HOE LYKIT ?

McCOY MRUBATA – HOELYKIT  (South Africa, Sheer Sound SSCD 059,  2000)

Another album I bought about ten years ago in that excellent record shop right inside the transit hall at Johannesburg airport (I’m afraid the record shop is no longer there, has anybody been there recently?).  The album had just been released and was recommended to me by an enthusiastic shop attendant who turned out to be a  knowledgeable jazz fan.   I do not think it got much distribution outside of South Africa and it is a shame as this album definitely deserved a wider exposure.   There is a comprehensive and well written review here.


As the writer concludes: If you've not listened to McCoy Mrubata yet, then this is an ideal introduction to his music and it deserves to be widely heard.

The Tracks

01: Hoelykit? Composed by M. Mrubata

02: Romeo & Alek Part II. Composed by M. Mrubata

03: Philani. Composed by M. Mrubata

04: Obsession. Composed by M.Mrubata

05: Time. Composed by M. Mrubata

06: Bra Kadudu's Dream. Composed by M.Mrubata 7 V. Ntoni

07: Waki's Walk. Composed by P. Hanmer & M. Mrubata

08: Amasabekwelangeni. Composed by M.Mrubata

09: Romeo & Alek will never rhyme – Part 1. Composed by M. Mrubata & T. KaMkhize

10: Chef's Special. Composed by P. Hanmer & M. Mrubata

The Musicians

McCoy Mrubata – Tenor Sax, Saxello, Flute and Soprano Sax

Paul Hanmer – Piano

Marc Duby – Double Bass

Barry Van Zyl – Drums

Dave Reynolds – Steel Pans

Romeu Avelino – Percussion

Andile Yenyana – Piano

Herbie Tsoaeli – Double Bass

Morabo Morojele – Drums

Feya Faku – Flugelhorn

Mncedi Kupi – Piano, Keyboards & Voice

Isaac Mtshali – Drums

Mandla Zikalala – Double Bass

Sidney Mnisi – Tenor Sax

Thulani KaMkhize – Poetry

Gloria Bosman – Poetry & Vocals

CRYSTAL BELLS

CHARLIE MARIANO – CRYSTAL BELLS (1980)

 After writing in my previous post that I found it nearly impossible to give a satisfactory definition of Jazz, I came across this statement on someone else’s  blog:

 “Jazz is no stranger to eclecticism. Musicians have been bending, breaking, reshaping, and reincorporating since the very beginning of jazz history. In fact, departing from jazz tradition might as well be the definition of jazz.”

I could live with this definition.  It would certainly have pleased Charlie Mariano.  His albums - and contributions to other people's works, including to a few kraut/prog albums - and his interest in Eastern music amply demonstrate the point.  CRYSTAL BELLS is just one example among many others.  

Charlie Mariano's output is well documented in the blogworld.  Several of his albums recorded during the Seventies, mostly in Europe, have already been posted on various blogs but I do not remember seeing this one.  I do not know of any CD re-issue either.

AMG is very laconic about this album. It just states “Excellent set, with Don Alias first-rate as a percussionist.”.  I won’t disagree with it.  On the other hand, I’m not too keen on Stu Goldberg’s synthesizers sound. 

Another great rip from JC. Thanks mate!

Personnel:

• Charlie Mariano – alto & soprano saxophones, bamboo flutes, nagaswaram
• Stu Goldberg – piano, keyboards, synthesizers
• Gene Perla – bass
• Don Alias – drums, congas, percussion

Titles:

1. Cynthia (Charlie Mariano) 9:34
2. Afreeka (Don Alias) 3:22
3. Crystal Bells (Charlie Mariano) 7:55
4. Telisi Rama (trad., arr. by Charlie Mariano) 8:07
5. Becky (Stu Goldberg) 4:53
6. Turquoise (Charlie Mariano) 9:06

Recorded in December 1979 and mixed in January 1980 by Henrik Lund at Easy Sound Studio, Copenhagen, Denmark

Produced by Kurt Renker.   Released by CMP (Germany) 10 ST

All Charlie Mariano’s fans should visit the Charlie Mariano Tribute Website.

