#[1]ORGY IN RHYTHM - Atom [2]ORGY IN RHYTHM - RSS IFRAME: [3]http://www.blogger.com/navbar.g?targetBlogID=23242779&blogName=ORGY+ IN+RHYTHM&publishMode=PUBLISH_MODE_BLOGSPOT&navbarType=BLACK&layoutType =LAYOUTS&searchRoot=http%3A%2F%2Forgyinrhythm.blogspot.com%2Fsearch&blo gLocale=en_US&homepageUrl=http%3A%2F%2Forgyinrhythm.blogspot.com%2F [4]skip to main | [5]skip to sidebar ORGY IN RHYTHM [6]JAZZ HIP TRIO - JAZZ EN RELIEF Jazz Hip Trio for Riviera France from 1967. Jean-Bernard Eisinger Piano ; Roger Luccioni Bass ;Daniel Humair Drums. More beautiful music from France on this the first Jazz Hip Trio LP. "Orange Boom" was the big tune back in the day but the rest is just fabulous. Needless to say.....All Killer No Filler Another first in public blogland here at OIR. [7]17 comments made-how about you? 12.1.10 [8]MAL WALDRON - TOKYO BOUND Mal Waldron for RCA Victor Japan from 1970. Mal Waldron-Piano;Takeshi Inomata-Drums;Yasuo Arakawa-Bass Tremendous all killer trio date with Waldron joined by a top flight Japanese rhythm section on four original compositions which only saw a release in Japan.Check out the rocking intensity of "Rock One For Jimbo San" and "Japanese Island" which builds from an ominous brooding intro into a marvellous modal waltz."Atomic Energy" blows up with a headlong banging vamp from Waldron's left hand while the right runs all over the keys and then to close "Mount Fujiyama" a more introspective rumination and dissection of the tune's theme. Inomata's drumming is a revelation throughout the session intricate yet swinging with fantastic use of cymbals.(Don't forget to check out Inomata's Sound of Sounds lp also recorded in 1970 which I posted [9]here during the summer) Respect to El Goog for introducing me to this great album.I finally picked a copy up from Japan via ebay last month - not cheap but worth every penny. Very highly recomnmended. [10]37 comments made-how about you? 20.12.09 [11]THE HERBIE HANCOCK TRIO Herbie Hancock for Sony Japan from 1977. Herbie Hancock-Piano;Ron Carter-Bass;Tony Williams-Drums The big three keep it strictly acoustic for this Japanese only release from CBS Sony. 4 originals from Herb plus a rapid romp through "Milestones"...tough stuff. The first V.S.O.P. tour triggered a flood of recording activity in July 1977, but only a fraction of it was released in the U.S. This session, recorded in San Francisco just days before the Quintet concerts in Berkeley and San Diego, finds Herbie Hancock, Ron Carter and Tony Williams mixing it up sans the horns and the results are more reflective and cerebral than the full Quintet concerts. Hancock is thoroughly in control of the agenda while Williams throws in those meter-fracturing flurries that keep everyone on their toes. There is a startling re-interpretation of "Speak like a Child" which is significantly tougher and busier than the wistful Blue Note version, as well as challenging Hancock originals like "Watcha Waiting For" and "Watch It." This is uncompromising acoustic jazz, commercial anathema in the electronic '70s -and thus, only Japan got to hear it. Richard S. Ginell. [12]16 comments made-how about you? 13.12.09 [13]JAZZ HIP TRIO - PORTRAITS Jazz Hip Trio for Riviera France from 1968. Jean-Bernard Eisinger Piano ; Roger Luccioni Bass ;Daniel Humair Drums. Piano trios are the theme for my the next few posts and what better way to start than with some beautiful music from France on it's first time out in blogland here at OIR. 10 original compositions which grow and grow on repeated listening - get past the "Sidewinder" influenced dance floor intro tune "Bat Rock" and you're in for a swinging set of subtle trio sounds.Of course it's gotta be...... All Killer No Filler [14]23 comments made-how about you? 6.12.09 [15]THE DIAMOND FIVE - BRILLIANT ! The Diamond Five for Fontana from 1964. Personnel: Cees Slinger: piano; Harry Verbeke: tenor sax; Cees Smal: trumpet, cornet and valve trombone; Jacques Schols: bass; Johnny Engels: drums. Please check the comments as Chazz has also ripped The Five Diamonds-Finally After Forty Years cd reissue from Japan and will be