Airto – Fingers (1973) (CTI Records 6028)

Airto – Fingers
Vinyl rip in 24-bit/192 kHz | FLAC |  Art scans at 300 dpi
1.4GB (24/192) | 865 MB (24/96)
CTI Records 6028| Genre: Fusion, Latin Jazz, Jazz Rock

This post was intended to go up over the weekend as a commemoration to wrap up the Festas Juninas.  “Fingers” is really is a masterpiece from Airto Moreira, one of the progenitors of jazz fusion, with lots of help from future members of the Uruguayan group Opa and, of course, his wife Flora Purim. It is less “out” than his solo records up to this point but still retains enough traces of his wild urges toward surprise and experimentation to keep things interesting. The compositions, about half of which are contributed by Opa members, are accessible enough to instantly grab your attention but are always offering new nuances on repeated listens. How many edgy Latin-Jazz-Fusion albums actually contain EARWORMS in their grooves? This album has tunes you will be whistling to yourself for weeks afterward, in particular the track “Parana.” (more below) Continue reading

Larry Coryell – Coryell (1969) – Special Blog 10th Anniversary Post!

Larry Coryell – Coryell
1969 Vanguard Apostolic VSD 6547 | Vinyl rip in 24 bit 196 khz | Art at 600 and 300 dpi
Jazz-Rock / Jazz-Funk / Soul / Fusion / Psychedelic

I’ve been holding back on posting about this album until I could commemorate the 10th ANNIVERSARY of this blog.  It’s a very special record to me from the great guitarist Larry Coryell, who passed away in 2017.  It’s unique in that it captures him in a kind of transition between his time playing in the psychedelic rock group The Free Spirits and his future as an icon of jazz fusion, in the pre-Bitches Brew era when that genre was still fresh and nascent.  And it’s soul-shaking, mind-melting grooviness from start to finish.  I like to imagine that Hendrix heard this album and  decided to shelve the Experience on the spot and start up his Band of Gypsies.  Bernard “Pretty” Purdie on the drums and Chuck Rainey on bass are holding down a solid soul groove  here, which just elevates the vibe to transcendent levels. Continue reading

CTI All-Stars – CTI Jazz at the Hollywood Bowl: Live Two (1977)

CTI All-Stars – Live Two (Summer Jazz at the Hollywood Bowl)
Vinyl rip in 24 bit 192 khz | Photos and art scans at 300 dpi
1977 CTI Records – CTI 7077

01 Blues Force 7:01 (Stanley Turrentine)
02 Rock Steady 10:30 (Aretha Franklin)
03 Theme From Love Story / Pavane / Fire And Rain 14:01 (Francis Lai, G. Faure*, James Taylor)
04 People Make The World Go Round 6:05  (Linda Creed, Thomas Bell)

Credits

Bass – Ron Carter
Drums – Jack DeJohnette
Flute – Hubert Laws
Guitar – George Benson
Keyboards – Bob James, Deodato, Johnny Hammond
Percussion – Airto
Saxophone – Grover Washington, Jr., Hank Crawford, Joe Farrell, Stanley Turrentine
Trumpet – Freddie Hubbard
Vibraphone – Milt Jackson
Vocals – Esther Phillips

Engineer – David Palmer
Design [Album] – Sib Chalawick
MC – Leonard Feather, Rick Holmes
Photography By – K’Abe
Producer – Creed Taylor
Recorded By – Wally Heider

Matrix / Runout (Runout A): 87738A1
Matrix / Runout (Runout B): 87738B11

RIPPING INFO
CTI 7076 vinyl; Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge; Speedbox power supply); Creek Audio OBH-15; Audioquest King Cobra cables; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 192khz; clicks and pops removed with Click Repair on light settings, manually auditioning the output; further clicks removed with Adobe Audition 3.0; dithered and resampled using iZotope RX Advanced. Converted to FLAC in either Trader’s Little Helper or dBPoweramp. Tags done with Foobar 2000 and Tag and Rename.


The second volume of the contractual-obligation-trilogy, CTI Summer Jazz at the Hollywood Bowl, delivers the same kind of deal as the first, which you can read about in last week’s post.  I don’t have a tremendous amount to say about it.  “Blues Force” gives an opportunity for Milt Jackson to do his thing on the vibraphone.  In the last post I had said this volume would contain a version of the theme from The Thomas Crown Affair, “Windmills Of Your Mind” – well, I lied.  I got my Michel Legrand confused with my Francis Lai.  They both have similar, wistful melodies, so that’s my excuse.  Opening up the second side of the LP, it becomes a medley with some Renaissance jazz in “Pavane” and winds up with an almost-stirring “Fire and Rain.”  Freddie Hubbard again leads the group on the album’s closer with “People Make The World Go Round.”  Not to discourage anyone’s enthusiasm but I reiterate what I said in the first post – these live records are pleasant enough but I would mostly rather here a studio release from any of the many titans on this stage, they are just more compelling.  The third volume should be up this weekend, which features two  tracks (not one, as misspoken last week) featuring the great Esther Phillips on vocals, who gets credited on the first two LPs because it cost too much to customize the album credits on these.

