Thursday, 23 May 2019

Jeremy Steig ‎– Wayfaring Stranger (1971)

Style: Soul-Jazz, Contemporary Jazz, Free Improvisation
Format: CD, Vinyl
Label: Real Gone Music, Blue Note

1.   In The Beginning
2.   Mint Tea
3.   Wayfaring Stranger
4.   Waves
5.   All Is One
6.   Space

Bass – Eddie Gomez
Drums – Don Alias
Engineer – Fred Weinberg, Jay Messina, Rich Mays
Flute – Jeremy Steig
Guitar – Sam Brown
Liner Notes – Pat Thomas
Producer – Sonny Lester
Remastered By – Kevin Bartley

In the very late 1970s – or perhaps it was the very early 80s; after so many years, I’m not entirely sure – I picked up a used copy of Lillian Roxon’s Rock Encyclopedia. I was (and remain) a voracious consumer of that kind of thing; not long after I became a rock fan, I became a fan of rock journalism. Roxon’s 1969 book was one of the first long-form serious treatments of rock music, and while it’s quite dated now, it remains an absolutely fascinating read. (Ed Naha‘s mid 70s update of the late Lillian Roxon‘s work is a disaster to be avoided, except in a compare-and-contrast sort of way.) 
Roxon made a point to include a number of bubbling-under artists, including several whom (at the time of the book’s first printing) hadn’t even released albums. Thus readers can learn about a new group “out of Detroit” (sic) called The Psychedelic Stooges. Another group that merits mention is a jazz-rock outfit (the hybrid was quite new and novel at the time) called Jeremy Steig and the Satyrs. Their sole album (a self-titled LP released in March 1968) is, in Roxon’s estimation, jazz aimed at a rock audience. Predictably, it didn’t shift major units and is largely forgotten (despite a small-label CD reissue in 2009). But Steig himself was then a fairly highly regarded jazz flautist, and he remains musically active today, now based in Japan. 
A couple of years after the Satyrs LP, Steig released an album called Wayfaring Stranger (named after the traditional folk classic). As the liner notes in the album’s new reissue (on the estimable Real Gone Music label) explain, in those days Steig “was signed to a manager who tended to trade him around to record companies like a major league ball player,” and as a result he ended up on Blue Note for the 1970 album. 
Steig’s band is small and configured in a traditionally jazz-styled manner. Bassist Eddie Gomez was already quite well known as Scott LaFaro‘s replacement in The Bill Evans Trio, and Don Alias (drums) and guitarist Sam Brown were highly regarded in the jazz world as well, both with extensive pedigrees. 
“In the Beginning” is a spare piece in which Steig’s flute carries the tune, with subtle yet funky support from Gomez and Alias (if Brown is on the track at all, his contributions are minor). Toward the song’s fadeout, some vocalizing a la Ian Anderson works its way into Steig’s attack, though Pat Thomas‘ liner essay asserts that the then-new Jethro Tull wasn’t an influence upon Steig’s playing. Of course others (notably Rashaan Roland Kirk) used similar breath techniques. 
In some ways the vibe created within “In the Beginning” is continued in “Mint Tea.” While the band hits a bit harder – and Steig’s playing becomes more forceful – the tracks continues unfolding in a catchy/funky manner, but not one that will find listeners with a hook-laden melody stuck in their heads thereafter. 
Sam Brown’s electric guitar makes its first audible appearance on the title track, easily the most melodic and accessible of the record’s six tracks (it’s perhaps worth noting that the other five are either Stieg compositions or co-writes with Gomez). In the tried-and-true jazz tradition, Steig states the melody, and then restates it in mutated fashion, then more so, then he’s joined by countermelodic work from his cohorts. The track goes on some eleven minutes, but never fails to sustain interest; each player takes his turn to shine, albeit in a muted fashion. It would be a disservice to characterize this music as background music, but in a pinch it could serve that function quite well. 
Things take a welcome turn toward the funky with “Waves,” in which Gomez’s upright bass takes a more prominent role; the counterpoint between his assertive yet subtle acoustic playing and Steig’s breathy, precise flute work is a highlight of the record; Alias’ drumming – with plenty of subtle snare and cymbal work — makes it even better. 
The lengthy “All is One” builds from a spare Steig solo showcase into something punctuated by Gomez’s moody bass plucking. Five-plus minutes in, Steig adopts a more fluid, lyrical style, while Gomez plucks way ominously (Brown and Alias are wholly absent on this track). Eight minutes or so along, Steig blows what might most accurately be called psychedelic flute. 
Wayfaring Stranger wraps up with “Space” (as with most Real Gone Music reissues of forgotten/lost treasures, there are no bonus tracks on the CD reissue). Gomez takes up the bow and plays his bass like a cello, playing higher on the neck, well up into the treble range. The result is a lovely (if melancholy) duet between the bassist and Steig. The musical dialogue between the to truly feels like a conversation, and is perhaps the most evocative piece on the album. (Evocative of what, you can decide.) Toward its end, “Space” gets truly weird in an avant-garde kind of way, perhaps presaging Steig’s work with Yoko Ono a mere year later, on her Fly LP. 
Bill Kopp / Musoscribe

