First killer lp from the man! includes the heavy killer track " St louis
breakdown" "Comin down soul" and "On the Hill" sampled by Puff Daddy & The Family
feat. The Notorious B.I.G. & Jay-Z.
Weird instrumental grooves from composer Sandro Brugnolini – played by a
small combo that almost has a sound library feel! We know Brugnolini
most from his soundtrack work, and this set's got a similar flair for
odd sounds and weird rhythms – played here by a group that features
organ, two guitars, bass, and drums – plus lots of unusual effects that
make the whole thing sound strange and trippy! The music is a weird
amalgam of funky jazz and soundtrack modes – familiar at points, but
really offbeat at others – with a few key groovers mixed with mellower,
more atmospheric numbers.
One of the greatest soundtracks ever from the legendary Ennio Morricone –
a real standard-setting record that's one of the top choices we go to
again and again to illustrate the genius of his music! The score is a
fantastic mix of the two best sides of Morricone's work – the kind of
light, lilting melodies that are schooled in bossa, but turned loose on
their own devices – and the darker, more atonal passages that would come
to play more strongly during the 70s. The light wins over the darkness
in most of the record – especially the tracks that feature the sublime
wordless vocals of Edda Dell'Orso, which swell and fall with the
movement of the strings and keyboards.
One of Roland Kirk's moodiest albums – and a record that really helped
him find a big new audience in the 60s! The approach here is a bit
different than some of Kirk's more bombastic jazz albums from previous
years – gentle, and almost spiritual at times – thanks to heavy use of
flute, which Kirk explores with a deeply personal tone – easing out
gentle lines that really foreshadow the use of the instrument in the
post-Coltrane generation! The record has a dark somber tone at times,
and a sweetly redemptive one at others – and the other players include
Horace Parlan on piano, Bobby Moses on vibes, Michael Fleming on bass,
and Walter Perkins on drums – and the album also features a bit of
vocals from Crystal-Joy Albert.
Little is known about this band.This group from Rome is relevant for the presence of Fabio Pignatelli
(later with Flea, Cherry Five, Goblin) and Gianfranco Coletta (ex Chetro
& Co. and Banco del Mutuo Soccorso), and though still in a beat
style they released a single in 1969 and played at Caracalla festival in
1970. The line-up later included the guitarist Nicola Di Staso (then
with Reale Accademia di Musica, Logan Dwight and Libra). It was the
same group that recorded an all-instrumental psych-beat album on Help,
under the name The Revelations, with some tracks written by the composer
Gianni dell'Orso under the nickname Proluton.
P.s 1 “Soul 111” is a long journey through cinematic atmospheres where a rock guitar, a dreamy vibraphone and a steady groove will take you way.
P.s 2 “Drops" is an easygoing track that leads us straight in the Italian cinemas of the 70s - the sound is fresh and it's perfect for these last days of summer heat...
Fresh from recording the legendary Inner Space soundtrack, 1973 saw Sven Libaek embark on Solar Flares, an amazing library recording for Peer International UK. Possibly best described as the companion piece to Inner Space,
a polar vision in which this time the themes were inspired by the far
reaches of ‘Outer Space’. A pioneering recording that featured the
Australian designed synthesizer, the Qaser, a prototype of the first
digital sampler, the Fairlight CMI. Although recorded in Sydney, it only
saw a limited library issue in the UK and has since become a highly
collectible LP. Expect Libaek’s trademark sound of sublime spacey jazz
exotica. Featuring Australia’s finest studio and jazz musicians.
H δισκογραφική εταιρεία Prestige είναι σήμερα ευρύτερα γνωστή ως μια από τις εγκυρότερες πηγές των Soul Jazz ήχων. Αυτό ξεκίνησε από τις αρχές της δεκαετίας του '80 όταν μια, όχι και τόσο, μικρή μερίδα της διεθνούς δισκογραφίας έριξε τα 'φώτα' της σ' αυτή. Ο λόγος γίνεται για την BGP records, στην αρχή και, στην συνέχεια την KENT.
