, led me to hear Joe perform one night, I marveled at his playing, which is the equal of the best jazz performers anywhere.

Joe’s playing of original compositions and standards on his four recent CDs reflect the distillation of his life experience into sound that reflects his respect for the masters, his love of jazz, his musicality, and his celebration of the life of the spirit. Joe Marillo was called by one writer “the city’s best jazz musician;” as such, his music deserves the maximum exposure possible.

Darcy Abrahams, San Diego, 1998/2000/2003

Heaven

2011-10-02T12:43:00.000-07:00

Have fallen head over heals in love with this in a big way. Here's 2 choice examples of percussion perfection from the coolest jazz-cats ever.

Attention : Call and response.

Jihad Es Mort.

Bobby Hutcherson : More live!

2011-09-25T13:49:00.000-07:00

Bobby Hutcherson and Herbie Hancock live!

Super rare gears abound!! Big 18 minute plus version of Wayne Shorter's Footprints plus a long, but super tight Little B's Poem. There's an interview with Bobby Hutcherson in there as well.

Sublime

Musicians from the Summer Program for Youthful Musicians

2011-08-29T03:10:00.000-07:00

Brougham.

Lightin' Records written by Reginald Hall, produced by Bubbha Thomas.

Lifted from the Gilles Peterson comp, Digs America 2. Big ticket item, posted for Eric the Viking.

From the liner notes;

This ultra rare slice of psychedelic soul jazz business, was recorded in either 1973 (or 74, Thomas was not exactly sure) and released on 7" single only in almost non-existent quantities on the Lightin' Records label. Since the early 1970's, at the Summer Jazz Workshop, Thomas and a dedicated staff of seasoned musicians offer students from all over the world the opportunity to learn the rudiments of jazz. The workshop has been credited with producing professional educators, and musicians and individuals from over 8000 teenagers including notables like Joe Carmouche, Jason Moran, Brandon Lee, Horace A Young, Frank Lacy and Eric Harland.

Don Cherry live : VIDEO

2011-08-20T13:32:00.001-07:00

Roy Brooks and the Improvisational Sphere

2011-08-16T13:23:00.000-07:00

Roy Brooks and the Improvisational Sphere.

Recorded live with:

Ray Mantilla

Claudine Myers.

Special

Toshiko Mariano Quartet

2011-08-08T11:33:00.000-07:00

Toshiko Mariano Quartet.

Little "T"

One of the most beautiful pieces of music you'll ever hear. Picked this up in California for peanuts.

Heaven.

For all the romanticism of the theme, the playing is virile and often shoutingly joyful. Little T was written by Charlie some six weeks before this recording and was dedicated to his wife. As in serveral pieces by Miles Davis and Bill Evans, the piece is developed modally, thereby allowing for freer melodic development in the long improvised passages. Actually, it can be called polymodal since several modes can be played on the scale that is it's core. Toshiko, the scholar of the two, terms that scale an E Mixolydian harmonized as an A Dorian scale. Charlie simply refers to it as a G scale (the Mixolydian mode consists of the white noteson the piano from G to G) It begins with a yearning theme, played rubato, first by Charlie who is soon joined bowed bass and is followed by Toshiko. The jazz choruses then begin in tempo. The tune goes out in reverse. After the melody is restated, Toshiko plays a rubato epilogue and the tune ends with Mariano and Cherico. Throughout , as in the album as a whole, the quartet plays with a flowing organic wholeness of feeling and time out of which come Mariano's penetrating solos with their pervasive "cry" of jazz and Toshiko's burningly intense, complementary improvisations.

Andre Ceccarelli

2011-08-07T11:32:00.000-07:00

Andre Ceccarelli : Rhytmes.

De Wolfe.

1976

Been meaning to post this track ever since G.Raf lent me some of his vinyl a couple of months back now. Tucked away amongst some fairly mundane numbers of a Russ Dewbury compilation called jazz bizniz, was this absolute gem. The whole album is out there in the websphere, but here's the pick of this library lp containing approx 30 short breaks.

Gang Progress ....

If this baby doesn't move you, you got no soul !

Bobby Hutcherson : Video

2011-08-02T13:56:00.000-07:00

Bobby Hutcherson : Herzog (video)

Super rare footage of the "MAN" supported by Stanley Cowell, Joe Chambers and Harold Land. It's all here in beautiful monochrome loveliness, complete with Bobby sporting the killer neckerchief ! The year looks around 1970, maybe earlier, and this one's super cool. Land drops a heavy tone but Hutcherson's solo soars. The finest film of Hutch i've ever come across and secretly supplied by someone who wishes to remain nameless. Thanks must abound, there's more in the pipeline ... killer, KILLER GEARS !!!!

Eric Hochberg & Andy Potter

2011-07-30T13:03:00.000-07:00

Eric Hochberg and Andy Potter.

World Thing.

Recorded at Acme Studios, Chicago 1976.

HoPo HP111 Records.

The utterly beautiful title track from this fairly obscure private press album from Chicago. All the artwork with all the listings information is over at Justjazzart. Think Ensemble Al-Salaam with a touch more soul ...

Real sweet

Woody Shaw (live!) at last

2011-07-14T11:53:00.000-07:00

Woody Shaw live.

Recorded in 1977

with;

Carter Jefferson, Larry Willis, Stafford James, Victor Lewis.

2 of my all-time favourite Woody Shaw tunes, fully extended and live. Love Dance and Why which is taken from the Muse lp, The Rise of Atlantis by Carter Jefferson.

Dig the super long artwork!

Don Rendell Five

2011-07-09T12:36:00.000-07:00

Don Rendell Five : SET 2

Recorded live at the Woolwich Public Hall, 18th June 1979 Greenwich Festival.

This was a complete surprise to me. The cover art, the year, the location all seem to suggest a fairly safe, straight maybe even mediocre live set. How wrong i was!. This one's right up there with Space Walk imo, and could pass for an early 70's west coast session. Assisted by Alan Wakeman on tenor, Pete Saberton keys, Paul Bridge bass and Trevor Tomkins on drums.

Picked this one up in the record store formerly known as Berigans in Berkeley CA and owned by the very knowledgeable Rick Ballard. Be warned, if you decide to drop by, there's some seriously tempting big ticket items hidden away in there.

Becclesology.

To appease any irate Beccles citizens, any connection between the Suffolk town and the music is unintended bar the fact that it was there that the piece was written - in 1976. Alan Wakeman solos first.

(some) Bobby Hutcherson

2011-06-27T12:08:00.000-07:00

Bobby Hutcherson : Live 1977.

Now!

If you've ever been here before, the chances are you'll know that i'm an obsessive fan of Bobby Hutcherson. The guy has never put a foot wrong, and has the touch, and finesse, class and style of a pure genius. Never more so was this evident, than on the album, Blue Note Meets the L.A Philharmonic. Arranged by Dale Oehler, responsible for among others, the killer album Waiting, and includes all the players from that gem. Eddie Marshall, Manny Boyd, Bobbye Porter Hall, George Cables and James Leary who wrote my all time favourite track, Prime Thought.

These 4 live tracks are all sublime, but for me, Bobby's solo in Slow Change, is simply prefect. If you've never heard these, go get it, now!

The Elysian Spring

2011-06-25T07:53:00.000-07:00

Super rare, and of holy grail proportions, here is Glass Flowers. Beautifully remastered and digitized for enhanced sonic pleasures.

