Don Burrows - "The Tasman Connection" (1976)

AUSTRALIAN JAZZ - THE LIBRARY CONNECTION #2

Don Burrows and his partner George Golla get down to business with three New Zealand musicians in Burrow's most "electric" studio album, named for the Tasman Sea which separates Australia and New Zealand. Although his liner notes propose this as a cross-cultural collaboration, it's more of a disparate group of musicians pushing their individual influences through on different tracks. Some nice bits of fusion, some good easy, some bad easy - a mixed bag that's worth a listen, and quite different from "The Jazz Sound of ..." album - as you'd expect ten years on.

Whereas you can retrospectively draw some musical throughlines from New Zealand albums that involve the indigenous Māori people - particularly through funk, reggae, dub, soul and hip-hop (see my Johnny Rocco Band post) - other New Zealand musicians/composers of the time, rather like their Australian counterparts, don't tend to have a common regional sound or set of styles - though there's some good jazz from New Zealand, check this post.

Too much Fosters? : L-R Don Burrows; Frank Gibson Jr.; Julian Lee; Andy Brown, George Golla.

From memory I saw a version of this band live - I was 14 and playing guitar in metal bands, and my mother used to take me to jazz concerts to try and gently enact some sort of conversion. It didn't work at the time - I went funk then punk instead - but here I am posting the album more than thirty years later. Congratulations mom.

Burrows had been experimenting with electronic attachments across a few albums, and here he's often using harmonic-doubling, wah-wah and some distortion on some of his woodwinds, particularly the clarinet that you hear in "Twilight Zone" and at the start of "The Tasman Connection"(video at top)


Guitarist George Golla seems to have been listening to some CTI-era George Benson, but he's using a seven-string guitar so clearly is one up on George B :) Actually, I should stop being mean to George, he released his solo album "Easy Feelings" in 1976 which contained one decent track called "The Dancers", which was sampled by DJ Shadow at some stage (but wasn't everyone?)



"The Dancers" (excerpt) - George Golla
DOWNLOAD TRACK (not in album download)

Back to the album ... On keyboards and horns we have Julian Lee, a blind man who had a substantial career as an arranger and musician. He was George Shearing's primary arranger for much of the 1960s on albums like "New Look!" and "Deep Velvet". He did string arrangements on a few albums by Gene Harris and the Three Sounds, including "Beautiful Friendship" from 1965, as well as a few albums by Gerry Mulligan.


"Judo" excerpt

With that background, Lee is something of an easy listening force here melodically, and contributes three compositions which range from pleasant soul-jazz ("Judo") to übercheese ("Get Into it" and "Long White Cloud") The Māori name for New Zealand is Aotearoa, most commonly translated as "land of the long white cloud". In recent years Lee has moved to Australia, and has won several awards for his music education programs for blind children.

In contrast, drummer Frank Gibson Jr is more of a fusion figure - the year before this, he led a group called Dr Tree on a self-titled album that Reza pointed us to in one of the recent recommendation posts here (someone's subsequently posted a better version at the Prog Not Frog forum). That album began with a short track called "The Twilight Zone" which is here expanded in a six minute version built around Gibson's rolling Elvin Jones-ish scatter drums, and is the best thing going here.


"Twilight Zone" excerpt

Frank Gibson moved to the UK soon after this recording, initially working with some jazz and fusion groups like Paz and Morrissey-Mullen, then moving into pop and art-rock circles with Rick Wakeman, Leo Sayer and others. Back in New Zealand he frequently collaborated with Andy Brown, the bass player from here, on projects like their Space Case band.

Anyway hope you enjoy this one, vinyl rips/posts take a while to do so keep the comments a comin' thanks ...

MUSICIANS
Don Burrows - clarinet, electric clarinet, flute, alto flute, B-flat school flute, percussionGeorge Golla - seven string electric guitarJulian Lee - electric piano, electric organ, flugel horn, trumpetAndy Brown - bass, electric bassFrank Gibson Jr. - drums, percussionTRACKLIST
01. The Tasman Connection (4:52) - Don Burrows
02. Blues Crossover (5:06) - George Golla
03. Don't Contact Us (5:41) - Don Burrows
04. Remember When (4:50) - George Golla
05. Judo (5:36) - Julian Lee
06. Get Into It (2:30) - Julian Lee
07. Long White Cloud (6:11) - Julian Lee
08. In A Mellow Tone (8:34) - Duke Ellington
09. I Wish I Knew How It Would Feel To Be Free (2:58) - Billy Taylor
10. Twilight Zone (5:58) - Frank Gibson Jr.
PRODUCTION DETAILS