Anybody who reads this blog and has some money to spare – please donate it to the relief efforts in Puerto Rico, that colonial property of the US who a certain asinine toddler just mocked instead of mobilizing support for humanitarian aid.  I’m not in the habit of endorsing specific charitable organizations, most have their pros and cons and it’s your choice.  Stay sane out there!


password: vibes

 

CTI All-Stars – CTI Jazz at the Hollywood Bowl: Live One (1977)

CTI All-Stars – Live One (Summer Jazz at the Hollywood Bowl)
Vinyl rip in 24 bit 192 khz | Photos and art scans at 300 dpi
1977 CTI Records – CTI 7076

01 Grits Bowl 8:09
Written-By – Hank Crawford

02 Inner City Blues / What’s Going On 8:46
Written-By – A. Cleveland, J. Nyxw, M. Gaye, R. Benson

03 California Dreaming 8:36
Written-By – J. Phillips, M. Gilliam

04 First Light 8:27
Written-By – Freddie Hubbard

Record Company – Creed Taylor, Inc.
Published By – Jobete Music Co., Inc.
Published By – Char-Liz Music, Inc.
Published By – Wingate Music Corp.
Published By – Hubtones Music
Mixed At – Electric Lady Studios
Recorded At – Hollywood Bowl

Credits

Bass – Ron Carter
Drums – Jack DeJohnette
Flute – Hubert Laws
Guitar – George Benson
Keyboards – Bob James, Deodato, Johnny Hammond
Percussion – Airto
Saxophone – Grover Washington, Jr., Hank Crawford, Joe Farrell, Stanley Turrentine
Trumpet – Freddie Hubbard
Vibraphone – Milt Jackson
Vocals – Esther Phillips

Engineer – David Palmer
Design [Album] – Sib Chalawick
MC – Leonard Feather, Rick Holmes
Photography By – K’Abe
Producer – Creed Taylor
Recorded By – Wally Heider

Matrix / Runout (Runout A): 87738A1
Matrix / Runout (Runout B): 87738B11

RIPPING INFO
CTI 7076 vinyl; Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge; Speedbox power supply); Creek Audio OBH-15; Audioquest King Cobra cables; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 192khz; clicks and pops removed with Click Repair on light settings, manually auditioning the output; further clicks removed with Adobe Audition 3.0; dithered and resampled using iZotope RX Advanced. Converted to FLAC in either Trader’s Little Helper or dBPoweramp. Tags done with Foobar 2000 and Tag and Rename.


I had intended to post this for the American Labor Day weekend, the unofficial end of summer in the country that doesn’t recognize May Day as the real labor holiday.  This and the other two volumes were nearly ready to go when I received crappy professional news that I took personally.  At this point, not posting on the blog when I get bad news is the equivalent of “my dog ate my homework”.  When some good news finally comes in I’ll probably have to shut the blog down completely, it will be such a disruption from the pattern of the last three years.

Of course immediately after that holiday weekend, I was propelled into full-on disaster preparedness mode for the impending apocalypse, as discussed in my last post, which failed to actually occur.  It did happen in the Caribbean, and now Mexico and Puerto Rico are being smitten by the hammer of the gods.  I also hear that THE RAPTURE is imminent, so there may still be a chance to see the end of the world before the month is out.  Meanwhile, why not groove to the proto-smooth-jazz of the CTI All-Stars while waiting for the four horseman of the Book of Revelations to crash through your bedroom wall like the map thieves in Time Bandits?   Obviously I’m not really “feelin'” this post right now but I had it prepared for you and, in the northern hemisphere, it is the official last day of summer so I might as well post part 1 of 3 of a summer jazz festival.

