One of THE indie soul treasures of the 70s – a wickedly funky record
that blends together jazz, soul, and club – and which stands out with a
sound that's all its own! You may well know the tag "moods and grooves"
– as the record's had an influence on countless scenes, and has been
referenced by many artists over the years. But nothing beats this
original set, a sublime batch of electric grooves performed by a core
combo of electric keys, bass, and congas – augmented by sweetened
strings and some occasional chorus vocals – bad-stepping around the
grooves in a mostly-instrumental mode that rivals (if not betters) some
of the best funky soundtrack work of the decade!
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 – and tracks
include "Home Rule", "City Triptych", "2504 Cliffborne Pl", "Just 71%
Moor", and "Fountain In The Circle".
Taste :
The Lloyd McNeill Quartet - 2504 cliffbourne place
BIG THANKS V. Fockas (Mr. Vagz) & V.Bertolis ( JazzVandals)
Track List :
1 Gabor Szabo And The California Dreamers - San Franciscan Night 2 Igor Nazaruk Quartet - Approval 3 Janko Nilovic - Trumpet Sketches 4 The Invaders - Lost Time 5 Ju Par Universal Orchestra - Flute Salad 6 Aura Urziceanu - Surpriza 7 Houston Person - Soul Dance 8 Hinbal Butss - In The Pocket 9 The Rob Franken Organ-Ization - Scintilla 10 Roberto Pregadio - Erika Seq.18 11 Connie Boerman - Yes Tonight 12 Soul Swingers - Ca - Ba - Dab 13 The Majestics - Funky Chick 14 The Jimmy Ed Trio - Baby , Baby , Oh Baby 15 Roy Lee Johnson - Boogaloo #3 16 Cover Up 17 Leroy & The Drivers - The Sad Chicken 18 Electric Machine - Fancy Good 19 Collage - Do What You Gotta Do 20 Nata - Tu Sais Que Je T'aime Bien (edit) 21 Dos Mukasan - Betpak dala 22 Michel Gonet - Flower Dance A 23 Embryo - Knast Funk
On demand jazz library album on the cult french label Neuilly. Really
pleasant album with Guy Boyer on vibes and arrangement. Includes the
deep modal jazz tunes like "Vibra conceptions", "Jazz on vibes" or the
on fast paced "Bongos and Sound" with brilliant drum breaks and killer
vibes solo. This is the Creasound version of the same release on Neuilly
called "Ballade pour un Vibra" with one extra track.
Polish composer, arranger, vocalist and keyboardist Piotr FIGIEL
(1940.04.13 - 2011.12.22) is probably best known for composing music for
other artists, movies, TV, radio and theatrical plays. But in the
1960's he was an active musician himself, and toured Scandinavia with
The Clivers. Later he would concentrate on studio work, as a
collaborator with other artists in one capacity or another or for
recording material for a wide variety of purposes.
Figiel also
recorded and released a couple of solo albums: Piotr in 1971 (also known
as Organ Hammondy) and Music in 1976. Of these two productions it's the
former that will be of interest to fans of progressive rock, especially
if you have a soft touch for jazzrock and fusion. The latter appears to
be more of a purebred pop production, and from some descriptions
apparently more of a compilation in spirit, but issued under Figiel's
name.
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Detroit? Chicago? Well, no not at all. This 1968 release comes from a
German band playing some lush and dynamic soul pop with an emotionally
exalted vocal style that reminds a bit of Tom Jones at times. The songs
range from powerfully onward grooving booty shakers to striking melodic
tunes with great chorus lines that enlighten your spirit. When you take a
listen you will realize these folks had a sense for the classic beat
music of just a few years prior to this release and they really manage
to lay down a steaming performance on this style actually already
outdated back then. But since THE SOUL EXPLOSION spice up everything
with a dark and brooding back street club atmosphere at the right
moment, they could do what they want and always sounded exciting and
fresh. I could not have told the difference between these krauts and any
popular British or North American act in their genre. There is passion,
sheer lust, a wild and animalistic drive and an ongoing groove that
will mesmerize you. Technically this is a really solid group that knows
to let loose when it is time to but mostly keeps the energy flow under
control. I am certain that 60s fanatics who love the soul and early rock
fusion of this era will go insane. It might be one of these typical
exploito bands that were only studio projects done by the same musicians
on several occasions for good money to be sold in the bargain bin to a
willing audience. Well, we rather do not think further into that
direction since the music that appears on “Soul fire” strikes your
deepest inner self and sets your spirit aflame. The melodies are amazing
and if you go and check the rhythms you will end up shaking without a
chance to escape the everlasting pulse. This should have been enormously
big. Think of later day ANIMALS, THE FOUR TOPS and the EQUALS all
thrown into a mixer on full throttle, you might get something of a
similar quality. Oh, Baby, c’mon shake it with me, yeah!
