Nov 30, 2009
Nov 24, 2009
One of the most unique sessions ever cut for Blue Note — an album of very traditional Afro-Cuban jamming, led by percussionist Sabu Martinez! The music on the album's comprised mostly of percussion -- plus some occasional guitar, bass, and vocals shouted by Sabu, and group members that include Arsenio Rodriguez, Ray Romero, and Willie Capo. The whole thing's incredibly haunting — and about as different from the average Blue Note hardbop set as you could get! Titles include "Simba", "Aggo Elgua", "Tribilin Cantore", "Asabache", and "Billumba-Palo Congo".
The emotional kinship between the world of this recording and the world of jazz seems so strong at times that the distance between the worlds seems no wider than the pavement of West Fifty-Fourth Street which separates the Museum of Primitive Art from the Museum of Modern Art. Yet the step from Afro-Cuban music to jazz is a long step, for the European elements of jazz are always in the foreground, while here the latin elements of "latin" music are often imperceptible. It is mostly Africa that we hear in this recording: some rituals dedicated to African Gods, a good deal of singing and chanting in African antiphonal style, and all the instruments, whether obviously African like the quinto, a Cuban version of the slit signal drum, or as apparently European as guitar and bass, played like their African proto-types in African musical tradition. Still, the kinship is there to hear, for Afro-Cuban music shares with jazz the intense motor excitement, the rhythmic fluidity that Andre Hodeir calls vital drive, and the striving for ecstatic communion which supplies much of the motive force.
Nov 22, 2009
Nov 19, 2009
Nov 17, 2009
Nov 15, 2009
barabara sounds sez:
Swinging organ grooves from smooth bossa-lounge master Walter Wanderley. This was his first US recording, produced by Creed Taylor for Verve. The back cover of the original album was graced with a 'handwritten' blurb by crooner Tony Bennett: "If you like: Ella, Duke, Count, Sinatra... you'll love Walter Wanderly's music." Not sure about that at all. But the cover with its toucan and exotic pagan statue peering out of tropical foliage — that's classic. So is the wigged-out last half minute of the final track Bossa na Praia.
This certainly wasn't the first appearance of Rain Forest in the blogosphere — but it's a classic of its kind. So, in case anyone's missed it... it's now too late (DMCA takedown notification)
An album that not only broke the bossa big in the US — but a set that also really helped transform the sound of the organ in jazz! Not only is the record a key meeting of bossa rhythms and jazz organ — transplanted hugely to the US after a big initial Wanderley run in 60s Brazil — but the set also features some of the cleanest organ lines to ever hit these shores -- a big difference from the heavier flutter that some of the US organists were using a few years before, and a sharp shift towards cleaner keyboard sounds for the rest of the decade. Instrumentation's nice and spare — mostly bass and percussion, plus a bit of flute and guitar — and titles include the massive hit "Summer Samba", plus "Rain", "Beach Samba", "Song Of The Jet", "Cried, Cried", and "Girl From Ipanema".