posting the link shortly.Over to you Chazz! I don't post donations at OIR but just had to make an exception when this was winged across the pond to me from Chazz Katz.It's a very rare piece of hard bop from Holland which made a blink and miss it reissue on cd some years ago in Japan (original vinyl goes for silly money anywhere between $600-$1000) and has never appeared in blogland before.Here's the notes and cheers to Chazz for his rip! Nice work chap - All Killer No Filler! The Diamond Five, a Dutch quintet led by pianist Cees Slinger, was founded in 1959 and lasted until 1965. They were based at the Sheherazade Club in Amsterdam and were quite popular, playing all over Holland and accompanying expatriate American musicians on their visits to Amsterdam. However, when the club closed its doors due to a shift in popular interest from jazz to rock music, the quintet disbanded. This 1964 recording is their only session available on CD. The music is hard bop on the surface, but is neither formulaic nor a copy of the genres imported from the U.S. The musicians are quite unique in their style. Slinger plays sparse notes on his solos, utilizing well-placed pauses in the music to create melodic hard bop with hints of more forward-looking styles. The other outstanding soloist is tenor saxophonist Harry Verbeke, whose solos (in contrast to that of the leader) are filled with a multitude of notes played in the modal vein. The others are also quite stellar, the bass and the drums providing a loose bluesy support and horn man Cees Smal adding something unique with the sounds of his different horns, switching between valve trombone, cornet and trumpet. [16]26 comments made-how about you? 26.11.09 [17]BOBBY HUTCHERSON - CIRRUS Bobby Hutcherson for Blue Note from 1974. Hutch is playing four sets in London this weekend so Katonah from Private Press and I will be propping up the bar for his late spot at Scotts tomorrow night. So here's a 3rd repost for his evergreen "Cirrus" ....All Killer No Filler. This was my very first Bobby Hutcherson post here at OIR back in may 2006.It was ripped from my vinyl copy @192 in those days-I've reupped it @320 this time and taken it from the superb Mosaic Select box set.Here's my original narrative: Cirrus finds Bobby Hutcherson resuming his partnership with tenor saxophonist Harold Land, and the results are marvellous. The pair work with pianist Bill Henderson, trumpeter Woody Shaw, bassist Ray Drummond, drummer Larry Hancock, saxophonist/flautist Emmanuel Boyd and percussionist Kenneth Nash on this set of originals.The album starts with a great version of Woody Shaw's "Rosewood" while the rest of the set is written by Hutcherson and includes "Even Later".Highlight of the lp for me is the atmospheric and brooding "Zuri Dance" - what a corker ! [18]36 comments made-how about you? 13.11.09 [19]DAVE PIKE - LET THE MINSTRELS PLAY ON Dave Pike for Muse from 1978. Vibraphone - Dave Pike / Bass - Luther Hughes / Cello - Luther Hughes / Drums - Ted Hawkes / Guitar - Ron Eschete / Keyboards , Sax - Tom Ranier / Vocals - Carol Eschete. KGML has just posted "Spirits Samba" so dug the lp out for those who would like to hear more. Picked this up in Tony Monson's Disc Empire in the early 80s after hearing Chris Bangs spinning "Swan Lake" and found it had yet another bona fide jazz dance classic to be featured in the shape of "Spirits Samba". Here's an apathetic review from amg: Some Afro-Latin, some fusion and things in between from vibist Dave Pike. Pike is a good player, but sometimes his arrangements bog down between pop and jazz. His style is more remniscent of Red Norvo, with its lighter, less aggressive and flowing lines. [20]12 comments made-how about you? 12.11.09 [21]RANDY WESTON - BLUE MOSES Randy Weston For CTI from 1972. Arranged By - Don Sebesky;Bass - Bill Wood (2) (tracks: B1) , Ron Carter ;Drums - Bill Cobham ;English Horn, Clarinet, Flute - George Marge ;Flugelhorn - Alan Rubin , John Frosk , Marvin Stamm ;Flute - Hubert Laws ;French Horn - Brooks Tillotson , James Buffington ;Oboe, Clarinet, Flute - Romeo Penque ;Piano - Randy