Alice Coltrane: Lord of Lords

Lord of Lords was Alice Coltrane's last record for Impulse! prior to her brief stint with Warner Bros. She made a remarkable musical transformation in the years following her husband's untimely death. By the time of this particular recording, like a lot of jazz artists, Alice Coltrane was crossing over, but not to fusion, funk or disco: rather she was crossing over into another realm altogether. The music seems to have much more in common with Western classical music (her fascination with Stravinsky and with lush string section accompaniment should be one strong hint), and arguably Indian classical music. The selections sound much more scored than improvised, but somehow no matter what the context there beats the heart of a jazzer. If you're new to Alice Coltrane's work, I'd strongly suggest trying out her earlier Impulse! albums before listening to this one - in particular Ptah the El Daoud and Journey in Satchidananda. This recording is more for the seasoned fan or completist, and ideally those open to her subsequent musical output for Warner Bros.

Tracks:
1. Andromeda's Suffering (9:04)
2. Sri Rama Ohnedaruth (6:12)
3. Excerpts From The Firebird (5:43)
4. Lord Of Lords (11:17)
5. Going Home (10:02)

Credits:
Bass - Charlie Haden
Cello - Anne Goodman , Edgar Lustgarten (2) , Jan Kelly , Jerry Kessler , Jesse Ehrlich , Raphael Kramer , Ray Kelley
Drums, Percussion - Ben Riley
Harp, Piano, Organ, Tympani, Percussion - Alice Coltrane
Producer - Ed Michel
Viola - David Schwartz , Leonard Selic , Marilyn Baker , Myra Kestenbaum , Rollice Dale , Samuel Boghosian
Violin - Bernard Kundell , Gerald Vinci , Gordon Marron , James Getzoff , Janice Gower , Leonard Malarsky , Lou Klass , Murray Adler , Nathan Kaproff , Ronald Folsom , Sidney Sharp , William Henderson (2)

Music arranged and conducted by Alice Coltrane
Produced by Ed Michel under the direction and inspiration of Alice Coltrane
Recorded and mixed at The Village Recorder, Los Angeles, from July 5 to July 13, 1972
Engineering by Baker Bigsby

Dowload Lord of Lords

Steve Williamson: Journey to Truth

There is nothing that could have prepared those who knew of Steve Williamson only from his first album, A Waltz for Grace, for what awaited them upon dropping Journey to Truth into the CD player. The cover photo and CD graphics should be a dead giveaway that this cat was up to something different - from the pix of Williamson that harken back to the early 1970s to the hip-hop flavored graphics - this was not going to be a collection of post bop numbers. The very first track sounds inspired by John Coltrane and Rashied Ali's jams on Interstellar Space (a sound that will be replicated on track 4, "Affirmation"). The second track, with its hard funk rhythm section and inspired vocals by Jhelisa Anderson, should seal it. Williamson was out to make a statement.

In fact, it seems like a concept album. The problem is, as I have mentioned elsewhere, that Journey to Truth SOUNDS like three separate albums - each going in its own direction, which is not healthy for a concept album. There aren't any bad tracks on the album, though the raps on the middle section are probably less inspired than music and vocals found on the rest of the tracks. It's just that Journey to Truth doesn't make for a particularly coherent listening experience.

I'm partial to the first section, The Journey, which is what I imagine Plunky Branch and crew of Oneness of Juju would have sounded like if they had traveled ahead in time a couple decades. From the Coltranesque sax and percussion excursions on "Meditation" and "Affirmation," to the title track, the instrumental "Oh Africa Africa Africa," to the smoking cover of "Celestial Blues," Williamson hits all the right notes. The music is tight, the mood is set, and the listener can groove and meditate at the same time.

The second section, The Pffat Factor, will probably be mildly reminiscent of Miles Davis' Doo Bop, or perhaps Guru's Jazzmatazz albums. Personally I tend groove much more on Williamson's sax playing than his rapping, and think that Black Thought has had much better moments with his own crew, The Roots (whose albums I strongly recommend). The last track in the section is an instrumental, and seems like it could have had potential for the rotation at a smooth jazz station.

The final section, That Fuss, is comprised of three solid jazzy R&B numbers somewhat focused on social-political concerns. I'm not sure how tuned in Williamson was to Plunky Branch's 1980s work with The Oneness of Juju, but it seems safe to point out that Williamson was mining similar territory. Those last three tracks seem like they could have been quite radio-friendly. Overall, Williamson is communicating a positive message, attempting to incite his listeners to pursue spiritual and social change - and that is the constant in these otherwise very divergent sections making up the finished product. It's all well-produced, Williamson definitely knows how to write and play, and he's surrounded himself with an able crew of musical performers. If you keep an open mind, you certainly won't be bored.

The problem, to the extent that it is a problem, is that Williamson seems like one of those musically and intellectually curious cats who simply is interested in so much that he ends up going off in multiple directions at once. His music is very hard to pigeonhole that way, but it is an approach that isn't conducive to record sales. Hence, this would be his last recording as a leader, so far. The suits at Verve would drop him from the roster, and Williamson would fade into obscurity. Occasionally I read rumors that he's still recording, is involved with two different combos (one that sticks to relatively straight-ahead jazz and one that pursues the funk and hip-hop direction that characterized this album) and apparently continues to be quite impressive on stage.

Since I've already mentioned the involvement of one member of the legendary alternative rap crew The Roots, Black Thought, I would be remiss in my blogging duties if I did not mention the involvement of two other members: Hubb and B.R.O.theR.? (the artist usually known as ?estlove).

As an aside - I'd be curious to hear the album that came in between 1990's A Waltz for Grace and 1995's Journey to Truth: that is 1992's Rhyme Time (That Fuss Was Us!).