From Granadilla Music.
The mysterious Shades of Joy
recorded the wholly instrumental album The Music of El Topo in San
Francisco, the LP finding release on the Douglas label in 1970.
Co-produced by Alan Douglas (famous for his controversial posthumous work on some Jimi Hendrix
material), it's an odd but listenable mix of early jazz-rock fusion,
psychedelia, funk, and the kind of meditatively somber and pretty music
you might expect to hear on the soundtrack to a period drama.
And in
fact most of the compositions are credited to film director Alejandro Jodorowsky,
who was responsible for the early-'70s cult film El Topo. Fifteen
musicians are credited with playing on the album, the most noted of them
being occasional Grateful Dead/Jerry Garcia sideman Howard Wales
(on electric keyboards), though there are also numerous percussionists,
brassmen, and flutists; in fact, there are three combination
flutist/tenor saxophonists alone. (Jodorowsky himself does not play any of the music, however.) Martin Fierro
(who played flute, tenor sax, alto sax, and cowbells, as well as being
credited as a "scratcher") seems to have been the musician most involved
with the project, also doing the orchestration and horn arrangements.
The Music of El Topo, incidentally, is an entirely different album than
the Apple-issued El Topo soundtrack, for which Jodorowsky got composing credit for all of the music.By Allmusic
Recorded in San Francisco in 1970 on the Douglas label, this LP is
commonly associated with the visionary Western-on-acid epic film "El
Topo." It's an intriguing piece of urban jazz funk fusion.
And a somewhat confusing record. First, there are two versions – the
film score on Apple (which I hear is to be avoided) and this bay area
jazzfunk jam “inspired by the film” by the Shades of Joy on Douglas.
Alejandro Jodorowsky – the movie’s director is credited here with
writing all the music (which sounds improvised), yet appears to play no
instrument or take part in the session at all. But, of the people who do
actually play on this record, most noteable is funky keyboard legend
Howard Wales! The sound here ranges from all out funky get-downs, to
trippy, moody electric Miles Davis-esque excursions. Very highly
recommended.By Wax
Listen here to an exerpt from one of the more groovin’ tracks.
Puccio Roelens may have his name on the cover, but the album's very much
a hip small combo date – one that features fantastic instrumentation
from some great jazzy musicians – but all of whom are playing on the
funkier side of their spectrum! The sound here is unique – almost an
early 70s extrapolation of the kind of mod grooves you'd find on a 60s
Italian soundtrack – kind of a jerk-into-funk vibe – touched with a few
mellower moments here an there, which feature some great tenor and
trumpet.
Reprint of the rare 1972’s library by Maestro Giuliano Sorgini with the
pseudonym of Raskovich. Originally released in few copies for a small
label owned by a friend of Maestro Sorgini, this LP includes 12 really
beautiful tracks with positive vibes. From Jazz Dance, Bossa Nova,
Funky, and some Killer BreakBeat, many percusions, growling flute and
horking sax. Original minimal artwork designed by Giuliano Sorgini drawn
with a chalk on a black sheet.
Η όμορφη δικηγόρος Linda Westinghouse βρισκόμενη στην
Τουρκία για μια υπόθεση της πλούσιας κοντέσας Nadine που μένει σε απομακρυσμένο
νησί, πετυχαίνει τον μυστηριώδη και σέξι χορό μιας όμορφης χορεύτριας σε ένα
τοπικό νυχτερινό κέντρο.
