Gato Barbieri - Bolivia (1973)

In 1973, Argentinean saxophonist Gato Barbieri contemplated a move to a more commercially viable, accessible sound, one that appealed to both North and South American audiences. He moved from the jazz vanguard toward it's exotic center (and finally into the commercial world altogether) with a number of records, including this one, which explored the various rhythms, melodies, and textures of Afro-Cuban and Latin American sounds. Bolivia features Barbieri immediately prior to his Impulse recordings that resulted in the celebrated four-chapter Latin America series. Utilizing the talents of musicians as diverse as guitarist John Abercrombie, pianist Lonnie Liston Smith, drummer and percussionists Airto Moreira, M'tume, Bernard "Pretty" Purdie, Gene Golden, and Moulay Ali Hafid, as well as bassists Stanley and J.F. Jenny Clark. Barbieri's musical reach is everywhere here. There's the bolero-like romp of "Merceditas," where his normally raw-toned, feeling-centered playing is kicked up a couple notches into a frenetic, emotional tidal wave, and the haunting "Bolivia," full of shimmering percussion and pianistic glissandi courtesy of Smith. Barbieri's loping, spare playing is reminiscent of Coltrane stating of the melodic frames in "India." There is also the melody of the traditional "Eclypse" wedded to a gorgeous, sensual Cuban son-like melody "Michellina" (for Barbieri's Italian born wife). The final two of the album's five tracks are based in Argentinean folk forms associated with the tango, but are less formal, more open, and modally charged. Setting both "Niños" and "Vidala Triste" in minor keys with open modal themes, improvisation happens -- á la Ornette Coleman -- in the heart of the melody, despite the intricate nature and complex time and key changes inherent in both tunes. Ultimately, Bolivia is a sensual, musically adept, and groundbreaking recording, which offered Barbieri a chance to come in from the avant-garde before heading back to the fringes with the Latin America series. A fine effort that is finally getting the notoriety it deserves. ~ by Thom Jurek, AMG. 

Flying Dutchman, FD 10158, 1973
RCA Victor/BMG Music, 74321851472, 2001
Recorded 24th and 25th November, 1969 in New York City 

Musicians:
Gato Barbieri - Tenor Saxophone (#1-4), Flute (#3,5), Hands (#3,5), Vocals (#3,5)
Lonnie Liston Smith - Piano (#1-5)
John Abercrombie - Acoustic Guitar (#3,5), Electric Guitar (#1)
Jean-François Jenny-Clark - Bass (#1,2b)
Stanley Clarke - Bass (#2a,3-5)
Bernard "Pretty" Purdie - Drums (#1)
Airto Moreira - Drums (#2-5), Percussion (#1)
James M'tume - Congas (#1,2b-5)
Gene Golden - Congas (#2a)
Moulay "Ali" Hafid - Dumbeg (#4) 

Tracks:
1. Merceditas {Gato Barbieri} (9:07)
2. Eclypse {Traditional} / Michellina {Gato Barbieri} (6:24)
3. Bolivia {Gato Barbieri} (7:46)
4. Niños {Gato Barbieri} (7:14)
5. Vidala Triste {Gato & Michelle Barbieri} (5:30) 

Total Time: 36:03 

Credits:
Producer - Bob Thiele
Assistant Producer - Lillian Seyfert
Reissue Producer - Daniel Baumgarten
Sound Mixing - Tony May
Digital Remastering - Jean-Pierre Chalbos [La Source]
Cover & Liner Photos - K. Abe
Design - Haig Adishian
Cover Design - Michel Baulot

Ramsey Lewis & Nancy Wilson - The Two Of Us (1984)