Performers:
Steve Williamson - tenor sax (tracks 1, 2, 4, 9, 10, 12), alto sax (tracks 2, 11, 13), soprano sax (track 6, 7, 8, 11), bells (tracks 1, 4), programming (tracks 2, 7, 8, 10, 11), drum programming (track 6), keyboards (tracks 6, 7, 10, 11), EWI (tracks 6, 7), piano (tracks 11, 12), cowbell (track 8), vocal execution (tracks 6, 7), organ licks (track 13)
Sola Akingbola - percussion (tracks 1, 4, 5), djembe drums (tracks 1, 4)
Jhelisa Anderson - vocals (tracks 2, 5, 12)
Anthony Tidd - piano (tracks 2, 3), organ intro (track 6)
Marc Cyril - bass (tracks 2, 9, 11, 12, 13)
Hubb (Leonard Hubbard) - bass (track 5), piano (track 11)
Michael Mondesir - bass (tracks 6, 7, 8)
B.R.O.theR.? (Ahmir Khalib Thompson) - drums (tracks 2, 3, 5, 7, 9, 12)
Pete Lewinson - drums (tracks 11, 13)
Henri Jelani Defoe - guitar (tracks 2, 3, 5, 6, 7, 8, 11, 13)
Jason Rebello - rhodes (track 5)
Black Thought (Tariq Trotter) - rap (tracks 9, 12)
Dennis Rollins - trombone (tracks 11, 13)
Pamela Anderson - vocals (track 11)
Noel McKoy - vocals (tracks 12, 13)

Tracks:
The Journey
1. Meditation (3:23)
2. Journey to Truth (7:48)
3. Oh Africa Africa Africa (6:08)
4. Affirmation (3:27)
5. Celestial Blues (6:56)
The Pffat Factor
6. Part I: Who Dares (5:56)
7. Part II: They Don't Wanna Hearit! (6:31)
8. Part III: Rough (5:42)
9. Pffat Time (6:02)
10. Antigua (3:53)
That Fuss
11. How Ya Livin? (4:37)
12. Blakk Planets (5:32)
13. Evol Lover (4:57)

All tracks composed and arranged by Steve Williamson, except track 2 (vocal arranged by Jhelisa Anderson), track 5 (written by Andy Bey), track 11 (written by Pamela Anderson and Steve Williamson) and track 13 (written by Noel McKoy).

Dowload Journey to Truth

Oneness of Juju: Bush Brothers & Space Rangers

Bush Brothers & Space Rangers, which is sometimes called Oneness of Juju's "lost" third album, was recorded in between Space Jungle Luv and Make a Change. It's a transitional album, with Plunky and crew continuing to deliver those spiritual and spirited kozmigroov jams, much as they had on 1975's African Rhythms and 1976's Space Jungle Luv. "Bootsie's Lament" is a gorgeous slow moving vocal number that makes me wonder why Ms. Lewis never quite had the fame that such contemporaries as Dee Dee Bridgewater had. The band reprises their signature tune "African Rhythms" with funkier percussion-laden instrumentation, and layers of vocals that make the end result more radical, more out there than the original version. "Rhythms Timelessness" is an instrumental that takes the basic "African Rhythms" theme and slows it down. "West Wind" has that atmospheric feel that would put it right at home with Herbie Hancock's early 1970s sextet, or Bennie Maupin's and Julian Priester's ECM albums from the decade. "Nooky" could have been an outtake from either of the first two Oneness of Juju albums. The band also does a couple covers - something a bit unusual - including a vocal version of Miles Davis classic "All Blues", and a cool version of George Benson's "Breezin'" that could have been radio-friendly (certainly for stations and DJs focused on R&B and Quiet Storm). What sets this particular album truly apart from its predecessors, though, is the presence of several fairly mainstream-sounding R&B numbers that foreshadow the band's minor early 1980s hit "Every Way But Loose." "Plastic" was the probable single, had this album had a proper release around 1978. That tune, along with "Be About the Future", "The Stuff to Make You Move", and "Get Your Head Together" are quite dancefloor friendly and certainly could have made the playlist of R&B stations. Plunky and crew were out to make a statement, and their positive message comes through loud and clear, and just as relevant three decades after their recording.

Personnel:
Plunky Branch - Tenor Sax, Soprano Sax, Flute, Shekere, Vocals
Eka Ete Jackie Lewis - Lead Vocals, Hand Percussion
Muzi Branch - Electric Bass, Shekere, Vocals, Arranger
Ras Mel Melvin Glover - Guitar, Shekere
Brian Jackson - Piano
Tony Green - Drums, Percussion
Okyerema Asante - African Drums, Log Drums, Bells, Percussion, Vocals
Judy Spears - Vocals
Peddie Maples - Congas, Vocals, Percussion

Tracks:
1. Breezin'
2. West Wind
3. African Rhythms
4. Be About the Future
5. Plastic (Is Easy to See Thru)
6. Nooky
7. All Blues
8. Afro Beat
9. Bootsie's Lament
10. Rhythms Timelessness
11. The Stuff to Make You Move
12. Get Your Head Together

Recorded September 6 1977 at Arrest Recording Studio, Washington DC.

Download Bush Brothers & Space Rangers

Lon Moshe's Southern Freedom Arkestra: Love is Where the Spirit Lies

I just can't get enough of the music created on the Black Fire label during its run in latter half of the 1970s. This particular album credited to Lon Moshe (who was part of James Plunky Branch's bands Juju and Oneness of Juju). The tunes on Love is Where the Spirit Lies are very spiritual kozmigroov jams that are certainly influenced by early Juju (just check those first two Strata East albums), but also draw upon the sound and vision of such cats as Sun Ra, Alice Coltrane, Pharoah Sanders, early to mid 1970s Don Cherry, and early Mtume. Fans of those artists or of the Strata East label will probably groove on this one.