Bob Weinstock
Μέχρι τότε συμβιβαζόταν να βρίσκεται κάτω από την σκιά των μεγαθηρίων της Jazz δισκογραφίας, στην Αμερική της δεκαετίας του 50. Τα ακούσματα της έρχονται με μεγαλύτερη ευκολία πια στα χέρια μας όταν αγοράζεται από την Fantasy στις αρχές της δεκαετίας του 70. Τότε ήταν που μπορούσες να βρεις, σχεδόν παντού, δίσκους της και να προμοτάρουν με τέτοιο ακόμη και club DJs οπου άρχισαν να τα παίζουν στα set τους. Στο να έρθουν ξανά όλα αυτά στο προσκήνιο, βέβαια, βοήθησε και η τεράστια καμπάνια της Fantasy.
Τις καταγωγές της Soul Jazz δεν είναι δύσκολο να τις εντοπίσουμε. Οι γενικώς αποδεκτοί πατέρες του ιδιώματος, Horace Silver και Jimmy Smith με τις ηχογραφήσεις τους στη Blue Note, ήταν αυτοί που δείξανε το δρόμο. Το πως αναμείχθηκε η Prestige σ' αυτό το παιχνίδι είναι πιο πολύπλοκο, από το να εκμεταλλευτεί απλώς την επιτυχία και την ανταπόκριση του κοινού των δύο αυτών καλλιτεχνών.
Horace Silver
Η κοινωνική εξέλιξη απορρέει ανέκαθεν από δύο λόγους, από τα χρήματα και την κοινωνία. Αφενός η jazz της δεκαετίας του 60 στην Αμερική δέχεται πολλά οικονομικά πλήγματα, μιας και το ενδιαφέρον, εκτός mainstream ήχων, ήταν ωχρό καθώς η Be-Bop έγινε περισσότερο πολύπλοκη και έτσι οι εταιρείες δεν έβγαζαν αρκετά χρήματα ώστε να μπορούν να στηρίζουν τους καλλιτέχνες τους. Μοιραία πολλοί jazz καλλιτέχνες της δεκαετίας του 50 έφυγαν για την Ευρώπη και συγκεκριμένα για χώρες όπως η Αγγλία, η Γαλλία και η Γερμανία.Στην Ευρώπη, εκείνη την εποχή, υπήρχαν εταιρείες,που είχαν την θέληση και μπορούσαν να στηρίξουν αυτούς τους μουσικούς και την καλλιτεχνική τους ελευθερία.
Αφετέρου τα 60ς κοινωνικά, ήταν μιας τεράστιας σημασίας δεκαετία για την Αμερικάνικη μουσική αλλά και για ολόκληρο τον κόσμο. Το κίνημα για τα ανθρώπινα δικαιώματα σιγόβραζε και έσπρωχνε με τον τρόπο του την συνείδηση του κόσμου και αυτό έγινε μέσα από διάφορες καλλιτεχνικές φόρμες δημιουργώντας ένα τρόπο για τους 'Negro" καλλιτέχνες της Αμερικής να εκφραστούν μέσω της πολιτιστικής τους κληρονομιάς. Ετσι αυτό που είχαμε βασικά, ήταν μερικές δισκογραφικές που προσπαθούσαν να βρουν τρόπους να πουλήσουν δίσκους, και μερικοί μουσικοί που έψαχναν για έναν ποιο προσωπικό τρόπο, να εκφράσουν τον εαυτό τους.