Cherry Pie CPF 1026
Album concept and direction - Don Burrows
Recorded at Stebbing Studios, New Zealand
Additional recording, mixing and post-production at EMI Studio, Sydney Australia.
Engineer - Martin Benge
Production - Graeme Rule
Design concept and graphics - Brian Crowther
Cover notes - Don Burrows
Cover photo by Stephen Cooney
Many thanks to Julian Lee for his inspiration, interest and support. AUSTRALIAN JAZZ AND THE LIBRARY CONNECTION

#1 : Don Burrows - "The Jazz Sound of the Don Burrows Quartet" (1966)
#2 : Don Burrows - "The Tasman Connection" (1976)
#3 : John Sangster - "Australia and All That Jazz - Vol. 1" (1971)POST CREDITS

Vinyl rip by Simon666
Other blogs linked to in this post are : Prog Not Frog, Music Peace & Love to the World, My Jazz World and Aussie Funk.
Please thank these other folks if you visit and download from their blogs

Download : WAV - MP3

"The Jazz Sound of The Don Burrows Quartet" (1966)

"Kaffir Song" excerpt

AUSTRALIAN JAZZ - THE LIBRARY CONNECTION #1

I want to write about some ideas here, so click the preview above for a soundtrack while you read. While I've been following a couple of strands in 70s Australian jazz, I've also been listening to a lot of 'library' music, and have been led to wonder why I hear so many similar stylistic threads across these two genres.

Library music, for those unaware, is music composed under contract to companies who subsequently sell it off to film makers, TV programs and commercials, usually by genre - action, romance and so on. Strangely, this older production process is most closely paralled in the production and marketing of contemporary pop music, as the large companies battle to get singles from their latest flash-in-the-pan starlets over the credits of the latest teen slasher film ...

A lot of library music records from the 1970s (and more recently, the 1980s) have retrospectively been hailed as great music, although they were not taken seriously back in the day. In the same way that we recycle fashions and cultures from decades past - by reducing them to signifiers, dressing with an 80s "look" taken from a video clip rather than dressing like people actually dressed in the 1980s - over time we appreciate the reductionist vision of something like "soundalike" blaxploitation library music; whereas back-in-the-day we may have seen it as a gauche simulacrum of what we considered to be "real".

In some ways the Australia of my childhood in the 1960s and 1970s was a "library culture", a distant vision of an idea of England transplanted into a hostile climate. As a then-anglo culture, we would sweat it out over a hot oven roast for Christmas lunch (these days it's cold seafood) in a mid-summer temperature of 40 degrees, the sun nearly melting the fake Christmas snow that shopkeepers would spray onto their windows from a can. Heavily winter-robed Santas would faint in shopping centres from heat exhaustion. As late as the early 80s I remember marvelling at the 60s 'mod' revivalists sweating it out in their thick parkas in the hot summer sun, as they rode their scooters in formation to Bondi Beach. A copy of a copy of a copy.

It was a million miles away from the diverse Sydney that I live in now, with its essentially eurasian population - we all eat with chopsticks as much as with knives and forks - with architecture that begins to emerge from the urban environment rather than pining for an imagined homeland, and social mores that reflect a mix of cultures, sexualities and peoples.

Musically - particularly in genres with an african or afro-american heritage, such as jazz - in these earlier times we were a step further removed from the European distillation of jazz that occured from interaction with American players - on the other side of the planet, we'd copy the distillation, which is perhaps why some of the Australian jazz of the period - Crossfire, Galapagos Duck and others- reminds me of some of the MPS catalogue.

With a small population, jazz players and composers were also forced to find employment wherever they could, often composing for nature documentaries, TV shows, commercials, corporate videos - whatever they could get. This would often make up the majority of their recorded output, and thus it was natural for some of the made-to-style aesthetics to carry across to their "own" records - music that refers to jazz, or as in the title of this record, a "Jazz sound".

I'm starting this strand of exploration with this particular record because it features two of the people I'm going to track across a few albums each, woodwind player Don Burrows and percussionist/vibraphonist John Sangster. You might know their sound from a series of better-known soundtrack albums by film composer Sven Libaek, such as the underground "Inner Space" soundtrack for a television ocean documentary, and "Solar Flares". Burrows' tenor and breathy flute, together with Sangster's vibes, are pretty much the hallmark of the Libaek sound.

