Thank youuuuu so much for this ssving my evening

Los primeros cuatro minutos son increíbles; en general todos los temas del álbum tienen inicios brillantes que te atrapan al instante.

AHHHHHGGGGG!!!!!!!!!! AHHHHHHH!!!!!!!!     I absolutely love this masterpiece

Live at Fillmore

The Lost Broadcast (Live)

Bitches Brew/The Theme (Live from the Fillmore West, San Francisco, 1970)

It's About That Time (Live from the Fillmore West, San Francisco, 1970)

Steve Reich - III: Fast (Pat Metheny), from Electric Counterpoint (1987)

A1	The Sidewinder	
A2	Totem Pole	
B1	Gary's Notebook	
B2	Boy, What A Night	
B3	Hocus-Pocus

Produced by Alfred Lion
Produced for release by Michael Cuscuna
Recording by Rudy Van Gelder
Recording at the Van Gelder Studio, Englewood, New Jersey on December 21, 1963

Some of the Liner Notes:
The title number might best be described as a long-meter blues (24 measures to the chorus). "The tune kind of put me in mind of the sidewinder - you know, the 'bad guy' on television," says Lee. "There's a snake called the sidewinder, but I was thinking of the bad guy." If the character and mood seems a little different from that of the average blues, you can attribute it to the unexpected change at bars 17-18 of each chorus, when a minor chord is introduced. The fascinating rhythm section figure established during the opening ensembles is sustained throughout the solos, giving the performance a deep blue tinge as well as a Latin touch. Lee's solo, fluent and sensitively constructed, never becomes grandstandy and relies at times on essentially simple devices, such as the repeated B Flat in the last of his three choruses. Henderson's solo is rich in melodic variety (note the contrast between the busy opening and simple continuation in his second chorus). Harris' piano picks up in intensity as it goes along, aided on his third chorus by the horns' backing. Cranshaw bears out Lee's complimentary observations in a fine solo that owes part of its success to the continued pulsing of Billy Higgins' percussion figures. 

Totem Pole, named for the effect of Lee's alternation with Joe, is a group of six notes they play going into and coming out of the release. The E Flat Minor theme is strengthened by the effective contrast of Latin rhythm on the main passage and a straight 4/4 in the release. 

Boy, What A Night is also a blues waltz, but this time with more of a funky feeling and a 12/8 meter, with a very basic character to both melody and changes. "Remember the old Avery Parrish blues After Hours?" says Lee. "You'll notice that during the main figure, the bass and the piano are playing the rhythm out of that. We tried this a lot of different ways - first as a straight blues, then double-up time, then with the three four feeling - until it finally came out the way it is here." On his solo here, it seems to me Lee reflects some of the Gillespie influence in his phrasing and in the ability to string ideas together at considerable length. Note Harris' sly fills in the closing reprise of the theme, and the old-timey blues ending. 

Hocus-Pocus is, as Lee comments, "Just a simple tune, a nice easy blowing thing with the standard chorus length. I wanted to get away from straight blues. After I'd written it Barry Harris pointed out that the changes are the same as Mean To Me, except for a slight difference in the channel." 

Joe Henderson and Lee are both displayed to advantage in the straight-ahead swinging groove of this performance. Barry, in his choruses, shows not only a wealth of ideas but a sturdy technique, often kept latent but occasionally made more openly evident in a flurry of sixteenth notes. The theme is repeated twice at the end, once to feature Billy Higgins and then with regular ensemble. 

- LEONARD FEATHER 

Lee Morgan - The Sidewinder (Full LP on Original Vinyl)

Thank you Chet Baker

MERCH: https://caleb-belkins-store.myshopify.com/

I fall in love, too easily (Merch available, link in description)

1970 - Bitches Brew CD1

Miles Davis - Bitches Brew

Hailu Mergia & Dahlak Band "Wede Harer Guzo"on Awesome Tapes from Africa LP/CD/Digi. https://hailumergia.bandcamp.com/album/wede-harer-guzo

Title track from new reissue Wede Harer Guzo by Hailu Mergia & Dahlak Band. A 1978 recording capturing the sound of one of Addis Ababa's deepest pop/soul outfits fronted by the skilled organist and arranger Mergia. Third reissue with Awesome Tapes From Africa, following his acclaimed performances at festivals and clubs worldwide. 
https://open.spotify.com/album/6am5o1eJClWkXeh0Ex9HuL

Hailu Mergia & Dahlak Band — Wede Harer Guzo

Miles Davis - Ascenseur Pour L'échafaud - Lift To The Gallows

A true beauty amongst the beasts. Wonderful tune by this lovely band who also appeared with their other record "Cry Love". 
Sadly enough, the production peaks on the vocals at times, but hey, life's a bitch and then you die!

The Sweet & Innocent and The Memphis Mustangs "Express Your Love Theme" - Active Records - US, 197?

Ryo Fukui - A Letter From Slowboat (full Album) [Jazz] [Japan, 2016]

Miles Davis - Miles In The Sky (1968) full album

Keith Mansfield - Breezin' (KPM 1188 - Contempo LP)1976

In the heyday of low-budget television and scrappy genre filmmaking, producers who needed a soundtrack for their commercial entertainments could reach for a selection of library music: LPs of stock recordings whose contents fit any mood required.
 
Unusual Sounds is a deep dive into a musical universe that has, until now, been accessible only to producers and record collectors; a celebration of this strange industry and an examination of its unique place at the nexus of art and commerce.
 
The perfect companion to the David Hollander curated book Unusual Sounds: The Hidden History of Library Music (out now on Anthology Editions), these 20 tracks, encapsulate the niche and fascinating subculture of library music. Genres were spliced, conventions dispensed with, and oftentimes hybrid music of astonishing complexity was produced. Elements of rock, jazz, soul, even twentieth-century avant-garde composition were all utilized, and no stone was left unturned. As a result, some of the best library music defies all categorization, reflecting the individualistic quirks and artistry of the various musicians who made it.

Unusual Sounds

Klaus Weiss - Survivor

A long overdue selection of 60s Indonesian songs from my personal favorite record label: The elusive Irama Records . From deep 60s Sundanese music by Yanti Bersaudara, Etty Kusumah, and Lies Embarsari, to the Latin influenced 'Lagu2 Daerah' (Folksongs) by Orkes Kumbang Tjari and Orkes Tropicana from Sumatra.

Miles Davis - Bitches Brew

Anny

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