Jimmy Smith
Η Soul μουσική και οι έμφυτοι χορευτικοί ρυθμοί της εξασφάλιζαν την τέλεια συγχώνευση αυτών των οικονομικών και κοινωνικών ενδιαφερόντων. Ευτυχώς, η Prestige ήταν έτοιμη να ορμήσει και να αναλάβει ένα εκπληκτικό πλήθος καλλιτεχνών. Οι Willis Jackson, Jack McDuff, Bobby Timmons, Shirley Scott καθώς και ο συζυγός της Stanley Turrentine, αλλά και οι Gene Ammons, Richard "Groove" Holmes, Johnny Hammond, δεν είναι παρά μερικοί από τους εξαιρετικούς jazz μουσικούς που προετοιμάζουν το έδαφος για τις αμέτρητες εκδόσεις και τους ήχους που θα ακούγονταν στα clubs τοτε.
Πολλοί οπαδοί της jazz και θεωρητικοί απορρίπτουν την soul jazz σαν pop ιδίωμα. Αλλά το γεγονός ότι η μουσική αυτή άντεξε στο χρόνο και το ότι οι δίσκοι συνεχίζουν να ανεβαίνουν σε αξία καταρρίπτει τον ισχυρισμό αυτό.
Οπως η Prestige έτσι και η Blue Note και η Verve (λιγο αργοτερα) πρωταγωνιστούσε στο κίνημα. Αυτό που τις έκανε να διαφέρουν ήταν ότι η Blue Note ηταν καπως πιο 'εμπορική' κυνηγώντας τα 'πιασάρικα' κομμάτια. Μόνο στα τέλη των 60ς η Blue Note έβγαλε ονόματα της soul jazz. Επίσης μπορεί η Blue Note να συνεργάστηκε απ τα 50ς με μεγάλα ονόματα όπως Jimmy Smith, Art Blakey,Horace Silver αλλά η Prestige ήταν αυτή που "προχώρησε" τη soul jazz σε άλλα μονοπάτια. Η Prestige μας χάρισε αυθεντική jazz soul. Έχουμε μία μίξη από soul ανεξαρτησία και jazz από το ισπανικό Harlem και τα ghettos. Ακόμα και μερικά blues του νότου με τον Mose Allison και φωνητικά ακροβατικά από τον Eddie Jefferson. Είχε επίσης καλή επαφή με τα μπλουζ και καλλιτέχνες όπως John Lee Hooker, Roosevelt Sykes, Jimmy Witherspoon κ.α.
Στη δεκαετία του 60 η Blue Note και η Verve μπορεί να είχαν την εμπορική επιτυχία αλλά τα τζουκ μποξ των μαύρων αμερικάνων,παίζανε την Prestige.
Sonor Music Editions presents a reissue of The Cast Five's highly collectible Popsound N. 1, originally released in 1971 on Flirt Records, the Italian label responsible for Paese Sotto Inchiesta (1971) by Peymont/Braen and Underground Mood (1972). This is obscure library music by a studio group composed of Ernesto Nicelli, Stellio Subelli, and Pasquale Castiglione. Tons of psychedelic grooves, including those on "Diatomea" and "Gospel 71", and killer breakbeats on "Speedball Experience." Generally, the whole record features some of the best b-boy breaks to be found on a library LP. This reissue is pressed on 180-gram vinyl and housed in a heavy cardboard sleeve replicating the original edition. Limited to 500 copies.
One of the most beautiful albums ever recorded by DC flutist Lloyd
McNeil – and one of the grooviest, too! Lloyd's work is always amazing –
stretched-out, spiritual, and filled with life – but this time around,
there's a definite groove to the record that's undeniable – an increased
sense of rhythm, yet one that's still extremely creative, especially in
the mellower moments – which are among some of the most compelling that
McNeil ever recorded. The tunes were originally scored for a dance
group, and feature a core combo with Lloyd on flute, some great Fender
Rhodes from Eugene Rush, and sublime bass and drum patterns – mixed with
some haunting added woodwinds, played by a combo that also features the
legendary Andrew White. The whole record has a beautifully rhythmic
quality, filled with throbbing, modal, soulful grooves
A great one from Carlo Pes – who you might know from his work in the
group I Marc 4, and who really makes things great here through a range
of cool, jazzy instrumentation! The titles are all in English – but the
music is a mix of the best Italian funky styles of the early 70s – bits
of jazz one minute, some sweeter keyboards the next – usually pretty
lean, although with a few dark moments too. There's a nice sense of
variety to the record – although most tracks are upbeat – and the
production styles get nicely trippy at times, which creates some sweet
psych touches that are a nice surprise!
