In memory of Johnny Peret

In memory of Johnny Peret
In memory of my friend Johnny Peret, vibist, drummer, accordeonist extraordinaire

Friday, December 28, 2012

HAPPY NEW YEAR



HAPPY NEW YEAR EVERYONE




No more posting this year, but loads of goodies in the pipeline.  We shall begin the year with some rare EuroJazz from the vault of SunBop, Paul D, Onxidlib and the Boogieman himself.

And take a good decision for 2013 ...
... drink OUDE GUEUZE




See you in January

Sunday, December 23, 2012

XMAS CANDY

TEXAS BLUES PIANIST / SINGER 
CANDY GREEN
THE LADY IN RED   (JSP Records 1022, UK, 1981)


At the end of the post on Leo Wright earlier this month, I was enquiring whether anyone would have in his/her record collection, the LP recorded by the elusive pianist Candy Green in UK in the early eighties on the JSP label.  It’s one of those albums that never made it to CD format.

That’s the beauty of blogging. Here it is! A beautiful rip in glorious FLAC with full scan.
Ain't that a lovely Xmas present?  

Many thanks to Grumpy, a regular visitor!  

"DR. BLUES" CANDY GREEN  p, voc
real name: Clarence "Galveston" Green
b. 1929  d.1988



Clarence “Candy” Green (1929 – 1988), who is not related to the guitar playing Green brothers Cal and Clarence from Houston, is the blues composer of "Galveston Blues" and "Green's Bounce." At the age of 15, Clarence played piano for tips in the world of honky tonks and brothels. Later, Don Robey signed Clarence to a three year contract for the Peacock label resulting in the recording "Hard Headed Woman" with Bill Harvey's Band which was the "baddest band in America at the time." He also worked with Johnny Fontenette, Horace Richmond, Rip Bolden, Wes Montgomery, Leo Wright's band, and Sonny Boy Williamson. He was for a time a merchant seaman and travelled from Mexico City to New York, East Germany to Czechoslovakia playing music and gambling.

Read the small biography by Mike Leadbitter here.


Candy Green - Lady In Red (JSP 1022)

Another Mule; That Ain't Right; Taxi Lady; Please Set A Date; One Scotch, One Bourbon, One Beer; Gee Baby; Ain't I Good To You — Early In The Morning; In The Evening; Lady in Red; Wee Baby Blues; Boogie Stuff; Don't Cry Baby.
Candy Green (v/p), London, November 28, 1980.

Though he began his career as a blues/r&b musician, Green has spent much of his recent past playing in more modern idioms. This is a journey back to his youth in South Texas in the forties, and something of the spaciousness of traditional Texas piano-playing is on view (Another Mule, In The Evening), though his instrumentals (TaxiLady, Boogie Stuff] do not recreate the old-time barrelhouse sound. Green is a vigorous and pliant singer, quite light in his approach. His playing is deft, but hasn't that sense of playing between the notes that the truest blues pianists convey, and seldom is his touch really bluesy. Possibly a trio setting, after the manner of Charles Brown, with a similarly elegant guitarist, would have shown him off better. This is a pleasant record, but rather mild and uneventful.

Tony Russell Jazz Journal, May 1982




Tuesday, December 18, 2012

RARITY #34


RUDI FLIERL 
"SPIELT EARL BOSTIC FAVORITEN"
BERTELSMANN 7589 (EP) – Germany, 1957


Looks like December is gonna be the Rarities Month.  From Onxilib seemingly bottomless treasure chest comes another rare German EP that will appeal to fans of good old instrumental Rhythm & Blues.  German tenor sax Rudi Flierl plays some classic Bostic tunes.  Very competent and soulful playing, it’s interesting to hear them played on tenor instead of Bostic’s alto.  Otto Weiss provides some soulful piano accompaniment and soli. 

I know little about Rudi Flierl (who turned 80 in July this year).  He’s been a mainstay of several German big bands and dance orchestras from the early fifties to the late seventies. 


