jueves, 23 de noviembre de 2017

The Aquarians ‎– Jungle Grass ( 1969 ).One favorite album.Vladimir Vassilieff,Bobby Hutcherson,Joe Roccisano,Joe Pass,Francisco Aquabella,Dave MacKay, Vicki Hamilton


Full abum:
https://www.youtube.com/playlist?list=PLC6EEC4E657B45161


https://www.discogs.com/es/The-Aquarians-Jungle-Grass/release/8417036
http://www.musicweb-international.com/jazz/Hutcherson/BobbyHutchersonDiscography.pdf ( The Complete Bobby Hutcherson Discography ):
 
Vladimir Vassilieff (p);
Bobby Hutcherson, Lynn Blessing (vib);
Carl Lot (d);
Stan Gilbert, Al McKibbon (b);
Joe Roccisano (fl, al-fl, sax);
Joe Pass (g);
Francisco Aquabella (congas, perc);

Dave MacKay, Vicki Hamilton (vo)

Iguana - Arcoiris de Cristal (1972 ).Wonderful latin album.Freddy Manzo Jr,ecilio Chilo Morán



Arcoiris De Cristal- Iguana - (1972)


planicieterra:
Con Información de http://www.maph49.galeon.com/avandaro...

La banda Iguana tal vez no llegó a ser tan popular como otras que también destacaron a principios de la década de los 70, pero musicalmente estuvieron a la altura de cualquier otra.

El antecedente histórico de esta agrupación se encuentra en el grupo de rock and roll Los Sleepers, conocido gracias a sus versiones en español de canciones como Hermanita y Al ritmo de la lluvia, así como canciones originales como Ojos de araña, Yo tuve un sueño o Cleopetra.




Los Sleepers, grupo de donde sale Iguana

Los fundadores fueron Rafael Miranda y Angel Miranda El Cartucho, quienes en compañía del bajista y cantante Jorge Rosell decidieron forma Iguana, inicialmente como trío, para después añadir una interesante sección de metales comandada por el sensacional trompetista, ya fallecido, Cecilio Chilo Morán, complementados por destacados elementos que pertenecieron más bien al movimiento jazzístico, como el caso del tecladista Freddie Manzo, quien fue el encargado de los arreglos.

Sólamente un álbum grabó esta banda, incluyendo únicamente temas originales, algunos cantados en inglés y otros en español, como es el caso de su canción más conocida: Arcoiris de cristal.


Primera formación de Iguana Músicos:

Jorge Rosell: Voz y bajo
Rafael Miranda: Guitarra
Angel Miranda El Cartucho: Batería
Freddy Manzo Jr: Sax alto y flauta
José Luis Porres: Trombón
Cecilio Chilo Morán: Trompeta
Don Willy: Percusiones
Freddy Manzo Sr: Teclado


Iguana
Raff, 1971, LP

Arcoiris de cristal
Durango
Ella
Waiting in this corner
Hoy al regresar
Calling to return
Babe, nena
Your letter
A dream
Ven, ven (31:02)

FUENTE:
http://www.maph49.galeon.com/avandaro...



http://www.contratiempojazz.net/index.php?option=com_content&view=article&id=2513:homenaje-a-cecilio-chilo-moran&catid=48&Itemid=476

...
Cecilio “Chilo” Morán, inició su carrera musical bajo la dirección de su padre, Genaro Morán. A los 17 años se mudó a la Ciudad de México donde continuó sus estudios en la Escuela Libre de Música. Alternó sus estudios con el trabajo y así inició en las orquestas de Arturo Núñez, Ismael Díaz, Luis Alcaraz, Pablo Beltrán Ruiz y Pérez Prado. Inauguró el primer jazz bar de México, en 1956. En 1959 participó en el primer Festival de Jazz en México. Combinó sus actividades como arreglista y director de diversos espectáculos. Formó parte de la orquesta de Paul Mauriat. Actuó con Eddy Palmieri, Wynton Marsalis y Chuck Mangione. Murió en 1999.

Santa Y Su Gente ‎– Urgente ( 1974 ). Wonderful latin album with musics in Fusión - Top Soul ( and others ),Maria Del Mar Bonet ( first albums )...



