Monday, 31 August 2009

Info: The Crown Heights Affair

The Crown Heights Affair

Biography:
Like Earth, Wind & Fire and Kool & the Gang before them, Crown Heights Affair artfully bridged the gap between funk and disco, guaranteeing their records new life via sampling by successive generations of rappers and DJs. Originally dubbed New Day Express, the group formed in Brooklyn, NY, in 1967, originally comprising lead vocalist Philip Thomas, guitarist William “Bubba” Anderson, bassist Arnold “Muki” Wilson, keyboardist Stan Johnson, and drummer Raymond “Sugar Ray” Rock. Crown Heights Affair’s roster soon expanded to include saxophonist Darryl Gibbs, trumpeter James Baynard, and trombonist Julius Dilligard, Jr., and in 1973 they signed to RCA, releasing their self-titled debut LP the following year. While a hit in New York, the first single, “Super Rod,” failed to earn attention across the rest of the country, and when the follow-ups “Leave the Kids Alone” and “Special Kind of Woman” met the same fate, the group was left without a label. At that point Johnson, Gibbs, Baynard, and Dilligard all resigned from Crown Heights Affair, with Howie Young joining on keyboards, Tyrone Demmons coming in on trumpet, and siblings Bertram and Raymond Reid playing saxophone and trombone, respectively. This lineup signed to De-Lite, home to kindred spirits Kool & the Gang, and in 1975 Crown Heights Affair issued its sophomore effort, Dreaming a Dream, with an extended disco mix of the title cut cracking the R&B Top Five and the pop Top 50; “Every Beat of My Heart” and “Foxy Lady” soon followed, further establishing the group’s growing reputation among clubgoers. Percussionist Skip Boardley joined the lineup with 1976’s Do It Your Way; although the first single, “Dancin’,” was a rather shameless knockoff of Isaac Hayes’ classic “Theme from ‘Shaft’,” sales were again respectable, even if the LP’s second single, “Do It the French Way,” failed to generate much attention. 1978’s Dream World was buoyed by De-Lite’s new international distribution deal with Polygram. Virtually overnight Crown Heights Affair emerged as major fan favorites in the U.K., with the singles “Galaxy of Love” and “I’m Gonna Love You Forever” both reaching the British pop charts. While the title cut to 1979’s Dance Lady Dance was another British hit, the album flopped stateside, prompting Crown Heights Affair to recruit producer Bert DeCoteaux, known for hits with Sister Sledge; the resulting Sure Shot remains a minor masterpiece, highlighted by the disco classic “You Give Me Love,” a Top Ten U.K. pop hit during the summer of 1980. But the general public’s interest in disco soon took a nosedive, and Crown Heights Affair spent the next two years on hiatus. Minus keyboardist Young, the group resurfaced in 1982 with Think Positive, a failed attempt to update their sound to current tastes. After one final effort, 1983’s Struck Gold, Crown Heights Affair split. Bert Reid went on to enjoy some success as a producer, helming Denroy Morgan’s underground smash “I’d Do Anything for You” as well as sessions for Unlimited Touch (”I Hear Music in the Streets”), Raw Silk (”Do It to the Music”), and Barbara Tucker (”Stay Together”). As vintage Crown Heights Affair grooves found their way onto latter-day hip-hop and R&B records, Reid also collaborated with producer/DJs Little Louie Vega and François Kevorkian. He died in New York City on December 12, 2004.
By Jason Ankeny (AMG)

Pier’s Note:
Bravissimi, eccezionali, ci hanno dato una delle migliori Disco Music dell’epoca.
Gruppo al quale io sono molto affezionato, tanti loro pezzi furono dei miei cavalli di battaglia, sia in discoteca che in radio.
E, per chi si ricorda bene, che viaggione era quella hostess che augurava ”Happy Flight” in ”Galaxy Of Love”!
Ve li raccomandiamo!