1952 to 57: Orchester Hugo Strasser
1957 to 62 SWF-Tanzorchester led by American band leader / arranger Eddy Sauter
1963 to 65 Tanzorchester Max Greger
1965 to 80 back with the SWF-Tanzorchester, led by Rolf-Hans Müller 
1980-1999 Flierl directs the Musikverein Zell-Weierbach




RUDI FLIERL  "SPIELT EARL BOSTIC FAVORITEN"

Rudi Flierl, tenor saxophone
Otto Weiss, piano
Helmut Wörsching, bass
Horst Ende, drums

Side A:
1. Flamingo (Ted Grouys)  2:56
2. Liebestraum (Franz Liszt)  3:27

Side B:
1. These Foolish Things (Jack Strachery / Harry Link)  3:03
2. Blue Groove (Flierl?)  3:29

All arrangements by Earl Bostic.
Recorded on 3rd March, 1957 in Munich, Germany.
BERTELSMANN 7589 (EP)







Sunday, December 16, 2012

RARITY #33


ROLF KÜHN - HOLIDAY IN EUROPE 
EP JAZZ STARSERIE 27
(COLUMBIA, Germany, 1959)


We continue our (re)discovery of rare German EP from the late fifties / early sixties, thanks to Onxidlib. 

The title “Holiday in Europe” refers to the fact that at the time Rolf Kuhn was residing and working in the USA. 

Although the record is under the name of Rolf Kuhn it is actually Rolf Kuhn & Horst Jankowski Trio 

Better known for his successful easy listening albums - including the famous 1965 world-wide  hit “"Eine Schwarzwaldfahrt", released in English as "A Walk in the Black Forest", Jankowski (1936-1998) was a more than competent jazz pianist.

ROLF KÜHN  "HOLIDAY IN EUROPE"

Side A:

  1. But Not For Me (Gershwin)  1:32
  2. Cute (Neal Hefti)  4:14


Side B:

  1. They Can't Take That Away From Me (Gershwin)  1:56
  2. Easy Living (Robins/Rainger)  3:52



Recorded in Köln, Germany on July 7, 1959.
COLUMBIA C 41 164 / SEGW 7918



With many thanks to onxidlib who did an excellent job in cleaning the EP.

Friday, December 14, 2012

More SCHRÄGE MUSIK – the missing tracks


SCHRÄGE MUSIK EP
ERWIN LEHN & SÜDFUNK-TANZORCHESTER (1953)


Onxidlib has managed to find the two tracks that were on the EP “SCHRÄGE MUSIK” but that he could not rip because of the bad condition of the record.  They would not qualify as "Rarity" as they have been re-issued and pop up occasionally on big band / swing compilations.

Great tracks for dancing! 

Line-up unknown - should be very similar to the one on "The German Jazz Hurricane"



1. Let 'Em Swing (Ernst Simon)  2:47
2. Festival Jump (Werner Baumgart)  3:00

Recorded in Stuttgart, Germany on September 25, 1953.

Note: released also on TELEFUNKEN A 11533

These two tracks complete the EP.  For the Max Greger Combo, refer to the previous post.



Tuesday, December 11, 2012

RARITY # 32: SCHRÄGE MUSIK


Max Greger Combo

Telefunken, Germany, 1952

Onxidlib did it again!  Here are two superb Jump Blues recorded in Germany in 1952.  If you ever organise a blindfold test for blues / rhythm & blues buffs, play them any of those two sides, you'll confuse them 100%. They’d never guess the honking tenor was a German saxman / band leader probably better remembered for Schlager / Easy Listening than for gritty jump blues (at least that was the kind of music I knew him for  ...  up to now).  The guy’s MAX GREGER.
Well I must concede I had misconceptions about this guy.  He certainly recorded a lot of commercial stuff but he surely was a real jazzman and he knew how to blow the blues when he wanted to .  Too bad it did not happen more often.  

MAX GREGER COMBO  "SCHRÄGE MUSIK"
  • Sonny Gray (Grey?), trumpet (1)
  • Hugo Strasser, alto saxophone (1)
  • Max Greger, tenor saxophone
  • Klaus Ogermann, piano
  • Hans Lehmann, bass
  • Silo Deutsch, drums

  1. ·         Leapin' With Max  3:38 (solos: Max Greger + Sonny Gray)
  2. ·         Night Train       2:56 (solo: Max Greger)


Recorded in Munich, Bavaria on November 26, 1952.
TELEFUNKEN UX 4527 (also TELEFUNKEN A 11370 with one title more "Tip Top Boogie").


A bit of history

(thanks to Herr Professor Onxidlib, PhD Faculty of Obscure Records)

The title "Schräge Musik" could be seen as  funny - schräg means angular, crooked or oblique,
or as not  funny at all :  "Schräge Musik" was the Nazi term for Jazz. They even made an anti-aircraft weapon during WW2 which they used to fire at -mostly english planes - from below.   They called it "Schräge Musik".

It is quite possible that Max Greger, or the guys from the label, did know this fact - whether they made insofar a deliberate decision to name it "Schräge Musik" I do not know but I assume that this is true.