Just a word of warning: the sound files are ones I found via p2p networks a few years ago and the last track is badly messed up (if this were the good old days of analog sound media, I'd swear that half of that particular track had been accidentally taped over). The rest of the album should play just fine. Who knows, perhaps I will have incited someone to hook us up with a better version. Like a lot of the albums from the Black Fire back catalogue, this one goes in and out of print. I've just never had the good fortune to have the coin when it has been commercially available. Some day perhaps.

Personnel:
Lon Moshe - Vibraphone, Marimba
Eka Ete Jackie Lewis - Vocals
Robin Bolling - Vocals
Ngoma Hill - Poetry, Violin
Ras Mel Melvin Glover - Guitar
Nathanel Nat Lee - Acoustic Piano
Timothy A. Hall - Piano
Calvin Craddock - Bass
Tommy Spencer - 6 String Fender Bass
Reggie Brisbaine Jr. - Drums
Ndikho Xaba - Percussion, Conga, Bells
Marvin Daniels - Flugelhorn, Trumpet, Shekere
Ben Wilson - Vibraphone

Tracks:
1. Prayer for Saude
2. Love is Where the Spirit Lies
3. The Hutch
4. Doin' the Carvin' for Thabo
5. Survival Raga #9
6. Low Ghost
7. Ballad for Bobby Hutcherson

Recorded June 3, 1976 and September 14, 1977 at Arrest Recording Studio, Washington DC. Released on Black Fire, catalogue # BF 19804.

Download Love is Where the Spirit Lies

Pharoah Sanders: Wisdom Through Music

Another gem from Pharoah Sanders' Impulse! days. What I'm sharing is the album as it's circulated around the usual p2p sources. Sound quality should be pretty decent, but beware that the track "Love is Everywhere" that I have seems to be cut short - over two minutes seem to be missing. I've also corrected a couple errors ("High Life" and "Wisdom Through Music" seem to have been mislabeled) [Thanks to a comment, those errors are no longer an issue - see new link at the end of this post]. Regrettably I have no access to the original album, but maybe someone here will be able to rip a better set of mp3s. The celebratory "High Life" is Sanders' interpretation of the West African style of music by that name - a style that Sanders would revisit from time to time during his career. "Love is Everywhere" is an abbreviated version of the extended track appearing on the album Love in Us All. The title track is a slow moving meditative drone with plenty of Badal Roy's tabla playing. There seems to be some uncredited vocal and kora playing on "Golden Lamp" - a tune that has an almost folky feel to it. The final track starts out as a slow predominantly vocal hymn that eventually gets cooking - some very spirited, fast-paced free-form instrumental jamming. Roy's presence contributes a distinctly South Asian feel to the tracks appearing after "High Life."

Interesting bit of trivia: flutist James Branch is also known as James "Plunky" Branch - the guiding spirit behind the legendary 1970s jazz combo Juju and Oneness of Juju (a band that is still alive and kicking in one form or another). Tabla player Badal Roy and percussionist Mtume played together in Miles Davis' touring and studio band in the early 1970s.

The info: Impulse! catalogue # AS 9233. Copyright 1973 - presumably released 1974.

Personnel:

Pharoah Sanders - Tenor Sax, Alto Sax, Flute
James Branch - Flute
Joseph Bonner - Piano
Cecil McBee - Bass
Lawrence Killian - Percussion
James Mtume - Percussion
Babadal Roy - Percussion
Norman Connors - Drums

Tracks:

1. High Life
2. Love is Everywhere
3. Wisdom Through Music
4. Golden Lamp
5. Selflessness

Download Wisdom Through Music via Magic of Juju!

Michael White: Go With the Flow

Here's another one from the Michael White canon. Compared to the previous album, Father Music, Mother Dance, this one is a considerably funkier affair with the combo pared down to six performers, including holdovers Jenkins, Nash, and King and newcomers pianist Ed Kelly (who also appeared with Pharoah Sanders on a couple albums) and drummer Paul Smith. The title track and "In the Silence" are my personal faves - those tracks could easily appear alongside some mid-1970s Oneness of Juju tunes on a mix-tape or CD; in other words, kozmigroov at its spaciest and finest. "Moondust Shuffle" is a bluesy tune that swings like a mofo. Impulse! during the early to mid 1970s was a very special label, and generated plenty of music for which to be thankful.

Impulse! - Catalogue # ASD-9281

Tracks:

1. Go With the Flow
2. The Lady Sirro
3. In the Silence (Listen)
4. Spaceslide
5. Her
6. Moondust Shuffle
7. Go With the Flow

Personnel:

Michael White - Violin [Electric], Tambourine, Synthesizer, Percussion [Small]
Kenneth Jenkins - Bass [With Wa-wa Pedal], Bass [Fender]
Kenneth Nash - Congas, Bells [Griot], Kalimba, Vocals, Gong, Synthesizer [Moog], Percussion [Small]
Paul Smith - Drums
Ed Kelly - Electric Piano, Piano, Organ [Hammond]
Bob King - Guitar

Download Go With the Flow

Michael White: Father Music, Mother Dance

Another beautiful late-period Impulse! recording. "Reiko" may easily be the highlight of this album - a gentle ballad with some wonderful conversation between violin and guitar. The title track, "Commin' From" and "Way Down Inside" serve up the funk. "Water Children" is another instrumental ballad, albeit with more prominent percussion than "Reiko". The final track comes the closest to a straight-ahead jazz track. Cosmic, but not too far out. Some info:

Father Music, Mother Dance - Impulse AS-9268 (LP) quadraphonic

1. Father Music, Mother Dance
2. Reiko
3. Commin’ From
4. Way Down Inside
5. Water Children
6. Mary's Waltz

Michael White - electric violin, rhythm violin, African tambourine, bass drum, handclap, Moog synthesizer, vocal
Norman Williams - alto saxophone
Bob King - guitar
Clifford Coulter - piano, Fender Rhodes electric piano, Hammond organ
Kenneth Jenkins - amplified bass, Fender bass
Clarence Becton - drums, agogo
Kenneth Nash - congas, North African sakara drums, Knole drum, Chinese temple bells and gongs, cowbell, tambourine, wood bells, piano, Fender Rhodes electric piano bottom, pepper-filled Kodak film can shaker, and assorted African and South American percussion instruments
Marti McCall - lead and background vocals
Josef Powell - background vocals
Myrna Matthews - background vocals

From the liner notes:

Recorded at Wally Heider Recording, SF, January 16-18, 1974, and sweetened at ABC Recording Studios and Royal Hidley Hall, LA. Engineering by Baker Bigsby, assisted by Valerie Clausen (Heider’s) and Dominic Lumetta.