Wise words from Re-release :

The history of Elysian Spring is as eclectic and unusual as the music they made. When the summer of love was gripping the west coast, the group was busy creating a sound based on pure improvisation. The members were inspired by the classic jazz of Brubeck and Adderley, and also sound of early new age music from Rainer’s trip to Berkeley. They quite literally would practice in the fields in Western MA. This openness helped the group evolve while keeping it separate from the frequently stale and clinical school-based jazz in the surrounding.

The original liner notes by Andy Haigh are striking in their honesty. Like good jazz, they ask more questions than they give solid answers. For the sound of Elysian Spring is in questioning, considering, and evaluating possibilities. This must be a meaningful album, because nearly 40 years later the music is still startlingly fresh.

Trickles of classic Blue Note bop can be heard throughout “Glass Flowers – a solid-grooving soul-jazz feel predominates “2 & 2” – but overall the album is full of the kind of deft choices that only happen when musicians give themselves over to improvisation. This experimentation is most papable on the Gilles Peterson favorite “Blue Sands,” a modal song in 4/4. The theme is carried by the guitar in an unusual way for the late 60s, and is the audio equivalent of a soothing balm.

“Lotus” is another song that stands out for its unusual instrumentation of two flutes. To achieve the tones he desired, Bertrams frequently disassembled his flute mid-performance and used his hand as an extension of the instrument. This track is to be included on a recent compilation on BBE Records called Super Heavy Jazz, but the only place to get the full album is right here.

Musicians

Rainer Bertrams – Piano, vibraphone, flute

Bruce Krasin – Saxophone, flute

Lenny Ezbicki – Drums, guitar

Jim Bridges – Guitar, bass

Merliani – Trumpet/flugelhorn, bass

Costello – Guitar on “7th Sea”

Notes

The self-titled album was here retitled “Glass Flowers” by Rainer Bertrams to more accurately reflect the music’s true nature.

Engineered by Art McLain

Recorded by John Wojciak

Photos by Ric Steliga

Graham Collier Sextet

2011-06-05T12:29:00.000-07:00

Graham Collier Sextet : Down Another Road.

Graham Collier : Bass

Harry Beckett : Flugelhorn

Stan Sulzmann : Alto Tenor

Nick Evans : Trombone

Karl Jenkins : Oboe and Piano

John Marshall : Drums

Recorded in London March 1969.

A total stormer.

Wendell Harrison

2011-05-29T10:40:00.001-07:00

Wendell Harrison & the Clarinet Ensemble.

Rush and Hustle. Wenha.

Another artist that can do no wrong in my book. This beautiful tune is lifted from the the Cd Rush and Hustle and is titled Pamela's Holiday.

Gil Scott Heron. RIP

2011-05-28T10:37:00.000-07:00

A fitting tribute has been compiled by Blackclassical.

Thom Mason

2011-05-22T11:03:00.000-07:00

Thom Mason : Be Do Have.

Affinity Records. 1980.

Properly rare private press business from Thom Mason. The whole thing is all killer no filler as Bacoso might say. Here's the title track, let me know if this rocks your world as well as mine.

The Elephant Trot Dance

2011-05-21T02:58:00.000-07:00

The Elephant Trot Dance.

Nilva Records.

NQ3404.

Recorded at Minot Studios, White Plains, NY 18th June 1975.

(Tracks 1 and 5)

Recorded at Platinum Factory, Brooklyn, NY 8th March 1979.

(Tracks 2, 3 and 4)

1 : The Elephant Trot Dance

2 : Sweet Eve

3 : Sunset in Venus

4 : Malcolm, the Call

5 : Libra

Re-upped by Request

Jazz in the Classroom. Volume XIII

2011-05-16T10:54:00.000-07:00

Jazz in the Classroom Volume XIII.

featuring the works of Jaxon Stock and Hal Crook.

Berklee Press Publications.

Recorded 1973.

This is such a beautiful album.

Snaggin' Song:

Hal Crook trombone, is show cased on this gently driving , medium tempo chart. The use of the Db Aeolian Mode, the straight eighth rhythm, plus the subtle drone quality of the back up, combine to give a hint of "eastern" flavor.

Killer Duke

2011-05-11T12:01:00.001-07:00

Mad, the comments have just disappeared. Can't remember what i wrote now. Basically, these 2 tracks were lifted from an album entitled Pacific jazz. Foosh is a killer funky tune that imo would not have looked out of place on the excellent Inner Source lp. (MPS) Heavy support from Dick Berg on drums and John Heard on bass who steps up with a super tasty solo. The second track is called Adonis and sounds more like an early blue note session. The liner notes describe these tracks as previously unreleased, so theres a chance you may not have heard these. This version of Foosh is quite different and better to the one found on The Aura will Prevail also on MPS. Addictive.

David Hurley

2011-05-08T09:08:00.000-07:00

David Hurley.

Outer Nebula Inner Nebula.

Porter

David Hurley Interview

Interview by: M. William Pino SPEAKS OUT HIS MIND!

It started with an advertisement for Porter Records in an issue of Waxpoetics. Along with recordings by older greats like Byard Lancaster and Rashid Ali, Porter advertised a CD by drummer David Hurley. I was intrigued and ordered a copy. I’m glad I did, as Outer Nebula Inner Nebula is a really cool CD, full of great, percussive improvised group music and spacey solo pieces by Hurley. It’s a fun listen. I really enjoy the way Hurley plays within an improvising group, and wanted to ask him a few questions about his influences, his processes, and what his plans for the near future are. Thankfully, he agreed to do a short interview. Read on and be inspired!

You are based in San Diego. Is this the area that you grew up in?

Yes! Born and raised and at the moment based in SD.

What were some of your formative musical experiences?

Having the chance to see Ornette Coleman still bring it at age 78… He really impressed me.

As a musician I’d have to say playing (sax and traps) on the streets or “busking” if you will… I can honestly say this has made me a stronger and more conscious musician. Playing down town on the busy street corner, I find myself in a position where I’m able to freely bounce ideas off an unsuspecting audience, which naturally reflects consistent honest (sometimes too honest) feedback. After doing this for a few years I’ve found it has greatly helped me as a creative improviser to be comfortable and confident improvising freely while keeping the ball rolling and thus keeping things interesting. You start to be aware of things like attention spans as you play off of your audience… When you have one. The club situation offers this but not nearly as raw and intense as the streets. It’s much easier to consciously or subconsciously disconnect yourself from the audience on stage and in the comfort of a venue.

I get formative musical experiences off youtube all the time.

Most recently I had the opportunity to record and play music with Elliott Levin. It was an amazing experience thanks to Luke at Porter Records. To be connected by some thin branch in the same jazz family tree as Cecil Taylor and so many other great players is an indescribable feeling.

On Outer Nebula Inner Nebula you play horns, flutes, and keys along with percussion. Did you play in school bands, church bands, etc? How about teenage years? Did you play in Punk or garage bands?

Never played in school “band” bands. I started playing drums in a punk band at age 16 in high school. Punk is and always will be at my roots. The interest in other instruments came partially natural. I try to think in melody and colors with rhythms. I do remember someone explaining to me early on that if I wanted to be a great drummer I should learn other instruments. I took that to heart.

You also play a lot of percussion from various parts of the world. Have you played in any kind of ensembles, e.g. a Gamelan or Taiko group?

I wish!!! The closest Gamelan ensemble I know of is at UCLA. I’ve always wanted look into it. My Gamelan instrumentation came about with a good run on ebay with some pot-gongs and hours of youtubing/listening to Balinese Gamelan and Ketjak. I obsessively listen to world music for inspiration. Just recently I spent some time in Cuba studying conga drums.