Από τότε αρχίζει να έχει παράξενους εφιάλτες που
σχετίζονται με την χορεύτρια και που κορυφώνονται όταν παρά τις προειδοποιήσεις
ενός ντόπιου για το αντίθετο, πηγαίνει στο νησί και συναντάει την όμορφη
κοντέσα για να ανακαλύψει ότι αυτή ήταν η γυναίκα στο όνειρό της. Η σχέση των
δύο γυναικών γίνεται ακόμα πιο περίπλοκη όταν η κοντέσα, όντας βρικόλακας,
πίνει το αίμα της Linda κάνοντάς την να χάσει την μνήμη της...
Πανέμορφα συνεχόμενα ψυχεδελικά πλάνα που
κάνουν την ατμόσφαιρα εκπληκτική και καθιστούν το Vampyros Lesbosένα αληθινό
επίτευγμα τουλάχιστον όσον αφορά το καλλιτεχνικό του κομμάτι. Αυτό το
πραγματικά εμπνευσμένο στιλ κινηματογράφησης κάνει την ταινία μια αληθινή
απόλαυση για τα μάτια, αλλά και για τα αυτιά, μιας και η μουσική των Manfred
Hubler και Sigi Schwab είναι αληθινά εκπληκτική, δίνει τον τόνο σε όλη την
ταινία και την ανεβάζει επίπεδα ακόμα περισσότερο. Χωρίς υπερβολή, πρόκειται
για ένα από τα κορυφαία soundtracks ταινιών της εποχής και σίγουρα το καλύτερο
στην τεράστια φιλμογραφία του Jess Franco.
Vampyros Lesbos (Spanish: Las Vampiras) is a 1971 West German-Spanish horror film directed and co-written by Jesús Franco. The film stars Ewa Strömberg as Linda Westinghouse, an American who works in a Turkish legal firm. Westinghouse has a series of erotic dreams that involve a mysterious vampire woman who seduces her before feeding on her blood. When she travels to an island to settle an inheritance, Linda recognizes a woman as the vampire from her dreams.
The film was shot in 1970 in Turkey. It was a popular success in theaters in Europe on its release and was the first film to have a more psychedelic score for a Franco film and the first to have a lesbian theme as a prominent feature of the film. The film's score became popular in the mid-1990s when it was included on the compilation Vampyros Lesbos: Sexadelic Dance Party, an album that became a top ten hit on the British Alternative charts.
On a remote island, the beautiful vampire Countess Nadine Carody
(Soledad Miranda) lures unwary victims with her seductive nightclub act
and sets her sights on Linda (Ewa Strömberg). Linda begins having dreams
about Nadine, and seeks her home on an island. She is interrupted by
Memmet (Jesus Franco) who warns her not to go to the island. Linda
follows Memmet to his chamber where she walks in on him torturing a
young woman. She escapes this encounter and proceeds to the island. On
the Island, Linda meets Nadine. The two go swimming and Nadine notes
that the home they are staying at used to belong to Count Dracula.
After Linda begins to feel dizzy from drinking wine, Nadine takes her
to a room where the two have sex and Nadine draws blood from Linda's
neck. Linda later finds Nadine motionless in a swimming pool and faints.
The next day, Agra (Heidrun Kussin) appears in mental distress at a
hospital, where she claims to have visions of Nadine. She is under the
care of Dr. Seward (Dennis Price) who then treats her new patient,
Linda, who does have any memory of what she encountered with Nadine. At
Nadine's home, she appears alive and recounts to her servant Morpho
(José Martínez Blanco) about how she became a vampire and her obsession
with Linda who she wishes to become a vampire. Nadine uses her powers to
contact Linda to return to her island where the two drink blood and
have sex. On her return to hospital, Dr. Seward informs Nadine that to
remove herself from the vampire's curse she must split the vampire's
head with an axe or pierce it with a pole.