The producer would like to express his appreciaton to the following honorary members of the Neo-Z-Mtg. Co. Gross Art Production Team for their much-needed assistance and aid: Professor George Hormel for his continued encouragement; his wiling henchman, Judge La Palm, for Moog services above and beyond the call of friendship; Thomas Q. Hidley for thick carpets and snappy dressing; the redoubtable Sandra Axelrod for her new found negotiating skills; Valerie and Debbie for their knowledge of hotcha gourmet spots in the City By The Bay, and their unfailing courage in the face of fainting spells and other errata; and the dreaded Susan Atamain, for both her patience and restraint, to say nothing of her incomparable ability to get her old man up in time, no matter the adversity of curcumstance.

The album was mixed by means of the Standard Matic system for fully compatible stereo and quadraphonic reproduction, and should provide and exceptional when heard on any high quality playback system.

The louder the better.

Peace, serenity and very grateful thanks to Ed Michel, Baker Bigsby, all the musicians that made the date possible, including Marti McCall, Myrna Matthews, and Josef Powell, Ed Riley, and, most of all, for inspiration, Mary.

Michael White.

Music as a creative medium has always excited me. Everywhere you turn you'll find another point if view; another universe of knowledge available to those who heed, and as diverse as is the talent of artists.

Micheal White has been adjudged to be a man of gentle character, impressionable difference immense serenity. His preceding Impulse recordings, Spirit Dance (AS-92150, Pneuma (AS-9221), The Land Of Spirit And Light (AS-9241), validate the aforementioned character references in full, but for a minute, because as the spectrum of Michael White's music turns with this album,he unleashes fire, depth, and the strong blues roots born to him (Boogaloo if you will). Particular note should be taken with fervent foot-stomps, ass-shakin' and porous sweat to the title tune "Father Music, Mother Dance" to "Way Down Inside" and not to be outdone, "Commin' From" to characterize the fiery side. Then on to the immaculately beautiful "Reiko", a composition by the extremely talented and highly diverse guitarist Bob King.

As multi-faceted as is the the talent of Michael White, so be it reflected, promulgated and supported by his formidable bassist Kenneth Jenkins and extremely articulate drummer Clarence Becton. Master percussionist Kenneth Nash's composition "Water Children" brings to mind an excerpt of poetry on this occasion: "But you, children of space, you restless in rest, you shall not be trapped nor tamed for you shall flow with the water, flow with the gale winds, you shall not be an anchor, you shall be a mast". To close the curtain (for a minute) on this album, Michaels "Mary's Waltz" is the flowing effervescent sensitivity that is so indicative of Michael's personality as attributed to his soft-spoken, gracious, and striking beautiful Lady Mary.

It is almost impossible for one man to describe another mans music as intended here, and to do it justice. However, the creation and stimulus - the motivational force behind the music - is the descriptive essence of this music. Michael White is the music - the music is Michael White.

Ed Riley. Miles Ahead. February 4, 1974

Download Father Music, Mother Dance

If you dig this, you'll probably groove on Pneuma and Land of Spirit and Light - both of which I believe are commercially available as of this writing.

Pharoah Sanders: Live at the East

The work of Pharoah Sanders seemed fitting for a 100th post. Live at the East is one of several albums from Sanders' Impulse! days that has yet to see a proper reissue in the US (an effort to reissue the Impulse! back catalogue was aborted at the end of the 1990s). It's a bit of a shame really, as the music on this album is nothing short of stunning. It's been a couple years since anyone in blogtopia posted Live at the East (see Orgy in Rhythm, who provides some excellent commentary), so I figure the time is ripe for a new upload. I came by my first set of mp3 files for this album on the old Napster - the sound quality was dodgy, but after reading so many tantalizing descriptions of the album, I was just thankful to have the opportunity to hear the tunes at all. The sound files I'm providing here are considerably higher quality - I found them on Soulseek about four years ago. "Healing Song" takes up much of the first side of the original LP, opening with the lush sound of piano, percussion, and voice over which Sanders offers up a lilting melody before letting loose. The piece is very free, but never overwhelming, instead lulling the listener into a near-meditative state before reaching its climax. Bassists Cecil McBee and Stanley Clarke get to showcase their mad skillz about five or so minutes into the piece, setting a fairly funky pace for the rest of the performers. Since Joe Bonner co-wrote the piece, it's not too surprising that his piano work is front and center. "Lumkili" starts out with a similar sax line that began the first piece, but goes in a somewhat different direction - the warm sounds he offers up would not seem out of place on, say, some of his later albums like Journey to the One. After that rather laid-back tune, the session closes with "Memories of J. W. Coltrane" which goes for a monastic vibe: the gentle bells, gong, harmonium, bailophone, and bass provide a drone over which the vocalists slowly chant. Given the spiritual direction of John and Alice Coltrane toward the end of John's life, this seems like a fitting tribute to a great artist and mentor. Here, Sanders' sax serves merely as another chanting voice - almost Tibetan on the occasions when it briefly appears.

