Gary Bartz NTU Troop “Follow, The Medicine Man”

Gary Bartz NTU Troop

“Follow, The Medicine Man”
( LP Prestige Records, 1973 )
Catalog # PR 10068

Tracklisting:
A1 Sifa Zote (7:50)
A2 Whasaname (7:23)
A3 Betcha By Golly, Wow (4:47)
B1 Dr Follow’s Dance (2:37)
B2 Standin’ On The Corner (2:57)
B3 Etoiles Des Neiges (8:40)
B4 Sing Me A Song Today (7:02)

Personnel & Credits:
Electric Piano – Andy Bey (tracks: A1, A2, A3, B3, B4)
Electric Piano – Hubert Eaves (tracks: B1, B2)
Guitar – Hector Centeno (tracks: B1, B2)
Soprano Sax, Sopranino, Alto Sax, Voice – Gary Bartz
Electric Piano Percussion – Gary Bartz
Vocals – Gary Bartz (tracks: B2)
Vocals, Percussion – Andy Bey

Notes:
Recorded at Fantasy Studios, Berkeley, California: October 1972.
Engineer: Jim Stern , B1 and B2 recorded at CI Recording, New York City: June 1973.
Engineer: Chuck Irwin
Album art and design: Ron Warwell

Review:
Gary Bartz’s Ntu Troop played an interesting brand of music, mixing together the influences of the avant-garde, hard bop, African folk songs and early fusion and funk. This album features Bartz (on alto, soprano and sopranino) with singer/keyboardist Andy Bey, bassist Stafford James and drummer Howard King; two songs have Hubert Eaves in Bey’s place and add guitarist Hector Centeno. The emphasis is mostly on group originals, plus the pop tune “Betcha by Golly, Wow,” and is generally atmospheric and (with its dated electronics) very much of the period, but it still sounds good.
By Scott Yanow (AMG)

By Celo

Gary Bartz Ntu Troop “Juju Street Songs”

Gary Bartz Ntu Troop

“Juju Street Songs”
( LP Prestige Records, 1972 )
Catalog # P 10057

Tracklisting:
A1 I Wanna Be Where You Are (10:04)
A2 Black Maybe (9:38)
B1 Bertha Baptist (6:32)
B2 Africans Unite (6:30)
B3 Teheran (8:20)

Personnel & Credits:
Alto Sax, Soprano Sax, Sopranino – Gary Bartz
Voice, Electric Piano, Percussion – Gary Bartz
Bass, Electric Bass, Voice, Percussion – Stafford James
Drums, Voice, Percussion – Howard King
Vocals, Electric Piano, Percussion – Andy Bey

Notes:
Recorded at Fantasy Studios,Berkeley,California,October 1972.

Review:
In the late 1970s, Gary Bartz’s work became quite commercial. But earlier in the decade — when the alto and soprano saxophonist led his NTU Troop he was more ambitious. Recorded in 1972, Juju Street Songs is among the risk-taking efforts that came from the NTU Troop. This ambitious LP finds Bartz drawing on a variety of influences everything from John Coltrane’s modal post-bop to world music to the electric fusion that Miles Davis and Herbie Hancock were providing at the time. The term world music, of course, can mean a lot of different things; for the NTU Troop, it means a strong Middle Eastern/Arabic influence on the moody “Teheran” and more of an Afro-Caribbean outlook on the exuberant “Africans Unite.” Bassist Stafford James’ “Bertha Baptist,” meanwhile, is a jazz-funk gem that drummer Harvey Mason interpreted on his Earthmover LP of 1976. Although very jazz-oriented, Juju Street Songs is well aware of what was happening with R&B in the early 1970s. “I Wanna Be Where You Are” was a hit for Michael Jackson back when the Jacksons were still calling themselves the Jackson Five, but Bartz gives the soul-pop tune a serious makeover and demonstrates that it can work well as instrumental jazz. And Stevie Wonder’s “Black Maybe,” which features Andy Bey on vocals, lends itself equally well to a jazz interpretation. If you want to hear how much Juju Street Songs differs from the commercial stuff that Bartz offered in the late 1970s, just play “I Wanna Be Where You Are” next to his late 1970s version of L.T.D.’s “Love Ballad” — while Bartz seriously interprets Michael Jackson’s hit, his performance of “Love Ballad” is an uninteresting, overproduced, note-for-note cover. Excellent from start to finish, this LP captures Bartz at the height of his creativity.
By Alex Henderson (AMG)

By Celo

Fatback ”Brite Lites, Big City”

Fatback

”Brite Lites, Big City”
( LP Spring Records, 1979 )
Catalog # SP 1 6721

Tracklisting:
The Joint
A1 Freak The Freak The Funk (Rock)
A2 Let Me Do It To You
A3 Big City
Mellow 11
B1 (Do The) Boogie Woogie
B2 Hesitation
B3 Wild Dreams

