Groovy jazz etc 15

A1   Blues pour Miguel Enriquez.mp3

A2   Piano Dazibao.mp3

A3   Abrisme Galanica.mp3

A4   Olendja.mp3

B1   L'Heure est à la Lutte.mp3

B2   Mazir-Mare Jo Cantar No Sabia.mp3

Philip Cohran & The Artistic Heritage Ensemble - Detroit Red

Spiritual Jazz 7:  Islam

All Praises to Allah, Pt. 1 & 2

Andrzej Korzynski - Third Part Of The Night (FKR063)

ANDRZEJ KORZYNSKI - CZOLOWICA

Ultra-rare jazz-funk/fusion album by Japanese drummer, Akira Ishikawa. Featuring percussion-heavy versions of ‘Let's Start’, ‘Bongo Rock’ and ‘Pick Up The Pieces’.

'Back To Rhythm’ was the final recording in Ishikawa’s African-influenced period. He cut this record with his band ‘Count Buffalos’, featuring Kiyoshi Sugimoto, Takeru Muraoka, Larry Sunaga and arranger Hiromasa Suzuki.

Includes excellent cover versions of The Beatles, Simon & Garfunkel, BT Express, Stevie Wonder, Average White Band, Incredible Bongo Band and Fela Kuti.

Originally released in Japan in 1975 by Columbia, this is now extremely difficult to find in its original format, and very pricey indeed!


Official Mr Bongo reissue. Licensed from Nippon Columbia Co., Ltd.

Back To Rhythm

Akira Ishikawa - Do It Til You're Satisfied

Alongside  Alfred Panou & the Art Ensemble of Chicago’s  ‘’je suis un sauvage’’ , Baroque Jazz Trio‘s ’’Orientasie /Largo’’  is probably one of the hardest to find  EP on Saravah. 
Hitting #2 on Jazzman Records European Jazz 45’s top 10 list, this is the finest fusion between free jazz, baroque music & exotica with one of the most singular sound you can find on a jazz record !

Orientasie

After their first album which came out in 1971 on Futura Records, Perception wanted to rapidly record a second, but Gérard Terronès did not want to produce another, especially so soon after the first. Therefore, the only solution was to produce it themselves. It is thus completely logical that it came out on the label of the Association for the Development of Improvised Music (A.D.M.I.) created by Didier Levallet with the aim of promoting creative music ( and, on this subject, it was this same label which also produced the excellent Inter Fréquences by the Free Jazz Workshop).  As the album was entirely created from A to Z by Perception, they decided on a more ambitious project, exploring a wider palette of colours by augmenting the original quartet with additional instruments. So, it was with numerous guests including Teddy Lasry, Jean-Charles Capon, Kent Carter and Jean-François Jenny-Clark, that Perception developed still further the apparently contradictory directions which were their specificity. This is further highlighted by the fact that Siegfried Kessler, largely absent on this recording, is temporarily replaced by Manuel Villaroel, a pianist from Chile with a completely different temperament (and, by-the-by, already the name behind the superb Terremoto with the Matchi-oul Septet).  Contrary to the first album, which seems in comparison much more compact and united this second (and second-to last, not counting the live recordings), with the many different options proposed, would seem to predict the different directions that musicians from Perception would subsequently take. One track, by Yochk'O Seffer, who had already been part of Magma two years previously, looks forward to the more structured Neffesh Music, whilst, in the opposite direction, another track, by Didier Levallet, is more evocative of the future arrangements on Swing Strings System. It is, to sum up, a nice paradox that all these different elements, from tightly written pieces to wild improvisation, work so well together and are one the key attributes of a group free like few others.

Colima

To finally become oneself: that was the lesson, in the 1960-1970s, that European musicians attracted to improvisation had learned from American free-jazz. Following this idea, the musicians of Perception, whilst individually accompanying Mal Waldron, Slide Hampton, Johnny Griffin or Hank Mobley when they played in Paris, decided early on to break free from what was going on across the Atlantic and seek their own authenticity.  When Mestari, their third and final album, came out, Yochk'O Seffer, Siegfried Kessler, Didier Levallet and Jean-My Troung had four years of questing and originality behind them developing their own individual language. A language in which the spontaneity of the improvisations did not exclude influences taken from European folk or classical traditions.   Balanced, ethereal and structured, Mestari was a return to the original core quartet (the previous album included numerous guest musicians). It opens infinite perspectives and is totally in phase with what was being produced in France at the same time by Cohelmec Ensemble and the Dharma Quintet.

Mestari

Chott Djerid

Trabla Air

Been blogging, music sharing, etc. for a while now (see blog under this name) & DJing since 1982. I like all kinds of music.

Most of my playlists are not organized & just hold songs I'm interested in, many of which I haven't listened to yet. The "freeform current listening" playlist is as it says & will be updated regularly. Many of my reposts were unintentional, they were just random tracks I was trying to add to a playlist using my phone & I've got clumsy fingers.

Orientasie

souffle continu records

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