Bala Miller was famous for pushing boundaries. His first job was selling
beer in the Muslim north. And as a musician he'd always try to sneak in
'local' flourishes while playing trumpet with Bobby Benson and Victor
Olaiya. It was with his band, the Pirameeds, however, that he was able
to realise his dream of incorporating northern tunes into mainstream
highlife. Honed razor sharp from a residency at the Costain Club in
Kuduna, the band recorded Pyramids, a breathtaking fusion of Hausa
rhythms, jazz and funk. With its haunting trumpet line, tribal drums and
imploring Hausa chants, 'Ikon Allah', the power of God, is Bala Miller
vision writ large. 'Yo Gboko' is a New York-style street drama, played
out on the dusty streets of Northern Nigeria. 'Opportunity Knocks' is a
playful burst of ska and 'Stretch Your Nose' is a raucous James Brown
fable about the dangers of lying. Bala Miller went on to become one of
Nigeria's best-loved personalities. The Costain Club became a renowned
meeting place for northern musicians. But his greatest legacy remain
Pyramids, an opus that introduced Hausa rhythms and stories to the rest
of Nigeria. - Peter Moore
Taste :
Bala Miller And The Great Music Pirameeds Of Afrika - Ikon Allah
Bala Miller And The Great Music Pirameeds Of Afrika - Stretch Your Nose
It is said about film-makers The Ramsay Brothers that they were
Bollywood's prime exponents of low-grade, sleazy 1980s horror cinema.
Similarly, Bappi Lahiri's music is often described as the epitome of
tacky Bollywood disco. It makes sense then, that they would work
together regularly. To Bappi’s credit, his scores were often far more
sophisticated sounding than the pairing might suggest. And unlike its
appealingly schizophrenic cover, there's not much musically on the
soundtrack to 'Maut Ka Saya' that actually suggests horror.
Predictably, the out-and-out dancefloor tracks take centre stage.
'Aafat' is a rousing anthem performed by Bappi regular Annette Pinto and
the composer himself, and 'Dance Music' is a percussive jazz dance
number enhanced by teasing giggles and sighs. Both are great, but I'm
actually even more fond of two of the album's non-disco tracks. 'Yeh
Samundar' fuses flamenco with electro and again features Annette in
addition to a series of wonderfully exotic solos, while 'Zulfon Tale' is
mellow Caribbean flavoured lounge pop, accordion-led with sensuous
vibraphone interludes. Shailendra Singh does the honours on this one.By mft3f
A massive bit of funk – and from 70s France, no less! These guys
clearly come from a jazz-based background – and have absorbed some of
the best electric influences of their time – working in a keyboard-heavy
mode that's clearly inspired by Herbie Hancock, Joe Zawinul, and George
Duke – yet also kicking up a groove that's a bit more down and dirty,
and more in the instrumental funk mode overall. The sound of the set's
incredible – really raw, riffy, and filled with plenty of snapping hard
grooves – and the used of the keys is sublime throughout, changing mood
from track to track, but always staying funky!
Crazed German studio musicians from Hamburg doing exploito psych that
has nothing to do with Italians or SUB. Members of Rattles &
Wonderland that also did many records under different names: Moody Five,
Blue Grass Champions, Hell Preachers Inc., The Ravers, Bokaj Retsiem,
etc. This record was also released under the title "Beat Club
Internaional" on the Perl Serie label with added vocals.
Songs on this record appear on 3 albums: Ten O'Clock Bubble Gum Train - High Bubble Gum, Free Action Inc. Plays Eddy Korsche - Rock & Blues and Unknown Artist - Beat Club International.
