Whirlwinds is sweet keyboard soul from Deodato – a set that steps off nicely from the strengths of his big hits on CTI, hitting a similarly flowing groove that's really great! The instrumentation here is a bit more expanded than before, but never in a way that buries the keyboards – and Deodato's right out front on a range of electric keys that get some great support from John Tropea's finely-honed work on guitar! Titles include "Havana Strut", "Whirlwinds", "West 42nd Street", and a nice cover of Steely Dan's "Do It Again". And heck, even the album's version of Glen Miller's "Moonlight Serenade" manages to come off like a funk tune!By Dusty
Big Crown Records is proud to present the reissue of this uber rare
underground cult classic Running The Mardi Gras by Boco. Those lucky
enough to find an original copy are paying upwards of $1000.00 for this
truly unique psych rock / funk gem on 45.
From the title to the sound to the cryptic lyrics “Running the Mardi
Gras” seems to confirm all the mystique that surrounds the southern
Louisiana Bayous and Cajun culture. This record is a family affair. It
started one morning when one Mr. Latour, the father of the group, was
shaving in the mirror and a song struck him. It was to be about Mardi
Gras, not the beaded revelry of New Orleans familiar to most, but the
traditions of rural Louisiana, where one would “run the Mardi Gras,”
going house to house getting home cooking from the neighbors. He would
sing the song every day in the car and the children of the family soaked
up the spirit of the song.
Playing and performing was just part of life for the family. Mr.
Latour had bought studio equipment for his children to record on, which
he kept in their house. Growing up in the shadow of New Orleans, the
Latour children listened to the sounds of Funk and R&B that came in
on the radio, which was the biggest influence on the family projects’
sound. Together the four Latour children, with the eponymous Boco Latour
on lead vocals, and a couple of local musicians recorded “Running the
Mardi Gras” in the Latour home. Feeling that they really had something,
the makeshift band decided to record a b-side. The guitarist had a song
he had been working on and they recorded what would become “Smile” as
well. The two songs were pressed under the Laughing Eye label, nothing
more than the heading under which the Latour family released their
music, and mostly sold the 45 at gigs around southern Louisiana. The
recorded output under Laughing Eye was understandably limited, but
locals still remember well Boco’s powerful voice from her shows in clubs
around the bayous. Boco and George Latour still live around Baton Rouge
and continue to make music and play in the area.By David Haffner
Οι Patras Vinyl Lovers, προετοιμάζοντας το επόμενο παζάρι δίσκων στην Πάτρα, καλούν όσους ενδιαφέρονται να συμμετάσχουν να επικοινωνήσουν μαζί τους:
«Ψαχνόμαστε για την αρτιότερη διεξαγωγή του επόμενού μας παζαριού, που θα διεξαχθεί (για έκτη φορά τα τελευταία χρόνια στην Πάτρα φυσικά), μέσα στο φθινόπωρο.
Στα πλαίσια της διαρκούς προσπάθειάς για ανανέωση και εμπλουτισμό ΚΑΙ στο νέο Vinyllium, σκεφτήκαμε και καλούμε ανοιχτά όλους τους φίλους που ενδιαφέρονται να πουλήσουν δίσκους, να έρθουν σε επαφή μαζί μας είτε αφήνοντας μήνυμα εδώ ή με SMS στο 6932010001.
Ερχόμενοι σε επαφή μαζί μας, θα αξιολογηθεί η κατάσταση (ποιότητα, ποσότητα κλπ των δίσκων) άρα και η πιθανότητα να συμμετέχουν ως ΝΕΟΙ πωλητές, ει δυνατόν από την Πάτρα και τις πέριξ περιοχές».
Rudy Van GelderNovember 2, 1924 – August 25, 2016. Ακουσε ολοκληρη στην ιστορια της Jazz πριν απ τον καθενα.Ο ανθρωπος που βρεθηκε μπροστα σε τερατα και ηχογραφησε μερικα απ τα κορυφαια jazz album ολων των εποχων "Kenny Burrell - Midnight Train" "Art Blakey - At the Cafe Bohemia 1&2" "Tina Broοks - True Blue" Sonny Clark - Cool Struttin" "Coltrane - Blue Train" "Davis - Birth of the Cool" κλπ.. Εφυγε χθες 25/8/2016 για το ταξιδι προς στην αιωνιοτητα. Taste : Blue Note Perfect Takes
Beautiful grooves from the Italian scene of the late 60s – definitely
one of the lesser-known soundtracks of the time, but work we'd rank
right up there with the best by Piero Piccioni or Armando Trovajoli!
