Leo Kottke - 6 & 12 String Guitar (Sonet, Licenced from Takoma Records, 1972, USA)

Leo Kottke is an American folk/fingerpicker guitarist virtuoso (Athens, GA, 1945), championed as one of the major figures in the American Primitivism movement and is often credited along with legends like John Fahey or Robbie Basho.

Most of his fame is due to his first record, which will be the topic of this new entry. And the fact is that he conceived a top notch album, a timeless piece of art. He was not an innovator –we already had the guitar excursions of the extraordinaire Fahey, or the fantasias of Sandy Bull- but he was so bold in fussing his immaculate virtuosity and speed with tons of passion, resulting on a stunning beautiful record, a record that swings between the thick line of experimentation and meditation. Raising the acoustic guitar into new aces as a solo concerto instrument.

Kottke was a savior vagabond; he hitchhiked all over North-America in his adolescence, with his eyes wide open (he partially lost his audition while manipulating a firecracker) absorbing as much folk musical influences as he could. And that’s what this album is about: his idealization of rural America. You can be illegally riding in a freight train; be hit by a dust bowl; hitch-hick with a beat companion; breath the freshness of the Appalachian forests or even jam with Mississippi John Hurt.

The pieces chosen are short, not exceeding the 3 minutes, and are very eclectic. Styles range between acoustic blues structures, traditional folk, rags, classical or even guitar excursions à la Fahey with weird tunings, a delightful use of the slide and a delicious tone of the crystalline jangly 12 string guitar.

Almost every track is a scorcher, and don’t be fooled if doesn’t appeal at first listen, play it on a regular basis and you will become heavily addicted. By the way, the chain between “The Sailor’s Grave on the Praire”, “Vaseline Machine Gun” and “Jack Fig” is stellar.

So, hope you enjoy this terrific piece of art as I do. I treasure this one along with Dale Miller Kicking Mule releases and several Fahey and Basho projects as pristine examples of top-notch fingerpicking/American primitivism relics.

Tracks

A1. The Driving of the Year Nail (Kottke)

A2. The Last of the Arkansas Greyhounds (Kottke)

A3. Ojo (Kottke)

A4. Crow River Waltz (Kottke)

A5. The Sailor’s Grave on the Praire (Kottke)

A6. Vaseline Machine Gun (Kottke)

A7. Jack Fig (Kottke)

B1. Watermelon (Kottke)

B2. Jesu, Joy of Man’s Desiring (composed by J. S. Bach;arranged by Kottke)

B3. The Fisherman (Kottke)

B4. The Tennesse Toad (Kottke)

B5. Busted Bicycle (Kottke)

B6. The Brain of the Purple Mountain (Kottke)

B7. Coolidge Rising (Kottke)

Personnel

Leo Kotke: Accoustic 6 & 12 string guitar

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Lafayette Afro-Rock Band -- Soul Makossa (Musidisc, 1973, USA-France)

Laffayette Afro-Rock Band was a French funk/Afrobeat group (Paris, 1972) formed by American expatriates who decided to try fortune in the Roquefort country after realizing the funk scene in USA was too saturated. In there they became impregnated by African rhythms and schemes and where savior to fuse them with their funky ensemble. They were called Bobby Boyd Congress and Ice before their definitive name.

The band didn’t hit the spot of international success as did Funkadelic or Fela Kuti -they were even considered an obscure group- but now, their reputation has increased significantly and are celebrated as a premier example of funk outfit in the ’70, becoming sampled by an endless list of hip hop artists.

This new entry covers their second and last LP, for most people their best –me included-, so be prepared for a wicked exhibition of outstanding tight grooves. This album is gorgeous and extremely exciting! A full-time instrumental one (ok, if you exclude the yellings of “Soul Makossa”), plenty of large soloing passages (hot and fierce horn section, demented fuzzy funky guitar, cool jazz-funk keyboards) boosted by a luxury rhythm section: tight heavy bass and a hats off drumming and percussion section, it’s so close and consistent!

Three tracks each face make a total of six cuts, all of them essential. Side one starts with a funky and heavy-African-percussion revision of Manu Dibango seminal classic “Soul Makossa”, passing though the laid-back beautifulness of “Azeta” and finishes with the wild “Oglenon”. Side two is my favorite, taking off with the gorgeous “Voodounon”, hitting the hot spot of grooviness pinnacle “Hihache” and closing with the hard bopper “Nicky”.

Hot stuff guaranteed. An incendiary funky paradise!