Personnel & Credits:
Backing Vocals – Debra Cooper, Desiree Dunn, Robin Dunn
Bass, Backing Vocals – Johnny Flippin
Guitar – Cobra Butler
Keyboards, Percussion – Sam Culley
Keyboards, Vocals – James Skelton
Percussion, Lead Vocals, Co-producer – Bill Curtis
Producer – Fatback Band, The
Saxophone [Alto] – Earl Shelton
Saxophone, Backing Vocals – Fred Demery
Synthesizer, Co-producer – Gerry Thomas
Trumpet – George Williams

Notes:
Format: Vinyl, LP, Album
Country: US
Released: 1979

Review:
While it doesn’t overflow with high points like Fired Up ‘N’ Kickin’, Brite Lites, Big City remains a solid album’s worth of funky disco. The hooks aren’t as instantly catchy as the ones that propelled past hits like “Spanish Hustle” or “I Like Girls,” but songs like “Freak the Freak the Funk (Rock)” sport nice big grooves that will keep the listener’s toes tapping. The album’s big highlights are “Big City,” a tribute to New York driven by a surprisingly jazzy horn riff, and “Let Me Do It to You,” a percolating funk showcase that cleverly pits male and female vocal sections against each other as it doubles its thumping bassline with the chant mentioned in the title. “Wild Dreams” is another highlight, an interesting tune that contrasts mellow female harmonies against an insistent beat churned out by the rhythm section. Some of the tunes get a bit repetitive at times, most notably “Hesitation” and its reliance on an endlessly-reiterated chant, but the band’s performance is strong enough throughout the album to overshadow these moments of weakness. The result is an album that isn’t strong enough to win over people who aren’t already fans, but will definitely satisfy fans of the Fatback sound.
By Donald A. Guarisco (AMG)

By Pier

Detroit Emeralds ”Let’s Get Together”

Detroit Emeralds

”Let’s Get Together”
( LP Westbound Records, 1978 )
Catalog # WT 6101

Tracklisting:
A1 Let’s Get Together (5:30)
A2 Turn On Lady (5:22)
A3 (Call Me) Traveling Man (6:52)
B1 I Can’t Seem To Forget (4:17)
B2 What’s The Deal (4:46)
B3 Treat Her Like A Lady (3:48)
B4 I Just Don’t Know About This Girl Of Mine (3:46)
B5 Have A Good Day (3:25)
Bonus Let’s Get Together 7” (3:22)

Credits:
Arranged By – Mike Theodore
Mixed By – Tom Moulton

Notes:
Format: Vinyl, LP
Country: US
Released: 1978

Biography:
Abrim, Ivory, Cleophus, and Raymond Tilmon formed the Detroit Emeralds in the ’60s. They were actually a Little Rock vocal group. They had some success with “Show Time” for Ric-Tic in 1968, but by 1970 were down to a trio, with Abrim and Ivory Tilmon and James Mitchell. They stayed that way for a long run on Westbound that yielded R&B hits “Do Me Right,” “You Want It, You Got It,” and “Baby Let Me Take You (In My Arms)” in 1971 and 1972, as well as “You’re Gettin’ a Little Too Smart” in 1973. They expanded the roster to a quartet in 1977, but with three new members. Abrim Tilmon was now joined by Paul Riser, Johnny Allen, and Maurice King. Their backing band from 1971 to 1973 was Chapter 8. Though many regard “Feel the Need” as their best song, it was far from a hit, although it was their last chart entry in 1977. James Mitchell and Marvin Wills teamed to form an offshoot group, the Floaters, in 1977. Carl Johnson was Abe Tilmon’s replacement in the Emeralds, with Abe Tilmon forming his own Detroit Emeralds. Each group stayed active on the oldies and cabaret circuit during the ’70s and ’80s. Michael Henderson, then a 13-year-old, was one of their members for a short time.
By Ron Wynn (AMG)

By Pier

The Red Garland Trio ”It’s A Blue World”

The Red Garland Trio

”It’s A Blue World”
( LP Prestige Records, 1958 )
Catalog # P-7838

Tracklisting:
1 This Can’t Be Love Hart, Rodgers 8:30
2 Since I Fell for You Johnson 12:43
3 Crazy Rhythm Caesar, Kahn, Meyer 3:27
4 Teach Me Tonight Cahn, DePaul 9:03
5 It’s a Blue World Forrest, Wright 5:34

Personnel:
Red Garland (p)
Paul Chambers (b)
Art Taylor (d)