Lou Donaldson “The Natural Soul”

Lou Donaldson

The Natural Soul
( LP Blue Note Records, 1962 )
Catalog # BLP 4108
Also issued on Blue Note BST 84108, CDP 7 84108-2

Tracklisting:
01 Funky Mama [Patton]
02 Spaceman Twist [Donaldson]
03 Love Walked In [Gershwin, Gershwin]
04 Sow Belly Blues [Donaldson]
05 That’s All [Brandt, Haymes]
06 Nice ‘N’ Greasy [Acea]

Personnel:
Tommy Turrentine (tp)
Lou Donaldson (as)
“Big” John Patton (org)
Grant Green (g)
Ben Dixon (d)
Recorded at Rudy Van Gelder Studio,
Englewood Cliffs, NJ, May 9, 1962

Review:
The Natural Soul finds Lou Donaldson delving deeply into soul-jazz, recording a set of funky, greasy instrumentals with only a few references to hard bop. Donaldson occasionally sounds a little awkward with the relaxed groove of The Natural Soul, as does trumpeter Tommy Turrentine, but the trio of guitarist Grant Green, organist John Patton, and drummer Ben Dixon keep things cooking. Green and Patton’s solos often burn and are always invigorating, and Lou frequently matches their heights. The original compositions — which form the bulk of the album — aren’t much more than blues and soul vamps, but they provide an excellent foundation for the combo to work hot grooves. And, in the end, that’s what The Natural Soul is about — groove. It maintains the high standards Donaldson established with his first soul-jazz foray, Here ‘Tis, and remains one of his best records in that genre.
By Stephen Thomas Erlewine (AMG)

Review by Clifford Allen here. (All About Jazz)

By Rob

Clarence Wheeler & The Enforcers ”Doin’ What We Wanna”

Clarence Wheeler & The Enforcers

Doin’ What We Wanna
( LP Atlantic Records, 1970 )
Catalog # SD 1551

Tracklisting:
A1 Hey Jude (7:55)
A2 Sham Time (4:39)
A3 Theme From Electric Surfboard (7:29)
B1 Right On (4:39)
Vocals [Background] – Cissy Houston , Jackie Verdell , Judy Clay
B2 Dream Bossa Nova (3:29)
B3 Doin’ What I Wanna (4:04)
B4 C.W. (4:51)

Personnel & Credits:
Artwork By – Haig Adishian
Drums – George Hughes
Engineer – Jerry DeClerque
Organ – Sonny Burke
Photography – Mel Kaspar
Producer – Joel Dorn
Producer [Associate] – Mario Medious
Saxophone [Tenor] – Clarence Wheeler
Trumpet, Cowbell, Tambourine – Sonny Covington

Notes:
Recorded at Universal Studios,
Chicago, Illinois, November 18, 1969
Format: Vinyl, LP, Album
Country: US
Released: 1970

Review:
A landmark album from this legendary Chicago soul jazz combo — and a record that helped set the tone for changes to come in funky jazz for the 70s! Tenorist Clarence Wheeler heads up the group — and they’ve got an amazing organ/bass sound that’s made them a legend with funk fans for years — a groove that’s filled with complicated riffing and changes, almost the “next level” of soul jazz beyond the already hip Jack McDuff groove of the Prestige years — taken into a lot more righteous territory! The grooves are totally infectious, and they echo with some of the best styles of the group’s contemporaries on the Chicago scene — particularly the electric Eddie Harris combo, or the best work going down over at Cadet Records! The album features a wonderful extended version of “Hey Jude”, with a million jazzy changes and loads of nice riffs (which is probably why it’s been heavily sampled) — plus groovy groovy versions of Eddie Harris’ “Sham Time” and Jack McDuff’s “Theme From The Electric Surfboard”. And all that’s only on side one! Side two’s got even more great stuff — like “Doin What I Wanna”, “Dream Bossa Nova”, and “Right On” — and the whole record’s a gem!
1996-2009, Dusty Groove America

Thanks to Celo for the label’s scans.