Impulse! Catalogue # AS-9227

Personnel:
Pharoah Sanders - Saxophone
Cecil McBee - Bass
Stanley Clarke - Bass
Lawrence Killian - Congas, Percussion [Bailophone]
Norman Connors - Drums
William Hart - Drums
Carlos Garnett - Flute, Voice
Joseph Bonner - Piano, Harmonium
Harold Vic - Tenor Vocals
Marvin Peterson - Trumpet

Tracks:
1. Healing Song (Sanders/Bonner) - 21:37
2. Lumkili (Sanders) - 8:43
3. Memories of J. W. Coltrane (Sanders) - 12:51

Dowload Live at the East

Jothan Callins & The Sounds of Togetherness - Winds of Change

Tracks:

1. Prayer for Love and Peace
2. Winds of Change
3. Sons and Daughters of the Sun
4. Triumph

Personnel:

Jothan Callins - trumpet, bells
Joseph Bonner - piano, tambourine
Norman Conners - drums, percussion
Cecil McBee - bass
Roland Duval - conga, percussion

I first heard of this one courtesy of Seth Watter of the blog, Meshes of the Afternoon. Seth does a great job of describing the album - better than I'd probably do as a non-musician hobbyist. Callins apparently worked with a number of big names in the music world (not only jazz), including of course the legendary Sun Ra. Not surprisingly, there is a bit of a Sun Ra influence in the music. The album would have easily fit in with the Strata-East roster (as Seth notes), as well as T.R.I.B.E and Black Fire (Oneness of Juju's old label from the period). In other words, expect some primo kozmigroov, with the emphasis more on the cosmic. Absolutely gorgeous music.

Apparently, Callins and The Sounds of Togetherness toured extensively during his career. It's a pity he didn't get more of an opportunity to lead some studio sessions. He certainly had the vibe. The one document he left behind as a band leader is tantalizing.

Download Winds of Change

Stanley Cowell: Regeneration

Credits:
Acoustic Guitar - Jerry Venable (tracks: 1)
Bass - Bill Lee (2) (tracks: 2, 5, 6, 7)
Bass Drum & Ibo Chanting - Aleke Kanonu (tracks: 1, 3, 5)
Guitar - Glenda Barnes (tracks: 1)
Harmonica & Flute - Psyche Wanzandae (tracks: 4, 5)
Mama-lekimbe, Percussion & Madagascan Harp - Nadi Quamar (tracks: 2, 6, 7)
Snare Drum, Ride Cymbal, Gembhre & Percussion - Billy Higgins (tracks: 1, 2, 3, 5, 6, 7)
Soprano Saxophone & Flute - Jimmy Heath (tracks: 5, 6, 7)
Synthesizer, Piano, Kora & Mibra - Stanley Cowell (tracks: 1, 2, 4, 5, 6, 7)
Vocals - Kareema (2) (tracks: 5, 6, 7)
Vocals & Electric Bass - Charles Fowlkes* (tracks: 1, 5, 6, 7)
Waterdrum, Parade Drum & Percussion - Ed Blackwell (tracks: 1, 3, 5)
Wooden Fife & Wooden Flute - Marion Brown (tracks: 3, 6)
Zuna - John Stubblefield (tracks: 5)

Tracks:
1. Trying To Find A Way (3:49)
2. The Gembhre (4:30)
3. Shimmy Shewobble (4:00)
4. Parlour Blues (5:00)
5. Thank You My People (8:30)
6. Travelin' Man (4:00)
7. Lullabye (5:45)

This was originally released on the Strata-East label in 1976. Nice kozmigroov vibe.

Download Regeneration

Okyerema Asante: Drum Message

Recorded June 3, 1976 & September 14, 1977 at Arrest Recording Studios in Washington DC.

Released on Black Fire Records (catalog # BF 19803)

Credits:

Okyerema Asante: African Drums, Percussion, Vocals, Chants, Whistles, Bells
Plunky Branch: Soprano Sax, Tenor Sax, Shekere, Vocals, Flute
Muzi Branch: Electric Bass, Shekere
Brian Jackson: Piano
Andrea Thomas: Trap Drums
Judy Spears: Vocals
Iceman Ron Wallace: Vocals
Ras Mel Glover: Electric Guitar
Bilal Suni Ali: Flute
Timothy Hall: Piano, Synthesizer
Sister Tee: Violin
Simbo: Berimbeau, Congas

Tracks:

1. Drum Message
2. Asante Sana
3. Follow Me
4. Sabi
5. Mother Africa
6. Never Fly Away From the Funk
7. Play a Sweet Rhythm on Them Drums
8. Adowa
9. Sabi (Black Fire Mix)
10. Kazi's Awakening
11. To the Ancestors

If you're familiar with Plunky Branch's classic Oneness of Juju band from the mid to late 1970s, you will know what to expect. Sounds a bit like the classic African Rhythms album, but with much more emphasis on percussion. As far as I know, the album has never seen a proper reissue.

Download Drum Message

Mtume: Kawaida

Kawaida is an interesting and problematic recording. The problematic element is whom to credit as band leader. At various points it's been credited to Albert Heath (or at the time Kuumba Toudie Heath - see album art above) and Herbie Hancock (on one of the CD reissues from the 1990s). Over at the Kozmigroov connection and at Jazz Supreme it's been suggested that the album really should be credited to Albert Heath's nephew, James Mtume.

According to The Kozmigroov Connection, the album was first issued on a label called O'Be in 1970. The album was also issued by a label called Trip Records. According to Allmusic.com, in 1976 the album was issued under Herbie Hancock's name on a label called GB (catalog # 22008). Twenty years later, the album was issued on cd, again under Herbie Hancock's name (simply titled The Jazz Masters) on an Italian label called the Folio Collection. To my knowledge, it's currently out of print. Every once in a while the album shows up on ebay - usually fetching around $30-$35 (I obtained my copy for about $5 from some merchant who had no idea that this was some sort of Holy Grail recording among underground jazzheads).