Jeremy Steig ‎– Howlin' For Judy (2008)

Style: Soul-Jazz, Contemporary Jazz, Free Improvisation
Format: CD
Label: Blue Note

1.   Howlin' For Judy
2.   Mint Tea
3.   Alias
4.   Waves
5.   In The Beginning
6.   Nardis
7.   Permutations

Bass – Eddie Gomez
Drums, Percussion – Don Alias
Flute  – Jeremy Steig
Producer – Sonny Lester
Reissue Producer – Michael Cuscuna

"Howlin' for Judy" is flutist Jeremy Steig's best-known track, thanks to the Beastie Boys' use of a sample from it in "Sure Shot." As the title track for this collection, it marks new chapter in Blue Note's Rare Groove series. This seven-track set is compiled from two different albums: 1969's Legwork, which appeared on Solid State, and 1970's Wayfaring Stranger on Blue Note itself -- both of which were originally produced by the great Sonny Lester. Blue Note's Michael Cuscuna produced this collection by paring down the original albums to just the tracks that featured the trio of Steig, bassist Eddie Gomez, and drummer Don Alias. Why? In order to maximize its groove quotient; Legwork had its share of duo cuts and Wayfaring Stranger had some that featured a quartet with guitar. That said, the previous outings were quite adventurous in places: they contained various blues, ostinato workouts, and more ponderous numbers, too. Cuscuna pruned away until only the deeply funky, beat-driven trio tracks remained. That said, there is plenty of adventure -- not just in the music, but in its production: Steig was a fan of stereo separation and overdubbing techniques that were focused to maximize the rhythmic aspects of certain tracks. His own playing style is a great cross between Hubert Laws' more soulful technique and the dynamically rich and physically percussive aspects of Rahsaan Roland Kirk -- both rhythmically attuned players. While many are familiar with the title cut with its two-channel overdubbed bass and flute, far fewer punters know Steig's wildly groove-drenched sound world from the era. What a treat! You are the person this compilation is directed at. 
Thom Jurek / AllMusic

Ricardo Saló (Séc XX:100 anos/100 discos)

RICARDO SALÓ (Um quarto pop com vista) 

