Buddy Guy is easily in the list of greatest blues guitar players of all time, influencing everyone from Jimi Hendrix, Eric Clapton, Rory Gallagher, Paul Butterfield, Stevie Ray Vaughn and many others after him. In 1969, Buddy Guy was already established as titan of his craft and had commanded the respect of everyone in the music community. Catching up with this genius was a task all its own as is seen in these rare jam session clips that feature Cream’s Jack Bruce, Jimmy Hope, Ron Burton, frequent Hendrix collaborator Buddy Miles and others. The first live clip contains the uptempo floor burner “Mary Had A Little Lamb” along with a sweltering and grinding blues work out “My Time After Awhile”. The second clip features another contemporary genius in Roland Kirk sitting in and entirely different rhythm section, adding another impressive layer of emotion over the “Stormy Monday Blues” theme. Stunning film quality and audio from some of the best musicians in 1969, this is one of those priceless gifts from the YouTube archives that really pulls me towards the mans records in full. Ladies and gentlemen, this is music in its purest form, enjoy.
Max Roach Quartet ‘Nommo LP’ (Victor Musical Industries) Live in Lausanne, Switzerland, October 1976 | B.F.T.P. Vol 391
To anyone who has heard the live Max Roach LP Nommo, there is no question as to the weight and gravity of the music contained within. This rare Japan pressing of the Max Roach Quartet live in Switzerland circa 1976 is a prized collection of musical excellence. Pressed on the Victor Musical Industries division out of Japan, the odyssey of sound the four piece worked up together is hypnotically soothing. Featuring Reggie Worman on bass, Cecil Bridgewater on trumpet, tenor saxophonist Billy Harper and of course drum extraordinaire Max Roach, Nommo is one of those live albums that stands the test of time as a stellar statement in the canon of his works. The texture and complexity in Max Roach’s playing is breathtaking and his band brings the same level of passion into the evenings professional recording. Both sides of the LP are titled “Nommo” and serve as one long continuous suite of music. This is post-bop music at its best with hints of fee jazz and other components of where jazz was going in the second half of the 70′s outside of the electric scene. Check out the streaming audio below of this rare LP and grab a copy if you can manage to find one.
International Jazz Day | The Eddie Davis-Johnny Griffin Quintet “Tin Tin Deo” from the LP ‘Tough Tenors Again ‘n’ Again’ 1970 | B.F.T.P. Vol 390
New York City tenor saxophonist Eddie “Lockjaw” Davis remains a key figure in the expansion of 20th century music that branched out of jazz, rhythm and blues, swing, hard bop and many other genres grounded from the 30′s to the 60′s. By the time the music community had transitioned from the 60′s into the 70′s, many jazz luminaries were either going into further extensions or retracting back and going back to basics. With a string of late 60′s album for RCA Victor, Eddie “Lockjaw” Davis would transition into the era of the 70′s with with a sense of duality, leaping in both directions where past, present and future all sat together simultaneously. This would see full fruition in the pivotal Tough Tenors Again ‘n’ Again LP on the German based eclectic imprint MPS. Featuring another tenor giant in Johnny Griffin, the 1970 release of Tenors Again ‘n’ Again remains a spell binding offering from Eddie’s working band at the time: Kenny Clarke (drums), Francy Boland (piano) and Jimmy Woode (bass). In celebration of the annual International Jazz Day, we welcome you to stream a pleasant offering from one of the greatest minds in 20th century music in the Gil Fuller and Chano Pozo composition “Tin Tin Deo”. Recorded in West Germany, the album is filled with a body of work that transcends our senses and is a perfect track to listen on this very special day known as International Jazz Day. Jazz is much more than entertainment and the achievements left behind are a glowing example of why the genre has become so important for the evolution of all people as one.
Celebrationg the virtues of jazz as an educational tool, and a force for peace, unity, dialogue and enhanced cooperation among people. – International Jazz Day
By the time Tangerine Dream had released the 1976 krautrock/electronic LP Stratosfear with Virgin, they had already become an enigma of sound and an in demand act all around the world. Their cult following status gave them the financial resources to create with the most advanced technology and the mid to late 70′s ushered in a wave of acoustic instrumentation that fit their sonic background very well. Sprouting a lot of the foundation that has come to identify the first stages of electronic music, the legacy of Tangerine Dream is phenomenal in historical perspective and surreal in sonic resonance. Stratosfear was a cross over and transition signifier for the group, diving further into the tendencies of rock music and grounding the group from the ambient and textural otherworldly nature of their past recordings. “Invisible Limits” is the end track from the LP and is really beautiful in so many ways, offering sub genre after another as the song progresses through its movements.
Listen to a streaming version of the track below and order a limited edition 180 gram vinyl pressing that Virgin pressed in Europe last year by clicking here.
Demon Fuzz are one of those rare groups whose work is off the charts good but has remained under the radar in most respects. Playing a beautiful blend of Afro-caribbean jazz funk-rock, their music is strong, powerful and smooth. The analog warmth is driven to the center of the music and makes the music resonate with that deep analog glow. Two albums were released in their existence, the first of which we are presenting a track from today. Afreaka was a ground breaking album put out in 1970 that captured the essence of African and African American music as one unification of musical power and is the debut LP from Demon Fuzz. Afreaka was released on both sides of the Atlantic, seeing a US print with the famous Janus Records in the same year as the original that was released with the UK’s Dawn Records. The group would play on notorious club and festival bills with the cream of the crop in the UK when this album was released, affording them a wealth of opportunities to sale their material and further spread the word. The group also put out a 7″ during this period with a mind blowing cover of “I Put A Spell On You”. Fronted by Smokey Adams, this is one of those groups that you have to hear to believe. Check out the track “Another Country” below to see for yourself.