Excellent grooviness – and typical of the mad instrumental LPs that
showed up on Impulse when they weren't cutting high-minded jazz! The
record has a nice mix of easy funky jazz and pop psychedelia – performed
by a range of groovy players conducted by Bob Thiele, and featuring Tom
Scott & The California Dreamers, Bill Plummer, and Gabor Szabo.
Originally released on 'cult' Pegaso promotional label, "THE MAN WITH
ICY EYES" soundtrack was pressed on very few copies like all Pegaso
editions 'out of commerce', becoming a truly sought-after gem among
Record Collectors of the genre. Trombonist and arranger Giuseppe De
Luca, who died shortly after, wrote this magnificent score in 1971,
ripping off the main theme from "Lady In Cement" by Hugo Montenegro from
the same year. The high music in here is played by the MARC 4 (Maurizio
Majorana on bass, Carlo Pes on guitar, Antonello Vannucchi organ) feat.
Giuseppe De Luca at trumpet and Vincenzo Restuccia at drums.
Magnificent vocals by the best scatting queen Edda Dell'Orso and chorus
by I Cantori Moderni Di Alessandroni. KILLER!
Taste :
Peppino De Luca & I Marc 4 - L'Uomo Dagli Occhi Di Ghiaccio (L'Amore)
Charles Kynard - Reelin' With The Feelin' 1969 (Prestige)
Charles Kynard - Wa-Tu-Wa-Zui (Beautiful People) 1971(Prestige)
Label : Prestige
Value :
Great twofer of 2 fine Kynard releases, "Reelin
With The Feelin' "(Charles Kynard organ, Wilton Felder tenor, Joe Pass
guitar,Carol Kaye bass, Paul Humphrey Drums) & "Wa-Tu-Wa-Zui"
(Charles Kynard organ, Rusty Bryant tenor, Virgil Jones trumpet, Melvin
Sparks guitar, Jimmy Lewis bass, Idris Muhammad & Bernard Purdie
drums) Reelin may be Kynards most well known release, probably is my
favorite or up there with "Soul Brotherhood", & "Your Mama Don't
Dance" but the reality is Kynard NEVER released a klunker- Reelin has a
unique sound partly due to the up-front Fender bass driving by Carol
Kaye. Having electric bass always adds a different punch that pedal
organists can lack. The one standard on "Wa Tu Wa Zui" where Kynard does
a simply killer job is George Harrisons "Something", which may be
finest track on the record. Bernard Purdie takes the drum chair and
pushes the whole band to tear and Kynard has never played better.This a
must hear piece of B-3 heaven, wall shaking or subtlity I find Kynard
always keeping my interest with variety.
All the freaky, funky Serge Gainsbourg
you could ever want -- served up in a single set! The package pulls
together some of the grooviest tracks by Serge from a host of late 60s
and early 70s albums -- including some of his super-rare French
soundtrack work -- from movies that include Le Pacha, Anna, Ce Sacre
Grand-Pere, Cannabis, and Manon 70! The double-length set is overflowing
with great grooves -- tracks done with that subtly funky style that
Serge cooked up with arrangers Michel Colombier and Jean-Claude Vannier,
all topped with that breathy, nearly-spoken style that made Gainsbourg
so great back in the day. A few of the most break-heavy cuts are even
presented with special bonus beats". by Dusty Groove
Taste :
Serge Gainsbourg - Je n'avais pas qu'un seul mot a lui dire
Wunderlich played the Hammond organ during the first half of his career,
and later switched to Wersi organs and Moog synthesizers with which he
created his own unique electronic sound. He was open to different music
styles and played classical, operetta, Broadway musical, as well as
popular music. He sold more than 20 million records all over the world
and received 13 golden albums as well as one golden cassette. He has
something of a cult following, and pops up from time to time in the
playlists of contemporary DJs. Here he's playing the international hit "Summertime" which has been used as a sample by many djs & producers.