Tracks

A1. Soul Makossa (Manu Dibango)

A2. Azeta (Frank Abel)

A3. Oglenon (Michael Mc Ewan)

B1. Voodounon (Arthur Young)

B2. Hihache (Leroy Gomes)

B3. Nicky (Lafayette Hudson)

Personnel

Larry Jones: Guitar

Laffayette Hudson: Bass

Frank Abel: Keyboards

Ronnie James Buttacavoli: Horns

Arthur Young: Horns, percussion

Ernest “Donny” Donable: Drums

Keno Speller: Percussion

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Machito et son orchestre Afro-Cubain - Mambo a la Machito (Fontana, 19??, Cuba-USA)

Machito was a Cuban percussionist, singer and orchestra director, who was instrumental in merging afrocuban rhythms with jazz improvisations, resulting in the creation of a new genre: afrocuban jazz. 

The EP of today is an insane blast of exotic Cuban-mambo rhythms that will make move your skeleton like a possessed voodoo zombie: devilish percussion and spirited brass section. Just the way it has to be.

“Si Si – No No” is a casual sexual elegy, featuring the seductive voice of Machito’s foster sister Graciela Pérez-Gutierrez, commonly referred as The First Lady of Latin Jazz. “Mambo Mucho Mambo” is a cool interpretation of the seminal classic. “Negro Nanamboro” has diverse passages of Latin vibes, a must. These last three cuts contain vocals while “Oboe Mambo” is an instrumental with hot rhythm section featuring Mitch Miller as an oboe soloist.

Who said that records that played our grandparents weren’t good? This is awesome!

Tracks

A1. Si Si - No No (mambo) (Suazo)

A2. Mambo Mucho Mambo (Blanco)

B1. Negro Nanamboro (mambo) (Merceron)

B2. Oboe Mambo (Hernandez)

Personnel (no personnel is credited besides Mitch Miller, but I have found this in RYM)

Machito: vocals, maracas, claves

Mario Bauzá: trumpet

Graciela: vocals, claves

Paquito Davila: trumpet

Bobby Woodlen: trumpet

Eugene Johnson: alto saxophone

Freddy Skerritt: alto saxophone

José Madera: tenor saxophone

Leslie Johnakins: baritone saxophone

René Hernandez: piano

Roberto Rodriquez: bass

Ubaldo Nieto: timbales

Ralph Miranda: conga

Luis Miranda: conga

José Mangual: bongos

Mitch Miller: oboe in B2

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Al Cohn & Zoot Sims - Motoring Along (Discophon-Sonet Giants of Jazz, USA-Sweden, 1974)

For sure one the most successful symbiosis seen in the jazz universe. I guess there’s no need to introduce these two giants.

As I continued thinking about Sweden, this record has come to my mind –ok, beautiful blonde girls too-. But as far I’m concerned, this is a music blog.

What we find in the LP is an impressive selection of refined, smooth jazz, ideal for chilling and palate expensive liquor. Just perfect for that mood and highly enjoyable for both the jazz connoisseur and the aficionado.

Rhythm section is damn consistent and solid, providing the climax for the soloist phrasings. Horace Parlan at piano brings security and sane harmonization with its delightful tone and beautiful interludes (“Fallin’” shines) while Danish drummer Sven Erik Norregaard impresses with its precision and impeccable tempo. But it’s Danish bassist Hugo Rasmussen who raises the act with its conviction power. And Al and Zoot are impeccable in their melodic swing, interpenetrating themselves without losing their identity: a sane exercise of mutual respect.

The six cuts selected for the session include two Cohn originals (the bebop blast of “Stockholm-L.A.” and the romantic “Fallin’”), and four perfectly-picked standards like Parker’s “Yardbird Suite”, a gorgeous version of “My Funny Valentine”, the speedy “Motoring Along” and a particular interpretation of Bacharach-David “What the World Needs Now”.

A gentle, pleasing, delicate album, for sybarite palates.  

Tracks

A1. Stockholm - L.A. (Al Cohn)

A2. My Funny Valentine (Richard Rodgers)

A3. Yardbird Suite (C. Parker)

B1. Motoring Along (J. McGriff)

B2. Fallin' (Al Cohn)

B3. What the World Needs Now (Bacharach-David)

Personnel

Al Cohn and Zoot Sims: Saxes

Horace Parlan: Piano

Hugo Rasmussen: Bass

Sven Erik Norregaard: Drums

Rune Persson: Engineer

Rune Öfwerman: Producer

Recorded: November 25th, 1974

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The Underneath - Cosmic Noise (Lost records, USA, 1996?, Limited pressing, copy 604/800)

The Underneath was a heavy space psychedelic band from Dallas, TX formed in the early nineties.

This one is their second album and it’s quite easy to know what is crafted in that monster of LP by just looking at the title and knowing where they came from: a crazy dose of stoner fuzzed-out marshy spatial psychedelia.

The pressing is undoubtedly indie, limited to 800 copies and the cover is hand crafted by spray.