There's a fair bit of trippy sounds on the record – from fuzzy guitar to
weirdly watery keyboards – and tunes move between funky "jerk" and
"shake" numbers that almost have a sound library funk feel, to mellower,
moodier ones that sometimes feature wordless vocals from the great Edda
An incredible lost jazz funk soundtrack by Guiliano Sorgini – one of the
best we've been lucky enough to discover in ages – all the more
fascinating given the film it was made for! The soundtrack is a wild
one for the most part, with a few more elegiac sounding numbers – but
weighted heavily overall with feverish percussion, Hammond, Moog and
other keys and synths – along with funky flute and bass on the wilder
numbers, and more elegant classical guitar and strings on the more
meditative ones. It's a fascinating mix of styles considering the
subject – a mid 70s documentary expose on the poor conditions suffered
by animals in zoos and circuses, made by Riccardo Fellini, the brother
cinema legend Federico. Amazing stuff, issued properly here for the
first time ever!
Porfirio Antonio Jiménez Núñez (1928 - 2010) was a Venezuelan bandleader
with a Dominican heritage in the field of traditional Latin music like
salsa who took a few steps into Western funk and pop music during the
60s and 70s while retaining the obvious elements of a distinctive Latin
American sound. His fusion can only be described as an utterly hot and
spicy experience just as the title of this 1972 release tells you. Lush
brass arrangements, a carpet of poly rhythmical percussion patterns and
intriguing melodies hit you directly when you put this nugget onto your
turntable and let the needle sink down into the groove. Just in case you
are a proud owner of this record since 1972 or have a spare bundle of
Dollars in your pocket due to the fact that original copies already
fetch prices of 400,00 US$. Well, you have to decide if this collection
of salsa funk tunes is worth laying down so many bucks but now that we
hold a beautiful reissue in our hands it might be easier to check. I am
already out of my head grooving like a maniac through the waves of
rhythms and harmonies created by this collective of gifted musicians.
Some tunes contain vocals in their native tongue, Latin American Spanish
and these are the ones to get pretty close to what SANTANA had done
before. Best example is - Oye cómo va' which has been featured on
SANTANA's - Abraxas' album two years prior to the release of - Parilla
caliente'. All in all this could be watched as a kind of - exploito'
album to be sold in the bargain bins of department stores to a rather
ingenuous audience craving for some Latin funk and rock pleasure but all
in all the performances and sound are so vivid and passionate you will
soon forget about the initial purpose of this release and enjoy the rich
plate of musical colours Porfi Jiménez and his mates offer.By Deejay
Phirpo Y Sus Caribes - Feliz porque regreso a casa
The Get Down focuses on 1970s New York City - broken down and beaten up, violent, cash strapped -- dying. Consigned to rubble, a rag-tag crew of South Bronx teenagers are nothings and nobodies with no one to shelter them - except each other, armed only with verbal games, improvised dance steps, some magic markers and spray cans. From Bronx tenements, to the SoHo art scene; from CBGBs to Studio 54 and even the glass towers of the just-built World Trade Center, The Get Down is a mythic saga of how New York at the brink of bankruptcy gave birth to hip-hop, punk and disco -- told through the lives and music of the South Bronx kids who changed the city, and the world...forever. - Written by Netflix A rag tag group of teenagers run wild in the streets of the Bronx in the late 70s Taste : Trailer 1
A really great later Blue Note session from Stanley Turrentine – a small combo set that's almost a return to the format of earlier years! The group's a strong one – and features Shirley Scott on organ, Jimmy Ponder on guitar, and Leo Morris (Idris Muhammad) on drums – playing in a style that's subtler and more laidback than his work with Lou Donaldson, but which still has a nice funk undercurrent. Stan's horn is in wonderful form on the record – really taking advantage of the longer tracks to open up with a mellow and exploratory tone – and the team of Scott and Ponder especially sounds great next to each other on the album.