Taste :
Free Action Inc. Plays Eddy Korsche – Rock & Blues
Real COOL French 60’s Mod/Lounge/Funky/Instro compilation with
some movies excerpts between the trax [reminds pretty much on legendary
“Wavy Gravy” concept]. Hammond organs & fuzz guits dominated sexy
dance tunes. By Surfadelic
Taste :
Georges Van Parys &Stéphane Varègues - Le Salon De Thé
One of the most unique albums on the Strata East label – and that's
saying a heck of a lot, given the creative energies flowing through that
legendary jazz outlet! Descendents Of Mike & Phoebe is a righteous
little project put together by Spike Lee's father, Bill Lee, and his
brothers and sisters (Cliff Lee, Grace Lee Mims, and Consuela Lee
Moorhead) – working here in a group named after their slave ancestors,
who are paid tribute in a beautifully flowing batch of tunes! Lee's
round, warm bass tones are firmly at the head of the group on most
numbers – recorded at a similar level to his excellent work with
Clifford Jordan on Strata East during the same time – and other
instrumentation includes piano from Consuela, flugelhorn from Cliff, and
percussion from Sonny Brown and Billy Higgins – all used in a
wonderfully evocative style that's even better than some of Lee's later
soundtrack work. A few numbers feature vocals from Grace – singing
wordlessly and with a really heavenly sort of quality – and together,
the whole group have a undeniable sense of power and majesty, yet also
one that's touched by a really personal sense of poetry too. Titles
include a great version of Lee's "Coltrane", which was more famously
recorded with Clifford Jordan – plus "Chick Chick", "Attica", "Too
Little, Too Late", "Boll Weevil", "Don't Be A Stranger", and "Well Done,
Weldon".
I'm completely stunned at how good this is. I really didn't think it would be as good as his excellent
debut, but in my opinion he surpassed it. Pekka of course was the great WIGWAM bassist from Finland, and
this is his second solo album which was released in 1974 after WIGWAM's "Being" record. Fairly similar in
style to the debut but he's added more horns and the piano has a greater role.This is a concept album
although there are no lyrics. The story is in the liner notes, and it's a charming and well told tale about a
magpie named Bialoipokku.
"The Beginning" features piano melodies throughout, as we can picture the magpie breaking out of his shell
and being born into this world. "The First Morning" opens with more piano but a much fuller sound. Horns
before a minute and some nice bass too. This sounds so good, very uplifting. "Bad Weather" opens with
piano then the bass takes over followed by violin. This is dark. Piano and bass still create this sombre mood
unti it kicks in before 5 minutes and brightens up. I like the way the horns pulsate over and
over. "Bialoipokka's War Dream" is catchy with piano out in front early. Horns take the lead before a
minute. This contrast continues for a while then it's horns leading the way to the end.
"Bialoipokka's War" is
relaxed to start until the tempo picks up a minute in. Horns, bass and drums all stand out. The piano
becomes prominant. Amazing sound 4 1/2 minutes in, I really like the bass. "The Madness Subsides" is a
beautiful mellow track with piano to start. Guitar follows and it's fantastic ! So intricate. A bass solo 3 minutes
in to the end. "Life Goes On" features horns, light drums and bass. Piano before a minute as the tempo
picks up. The sax is great after 2 minutes as it plays over top.
This is so melodic and well thought out. The arrangements and overall playing are a delight.By Mellotron Storm
A singer/guitarist and folk-influenced songwriter, Barbara Keith's
curious career began when she was discovered at Greenwich Village's
famous Café Wha?. Her first appearance on record was in 1968, with her
background vocals and one of her songs appearing on the self-titled
debut from Kangaroo.
Verve Records released the first of two self-titled albums in 1969.
Some critics fell in love with the album but as far as sales the album
went nowhere. Her second self-titled album -- released by Reprise in
1972 -- coupled Keith with producer Doug Tibbles. Keith and Tibbles
married and soon became unhappy with the music industry. Deciding to
focus on family and develop their art with a major-label influence, Keith and Tibbles
gave back their Reprise advance, a move that caused the label to
under-promote her album. Once again, the album didn't achieve much as
far as sales, but Keith's songwriting skills were being noticed throughout the record industry. Barbra Streisand, Lowell George, Tanya Tucker, Delaney & Bonnie, the Dillards,
and many others covered songs from the album, "The Bramble and the
Rose" and "Detroit or Buffalo" being the favorites.
Keith reappeared in the '90s with her "AC/DC meets Patsy Cline" band the Stone Coyotes with her husband, and son John Tibbles, rounding out the band. The band found a cult following of which writer Elmore Leonard was a member. Leonard included the band in his sequel to Get Shorty, Be Cool, and included five Keith songs in the text.By Allmusic
Four Flies Records continues its 7” line-up with another de rigueur
repechage that will have your dancefloor jump frantically up and down.