Did you take trap lessons? Any teachers/elders that had a great effect on you in your personal life?

I didn’t take lessons for the traps. I often wish I did… About the time I discovered Elvin Jones’s magical drumming I was really into Fugazi’s drummer Brendan Canty and music of that genre. Elvin stumped me. I knew if I just listened hard enough I’d understand. That’s how Tony Williams, Billy Cobham, and Christian Vander worked their way into my head. Not to mention a huge appreciation for all of their music.

You dedicate Outer Nebula Inner Nebula to Elvin Jones. Clearly you have a high amount of reverence for him and his music. Can you talk about this, or any other great musicians from history that inspire you?

Well, Elvin has this enormous heart and soul that emanates from his drumming. He is one of the most honest drummers I have ever heard. You can actually hear him feel the music and lift it up on his shoulders. He was a reflection of Coltrane and vice versa which made him even stronger during the time of that synergy. He completely absorbed the moment! Other great drummers are takers of the moment like Tony (who I love). Tony was a lot of flash and talent. But I always come back to Elvin. Christian Vander is just straight up entertaining… Elvin on acid and steroids . I love the way Christian looks with his iced over eyes rolled up in his head behind his Gretsch bebop spaceship… A huge inspiration!

Were improvised music or Jazz styles that you heard in your house as a child?

No! My mom did listen to Mahavishnu Orchestra and King Crimson when she was my age. Sadly her LPs were long gone by the time she had me. Jazz and Improvised music came much later.

The ensembles on Outer Nebula Inner Nebula feature a lot of percussion and not too much of the more traditional instrumentation. What were some of the factors that lead you to organize groups like this?

I wanted a sense of balance between the sounds and instrumentation. Percussion is a given, however, I specifically chose the djimbe and djun djun to provide the high highs and low lows so the alto and the drums (two mid range instruments) could weave in and out freely and comfortably. It takes a lot of consideration to make a group or ensemble really work. Also I’m fortunate to make music with such talented musicians.

Can you talk a bit about the members of the ensembles on Outer Nebula Inner Nebula? Are these men all part of and improvised music scene in the San Diego area? Do you play in any of their groups?

Leonard Mack and I are cousins and grew up together. The funny thing is we both found the drums independently of each other. He is a member of a folkloric African drum and dance ensemble with Ousmane Toure. The Nebula sessions are only the second time we had played together. I felt an intense visceral/familial connection to his drumming, which I feel came across nicely on the album. Preston Swirnoff is a close friend and multi-talented producer of dub, psych and experimental music. We have worked on several projects together over the years. Most notably Seesaw Ensemble and Habitat Sound System. Brian Ellis is one of my musical heroes. He makes anything he picks up sound good. I don’t think he had that violin more than a week before he recorded solar wind drone. He is the lead guitarist in ASTRA, a psychedelic neo-prog group I am honored to be a part of. Google or youtube him… He’s making an impressive mark. Zuri Waters is foremost an artist and was my faithful street companion and horn player in Seesaw Ensemble. Needless to say we know how to listen to each other very well in an improvised situation. He’s now studying art at RISD.

One of the things that I love about the CD is the way in which you leave lots of space in your playing. Can you talk a bit about your approach to percussion/trap set playing within an improvising group?

If you can listen harder than you are playing you can count on being in a good place to make music interesting.

Studying congas has given me a new sensitivity to the traps. Sometimes I’d rather be playing them with my hands (sometimes I do). On the album the drums almost gel like some sort of swinging language at the best moments, which created a more African vibe than a jazz vibe. I kept from riding the cymbals too much which also helped the drum set become more African.

Outer Nebula Inner Nebula features four tracks that are solo pieces. How do you go about with this process?

Hard to say… Cosmic Moon March was actually the first song I recorded for the album and coincidentally the first thing I ever recorded with my computer in my living room all by lonesome. Funny how it’s also one of my favorite songs on the album. When I was researching mics and preamps I wanted to have just enough to make a “Van Gelder” style recording using dynamic mic and focusing on placement to absorb the room sounds. I haven’t quite mastered this yet!!! With the tracked songs I approached the music as if it were improvised. Making a simple rhythm or bass line, which inspired the next rhythm or sound and eventually it would take shape and I’d know where it was going and how I wanted it to get there. I have a house full of collected musical instruments from all over at my disposal. Sometimes I just set them all up and try to find the best combinations of sounds and rhythm.

The track Solar Wind Drone is quite intriguing to me. It’s under a minute long, but there sounds like so much is going on within it. If you’d like to, please describe the process of composing/recording this amazing piece.

Ha, it actually was part (the very end) of a much longer piece, which I liked very much. My computer farted and most of the songs tracks were lost in a spit second. When the album was nearly finished I had this thought of using some of Ellis’s violin and my moog from the remaining tracks and thus Solar Wind Drone was reincarnated… This time as a forty second vamp. It works in so many ways in contrast with the rest of the album and with the order of the songs as a bridge from one style of recording to another. I’m glad you like it.

What kind of drum set did you use on Outer Nebula Inner Nebula? How about cymbals?

It was custom made for me by Hard Bop Drums out of Arizona. My graduation present to myself. I use Zildjan K Constantinople hi-hat and ride cymbals and a Meinl Jazz ride.

Do you have a favorite non-trap set instrument?

Congas are my first love lately. I’ve also been giving the cuica and flute a lot of attention.

Do you have any plans to tour in the near future? It would be great to hear you at the Elbow Room in S.F. or 21 Grand in Oakland!

I don’t have any solid dates at the moment; however, sometime in May I’ll be in SF with Khan Jamal and Byard Lancaster and members of Seesaw Ensemble for a Porter Records tour. I should be headed your way with ASTRA soon as well. It would likely be in February or March. My most recent project is an all percussion ensemble. It’s taking shape quite nicely at the moment. We ought to make something happen in SF soon. Until then, Cheers.

Babatunde Lea and Phenomena

2011-04-29T08:30:00.000-07:00

Babatunde Lea and Phenomena.

Levels of Conciousness.

Theresa : 1979.

A killer tune from from this widely available cd. Thailand Stick includes special guests Julian Priester and Eddie Henderson among others. Highly recommended.

Smiley Winters

2011-04-23T03:24:00.001-07:00

Smiley Winters : Smiley Etc.

Arhoolie 8004/5.

Recorded at Sierra Sound Studios, Berkeley, California. March 1969.

The final, and possibly finest instalment from G.Raf. For now anyway, apparently there's more where this came from. Maybe some generous comments could make all the difference.

This is power jazz @ 200mph. Born in St Louis, and father of ten, William Richard takes charge of this heavy session. Connected to many of the Bay area jazz giants including Phaorah Sanders, John Handy and Roy Porter to name a few. He is joined by Bert Wilson on Sax, Barbara Donald Trumpet and Chris Amberger on Bass. It's a double lp, so there'll be 2 files. Check out "Two Trains" Dynamite !

Howard Hanger Trio

2011-04-13T05:49:00.000-07:00

Howard Hanger Trio : A Child is Born.

Stereo. Trav Label.

More obscure bible friendly business via the vaults of G.Raf again. Originals, carols, contemporary folk songs and cover versions combine to produce an album with a distinctly dark undertone.

The album is produced by TRAV, (Television, Radio and Audio-Visual Division) of the Presbyterian Church of the United States.

Rare, and recommended.

Enjoy, then give thanks and praises to G.Raf.

