Monday, November 25, 2013

The Funky Organ-ization Of Henry Cain

Year : 1968
Label : Capitol
Genre : Jazz, Soul
Style : Soul Jazz, Funk/Soul, Rhythm & Blues, Pop

The Funky Organ-ization of Henry Cain, as the title suggests, is a funky set of eleven Soul Jazz instrumentals recorded in 1967. A cover album performed by the obscure organist Henry Cain, from Pop, Jazz, Soul and Rhythm & Blues. Most of the tracks are arranged by Oliver Nelson and recorded with the unmistakable groovy sound of the Hammond B3. The side A begins with The Way I Feel of John Patton and includes the unforgetable classics Respect & Sunnyrespectively written by Otis Redding and Bobby Hebb, but also two reprises released by Cannonball Adderlay in live album Why Am I Treated So Bad! (1967) : Why? (Am I Treated So Bad (Pops Stapples) and I'm On My Way (Nat Adderlay Jr.). The side B contains Oliver Nelson' Critic's Choice and Horror Scope, the unique track composed by Cain for this Album. Arranged by H. B. Barnum & Oliver Nelson.

Henry Cain_organ  
James Bond_bass 
Earl Palmer_drums
Arthur Wright & Howard Roberts_guitar
H. B. Barnum, John Kelson & Plas Johnson_saxophone
Fred Hill & Tony Terran_trumpet
Gary Coleman & Jerry Williams_vibes & percussions

01. The Way I Feel 
02. Respect   
03. Sunny    
04. Why? (Am I Treated So Bad) 
05. Lonely Avenue   
06. Dead End Street  
07. Shake A Lady   
08. Precious Memories   
09. Critic's Choice    
10. I'm On My Way   
11. Horror Scope 


Hino = Kikuchi Quintet

Year : 1969
Label : Nippon Columbia
Serie : Takt Jazz Series
Genre : Jazz
Style : Modal, Hard Bop, Free

The brilliant Terumasa Hino with the Masabumi Kikuchi Quintet in the 'New Stream In Jazz' as part of the Takt Jazz Series, recorded in 1968 and released for Nippon Columbia. It's the second collaboration of Terumasa Hino with pianist Masabumi Kikuchi (the first on Feeling Good' LP released in 1968) and the second pianist who accompanied the group after Yuji Ohno on Alone, Alone And Alone (1967). This quintet was based on the model of the Second Great Quintet by Miles Davis and formed around Takeru Muraoka, Kunimitsu Inaba and Motohiko Hino who were active between 1967-1970. Later, the group was joined by Hiromasa Suzuki who has replaced Kikuchi on Hi-Nology (1969), Swing Journal Jazz Workshop 1 - Terumasa Hino Concert (1969), Hakuchu No Shugeki Original Soundtrack (1970) & Into The Heaven (1970). All tracks composed & arranged by Masabumi Kikuchi.

Terumasa Hino_trumpet
Takeru Muraoka_tenor saxophone
Masabumi Kikuchi_piano
Kunimitsu Inaba_bass
Motohiko Hino_drums

01. Tender Passion
02. Ideal Portrait
03. Long Trip
04. H. G. And Pretty


Hidehiko Matsumoto - The First By Sleepy

Year : 1977
Label : Pro Use Series/Toshiba
Serie : Direct Cutting
Genre : Jazz, Latin
Style : Contempory Jazz, Cool Jazz

'Sleepy' Matsumoto recorded here a similar album as The Big 4 album of George Kawaguchi (released the previous year), in which he composed the most of the songs. The Matsumoto Quartet plays, in a versatile jazz, some of the best jazz standards by Chet Baker, Duke Ellington/Billy Strayhorn, Paul Desmond, Sonny Rollins and George Gershwin. Titles include various style between Cool Jazz (My Funny Valentine, Satin Doll), Bossa Nova (Tuesday Samba), Hard Bop and Traditional (Take Five, St. Thomas). Tuesday Samba is a variation of Monday Samba on the Kawaguchi album, both composed by Hidehiko Matsumoto.