Most of the other players here would also appear on Libaek's soundtracks, as well as Burrows' earlier, great soundtrack for the 1968 film "2000 Weeks". Interestingly, that film itself engaged with the same concerns of "faux-English" culture that I was talking about above. Now, I'm with Bacoso in his summation of Burrows' 70s albums there - they're uneven, always include some stinkers, and his constant guitarist George Golla was always a somewhat-constrained, workhorse jazz musician. Neverthless, there are some good moments on several of these albums that I'm going to try and extract.

In retrospect, I think Burrows' importance in Australian jazz was more that he attempted to explore beyond his own capabilities and experience, delving into many musical cultures, and opening the eyes of people who were attracted to his own easy style, but subsequently led to other places. John Sangster, however, went on to achieve more in his own explorations.


This album was originally released in 1966 on EMI/Columbia, then re-released in 1977.

The '77 version has a cover (above) that could have resulted from a psychedelic battle between the various 1970s wallpapers that inhabited my childhood home, with everything eventually merging to a sullen, browny pink. I've put both covers in the downloads so that you can choose your favourite.


"Kaffir Song" excerpt

Although this is neither a library nor a soundtrack album, the good tracks here are the ones that reference other musical cultures in what I'd call a "library style". I can imagine some sections of Sangster's "Kaffir Song" played over flickering black-and-white 50s footage of African natives on a hunting expedition, with a jokey faux-British voiceover contextualising their exploits for Harry and Mabel back home. But I like it for Sangster's vibes workout and Burrows' fife sound.


"Esa Cara" excerpt

Burrow's "Esa Cara" shows his burgeoning interest in the rhythms and melodies of Brazil, a fascination that would later result in a number of interesting collaborations. I like the sweetness of his tenor here, even if it does dive for the easy harmonic resolve a little more often than the relative boldness of 'actual' Brazilian harmonic progression.


"Rain On Water" excerpt

Starting with a cymbal crash, Sangster's "Rain On Water" would go well with faded colour 16mm footage of Japanese people undertaking some sort of religious ceremony (El Goog reaching adulthood? Wara Katsu attaining ninja status?) - perhaps with a dissolved overlay of falling cherry blossoms. It's a distant Antipodean idea of "Japanese-ness" that I somehow like on its own referential terms.

"De Veras?" has some good melodies, but after that we descend into the elevator filler. Generally we've got sparse textures here - there's no drum kit apart from on the closer "Pink Gin". Sangster later developed his skills as a drummer on the local stage version of 'Jesus Christ Superstar', but after this album the quartet took on Alan Turnbull as a drummer while Sangster went off to develop his own work.

Anyway, I'm clearly back to my long rants, so I'll leave you to check this one out. Let me know what you think of it.

LINKS

MP3 - WAV 

TRACKLIST

1. "Kaffir Song" - 4:27 - (John Sangster)
2. "Love Is For the Very Young" - 2:25 - (David Raksin, arr. Golla)
3. "Esa Cara" - 3:18 - (Don Burrows)
4. "Slightly Blue" - 5:50 - (Don Burrows)
5. "Hard Sock" - 4:06 - (Don Burrows)
6. "Rain On Water" - 3:25 - (John Sangster)
7. "Algeciras" - 3:13 - (John Sangster)
8. "De Veras?" - 3:29 - (George Golla)
9. "Pink Gin" - 3:50 - (George Golla)

MUSICIANS 

Don Burrows - fife, flute, alto flute, clarinet, alto saxaphone
John Sangster - vibes, percussion
Ed Gaston - bass
George Golla - guitar

PRODUCTION DETAILS

Produced by Eric Dunn
Columbia-EMI SCXO 7781
Recorded on 8 June & 5 October 1966
re-release 1977 : World Record Club R 05193
Liner notes by John Rippin

AUSTRALIAN JAZZ AND THE LIBRARY CONNECTION

#1 : Don Burrows - "The Jazz Sound of the Don Burrows Quartet" (1966)
#2 : Don Burrows - "The Tasman Connection" (1976)
#3 : John Sangster - "Australia and All That Jazz - Vol. 1" (1971)

POST CREDITS

Vinyl rip by Simon666 (WAV/MP3)
Album links in this post go to Orgy In Rhythm, The Manchester Morgue and Holy Warbles.
Please thank these folks if you visit them and snatch their records.