  1. MILES DAVIS "The birth of cool"
  2. ELLA FITZGERALD "The Cole Porter songbook"
  3. MILES DAVIS "Kind of blue"
  5. OLIVER NELSON "The blues and the abstract truth"
  6. JOHN COLTRANE "Giant steps"
  7. JOHN COLTRANE "Live at Birdland"
  8. ERIC DOLPHY "Out to lunch"
  10. DIONNE WARWICK "The original soul of Dionne Warwick"
  11. PHIL SPECTOR "Back to mono"
  12. BEACH BOYS "Pet sounds"
  13. JIMI HENDRIX EXPERIENCE "Are you experienced?"
  15. DR. JOHN "Gris gris
  16. THE BAND "Music from the big pink"
  17. MILES DAVIS "In a silent way"
  18. SLY AND THE FAMILY STONE "There's a riot going on"
  19. BOBBY HUTCHERSON "San Francisco"
  20. ALICE COLTRANE "Ptah, The El Daoud"
  21. MARVIN GAYE "What's going on"
  22. ARCHIE SHEPP "Attica blues"
  23. DAVID HOLLAND QUARTET "Conference of the birds"
  24. CAN "Tago mago"
  26. ROXY MUSIC "For your pleasure"
  27. FUNKADELIC "America eats its young"
  28. JAMES BROWN "The payback"
  29. MILTON NASCIMENTO "Milagre dos peixes"
  30. EDDIE HARRIS "I need some money"
  31. PARLIAMENT "Mothership connection"
  32. GIL SCOTT-HERON AND BRIAN JACKSON "The first minute of a new day"
  33. CURTIS MAYFIELD "There's no place like America today
  34. BRIAN ENO "Another green world"
  35. BURNING SPEAR "Marcus Garvey"
  36. HAROLD BUDD "The pavilion of dreams"
  37. DR. BUZZARD'S ORIGINAL SAVANNAH BAND "Dr. Buzzard's original savannah band
  38. KRAFTWERK "Trans europe express"
  39. STEELY DAN "Aja
  40. PERE UBU "Dub housing
  41. BURNING SPEAR "Social living"
  42. CHIC "Risqué"
  43. PUBLIC IMAGE LIMITED "Second edition"
  44. HOLGER CZUKAY "Movies
  45. THE B-52'S "The B-52's
  46. SUICIDE "Suicide
  47. THE FEELIES "Crazy rhythms
  48. YOUNG MARBLE GIANTS "Colossal youth
  49. LINTON KWESI JOHNSON "Bass culture
  50. FELA KUTI & AFRIKA 70 "Coffin for head of state
  51. CURTIS MAYFIELD "Something to believe in
  52. FLYING LIZARDS "Flying lizards
  53. GRACE JONES "Nightclubbing
  54. TOM TOM CLUB "Tom tom club
  55. A CERTAIN RATIO "Sextet
  56. RIP RIG + PANIC "God
  57. LAURIE ANDERSON "Big science
  58. MARVIN GAYE "Midnight love
  60. TOM WAITS "Swordfishtrombones
  61. ARVO PART "Tabula rasa
  62. BLUE NILE "A walk across the rooftops" 
  63. SPECIAL A.K.A. "In the studio
  64. SADE "Diamond life
  65. VIOLENT FEMMES "Hallowed ground
  66. RAY LEMA "Medecine
  68. ANITA BAKER "Rapture
  69. SONIC YOUTH "Evol
  70. STEVE REICH "Sextet/six marimbas
  71. LEE SCRATCH PERRY & DUB SYNDICATE "Time boom x de devil dead
  72. SALIF KEITA "Soro
  73. ERIC B. & RAKIM "Paid in full
  74. PUBLIC ENEMY "It takes a nation of millions to hold us back
  75. SUN RA "Out there a minute
  77. WIRE "A bell is a cup until it is struck
  78. DE LA SOUL "3 feet high and rising
  79. SOUL II SOUL "Club classics vol.1
  80. MASSIVE ATTACK ''Blue lines
  81. A TRIBE CALLED QUEST "The low end theory
  82. MATERIAL "The third power
  83. THE DISPOSABLE HEROES OF HIPHOPRISY "Hypocrisy is the greatest luxury
  84. YOUSSOU N'DOUR "Eyes open
  85. UNITED FUTURE ORGANIZATION "United future organization
  86. JON HASSELL AND BLUESCREEN "Dressing for pleasure
  87. SANDALS "Rite to silence
  88. MC 900 FT. JESUS "Welcome to my dream
  89. V/A "Headz: A soundtrack of experimental hip hop jams
  90. ST GERMAIN "Boulevard
  91. COOL BREEZE "Assimilation"
  92. NIGHTMARES ON WAX "Smokers delight
  93. KARMA "Pad sounds
  94. SYLK 130 "When the funk hits the fan
  95. ROCKERS Hl Fl "Overproof
  96. WAIWAN "Distraction
  97. CRAZY PENIS Nice hot bath with crazy penis
  99. TOSCA "Suzuki
  100. CHARI CHARI "Spring to summer"  

Chari Chari ‎– Spring To Summer (2000)

Style: Abstract, Acid Jazz, Ambient
Format: CD, Vinyl
Label: Ultima Sounds, File Records