Oliver Nelson Orchestra

2011-03-20T12:25:00.001-07:00

Oliver Nelson Orchestra.

Impressions of Phaedra.

1962 United Artists. Monaural UAJ 14019

Another super-rare special provided by G.Raf. Carried out some google research, but to little avail. For me, the first track, Phaedra Love theme is just superb and far to short. Ripped from the mono vinyl @ 320.

Some info about the film:

Phaedra was a 1962 motion picture directed by Jules Dassin as a vehicle for his wife Melina Mercouri, after her world-wide hit Never on Sunday.

The film was the fourth collaboration between Dassin and Mercouri, who took the title role. Greek writer Margarita Lymberaki adapted Euripides'Hippolytus into a melodrama concerning the rich society of ship owners and their families, but still containing some of the tragic elements of the ancient drama. The film is set in Paris, London, and especially on the Greek island of Hydra.

Phaedra, second wife of shipping tycoon Thanos (Raf Vallone), falls in love with her husband's son from his first marriage, Alexis (Anthony Perkins). The love is doomed from the very beginning but they are unable to control their feelings.

The movie hit the cinemas in 1962, was a hit in Europe, but a box-office failure in the USA. Although Mercouri and Perkins became friends during the filming, the magazines, and especially Esquire magazine, attacked the film, because of Perkins's vulnerability. Phaedra was the first of several films that teamed Perkins with notable older female stars.

The music was created by Mikis Theodorakis. In the soundtrack, Melina Mercouri sang two songs. The first one was written by Nikos Gatsos, a major Greek poet, and was sung by Mercouri and Perkins after their love scene in Paris. The other one was heard in the film as the main love theme. Both of the songs are popular in Greece and they have been performed by hundreds of singers and actors.

Belair

2011-03-14T10:52:00.000-07:00

Belair

Relax, You're soaking in it. pp 1980.

More super rare, private press business out of California via the vaults of G.Raf. Eddie Guthman on basses, Tucker Crosby on Guitars, David Balakrishnan -violin, Frederic Wetterau -Flute and saxes and Michael Belair in Guitar. This one leans towards the folk/jazz side of things and as always is highly recommended.

Much more to follow, so show G.raf some love

The Forefront

2011-03-09T10:13:00.000-08:00

The Forefront : Incantation.

AFI Records, Chicago.

1973.

Trumpets Trumpets Trumpets !!

Big Brass ...

Breaks all over the options on this track, Frump Trump. Another private press affair out of Chicago. Bobby Lewis, George Bean, Art Hoyle, Russ Iverson, Rufus Reid and Jerry Coleman make the line-up.

Bob Mover

2011-03-09T09:37:00.000-08:00

Bob Mover featuring Tom Harrell.

On the Move.

Choice.

As so often seems to happen, someone points you in the direction of an album, and you just gotta have a copy. This time, it's that man Quimsy who highlighted this little gem (many thanks) a month or 2 ago. So i got on e-bay and cherry-picked up a copy for peanuts. Tom Harrell and Mike Nock are in there, together with Jay Clayton of Byron Morris's Blow thru you Mind fame.

Shit track title, top tune.

Charlie Mariano and Toshiko Akiyoshi

2011-03-04T12:07:00.000-08:00

Charlie Mariano and Toshiko Akiyoshi.

East and West.

RCA RVL-5518.

Very very special album recorded in March 1963, once again provided by that man G.Raf. Ms Toshiko Akiyoshi performance is totally sublime, and supports Mariano beautifully. Haru-No-Umi is simply breathtaking.

Comments welcomed

Prince Lasha Ensemble

2011-03-04T11:53:00.001-08:00

Prince Lasha : Insight.

Here's Nuttin' out Jones with Stan Tracey on Piano, Rick Laird on Bass and David Snell on Harp. Early Lasha, but quality all the same.

G.Raf

Danny Zeitlin

2011-03-04T11:41:00.000-08:00

Danny Zeitlin live at the Trident.

Recorded March 1965.

Beautiful version of Ornette Coleman's Lonely Woman. Charlie haden on Bass, Jerry Granelli on Drums. G.Raf business.

The Girl from Ipanema

2011-03-04T11:31:00.000-08:00

The Girl from Ipanema.

Jimmy Davis and Norma Lee.

Wyncote records.

Killer club track, Jasmine again from G.Raf. Beautiful tune.

Johnny Almond Music Machine

2011-03-04T11:22:00.000-08:00

Johnny Almond Music Machine.

Hollywood Blues.

More goodness from the vaults of G.Raf. Plenty of heavy hitters included here, Charles Kynard and Hadley Caliman. Top top tune, Agadir Sunset.

Jack McDuff

2011-03-01T11:43:00.000-08:00

Jack McDuff.

Lift every voice and Sing.

JAM Records, Washington DC.

Produced by Esmond Edwards, here's the choice cut from this mid eighties album, Naima. Easy does it, Smooooothness all the way via the vinyl of G.Raf.

Bob Miles : Windstorm

2011-03-01T11:33:00.000-08:00

Bob Miles ; Windstorm.

Recorded in Atlanta 1986. Golden Boy Jazz

Here's another excellent track lifted from the vinyl @ 320 (G.Raf again)

I tried uploading the appalling cover artwork, but my computer spat it back out at me.

Shit cover, top tune.

Enjoy

Milt Jackson

2011-02-28T12:13:00.000-08:00

Milt Jackson and The Hip String Quartet.

All star line up includes Cedar Walton, Ron Carter, Mickey Roker, James Moody, Hubert Laws, the list goes on. The Morning After is cherry picked from this vinyl provided by G.Raf.

Tasty

Hal Singer.

2011-02-25T13:20:00.000-08:00

Hal Singer.

Blues and News. Recorded 1971.

Another cd that's out there to buy, so here's the choice cut, Malcolm X, again brought to us by G.Raf.

Dustygrooves views;

The other great Hal Singer album from his years on the French scene – and a record that we'd say is even better than his legendary Paris Soul Food set! Although Singer is often most associated with an older style of swing-based jazz, he's working here in a loose, free mode that's got plenty of 70s soulful touches – often funky at the best moments, but even more importantly openly rhythmic – with a progressively soulful style that's really outta site! The group features Art Taylor on drums, plus an assortment of European players led by Siegried Kessler – who plays some great piano and flute on the album, and also handled the arrangements. The album features Singer's wonderful tune "Malcolm X" – the kind of a track that we'd rank right up there with some of the most righteous soul jazz groovers of the time. Other highlights include the modal "Pour Stephanie", the jagged "Blues For Hal", and the groovy "It's My Thing". CD also includes the bonus track "Lina".

The New Composer's Ensemble

2011-02-25T12:41:00.000-08:00

The New Composer's Ensemble.

54rd Street Ghost.

Oracle Music Co, Chicago.

Sadly, this highly prized cd is available to purchase out there on the webasphere. Would have been another top presentation from G.Raf but heres a track to give you guys the general taste. Hot vibes from Paris Smith, spiritual jazz all the way on this one.