The songs are very dense, atmospheric, loaded with effects where guitar is certainly the protagonist, creating killer multi-layered surrounding effects. Most of the cuts contain muffled and synthesized drugged vocals, with the exception of the last songs of each face (song with no name in the A side and “Space Needle” in the B), which are very experimental yet enjoyable. Almost every track is essential with the exception of “The Pain Won’t Last”, very generic and tiresome in my opinion. “Shivers and Chills” is the most conventional track, containing a catchy easy chord progression riff while “No Words” is very minimalistic and enjoyable. The holy grail is the cosmic blast of a jam “Fifteen”.

Hope you digest this piece of plastic without jamming with demented ectoplasm aliens as a side effect!

Tracks

A1. In a Zone

A2. Her Alien Dream

A3. Freakin' Out

A4. Free My Mind

A5. Get Out of Here

A6.

B1. The Pain Won't Last

B2. Shivers and Chills

B3. No Words

B4. Fifteen

B5. Fly on the Wall

B6. Space Needle

Personnel

No personnel is credited

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Espirituales – The Music Masters, Nueva York (Orlador-Universal, 1970, USA)

Let’s celebrate Easter days with a gorgeous dose of devoted negro-spirituals.

Little information could be found about the group or people under this project; the only credit is for A. Hobbs for being the composer of three originals and the arranger of two tracks; other two songs arrangements are co-credited by Hobbs (the aforementioned?) and Dorsey. Even the band name is not clear. So, more information will be merrily grateful!

The seven tracks of this ten-inch vinyl have soulful vibes (e.g. “I'll wait till my change come” or “I'm working on the building”), dope accelerated gospel (“You've been good to me”) or bluesy rhythms (“Wonderful!”, “Been dipped in the water”) heavenly driven by the keyboards, where the Hammond organ is clearly the protagonist. Black voices are in great shape too, both in choirs (males-females) and in soloists (mainly males), creating addictive passages of question-response. 

So, hope you enjoy this outstanding vitalizing record, just perfect for these dates!

Tracks

A1. Wonderful! (Arr.: A. Hobbs)

A2. You've been good to me (Arr.: Hobbs-Dorsey)

A3. Show me how you want to live (A. Hobbs)

A4. Praise God (Arr.: A. Hobbs)

B1. I'll wait till my change comes (A. Hobbs)

B2. I'm working on the building (Arr.: Hobbs-Dorsey)

B3. Been dipped in the water (A. Hobbs)

Personnel

Arrangements: A. Hobbs; Hobbs and Dorsey

No more personnel is credited 

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The Dean Davis Company - IInd time Around (ETC Enterprises, USA, 196?)

The Dean Davis Company was an obscure folk-rock group from Colorado, active during the golden era of late sixties/early seventies. Whose brainchild was singer-rhythm guitarist Dean Davis, producing three private pressed records under his name (one as Dean Davies, two as Dean Davis Company) and one other as Winterwood on the odd ETC Enterprises label.

On today’s post we will cover his second LP. A little search in the net has shown me that exist two different covers: the one I own, showing a black and white photo of the four members giving a concert for a peculiar audience of four child mounted on their tricycles (beautiful and peaceful, isn’t it?). The other, consisting on five lines, repeating the disc name each time a row in a black and white descending color scale.

The album has a very nice rural folk period flavor, certainly XIAN, providing an enjoyable listening experience, mostly because of the use of acoustic instrumentation (12 string acoustic guitar!), minimalistic electric guitar arrangements, byrdish suave drumming and beautiful and subtle male/female harmony vocals.  

Songs are mostly covers of seminal folk artists like Phil Ochs, Arlo Guthrie and Buffy St. Marie, imprinting their own identity with the creation of very beautiful atmospheres and passages. There’s also time for two originals: “What the World Needs Now” and “Suzzanne”. The first one consisting a introductory narrative speech and a second part song. But it’s on the terrific “Suzzanne” where the band suns through the clouds. “Old Blue” is also stunning with their combination of musiqued speech and chorus response, so real!

More information about this amazing artisan band will be warmly welcomed! Drop me a line.

Tracks

A1. Highway in the wind (Arlo Guthrie)

A2. Crucifixion (Phil Ochs)

A3. What the World Needs Now

A4. Saint of CSU (Saint of San Walkeen) (John Stewart)

B1. Lazy Morning (Chet Hanson)

B2. Suzzanne

B3. Old Blue (traditional)

B4. Until It's Time for Me to Go (Buffy St. Marie)

Personnel

Lead Guitar: Dave Bigalow

Rhythm Guitar: Dean Davis

Vocals: Paula Streiff, Rich Curran, Dean Davis

Bass: Ed Bigby

Drums: Vince Haffey

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B.T. Express - Non Stop (EMI-ODEON, USA, 1975)

B.T. Express, as an abbreviation of Brooklyn Trucker Express, was a NY based funk-disco group, mostly noted for the seminal hit single "Do It ('Til You're Satisfied)" in the mid seventies. 