01.   Flow Dub Outta Borneo
02.   Spring Ocean (Smoker's Delight)
03.  Across The Universe
04.  The Sun Song
05.  Udu Spiral Monkey Dance
06.  Life In Flow Motion
07.  Solar-Pass
08. Buddha & Jewel
09.  We
10.   Ti Burung
11.   Subtropica
12.   Enter The Metal Circle

Kaoru Inoue aspired to be a DJ around the Nineties, being fully active playing diverse music such as House, Afro,Brazil, Latin, Break Beats, Jazz, Techno, etc, in his own distinctive style at various clubs in Tokyo. Apart from DJing, he also was producing songs and participated in a compilation album called 'LISTEN UP' (released from Universal Ape) in 1994. Taking advantage of this, he started his own musical project, CHARI CHARI. After his first opportunity of releasing his own production, he produced many songs for independent labels such as the UK label, PUSSYFOOT owned by HOWIE B. and EMIGRATION both at home and abroad as well as doing many remixes for these labels. In August1999, his first solo album, 'SPRING TO SUMMER' was released by File Records and received great reaction from inside and outside Japan specially from underground club music scene. 
This album was also released from the label, ULTIMA in Portugal to the world in January 2001.At the moment, he is participating in various kinds of parties around the world as a guest DJ and also producing songs for compilations such as 'BOSSA TRES JAZZ…'(YELLOW PRODUCTION in France) as well as doing remixes for many artists in the world for instance, Femi Kuti, NXS, Crue-l Grand Orchestra, OOIOO, Frankie Valentine, Soft, Buffalo Daughter, Calm, Port Of Notes , Arto Lindsay, Bebel Gilbert to name a few. In Jan. 2002, his 2nd album,'in time' was released from Toy's Factory Records in Japan. This album included the big hit song called 'Aurora' which was also featured recently on Deep & Sexy 2 mixed and compiled by Ron Trent released by Wave Music. This song was also supported by many DJs (Francois K., Danny Krivit, Joe Clausell, Jazzanova, etc.) from around the world. 
In 2003, he started his own label called 'Seeds and Ground' under the Japanese independent label, 'Crue-l Records'. He forms a band called Aurora with his production partner, DSK aka Daisuke Kojima. In this band, he plays guitar and in fall 2004, released their debut album, 'Flare' (SAGCD005). In summer 2005, with his real name, Kaoru Inoue, he produced a more dance oriented album which was a first for him called 'The Dancer' (SAGCD007). 
In March 2006, he releases under his own name, a very ambient-style in abundance, an album called 'Slow Motion' (ACCR10049) from the label, Rush! Production as well as another album with Aurora called 'Fjord' (SAGCD010) from seedsandground around the same period. He put out the mix CD titled "groundrhythm2" in late 2006. 
Kaoru Inoue periodically DJs as well. Holding residencies at Club Air for a regular party called 'groundrhythm' and at Unit called 'FLOATRIBE'. He regular DJs at a cross section of places whether it be inside or out. And recently, has been regularly playing live with his group, Aurora and a progressive live session band called 'Floatribe Live Session'.  
nebeski /

Tosca ‎– Suzuki (2000)

Style: Downtempo, Trip Hop
Format: CD, Vinyl
Label:  !K7 Records, G-Stone Recordings ‎

01.   Pearl In
02.   Suzuki
03.   Annanas
04.   Orozco
05. Busenfreund
06.   Honey
07.   Boss On The Boat
08.   John Tomes
09.   Ocean Beat
10.   The Key
11.   Doris Dub
12.   Pearl Off

Credits: Lead Vocals – Anna Clementi, Mike Daliot Written-By, Producer – Richard Dorfmeister, Rupert Huber

Tosca's second album Suzuki takes a lighter, airier approach to the trip-hop terrain that Opera explored. The spare, shimmering title track's delicate synth textures, minimal beats, mellow rhythms, and breathy vocal samples set the tone for the rest of the album's laid-back tracks. Though "Orozco," "Bass on the Boat," and "Ocean Beat" are more immediate variations on Tosca's relaxed sound, for the most part, Suzuki offers a locked groove of hypnotic, deeply chilled-out epics. 
Heather Phares / AllMusic