Gil Scott-Heron "Live at the Village Gate" (1976)

"17th Street" excerpt


"Must be something we can do" excerpt

Well, why not two Gil Scott-Heron posts in a row?

Following the 1977 Bottom Line show and the 1978 Berkeley show, here are Gil and the Midnight Band at the Village Gate in NYC, 1976.

Tracks not appearing on the others are the latin-funk banger "17th Street" and "Must be Something We Can Do" but it's all good, starting off with the usual kickass latin percussion jam.

This is a soundboard rip that has then been broadcast on WRVR-FM, and finally recorded on reel-to-reel quarter-inch tape. Hope you enjoy it!

TRACKLIST

01. Intro Jam (3:16)
02. 17th Street (6:12)
03. Must Be Something We Can Do (5:24)
04. It's Your World (4:45)
05. Home Is Where The Hatred Is (12:40)
06. Johannesburg (6:36)


DOWNLOADS 

WAV - MP3

SOURCE

A DoinkerTape
SBD - FM - 1/4 inch tape
Upped at Dime by tgb25nld

Also at this blog : 

Gil Scott-Heron - "Live at the Bottom Line" (1977) 

Gil Scott-Heron - "Live at Berkeley" (1978)

Gil Scott-Heron - "Live In Bremen (1983)

Gil Scott-Heron - "Live At Glastonbury" (1986)

Gil Scott-Heron - "Live at Berkeley" (1978)

"The Bottle" excerpt

I joined the DIME network to see what I could bring across to the blogosphere, and the first score is this wonderful show (in FLAC and MP3) from Mr Gil Scott-Heron in Berkeley, California in 1978. Thanks to Scott for pointing me at it.

This comes from an FM broadcast. An MP3 recording of it was posted at Sounds From the Edge of the Universe earlier this year by Miles from Birds With Broken Wings.

Essentially we've got the same band - minus one percussionist - that I wrote about in the 1977 Bottom Line show post. Six months after that, it's a pretty similar tracklist, but they're playing with formats and structures a little more. Allan Barnes' synthesiser lines are coming more to the fore, but without sacrificing Brian Jackson's jazzy rhodes tones.


"Home is Where The Hatred Is" excerpt

Gil characteristically opens with local issues, attacking recent cuts to the Afro-American Studies program at Berkeley, seamlessly swinging between polemic and poetry in a spoken piece called "Them Other Niggers". This leads straight into "The Spirit of the Drum", with Gil leading call-and-response vocals with the band, most of whom are on percussion.

From there on it's all-out latin, funk and jazz with not a moment of filler. 73 minutes of joy, hope you like this one!

Tracklist

01. Intro
02. Gil's Opening Speech
03. The Spirit of the Drum
04. Hello Sunday, Hello Road
05. 95-South (All of the Places We've Been)
06. Racetrack in France
07. We Almost Lost Detroit
08. Home is Where the Hatred Is
09. Band Introductions
10. Song of the Wind (aka Blow Wind Blow)
11. Band Introductions / The Bottle
12. Johannesburg

The Midnight Band

Gil Scott-Heron (Vocals, Guitar, and possibly Piano)
Brian Jackson (Keyboards, Flute)
Allan Barnes (Saxophone, Synthesizer)
Delbert Taylor (Piano, Trumpet, Congas, Flugelhorn, Vocals)
Barnett Williams (Congas, Percussion)
Siggie Dillard (Bass)
Reggie Brisbane (Drums)

Also at 'Never Enough Rhodes'

Gil Scott-Heron - "Live at the Bottom Line" (1977)
Gil Scott-Heron - "Live at the Village Gate" (1976)

Gil Scott-Heron - "Live In Bremen (1983)

Gil Scott-Heron - "Live At Glastonbury" (1986)

Source

SBD or FM Broadcast (my guess is SBD to FM)
CD-R > EAC > WAV > foobar2000 > FLAC(level 5)
Upped at DIME by bootfreak82

Download WAV - MP3 

Marvin Gaye & the Mizell Brothers - "Where are we going?" (1972)

DOWNLOAD MP3 - WAV

TRACK OF THE DAY

Forgive me again if I'm the last to know, but this is a little like the WTF moment I had with Donny Hathaway - suddenly discovering a 70s song of his that I'd never heard before. Honestly, I was quite sure I had everything that Marvin Gaye had touched in the 1970s ...