Confused? Maybe one day we'll get the lowdown. I won't hold my breath.

There's no doubt that the album was a Heath family joint, with Albert (Mtume's uncle) handling the drum set, Jimmy (Mtume's dad) handling the sax chores, and Mtume contributing the fine conga playing and spoken word. Mtume wrote four of the five tunes (Baraka, Kamili, Maulana, and Kawaida), with Albert contributing the other tune (Dunia). The list of musicians is certainly impressive, and includes a number of heavyweights outside the Heath family, such as Ed Blackwell, Herbie Hancock, & Don Cherry.

The music speaks for itself, and can be characterized as having a distinct modal, percussive, cosmic feel to it. The first two tracks, the mid-tempo "Baraka" & and the slower "Kamili" are pleasant modal, soulful jams that fit in quite well with what was going on in the immediate post-Coltrane era. Herbie Hancock get's featured front and center on both tracks and sounds right at home with the music - it fits in (minus the electronics) with Hancock's Sextant recordings of the late 1960s & early 1970s (you could also easily play these tunes alongside of just about anything from McCoy Tyner's excellent album Asante). Just check out the opening of "Baraka" - Herbie gives the session a profound and haunting beginning. "Dunia" (Albert Heath's tune) is the closest the album comes to free jazz - that track features Don Cherry's trumpet very prominently, and the whole crew kicks out the jams and sets the studio on fire. If the first two tracks put you into a meditative trance, "Dunia" will wake you right back up. The final two numbers, "Maulana" and "Kawaida" are where we hear the roadmap for Mtume's subsequent jazz explorations - both numbers are contemplative, percussion-laden, and include spoken-word statements with a distinctly Black Nationalist message (especially on the final track, "Kawaida"). The vibe is very positive, spiritual, and nothing short of revolutionary. The mix of musicians is just right (these cats were all on the same wavelength for this session) - there isn't a weak moment on this record. If you've been digging on the other stuff I've shared so far, don't miss this one!

As Ian Scott Horst of Jazz Supreme sez:

Capsule Info: Not wanting to fork out $40 for a used copy I've settled for a taped dupe. This is more properly, I'm told, Albert's son [editor's note: Mtume is Jimmy Heath's son; Albert Heath is Mtume's uncle] Mtume's first album, and certainly it bears his percussive, and declaratively African nationalist stamp all over it: it's the prequel to Mtume's own ALKEBU-LAN, LAND OF THE BLACKS. It's a great album, with Herbie Hancock at the height of his jazz playing, swahili invocations, lots of percussion, and a deep spiritual vibe throughout.

Tracks:

1. Baraka (13:12)
2. Kamili (5:48)
3. Dunia (8:29)
4. Maulana (9:45)
5. Kawaida (7:39)

Note that the track listing here is from the CD version: the order on the original LP version appears to have been different.

Personnel:

Ed Blackwell - Bells & Percussion
Billy Bonner (Fundi) - Flute, Percussion (track 5 only)
Don Cherry (Msafari) - Trumpet
Herbie Hancock (Mwandishi) - Piano
Albert "Toudie" Heath (Kuumba)- Drums & Percussion
Jimmy Heath (Tayari) - Sax (Soprano), Sax (Tenor)
Mtume - Conga, Voice
Buster Williams (Mchezaji) - Bass

Recorded December 11, 1969. Produced by O'Be Productions. Recorded at The Universe, and Mastered at Town Sound Studios. Released 1970 on O'Be Records, catalogue number OB-301. Trip Records release is catalogue number TLP-5032. Liner notes on the O'Be Records edition written by Amiri Baraka.

Ripped from cd, 192 kbps.

Download it here.

Updated 10/20/2006 and 11/28/2008

Download it here.

Mtume: Rebirth Cycle

Mtume: REBIRTH CYCLE

Third Street Records, TSJ 100. Recorded at Minot Sound, February 1974; Released 1977. Produced by James Mtume. All tracks written and arranged by James Mtume.

Track list
1. Sais
2. Yebo
3. Cabral
4. Body Sounds
5. Umoja

Musicians
Mtume, congas (track 4), piano (track 2)
Jean Carn, vocals (tracks 1 & 5)
Dee Dee Bridgewater, vocals (track 1)
Tawatha (Agee), vocals (tracks 2 & 5)
Onika, vocals (track 5)
Carol Robinson, vocals (track 5)
Shirley Jenkins, vocals (track 5)
Muktar Mustapha, poet, narration (track 1)
Jimmy Heath, reeds (tracks 1, 3, 5)
Azar Lawrence, reeds (tracks 1, 3, 5)
John Stubblefield, reeds (tracks 1, 3, 5)
Stanley Cowell, piano (tracks 1, 3, 5)
Bayeté, electric piano (track 2)
Reggie Lucas, guitar (tracks 1, 3, 5)
Pete Cosey, guitar (track 2)
Buster Williams, bass (tracks 1, 3, 5)
Cecil McBee, bass (tracks 1, 3, 5)
Michael Henderson, bass (track 2)
Leroy Jenkins, violin (tracks 1, 3, 5)
Dierdre Johnson, cello (tracks 1, 3, 5)
Billy Hart, drums (tracks 1, 3, 5)
Andrei Strobert, drums (tracks 1, 3, 5)
Al Foster, drums (track 2)

Some reviews:

With credits that read like a who's who of early 1970s jazz, Mtume, then with Miles Davis, produced his third solo album, including one cut with the Miles Davis band sans Miles. This album is full of spirituality, Africanisms, and real jazz. "Umoja" even includes invocations to Obatala, Yemaya, and the other deities of the Yoruba religion/Santeria. Fascinatingly, Mtume and Lucas went on to produce funk, and then disco, and then Madonna, all with a trademark conga plus electric guitar sound. There, I always wanted to include Madonna in this website. (Ian Scott Horst)