Calling the CTI All-Stars “proto-smooth-jazz” is slightly cruel but still not altogether wrong.  The MC who opens the show (either Leonard Feather or Rick Holmes, I can’t tell), opines, “If jazz is dead, this is the biggest funeral I’ve ever seen.”  Somehow this doesn’t inspire confidence in me at all.  After all, jazz has always had a lot of friends and relations, and I’d expect a big turnout at its interment.  Nevertheless, this concert was recorded in 1972 and so it is legitimately pretty funky and soulful jazz. A listener might hope – what with this being live on stage, and not a tightly controlled Creed Taylor studio production – that the musicians would let loose more, take more risks, really let it rip.  Instead this is still largely a polished diamond, all the rough edges shaved down to gleaming facets, and if that’s how you like your jazz then you will revel in this.  Although I’m tempted to think of the presence of Creed Taylor anywhere in the vicinity to be a bit like the unseen policeman in the tower in Jeremy Bentham’s Panopticon, compelling all the musicians to stay on their best behavior and discipline themselves, the truth is probably less cryptic.  This is an “All-Star” band comprised of around a dozen people who were all good bandleaders in their own right.  You get the feeling that everybody is being respectful and not wanting to step on anybody else’s toes by grandstanding too much.

I’m not sure what the story is in the five-year lag between the recording of this concert and its release on album.  The fact that it was done in three separate installments, and at the very end of CTI’s partnership with Motown Records, makes me inclined to think this was a contractual obligation thing.  I suppose three budget-priced LPs might sell a little easier than a deluxe triple disc set, but then again anybody still closely following CTI in the late 70s, when the label had pretty thoroughly run out of steam, probably would have bought it no matter how it was packaged.  As it stands, these three volumes seemed to get relegated to the cut-out bins pretty quickly and are pretty easy to find on the cheap.  All of mine were ‘new old stock’ so they made for a nice and easy vinyl transfer.

I’ve already described the music in general terms.  I could get specific but then I would have to complain about the silly police siren in the Marvin Gaye sandwich of Inner City Blues/What’s Going On.  Oh my, I guess I just did.  Listen to the incomparable Jack DeJohnette on his drum kit chaffing at the bit on this piece, trying to inject a little improvisational excitement into the careful, reverential arrangement, and you might see why I’m being kind of dour.  I still dig it, but it’s not a “you gotta hear this!” kind of cut like a roster of this much talent merits.  Still, this concert is an opportunity to hear some of the people whose careers took off in the 70’s while they were still young and hungry – Grover Washington, Jr,  and George Benson often don’t get their due credit, and that’s largely the fault of their own sleepy and predictable releases as time went on and they truly became the poster children of pre-Kenny G ‘pop jazz’.  Others, like Joe Farrell, had a bunch of consistently interesting records for CTI that I really do think are unfairly overlooked.

Benson takes the lead in a version of ‘California Dreaming’ that is more exciting than it probably deserves to be.  The closer on this set, Freddie Hubbard’s “First Light” is the most compelling thing here.  Which isn’t too surprising – Hubbard turned in some of my favorite CTI releases, which I think rank among the best LPs of his career, in particular Red Clay and Straight Life.  It’s solid and makes you want to hear the next LP of this set, but ultimately the version on his own album is still better.

All three of these records are gatefolds, featuring the same photograph of a (mostly but not entirely filled) Hollywood Bowl from behind the musicians.  The graphic designers and typesetters changed the track list, but the musician credits are generic – it is up to you the listener to discern who is taking a solo at any given time, or whether that’s Bob James or Deodato on the electric piano on this or that cut.  Hell, singer Esther Phillips is credited on all three LPs but only actually appears on the last one.  If any readers happen to have a break-down of who actually plays on which tracks of this sprawling triple live project, leave a comment and if the info is reliable I will add it to the body of this post.  Meanwhile, stay tuned for the next volume which features a moody rendition of Windmills Of Your Mind that is worth a listen.


password: vibes

 

—————–

Charles Earland – Odyssey (1976)

CHARLES EARLAND
ODYSSEY
Released 1976
Mercury SRM-1-1049

After the phenomenal double-LP ‘Leaving This Planet’, which featured Freddie Hubbard and Joe Henderson as rocket fuel, Earland continued in a similarly cosmic-jazz direction.  He made one more LP for Prestige, a live album of new material called Kharma, and then began a new phase at Mercury Records with this jazz-funk-latin-disco-rock fusion called Odyssey, which also became the name of his spaceship, I mean vehicle, for releasing this kind of thing for the next few years.  This album has never ever been issued on CD.  Meet you after the jump to continue the voyage.. Continue reading

Ceccarelli – Ceccarelli (1977)

 photo 01 - Front_zpsrm4vmijf.png
 
Ceccarelli
“Ceccarelli”
Released 1977 – Inner City (IC 1057)
 
Forget It    
I’m A Skunk    
Big City Bright    
Ded’s Circus    
Life Is Real Only Here (Part 1)    
Speed It Up    
What The…    
Where Is Here    
Life Is Only Real Here (Part 2)    
His Love    
Space Out



Vinyl; Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply); Creek Audio OBH-15; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 192khz; Click Repair; individual clicks and pops taken out with Adobe Audition 3.0 – dithered and resampled using iZotope RX Advanced (for 16-bit). Tags done with Foobar 2000 and Tag and Rename.