I was just listening to an old Gilles Peterson interview with Larry Mizell, who was talking about three tracks that he and his partners recorded with Marvin Gaye in 1972 for an album which was shelved after some 'political trouble' at Motown, after which Gaye went off to record "Trouble Man".

Marvin Gaye and the Mizell Brothers, shelved??
Apparently so ....

Anyway, a track called "Where Are We Going?" surfaced 30 years later on one of the Gaye compilations, and you can grab it here.

1972 is the same year that the Mizell sound broke through with Donald Byrd's jazz-funk album "Black Byrd", and you can hear a pop-soul version of that sound here, from the backing vocals by Freddie Perren, Fonce Mizell and Larry; through the classic Mizell middle-eight at 1:35; then onto the brief trumpet solo. Would love to hear the other two tracks ...

Album links in this post to 'Into the Rhythm' and 'Un Mondo in Mi Settima'

Marvin Gaye discography @ Blaxploitation Jive
More Tracks Of The Day
More funk n' soul

Herbie Hancock - Live at NDR Studios (1971)

(excerpt : first two minutes)

Herbie Hancock Bootleg #45 for the collection :

Well why not a 2nd post in a day for this blog's anniversary ?
Two hours and four minutes of Herbie Hancock and his Mwandishi band, recorded live on August 4th, 1971 at NDR Studios in Hamburg, Germany as a continuous take.

1970-71 saw a seismic change in Hancock's music - after finishing the "Fat Albert Rotunda" album at the end of 1969; his major recordings during 1970 were the Miles Davis albums "A Tribute to Jack Johnson" and "Live Evil", then his studio album "Mwandishi" was recorded on December 31st, 1970. Quite a way to spend New Year's Eve! This session comes eight months later.

In searching for information about this session, I can only see that it's changed hands between traders as a tape and then a 2 CD set for many years; and that the 50 min section of "Ostinato" has sometimes been sold in some places. My version is a Soulseek find @ 192kbps; and I thought it would be good to release this into the blogosphere.

Hope you enjoy it!
... and more Hancock bootlegs here.

TRACKLIST1. Toys (46:44)
2. Speak like a child (27:13)
3. Ostinato (50:36)

MUSICIANS

Herbie Hancock - fender rhodes, acoustic piano
Bennie Maupin - tenor sax, flute, bass clarinet
Billy Hart - drums
Buster Williams - bass
Julian Priester - trombone
Eddie Henderson - trumpet, flugelhorn

DETAILS

NDR Studios, Hamburg, Germany, August 4th 1971
Thanks Max for the details.

POST CREDITS

Other albums linked to here are at San Pasquale Ent., Call It Anything, Oufar Khan, Into the Rhythm.
Please thank them if you click through and download.

DOWNLOAD

Please leave a comment

Mongo Santamaria - "A La Carte" (1978)

ANNIVERSARY
A year ago today I started this blog with a rhodes compilation, and it's been a satisfying journey communicating with all of you folks ever since then. I want to thank all of my buddies - you know who you are - for the contributions, support, help and frequent comments that make it all worthwhile; as well as your own fantastic blogs that have allowed me to hear so much great music.

MORE MONGO
Still catching up to the some of the contributions down in the archives here, many of which don't appear elsewhere in blogland. Xerxes donated this great Mongo Santamaria album to the Mongo discography a while back, and I thought I'd bring it up to the top for your weekend dancing pleasure!


Sometimes thought of as a disco album more in the vein of albums like "Sofrito" and "Red Hot", this one's actually quite a smorgasboard of styles and is thus receiving labels here for latin, african, funk-soul, and disco - just check the range in the three previews here. After the funk efforts of "Afro-Indio" pushed him into some musical fusions, Santamaria was clearly in a period of broadening each of his bases here - in fact, a close look at his 70s work shows an almost constant vacillation between commercial latin-fusion and roots styles.



"A La Carte" is produced by Marty Sheller and William Allen, who are mostly responsible for the funk-latin fusions of his albums in this Vaya Records period. The adaptable Sheller started out as Santamaria's trumpet player, but after 1968 switched to arrangements, going on later to work with many other latin greats. Allen joined Mongo as bass player at the end of the 60s, taking on co-arrangement duties a few years before this album. He was also working a lot with Roy Ayers around this time on albums like "A Tear To A Smile" and "Vibrations", often contributing bass and arrangments, and did some great string arrangements on Sylvia Striplin's "Give Me Your Love" a few years after this.