By Pier

Bobby Timmons ”Holiday Soul”

Bobby Timmons

Holiday Soul
( LP Prestige Records, 1964 )
Catalog # PR 7414

Tracklisting:
Winter Wonderland
We Three Kings
Santa Claus Is Coming To Town
You’re All I Want For Christmas
White Christmas
The Christmas Song
Deck The Halls
Auld Lung Syne

Personnel & Notes:
Bobby Timmons (p)
Butch Warren (b)
Walter Perkins (d)
Recorded at Rudy Van Gelder Studio,
Englewood Cliffs, NJ, November 24, 1964

Review:
A staple of the Prestige catalog, organist Don Patterson turned out a substantial number of albums for the label during the sixties, with Holiday Soul (Prestige 7415) being among his rarest and hardest to find. Serving somewhat as a house rhythm section for Prestige at the time, Patterson is heard with guitarist Pat Martino and drummer Billy James and the threesome generates the kind of energy that belies the group’s modest size. The centerpiece is a lengthy groove on “Jingle Bells,” launched by a modal vamp that leads into a string of choruses from both Patterson and Martino. “Merry Christmas Baby” takes on an azure hue with “down home” statements from our lead voices, a clarity of purpose evident in both the solos and Rudy Van Gelder’s classic engineering for an organ combo. Even “Rudolf the Red Nosed Reindeer” swings like crazy, Martino’s Wes-inflected octaves being of particular interest.
When it comes to pianist Bobby Timmons, most consider his main contribution to the music to be a gospel-tinged/funky outlook that ushered in a whole genre of soul-jazz that is still in favor among today’s younger set. As such, his collection of Christmas favorites as assembled under the same banner of Holiday Soul (Prestige 7414) is even more individualistic than Patterson’s. “White Christmas” is as far removed from its usual maudlin tone as is possible, with a bluesy feel that finds Timmons romping across the snow banks with blissful ease. It’s a funky vamp that launches “Winter Wonderland” and over several choruses Timmons and bassist Butch Warren get to speak their piece, supported ever so tastefully by drummer Walter Perkins.
Both of these holiday sets stand firmly on the grounds of being good Christmas music, but they also offer considerable jazz performances to boot. The shame is that even with Fantasy’s ambitious reissue programs of late, each of these records has yet to be reissued on compact disc (however, two selections from each album do appear on the compilation The OJC Christmas Collection ). Their reappearance at some point will be a welcomed gift to jazz fans of the hard bop persuasion. In the meantime, keep a look out for these vinyl trinkets and best wishes for a healthy and happy holiday season!
By C. Andrew Hovan (All About Jazz)

Other info here.

By Pier

Shirley Scott ”Scottie Plays The Duke”

Shirley Scott

Scottie Plays The Duke
( LP Prestige Records, 1959 )
Catalog # PRLP 7163

Tracklisting:
Just Squeeze Me
Just A-Sittin’ And A-Rockin’
In A Mellow Tone
Prelude To A Kiss
C Jam Blues
I’ve Got It Bad And That Ain’t Good
Caravan
In A Sentimental Mood

Personnel & Notes:
Shirley Scott (org)
George Duvivier (b)
Arthur Edgehill (d)
Recorded at Rudy Van Gelder Studio,
Hackensack, NJ, April 24, 1959
Issues: all the tracks on Prestige PR-7163.
Singles: also on Prestige 45-149 [45],
& also on Prestige 45-154 [45].
Samplers: also on Prestige PRCD-11027-2,
titled ”QUEEN OF THE ORGAN: MEMORIAL ALBUM”.
Producer: Esmond Edwards

Review:
The Shirley Scott Trio with George Duvivier on bass and Arthur Edgehill on drums. This is a collection of Ellington tunes including “In a Sentimental Mood”.
By Michael Erlewine (AMG)

By Pier

Stanley Turrentine ”Stan “The Man” Turrentine”

Stanley Turrentine

Stan “The Man” Turrentine
( LP Time Records, early 1960 )
Catalog # M 52086

Tracklisting:
Let’s Groove
Stolen Sweets
Minor Mood
Time After Time
(This 4 tracks, Sonny Clark (p) replaces Flanagan
same location, date)
Sheri
Mild Is The Mood
My Girl Is Just Enough Woman For Me

Personnel & Notes:
Stanley Turrentine (ts)
Tommy Flanagan (p)
George Duvivier (b)
Max Roach (d -1/3)
Recorded in NYC, early 1960
Also issued on Time S 2086
Original on Bainbridge Rec.?