Two freaky afro-flavoured tracks, written by Giuliano Sorgini and his
partner in musical delices Alessandro Alessandroni. Recorded during a
non-specified session which may be traced back to the recording of
Sorgini’s UNDER POMPELMO and PAWNSHOP's first 7”. The sound and the
ideas behind the music are exactly the same, even though there’s more
rhythmic and percussive emphasis on both tracks. Two little precious
gems, unreleased to this day, brought back to light and finally
available for DJs and fans all over the world. Afrodelic breaks for your
pleasure!
An obscure album from Larry T. And The Family, and a great one too! The album's from the early 80s, but maybe feels a bit more
like the group in the mid 70s.
Taste :
Larry T. And The Family - Where does the answer lie
Released in the same year as Synthesis over on KPM, 1974’s Synthesizer and Percussion
is its essential companion piece. “This record features the many
distinctive sounds of the ARP Synthesizer plus percussion in various
moods and tempos” is the even more underwhelming than usual library
record sales pitch for Alan Hawkshaw and Brian Bennett’s second
collection of what is basically minimal G-funk, with overtones of
primitive acid house. This is ridiculously good.
This is one of
Hawkshaw and Bennett’s wilder joints and aeons ahead of its time.
Bennett’s tough drums provide the underpinnings for the prominent bass,
keys and bubbling synths high up in the mix, alongside Hawkshaw’s
deranged clavinet-funk-rock. There are heavenly break loops galore.
An incredible record – the kind of album that no fan of funky jazz
should be without! This album is far and away one of the greatest ever
cut by Brother Jack McDuff – and it's a baroquely complicated batch of
funky jazz cuts that's still light years ahead of any other record! The
tracks are much longer than you'll find on Jack's other work – and the
group plays these lines that are laidback and trippy, yet which still
have a tremendous amount of funk in them. Guitar sets the tone, spacing
out over the drums of the great Joe Dukes; electric bass rumbles at
all the low, dark spots; flute and tenor sax cut some sharp edges in
the void; and the organ of Brother Jack comes in over the top, and
soars with cosmic lines of sound!
Tony Allen and Art Blakey have a lot in common. As pioneering percussionists, each represents peak performance in their respective fields—Allen as the premier drummer
in Afrobeat and Blakey as the one who put the “hard” in hard bop. Yet
that each one is defined by a unique instrumental technique is also what
separates the two. Art Blakey was one of jazz’s heaviest hitters, his
rhythmic style lending an otherwise “cool” sound more than its share of
fire and passion. Yet Allen’s role in Fela Kuti’s Africa 70 was almost
the inverse, his rhythmic consistency almost trance-like against the
exclamatory sound of Kuti’s saxophone and choir of vocalists. They’re
musicians connected by a common strand of sonic DNA yet what they do is
distinctively their own.
To hear Allen take on the music of Art Blakey in a new EP, A Tribute to Art Blakey and the Jazz Messengers,
is then a pretty interesting proposition. By and large, this brief,
albeit mighty release is a reflection more on Blakey’s impact on jazz
than Allen’s interpretation of it, necessarily. The set contains four
tracks which were made legendary in the hands of Blakey, whose punchy,
snare-heavy approach gave them an extra bit of intensity thereby helping
to usher in an era of hard-bop in which jazz had moved on from more
laid-back jam sessions to outright shredding. Few tracks are as
emblematic of this shift as “A Night in Tunisia,” which Blakey sped up
and cranked to its limit. Allen, however, puts his own identifiable spin
on it, his light-wristed patter leaning more on his signature Afrobeat
sound than its more manic source material. Similarly, “Moanin'” has a
head-nodding groove seemingly fit for a ’70s-era detective feature; this
isn’t cool jazz, but damn is it cool.
The versions of “Politely” and “The Drum Thunder Suite” that Allen
leads are similarly intoxicating, the latter in particular. In fact,
that’s one area where Allen’s performance most strongly seems to channel
Blakey’s own. Allen and his band lose themselves in a stunning take on
the rhythmically driven career standout of Blakey’s, its sound as
majestic and urgent as ever. Allen and his band aren’t in the business
of playing Blakey’s music exactly as he did, though this is music
treated with reverence and affection. It draws a line from ’50s and ’60s
era jazz to ’70s era Afrobeat and continues onto the present, all the
while, the sound losing none of its power or appeal along the journey.