Linda is then kidnapped by Memmet. Linda's boyfriend Omar (Andrés Monales)
begins to search for her. Nadine later arrives at the asylum to have
Linda return with her where she meets Dr. Seward. Dr. Seward admits that
he only attempted to help Linda in order to draw Nadine to him so he
can become a vampire. Nadine refuses and has Morpho kill him. As Omar
searches for Linda, she is told by Memmet that all women, including his
wife Arga, who return from the island become insane which has driven him
to kill various women around the island. Linda manages to kill Memmet
with a saw and escapes to find Nadine. She finds Nadine at her home near
death in desperate need of blood to survive. Linda ignores Nadine's
plea and bites her neck and stabs her with a pole through her left eye.
Morpho commits suicide and Linda is found by Omar who tries to convince
her that the whole experience was a dream.
Value : From 280 to 400 euros (the original issue)
A very cool record from Luis Bacalov – and one with a sound that's quite
different than some of his more familiar, more sentimental soundtrack
material! This one's got a wild mix of modes – from moody, atmospheric
tracks, to funky bits, to more tripped-out passages – all with
instrumentation that feels much more like it's from the Piccioni or
Umiliani camp than the usual Bacalov styles! The whole thing's one of
the more obscure numbers in Luis' soundtrack catalog.
An incredible little record with a sound that's unlike anything else
we've ever heard before – a set that mixes jazzy inflections on vibes,
organ, guitar, percussion, and flute – the last of which is played here
by a young Hermeto Pascoal! The set was done after Pascoal's work in
Quarteto Novo but before some of his more complicated jazz albums of the
70s – and it's got a style that mixes his own love of playful rhythms
and complicated shadings with a lighter, freer approach to the music –
one that's almost in line with some of the EMI/Odeon work of the time,
but which comes off with a slightly different feel. The drums get quite
funky at times, and the mix of instruments reminds us a fair bit of the
legendary Aquarians album on Uni from the US – but with an influence
that's more bossa-driven, in comparison to the Latin modes of that set.
At times, there's a lightly dancing beauty to the record that's almost
in soundtrack mode – but tunes are more focused overall, and clearly
aware of their own instrumental power.By Dusty
One of the first great Italian cop movies of the 70s – and a
superbly-scored film with a really wonderful soundtrack! The DeAngelis
brothers are clearly drawing heavily from an American tradition
initiated by Lalo Schfrin – using heavy guitar, funky undercurrents, and
even some soulfully righteous touches to really set this one apart from
other Italian films of the time. Yet the approach here is also a bit
more different, touches with some of the darker modes and more
redemptive themes of Italian westerns – a sense of suspension and drama
that's incredibly powerful, and heard to best effect on the solo
instrumental passages – which include guitar by Maurizio and flute by
Guido.
A split set of sound library instrumentals – recorded by two more famous
artists, each working here under a pseudonym! Narassa is Sandro
Brugnolini – an artist you might know for darker, moodier music on other
records – but who turns in some very cool tracks on side one – numbers
that definitely live up to the "popfolkmusic" title – in the way that
they offer up unusual instrumental twists that echo popular modes of the
tune, but in an offbeat way. The side features weird recastings of
modes inspired by Bacharach, Donovan, and others – with titles that
include "Pop Medioevale", "Gli Anni Del Candore", "Cineclown", and
"Fermiamo Il Tramonto". Side two features work by Zanagoria – aka
Giorgio Carnini – tunes that make sweet use of keyboards, including
piano, electric piano, moog, and organ – used in a range of styles that
includes a few especially nice funky tracks!
A fab little soundtrack from one of our favorite Italian composers – a
lost gem originally issued in 1971, with a very groovy sound! The score
has Piero Umiliani picking up a bit more funk than usual – working with
electric bass and keyboards to come up with some totally great tracks
that kind of pick up a sexy Euro funk groove from the Serge Gainsbourg
generation, and give it some excellent soundtracky touches in terms of
tone, color, and melody. The tracks are all pretty darn great – bouncy,
sunny, and with funk at just the right moments – and a few nice numbers
even have a bit of scatting vocals, an element that makes them all the
more pleasing to our ears!