Hidehiko'Sleepy' Matsumoto_tenor saxophone & flute
Yasuhisa Akutsu_bass
Norio Kotani_piano
Takaaki Nishikawa_drums
01. My Funny Valentine       
02. Tuesday Samba (Kayobi No Samba)    
03. Satin Doll       
04. St. Thomas       
05. Take Five       
06. Someone To Watch Over Me


The Jaki Byard Experience

Year : 1968
Label : Prestige
Genre : Jazz
Style : Post Bop, Hard Bop, Free

Huge classic of Prestige label considered as a masterpiece in the history of Jazz which explores almost all every style that the Jazz known. Peformed by a excellent quartet which associates Jaky Byard and one of Jazz Giant, the multi intrumentalist, Roland Kirk, both surrounded by engineer Rudy Van Gelder. It's the second collaboration between the two geniuses who play as well as in New Orleans style, Hard Bop or Spiritual Jazz (Gospel), all combining with some free improvisations by the band. Introduced by a great variation of Bud Powell' Parisian Thoroughfare, the track listing includes the brilliant Hazy Eye composed by Jaki Byard, the magnificient traditional Shine On MeEvidence of Thelonius Monk, and two duets with Roland Kirk (Memories Of You) and Richard Davis (Hazy Eye).

Jaki Byard_piano
Roland Kirk_ tenor saxophone, clarinet, whistle, manzello & kirkbam
Richard Davis_bass
Alan Dawson_drums

01. Parisian Thoroughfare
02. Hazy Eye 
03. Shine On Me
04. Evidence
05. Memories Of You 
06. Teach Me Tonight


Friday, November 8, 2013

Be Hard Bop - We've Got The JAZZ Vol. 3

Still More of Instrumentals & Jazz samples by DJs & Hip-Hop Band from US, Europe & Japan released between 1994-2010

Compiled & Mixed by Be Hard Bop

Tadayuki Harada And His Group - Playboy's Theme

Year : 1968
Label : Nippon Columbia
Serie : Takt Jazz Series
Genre : Jazz, Latin Jazz
Style : Bossa Nova, Pop, Easy Listening

Sweet mood of debut album as a leader for Takt Jazz Series New Stream In Jazz collection from Nippon Columbia. Born into a family of jazz musicians (his father and his brother were jazz drummer), saxophonist Harada is one of most Japanese Jazz Greats. Between 1955-1957, Harada was involved in Nobuo Hara' Sharps & Flats and later joined The West Liners with Takeshi Inomata (1957-1966). In 1964, he played in Toshiko Akiyoshi' Japan Jazz All Stars  among a set which features notable musicians as Paul Chambers, Jimmy Cobb,  Hiroshi Suzuki & Terumasa Hino, on future classic of the pianist : Toshiko & Modern Jazz. Then moved to US in 1966, where he become a studio musician in Los Angeles. Harada was credited on several artists productions such as the prestigious Frank Sinatra, Marlene Dietrich, Helen Merrill, Salina Jones or Sammy Davis Jr. After this american experience, Harada formed his own band The Hearts in 1971, and played in groups like Norio Maeda' Wind Breakers but also Takeshi Inomata & The Third (1979).

Harada is surrounded by a large group of musicians featuring the entire formation of Inomata' West Liners among Masaru Imada, Sadanori Nakamure, Tetsuo Fushimi, Tatsuro Takimoto, Ichiro Mimori & Shigeo Suzuki, all supported by a string ensemble conducted by great arranger Norio Maeda. Titles include classics of Bossa Nova from Jorge Ben & Edu Lobo, covers pop songs from Bobby Hebb, Burt Bacharach or the Monkeys, and some Jazz standards as the Zawinul' Mercy, Mercy, Mercy.