More info on Schräge Musik here.

Source : http://www.klaus-muempfer.de/jazz-photos-9.htm
p.s.  the tracks were ripped from a +EP with these two tracks by Max Greger and two by Erwin Lehn.  Unfortunately the Erwin Lehn tracks were beyond redemption.  If anyone has the EP (cover below), we'd love to get a rip of the Lehn's tracks.  Thanks in advance.



Friday, December 7, 2012

BLOODY BLUES

MODERN JAZZ STUDIO NO.4 - LEO WRIGHT COMBO
AMIGA STEREO LP 8 55 215, DDR, 1965

En Belgique, on ne croit pas au Pere Noel … on a St Nicolas / In Belgium we do not believe in Santa Claus, we do have the real thing: St Nicolas”.  

Yesterday was the 6th December, a day (or rather a night) all kids await eagerly (probably less than they used to in the older days), because in the night between the 5th and 6th December, St Nicolas / Sinterklaas brings toys and sweets to all children who did behave well during the year. 

I’m no longer a kid but in my case St Nicolas appears in the shape of Paul D. (which means that he certainly did not enter thru’ the chimney :-) .  And what did I received? A whole load of rips of rare albums than I intend to share with you in the coming weeks.  Today’s threat is an album recorded in East German city of Dresden in 1965 by a bunch of visiting North American visitors lead by the great (bur much underrated) LEO WRIGHT.

On guitar, we have Andre Condouant, a native of the French West Indies who did quite a bit of work in Germany in the 60s.  If you’re a regular of this blog, you are already familiar with this gifted and inventive guitar player.

On piano, “Dr Blues” Candy Green. Probably not a household name, even among blues collectors.  Green was a native of Galveston, Texas, his musical career goes back to the late forties.  He moved to Scandinavia by the end of the Fifties, lived in Germany – he even recorded for Supraphon and eventually settled in UK in the Seventies (where he recorded a blues album on the JSP label). (source: Mike Leadbitter, Jazz Journal, July 1973). 

Leo Wright (December 14, 1933 in Wichita Falls, Texas - January 4, 1991 in Vienna) does not require introduction anymore.  A first-rate bop-oriented alto saxophonist, Wright was also one of the finest flutists jazz has known. 

He studied saxophone under the tutelage of his father. His first recording was made in 1958 with vibist Dave Pike; the next year, he played the Newport Festival with bassist Charles Mingus' group. Wright joined Dizzy Gillespie's band in 1959, remaining until 1962. In addition to his sideman work, Wright established himself as a leader in the early '60s, leading New York-based bands that included the likes of bassist Ron Carter, pianist Junior Mance, drummer Charlie Persip, and guitarist Kenny Burrell, among others. In 1960, he recorded the record for which he is perhaps best-known -- Blues Shout for the Atlantic label -- with a group consisting of himself, Mance, Persip, bassist Art Davis, and trumpeter Richard Williams

After leaving Gillespie's band, Wright went on to play and record with pianist/composer Lalo Schifrin and organist Jack McDuff; with the latter he recorded Screamin' for the Prestige label. He also worked with composer Antonio Carlos Jobim, trumpeter Johnny Coles, and singer Jimmy Witherspoon before moving to Europe later in the decade. There he worked with pianist/composer George Gruntz and he also played with saxophonist Lee Konitz in an all-star group called Alto Summit and with trumpeter Carmell Jones. Wright eventually moved to Berlin, where he played in a studio band and worked freelance. In May 1978, Wright co-led a studio session in New York City with pianist Red Garland for Muse Records. 
He essentially retired from music around 1979, before re-emerging in the mid-'80s. In 1986, Wright played gigs with the Paris Reunion Band, which also included trombonist Grachan Moncur III, cornetist Nat Adderley, and pianist Kenny Drew Sr. In the years before his death, Wright worked and recorded with his wife, singer Elly Wright. His autobiography, God Is My Booking Agent, was published posthumously by Bayou Press in the fall of 1991. His last recording was made with his wife on her CD Listen to My Plea. (source: AMG).
.
Andre Condouant
The rhythm section is made of two German musicians: bass player Wolfgang Kraesse and drummer, Hartwig Bartz who’s qualified as “un batteur de kermesse” by our friend Paul D. I must concur that his drumming is not over-exciting (or perhaps it is deserved by the recording technique?).


Tracks:
1. Worksong
2. Moonlight in Vermont
3. Bloody Blues
4. Going to Chicago
5. I’m getting sentimental over you
6. Soulville

Recorded in Dresden (DDR), March 10, 1965.