A rare set from French keyboardist Martial Solal – and one of his few
funky records! The set features Solal on electric and acoustic piano,
playing in a trio that includes Bernard Lubat on drums and Henri Texier
on bass – and the tunes on the set have a rolling funky feel that's
great all the way through. A number of tracks seem to blend the
acoustic and electric piano using overdubs, creating a nice counterpoint
on the keys – one that fills out the sound a lot more than a typical
trio album, and which puts Solal at the head of some very tasty grooves!
One of the greatest albums ever by studio genius David Axelrod! The
album's one of Axelrod's first on his own – cut for Capitol Records at a
time when he was working with some of the label's biggest selling soul
acts – like Cannonball Adderley and Lou Rawls – turning their
already-successful sounds into super-hit material by adding some nice
funky touches, and excellent baroque production. This album lets
Axelrod fully explore his talents for larger studio arrangements and
complex yet soulful instrumentation. The record is subtitled "an
anthology of awareness after birth, based on the 18th century poems of
William Blake" – and it features incredible arrangements conducted by
Don Randi, played by a host of excellent LA jazz and studio players.
The overall sound is spacey and dark, with nice touches of funk, and
plenty of cool instrumental passages that have been sampled over the
years by hip hoppers and other producers.
A mighty nice set from Berkely Ike Jones – guitarist and one of the
founders of the legendary Blo – working here in a groove that's a bit
more Afro disco overall, but which still has all the great touches of
his previous work! The music's plenty funky, but more in a clubby way
than some of the more familiar Afro Funk modes you might know from the
mid 70s – with lyrics in English, and an overall vibe that's like the
best post-colonial work coming from the Paris and London scenes at the
time! Part of the album was recorded in London, which may account for
the vibe – and the instrumentation is tightly played, but never slick.
Some of the trippiest sound library material we've ever heard from
Sandro Brugnolini – in part because the core group here is a psychedelic
combo, which might have led to a few of the tracks being used in a
short animated film on Sharon Tate and Charles Manson! Yet as with most
of the great sound library albums of the time, the music is way more
than conventional – as guitar, organ, bass, and drums are arranged,
recorded, and produced in very unusual ways – with a really open ear
towards the fuller, larger sound – which includes great effects and
other elements along the way!
One of the most hard-grooving set we've heard from singer Mary Afi Usuah
– a set that has all these deep, bassy currents on the bottom – which
hold a nice groove underneath Mary's heavenly voice! Usuah has a range
that's much greater than some of her contemporaries – no surprise, since
she studied opera in Rome – but the style here is nicely gritty
overall, with bumping bass and some riffing guitar that almost pushes
some numbers into Betty Davis territory, but with more of a 70s Afro
soul vibe. Imagine if Miriam Makeba made a funk record, and you'll get
part of the feel of this unique little set – which includes the cuts
"What's A Woman To Do", "Sweet Elijah", "Our Generation", "Spread More
Love", "Kam Fat Owo", "African Woman", and "Tenkim Kpoho".
Taste :
Mary Afi Usuah - African Woman
Mary Afi Usuah - What's A Woman To Do
Mary Afi Usuah - Our Generation (Ode To Our Nation)
This is the first album on the legendary Polish Jazz series, which
is dedicated to the Hammond organ, the godfather of the electronic
keyboards and probably the most significant new instrument, which
dominated Jazz and Progressive Rock in the late 1960s and early 1970s
(although available since the 1930s). Keyboardist Krzysztof Sadowski
belongs to the first post WWII generation of Polish Jazz musicians,
debuting in the 1950s and active on the local scene for many years. He
combined his love of Jazz and Rock, playing with the leading ensembles
of both genres with equal dedication and success. This album presents
his Hammond organ performances in two different environments: Side A of
the original LP captures him accompanied just by drummer Andrzej
Dabrowski and the duo moves through a Rocky set, which includes a
Beatles medley. Side B finds him accompanied by the Polish Radio Jazz
Studio Orchestra, led by saxophonist / composer Jan "Ptaszyn" Wroblewski
and featuring top Polish Jazz players, among them saxophonist Janusz
Muniak, bassist Bronislaw Suchanek, drummer Janusz Stefanski and many
others. This set is much closer to Jazz and features a beautiful version
of Krzysztof Komeda's ballad from "Rosemary's Baby".