Weston Saxophone [Tenor] - Grover Washington, Jr ;Synthesizer [Moog] - David Horowitz Trombone - Garnett Brown , Warren Covington , Wayne Andre ;Trombone - Paul Faulise Trumpet - Freddie Hubbard ;Vocals - Madasme Meddah Super heavyweight banger from CTI - trust Randy Weston to dispense with Creed Taylor's saccharine stylings.All Killer blah blah blah.... Another underwhelming review from Mr Yannow: Randy Weston's most popular record, this Lp (which he had mixed feelings about) features Weston not only on piano but electric keyboards. Backed by Don Sebesky arrangements and assisted by trumpeter Freddie Hubbard and tenor-saxophonist Grover Washington Jr., Weston plays quite well on four of his compositions; best-known are "Ganawa (Blue Moses)" and "Marrakesh Blues." The music retains the African feel of most of Weston's latter-day playing but also has some commercial touches that do not hurt the performances. This rewarding date has not yet been reissued on CD. ~ Scott Yanow, All Music Guide Fantastic cover art from Pete Turner - I highly recommend his book[22] here. [23]16 comments made-how about you? 7.11.09 [24]BLACKCLASSICAL - 1ST BIRTHDAY MEGAMIX Blackclassical has taken off his flat cap ,put the racing pigeons away and is celebrating his first year on t'interwebs with a mighty mp3 mash up of spiritual jazz goodness[25] here.Proof indeed that it's not all grim up north. Happy Birthday you old bastard - now get the lagers in and make sure they've got vodka tops you tightarse. [26]3 comments made-how about you? 6.11.09 [27]TUBBT HAYES - TUBBS IN N.Y. Tubby Hayes for Fontana from 1961. Saxophone [Tenor] - Tubby Hayes; Bass - George Duvivier; Drums - Dave Bailey ;Piano - Horace Parlan ; Trumpet - Clark Terry;Vibraphone - Eddie Costa Another first in blogland for this British vinyl rarity at OIR with Tubbs keeping heavy company in NYC . Apparently there was legal wrangling about who owns the masters so don't hold your breath waiting for a cd issue.The last one got pulled pronto upon release in 1990. The swaggering "A Pint Of Bitter" was my very first exposure to Hayes back in the early 80s - I just love that tune - but the rest is just as good with flat out romps through "Opus Ocean" and "Airegin" plus a wonderfuly swinging "Soon" . Nice! [28]26 comments made-how about you? 31.10.09 [29]TUBBY HAYES QUARTET - TUBBY'S GROOVE Tubby Hayes for Tempo from 1960. Tubby Hayes (ts), Terry Shannon (p), Phil Bates (b), Phil Seamen (d). "Tin Tin Deo" killin' it every time for me on this rare piece of British wax from 50 years ago. Simon Spillet has written a fascinating piece on Tubby at[30] Jazzscript and here's his take on this album: I think it's one of Tubby's best ever studio recordings and catches him very much in his prime. I suppose that the stand-out track for me has to be Sunny Monday with its unaccompanied tenor choruses. The tone is big, the rhythmic delivery is full of confidence and the sheer enthusiasm shines through half a century on. [31]23 comments made-how about you? 30.10.09 [32]STAFFAN ABELEEN QUINTET -PERSEPOLIS Staffan Abeleen for Philips Sweden from 1964. Staffan Abeleen-Piano ; Lasse Farnlof - Trumpet ; Bjorn Netz - Tenor ; Bjorn Alke - Bass ; Bosse Skoglund - Drums More top draw business from Sweden making a first appearance in blogland.Modal to bossa to ballads this one's got the lot: ALL KILLER NO FILLER [33]15 comments made-how about you? 15.10.09 [34]BERNT ROSENGREN BIG BAND - FIRST MOVES Bernt Rosengren for EMI Sweden from 1977. Bassoon, Horn - Lars Bagge/Clarinet, Clarinet [Bass], Saxophone [Soprano, Alto, Baritone] - Lennart Jansson /Congas - Johnny Martinez , René Martinez , Sabu Martinez Cornet , Flugelhorn - Lars Färnlöf /Drums - Leif Wennerström/Flute, Saxophone -Bernt Rosengren /Horn [English], Saxophone - Tommy Koverhult / Percussion - Okay Temiz / Piano - Claes-Göran Fagerstedt / Piano, Piano [Electric] - Bobo Stenson / Saxophone [Baritone] - Gunnar Bergsten / Saxophone [Tenor] - Anders Lindskog / Trombone - Jan Jansson , Janus Miezek , Lars Olofsson , Lennart Löfgren / Trombone [Bass] - Sven Larsson /Trumpet - Björn Borg /Trumpet , Flugelhorn - Bertil Lövgren , Maffy Falay / Bass - Torbjörn Hultcrantz Back over to Sweden for this killer big band session led by Bernt Rosengren and featuring some big names such as a pre-ECM Bobo Stenson,the wonderful Lars Farnlof and none other than the mighty Sabu Martinez. Check out the percussion destruction of "Felicidade" with Sabu plus sons Johnny and Rene Martinez beating the crap out of the Jobim bossa standard... Murdah!!! [35]19 comments made-how about you? 1.10.09 [36]JAZZ QUINTET 60 Jazz Quintet 60 from 1962 for Metronome Denmark. Allan Botschinsky (tp), Niels Husum (ts), Bent Axen (p), Niels-Henning Orsted Pedersen (b), Bjarne Rostvold (ds). Legendary Scandinavian rarity (Check the second mortgage prices on [37]Popsike) from Denmark featuring a who's who of the Danish Jazz scene from the past 50 years. First time it's has been posted in public blogland so don't sleep on this one : ALL KILLER NO FILLER ! [38]27 comments made-how about you? 27.9.09 [39]STAFFAN ABELEEN QUINTET - DOWNSTREAM Staffan Abeleen Quintet for Philips Sweden from 1966. Staffan Abeleen - Piano ; Lasse Farnlof - Trumpet ; Bjorn Netz - Sax ; Bosse Skugland - Drums ; Paul Danielsson - Bass. All compositions by Lars Farnlof Scandinavia is the destination for my next batch of posts and what better way to start than with this superb album by The Staffen Abeleen Quintet playing the compositions of the wonderful Lars Farnlof. Another first appearance in blogland but let the music do the talking ... ALL KILLER NO FILLER [40]15 comments made-how about you? 19.9.09 [41]ARCHIE SHEPP & THE FAMILY OF PERCUSSION - HERE COMES THE FAMILY I have had lots of requests for a repost of this bomb from Archie Shepp and The Family of Percussion - so here it is. First posted at OIR september 2006. The Family of Percussion (Peter Giger,Trilok Gurtu,Doug Hammond and Tom Nicholas)are joined by Archie Shepp on this hard to find 1980 release from Nagara in Germany. On "Here Comes the Family"the Family establish the basic form of the piece with their rhythmic and vocal opening with Shepp's flute fluttering above it all.Then he lets rip with what the liner notes call 'Poetic Recitation'but would probably be called rapping these days over a funky percussive backdrop .This tune is why the lp remains in such demand - a big play list favourite of djs world wide. Next up is Shepp's "Street Song" the best cut on the lp for me,on which he blows his tenor freely over the drums,congas,bells and gongs.The piece ends in a crescendo of percussion culminating in a gong crash which fades into silence."Euterpe's Favorit"has Shepp back on flute with the family weaving a mystical feel behind him on bells,whistles,water pipes,gongs,rattles and drums. "Ardopetori"starts side 2 with a mid tempo infectious rhythm established by shakers and log drum which builds slowly with Shepp soloing freely again on tenor. "For Ti Roro"wraps it up and begins with the gentle,caribean sounds of steel drums until Shepp's soprano bursts in with a frenzy of excitement.This is the most free track with all the musicians reacting to each otherboth collectively and singularly until it finishes fittingly with the sound of the congas. This came out on lp and cd but quickly dissapeared without trace.if you want a copy you gonna have to dig hard and have deep pockets! [42]18 comments made-how about you? [43]HIROSHI SUZUKI - CAT Hiroshi Suzuki for Columbia Japan from 1975. Hiroshi Suzuki-Trombone ; Hiromasa Suzuki-Keyboards ; Akira Ishikawa-Drums ; Takeru Muraoka-Sax ; Kunimitsu Inaba-Bass More super rare J Jazz making a first appearance in blogland and this is an absolute beauty made up of 5 long cuts that hit the perfect balance between jazz and fusion.Acoustic bass meshed with subtle funky drums topped with lashings of Rhodes,trombone and sax deliver a really stretched out understated rolling groove. The album just grows and grows with repeated listening and it's a big favourite over here at Bacoso's Big Top - no surprise that it's ALL KILLER NO FILLER ! [44]34 comments made-how about you? 7.9.09 [45]T. INOMATA & SOUND L.T.D. - SOUNDS OF