Santa Y Su Gente ‎– Urgente ( 1974 )




  • Este álbum lo grabamos en marzo y abril de 1974. El productor fue Sergio "Gomina" Sánchez y el técnico de sonido Franz Benko. Los músicos: Santiago "Santa" Salas congas, Lautaro Rosas guitarras, Harida Gustavo Quinteros batería, Juan Carlos Mendoza bajo eléctrico, Mario Lecaros piano eléctrico, Orlando Avendaño percusión, 
  • David Estanovich saxo y flauta
  • Rosario Salas voz, Pablo Lecaros voz, Carlos Torres voz

martes, 14 de noviembre de 2017

Brigitte Fontaine, Areski Avec Art Ensemble Of Chicago ( 1969 ). wonderful album.

  • https://www.discogs.com/Brigitte-Fontaine-Areski-Avec-Art-Ensemble-Of-Chicago-Comme-La-Radio/release/654952

Brigitte FontaineAreski Avec Art Ensemble Of Chicago* ‎– Comme À La Radio ( 1969 )




http://thedailyguru.blogspot.com.es/2009/05/may-9-brigette-fontaine-comme-la-radio.html

France, though an undoubtedly beautiful country, is certainly more well known for its contributions to the culinary arts over the musical arts. Though countless jazz musicians (and Jim Morrison…and Jerry Lee Lewis) made their homes in France over the years, the “essential” music that has been exported over the decades has been rather minimal. However, one French musician that simply cannot be ignored is the amazingly experimental, and undeniably talented Brigitte Fontaine. Though she did not achieve much worldwide recognition, her albums remain some of the most innovative and original works of music to this day. Though it is hard to choose her finest work, perhaps her most “accessible” album is her 1971 release, Comme a la Radio.

To be avant or progressive in 1971 was not all that uncommon, but the way in which Brigette Fontaine went about it, she was truly the “bleeding edge” of “experimental” music. The album is a bit different from the rest of the work of Brigitte Fontaine in that is a true collaboration with her writing partner, Areski, as well as the Art Ensemble of Chicago. This combination of artists who loved nothing more than pushing the boundaries of what “was” music, blend perfectly on every song, and it is clear that they are constantly trying to push the others deeper into the experiment. Even the way in which the music is mixed pushes the common notions of “how” music should sound. On Comme a la Radio, the myriad of percussive instruments are very far forward in the mix, while the horns and strings are pushed well into the background. This complete reversal of “normal” recording practices further makes the album something that truly must be experienced to be appreciated.

Musically, Comme a la Radio is all over the place. With songs ranging from AfroBeat inspired chants to nearly acoustic songs, which let Fontaine fully display her amazing voice, the album is truly as eclectic as one will find anywhere. The Art Ensemble of Chicago provide the album with a gorgeous, often ethereal mood, and their own experimentation melds perfectly with that of Fontaine. The Ensemble brings everything but the kitchen sink to the record, from a chorus of muted trumpets, to dueling saxophones, and even an appearance from a bouzouki (go ahead and google that). Jumping from hard-bop to modal jazz and everything in between, the music is almost constantly bordering on chaotic, and it often leaves a rather eerie mood in its wake. This brass madness, combined with the cavalcade of percussion and sounds supplied by Areski, Comme a la Radio is a sonic explosion like no other ever recorded.

Though there are many, the true gem of Comme a la Radio, as is the case with her entire catalog, is the stunning voice of Brigette Fontaine. From whispers to belting out perfect pitches, the range and power of Fontaine’s vocals remain largely unmatched. Often times, Fontaine’s voice tip-toes over the music, creating something that can only be described as an avant lullaby. There are even tracks, like “Lettre à Monsieur le Chef de Gare de la Tour de Carol,” where Fontaine delivers a calming, somewhat erratic spoken word performance over music reminiscent of the sounds of India. Regardless of how she is approaching the vocals, Brigette Fontaine delivers stunning performances on every track on Comme a la Radio.