Tadayuki Harada_baritone saxophone
Shigeo Suzuki_alto saxophone
Hiroshi Okazaki_alto saxophone & flute
Ichiro Mimori & Yoichi Kanai_tenor saxophone
Tetsuo Fushimi & Kazutoshi Okubo_trumpet
Norio Maeda & Masaru Imada_piano
Takeshi Inomata_drums
Tatsuro Takimoto_bass
Sadanori Nakamure_guitar
Yonosuke Segami_percussion

01. Theme From The Monkees
02. Sunny
03. Cinnamon And Clove
04. A Whiter Shade Of Pale
05. The Look Of Love
06. Going Out Of My Head
07. Playboy's Theme
08. Constant Rain (Chove Chuva)
09. For Me
10. Mercy, Mercy, Mercy


Various - Oneness Of Juju. African Rhythms. 1970-1982

Year : 2001
Label : Strut
Genre : Jazz, Soul
Style : Jazz Funk, Spiritual, Afrobeat, Disco

This compilation gathers on 3xLP, several recordings of the legendary Afro-Jazz formation created by multi-instrumentalist James 'Plunky' Branch. Their most active and prolific years were spent on the New York scene in the seventies. Most of their productions were releseased for Strata East & Black Fire labels, under various names, the best-known being Oneness Of Juju. Their musical style explores as well as Spiritual Jazz (No Name # III / Love Is... / My Nigger & Me), experimental (Nairobi/Chants), Afrobeat (Follow Me), Funk/Soul (Be About The Future, Got To Be Right On It ) and even Disco (Plastic, Every Way But Loose ). Titles include selected tracks in conjunction with James Branch, some best recordings, the most famous is African Rhythms, releseased as Juju, Oneness Of Juju, Plunky & Oneness Of Juju but also solo band member and some project featuring Juju' leader and others as Lon Moshe or the ghanaian drummer & percussionist  Okyerema Asante. Available in Enhanced Edition 2xCD (highly recommended !) offering twelve more titles.

  • tracks 1 to 3, 5, 8, 9 & 13 performed by Oneness Of Juju 
  • track 4 performed by Roach Om (probably Lon Moshe)
  • track 7 performed under the name of Juju & The Space Rangers  
  • track 10 performed under the name of Plunky & Oneness Of Juju 
  • tracks 11 & 12 performed by Okyerema Asante & Plunky 
  • track 13 performed under the name of Ju Ju 
  • track 4 extracted from Universal Expressions LP (1971)  
  • track 13 from A Message From Mozambique LP (1973)  
  • tracks 1 & 5 from African Rhythms LP (1975)
  • tracks 2, 3 & 8 from Space Jungle Luv LP (1976)
  • track 6 from Bush Brothers & Space Rangers LP (1977)  
  • tracks 11 & 12 from Okyerema Asante' Drum Message LP (1977)  
  • track 7 from 45rpm  Plastic / Got To Be Right On It ‎ (7") (1978)  
  • track 10 from Make A Change~Every Way But Loose LP (1980~1982)

01. African Rhythms
02. Follow Me
03. River Luv Rite
04. No Name # III / Love Is... / My Nigger & Me
05. Chants / Don't Give Up
06. Be About The Future
07. Got To Be Right On It (Original 45 Version)
08. Space Jungle Funk
09. West Wind (Previously Unreleased)
10. Every Way But Loose
11. Sabi
12. Asante Sana
13. Nairobi / Chants


Baden Powell - Canto On Guitar

Year : 1971
Label : MPS Records
Genre : Latin Jazz
Style : Bossa Nova, Samba Jazz

Among best album of Baden Powell recorded by H. G. Brunner-Schwer at MPS Studio in Germany at the end of 1970. Canto On Guitar is a huge classic and often considered as his genious masterpiece. Baden explores the African culture and especially Arabic sounds (Cegos do Nordeste) with typical brazilian percussions (berimbau) and  backing rhythms. Titles include, his trademark, the Afro-Brazilian style as evidenced Três Temas da Fé Afro-Brasileira suite, Samba em Prelúdio (written by the poet Vinícius de Morães), the Samba Jazz tune Qua Quara Qua Qua (co-written with the famous Samba composer P.C. Pinheiro) and Tributo A Um Amigo which demonstrating his great guitar playing skills.