One of Wes Montgomery's grooviest records of the 60s! The great Johnny
Pate put down some sweet soul jazz charts for the session – quite
different than the usual Montgomery date for the time, and much more
upbeat than you'd expect! Wes is playing here with a groove that you'll
be hard pressed to find in some of his other records – soloing over the
top with that light chromatic style that we love so much, while Johnny
and the band go to town in kind of a soul jazz style!
Taste :
Zack started his career as a talented young pianist, giving his first
classical concert at the age of 9, and winning a scholarship to the
Guildhall School of Music. Equally comfortable with Pop, Jazz and Rock
'n' Roll, he soon discovered the world of commercial music. His own
composition, "Magic Fingers", was his first solo recording at the age of
14. The company was EMI, the producer George Martin of Beatles fame,
and his manager was Dick James, the publisher of the Beatles' songs.
He
is known as a versatile composer, arranger, performer and producer of
many different styles of music, with TV and film credits, several
successful albums featuring The Zack Laurence Orchestra, countless radio
broadcasts with his Quartet, and a worldwide top ten hit under the
enigmatic pseudonym “Mr. Bloe”.
His catalogue of work includes
songs and arrangements that have graced the hit recordings of many
world-famous artists, three first-prize International Song Contest
winners - in Spain, Japan and Ireland - and several hundred compositions
for production music libraries.
He is also the composer of the popular themes for two of TV's most well known series, “Treasure Hunt” and “The Crystal Maze”. By BASCA (British Academy of Songwriters, Composers and Authors)
Based on a Dario Argento theme and directed by Luciano Ercoli, the 1973
Italian detective thriller La Morte Accarezza a Mezzanotte gets the
high-end jazz-lounge treatment, compliments of
composer/conductor/arranger Gianni Ferrio. As with other original
soundtracks and compilations on Easy Tempo, the mix here ranges from
organ boogaloo tracks to spooky and dark string orchestra affairs.
There
are also plenty of harpsichord, flute, fragmented piano, and breathy
vocals (compliments of singer Mina and Morricone veteran Alessandro
Alessandroni) to shadow the film's myriad moods and punctuate arching
violin passages and brass-heavy foreboding. A fine accompaniment to a
Saturday night alone with that favorite gothic horror pulp.
Around 1970, the Austrian Broadcasting Company was reformed, transforming itself into the innovative ORF and finally launching a contemporary pop and jazz station, Ö3. At the same time, the ORF Big Band developed from the core of the Fehring Orchestra, rejuvenated by talents like drummer Erich Bachträgel.
It became an orchestra ready to meet all the needs of a modern broadcasting corporation however, due to the ambitions and experiences of its leaders, Erich Kleinschuster and Johannes Fehring, its emphasis remained on the production of first rate, big band jazz.
In earlier years, ambitious Austrian jazz musicians had to go abroad to achieve recognition, but thanks to the existence of the ORF Big Band, consummate international jazz talents – like Art Farmer on flugelhorn and trumpet, or Jimmy Heath on soprano and tenor sax, or Jimmy Woode on double bass – were bound at least temporarily to Austria. The Orchestra existed from 1971 to 1982. They recorded a lot of libraries called "ORF Arbeitsplatten" that get sold for enormous prices on the collectors market.