Being “experimental” in the music scene of 1971 was something that hordes of musicians claimed. At the front of those who truly were pushing the boundaries of what was “popular music” or “music” in general was French songbird, Brigette Fontaine. Releasing a number of impressive, truly avant records throughout the 1970’s, on Comme a la Radio, she enlisted the help of song-writing partner Areski, as well as the equally exploratory Art Ensemble of Chicago. Combining the unquestionable talents of the three parties results in some of the most original and unsurpassed musical experimentation ever recorded. Though the album varies in style, at the core is truly stunning as well as the sensational vocals of Fontaine. To experience something like no other, and yet something that is a true joy to experience, find a copy of Brigette Fontaine’s brilliant 1971 release, Comme a la Radio.


martes, 17 de octubre de 2017

José Mangual ‎– Buyú ( 1977 ). Wonderful album ,with Bobby Rodriguez,Tito Puente,Carlos "Patato" Valdes,Dick Meza,Jimmy Knepper


José Mangual* ‎– Buyú ( 1977 )



Notas

Vinyl weighs approx. 137 grams.
Recorded and mixed April-May, 1977
"Special thanks to Buyú for a better way,
- Ralph MacDonald for the inspiration,
- Luis "Perico" Ortiz for exquisite tunes and arrangements,
- Tito Puente for giving so much of himself,
- Luis Mangual for turning us on to Luis Ortiz,
- Eddie Heath, Jr. for necessary ancillary services,
- Bill Eaton for Black & Brown Boogie."

In track Black & Brown Boogie:

Arranged By – William Eaton, Jr.*Bass – Anthony JacksonClavinet – Artie Jenkins*Drums – Steve GaddGuitar – Hugh McCrackenPercussion – Ralph MacDonaldPiano – Richard TeeSaxophone [Tenor], Flute – Seldon PowellTrombone – Barry RogersTrumpet – Victor PazTrumpet, Flugelhorn – Mike LawrenceVocals – Frank FloydKen Williams (3)Zach Sanders*Written-By – Eaton*


lunes, 2 de octubre de 2017

Jaan Kuman Instrumental Ensemble‎– Jaan Kuman Instrumental Ensemble ( 1975-1977 ). Wonderful jazz-funk album


Notas

Limited to 500 ex.

Original release:
A1: "Tantsurütme V" Melodiya 1976 C62 07357-8
A2: "Tantsurütme VI" Melodiya 1976 C62 07359-60
A3: previously unreleased live recording 1975
B1: "Tantsurütme I" Melodiya 1976 C62 06889-90
B2: "Mälestusi kodust" Melodiya 1977 C60 09439-40
B3: "Estraadipalu" Melodiya 1975 C62 05515-16
B4: "Mälestusi kodust" Melodiya 1977 C60 09439-40

http://alastonkriitikko.blogspot.com.es/2013/03/julkaistua-413-ensimmainen.html


translate google:

...

The tip of Estonian jazz is both high quality and narrow. This was especially the case during the Soviet times, when the jazz position varied according to political cycles. Many live musicians still remember their old comic book: "First, you play a saxophone and then your fatherland will be deceived." When the fowl catches, nothing can happen to it. Truman Jaan Kuman (born 1945) was a young boy in the Pobeda movie theater that he heard about the background music of foreign films. His father acted as chief engineer at the Kohtla-Järven palovankivi combine. Mostly from a trumpet-studded self-study developed one of Tallinn's leading jazz musicians and adapters. Still active in Estonian light music grand old man Valter Ojakäär (born 1923) named in his most recent book My Song leidsime üles (TEA Kirjastus 2010) Kumania "Estonia's first hundred percent jazztrumpetist". Kuman played mainly in the orchestras, between 1976-81 he worked in the Viru Hotel variety. Kuman's production was pretty much recorded on vinyl. In 1975, a 7-inch EP Estraadipu appeared and a series of sixteen-inch EP Tantsurütmid in the following year. It is very descriptive that jazz should have been called dance rhymes. In the same year, Valter Ojakään's "autoriplaad" was released, LP LP's Responsible Discography was released, and the following year, the second home of the Estonian jazz legend Uno Naisso (1928-1980). Both sides were played by the Kuman band. The songs were mostly jazzy, with Estonian stars, including Heidy Tamme, Marju Kuut and Jaak Joala, and Naissoon's album was more instrumental...