Taste :
Krzysztof Sadowski - Heavy Rain From A Little Cloud
This is album of a little known album by German Jazz-Rock
ensemble Free Orbit, formed in Hamburg by vocalist / drummer Udo
Lindenberg, trumpeter Fred Christmann and American saxophonist Frank St.
Peter. The final lineup, which recorded this album, also included
vocalist Mike Brooks, trumpeter Heinz Habermann, trombonist Peter
Herbolzheimer, saxophonist Emil Wurster and bassists Hans Hartmann (who
also played the sitar) and Reiner Vogelei. There are also guitar parts
and female vocals present on the album, but their contributors remain
anonymous. The album presents ten original songs, all written or
composed or co-composed by Lindenberg and feature lyrics in English.
Contrary
to the ensemble's name or the album's title, the music has absolutely
nothing to do with Free Jazz and is all Jazz-Rock Fusion / Brass Rock
with a touch of Psychedelics and Funk, quite delightful and nostalgic.
The brass arrangements (by St. Peters) are all excellent and a bit a la
Blood, Sweat & Tears. In retrospect this is a delightful gem, almost
completely forgotten and definitely worth discovering. Apart from some
British Brass Rock ensembles, Free Orbit was one of the very few
representatives of the genre in Europe.
Το giallo(σημαίνει κίτρινο) έχει τις ρίζες του στη λογοτεχνία. Τις δεκαετίες
που ακλούθησαν το Β παγκόσμιο , κυκλοφορούσαν στην Ιταλία με μεγάλη απήχηση φτηνές
εκδώσεις αστυνομικών θρίλερ. Τα κίτρινα εξώφυλλα τους έδωσαν αυτή την ονομασία.
Οι Ιταλοί σκηνοθέτες του gialloάντλησαν από τα αστυνομικά μυθιστορήματα
του ξεχασμένου πια βρετανού συγγραφέα Εντκαρ Γουαλας , καθώς και από τα αμερικανικά
φιλμ νουάρ , μπολιάζοντας τα με τολμηρές δόσεις τρόμου η διαστροφής για να δημιουργήσουν
τις ιδιαίτερης αισθητικής αστυνομικές ιστορίες τους.
Ο Πρώτος υπεύθυνος για το ξέσπασμα που ακολούθησε ήταν ο Μάριο
Μπαβα.Τα “η κοπέλα που ήξερε πολλά” και “έξι γυναίκες για το δολοφόνο” είναι τα
πρώτα πραγματικά gialli..
Στη δεκαετία του 70 όμως δίνει τα σκήπτρα του ιταλικού σινεμά
τρόμου στον επίγονο του Νταριο Αρζεντο.. Ο Αρζεντο θα ασχοληθεί με το gialloκαι
το σπρώξει στη κορυφή με το “πουλί με τα Κρυστάλλινα Φτερά”. Αν και χρωστά πολλά
στον Μπαβα , θα εκσυγχρονίσει το είδος σκιαγραφώντας καταπιεσμένους χαρακτήρες της
διπλανής πόρτας και δημιουργώντας νέα σεναριακα μοτίβα. Μορικονε και Βιτορα
Στοραρο στη φωτογραφία ανεβάζουν σημαντικά τα στάνταρ της παράγωγης.
Οι περίτεχνοι τίτλοι , που συχνά ελάχιστη σχέση είχαν με την
ίδια την ταινία , δεν ήταν το μοναδικό κοινό στοιχείο των gialli. Αυτό που τα έκανε τόσο δημοφιλή ήταν
η γραφική βία και μ
ο έντονος ερωτισμός, με πανέμορφες γυναίκες συνήθως σε ρόλους
θυμάτων. Λαβυρινθώδη σενάρια συχνά περιείχαν αρκετές σκηνές γυμνού , σαδισμού ,
φετιχισμού η χρήσης ναρκωτικών , η τελευταία λέξη της μόδας που έντυνε τις πρωταγωνίστριες
και τα ψυχεδελικά soundtrackτων ταινιών αποτυπώνουν
την ατμόσφαιρα του 60 και του 70 το οποίο κάνει τις ταινίες πραγματικό ντοκουμέντο.