Review:
His earliest album with Turrentine on sax, Sonny Clark or Tommy Flanagan on piano, George Duvivier on bass, and Max Roach on drums. This tends to be uptempo and mainstream. It lacks the distinctive Turrentine sound that later albums show.
By Michael Erlewine (AMG)

Note:
Not a wonderful rip, probably ripped at a low bitrate and then converted to a decent. If someone have in a better bitrate, please send a drop for us.
Anyway, a good chance to listen this gem. You have liked it? Beat the store!
More info on Stan The Man here.

By Pier

Johnny “Hammond” Smith ”Soul Flowers”

Johnny “Hammond” Smith

Soul Flowers
( LP Prestige Records, 1967 )
Catalog # PR 7549

Tracklisting:
N.Y.P.D.
Dirty Apple
Days Of Wine And Roses
Ode To Billie Joe
You’ll Never Walk Alone
Alfie
Tara’s Theme (My Own True Love)
Here’s That Rainy Day
I Got A Woman

Personnel & Notes:
Earl Edwards, Huston Person (ts)
Johnny “Hammond” Smith (org)
Wally Richardson (g)
Jimmy Lewis (el-b)
John Harris (d)
Richie “Pablo” Landrum (cga)
Recorded at Rudy Van Gelder Studio,
Englewood Cliffs, NJ, September 27, 1967
Part of Prestige PRCD 24235-2

Review:
When a soul-jazz artist decides to devote the bulk of his album to pop standards and themes from the movies, stage, and TV, he better make damn sure that he interprets them in an inventive fashion. Fortunately, that’s what Smith manages to do on this 1967 session, heading a sextet with guitar, tenor saxes, conga, bass, and drums. The opening “Theme from N.Y.P.D.” sets the table for his irreverence, as the band pounds out a cool, jazzy spy theme with police whistles and sirens whirring constantly in the background, adding the right gimmicky touch as surely as the foghorn does in Frankie Ford’s “Sea Cruise.” What really makes the album a success (the bulk of its material) is the sense of humor Smith and the other musicians bring to the arrangements, doodling busily on the melody lines and totally reworking the tempos so that something like “Ode to Billie Joe” will sound appropriate, rather than forced, as a funky acid jazz tune. It takes a lot to make “You’ll Never Walk Alone” work in this genre, and Smith pulls this off too, throwing in strutting, rapid-fire key changes and a false ending. Also grooving is the bossa nova beat on “Here’s That Rainy Day,” which allows guitarist Wally Richardson some good solo space. The one original on the record, “Dirty Apple,” has a more serious, straightforward blues-funk grind that isn’t too different from Booker T. & the MG’s. The 1999 reissue of Soul Flowers tacks the entirety of the 1968 album Dirty Grape (recorded with the same musicians) onto the same disc.
By Richie Unterberger (AMG)

By Pier

Johnny “Hammond” Smith ”Dirty Grape”

Johnny “Hammond” Smith

Dirty Grape
( LP Prestige Records, 1968 )
Catalog # PR 7564

Tracklisting:
Dirty Grape
Animal Farm
Black Strap Molasses
She’s Gone Again
High Heel Sneakers
To Sir With Love
Love Is A Hurtin’ Thing
Please Send Me Someone To Love

Personnel & Notes:
Earl Edwards, Houston Person (ts)
Johnny “Hammond” Smith (org)
Wally Richardson (g)
Jimmy Lewis (el-b)
John Harris (d)
Richie “Pablo” Landrum (cga)
Recorded at Rudy Van Gelder Studio,
Englewood Cliffs, NJ, January 31, 1968
Part of Prestige PRCD 24235-2

Review:
On this pleasant but moderately by-numbers set of late 1960s soul-jazz, Smith leads a combo whose most notable member is tenor saxophonist Houston Person. On the original numbers (Smith and guitarist Wally Richardson contribute two apiece), they sound rather like a jazzy Booker T. & the MG’s. Also included are covers of R&B and pop tunes: “Hi Heel Sneakers” is a predictable treatment with no surprises, but Smith pulls out more stops on the funky arrangement of “To Sir With Love” and offers a spirited take on Lou Rawls’ “Love Is a Hurtin’ Thing.” These interpretations have the sly ingenuity characteristic of Smith’s cover-stuffed Soul Flowers album, which he cut just four months before this session with the same supporting cast. Dirty Grape is now available in its entirety on Prestige’s set of Soul Flowers, which puts both LPs onto one disc.
By Richie Unterberger (AMG)