What we have today is his second LP. It was the very first funky record I bought and to this day, one of the best I own. I didn’t know anything about the band when I found this copy, but from the beginning I fall in love with the cover, and the extra-cool looks of the band members could not disappoint, so I decided to give it a try. When I got home and played it, I was blown away. I played it over and over (now, you know where the scratched sound comes!!) becoming a personal favorite. 

This record is an extremely well balanced sample of funky grooves mixed with top-notch disco vibes. It’s all about the rhythm and you will want to shake your booty like crazy as you revisit the seventies blaxploitation nightclub aroma! 

There’s a good dose of inspiring funky guitar licks, killer bass lines (Discotizer blows), some top-notch organ melodies, a good brass section and the always playful timbales and congas. The whole record has rhythmic funky-disco orientations except the moody and soulful cover of Bacharach-David “Close to you”. 

Every track is a winner so be careful and get away the track. This record will strike you as a heavy train.

Tracks  

A1. Peace Pipe (Sam Taylor-Mark Barkan)

A2. Give It What You Got (Solomon Roberts)

A3. Discotizer (Larry Alexander-Hirum Bullock)

A4. Still Good - Still Like It (Sam Taylor)

B1. Close to You (Burt Bacharach-Hal David)

B2. You Got It - I Want It (T. Martin-D. Thomas-B. Levine-B. Barnes)

B3. Devils Workshop (William Risbrook-Barbara Risbrook)

B4. Happiness (Carlos Ward)

B5. Watcha Think About What (Richard Thompson)

Personnel

Barbara Joyce: Vocals

Dennis Rowe: Congas, Timbales

Terrel Wood: Drums

Bill Risbrook: Sax, Flute

Richard Thompson: Guitar, Vocals

Carlos Ward: Sax, Flute, Soprano sax

Louis Risbrook: Vocals, bass, organ

*Strings arranged by Trade Martin, Randy Muller and Andrew Smith

*Strings: Irving Spice

*Mark Radice: moog and string ensemble

*Sam Taylor: rhythm guitar 


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Buddy Cole at the Pipe Organ - Pipes, Pedals and Fidelity (Columbia, USA, 196?)

Buddy Cole was a jazz pianist and orchestra leader, best known for his work as back musician with celebrities like Bing Crosby, Johnnie Ray or Rosemary Clooney. He was also a passionate organ player; recording some amazing Lp’s featuring the legendary 17-rank Wurlitzer organ. One of these sessions is the topic of today’s post. 

What we find in ‘Pipes, Pedals and Fidelity’ is a moody interpretation of standards where the theatre organ is the main and only protagonist. Just for the pleasure of hearing the aforementioned instrument heavenly touched by the maestro. And what amazes me the most is the vast range of voices, textures, layers and effects that can produce; simulating a complete orchestra and creating an extremely reminiscent atmosphere of the good old days of romantic cinema. 

Interesting to note too is the story behind the organ. As recalled in the liner notes, it was originally built for a movie theatre in Iowa, but was installed at approximately the same time that the screen began to make noise and as a result was not put to frequent use. It was returned to its manufacturers in Los Angeles, who shortly thereafter installed it in the studios of United Artists. Here it was used for radio broadcasts and for recording movie scores for a time, later being moved to a radio studio. In 1947, it was dismantled and reinstalled in the home studio of Buddy Cole, under the supervision of Henry Pope, one of America’s major organ specialists, and there it remains. I wonder where shall it be nowadays but I’m sure that after all that trot it will still be one-piece.  

Side A is pretty good though having a cut that, in my humble opinion, ruins the whole mood (‘The Peanut Vendor’) but side B is impeccable. Every track in there is a winner.  And by the way, ‘Caravan’ is dog nuts!

So, that’s a good opportunity to discover a record devoted to the memorable full-throated sound of the theatre organ, so rare to hear nowadays. 

Tracks

A1. Serenade in Blue (Gordon Warren)

A2. The Peanut Vendor (Sunshine–Gilbert–Simons)

A3. One Morning in May (Parish-Carmichael)

A4. Mine (I. Gershwin-G. Gershwin)

A5. Everytime I See You I’m In Love Again (B. Cole)

A6. Carioca (G. Kahn-Eliscu-Youmans)

B1. Caravan (I. Mills-Tizol-D. Ellington)

B2. Willow Weep For Me (Ronell)

B3. Jeannine (I Dream of Lilac Time) (Gilbert)

B4. I Get the Blue When It Rains (Klauber-Stoddard)

B5. You Go To My Head (H. Gillespie-Coots)

Personnel

Buddy Cole – Theatre Organ 

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