Ο Αρζεντο εμπνεύστηκε το περίφημο στιλ της Σουσπίρια από πολλές
ταινίες κυρίως εκείνες του γερμανικού εξπρεσιονισμού. Τα χρώματα απτο Η Χιονάτη και οι Επτά Νάνοι (1937) του Ντίσνεϊ.
Αν και το σύστημα της Technicolorείχε αποσυρθεί (λόγο της χρονοβόρας και ακριβής επεξεργασίας
του φιλμ) , ο Αρζεντο κατόρθωσε να χρησιμοποιήσει ένα μηχάνημα που είχε παραμείνει
στη Ρώμη.
Αν και η φωτογραφία αποτελεί το ένα από τα δυο σημαντικότερα
στοιχεία που συνέβαλαν στην επιτυχία της Σουσπίρια , το άλλο ήταν σίγουρα η μουσική
της.
Θεωρήθηκε από πολλούς το κορυφαίο σημείο της δισκογραφίας
των Goblinκαι ένα απ τα καλύτερα soundtrackπου γραφτήκαν για ταινία τρόμου.
*Οι Στεφανία Καζινι περιγράφει τη σκηνή του θανάτου της ως πραγματικό
εφιάλτη, καθώς μέχρι το γύρισμα δεν γνώριζε με ποιον τρόπο θα πέθαινε.. Όταν έφτασε
η ώρα , είδε το δωμάτιο γεμάτο από ρολά σύρματος , ενώ ο Αρζεντο την παρότρυνε
να πέσει μέσα σε αυτά και απλώς να προσπαθήσει να κινηθεί.
Υπακούοντας , ανακάλυψε ότι δεν μπορούσε να κινηθεί και ότι όσο
προσπαθούσε , τόσο περισσότερο μπλεκόταν , κάτι που έκανε την εμπειρία πραγματικά
οδυνηρή για εκείνη. Η σκηνή γυρίστηκε μονάχα μια φορά….
* Η Τζέσικα Χαρπερ (πρωταγωνίστρια) απέρριψε έναν απ
τους δευτεραγωνιστικους ρόλους στο Νευρικό Εραστή του Γουντι Άλεν για να πρωταγωνιστήσει
στο Σουσπίρια.
*Τα πόμολα στις πόρτες της σχόλης είχαν τοποθετηθεί στο ύψος
του κεφαλιού των κοριτσιών μόνο και μόνο για να δείχνουν μικρότερες ηλικιακά.
* * Οι περιπέτειες με την λογοκρισία δεν υπήρξαν τυχαίες ,
και ήδη από την δεκαετία του 80 η Σουσπίρια ήταν δυσεύρετη στην αυθεντική της μορφή.
An early 80's soul classic taken from the Philadelphia group's
self-titled 1981 debut album. The B-side is an instrumental cut "MT.
AIRY GROOVE" taken from their 1982 sophomore album "WE ARE ONE"
Alfonso Carlos Santisteban (Madrid, 1943 - Málaga, 2013) was
a Spanish film soundtracks and library music composer, arranger,
producer and orchestra leader.
Focused on lounge and easy listening and on Soul-Jazz Funk,Bossa Nova, Pop & Psychodelic. He composed soundtracks to over 100 movies.
This psych-tinged German crew are best-known for the 1971 progressive
masterpiece Schmetterlinge ('Butterflies'), but their 1970 debut was
just as good. Confusingly released as Overground in Germany, as
Turbulence in the UK and as Joy Unlimited in the United States, it's a
superb blend of psychedelia, funk and pop, boasting the powerhouse
vocals of Joy Fleming, an array of guitar and organ textures and breaks
and samples galore.
Oby Onyioha has a very 80s look on the cover – and the album's got a
strong 80s sound, too – almost in the hipper spectrum of underground
soul on the New York scene during the post-disco generation! The best
cuts are the groovers – like the snapping title cut and a few others,
which almost seem to pick up on a roller skating vibe in the rhythms –
creating this cool, bubbling groove that only gets better when Oby lays
her sweet vocals over the top!