SOUND L.T.D. Takeshi Inomata for Columbia Japan from 1970. Takeshi Inomata (Drums & Percussion) Jun Suzuki (Electric Bass) Shigetok Kamiya (Electric Guitar) Ryo Kawasaki (Electric Guitar) Sho Imai (Trombone & Bass Trombone) Shigemichi Dohmoto (Trombone & Bass Trombone) Takao Uematsu (Tenor Sax & Soprano Sax) Fantastic lp of funky jazz from the Columbia issued Groovy Sound Series. No idea who plays on it as the credits are all in Japanese but it's a monster session. Check out "Mustache" and "Tak's Tune" for some severe beats from drummer/leader Takeshi Inomata. All Killer No Filler - Highly Recommended! [46]22 comments made-how about you? 29.8.09 [47]HIDEO SHIRAKI - IN FIESTA Hideo Shiraki for Teichiku Japan from 1961. Rare super tough hard bop session from Japan featuring the killer koto led and drum driven bomb "In Fiesta". Reissued in Japan by Kyoto Jazz Massive for Think in a blink and miss it moment back in 2005 but now out of print. The old Dusty Groove blurb: A brilliant early album from Japanese drummer Hideo Shiraki a jazz session that bristles with the same intensity as key late 50s work by Benny Golson or Gigi Gryce! Although Hideo's leading the group on drums, his work on the kit is remarkably subtle done with the snappingly rhythmic style that marked some of Golson's best modern experiments of a few years before not nearly as bombastic as his stint with Art Blakey, and more in the rhythmically stepping quality of his work with Art Farmer in the Jazztet. Key players on the session include Hidehiko Matsumoto on tenor and flute and Yuzuru Sera on piano both of whom give the album a fluid grace that's really beautiful soulful edges that allow the record to stand equally next to anything coming out of the US at the time. One track features a bit of koto at the start -- echoing Shiraki's later world jazz experiments but most of the set is straight modern hardbop, with tracks that include "Blue Romeo", "Etude No 1", "Just One Or Eight", "You Don't Know What Love Is", and Benny Golson's "Five Spot After Dark". [48]14 comments made-how about you? 18.8.09 [49]LLOYD MCNEILL - TREASURES Lloyd McNeill for Baobab from 1976. Lloyd McNeill-Flute ; Dom Salvador-Piano ; Cecil McBee-Bass ; Portinho , Brian Brake-Drums ; Ray Armando-Percussion. One for the flute freaks on a private press out of NYC. Heavy Brazilian infuences at work on this wonderful spiritual jazz session from the great Lloyd McNeill.Two originals,one standard and a cracking version of Salvador's "Salvation Army" which featured on Dom's '76 Muse debut "Minha Familia"(Available at [50]Ile Oxumare). Here's some info on Lloyd McNeill from the excellent [51]Hipwax: The first thing to know about Lloyd McNeill is that his are the very best soul-jazz flute LPs, and each is first-rate, a masterpiece of self-direction. The second thing to know is there is much more to him than his recorded legacy. He is one of those incredible, super-sensitive people who excels at every artistic idiom and endeavor; making wonderful music is just part of his flowing creativity. A professor (at Rutgers University, earlier Dartmouth), he has much to say about music and creativity as well as an impeccable gift for saying it...sensibly. McNeill's writings on his musical experiences provide invaluable documents of "the period" (late 1960s-1970s) as well as a rare glimpse at the joy of a relatively unsung master. McNeill has played with jazz legends --Andrew White (his longtime collaborator/producer), Eric Dolphy, Sabu Martinez, Mulatu Astatke, among many others-- and he has had a significant hand in the arts scene of Washington, D.C. The major galleries of art, including those of the Smithsonian, sponsored multi-media "happenings" that soared far above the hippie caricature of acid rock with light show. During the first flowering of post-Civil Rights, African-American culture, the Lloyd McNeill Quartet's improvisitory, simultaneuous jazz and large-scale painting "happened" while a lucky, perhaps unsuspecting public drank it in. McNeill believes his influences and their results in his art, music, and poetry are inseparable