Dusty's take;

A killer batch of modern spiritual soul jazz – with a classic sound that reminds us a lot of the 70s work on labels like Tribe or Strata East! The New Composers Ensemble is led by vibist Paris Smith, an underground Chicago jazz artist who cut a few very enigmatic albums on his own – and he's working here with a group that includes guitar, piano, percussion, and bass. All the tracks on the CD are originals written by the players on the record – and most of them are strong modal grooves, with a spiraling strident sound that's filled with joy and life, but also a hint of darkness. The interplay of the instruments is unlike anything we've heard elsewhere, and it's the kind of underground treasure that you'd die to find on a rare 70s album – somehow even cooler that it's cut by an obscure group who are working in our generation! A few tracks have a vocalist that's a bit off-beat – and she also reminds us of some of the more spiritual contraltos that would show up on the Strata sets from the 70s – but her contribution to the record also kind of grows on you nicely after a while. Titles include "Tommy Tones", "Sonny's Song", "Lilith Came", "Introspection", "Psalm 37", and "53rd Street Ghost", dedicated to the street where Dusty Groove used to have its headquarters.

Happiness is ..Takin' care of Natural Business ... DIG?!

2011-02-21T12:59:00.000-08:00

The Al Tanner Quintet ; Featuring William "Smiley" Winters.

Super rare gears provided by G.Raf. Watch out over the coming weeks, cause there's plenty more where this came from. We need some thanks in the comments btw ...

Introduction

Baltanica

The Magi

Kuba!

Poor me

Bronson's Blues

Lobby Lizards

Rolon's Groove

Blackclassical

2011-02-20T07:07:00.000-08:00

SOUNDS RING LIKE AN ECHO IN THE WOODS.

Blackclassicals been beavering away again, collating another cosmic spiritual-jazz suite. Improve your life and expand your mind here ...

http://www.mixcloud.com/Blackclassical/sound-rings-like-an-echo-in-the-woods/?utm_source=redirect&utm_medium=shorturl&utm_campaign=cloudcast

The Howard Hanger Trio

2011-02-10T12:27:00.000-08:00

The Howard Hanger Trio.

Through a Glass Darkly. PMH Records.

Recorded at Lefevre Sound Studios, Atlanta. January 1970.

Howard Hanger; Piano

Paul Reeve; Drums

Mike Givens; String Bass

Shel Hall; Electric bass on Lay, Lady, Lay.

A very interesting, if difficult to pigeon hole 2nd album from this Trio. Think P.E Hewitt, with a touch of Gerry Olds and a dash of Ahmad Jamal and you could be getting close, maybe. There's a Dylan cover, some originals and my favourite What Wonderous Love, an adaptation of an american folk hymn. The whole album moves in many different directions, from straight trio jazz, to abstract electronica samples. Takes a few listens, but is worth every minute.

Roy Porter Sound Machine

2011-02-06T10:51:00.001-08:00

Big thanks to the good people that lifted me out of a hole full of frustration and despair. Bacoso's Jessica drop a little while back whetted the appetite for Roy Porter and now the Triology of Roy Porter's Sound Machine output (unless there's more out there) is complete in the comments.

Bill and Vpex, take a bow.

Ritmo Caliente

2011-02-01T07:56:00.001-08:00

Ritmo Caliente.

Coco Lagos y sus Orates. 1970 MaG.

Volumen 2. LPN 2338.

A break from the norm, with some bangin' bossa boogaloo business. Infectious latin tunes from Peruvian Coco. There all killer, but for me, La Rumba Empezo is a stormer.

Check it out

Bobby Hutcherson : Total Eclipse

2011-01-25T11:02:00.000-08:00

Bobby Hutcherson ; Total Eclipse.

Recorded July 1968. N.Y.C

Bobby Hutcherson

Harold Land

Chick Corea

Reggie Johnson

Joe Chambers

Produced by Francis Wolff and Duke Pearson.

Ok, so it's not an ultra rare, big ticket, private press $2000 lp. What it is, is a completely spell-binding session from my all time hero. The production by Duke Pearson is as ever, faultless. Ripped from the tricky to find, 1989 cd release.

Some wise words from All about jazz;

Before fusion began suffocating jazz, before oversized sunglasses and tight bell-bottoms became popular stage dress, and before jazz lost its curves, there was Bobby Hutcherson. In the late 1960s, the vibraphonist picked up where Wayne Shorter left off, developing a sensual modal sound that resonated with spiritual awakening and depth.

One of his finest albums as a leader during this period was Total Eclipse,recorded in 1968. The album features tenor saxophonist Harold Land , pianist Chick Corea , bassist Reggie Johnson and drummer Joe Chambers. In some ways, Total Eclipse is one of the last modern jazz albums before Miles Davis and Chick Corea changed everything withBitches Brew in 1969.

Hutcherson was born in Los Angeles in 1941 and was most heavily influenced by Milt Jackson. Self-taught, Hutcherson performed locally after high school with Paul Bley, Scott LaFaro and others. His association with tenor saxophonist Curtis Amy led to Groovin' Blue, his first record date in 1960 for Pacific Jazz. After a trip to New York with Al Grey and Billy Mitchell in 1961, Hutcherson decided to remain on the East Coast, developing a four-mallet, heavy pedal technique that emphasized lingering chords rather than a pecking single-note attack.

In the early 1960s, Hutcherson was primarily a sideman, working with Jackie McLean (One Step Beyondand Destination ... Out!), Grant Green (Idle Moments) and Eric Dolphy (Iron Man), among others. While recording with McLean, Hutcherson was offered a recording contract by Blue Note's Alfred Lion , a union that lasted until the label's folding in 1977.

Soon after signing on as a Blue Note artist, Hutcherson in 1963 recorded The Kicker, his first leadership date. More sideman sessions followed, including appearances on Andrew Hill's Judgment and Dolphy's Out to Lunch.Hutcherson's next albums under his own name were Dialogue and Components, both recorded in 1965.

In 1966, Hutcherson came under the influence of Archie Shepp, and his sound and attack became freer and more spiritual. You can hear the change in Happenings (1966) Stick Up! (1966), Oblique (1967) and Patterns(1968). In 1968, Hutcherson moved back to California and played in Gerald Wilson 's orchestra, “to keep my ears open to orchestrations," as Hutcherson put it.

During this period, Hutcherson began collaborating with tenor saxophonist Harold Land, whose arid sound was the perfect tonal foil for the vibraphonist's wet-chimes effect. Hutcherson and Land first recorded together as a quintet on Land's The Peace-Maker, and they performed on the West Coast and then in New York clubs.

In July 1968, Hutcherson recorded Total Eclipse, one of his most lyrical and free albums of the 1960s. Four of the five compositions were by Hutcherson (the fifth, Matrix, a 12-bar blues, was by Chick Corea). The first of Hutcherson's originals, Herzog, is an uptempo modal piece that soars with energy. His Total Eclipse and Same Shame are ballads. Pompeian, the album's final track, starts as a mid-tempo waltz but soon dissolves into free-form, with Hutcherson playing bells and Land on flute. Few albums sound as late 1960s as this one, complete with experimentation, freedom and spiritual consciousness.

In the months following the release of Total Eclipse, jazz would steadily change as the music began to embrace monotony, with an emphasis on rhythm, repetition and electronic textures. The trend never fazed Hutcherson, who steadfastly avoided electronic instrumentation, jazz-fusion or those tight bell-bottoms.

JazzWax tracks. For the life of me, I cannot understand why some albums are reissued on CD and others are not. Total Eclipse was issued digitally in 1989 and again in 1995. Then it fell off the map. Which is a shame considering how outstanding a recording it is. Total Eclipse is available on CD for about $50 used from independent sellers. The LP is available for less at eBay. We can only hope that the folks at Blue Note will pull this one out of the archives soon.

The Ensemble Al-Salaam

2011-01-16T04:19:00.000-08:00

The Ensemble Al-Salaam.

The Sojourner.