WHATEVER

Danny Thompson – WHATEVER (UK, 1987?)

  What is jazz?  I’ve spent countless evenings arguing with other jazz fans about the very nature of jazz while guzzling unreasonable quantities of beer, wine, Scotch , rum or whatever else was on the table, with as sole result a serious hangover the next morning.  I still can’t define Jazz.  This album is a case in point but, who cares eventually? The Duke waved off these academic arguments about jazz with the breezy statement that there is only good music and bad music.   And believe me, WHATEVER is of the good category.

Danny Thompson, one of UK’s leading bass player, does not need any introduction. If you’re reading this blog, chances are that you are already familiar with this outstanding musician.  Pentangle was among my favourite band in the late sixties and I still listen to their albums with as much pleasure as when I first heard them some forty years ago.

Named after his touring band at the time, Whatever, it features Thompson on his trademark double bass, reedman Tony Roberts on all manner of saxes, flutes and clarinets, and guitar from Bernie Holland.

The music falls well within the territory that Pentangle explored in the late 1960s / early 70s, albeit without the twin modal guitars of Bert Jansch and John Renbourn, and without the vocals.  This trio produces a thick and complex palette of sound, driven by the amazing power of Danny's acoustic double bass, which functions alternately as melody, bottom and rhythm section (no drums), and sometimes all three simultaneously. As to whether it is jazz - well, it's Euro-jazz. Tony's sax calls to mind Norwegian Jan Garbarek, a standard-bearer in that sub-genre. These guys are very adept jazz players, but the music is much more deeply rooted in European folk traditions and it's looking through the folk lens that brings this music into sharpest and sweetest focus. But forget the genres - when you're in the middle of that swirl of emotions that only the finest music can bring, you really won't notice that what you are hearing might be a blend of jazz, Scottish pipes and flameco, as it is on "Lovely Joan".

There is some confusion about the original release date of this album as there isn’t any date in the credits and sleeve notes. . According to AMG, this was originally released in 1974 but according to Wikipedia, it was released in 1987. Could anybody confirm?

Track Listings

1. Idle Monday

2. Till Minne Av Jan (For Jan Johansson)

3. Yucateca

4. Lovely Joan

5. Swedish Dance

6. Lament For Alex (For Alex Campbell)

7. Crusader

8. Minor Escapade

AND NOW SOMETHING COMPLETELY DIFFERENT

LURE OF DESERT - PT Vishwa Mohan Bhatt (India, 1994)


I do not like the term World Music which means anything that's not "Western". It's a typical "us" and "them" mindset.
I guess that for, say an Indian or an Ugandese, the Rolling Stones or Count Basie must sound like some kind of "World Music".. 


However, I do like traditional music (it used to be called "ethnic music" in the old days which was probably a much more accurate and neutral description). And I have a special liking for Indian music ... thanks to the Sixties and Ravi Shankar I assume.


Well, this here musician studied with Pt Ravi Shankar. 


I found this CD at Curepipe Market (Mauritius) about 10 years ago,  It's on an Indian label (pretty unusual as most CDs on the market were pirated copies). 


Pt Vishwa Mohan Bhatt is well-known in the West for his collaboration with Ry Cooder a.o. but I prefer him in a purely indian / tradional setting as is the case in this recording.
Two long ragas (over 20 minutes each) and three "shorter" tunes (well over 6 minutes each).


He his supported by Salil Bhatt (second guitar) and Sandeep Das (tabla).


Magic!


This is my first posting of Indian music, there will be some more, occasionnally.


Dedicated to my friend Pradip, wherever you may be!

JAZZ IN MOROCCO

ECHOES OF MAWAZINE (Rabat, Morocco)

This year saw the tenth edition of the Mawazine – Rhythm of the World Festival in Rabat (Morocco).

