If
you read about La Femme, you see them described as
pychadelic/punk/surf-rock/cold-wave/etc... The reason people throw so
many labels at them is that they defy characterization. La Femme is one
of those inexplicable bands that comes out of nowhere to create
something magical that flies totally under the radar.
Such a wide range of styles and
influences in one album could result in disaster. Instead every element
of every genre that they pull from fits so naturally together that it
seems almost remarkable that no one else has put anything like this
together before. It's insane how tight and coherent they sound as a
band, especially when this is only their first LP.
Sublime genius from funky flute player Bobbi Humphrey -- a record we'd
rank right up there with her classic Blacks & Blues set -- and like
that one, another fantastic collaboration with producer Larry Mizell!
The groove here is tremendous throughout -- a heady mix of Bobbi's
flute, Larry's keyboards, and some additional work from Jerry Peters,
Skip Scarborough, and other 70s funky jazz legends -- all coming
together in a large lineup that works together with an amazingly tight
and stripped-down groove -- a sound that seems to flow effortlessly from
the breeze, but which was the long result of careful work in the studio
by Larry Mizell and his brother Fonce, who also helped on arrangements.
Humphrey is in excellent form -- blowing with a tone that's hard,
crisp, and very soulful -- and the spacey keyboards and gentle grooves
lift her flute way out into the cosmos, yet never push things too far!
Between 1965's Maiden Voyage and 1968's Speak Like a Child, Herbie Hancock was consumed with his duties as part of the Miles Davis Quintet,
who happened to be at their creative and popular peak during those
three years. When Hancock did return to a leadership position on Speak
Like a Child, it was clear that he had assimilated not only the group's
experiments, but also many ideas Miles initially sketched out with Gil Evans. Like Maiden Voyage,
the album is laid-back, melodic, and quite beautiful, but there are
noticeable differences between the two records. Hancock's melodies and
themes have become simpler and more memorable, particularly on the title
track, but that hasn't cut out room for improvisation. Instead, he has
found a balance between accessible themes and searching improvisations
that work a middle ground between post-bop and rock. Similarly, the
horns and reeds are unconventional. He has selected three parts -- Thad Jones' flügelhorn, Peter Phillips' bass trombone, Jerry Dodgion's
alto flute -- with unusual voicings, and he uses them for tonal texture
and melodic statements, not solos. The rhythm section of bassist Ron Carter and drummer Mickey Roker
keeps things light, subtle, and forever shifting, emphasizing the
hybrid nature of Hancock's original compositions. But the key to Speak
Like a Child is in Hancock's graceful, lyrical playing and compositions,
which are lovely on the surface and provocative and challenging upon
closer listening.
Enterprising composer and musician Eddie Suzuki made his own path
throughout his lifetime. Born on October 4, 1929, Suzuki worked as a
young shoeshiner in 1940s Honolulu, saving enough money to take piano
lessons. In high school, he lead a big band orchestra of 16, and
sometimes up to 40 members. By the age of 18, he owned a piano shop that
pivoted to become Honolulu’s top guitar store.
For Eddie Suzuki, music always came first. In 1973, after performing and
composing songs for many years, Eddie Suzuki and his group, New Hawaii,
recorded the now impossibly rare album, High Tide.
The LP is “not a rock-out”, local music journalist Wayne Harada
ruminated in a 1973 review. “Rather, it’s one man’s vision — and version
— of the now Hawaii.” A seasoned mix of psych, Hawaiian, and pop
sensibilities, the music on High Tide gave the listener a look into
Eddie’s singular vision celebrating the sights and sounds (and spirit)
of Hawaii.
Οι A Priori σχηματίστηκαν στη Θεσσαλονίκη στα μέσα της δεκαετίας του '70. Ιδρυτικά μέλη ήταν ο Ντάνης Τραγόπουλος (κιθάρα, πιάνο και φωνητικά), ο Δημήτρης Γουμπερίτσης
(μπάσο), ο Σωτήρης Αναδολής (ντραμς) και ο Δημήτρης Παναγιωτίδης
(κιθάρα). Με τα χρόνια έγιναν αλλαγές στη σύνθεση του συγκροτήματος.Το ομώνυμο ντεμπούτο τους κυκλοφόρησε το 1986. Διαλύθηκαν το 1991 και επανασυνδέθηκαν για μια και μοναδική εμφάνιση το 2010. By Greek Jazz Library
nitially released on Sonia E. Pottinger’s highly respected High Note
Records in 1981, Sonya Spence’s Sings Love LP was relatively overlooked
at the time her album came out. Sent on her final journey in 2007, the
one-woman band leaves us with a legacy of exception. However,
time and a small first pressing has made it an object of desire for
collectors, deejays and lovers all around the world. And, though it was
shamelessly bootlegged throughout history, it is the first that time
that this bliss of an LP gets the official reissue treatment on wax,
with the love and respect it deserves.