By Pier

Johnny Lytle ”I Giganti Del Jazz # 93”

Johnny Lytle

I Giganti Del Jazz # 93
( LP Curcio Editore, Italy, prob. 1970 )
Catalog # GJ-93

Tracklisting:
a. Memphis To K.C.
b. Mine
c. Walk A Soul Mile (Johnny Lytle)
d. Bag A Bones
e. Babo
f. One For Carter
g. Big Wheel
h. Save Your Love For Me

Personnel:
Albert Dailey (key)
Chester Thompson (d)
Johnny Lytle (vib)
with others unknown.

Notes:
Issues: a-h on Sarpe (Sp) 93 titled LOS GRANDES DEL JAZZ and Curcio (It) 93 titled I GIGANTI DEL JAZZ.
Samplers: a also on Delta Music 24775 titled BLUES AFTER HOURS. c also on LaserLight 17 160 [CD] titled BIRTH OF THE COOL FUNK: VINTAGE JAMS AND SERIOUS GROOVES VOLUME 2, LaserLight 55 607 [3-CD] titled BIRTH OF THE COOL FUNK: VINTAGE JAMS AND SERIOUS GROOVES. e also on Soundsational (It) 2 titled THE BASIC PRINCIPLES OF SOUND: MUSIC FOR THE MODERN LISTENER VOLUME 2 and Drive (It) 634 [CD] titled JAZZIN’ OUT OF THE COOL 6.

Johnny Lytle Biography:
Considered one of the top vibes players in the world, Johnny Lytle was known for his great hand speed and showmanship. He was also a songwriter and wrote many of his own hits, including “The Loop,” “The Man,” “Lela,” “Selim,” and the jazz classic “The Village Caller.” Lytle recorded more than 30 albums for various jazz labels including Tuba, Jazzland, Solid State and Muse. Throughout his career he performed and recorded with jazz greats the likes of Louis Armstrong, Lionel Hampton, Miles Davis, Nancy Wilson, Bobby Timmons and Roy Ayers. The devoted father of three also featured his son, Marcel Lytle, on several of his recordings as a vocalist and drummer. Lytle was such an admirer of the music of the late, great Miles Davis that he wrote “Selim” (Miles spelled backwards) in honor of Davis, which features Davis’ former pianist Wynton Kelly.
Lytle never recorded with any of the major record labels, and that could be why he never gained the status of a jazz icon like some of his peers. Lytle felt that he would lose control of his music and creative development; Lytle liked to play what came natural to him, and being with a major label might not have afforded him that opportunity. Johnny Lytle grew up in a family of music, the son of a trumpeter father and an organist mother. He began playing the drums and piano at an early age. Before studying music in earnest, Lytle lent his hands to boxing, and was a successful Golden Gloves champion. During the late ’50s, Lytle landed jobs as a drummer for Ray Charles and others, and he also continued to box. But by 1960, the energetic Lytle had laid down his gloves and, inspired by the great Lionel Hampton, picked up the mallets, turning his full attention towards the vibraphone. He started a jazz band and began recording for the famed jazz label Riverside Records under the direction of Grammy award-winning producer Orrin Keepnews.
Lytle found success early in his career with chart-topping albums like A Groove, The Loop, and Moonchild. From his swinging uptempo tracks to his soul-satisfying ballads, Lytle knew how to keep a groove. And with a nickname like “Fast Hands,” he could always keep the attention of an audience. In addition to his musicianship, his gregarious personality made him a popular attraction on the jazz circuit. Even though Lytle did not experience the same success he was privileged to during the ’60s, he did continue to record and build a respectable catalog of music with recordings in the ’70s,’80s and ’90s.
Lytle remained a popular concert attraction in the U.S. and Europe; his last performance was with the Springfield (Ohio) Symphony Orchestra in his hometown in November 1995. At the time of his death, Lytle was scheduled to begin recording a new record on the Muse label.
By Craig Lytle (AMG)

More info on ”I Giganti Del Jazz” here.