Strata East Records, SES-7418.

Recorded 25th May 1974 Minot Studios, NY.

One of the rarest strata east titles on the planet, and one of the best. And now there is a chance to own your own original copy. Just drop by El Reza's place and cherry pick from his strata east lps he has for sale.

Here's Optimystical from the P-vine re-issue to give you a taster.

Gerry Hemingway - Kwambe

2011-01-08T11:06:00.000-08:00

Gerry Hemingway - Kwambe.

Auricle Records.

Recorded at Generation Sound Studio, NYC, January 1978.

Utterly beautiful music from Gerry Hemingway complimented by a stellar line-up for support. This, the 20 minute+ title track, goes so fast and never loses your attention. Very highly recommended.

Toshiyuki Miyama and the New Herd

2011-01-04T12:33:00.001-08:00

Toshiyuki Miyama and the New Herd.

Tbm 67.

Recorded may 1976, Epicurus Studio, Tokyo.

All compositions by Kozaburo Yamaki.

Here's the title track, and what a stormer. A Bacoso recommendation, so the it was always going to be a killer.

Azar Lawrence

2010-12-25T13:48:00.000-08:00

Azar Lawrence : Mystic Journey

Furthermore 2010

Many thanks for Simon (Never Enough Rhodes fame) for highlighting this heavenly album. It's for sale all over the www. but there's one track i've played over and over and over, Journey's End. Every track is all killer as Bacoso might say.

Invest ...

Elvin Jones Live : 1971

2010-12-19T04:41:00.000-08:00

Elvin Jones Live : 1971.

John Coltrane Memorial Concert.

Pm Records, PMR-004.

Elvin Jones ; Drums

Frank Foster ; Tenor and Soprano

Chick Corea ; Piano

Gene Perla ; Bass

Joe Farrell ; Tenor and Flute

The line-up says it all really. Another killer album from the PM vaults, released in 1975. Here's the track Shinjitu, written by Keiko Jones. 22 minutes of pure power jazz.

Chuck Flores

2010-12-11T11:59:00.000-08:00

Chuck Flores : Drum Flower.

Concord CJ-49, Recorded in Hollywood, 1977.

Chuck Flores : Drums

Bobby Shew : Trumpet

Bob Hardaway : Tenor and Soprano

Dick Johnston : Keyboards

Bob Magnusson : Bass

Here's a couple of choice tracks from this rather tasty lp. End of a love affair begins with a hard as nails drum break followed by the title track, drum flower.

Enjoy

Doug Riley

2010-12-02T02:16:00.001-08:00

Doug Riley : Dreams.

PMR-007, 1976.

Doug Riley; Accoustic and electric pianos.

Michael Stuart; Tenor and soprano saxophones.

Don Thompson; Accoustic bass.

Claude Ranger; Drums.

Yet another beautiful album from the PM vaults :-

"Riley was born in Toronto April 12, 1945 and started studying classical piano at age 3. By 1958, he came under the influence of Hungarian classical pianist Paul de Marky, who had been Oscar Paterson's teacher. Studies saw Riley at the University of Toronto where he graduated with a Bachelor of Music. He has written 3 ballets for the National Ballet of Canada, arranged an album for Ray Charles, scored 6 feature fi Ims, and played piano and arranged for Dianne Brooks, Gordon Lightfoot, Moe Koffman, Sonny Greenwich and Dr. Music. Musically, Riley is moody, poetic, humourous, multi-colored, religious, defiant and most of all rich. He is a thorough investigator of the musical language whether in a romantic or Post-Coltrane bag."

Of the young Canadians presented by Perla, none is more impressive than keyboardist Doug Riley.

His improvisations are emotionally moving, structurally complex and technically sophisticated. Riley’s format for the group balances taut ensembles and open-ended improvisations.

In sum, the success of their voyage through the perilous waters of extended spontaneous composition is one more indication of the depth of their musicianship.
Chuck Berg, Down Beat

Kenny Rankin

2010-11-21T11:51:00.000-08:00

Kenny Rankin : Like a Seed.

1972

In the words of Dustygroove;

Indescribably beautiful work from Kenny Rankin – a jazzy blend of vocals and folk – delivered with a warm and soulful tone that's unlike anyone else! The whole thing's great – really very much its own spirit, and kind of a bright light after a host of doom and gloom late 60s folk-based singers in popular music. Of course, Kenny's still got something of a righteous feel, and lets his politics sneak out from time to time – but his overall sound is wonderfully redemptive, without being cloying in kind of a James Taylor sort of way. The instrumentation is great too – with just the right use of acoustic guitar in warm chromatic tones, plus nice touches on flute and saxes from Jim Horn, and gently groovy backings that never dampen Kenny's light. Titles include "Sometimes", "Peaceful", "Stringman", "You Are My Woman", "I Was Born", and "Yesterday's Lies".

Joe Morello

2010-11-13T11:22:00.001-08:00

Eero Koivistoinen

2010-11-12T11:49:00.001-08:00

Eero Koivistoinen : For Children.

Otava 1970.

Just a brief recommendation for this tasty re-release. Right up there with Odysseus, Wahoo and the soon to arrive 3rd Version. Essential gears.

a; Boots and Roots!

Charles Davis : Ingia!

2010-11-06T08:48:00.000-07:00

Charles Davis featuring;

Louis Davis with Louis Hayes and Company.

Ingia!

Strata East. SES7425. Recorded 15th July 1974, Minot Studios.

Re-upped and re-posted by request.

Jackson State University : In Concert *1989

2010-11-03T08:29:00.001-07:00

Jackson State University

Jazz Ensemble No.1.

MCC-659.

Recorded 19th April 1989 at the F.D Hall Music Center, Recital Hall, Jackson Uni, Mississippi.

Musical Director ; Dr. Russell Thomas Jr.

2 storming big band covers of Milestones and Naima. Lumark Gulley (drums) must surely have graduated with honours following his contribution to Milestones. Watch for goosebumps ... Fierce.

Lee Morgan

2010-10-29T11:10:00.000-07:00

Lee Morgan : The Procrastinator.

Blue Note 33579.

Here's a beautiful version of Wayne Shorter's "Rio" lifted from this tricky to track-down lp. Originally issued on St 83023. Recorded at Englewood Cliffs in '67 with all the big names present and correct.

Heaven!

Turkish Women at the Bath

2010-10-26T11:25:00.000-07:00

Pete la Roca.

Turkish Women at the Bath.

Douglas.

John Gilmore, Chick Corea, Walter Booker and Pete la Roca. Just in case there's maybe one person that's never heard this. Sublime.

Vision Pulse

The first breath on Love Planet

Dieties establish the tempo of fire through air as he prances to New Depths

Lingering here and there for wisdom.

Things begin to come together and we see flashing clarity

A matter of conviction bringing out a purer dance now.

New strength, new necessites, always changing as compositions refect a state of mind and heart and only heart heat can be heard

Where we are now

Here

Jewels strung by hands animated by joy

Found

At a calm center of multiplicity

Listen

to Pete la Roca.

John Patton

2010-10-23T06:14:00.000-07:00

John Patton : Soul Connection.

Nilva NQ3406.

Recorded 7th June 1983.

Solid cover of this title track by Dusko Goykovich. Another top line-up on this one, including Grachan Moncur and Melvin Sparks. Something to lift the spirits on this rainy day.

First Cosins Jazz Ensemble

2010-10-14T09:18:00.000-07:00

For the Cos of Jazz

Featuring Rudy Johnson and Stu Gardner. Capitol 1977.