viernes, 22 de septiembre de 2017

Experience Unlimited* ...Free Yourself ( 1976 ). One of the best jazz-funk,soul albums

Experience Unlimited* ‎– ...Free Yourself ( 1976 )


https://www.discogs.com/Experience-Unlimited-Free-Yourself/release/2939369


https://webcache.googleusercontent.com/search?q=cache:j0-HrVczhmEJ:https://open.spotify.com/artist/7fIfKG7oJGO4p8wvyi6adh+&cd=14&hl=es&ct=clnk&gl=es

They developed into one of Washington, D.C.'s original and longest lasting go-go acts. Led by bassist and vocalist Gregory "Sugar Bear" Elliott, the band had a primarily local following through performances and albums like Free Yourself (1977) and Future Funk (1982), until they scored an unlikely Top 40 pop hit (and number one R&B hit) in 1988 with "Da'Butt," featured in Spike Lee's School Daze. Later in the year, Salt 'N' Pepa attained a number four R&B chart hit with help from E.U. on "Shake Your Thang," an update ofthe Isley Brothers' "It's Your Thing." E.U. signed to Virgin and charted five singles with the label, including the go-go/new jack swing hybrid "Buck Wild" and the ballad "Taste of Your Love," both of which peaked in the Top Ten of the R&B chart. E.U. subsequently returned to independence and recorded only sporadically, but they continued to perform frequently as Sugar Bear & E.U. ~ Andy Kellman, Rovi

http://soul51.com/?tag=experience-unlimited


Ballou Senior High School student Gregory “Sugar Bear” Elliott wanted to be a boxer. Recognizing that he wasn’t all that good he decided to pursue his back up dream of being a rock star instead. A huge Led Zeppelin fan, 15 year-old Elliot taught himself to play bass and formed the band Experience Unlimited with kids from his Southeast DC neighborhood. The young group struggled to get gigs but things finally started to move when they won “Best Rock Group” at a Duke Ellington School of the Arts talent show. As they played around town Elliott became a fan of many of the older bands he saw on stage, especially The Soul Searchers, The Young Senators, Aggression, Mixed Breed, 100 Years Time, and Father’s Children.
In 1976 Experience Unlimited—Elliott, Donald Fields, Andre Lucas, Phillip Harris, Clarence Smith, Anthony Easton, Michael Hughes, Greylin T. Hunter, and David Williams along with Melva Adams, Marvin Coward, Wayne Davis, and Bobby Owens recorded “Free Yourself,” an LP of original material on Black Fire Records at Bias Studios in Falls Church, Virginia. Elliott wrote the album’s title track.
Even with an album under their belt and Elliott in a new frontman role, Experience Unlimitedstruggled to find a fan base as black artists playing rock and roll. They were just too different. A turning point came when they played with Chuck Brown & The Soul Searchers at the Panorama Room and the late “Godfather of Go-Go” convinced Elliott to switch to the emerging genre.
Throughout the 20th century until today Experience Unlimited (EU) has been one of DCs most successful go-go bands along with Brown, Trouble Funk, and Rare Essence. EU’s lineup changed over the years, but Elliott remained constant.
“I kept going because I love to play,” says Elliott. “That’s my high, I don’t care if it’s five people or 5,000, I love to play.”  In 1988 EU brought go-go to national attention with the #35 Billboard Hot 100 single “Da Butt,” which was featured in Spike Lee’s 1988 film “School Daze.”
“My mother thought I was making noise and told me to shut that stuff up, but once she finally saw me on TV she was in awe,” says Elliott.
“Da Butt” attracted record companies from Motown to Warner Brothers to Virgin Records, which they eventually signed with, releasing their sixth LP “Livin’ Large” in 1989. EU has shared the stage with Earth Wind & Fire, Whitney Houston, Bob Dylan, James Brown, and New Kids on the Block. The band records and performs constantly but Gregory laments the status of go-go today.
“This is the go-go capital of the world but everything is still neutral. I have to do something to bring it back to national attention.”
You can purchase EU‘s music here and here.