Notes:
Recorded at Rudy Van Gelder Studio,
Hackensack, NJ, February 7, 1958
Also issued on Fantasy OJCCD 1028-2

Review:
Of the miles of Red Garland sessions recorded in the late ’50s, some of the tapes didn’t see the light of day until many years later. This session, which except for “Crazy Rhythm,” first appeared in the early ’70s, is typical of Garland’s trio work of the ’50s, evoking a mid-century nightclub atmosphere from Rudy Van Gelder’s studio with the perfectly-gauged help of bassist Paul Chambers and drummer Art Taylor. “Since I Fell for You” and “Teach Me Tonight” are taken at relaxed tempos, and after Garland’s trademark block chords in the left hand and octaves in the right hand take care of the themes, they ride easily and winningly. “Crazy Rhythm” zips along at the usual steeplechase pace, with a fluid bebop solo from Garland and some agile bowing from Chambers (Chambers also gets an unusually lengthy bowed solo on “This Can’t Be Love”), and the title track closes the reissue on a jaunty note. Garland fans — and for that matter, fans of Vince Guaraldi, whose chord voicings very much resemble those of Garland — need not hesitate.
By Richard S. Ginell (AMG)

By Pier

Eddie Harris ”I Need Some Money”

Eddie Harris

”I Need Some Money”
( LP Atlantic Records, 1975 )
Catalog # SD 1669

Tracklisting:
A1 I Need Some Money (3:10)
A2 Get On Down (9:48)
A3 Time To Do Your Thing (6:12)
A4 Carnival (4:14)
B1 Don’t Want Nobody (11:52)
B2 Bumpin (4:11)
B3 That’s It (5:31)

Personnel:
Eddie Harris (vocals, acoustic & electric saxophones,
reed trumpet, acoustic & electric pianos, organ, electric bass)
Frederick Walker (vocals, African whistle, congas, timbales
tablas, talking drum, barrel drum)
Ronald Muldrow (guitar, guitorgan, cabasa)
Rufus Reid (acoustic & 6-string basses)
Bradley Bobo (6-string bass)
Calvin Barnes (drums, scraper, cuica, percussion)

Notes:
Format: Vinyl, LP
Country: US
Released: 1975

Review: By Richard S. Ginell
No longer content to hide his voice behind a horn and an amp, Eddie Harris finally steps out as a singer in the first of a series of humorous hard-luck songs that would be the flagships of his next few LPs (one reason for this move, perhaps, was the title of this album, but his vocals didn’t produce any hits). Harris also fools with an electronic rhythm machine and electronic horn attachments that practically turn his sax into a synthesizer. In any case, the thing he still does best here is ride a groove, the best of which is the extremely danceable “Get on Down,” complete with Leon Thomas-like yodeling and a percussive vocal from the erstwhile sax master. “Carnival” also develops a head of steam when it starts to evoke a street celebration. There are indications, though, that Harris’ repertoire of funk sax licks is beginning to run a bit thin.
By Richard S. Ginell (AMG)

By Pier

Nicola Arigliano (E Franco Cerri) “Festival del Jazz, Sanremo 1959″

Nicola Arigliano (E Franco Cerri)

“Festival del Jazz, Sanremo 1959″
( EP Columbia Records, 1959)
Catalog # SEMQ 114

Tracklisting:
01 – Cherokee
02 – But Not For Me
03 – On The Sunny Side Of The Street
04 – The Lady Is A Tramp

Personnel:
Nicola Arigliano, Vocals
Franco Cerri, Guitar
Gianni Cazzola, Drums
Giorgio Azzolini, Double bass

Also on Cverdier Blog.

More info on Nicola Arigliano here.

By Rob

Ezy & Isaac “Soul Rock”

Ezy & Isaac

“Soul Rock”
( LP Rifi Recordings, 1974, Italy )
Catalog # RDZ-ST 14246

Tracklisting:
A1 Take Off !!! (5:10)
A2 Not All Bad – Not All Good (2:57)
A3 Sad To See You Go Away (4:10)
A4 Bawagbe (3:08)
B1 Don’t Step On My Shoes (5:10)
B2 Bad Day (3:05)
B3 All We Need Is Love (3:00)
B4 Got To Move (3:05)

Personnel & Credits:
Producer, Arranged By – Funky Fella, The
Written-By – Ezy Hart , Isaac Olashugba

Note of thanks :
To all the musicians who participated beautifully in this album, to all the recording crew, to The Funky Fella also our well wishers who prayed for us during the work of this album. We thank you all. Above all thanks to our God for making this dream reality.
Ezy & Isaac

Review:
A super rare soul funk attitude only italian issue ! They are 2 brasilian boys and they recorded this LP in Italy (Milan)…. heavy breaks on it !!! ”Don’t step on my shoes”,”Take off “. Dangerous !!!!!