Smoothly does it, but still a classy production from Larkin Arnold and Bill Cosby. The first track called Please the Pleaser is probably the best one here. Synths, Moogs, you name it. The soul train has arrived at platform PP.

Masabumi Kikuchi

2010-10-09T12:12:00.000-07:00

Masabumi Kikuchi.

Wishes / Kochi.

Eastwind: Inner City. Recorded August 1976.

The line-up;

Masabumi Kikuchi

Terumasa Hino

Steve Grossman

Anthony Jackson

Dave Liebman

Reggie Lucas

Al Foster

Mtume

Nuff said.

Moacir Santos : Maestro

2010-10-09T03:45:00.001-07:00

Moacir Santos

Maestro. Blue Note BN LA-007F.

Recorded in Los Angeles, 1972.

A real peach of an album from Moacir Santos. Don Menza, Ray Pizzi, Frank Rosolino, Joe Pass, Clair Fischer, John Heard and Oscar Brashear all throw their hats in the ring here. The title track is a bass heavy stormer, but the whole lp is special.

Eddie Russ

2010-10-05T09:34:00.000-07:00

Eddie Russ

TAKE A LOOK AT YOURSELF.

Monument 1978. MG7620

Recorded at Sounds Suite Studios, Detroit.

Picked up this "fonky" little gem in top nick a few weeks back. Here's the title track as a taster (cds rips and lp's a plenty on the www) Marcus Belgraves in there, along with sweet vocals from Jackie Holiday.

Nice.

Bob Moses :1975

2010-09-30T09:10:00.001-07:00

Bob Moses : Bittersuite in the Ozone

Mozown. (private press)

A blog-land exclusive, and an utterly breathtaking piece of music from Bob Moses. Been hunting for this gem for ages, but it has been worth the wait. A truly amazing suite from a stellar spiritual line-up, including the likes of David Liebman and Billy Hart. Think Alkebu-lan recorded in the studio and you won't go far wrong.

Mozown records was an artist owned label, based on the principals of musical and economic self determination.

Recorded at Blue Rock studios, NYC.

There's about a mintue of Glitteragblas solo leading into BitterSuite in the Ozone. Aldonna, Green Yellow and mostly Blue, Little Brother, Brofilia, Aldonna.

Addictive

Blue Mitchell

2010-09-21T11:29:00.000-07:00

Blue Mitchell.

Mainstream MRL 315

Here's an ace from Blue, ably assisted by some class support. Watch out for the 2 tracks penned by Walter Bishop from Black Jazz fame. Soul Village is a honey, but it's Mi Hermano (My brother) that kills it everytime.

Paul Nash. A Jazz Composer's Ensemble

2010-09-11T10:41:00.000-07:00

Paul Nash A Jazz Composer's Ensemble.

Revelation 32. recorded at Audios Amigos Studio, San Francisco.

Following this lp being posted at Fat Toro's place some time ago, i lucked out and managed to pick up a cheap copy at the notoriously expensive Intoxica in Portabello Road. This track is, in a word, perfect and could just be my all time favourite.

From the Liner Notes:

The present album lends support to this hypothesis, and presents an intricate personal synthesis of currents in American music. Listeners will detect in Paul Nash's music many stylistic features, such, for example, as the immaculately played rock beat heard at the start of Our time is numbered: and if he occasionally delves into the popular end of the jazz spectrum, he doubtless capitalizes upon converse elements, though it must be left to ears more attuned than mine to the riches of the European tradition to isolate them.

Bert Myrick

2010-08-19T13:26:00.001-07:00

Bert Myrick : Live'n Well.

Strata SRI 102-74. Recorded 4th April 1965.

Originally posted over at El Reza's top blogspot, re-upped for Hoochie Coochie man following his recent Strata post, Sphere. Heavy gears all the way, with Scorpio's Child killing it for me.

Will Austin : Bass

George Bohanon : Trombone

Bert Myrick : Drums

Kenny Cox : Piano

Ronnie Fields : Tenor Sax

Takehiro Honda and Gerd Dudek. 1971

2010-08-15T12:16:00.000-07:00

Takehiro Honda and Gerd Dudek.

Trio Jazz Series; 1971.

Following on from the Japanese posts over at Orgy in Rhythm, here's a real grower from Honda San. More of the same powerful, modal gears from a explosive Quartet. Sorry, no fusion fluff here !!!

Ckeck it out

Matthew Larkin Cassell

2010-08-15T11:15:00.000-07:00

Matthew Larkin Cassell.

Pieces.

Private Press 1977. Recorded San Jose.

2 jaw dropping tracks from the recent stones throw re-issue (a must!) 2 complete lp's plus extras on one cd. Littered with breaks, and sampled by Madlib (having picked up a bootleg cd-r in Tokyo marked simply MLC, while still an unknown) "Heaven" (quite!) and as for "In my Life", kept me sane in Spain.

Enjoy these gems.

George Smallwood

2010-08-02T03:50:00.000-07:00

George Smallwood and the Marshmellow Band.

Super rare album brought to the masses by Jazzman's Holy grail series. Funky by the Pound is lifted from the impossible to find lp "Just 4 You" released in 1981.

Sun Ra : Live in Cleveland

2010-08-02T03:37:00.000-07:00

Sun Ra : Live in Cleveland.

Recorded 30th January 1975.

Amazing performance by the Sun Ra Arkestra almost 35 years ago in Cleveland, USA. Fifteen musicians, seven compositions, tremendous drive, everybody singing and dancing and the crown of the one hour long gig is Sun Ra's crazy solo on synthesizer. A must for every Sun Ra follower.

ARTISTS

Sun Ra (piano, moog, organ); Akh Tal Ebah, Kwame Hadi (trumpet); John Gilmore, Marshall Allen, Danny Davis, Eloe Omoe, Danny Thompson, James jacson (reeds); Damoin Choice (vibes); Dale Williams (bass); Atakatune (conga); Odun (conga); June Tyson (vocals, dance); Eddie Thomson (vocal, dance)

TRACKS

Astro Nation
Enlightenment
Love in Outer Space
Theme of the Stargazers/The Satelites Are Spinning
Friendly Galaxy 2/ I am the Brother of the Wind
Synthesizer Solo
Sophisticated Lady

Graham Collier Septet

2010-08-02T02:59:00.000-07:00

Graham Collier Septet.

Deep Dark Blue Centre. Recorded in London, 24th January 1967.

Been watching a copy of All Night Long on dvd, and got thinking about all the great british jazz, and remembered this little gem, Crumblin' Cookie. Mike Gibbs, Karl Jenkins, Philip Lee, and John Marshall support.

Quintessence

2010-07-27T12:44:00.000-07:00

Quintessence. Self titled.

Pyramid Productions Inc. Guitorn.

Recorded between February/May 1980 @ the Nineteen Recording Studio, South Glastonbury, Ct.

Another super rare private press album, this lead by Ron Ancrum. Supported by George Sovak, David Gaedeke, Winston Johnson and Steve Muse.

Kenny Dorham; Trompeta Toccata

2010-07-23T04:39:00.000-07:00

Kenny Dorham; Trompeta Toccata.

Blue Note.

Another version of Joe Henderson's Mamacita. Extended and more mellow than the Blue Mitchell offering, but still a stunning track.

Blue Mitchell : Step Lightly 1963

2010-07-23T04:03:00.000-07:00

Blue Mitchell; Step Lightly.

Blue Note

GXK 8182. King Records.