By the time Pharoah Sanders tenure with the influential Impulse! label had ended in the mid 70′s, he had already become a living legend. A legend of continual growth, not the old band leader simply ordering people around. He was on a spiritual path of awakening the world from the beginning of his musical output and this growth has stayed strong. The 80′s saw a stylistic shift take place for Pharoah Sanders, trading out blasted out atonal excursions into the world of free jazz for something more smooth and sublime. These elements had always been a component of his craft but in the 80′s, he really started to gel into a completely different being. The California based label Theresea Records would sign on Sanders for an extensive record deal that compiles a bulk of his output in the decade. The 1985 LP Shukuru stands among my favorite in his entire catalog with the self titled track as something I have gone back to for inspiration for years now. The legendary Idris Muhammad was also signed with Theresea Records at the time and plays on this album to stunning affect. Sandres would also feature on Muhammad’s records around the same era, sharing collaboration for years during that era. We are presenting this track in our Blast From The Past series to give thanks to the deep wisdom Pharoah Sanders has preserved for the world.
The sounds of Brazil in the late 60′s were thriving with creative growth in thought and world minded values. The age of fusion was alive and well and a lost hidden gem from this era comes in the sole Pedro Santos 1968 LP Krishnanda. Released on CBS and the Polysom label, which is also the largest and now the only vinyl producing plant in South America, the record was licensed to Sony Music Brasil and has become a very rare collectors item since its launch. With the digital age thriving more then it ever has, this album has resurfaced into the collections of those interested in the tropical explosion of sound Brazil provided the world in the 60′s and 70′s. Today we have selected the track “Savana”, a tropical song that shows the essence of this movement. Really fell in love with this LP this week and am very happy to present “Savana” from the mind blowing fusion album Krishnanda.
A seasoned and trained Brazilian guitarist from Conservative of Rio, Bola Sete stands as one of the countries musical treasures. A beacon of light of many legends in and outside of his field of creation. Stints with Dizzy Gillespie and Vince Guaraldi would land Sete his own recording contract with Verve Records, peaking with a live album captured at the 1966 Monterey Jazz Festival. When Sete joined the Vince Guaraldi trio in the early 60′s, he was set into a heavy movement of music that was being activated around the world. Bola Sete was trained in the art of improvisation well and flourished in this setting. The video that was captured of the group in 1963 shows a rare glimpse into these creative forces. This new source on YouTube reveals the entire show and is a much needed upgrade to versions circulating in past years. This is one of those “you can’t miss” type of performances with pristine audio and video quality.
Bola Sete (guitar) Vince Guaraldi (piano) Fred Marshall (bass) Jerry Granelli (drums)
Earlier this year reissue label Numero Group offered up the first two Syl Johnson LP’s which have finally made their way to our crew and we couldn’t be more impressed with the job they did on Dresses Too Short (1968) and Is It Because I’m Black (1970). With both titles as first time reissues, the 1970 release Is It Because I’m Black as the album I had previous knowledge of and have gravitated towards a lot this week. Syl Johnson is a phenomenal musician, producer and jack of all trades in the music business, creating a body of work unlike any before his and the re-introduction of this type of work has been needed considering today’s social climate. Is It Because I’m Black would later be sampled by the Wu-Tang Clan for their song “Hollow Bones”, with a reissue still unseen during their issue of that cut in the very beginning of the 21st century. The darker groove from the original Syl Johnson version is contagious and the message is deep, serving as one of the most influential tracks from the early 70′s conscious movement. Check out the track below and order a copy of the reissue from Numero Group by Clicking Here.
Detroit’s American rhythm and blues vocal group The Falcons define an era of soul in the 50′s and 60′s that has shown its timeless attributes in music history. Recording with the illustrious Mercury Records imprint in the beginning of their career – which remains one of the leading record labels in the world – The Falcons would leave the label for Lu Pine Records and change the line up of the group through the late 50′s and early 60′s. Lu Pine is the label in which they would pen the song “I Found A Love”, incorporating soul sensation Wilson Pickett into the fold for three years of the groups existence (1960-63). Wilson Pickett was known for singing powerfully and with such a vibrato that the recording ribbons inside of the mics of the time would move in erratic form and create the edgier tone that you hear on a lot of his loudr parts. Wilson Pickett put every ounce of his soul into this recording and it became a very popular cut in its day (1962). I first heard the original version from the Atlantic Best Of LP put out many years after the recordings were made and has remained one of my favorite love songs of all time. Check out this classic track from the early 60′s below. Songs about love need to be this real again.
Blast From The Past Volume 382
“Cry Me A River”
Vocals: Julie London
Bass: Ray Leatherwood
Guitar: Barney Kessell
*Composed by Arthur Hamilton
In the late 90′s and early 2000′s, hip hop production veteran Madlib took voyage into the ethos of jazz with the Yesterdays New Quintet project and what would later evolve into Yesterdays Universe. Releasing this material a few years after signing with the Peanut Butter Wolf label Stones Throw, YNQ has remained a classic project from Madlib and was his first major alter ego as an artist. The piece “Sunrays” was released in 2001 on the EP Elle’s Theme before the critically acclaimed full length Angels Without Edges was dropped. Check out “Sunrays” below and dive deeper into this project if this is your first time hearing it.