Now this is a great album but, fact is this isn’t a full one duet album between Ramsey Lewis and Nancy Wilson. It's primarily a Ramsey Lewis solo album with his regular band featuring a handful of songs featuring Nancy on vocals. After the generally more 70's styled production of ‘Les Fleurs’ it became time for Ramsey to start more heavily acknowledging the more electronic/synthesizer sounds of the mid 80's. For that he went to none other than Stanley Clarke who the same year was heading in the exact same direction with his ‘Time Exposure’. There are two numbers that really point to that concept better than anything else. Both are electro-funk/break dance type numbers that, while very modern for their time are still rooted strongly in 70's style jazz-funk arrangements and rhythms as opposed to more brittle hip-hop/electronica beats. "Ram" is the faster of the two tunes with some sparse vocals and Ramsey working his Chicago style soul-jazz piano anywhere he finds a place for it. "Breaker Beat”, being more midtempo is the funkier of the two and has some great 80's jazz-funk synthesizer swirls to boot. "Quiet Storm" has a more fluid Grover Washington Jr. style groove and relies heavy of Paul Jackson holding the trio rhythm section into place. "Closer Than Close" is a similarly styled vocal piece but the vocal is by the fine male singer Daryl Coley, not Nancy Wilson. She does show up on three elegantly produced and arranged urban R&B/pop/jazz tunes "Midnight Rendezvous","Slippin' Away”, “Never Wanna Say Goodnight" and the title song, all of which find a balance between the "retro nuevo" sound of Anita Baker and Will Downing later in the decade and what people like Patti Austin and James Ingram was doing around this same time. In that respect it captures urban contemporary vocal pop/jazz as it were in a state of transition. The final cut on the album is an original Ramsey composition "Song With Words [Remembering]” a swirling solo piano number that interestingly enough would've been just about perfect for Nancy's vocals but actually survives more than well on its own without it. As a Nancy Wilson duet album this isn't particularly complete though all of her contributions are strong additions to the album. As it stands this is an excellent Ramsey Lewis album and one of his very finest of the period. ~ Andre S. Grindle, Amazon.com. 

Columbia Records, FC 39326, 1984
Sony Records, SICP 20298, 2011
Recorded & Mixed at Mad Hatter Studio & Sound Castle Studio, Los Angeles, California 

Musicians:
Ramsey Lewis - Concert Grand Piano [Steinway]
Nancy Wilson - Vocals (#5), Lead Vocals (#2,4,7)
Don Freeman - Keyboards (#2,4,5,7,8)
Vassal Benford - Piano (#5,8)
Robert Brookins - Synthesizer (#1,3,6)
Rory Kaplan - Synthesizer (#7,8)
Paul Jackson Jr. - Guitar (#1-8)
Stanley Clarke - Bass (#2), Sitar (#5)
Freddie Washington - Bass (#2,4,7)
John Robinson - Drums (#2,4)
Ricky Lawson - Drums (#7,8)
Daryl Coley - Vocals (#5), Lead Vocals (#8)
Lynn Davis - Backing Vocals (#2,4,7)
Josie James - Backing Vocals (#4)
Frieda Woody, Backing Vocals (#7)
Marcy Levy - Backing Vocals (#7)
Celia Kitengeth - Narrator (#1)
George Del Barrio - Arranger [Strings]
Barbara Hunter, Bill Hughes, Bonnie Douglas, Brenton Banks, Catherine Gotthoffer,
Christine Ermacoff, James Getzoff,, Janet Lakatos, Karen Jones, Murray Adler,
Norman Carr, Paul, Roland Kato, Ronald Folsom - Strings (#1,5) 

Tracks:
1. Ram {Ramsey Lewis, Stanley Clarke} (5:15)
2. Midnight Rendezvous {David Roberts} (3:53)
3. Breaker Beat {Ramsey Lewis, Stanley Clarke, Robert Brookins} (4:17)
4. Slippin' Away {David Foster, David Paich, Leon Ware} (4:45)
5. The Two Of Us {Jeremy Lubbock, Vassal Benford} (4:32)
6. Quiet Storm {Ramsey Lewis, Stanley Clarke} (4:14)
7. Never Wanna Say Goodnight {Ellen Schwartz, Franne Golde, Roger Bruno} (3:15)
8. Closer Than Close {Patrick Henderson, Vassal Benford} (4:56)
9. Song Without Words [Remembering] {Ramsey Lewis} (5:04) 