Allen's compositions and arrangements of "Smiling Brown Eyes" and "Hey You Sexy Thing" fit the disco slots here, the latter being the best, replete with some unison vocals from Peggy Harris and Carol Woods and slap bass from Allen himself.


Flautist/arranger/composer Doug Harris contributes three numbers : "It Feels So Good" has a Mizells-meet-Bobbi-Humphrey feel; "Nada Mas" starts out as latin-jazz before the piano leads it back to latin, with Mongo letting loose on the congas; and the closer "Umbayalo" dives back to acoustic Afro-Cuban roots with an added vocal chorus.

William Allen's "Asika" (see preview at the top of the post) is a latin-jazz stormer that feels like some of the 70s New York-based funk-jazz-latin fusions that I particularly like. Arranger Marty Sheller puts together a great vocal version of Marcelino Guerra's Cuban number "Guajiro"; and finally "Bombora" is a cover of a 1970 Celia Cruz song.

Anyway, hope you enjoy this one. Give thanks to Xerxes and don't forget to check out the other Mongo albums.

TRACKLIST

1. 'Smiling Brown Eyes' - 5:08 - (William Allen)
2. 'Asika' - 3:20 - (William Allen)
3. 'Guajiro' - 5:09 - (Marcelino Guerra)
4. 'Hey, You Sexy Thing' - 4:15 - (William Alllen)
5. 'Bomboro' - 3:22 - (Zamora)
6. 'It Feels So Good' - 4:23 - (Doug Harris)
7. 'Teresa' - 2.32 - (Allen, Santamaria) 
8. 'Nada Masa' - 4:11 - (Doug Harris)
9. 'Umbalayeo' - 2:34 - (Doug Harris)

MUSICIANS (known)

Percussion - Mongo Santamaria

Smiling Brown Eyes
Vocals - Carol Woods, Peggy Harris
Asika
Keyboards - Bill O'Connell
Guajiro
Trumpet - Mike DiMartino
Piano - Eddie Martinez
Lead Vocals - Héctor Aponte
Chorus Vocals - Papaito (Mario Muñoz Salazar)
Hey, You Sexy Thing
Vocals - Peggy Harris
Bass - William Allen
Bomboro
Lead and chorus Vocals - Héctor Aponte
Chorus Vocals - Papaito
Piano - Eddie Martinez
It Feels So Good
Flute - Doug Harris
Nada Masa
Flute - Doug Harris
Umbalayeo
Vocals - Héctor Aponte, Papaito, Olimpia Alfaro, Wilfredo "Moreno" Tejeda

CREDITS

Vaya Records JMVS-74
Released in 1978

POST CREDITS

Album donated by Xerxes.
Other albums linked in this blog are at I Think I See the Mothership Coming, Hasta Luego Baby!, Blak's Lair, Blaxploitation Jive and Funk My Soul. Please thank them if you click through and download.

DOWNLOADS 

WAV - MP3 

Bennie Maupin - Live In Berlin (2008)

'Prophet's Motif' excerpt

'Atma' excerpt

A great live date by ex-Headhunter Bennie Maupin recorded November 2008 at the Berlin JazzFest, donated by Upkerry14.

A very different, extended version of the "Walter Bishop Jr." track I posted a while back; some guest vocals from Hanka Chowaniec-Rybka (check the "Atma" preview above) and a good recording.

Download link below, more Bennie Maupin at this blog here.

Please thank Upkerry14 in the comments.

Bennie Maupin Quartet
Quasimodo, JazzFest Berlin, 7th November 2008

MUSICIANS

Bennie Maupin - reeds
Michal Tokaj - piano
Michal Baranski - bass
Lukasz Zyta- drums, percussion
guest: Hanka Chowaniec-Rybka, vocals (8, 9)

TRACKLIST

01. 'Walter Bishop jr.' 23:34
02. band intros 02:25
03. 'Message To Prez' 10:55
04. 'Tears' 08:00
05. 'Prophet's Motif' 05:42 (end missing)
06. 'Jewels In The Lotus' 16:59
07. 'Escondido' 14:06
08. 'Spirits Of The Tadras' 07:41
09. 'Atma' 07:18

DETAILS

Total Time : 1:36:07

source: DVB-S@256, 48kHz > raw data > ProjextX > mp3DirectCut > mp2 (lossy recording seeded in its original broadcast codec)

DOWNLOAD

or 

DOWNLOAD

Please thank Upkerry14 in the comments, don't lurk!
Cover only in post, grab from here.