Courtesy of Bill

Candido ”Thousand Finger Man”

Candido

Thousand Finger Man
( LP Solid State Records, 1969 )
Also on Blue Note Records
Catalog # SS-5226642

Tracklisting:
Jump Back
Come On Choo-Choo Train
Soul Limbo
Tony’s Theme (from the film Lady In Cement)
Hallelujah! I’m Comin’ Home
Thousand Finger Man

Personnel:
Candido Camero- congas, bongos on “Hallelujah! I’m Comin’ Home,” add bongos on “Thousand Finger Man;”
Pat Russo, Jimmy Sedlar- trumpet;
Alan Raph- trombone, bass trombone on “Thousand Finger Man;”
Joe Grimm- tenor saxophone, baritone saxophone on “Jump Back,” soprano saxophone on “Thousand Finger Man,” add soprano saxophone on “Hallelujah! I’m Comin’ Home,” add piccolo on “Tony’s Theme;”
Frank Anderson- organ, piano on “Hallelujah! I’m Comin’ Home;”
David Spinozza- guitar;
Gerry Jemmott, Chuck Rainey- electric bass;
Herbie Lovelle- drums.


Review by Patrick Jones ~~
Born in the El Cerro barrio of Cuba in 1921, Candido Camero began his musical career playing popular eastern Cuban “Son” (the foundation of what we now call “Salsa”) music on bass, guitar and mandolin at an early age. In this initial period, Candido worked with legendary percussionists Luciano “Chano” Pozo and a young Romon “Mongo” Santamaria. Later, Candido switched his attention to the bongo and conga and developed a trailblazing technique that added a new rhythmic dimension to the instruments. In essence, Candido would keep a steady rhythm with one hand while improvising with the other. He is also credited with playing two, and sometimes three, congas simultaneously for the first time. Both of these innovations quickly earned Candido the attention of other great jazz, latin and R&B players. As a result, from his arrival in the United States in 1946 through the present, Candido has recorded on over 100 albums with such legends as Charlie Parker, Dizzy Gillespie, Billy Taylor, Erroll Garner, Stan Kenton, Duke Ellington Charles Mingus, Machito, Ray Charles, Tito Puente, and many others. Candido’s music blends traditional Cuban rhythms with various American musical styles.
On the Candido’s 1970 release, Thousand Finger Man, we find the famed percussionist mining popular dance music for an exuberently energetic album of funky soul-grooves. The sound is big and bawdy and the obvious point is to get people on their feet to shake a tail feather. On this level, the record is a tremendous success and should be of value to current DJs ever in pursuit of a new groove as well as rare groove, retro-connoisseurs. While Joe Cain’s arrangements, particularly on horns, are occasionally cheesy (in a similar way to Herbie Hancock’s Warner Brothers releases from the same era), conjuring images of late-’60s, early-’70s television shows or action films, Candido’s improvisation will leave even the stiffest jaws on the floor. On “Tony’s Theme,” “Soul Limbo,” Come On Choo-Choo Train,” and “Jump Back” he employs three congo drums at once with blistering skill. The title track includes a propulsive mix of bongos and congas and the gospel-influenced “Hallelujah! I’m Coming Home” features Candido on bongos for a clearer, yet no less frenetic, sound. This is not an album to think too hard about. It is an album to put on when you are feeling up, dancy or like having a party. Viva Candido! Play on!
More info here & here.

Pier's Note:
Nel 1986-'87 eravamo usi ad andare alla fonte, per cui in quel di Bologna andavamo alla Giucar Records, che altro non era che i magazzini del mitico Nannucci.
Rompevamo le scatole agli agenti, tutti amici e compagnoni, ma che dischi che abbiamo trovato là! Un giorno mi telefona il Trev (Trevisi): ''Pier, ho trovato un disco del 1970 mai visto con Candido, quello di ''Jingo'' che suona i bongos in copertina! Tremendo!".
Mi misi subito a caccia. E lo ''beccai'' nel 1989 a Londra, da Time Warp Records, ad un prezzo abbastanza buono (ma in Sterline...).
Poi lo vendetti poco prima di emigrare in terre tropicali, nel 1994, non mi ricordo bene a chi.
È fantastico, uno dei più begli LP che ho mai posseduto. Grazie a Celo (che ce l'ha) per le copertine e le labels.
Buon ascolto!

By Pier

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