and mutually reinforcing. Time spent with Picasso in Cannes, 1965 led to new expressions in all three, for instance. And when one brushes against a force such as Picasso, just the idea of "meeting Picasso" has a certain momentum, never mind the inevitable casting of rays of a different kind of light. Canvas, vinyl, the stage, paper, and books of poetry offer a few key imprints of McNeill, and McNeill consistently pays tribute to many illustrious peers. There are six albums, all produced and entirely under the artist's control. Each title surpasses anything comparable on the major labels, even Blue Note. The Black Jazz label may be roughly similar in style, but Asha and Baobab are wholly Lloyd McNeill. The records reflect none of the usual external trends from the decade in which they were recorded; all sound like 1971 rather than 1979. The final record even reprises the first (the exotic, broodingly moody "Asha"), and the sound throughout remains somewhat interchangeable and timeless. But each record has its own themes and currents, and even improvisation has its signatures and fingerprints. Buying: Long out of print, collectors items, Lloyd McNeill records should be snapped up on sight. Hip Wax is pleased to offer two titles for which limited stock remains [52]here. Warning - McNeill lps can be damaging to the [53]wallet. [54]29 comments made-how about you? 14.8.09 [55]If Spike Lee Did Movies In Audio... Greg's back on the mix with his old mucker Monohub - another mashed up bomb in memory of Coltrane and the late,great George Russell.Grab it [56]HERE. Here's the blurb from big daddy himself: I did a version of this a while back and was planning to publish on July 17th as a memorial to the day that John Coltrane died, but, a combination of lack of time, work commitments and other things got in the way... Anyway I redid it and am glad that i did as it's much better than the original. This one strictly for the heads... and defo not for the feint hearted. If you liked the Black State of Vietnam mix then this is for you... So as i said; In respect of John Coltrane and George Russell. Much thanks to Monohub too although he plays down his part in this, his genius did have a lot to do with it... [57]1 comments made-how about you? 3.8.09 [58]SADAO WATANABE AND CHARLIE MARIANO - IBERIAN WALTZ Sadao and Charlie for Tact Japan from 1967. Sadao Watanabe (as) , Charlie Mariano (as) , Masabumi Kikuchi (p) , Masanaga Harada (b) , Masahiko Togashi (ds) , Fumio Watanabe (ds) This received a "Japan Jazz Award" on release. Some severe blowing on this double alto led sextet featuring a young band of soon to be Japanese jazz luminaries. The fast and furious "Palisades" was comped on the Sleepwalker Shibuya Jazz Classics.However the 16 minute title cut is the stand out tune an intense modal waltz with a Spanish tinge featuring coruscating solos from Mariano and Watanabe - hard core stuff. Recommended. [59]16 comments made-how about you? 28.7.09 [60]JAMES MARENTIC SEXTET - NIMBUS James Marentic for Discovery from 1982. James Marentic-Sax/Flute; Tom Harrell -Trumpet/Flugelhorn; Slide Hampton-Trombone; Larry Willis-Piano; Anthony Cox-Bass; Victor Lewis-Drums. Storming post hard bop outing for Mr Marentic and his all star band. Check out the banging latin romp "Baile de las Cucharachas " which kicks off the lp in fine style and the Coltrane inspired "Nimbus". "Aphrodesia" has the inspiration of Kenny Dorham stamped all over it and no prizes for guessing who "Mr Silver I Presume" is aimed at If you enjoyed Tom Harrell's "Aurora" post then this should be right up your street,round your corner and down your block! [61]8 comments made-how about you? 23.7.09 [62]CARTER JEFFERSON - THE RISE OF ATLANTIS Carter Jefferson for Timeless from 1978. Terrific post bop album with latin influences -All Killer No Filler! John Hicks (Piano), Terumasa Hino (Trumpet), Woody Shaw (Producer), Clint Houston (Bass), Victor Lewis (Drums),Carter Jefferson (Sax ), Lani Groves (Vocals), Shunzo Ohno (Trumpet), Steve Thornton (Percussion), Harry Whitaker (Piano) Here's the customary underwhelming AMG review : Tenor saxophonist Carter Jefferson made somewhat of a name for himself when trumpeter Woody Shaw chose him as a member of his first working quintet. Shaw is the producer of this album, Jefferson's fine debut (and evidently only) recording as a leader. Taking a cue from Shaw, the saxophonist sticks essentially to a quintet of trumpet and sax backed by all-star rhythm sections. Three of the tracks include hard bop trumpeter Terumasa Hino while the other three feature little-known Japanese trumpeter Shunzo Ono. Most of the tunes are firmly in the school of hard bop, the sort of music that Woody Shaw played so well. While there is not any new ground broken, it is all performed competently enough. While not as emotionally charged as his work with Shaw, Jefferson impresses with a fluid, mobile attack that shows a solid grasp of his material. If the groups seem to be sometimes merely going through the motions, there are nonetheless enough fine moments to make this a worthwhile purchase.AMG. A reliable and advanced soloist who spent most of his career as a sideman, Carter Jefferson is best-remembered for his association with Woody Shaw during 1977-1980. Jefferson started on clarinet and played alto before settling on tenor, going on tour early in the backup bands of the Temptations, the Supremes, and Little Richard. In 1971, he moved to New York to attend New York University and soon spent two years with Mongo Santamaria and a period in 1973 as a member of Art Blakey's Jazz Messengers. After his important stint with Woody Shaw (with whom he recorded several times), Jefferson worked with many top players, including Elvin Jones, Roy Haynes, Cedar Walton, Jerry Gonzalez & the Fort Apache Band, Malachi Thompson, and Jack Walrath's Masters of Suspense. His premature death in Poland after emergency surgery was a major loss. Carter Jefferson only led one record, The Rise of Atlantis, on the Timeless label in 1978. AMG. [63]33 comments made-how about you? 10.7.09 [64]JULIO GUTIERREZ - PROGRESSIVE LATIN Julio Gutierrez for Gema from 1960. The title says it all for this groundbreaking heavyweight descarga session...Highly recommended. Has anyone out there got a copy of Gutierrez's "Havana BC" they want to sell me?If so leave me a message in the comments. Progressive Latin should be considered a classic of Latin jazz if it isn't already. "Cosa Buena" cooks, and "Closing Time" is a slower bossa nova with flute and horns that captures the mood of a good night out at its end. "Yambambe," an Afro rhythm behind mostly piano, sounds more sophisticated than its simple construction. "El Altiplano" is supposed to be an Incan melody with Afro elements. In any case, vocal interjections pave the way for a longer descarga where a variety of intriguing elements (horns, flute piano, even organ) work together in their own weird ways and combinations. The "Route 66" theme arrangement is a coup; the sax and flute are recorded gorgeously, and the piano and conga pace it ideally, with brief drum solo breaks. "Sad City" is a haunting flute piece, while "Guantanamera" has an interesting change but there is only so much one can expect from this tune. "Malaguena" is another long descarga that gets a little wild. Progressive Latin is something of a masterpiece from the great arranger Julio Gutierrez. Tony Wilds What impressed me most about this album is Julio's use of space and the length of the tunes, considering that in the era when it was recorded, 2 1/2 minute tunes were standard. Great musicians like El Negro Vivar (trumpet) and Chombo Silva (sax) were able to beautifully stretch out over an almost post-bop/Afro-Cuban jazz setting. There is some serious blowing on this disc. This is another essential Latin jazz gem from the late 50s/early 60s. Jose Rizo [65]22 comments made-how about you? 4.7.09 [66]Older Posts Subscribe to: [67]Posts (Atom) JAZZ - LATIN - SOUNDTRACKS . RARE - OBSCURE -DELETED . ALL RIPS @ 320 FROM ORIGINAL VINYL OR CD. JAZZ - LATIN - SOUNDTRACKS . RARE - OBSCURE -DELETED . ALL RIPS @ 320 FROM ORIGINAL VINYL OR CD. 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