She Is My Woman is Murphy William’s loose, funky and spontaneous call to
the dance floor. It’s an infectious collection of good-time tunes that
the band seem to be enjoying as much as the listener. Williams was a
stalwart of the Nigerian music scene, joining Godwin Omabuwa’s Cassanova
Dandies at 17 before becoming one of the two lead vocalist of The
Apostles from Aba. He was famous for his distinctive four octave voice, a
voice that legendary label boss, Godwin Tabansi decided was perfectly
suited to the new disco sound that was gripping Nigeria. The title track
gets the party started with Felix Liberty providing the good-time
guitar riffs, Friday Pozzo on congas and Sonny Enang keeping it light on
keyboards. The vibe is tight and bright, breathy a breezy charm into
disc-tied versions of Igbo folk songs ‘Selense’ and ‘Ima Obi O.’ The
undoubted highlight of the album is ‘Get On Up’, a certifiable disco
classic that would slay any dance floor anywhere in the world. It’s
funky, it’s fun and by the time the lyrics implore the listener to get
on up and dance their feet have already been convinced by the music. Put
it on and it’s guaranteed to get any party started. - Peter Moore
In November 1970 he recorded his first album in Paris, “Un Autunno a
Parigi”, with Jacky Samson on bass and Charles Saudrais on drums. His
second LP “At the Living Room” was recorded three years later, also in
Paris, in trio with Samson and Saudrais.
During those years his fame spread rapidly throughout Europe; Di Marco
performed on French and Italian radio and television stations, and
participated in many important international jazz festivals.
Their name may be a mouthful, but the Black Children Sledge Funk Band
have a groove that's nice and lean – a wicked blend of basslines,
percussion, and lots of riffing guitar – plus these very cool keyboards
that wander over the grooves and give the whole thing a sweetly spacey
vibe! These guys are definitely on the sharper side of the Afro funk
spectrum – and occasionally have some trippy elements in their music –
especially when the vocals come together from the group members, which
creates a heady quality that lives up to the album's great cover image.
Taste :
Black Children Sledge Funk Co. Band - In Search Of Yesterday
Slightly
off-kilter, and pleasantly so, Formation 60 was compiled by Jazzanova,
representing a unique blend of Latin influenced bossa induced bop, jazz
waltzes and other swinging numbers from the former German Democratic
Republic … of all places. I know this sounds unbelievable, but European
jazz was and is far more reaching in scope and depth than most people,
even jazz aficionados, have ever dared to dream. The work found here is
ambitious, possessing a lyrical language that is rewarding, seeming
almost designed to exist in the moment, as if these artists had an
inkling that their sound was being presented for those in attendance,
while perhaps dreaming that the curtains would one day be pulled back to
shed a bit of light onto what was being laid down in parts of the world
that for many years were shrouded in mystery.By R. Kesler
Flee is an album by British blues rock musician Jeremy Spencer credited as "The Jeremy Spencer Band" (composed of members of the Children of God new religious movement), with particularly strong input from Michael Fogarty. Spencer had been a member of Fleetwood Mac
from 1967–71, and this 1979 release was Spencer's third album apart
from Fleetwood Mac, and his second recorded while a member of the
Children of God.
The album features a heavy disco production treatment given to the songs on Side 1, which Spencer was very unhappy with. "Sunshine" was a reworking of "When I Looked to See the Sunshine" from the Jeremy Spencer and the Children album of 1972.
"Cool Breeze" and "Travellin'" were issued as singles in various
territories, and "Cool Breeze" charted at Number 21 on the U.S.
Billboard Adult Contemporary Charts, although the album was not a
commercial success.
A really wonderful trio, and one who are very different than some of the
more familiar underground boogie and club acts of their time – as
Twylyte 81 seem to be going for a much deeper, more sophisticated style –
one that resonates with some of those really unique 70s artists who are
beyond definition or easy comparison – like James Mason, Terry Callier,
Jon Lucien, or Potter & Tillman! Lead singer Frank Jones Jr
definitely has a vocal range that runs as deep as Lucien – but the
instrumentation and approach to the music is very much its own thing,
too – drums, timbales, and percussion layered with electric bass,
acoustic guitar, and piano – all on music that's filled with righteous
spirit and positivity!