A Line-up full of heavy hitters here. Hancock, Henderson, Brooks. An all killer no filler if ever there was one. Mamacita is addictive.

Enjoy

Dick Durham : OP's Waltz

2010-07-23T02:54:00.001-07:00

Dick Durham. OP's Waltz.

Private Pressing.

Recorded at Sound ideas Studios, New York, 10th September 1973

Dick Durham, Richard Davis, Hank Huncharoff.

OP's Waltz

Here's that Rainy Day

Rock Scherzo

The World's Weirdest Ragtime Player

Happiness Bossa-Nova

Oh, That old Riff

Summertime

We'll be together Again

Re upped for The Scenery Within. Watch out for some heavy support from Richard Davis

Trane

2010-07-17T12:31:00.001-07:00

So you thought you knew all there was to know about John Coltrane. Go to Blackclassical to be re-introduced and re-baptisted to the sound, the voice and the mind of the master.

http://blackclassical.wordpress.com/

Pat Martino; Conciousness

2010-07-16T08:24:00.000-07:00

Pat Martino; Conciousness.

Muse MR 5039

1974

Tasty little album from Pat Martino which also includes a cover of Coltrane's "Impressions". Supported by Eddie Green on keys, Tyrone Brown on bass and Sherman Ferguson on percussion. Title track ripped from vinyl @ 320.

Special

David Schnitter; Thundering

2010-07-16T08:17:00.000-07:00

David Schnitter; Thundering.

Muse MR 5197

1979.

Check that killer line-up! Title track ripped from vinyl @ 320. Nice

Bob Cunningham : Walking Bass

2010-07-16T08:11:00.000-07:00

Bob Cunningham; Walking Bass.

Nilva NQ3411

1985

Rare lp from 1985 from Bob Cunningham featuring Melvin Sparks. Lover's Theme was sampled by Gilles Peterson on one of the Digs America compilations. Heavy bass line on this one, Vinyl rip @ 320

Sabu Martinez : Afro Temple

2010-07-16T08:05:00.001-07:00

Sabu Martinez; Afro Temple.

Grammefor Verket 1973.

EFG-7341

Just a sample from this killer lp. Take a moment to check out Hotel Alyssa Sousse, Tunisia.

Fierce

Henry Butler and the Gospel Soul Children

2010-07-11T04:14:00.000-07:00

Henry Butler and the Gospel Soul Children.

Music Came.

7" on Inter American Label.

Impossibly rare 7" on the tiny Inter American label. The vinyl's seen better days, but the sheer class on this one shines through.

Some info about Henry Butler;

A nine-time W.C. Handy “Best Blues Instrumentalist - Piano” award nominee, Henry Butler knows no limitations. Although blinded by glaucoma since birth, Butler is also a world class photographer with his work displayed at exhibitions throughout the United States. Playing piano since the age of six, Butler is a master of musical diversity. Combining the percussive jazz piano playing of McCoy Tyner and the New Orleans style playing of Professor Longhair through his classically-trained wizardry, Butler continues to craft a sound uniquely his own. A rich amalgam of jazz, Caribbean, classical, pop, R&B and blues influences, his music is as excitingly eclectic as that of his New Orleans birthplace.

Mastering baritone horn, valve trombone and drums, in addition to the piano, at the Louisiana State School for the Blind in Baton Rouge, as a youngster, Butler began formal vocal training in the eleventh grade. He went on to sing German lieder, French and Italian art songs and operatic arias at Southern and Michigan State Universities, earning a Masters degree in vocal music. He has taught music workshops throughout the country and initiated a number of different educational projects, including a residential jazz camp at Missouri State School for the Blind and a program for blind and visually impaired students at the University of New Orleans.

Mentored by influential jazz clarinetist and Michigan University teacher Alvin Batiste, Butler was encouraged to explore Brazilian, Afro-Cuban and other Caribbean music. With Batiste’s help, he successfully applied for National Endowment for the Arts grants to study with keyboard players George Duke, then with Cannonball Adderly’s Quintet, and the late Sir Roland Hanna. He studied with Harold Mabern, pianist for the late Lee Morgan, for a summer and spent a long afternoon studying with Professor Longhair.

While his early albums were jazz trio recordings featuring such top-notch instrumentalists as Charlie Haden and Billy Higgins, on “Fivin’ Around” in 1986, and Ron Carter and Jack DeJohnette, on “The Village” two years later, Butler has increasingly turned to New Orleans music and the blues. His 1990 album, “Orleans Inspiration”, recorded with Leo Nocentelli of the Meters, was followed by “Blues And More” in 1992. Although he briefly returned to jazz with “For All Seasons” in 1996, he’s remained immersed in a variety of genres since releasing “Blues After Sunset” in 1998.

Collaborating with Corey Harris on a duo album, “Vu-du Menz”, in 2000, Butler spent the next three years touring with the Delta blues-influenced guitarist/vocalist. That fascination with the blues has continued to be reflected in his solo work. After releasing a power-packed, all electric, blues-rock, album, “The Game Has Just Begun”, in 2002 on the New Orleans based indie label Basin Street Records, Butler takes things even deeper with his latest outing on that label, “Homeland”, released in April 2004. “This album is a real turning point,” he said. “It was the first time that I’ve brought a blues and R&B band into the studio with me. On this record, I’m feeling closer to my roots.”

Sam Rivers : Black Africa

2010-07-08T11:24:00.001-07:00

Sam Rivers : Black Africa

Recorded live at Villalago. 24th July 1976.

Horo HDP 3-4. 1977

Sam Rivers

Joe Daley : Tuba and Euphonium

Sidney Smart : Drums and Percussion

Side one, or part one maybe, of an epic recording filling this very special double lp on Horo out of Italy. The album also contains material recorded at Perugia (which continues onto HDP 5-6) Compelling music from start to finish, free jazz overlayed with sublime technical ability from Mr Rivers.

Intense ...

Alice Coltrane : Lord of Lords

2010-07-07T11:31:00.000-07:00

Alice Coltrane : Lord of Lords

Impulse AS9224

Recorded at the Village Recorder, Los Angeles, July 1972.

Continuing the Coltrane theme, here's a personal all time favourite track, Andromeda's Suffering. Ripped from my minty still sealed copy from years back. Swirling, lush strings supporting the the main trio of Alice, Charlie Haden and Ben Riley.

Intergalactic Heaven

John Coltrane: Tokyo Interview

2010-06-30T14:17:00.000-07:00

Marathon Man : Original Soundtrack

2010-06-21T11:56:00.000-07:00

Marathon Man Soundtrack by Michael Small. Recorded 1976.

Been after this for years, finally found it on the worldwide web last week.

Favourite film? Possibly. Favourite soundtrack, definitely.

Soft Touch 7" Special

2010-06-15T11:34:00.001-07:00

Soft Touch. Plenty Action.

Bay Area Business from 1976 on Sundance records. Plenty of Soul, Plenty of Bass, Plenty of Action !!

Killer

Nancy Wilson

2010-06-04T04:27:00.001-07:00

Nancy Wilson
This Mother's Daughter. Capitol 1976.

Sweet summer soulfulness from the beautiful Nancy Wilson. There's some big hitters supporting Ms Wilson on this hard to track down lp. George Duke, Blue Mitchell, Dave Grusin, Hugh McCracken, Steve Gadd to name but a few. For me, it's Chuck Rainey's bass that wins this contest hand down. Swirling strings, heavenly background vocals and perfect production from Eugene McDaniels are all to be found on this killer track,

"From you to me to you"