The Cinematic Orchestra ‎– Motion (1999)

Style: Future Jazz, Contemporary Jazz
Format: CD, Vinyl
Label: Ninja Tune, Form & Function, Toy's Factory

1.   Durian
2.   Ode To The Big Sea
3.   Night Of The Iguana
4.   Channel 1 Suite
5.   Blue Birds
6.   And Relax!
7.   Diabolus

Producer, Written-By – J. Swinscoe
Recorded By, Engineer – Jamie Finch

Exciting times, these! So what if the Messiah didn't turn up on the Eve of the New Millennium? What do we need some sandled beardy-weirdy for, anyway? Less than two full months into 2000, we got Primal Scream's Molotov incendiary device, Exterminator, which resurrected the emaciated, once-revolutionary specters of the Stooges and the MC5, and stomped dusted-up beats all over them. Brill! 
The rollover of the century also saw avant-jazz taking on electronica and offering us the hope that smooth jazz wasn't the end of the road for that great tradition. Compare Autechre's LP5 with Elliot Sharpe's Errata and you'll be gobsmacked by the similarities and the friendly rivalries. Shit, what if Jelly Roll Morton and King Oliver had had PowerBooks and CuBase rather than rusty trombones and bordello pianos? What freaky shit we'd be listening to now! What if John Coltrane...? Or Ornette Coleman...? 
The Cinematic Orchestra (aka J. Swinscoe) is coming from the other angle. He's a veteran electronica producer taking on jazz. And unlike Sharp's ripping up of conventions, Swinscoe's hung up on admiration. Motion is nothing less than a beat-driven tribute to Miles Davis' collaborations with third stream arranger/composer Gil Evans. Those 50's records (Sketches of Spain, Quiet Nights, Miles Ahead, for example) threw away the hard-bop rulebook and attempted to find a third path between the irreverence of jazz and the academics of the classical tradition. Davis had already expressed that interest when his nonet recorded The Birth of the Cool, but the idea was fully realized on his recordings with Gil Evans.

Swinscoe obviously adores the glowing discords and the curious harmonies of "Saeta" (from Sketches of Spain) and he's built Motion around them. Rather than using a sampler to do all the work, he's pulled together a small band and let his drum machine contribute the beats. 
The opening track, "Durian," incorporates a sample of Nina Simone's heart-wrenching rendition of "Strange Fruit" and builds the close brass harmonies to a forceful climax. "Diabolus" takes a different approach to the same end and closes with an almost ambient coda. However, Motion is ironically rigid. The hip-hop beats aren't sufficient to overcome Swinscoe's reverence for the tradition he cops from. Too often the flow is ponderous and self-conscious. 
If Swinscoe had allowed his musicians the freedom of a true blowin' session, Motion could have been a signal moment in the much-needed dialog between the electronic and jazz avant-gardes. Instead, the album simply restates the obvious, however beautifully. The revolution will not be held in a trendy coffee bar and Jesus won't return until he's sure that there's some kick-ass music down here to soundtrack his second coming and the destruction of all those whining bastards who've been bothering his poor, defenseless father for centuries. 
Paul Cooper / Pitchfork

Crazy Penis ‎– A Nice Hot Bath With... (1999)

Style: Deep House, Downtempo, Funk, Disco, Acid Jazz
Format: CD, Vinyl
Label: Paper Recordings

1.   Starwar
2.   Do It Good
3.   3 Play It Cool
4.   Omega Man
5.   Smoothin' Groovin'
6.   I Am Love
7.   Mambo
8.   A Little Something
9.   Drop Your Weapon

Bass, Guitar – Crazy Penis
Keyboards, Bass – Tim Davies
Keyboards, Horns – Crazy Penis
Written-By, Producer, Arranged By – Chris Todd, James Baron, Tim Davies

Beginners expecting a dancefloor dominatrix in the likes of Lords of Acid may not be satisfied with the laidback jazz-house grooves of Crazy Penis, though the slightly sampledelic bent of producers Jim Barron and Chris Todd works well on tracks like "Drop Your Weapon" and "Play It Cool." 
John Bush / AllMusic