As usual an ambitious programming mixing big international names  (Kanye West, Shakira, Quincy Jones, Earth-Wind & Fire  …), African (Femi Kuti, Salif Keita, the Mahotella Queens, Papa Wemba …) and Middle-East big names, and some “classic-rock/has-beens" (Cat Stevens aka Yusuf Islam, Joe Cocker). All that mostly FREE!!

As a jazz fan, I went to see Joachim Kuhn who was playing with Gnaoua Master Majid Bekkas and his band, and Argentinian drummer Minino Garay.  Kuhn and Bekkas have already recorded a couple of CD together but I wasn’t convinced, I think the “fusion” did not occur.

Joachim Kuhn - Majid Bekkas, from : blog Afropop

Quincy Jones?  Too much World Music, too little jazz … sorry Quincy.

I missed the concert of Hindi Zahra, a talented singer but more “jazzy” than Jazz, in the Norah Jones, Madeleine Peyroux vein  spiced with Berber / oriental influences.

Read more about Mawazine HERE

Next month we’ll have Jazz at the Chellah with a.o. Portico Quartet I haven't seen them yet but my artistic daughter was very enthusiastic about this band so I'll give it a try.  In the wonderful setting of the Chellah this ethereal music should be quite magic! 

The Chellah in Rabat, wonderful setting for a jazz festival!

GOOD BUDDIES

MICHEL HERR, BILL FRISELL, VINTON JOHNSON, KERMIT DRISCOLL
GOOD BUDDIES (Belgium / USA - 1979)

About a month ago I posted the first album of TRIODE (Frisell, Johnson, Driscoll) recorded Live in a small club in Brussels in 1978.  Here is what could be considered as the second TRIODE album eventhough the band is not referred to as "Triode" any longuer. It is a Quartet effort with Belgian keyboard wizard Michel Herr generously contributing to this forgotten but outstanding album.
It is hard to understand how such a fantastic album has never been re-issued on CD.

Tracks :
1. Acapulco bells (M. Herr)
2a. Frog legs vampin' in the moonlight
2b. I think I know what you mean (K. Driscoll)
3. Sans blues thank you (B. Frisell)
4. What do you mean, what do you mean ? (B. Frisell)
5. Good buddies (B. Frisell)


Musicians :
Michel Herr - piano, synthesizer
Bill Frisell - guitar
Kermit Driscoll - electric bass
Vinton Johnson - drums, percussion

Recorded at studio Shiva, Brussels. Released in 1979, LP (EMI 1 064 63568).

VERY HIGHLY RECOMMENDED!

With a massive thanks to JC for the superb rip of this rare LP from his collection.

If you're interested in Michel Herr's music (and if you're reading this, you are), get a copy of The Music of Michel Herr by the Brussels Jazz Orchestra.

RARITY # 6 : CARL-HENRIK NORINS ORKESTER (1958)

CARL-HENRIK NORINS ORKESTER
feat. ROLF BILLBERG - (EP HMV 7EGS89, Norway, 1958)

A rare treat again from the vault of Paul D. Scandinavian jazz this time. A pretty rare EP on HMV Norway dating from 1958 which, to the best of my knowledge, is not available on any CD.

Carl-Henrik Norin, 1920-67, jazz musician (tenor saxophonist and arranger). Norin emerged during his time with Thore Ehrling 1941-48 as one of Sweden's foremost saxophonists. He played in the radio band 1956-57. During the years 1948-62 Norin had his own big band at Nalen, after which he led a popular dance-oriented band. Norin wrote, inter alia, "Zero-Zero", theme song of the TV show "Hylands Corner".  For more details on Norin's life and career, Paul D. has added some interesting biographical notes in the file.

Track listing:

A1. Stella by Starlight (Carl-Henrik Norins Orkester – solist: Rolf Billberg)

A2. Mumin (Carl-Henrik Norins Orkester – solist: Rolf Billberg)

B.1. Blue and Sentimental (solist: Carl-Henrik Norin)

B.2. This can’t be love (Carl-Henrik Norins Orkester)

Credits:

Carl-Henrik Norin (leader, tn) Jan Allan (tp) Rolf Billberg (as) Torsten Wennberg (bar) Lars Bagge (p) Lars Pettersson (b) Sture Kallin (d)

Recorded in Stockholm in 1958.