Rebirth Cycle is an amazing lineup (see Ian's discog listing at for details) whose African roots are clearly breaking the surface. "Sais" is a sidelong cut initiated by a bass clarinet ostinato and textured with dense percussion and multiple voices (Jean Carn, Dee Dee Bridgewater, Tawatha Agee, damn!) and some absolutely penetrating narration. Also included is "Yebo", an electric cut with the Miles '74 players (Cosey, Foster and Henderson) that's more soul-jazz than what the players might suggest, and this weirdo percussion piece called "Body Sounds". [DW - freeform.org]

Rebirth Cycle, though released in 1977, was actually made in 1974, and the album’s personnel list reads like a veritable who’s-who of the musicians who where working in the more independent jazz scene of the early seventies. Working on this album, you had Dee Dee Bridgewater and Jean Carne on vocals. Strata East players like Cecil McBee and Buster Williams on bass, Stanley Cowell on piano and Jimmy Heath on reeds. This album is also the first introduction to the mighty voice of Tawatha Agee who would remain the co vocalist with the Mtume band right through to the mid eighties.

Musically, Rebirth Cycle is a fusion of afro-centric deep jazz and psychedelic spacey funk. The main piece on here, and the album’s high point, is the side long “Sais” (sigh-us). This 20 plus minute tune starts with the spoken introduction by Senegalese poet Mustapha, explaining the story of “Mystery System of Sais, the Egyptian school of higher learning from which Greek and Western philosophy was developed”. Once the introduction is over one of the most magical and hypnotic musical 20 minutes you could sit through begins. From the slow and haunting bass clarinet solo through crashing waves of vocal chaos plus one almighty guitar solo by Reggie Lucas, all backed by a solid groove that is cut so deep it would be impossible to climb out of, even if you wanted to. There are moments in this piece where the cacophony is such that it feels like you’re consumed in a hypnotic aural cloud, and you find yourself not wanting to come out of it, or at least for the tune not to come to an end. Then the chaos ebbs away, the bass clarinet solo slowly unearths itself from the onslaught of the other instruments and the poetry returns. You then find yourself coming to from this 20 minute musical roller coaster ride, and you cannot help but feel total exhilaration. On Side two of this album the tracks are shorter in length and are much more afro-centric funk in style. The vocal work on this side of the album is truly sublime, whether it is “Yebo” the Oneness Of Juju style groover with magical vocals by Tawatha Agee, the haunting beauty of Jean Carn’s performance on Cabral, or the traditional African nasal style on the closing track “Umoja”. Rebirth Cycle does not contain a weak moment anywhere on the entire recording, and is really worth seeking out a copy.

[Nick, freeform.org]

Download it here.

Like a lot of great underground jazz recordings of the period, this one has never seen a proper release. James Mtume's primary contributions to this album were primarily in the form of production, songwriting and arranging, although he does play on a couple of the tracks. The lyrics are less strident than the previous two albums (Kawaida, and Alkebu-Lan), but still positive and aware. "Sais" is probably the track that most seek out, and at 20 minutes sounds and feels like something straight out of Alkebu-Lan. The remaining tracks are shorter, and vary in sound and texture. "Umoja" and "Cabral" are both lovely, delicate ballads - the first overtly Afrocentric, the second a soul-jazz tune featuring Jean Carn on vocals. "Body Sounds" is a percussion piece that begins with some hand clapping & what sounds like chests being slapped - the echo becomes noticeable as the tune progresses and gives "Body Sounds" an almost psychedelic feel (it's my favorite track from side two). "Yebo" is a more uptempo funk tune that could almost fit in with Miles Davis or The Headhunters (or for that matter Oneness of Juju), and can be viewed as a harbinger of where James Mtume was heading for the remainder of the 1970s.

Updated 10/20/2006 and updated again 11/27/2008.

Download it here.

Mtume Umoja Ensemble: Alkebu-Lan - Land of the Blacks

The cover art (above): Front cover, Inside cover, Back cover. Click the pix to see them full-sized.

The information:

Mtume Umoja Ensemble

Alkebu-Lan: Land of the Blacks

1972 Strata-East (catalog # SES 19724)

Recorded August 29, 1971 at The East, Brooklyn, NY.

Tracks:

A1: Invocation (4:08)
A2: Baba Hengates (17:28)

B1: Utamu (9:58)
B2: Saud (10:32)

C1: Alkebu Lan (16:29)
C2: No Words (8:32)

D1: Separate Not Equal (7:26)
D2: The Prayer (Sifa Zote)...Outro (15:56)

Personnel:

James Mtume - Conga, Tonette Horn
Carlos Garnett - Tenor Sax, Flute
Leroy Jenkins - Violin
Ndugu - Drums
Gary Bartz - Alto Sax, Soprano Sax
Stanley Cowell - Piano
Buster Williams - Bass
Andy Bey - Vocals
Joe Lee Wilson - Vocals
Billy Hart - Drums
Eddie Micheaux - Vocals
Yusuf Iman & Weusi Kuumba - Poetry

Credits:

James Mtume - Producer
Endesha O'Brien - Engineer
Ray Gibson - Liner Photos
JE - Back Photo
Wabembi - Album Cover Art & Design

Review:

Capsule Info: Recorded August 29, 1971 at The East, New York. According to Jim Flannery of the Kozmigroove Mailing List, it's "Pretty damn wild...AACM goes to Africa... but I guess I'd have to add 'Pharoahs go to Saturn' to get the picture complete. Starts out with a four-minute speech describing the role of 'these jams' in the service of Black Nationalism... and then backs it up. Cover is black with white line-drawing of a sorta Egyptian-meets-subSaharan figure (Pharoanic beard, pyramids for eyes, goat amulet), back side has an eye-in-pyramid drawing with photo of Mtume leaning against it." Having finally heard this record finally, I love it. While it's certainly dated, it's a fascinating glimpse of the marriage of early 1970s Afro-centric music, politics and spirituality, plus it really grooves. To me reminiscent of Bartz' Ntu Group work, it's more energetic and colorful than those records. A treasure: Strata-East was an extraordinary label. (Ian Scott Horst: Jazz Supreme)

James Mtume was born James Foreman, and is the son of sax player Jimmy Heath. He's probably best known for his funk/r&b combo Mtume which scored a hit with "Juicy Fruit" back in 1983. He also has done some production work (e.g., The Bar Kays album Animal) and composed the music & theme song for New York Undercover (a cops & robbers drama from the early 1990s). If I recall correctly he's been director of a New York theatre and a community activist in his adopted city of NYC.

Before all that, he was a jazz percussionist (given the influence of his dad & uncles - i.e., The Heath Brothers no huge surprise) who was a regular member of Miles Davis' touring & recording group from 1971 through 1975 and an occasional band leader in his own right. Alkebu-Lan is the first album to appear under his own name although there is some speculation that Kawaida (a late 1960s kozmigroov classic) is truly his first as a leader (see Ian Scott Horst's site for more detail - sometimes it's credited to Albert Heath, sometimes to Herbie Hancock). His last album in the jazz idiom would be Rebirth Cycle, recorded in 1974, but not released until 1977.

The files are 192 kbps mp3s, ripped from vinyl. Expect to hear some pops, etc., though thankfully the vinyl recordings seem as if they had been well-cared for.

The music itself fits in very nicely with the music from The Black Artists Group (see previous blog entry), as well as cats such as Human Arts Ensemble, early 1970s Art Ensemble of Chicago, and early Juju (Plunky Branch's great band that also recorded on Strata-East). The album opens with a four minute speech outlining the album's purpose and then kicks out the jams. Since this is a live album, there is plenty of speaking in between tunes. The tunes themselves have a very free feel to them, with plenty of percussion, chanting, spoken word, and intense jamming throughout. The music holds up well nearly three and a half decades later, and just reading the credits it's easy to understand why - these cats were for the most part well-known and well-respected performers. The extent to which the spoken sentiments are "dated" I suspect will depend on who you're talking to.

Don't miss out. The album went out of print and as far as I know was never reissued on cd - a fate shared by many other wonderful Strata-East records from the era. For those of us who dig this particular form of improvised music, Alkebu-Lan is something of a Holy Grail & the vinyl (if you can find it) will fetch a premium.

This excellent recording is split into two parts: Album 1 (sides A & B) and Album 2 (Sides C & D).

Updated 10/20/2006

This excellent recording is split into two parts: Album 1 (sides A & B) and Album 2 (Sides C & D).

The Positive Force with Ade Olatunji

I love uncovering obscure gems by pure chance. While looking for some old out-of-print Strata East recordings on mp3 a while back, I found this cool album called Oracy (see image above) recorded in 1977 by a Detroit-area jazz combo. While digging on the tunes, I did a bit of researching and found out that it's also been reissued on cd (which of course means that if you download this and like it, please purchase a copy!). Dusty Groove's synopsis:

One of the most righteous soul jazz albums of the 70s -- a unique session of poetry, percussion, and jazz -- put together by the ultra-hip Positive Force! Not to be confused with the soul group of the same name, this combo was a spiritual jazz ensemble -- featuring poet Ade Olatunji reciting some of his works, plus additional percussion, piano, bass, and keyboards. The tracks unfold with a simple, easy-going approach that's really beautiful -- redemptive, hopeful, and free-thinking -- with a great vision for the future, and a keen ear to challenge the status quo. Titles include "The Afrikan In Winter", "Beautiful Flower", "Praise Song", "Guerilla Warfare", and "Poem For My Lady".

If you like purely instrumental jazz, this album's not for you. But if you can hang with some poetry - sometimes backed with standard jazz instrumentation, sometimes percussion - it's worth checking out. Ade Olatunji is a cat whose poetry would fit in well with Gil-Scott Heron and The Last Poets from the 1970s, covering many of the same topics, as well as getting into the interpersonal politics of romantic partnerships. "Poem for my Lady" is a piece I wish I had written for my lady. "The Weight Don't Make Things No Lighter" tackles the problem of men abandoning the women they impregnate. "Brothers" (Olatunji this time accompanied with bass) takes on the problems of urban violence and drug abuse with a uniquely personal twist. "Afrika Needs You" is a call to solidarity. "Praise Song" begins with a freeform skronkfest before settling into a mid-tempo groove that blends vocals, poetry, and instrumentals as the song progresses. The lone instrumental piece "Guerilla Warfare" starts off with the sounds of a war zone (gunfire, the sounds of aircraft overhead) and then segues into a tight funky soul-jazz jam that tears the roof off the sucka.

As far as I know, this was the only session these cats ever recorded. I don't know if any of Ade Olatunji's poetry ever appeared in print or was ever recorded except for that gig. If your recorded legacy is going to be one album, these cats did good. It captures the spirit of a particular time and place, and yet its spirit transcends its context, and musically and lyrically remains every bit as relevant today.

The website for the cd on Quadraphonic Records gives a brief description of the personnel.

The mp3 files appeared to have been ripped from an lp, so of course you'll hear the usual snap-crackle-pop that goes with the territory. Whoever did the work also kindly scanned the front and back covers of the lp, and I made sure to include those in the upload (same pix you see in this post, scrawled notes and all).

As I said, there is a recently reissued cd available, which of course I hope more folks will purchase - it's music that truly deserves to be heard.

Updated 10/20/2006

Download Oracy.