I saved this album from being thrown in the trash by a college radio station.  A bunch of us volunteer DJs had been tasked with sorting through thousands of LPs in a storage space over the course of several months and deciding what was worthy of putting into the main library and what would be discarded.  I came in at the end of the process, when the management told us we could just scavenge for things to keep before they began tossing stuff for good.  It was and still is a fantastic radio station, but  I discovered  a lot of the indie kids considered a lot of quality music to be unworthy.  And a lot that was pretty collectible too,  without much defacement to the album covers – Judy Sill white label promo, going to the trash?  Bridget St. John on Dandelion? One-off heavy psych rock bands like Alamo or Granicus?  Or Coleman Hawkins and Bud Powell records on Pablo, kind of boring past-their-prime recordings like everything on Pablo but still surely not destined for a landfill.   It was my moral obligation to save these from oblivion and take them home.  Including this album, a specimen that has potential to accomplish the rare feat of pleasing or at least sparking the interest of both the “rare groove” hunter and those into whimsical prog-rock bands fond of making up their own mythological universes.

During the Great Radio Purge of 2008, Most of the good jazz had been put back into the library.  Now granted the first stage of this ‘trim the fat’ operation worked on the honor system, presuming that someone stumbling across a Sun Ra album on Saturn Records was going to keep it at the station and not take it home… This may be why I absented myself from the first stage, wishing to avoid such ethical dilemmas.  Also, volunteering isn’t a very lucrative occupation , I was already doing two radio shows for them, and doing any more would impinge on innate laziness.  In any event, I was remotely aware of André Cecarelli’s name as a figure in European jazz and jazz fusion, but mostly I was attracted by the bright mandala oil painting gatefold cover because I like shiny things.  Opening it up, I found some guide notes that had been typed by the reviewing DJ and glued neatly to the inside jacket, which is a nice touch since usually they are handwritten on index cards fixed sloppily on the jacket with a glue stick, or just written directly on the album covers in ballpoint pen.  After appreciating the DJ-reviewer’s tidiness, I then noticed some of the additional musicians on the recording:  Janick Topp and Claude Engel (Magma), Didier Lockwood (Magma, Pierre Moerlan’s Gong), Ernesto ‘Tito’ Duarte (Barrabas), Alex Ligertwood (Brian Auger’s Oblivion Express, Santana).  I mean, c’mon, it had to be worth at least a listen, right?

 photo 02 - Gatefold_zpsin41apbp.jpg

The album may not be as far out as this list of heavy friends playing on it might lead you to believe, nor as good as it probably ought to be, but it has some intense moments.  I am less enamored of it than the DJ tasked with reviewing it in 1978, but then he or she also seemingly did not recognize any of the musicians who played on it and so perhaps had lower expectations than I did.  As the reviewer states, this is much less jazz (as might be expected from something on the Inner City label) and much more fusion or jazz-rock (they suggested calling it “big band fusion…”)  The reviewer makes a comparison to Mahavishnu Orchestra, which I don’t really hear:  this stuff takes itself far less serious than anything John McLaughlin has ever played on.  There is none of the sci-fi loonyness of Magma either, which may be a relief to many of you.  If anything this stuff puts me in mind of Jean Luc-Ponty and George Duke, or maybe just mid-70s Zappa when George Duke was playing on his records.  Bonus points for the use of steel drums on the track “Ded’s Circus.”

If I had to some this album up in one sentence it would be: “The kind of record that Howard Moon from The Mighty Boosh would get very excited about.”  In fact the gravely spoken word on the interlude “What the…” on side two sounds suspiciously like the Spirit Of The Blues character from that show.

As a bonus, I photographed the track-by-track notes from the anonymous late-70s college DJ before having a go at removing them.  Word to the wise, removing adhesive material that has been in place for over thirty-five years is not a guaranteed success (but I knew that before beginning).  The stickers weren’t really bothering anybody, but I knew they were there and it would bother me sometimes late at night and I would consider digging through a few thousand LPs to find this one and try to remove them at 4 a.m.  I opted to leave the reviewer’s overall impressions in place, however.  I mean it’s part of the history now, right?

16-bit 44.1 khz

 

24bit