Baden Powell_guitar, vocals
Ernesto Ribero Gonsalves_bass, caxixi
Alfredo Bessa_berimbau, atabaque, guica
Helio Schiaro_drums

01. Samba Em Preludio
02. Tres Themas De Fe Afro-Brasileira : 
  • Pai (Un Canto De Prêto Velho)
  • Filho (Batuque Para Um Orixá)  
  • Espirito Santo (Oxalá)
03. Marcha Escocesa 
04. Tributo A Um Amigo 
05. Qua Quara Qua Qua
06. Cegos Do Nordeste

Gabor Szabo - High Contrast

Year : 1971
Label : Blue Thumb Records
Genre : Jazz, Soul
Style : Smooth Jazz, Post Bop, Jazz Guitar

The Hungarian 'Gypsy' guitarist associated with Soul Legend Bobby Womack to create this High 'Groove' Contrast. A Soulful project inspired by some Womack' works with four songs whose If You Don't Want My Love extracted from Communication album released the same year and  Across 110th Street Original Score (1972). In High Contrast features the Breezin' tune composed especially for him (later played by Benson in 1976) and three Szabo' originals (Amazon, Fingers & Azure Blue). To accompany them, some special guest as the Soul guitarist & bassist, Phil Upchurch on Breezin' & I Remember When and producer Tommy LiPuma (incognito) on this album under the pseudonym of The Shadow (tambourine & gourd). Produced by Tommy LiPuma.

Gabor Szabo _accoustic & electric guitar
Bobby Womack_rhythm guitar
Wolfgang Meltz & Phil Upchurch _bass
Jim Keltner_drums
Mark Levine_piano
Felix Falcon _congas
Carmelo Garcia _percussion
The Shadow_tambourine & gourd

01. Breezin'
02. Amazon
03. Azure Blue
04. Fingers
05. Just A Little Communication
06. If You Don't Want My Love
07. I Remember When

George Benson - Body Talk

Year : 1973
Label : CTI
Genre : Jazz
Style : Jazz Funk, Guitar Jazz,

A new direction is taken with this third recording influenced by the James Brown' sound which he decides to introduce in his music. To obtain the desired 'groove', he recruits Pee Wee Ellis from The JB's who arrange three of five tracks and composed with him the openning track, Dance. Recorded with the same rhythm section as Beyond The Blue Horizon (except Harold Mabern who replaces Clarence Palmer), the formation consists of Gary King, percussionist Mobutu, Frank Foster, his friend & sideman Earl Klugh, all surrounded by a horn section including John Faddis. Produced by Creed Taylor, arranged and conducted by Pee Wee Ellis. All tracks composed by George Benson except When Love Has Grown by Donny Hattaway.

George BensonEarl Klugh_guitar
Ron Carter & Gary King  _bass
Jack DeJohnette_drums
Harold Mabern_electric piano
Frank Foster_tenor saxophone
Dick Griffin, Gerard Chamberlain_trombone
John Gatchell, Jon Faddis, Waymon Reed_trumpet, flugelhorn

01. Dance
02. When Love Has Grown
03. Plum
04. Body Talk
05. Top Of The World

George Benson - Beyond The Blue Horizon

Year : 1971
Label : CTI
Genre : Jazz
Style : Soul Jazz, Hard Bop

His first project for CTI and last Soul Jazz album before his Jazz Funk route, considered as the culmination of his career. Benson' Quartet is formed by two Miles Davis' revelations, Jack DeJohnette (Bitches Brew, 1970) and Ron Carter (Miles Davis Quintet 1964-1968), plus organist Clarence Palmer. Titles include great Davis' cover jazz So What?, Bossa Nova The Gentle Rain by brazilian artist Luiz Bonfa and also an Afro-Cuban-Jazz track Somewhere To The East. All tracks composed by George Benson except those specified, produced by Creed Taylor and recorded at studio Rudy Van Gelder.

George Benson_guitar
Ron Carter_bass 
Jack DeJohnette_drums
Clarence Palmer_organ
Albert Nicholson & Michael Cameron_percussion
01. So What?
02. The Gentle Rain   
03. All Clear
04. Ode To A Kudu
05. Somewhere In The East
Related Posts Plugin for WordPress, Blogger...