Naïm Megassabi says:
”Hi! Thank you sooo much for sharing these sounds with the world, wonderful wonderful stuff!
I don’t want to nag or play the know-it-all (I most definitely do not), but I’m thinking you might appreciate this tiny bit of info: Ezy (or Ezekiel) & Isaac are not from brazil, they’re from nigeria. Better yet, they used to perform with Fela in his Koola Lobitos and even composed some tunes for them (credited as Koola Lobitos featuring V.C.7). Later on in the early 70s, they were the “E” and “I” in the D.I.E. Combination, released a few 45s on polydor nigeria I think. The “D” is Don Kemonah, also at some point in koola lobitos.
Keep up the great work & keep it raw!”

Previously posted on Djalma's Soul Food blog

By Celo

Direct Current ”Direct Current”

Direct Current

”Direct Current”
( Disco Mix/Mini LP TEC Records, 1979 )
Catalog # TEC 159

Tracklisting:
A1 Sweet Release (7:30)
Arranged By – Gerald Smith
Written-By – Jan Nace, Tom Glenn
A2 Everybody Here Must Party (6:58)
Arranged By – Morris Bailey
Written-By – Deborah Clement, Denise Clement,
Dorothy Clement
B1 Boogie Man (6:36)
Arranged By – Morris Bailey
Written-By – Blanche Carter, Morris Bailey
B2 Nothing Can Stop Us (5:49)
Arranged By – Gerald Smith
Written-By – Joyce Ross

Personnel & Credits:
Mixed By – Billy Kennedy
Producer – Doug King, Nick Martinelli

Notes:
Produced for King / Stewart Productions.
(P) 1979 TEC

Publishing:
A1 – M & A Publishing & Nace-Glenn Music Co., ASCAP
A2 – M & A Publishing, ASCAP
B1 – Rita Sue Music & Miss Vera Music BMI
B2 – M & A Publishing, ASCAP

Review:
Philadelphia vocal group Direct Current’s lineup was Deborah, Dorothy, and Denise Clement. The trio’s sole charting single, “Everybody Here Must Party,” was released on Philly label TEC and made it to number 83 R&B on the R&B chart in summer 1979. The album of the same name followed that year, and the trio were also heard on Instant Funk’s 1982 Salsoul LP Looks So Fine, which included “Why Don’t You Think About Me,” the swaying ballad “Jumpin’ to Conclusions,” the NBA tribute “Slam Dunk the Funk,” and the skaters/steppers favorite “Gotta Like That.” Nick Martinelli (Loose Ends, Stephanie Mills, Regina Belle) and songwriter Johnny Bellmon (Wilson Pickett’s “Don’t Let the Green Grass Fool You”) were among the group’s producers.
By Ed Hogan (AMG)

By Pier

Stephanie Mills ”What Cha Gonna Do With My Lovin”’

Stephanie Mills

”What Cha Gonna Do With My Lovin”’
( LP 20th Century Records, 1979 )
Catalog # T-583

Tracklisting:
A1 Whatcha Gonna Do With My Lovin’ (4:05)
A2 You Can Get Over (4:59)
A3 Deeper Inside Your Love (3:54)
A4 Feel The Fire (5:13)
B1 Put Your Body In It (4:05)
B2 Starlight (3:35)
B3 You And I (4:46)
B4 Don’t Stop Dancin’ (3:45)

Credits:
Producer – James Mtume , Reggie Lucas

Notes:
Format: Vinyl, LP
Country: US
Released:1979

Review:

When Stephanie Mills enjoyed a major commercial breakthrough with her third album, Whatcha Gonna Do…With My Lovin’?, the singer often found herself being described as a disco diva — and it wasn’t a description that she agreed with. Mills saw herself as primarily a romantic R&B traditionalist, not a disco singer. If you asked her whether she had more in common with Gladys Knight or Donna Summer, Mills would have said Gladys Knight without a moment’s hesitation. Nonetheless, this superb LP (which was produced by the James Mtume/Reggie Lucas team) does contain its share of dance-oriented treasures; “Don’t Stop Dancin’,” “You Can Get Over,” and the hit “Put Your Body in It” are disco funk classics that heated up numerous dancefloors in 1979. Mills is equally impressive on romantic ballads and slow jams like “Deeper Inside Your Love,” “Starlight,” “You and I,” and Peabo Bryson’s “Feel the Fire” — and in various interviews, she insisted that those songs were more representative of her than the album’s dance-oriented material. At any rate, What Cha Gonna Do With My Lovin’ remains one of Mills’ strongest, most essential albums.

By Alex Henderson (AMG)

By Pier