EPATE-MOI!

 NO VIBRATO - CINQ DE COEUR (Belgium, 1997).

As a pianist Etienne Richard is no virtuoso, nor is he a great improviser.  He knows his limitations (he was 32 when he decided to become a musician) and leaves ample rooms for his fellow band members to stretch and shine. Mind you, Etienne  ain’t no slouch either but his real talent is somewhere else.  Etienne Richard is a composer.  He has a rare talent for writing beautiful melodies, simple and luscious at the same time.  He serves  the melody line to his companions and let them take it and develop it.  It works pretty well.  Listen to the melody of “Epate-Moi” (litteraly “Amaze me!” but also a wordplay as the theme is reminiscent of a Pat Metheny’s musical phrase).  Saxophonist Fabrice Aleman shines through these eight compositions which flow naturally from one to the other.  Beautiful album, well balanced, very musical. 

Highly recommended.

  Track list: 
1. Call Me 
2. Cinq De Coeur 
3. Fais-Moi Mal 
4. I Hate Flies 
5. Un Jour Bleu 
6. The Revenge 
7. Epate-Moi 
8. Prétexte Pour Un Mineur Blues 


All songs composed by Etienne Richard.






Credits:
Etienne Richard (p), Fabrice Alleman (ts, ss), Bart Zegers (acoustic bass), Bilou Doneux (d, perc)


CD currently OOP.

JAZZ STATION

I have noted that my Belgian Jazz posts are among the most visited.  Since many of you seem to be interested in Belgian Jazz, here are a few links of interest:

• Jazz in Belgium / Les Lundis d'Hortense
• The JAZZ STATION (in Brussels): the place to visit when in Brussels
• La Maison du Jazz in Liège
• The Sounds (Jazz Club in Ixelles)

More Belgian Jazz coming soon.

RARE FLORIDA FUSION

FOUNTAINHEAD (Florida, GWP Label, 1970)

  Here is a pretty obscure album from Florida.  They probably got their name from Ayn Rand’s book but that should not deter you from giving them a listen.  If you like late sixties / early seventies progressive big bands in the line of Don Ellis Orchestra or Maynard Ferguson’s MF Horn, you’re in for a treat.  This album is pretty rare and if it wasn’t for Redtelephone66, I’d probably never have had a chance to know about it. 

Fountainhead is a Southern Florida jazz-rock group consisting of Gus Mas (tenor saxophone), Eddie Crane (alto saxophone), Vinnie Tanno (lead trumpet), Phil Gilbert (trumpet), Ken Faulk (trumpet), Dolphe Castellano (piano), Lee Schwartz (drums) and David Glatts (bass).

The album, which only contains four selections, was arranged by Mike Lewis and produced by Teo Macero and includes two Mike Lewis originals (“Orchestration 70″ and “Ballet”) which are the two long tracks, and two covers (“Mac Arthur Park” and “Honky Tonk Woman”).

These guys were seasoned Florida jazz players,  with extensive big band credentials:

• Both trumpet players Phil Gilbert and Vinnie Tanno had played in Stan Kenton Orchestra. 
• Ken Faulk had already played with Buddy Rich and will become a successful studio musician recording with the likes of Jaco Pastorius, Dr John, Barbra Streisand or the Pet Shop Boys.
• Gus Mas a tenor sax, was already active in Miami in the late 50’s and had been a member of Woody Herman’s  Thundering Herd and the Modern Jazz Orchestra (album VSOP #104, 1960)
• Pianist Dolphe Castellano had recorded with Ira Sullivan 

In the Seventies, Vinnie Tanno, Ken Faulk and Mike Lewis rode the Disco Wave and became key members of famous Florida Disco aggregation KC & the Sunshine Band.

Track Listing

1.      Mac Arthur Park

2.      Orchestration 70

3.      Ballet

4.      Honky Tonk Woman

A short but very enjoyable album! With thanks to Leonard at Redtelephone66.