Peter Herbolzheimer - "Live Im Onkel Pö" (1975)

 This one's for Orgy In Rhythm's Bacoso, the first chimp in space, and generous donor of many a fresh musical banana. In order to extend the viral blog spread of his ubiquitous catch-cry : I declare this irresistably funky, jazzy big band album to be all-killer-no-filler !

When he closed down OIR for a few months last year, Bacoso allowed Ish and myself to feature some of his extraordinary catalogue online, and one of my first "OIR Classic" posts was a summary of his seven Peter Herbolzheimer albums, to which he added an eighth for the occasion, "Touchdown".

More recently, Arkadin tracked down some MP3s of this album for Ish's goldmine requests thread, and I liked it so much that I tracked down the vinyl, freshly ripped here in WAV and MP3. So thanks to Arkadin and Ish as well for leading me here ...

As the title suggests, the opener "Corean Chick" references Chick Corea's early 70s Spanish chord structures, but way beyond that it's driven by a killer bassline and has this kicking, building brass arrangement by composer/arranger Peter Herbolzheimer.

Dieter Reith's bell-like rhodes anchors "P.M", which features trumpter Palle Mikkelborg on an extended solo that takes the Miles Davis - Eddie Henderson wah-wah trip before being faced by a wall of brass madness.

"That's Live" is a souljazz stormer that has an interesting chord-cluster sequence in the middle.


Side 2 opens with "The Catfish" - a later re-release of the album also used that title. It's the album's funk bomb, with an irresistable dual flute line over Dieter Reith's ARP bass, which turns into a nicely-tweaked funky synth solo over slap bass.

Reith's "Head-Egg" has the feel of one of those post-Headhunters albums by Bennie Maupin, Eddie Henderson or Hancock himself.

Horst Mühlbradt's "Peyotl" closes the album. The opening few minutes are built around rolling chord structures that recall some of those 70s New York jazz-latin fusions by people like Bobby Vince Paunetto, mixed with a dash of cop show mystery. After that it turns into an all-out latin banger, with a great trumpet solo by Benny Bailey leading the full pack over percussive pounding by Sabu Martinez, drummer Todd Canedy and Mühlbradt himself.
So yep, not a bad track in sight, hope you enjoy this one guys.

TRACKLIST 

01. 'Corean Chick' (4:40)Composed and arranged by Peter Herbolzheimer
Solo : Ferdinand Povel (tenor saxaphone)
02. 'P.M.' (6:16)Composed and arranged by Peter HerbolzheimerSolo : Palle Mikkelborg (trumpet)
03. 'That's Live' (5:47)Composed and arranged by Jerry van Rooyen
Solo : Dieter Reith (rhodes); Jiggs Whigham (trombone)
04. 'The Catfish' (6:35)Composed and arranged by Peter Herbolzheimer
Solo : Dieter Reith (synthesiser)
05. 'Head-Egg' (5:40)Composed and arranged by Dieter Reith
Solo : Ferdinand Povel (sax) 
06. 'Peyotl' (4:45)Composed and arranged by Horst Mühlbradt
Solo : Benny Bailey (trumpet)

MUSICIANS

alto, soprano and tenor saxaphones, flute - Ferdinand Povel
baritone, soprano and tenor saxaphones, flute - James Towsey
bass - Bo Stief
congas, percussion - Sabu Martinez
drums - Todd Canedy
electric piano, clavinet, percussion - Horst Mühlbradt
fender rhodes, ARP synthesizer, string organ - Dieter Reith
trombone - Jiggs Whigham , Otto Bredl , Peter Herbolzheimer , Rudi Fuesers , Vincent Nilsson
trumpet - Ack Van Rooyen , Benny Bailey , Palle Mikkelborg , Ron Simmonds, Heinz Hobermann (tr 3 only).

DETAILS

Polydor Records, 1975
Catalogue # 2371 564
Producer - Peter Herbolzheimer
Recording and remix engineer - "Justus" Liebich
Assistants - Jürgen Arnold, Uwe Peters, Wolfgang Prey

POST CREDITS

Vinyl rip by Simon666
Other blogs linked in this post are : Orgy In Rhythm, Ile Oxumaré, Arkadin's Ark

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