Total Time: 40:14 

Credits:
Producer - Stanley Clarke
Executive-Producer - Dr. George Butler
Engineer - Erik Zobler
Engineer [Assistant] - Duncan Aldrich, Gary Wagner, Jeff Vaughn, Mitch Gibson, Paul Erikson
Remixing Engineer - Don Hahn
Mastering - Bernie Grundman
Photography - Norman Seef
Design [Album] - John Berg
Liner Notes - Lawrence Tanter, Yvonne Daniels 

The Two Of Us

Robin Kenyatta - Gypsy Man (1972) [vinyl]

Sweet electric funk from Robin Kenyatta - but a set with some slightly complicated moments too! The album's a bit like some of Yusef Lateef's more electric moments on Atlantic, although probably not as cerebral overall - and Robin plays a range of reeds, including alto, flute, and soprano sax - the last of which is the best fit for the record, as Kenyatta plays it with a nicely snakey sort of style! Most tracks have a strong mix of keyboards and guitar - the former played by either Larry Willis or Pat Rebillot, the latter by David Spinoza or Keith Loving. Stanley Clarke plays bass on most of the set, and there's definitely some of his influence going on here too - and one track features added vocals by Robin and Lalome Wahsburn. Deodato arranged a version of "Last Tango In Paris" - and other titles include "Gypsy Man", "Melodie Chinoise", "Werewolf", "Another Freight Train", "Seems So Long", and "Reflective Silence". © Dusty Groove, Inc.

Atlantic Records, SD 1633, 1973

Recorded & Mixed in September & October, 1972 at The Hit Factory, N.Y.

Personnel:

Robin Kenyatta - Soprano & Alto Saxes, Flute, Vocals

Al Deville - Trumpet (#B2)

Seldon Powell - Saxophone (#B2)

George Patterson - Saxophone (#B2)

Jack Philpot - Saxophone (#B2)

Larry Willis - Electric Piano

George Butcher - Piano, Organ

Pat Rebillot - Piano, Organ

Charles ‘Skip’ Pitts - Guitar [Wah Wah] (#A1)

David Spinozza - Guitar

Jimmy Wood - Guitar (#B2)

Keith Loving - Guitar

Stanley Clarke - Bass, Electric Bass

Ray Lucas - Drums (#A1)

Billy Cobham - Drums

Charles Collins - Drums

Rick Marotta - Drums

Ralph MacDonald - Percussion

Don Belamy - Vocals (#A1)

Lalome Washburn - Vocals

Tracks:

A1. Last Tango In Paris (Gato Barbieri} (4:49)

A2. Another Freight Train {Robin Kenyatta} (3:36)

A3. Werewolf {Robert W. McPherson} (4:26)

A4. Reflective Silence {Robin Kenyatta} (5:19)

B1. Seems So Long {Stevie Wonder} (3:52)

B2. Gypsy Man {Robin Kenyatta} (5:22)

B3. Melodie Chinoise {Robin Kenyatta} (5:45)

B4. I've Got Dreams To Remember {Otis Redding, Zelma Redding} (6:16)

Credits:

Producer - Michael Cuscuna

Recording Engineer - Harry Maslin

Arranger - Eumir Deodato (#A1), Robin Kenyatta (#A2,A4-B4), Robert W. McPherson (#A3)

Photography [Backliner] - Penny Scherr

Photography [Cover] - Joel Brodsky

Design - Haig Adishian

Ray Bryant - In The Cut (1974) [vinyl>flac]

Recorded in 1974, Ray Bryant's In the Cut is the one recording in his career that stands out from all the others - not necessarily because it is the best thing he ever cut, but because it is unlike anything in his vast oeuvre. Bryant and producer Esmond Edwards set out to make a contemporary album while the great pianist was with Cadet. No solo, no trio, no quartet - this time out, Bryant's In the Cut is recorded with a full-on big band playing everything from contemporary soul tunes (such as the Jacksons' "I'll Be There," which opens this remarkable offering) to his own hard bop blues numbers such as "Cool Struttin'" and the title track to tough line-punchers like Herbie Hancock's "Watermelon Man." The entire Cadet house band was involved in this baby, including Charles Stepney, who did all the horn and, yes, string arrangements (and plays some synth, too). Bryant also plays a fair amount of electric piano here, and is accompanied by, among others, guitarists Jimmy Ponder and John Tropea, bassists Stanley Clarke and Ron Carter, drummer Jimmy Johnson, percussionist and conguero Montego Joe, trumpeters Marvin Stamm and Joe Wilder, and George Marge on tenor, flute, and oboe. The sound of In the Cut is literally startling. Bryant's trademark gait on the piano is immediate from the very opening bars of "I'll Be There." When the horns enter full-force, it's a new sound world - disorienting, yes, especially if you can't let yourself get beyond what Bryant's "normal" m.o. is. But the groove - gentle, soulful, and pronounced - is everywhere in these tracks. ~ Extract by Thom Jurek, AMG.