P.s Rip from Cd with bonus tracks
Taste :
ORF Big Band, Johannes Fehring & The Chicks - Psychodelic
ORF Big Band, Johannes Fehring & The Chicks - What Do You Want Now, Darlin'
ORF Big Band, Johannes Fehring & The Chicks - Jungle Soul
Ο γεννημένος στην Ινδία και μεγαλωμένος στο Λονδίνο Brian Auger υπήρξε πολυτάλαντη μουσική προσωπικότητα και ένας από τους πρωτοπόρους της βρετανικής εκδοχής του rhythm and blues στη δεκαετία του '60. Συνεργάστηκε με μουσικούς τιου δούλεψαν μαζί με τους λοιπούς πρωτεργάτες Alexis Corner κοι Cyril Davies, με ονόματα της εμβέλειας των Rod Stewart και John Mc Laughlin, αλλά γνώρισε τη μεγαλύτερη επιτυχία μαζί με την πρωτοεμφανιζόμενη Julie Driscoll.
Από το 1965 έως το 1978 μετονόμασε οκτώ φορές τα σχήματα των οποίων ηγούνταν, με κυριότερα αυτά των Trinity, Steampacket και Oblivion Express.
Η μεγάλη του αγάπη για την jazz είχε βραβευτεί το 1964 ως καλύτερος πιανίστας από το Melody Maker, που τον ώθησε στην ανάμειξη της αρχικά με το rhythm and blues και ακολούθως με τη folk, είχε ως αποτέλεσμα πολλές καλές στιγμές, με κορυφαία το "Open" (1968).
Μετά το 1981 εργάστηκε κυρίως ως session μουσικός, κυκλοφόρησε μερικά προσωπικά άλμπουμ και έκανε περιοδείες, με πιο σημαντική εκείνη με τον Eric Burdon. To 2000 επανασχημάτισε τους Oblivion Express -μια οικογενειακή υπόθεση, με τη συμμετοχή των παιδιών του- και κυκλοφόρησε μαζί τους ένα δίσκο στα εξηκοστά πρώτα του γενέθλια.
Η Julie "The Face" Driscoll δεν απέκτησε τη προσωνυμία της άδικα, αφού η ομορφιά της ήταν πράγματι εντυπωσιακή. Το ίδιο όμως εντυπωσιακή ήταν και η φωνή της, που της επιφύλαξε μια μακρά, αλλά όχι σύμφωνη με τις δυνατότητες της πορεία. Γεννημένη στο Λονδίνο 8 Ιονίου 1947 βρήκε το δρόμο της μουσικής μέσω του Giorgio Gomelsky, παραγωγού των Yardbirds, του fan club των οποίων ήταν μέλος. Το στιλ των Laura Nyro και Tim Buckley, αλλά και η όλη pop, avant jazz, folk και rock γκάμα της σηματοδότησαν τις απαρχές της προσωπικής της καριέρας το 1963 με το single"Take Me By The Hand".
Σύντομα όμως παρέκκλινε προς τους Steampacket πλάι στον Rod Stewart και στον Brian Auger, με τov οποίο ακολούθως συνέχισε στο πλευρό των Trinity, κυκλοφορώντας τον δίσκο "Open" (1968). Την επόμενη χρονιά έκανε το σόλο ντεμπούτο της, με το οποίο άφησε κατά μέρος την pop για χάρη της progressive και της jazz, υποβοηθούμενη τόσο από μέλη των Soft Machine, Blossom Toes και Nucleus όσο και από το μετέπειτα σύζυγο της Keith Tippett.
Η καλύτερη στιγμή της όμως υπήρξε το άλμπουμ "Sunset Glow" 1974 με folk jazz αποχρώσεις. Έπειτα από δεκαετή και πλέον απραξία επέστρεφε το 1991 δυναμικά στα δρώμενα, χωρίς να στρέψει προς το μέρος της τα φώτα της δημοσιότητας.
Ps. Rip from cd with bonus tracks
Taste :
Brian Auger & The Trinity with Julie Driscoll - Black Cat
Brian Auger & The Trinity with Julie Driscoll - Season Of The Witch