We're looking for these albums:


Thursday, December 6, 2012

RE-POST


I have re-posted:


Get  'em while it lasts!

SEE comments of original post for the new link.


Saturday, December 1, 2012

RARITY # 31


JO JAGUAR, SON PIANO, SON TRIO
Extended Play (EPL 7.251), VOGUE, FRANCE (1956)


Eh voici, Mesdames zé Messieurs THE RAREST OF THE RAREST !!! celui que vous attendiez tous, celui qui vous fait saliver depuis tant d'années, voici le grand, le seul, l'unique, l'incontournable, l'inoubliable, voici, Mesdames zé Messieurs, le voici, le voila, « Black Denim Trousers and Motorcycle Boots » mieux connu en francais comme "L' homme à la moto" avec ses culottes, ses bottes de moto, son blouson de cuir noir avec un aigle sur le dos.  Sa moto qui filait comme un boulet de canon, semait la terreur dans toute la région.

This is what an enthusiastic Paul D. wrote me a couple of weeks ago after finding this extremely rare Martial Solal EP, one of a series of three, recorded for the French VOGUE label in 1956.  Of the three EP (extended play), this one is the more sought after as it contains a version of Leiber & Stoller’s « Black Denim Trousers and Motorcycle Boots » which was a big hit in France for EDITH PIAF as “L’Homme a la Moto”.

Do not expect the type of advanced jazz Solal is known for, this is earlier stuff in a more popular / cocktail jazz style.  Nevertheless it is an historical document in the long career of one of Jazz greatest pianists. 











Credits:

Martial Solal (as Jo Jaguar) Piano
René Duchaussoir (gt), Pierre Michelot (b), Christian Garros (dm).
Recorded in Paris, on 30th mai 1956.

Tracks
1. L’Homme a la Moto (Black Denim Trousers & Motorcycle Boots)
2. Une Dame
3. Soudain une Vallee
4. Alors Raconte
5. Adieu Lisbonne
6. Personne au Monde

Two other EP were recorded around the same period.  The three EP had been compiled on a 10” LP (25 cm) which is even rarer than the EP.  If anyone has any of the two remaining EP, we’d love to hear a rip’







TWO YEARS ALREADY


In a few days,  the blog will be two years old.





Two years and over 160 posts ago, feeling bored on a windy December evening – December is always cold and damp in Rabat, I decided to try my hand at designing my own blog.  Initially the idea was to post some compilations I had made and circulated among friends and perhaps some out-of-print albums.  The main technical problem was that I was in Morocco and my record collection was in Belgium.  Luckily I had a hard drive where I had copied a fair amount of my CDs (yes, I am one of those weirdos who actually BUY records!).  The external hard-drive is a wonderful invention, much appreciated if you have known  the cumbersomeness of traveling around the world with a collection of CD, not to mention LPs.


As it turned out, I never posted any compilation but started with OOP CD from my hard drive.  Then in the comments of one of the first posts, a blogger named Hoochie Coochie asked me whether I had a rare Belgian 7” by the Brussels Art Quintet.  I did not but I forwarded the message through my network of collector-friends in Belgium and there it was.  It was the beginning of a long collaboration with Paul D., discographer and huge jazz record collector.  Two years later the collaboration is still going strong and the next post will be another gem from Paul D’s collection (beautifully cleaned, as usual).  The Brussels Art Quintet was also the first instalment in the very popular Rarity Series.

Then JC – from Brussels - came on board and contributed some rare Charlie Mariano’s album, among others.  While on vacation in Belgium, I started ripping vinyl.  Then Onxidlib, of Inconstant Sol fame, proposed to feed the blog with obscure German records.  The collaboration is still going strong with posts of very rare EP, LP and even an acetate!  And there is more in the pipeline. 

The blog also received contributions from Arkadin (Germany), Moi-meme (France), Sunbop (Belgium).  
Claude (Belgium) has often contributed with discographical information and - sadly - obituaries.

Blogging has been – and still is – a wonderful and rewarding experience and I wish to thank everyone, collaborators, contributors as well as anonymous visitors (but remember that leaving a comment is always much appreciated).


While the blog has received many contributions, it has also contributed – sometimes unknowingly - to other blogs as I occasionally see my posts on other blogs.  I don’t mind, really , (although I always appreciate an acknowledgement) as it allows forgotten records to be saved from obscurity. 
I do not know what will happen in the near future.  It seems that increasingly barriers are being erected to cap music sharing and free download (see Rapidshare new policy as an indication of things to come).  

Anyway, let's celebrate with more rare records!