Cadet Records, CA 50052, 1974

Recorded At Sound Exchange Studios and A&R Studios, New York City

Mastered At Sterling Sound, New York City

Musicians:

Ray Bryant - Piano, Electric Piano

Joe Wilder - Trumpet (#A1,A3-B3)

Marvin Stamm - Trumpet (#A1,A3-B3)

George Marge - Flute, Tenor Saxophone, Oboe (#A1,A3-B3)

Charles Stepney - Synthesizer [Moog] (#A1-A3,B1), Arranger [Strings & Horns]

Jimmy Ponder - Guitar [Soloist] (#A2)

John Tropea - Guitar, Acoustic Guitar (#A2)

Margaret Ross - Harp (#A1,A3-B3)

Richard Davis - Bass (#A1)

Ron Carter - Bass (#A2,A4))

Stanley Clarke - Bass (#A3,B1-B3)

Jimmy Johnson - Drums

Montego Joe - Congas

Alfred Brown, Emanuel Vardi, Julian Barber, Selart Clarke, Theodore Israel - Viola (#A1,A3-B3)

Diana Halprin, Emanuel Green, Harry Glickman, Max Polikoff, Paul Gershman - Violin (#A1,A3-B3)

Tracks:

A1. I'll Be There {Bob West, Hal Davis, Willie Hutch, Berry Gordy, Jr.} (4:59)

A2. Andalusan Nights {Esmond Edwards} (4:45)

A3. Stop, Look & Listen To Your Heart/You Are Everything {Thom Bell, Linda Creed} (6:47)

A4. Cool Struttin' {Ray Bryant} (4:44)

B1. Land Of Make Believe {Chuck Mangione} (5:41)

B2. In The Cut {Ray Bryant} (6:16)

B3. Watermelon Man {Herbie Hancock} (4:53)

Credits:

Producer - Esmond Edwards

Production Supervision - Bob Scerbo

Album Co-ordination - Gwen Williams

Engineer - Skip Juried (Sound Exchange Studios, NYC)

Engineer - Don Hahn (A&R Studios, NYC)

Art Direction - Neil Terk

Photography - P.B. Kaplan

Dom Um Romão - Dom Um Romão (1973) [vinyl>re-rip,true flac]

An unbelievably fantastic album, and perhaps the greatest one that Dom Um Romão ever did. Dom recorded this one in America with a blend of Brazilian and New York musicians - creating an incredible sound that's unlike anything else one can think of. Includes the spare spacey groover "Dom's Tune", the lively dancer "Cinnamon Flower", the jazzy "Family Talk", a great version of "Ponteio", and a take on Sivuca's "Adeus Maria Fulô" with João Donato on electric harpsichord. ~ @ Dusty Groove Inc..

This LP was probably one of my first introductions to Brazilian music when I bought it in the early 80s after hearing Braun Blek Blu - it completely blew me away. I couldn't believe this could be the work of just one man, his drum kit, a cow bell and vocals!!! And what an LP to get-a storming version of Ponteio and each track a killer in its own right. But of course - it also features the great João Donato! Orgyinrhythm

Muse Records, MR 5013, 1974

Recorded 6^th June & 21^st November, 1973

Musicians:

Dom Um Romão - Drums, Percussion

Dom Salvador - Electric Piano, Piano

Lloyd McNeil - Flute

Joe Beck - Electric Guitar

João Donato - Harpsichord, Piano

Sivuca - Organ, Piano, Guitar

Amauri Tristao - Acoustic Guitar

Jerry Dodgion - Alto Saxophone, Flute

Mauricio Smith - Tenor & Soprano Saxophones, Flute

Richard Kimball - Synthesizer

Jimmy Bossey - Trombone

William Campbell, Jr. - Trumpet

Frank Tusa - Bass

Stanley Clarke - Bass

Eric Gravatt - Congas

Portintio - Percussion

Track Listing:

A1. Dom's Tune {Dom Um Romão} (8:43)

A2. Cinnamon Flower [Cravo E Canela] {Milton Nascimento} (4:53)

A3. Family Talk {Dom Um Romão} (5:42)

B1. Ponteio {Edu Lobo, Ruy Guerra} (6:07)

B2. Braun-Blek-Blu {Dom Um Romão} (4:40)

B3. Adeus Maria Fulô {Sivuca, Humberto Teixeira} (8:03)

Credits:

Producer - Dom Um Romão, Joe Fields

Recording Engineer - Michael DeLugg

Liner Notes - Gary Giddins

Norman Connors - Dance Of Magic (1973) [vinyl>flac]

Following on from the recent Carlos Garnett Muse posts; here’s a magnificent album where he collaborates with a young Norman Connors and other great players to produce what is got to be one of the best spiritual jazz albums from the seventies. Recorded in 1972 it was Connor's debut as a leader. The record features four tracks that include the full-sided "Dance of Magic", as well as "Morning Change", "Blue" and the short but potent "Give The Drummer Some". Apart from this final track, the album has a solid sound that comfortably blends together an overall spiritual feel with many funky and spacey grooves. The record boasts a "Dream Team" lineup that includes Gary Bartz & Carlos Garnett, Stanley Clarke & Cecil McBee, Herbie Hancock, Eddie Henderson, Airto Moreira, Billy Hart, and many others. Later Connors would alter his style to produce many soulful classics like "You Are My Starship" and "Betcha By Golly Wow", but "Dance of Magic" is a definitive early showcasing of Connor's true musical gifts; an exemplary producer, composer and masterful musician capable of assembling the right players and musical components to create great records.

This is definitely a true gem; not to be overlooked.

Alternative cover from 1976 Buddah Records [BDS 5674] release

Cobblestone Records, Catalog#: CST 9024

Recorded 1972 at Bell Sound Studios, New York City

Track Listing:

A. Dance of Magic {Norman Connors} (20:53)

B1. Morning Change {Cecil McBee} (6:22)

B2. Blue {Stanley Clarke} (10:17)

B3. Give The Drummer Some {Norman Connors} (2:22)

Personnel:

Norman Connors - Drums

Herbie Hancock - Piano, Fender Rhodes, Electric Piano

Gary Bartz - Alto & Soprano Saxophones

Carlos Garnett - Tenor & Soprano Saxophones

Eddie Henderson - Trumpet

Art Webb - Flute

Cecil McBee - Bass (A,B1)

Stanley Clarke - Bass

Anthony Wiles - Baliphone, Percussion

Airto Moreira - Percussion (B1,B2,B3)

Alphonse Mouzon - Percussion (A,B2)

Babafemi - Percussion (A)

Billy Hart - Percussion (B1,B2,B3)

Nat Bettis - Percussion, Congas

The U.B.F. Singers - Vocals

This album is drummer Norman Connors earliest and most rewarding date as a leader. Recorded with a who's who of fusion titans including trumpeter Eddie Henderson bassist Stanley Clarke, and keyboardist Herbie Hancock, Dance of Magic channels the lessons drummer Norman Connors learned in the employ of Pharoah Sanders, Sam Rivers and Sun Ra, marshaling Latin rhythms, electronic textures, and cosmic mysticism to create nondenominational yet deeply spiritual funk-jazz. The sprawling 21-minute title cut spans the entirety of the record's first half, capturing a monumental jam session that explores the outer edges of free improvisation but never steps past the point of no return. Connors' furious drumming is like a trail of bread crumbs that leads his collaborators back home. The remaining three tracks are smaller in scale but no less epic in scope, culminating with the blistering "Give the Drummer Some." ~ Jason Ankeny, All Music Guide.