Gato Barbieri – El Pampero (1971)

Jorge Ben needs a Jorge Break. And so I bring you…


Gato Barbieri
“El Pampero”
Released 1971 as Flyind Dutchman FD-10151

This reissues 2002 BMG France / RCA Victor Gold Series

1. El Pampero (Gato Barbieri)
2. Mi Buenos Aires Querido (Carlos Gardel – Alfredo Lepera)
3. Brasil (Aldo Cabral – Benedicto Lacerda)
4. El Arriero (Atahualpa Yupanqui)
5. El Gato (Oliver Nelson)

Tracks 1 through 4 recorded on June 18, 1971 at the Montreux Jazz Festival, Switzerland

Personnel: Lonnie Liston Smith, piano; Chuck Rainey, electric bass; Bernard Purdie, drums; Sonny Morgan, conga; Nana Vasconcelos, percussion, berimbau; Gato Barbieri, saxophone, vocal on track 4.

Track 5 recorded in May, 1972 at RCA Studios, NYC. Personnel includes:
Romeo Pengue, alto flute, English horn; Phil Bodner, flute, alto flute; Danny Bank, bass clarinet; Oliver Nelson, alto saxophone, conductor, arranger; Hank Jones, piano; David Spinozza, guitar; Ron Carter, bass; Bernard Purdie, drums; Airto Moreira, percussion.

Phenomenal live set from Gato Barbieri at the peak of his feline prowess and with an amazing ensemble that was essentially a pick-up gig for most of them. But not just any pick-up band, no siree! Bernand “Pretty” Purdie on skins along with Chuck Rainey on bass (playing the festival with Aretha Franklin and King Curtis) aren’t exactly some music-school hacks you pick up at the bus station on the way to the show. Lonnie Liston Smith and the one and only Nana Vasconcelos were the only regular band members on stage with Gato, and both give it everything they’ve got. In spite of being improvised by the seat-of-their-pants, the only time I notice the Purdie/Rainey rhythm section lag, if not quite falter, is in the beginning section of Brasil where Rainey comes in a measure behind Pretty Purdie’s triumphant drum entrance about three minutes in. Other than that, they sound like they had all been playing together for years. The ambient place-making of “Mi Buenos Aires Querido” is as evocative a piece as Gato ever played. But the highlight for me is “El Ariero”, a song by the very influential Argentinian composer and writer Atahualp Yupanqui. Gato had also recorded in the studio and released it on the album “Fenix” earlier in the year, where I think it has a little more *power* or some similar descriptor, particularly the vocal, but this version has a nice spontaneous intensity to it. The last track, written by frequent collaborator Oliver Nelson, is a bonus cut to this CD, having appeared on a Flying Dutchman compilation of the same name (El Gato) where it was the sole original, unreleased track. This reissue does us the favor of placing it here, and saving us from looking at the awful front cover design of Barbieri turning into a cat, werewolf-style. The lineup is a considerably augmented ensemble which now includes Ron Carter on bass and Airto Moreira on percussion in place of Nana. A beautiful tune, particularly the double flute arrangements.

Eumir Deodato / Neco – Samba Nova Concepção (1964)

Eumir Deodato
Samba Nova Concepção
Released 1964 on Equipe label (EQ-803)
Reissue 2007 on Atração Fonográfico (ATR41035)

The inner panel that contains some info specifically about this album is barely legible in the included scan, due to the way the digipak is constructed. I have therefore taken the liberty of reproducing it here, and translating it from Portuguese to English:

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///// An album originally released on vinyl by the Equipe label in 1964, “Samba Nova Concepção” counts among its participants some of the musicians that would be join together for the band “Os Catedráticos do Samba,” that accompanied Eumir Deodato on his subsequent albums like “Impulso” and “Ataque”. Amidst those who formed the group were drummer Wilson das Neves, saxophonist Alberto Gonçalves, bassist Luiz Marinho, and Daudeth de Azevedo, also known as Neco, guitarist responsible for the disc’s arrangements and the direction of the musicians during the recording. Eumir Deodato played piano on all 12 cuts.* (see note at bottom)

In the repertoire of the album we have themes from the record “Coisas” by master Moacir Santos, such as ‘Coisa no.1″ and “Nanã (Coisa no.5), songs from representatives of Bossa Nova like Roberto Menescal, Ronaldo Boscoli, and the brothers Valle (Marcos and Sérgio), alongside one song by Jorge Ben Jor, “Capoeira”, from his second album “Sacundin Ben Samba” released the same year of 1964.

Just like all the other five discs of the Brazilian maestro and pianist released in the Coleção Galeria (on the Atração label) ……. “Samba Nova Concepção” shows the early musical production by one of the Brazilian artists most highly-esteemed outside Brazil, with his roots in bossa nova, in samba, and in jazz.

**Note: as pointed out below in the info lifted from a wonderful online discography of Deodato I’ve come across, this album was not originally released under his name but rather that of Neco — guitarist, arranger, and conductor for the sessions. That the Atração label omits this fact in their liner notes is… interesting.
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SAMBA NOVA CONCEPÇÃO
Neco
Rio de Janeiro, Brazil: c. 1964
Clélio Ribeiro (tp); José Araújo (Zé Bodega) (ts); Jorge Ferreira Da Silva (Jorginho) (as,f); Emilio Baptista (as); Alberto Gonçalves (bs); Eumir Deodato (p); Daudeth de Azevedo (Neco) (g,arr,cond); Luiz Marinho (b); Wilson Das Neves (d); Jorge Arena (cga); Humberto Garin (guiro); Rubens Bassini (perc).

a. Samba No Congo (Jorge Ferreira da Silva) – 2:24
b. Adriana (Roberto Menescal/Luiz Fernando Freire) – 2:08
c. Estamos Aí (Durval Ferreira/Mauricio Einhorn) – 1:56
d. Carnaval Triste (Sergio Carvalho/Paulo Bruce) – 2:14
e. Nanã (Moacir Santos/Mario Telles) – 3:20
f. Straits Of McClellan (Don Elliott) – 3:13
g. Capoeira (Jorge Ben) – 2:23
h. Sonho De Maria (Marcos Valle/Paulo Sergio Valle) – 3:22
i. Samba A (Durval Ferreira/Mauricio Einhorn) – 2:53
j. Amor De Nada (Marcos Valle/Paulo Sergio Valle) – 2:22

same, except Euclides J. Conceição, Pedro Luiz de Assis (as); Adherbal Moreira (bs); Tenório Jr. (p).

k. Coisa No.1 (Moacir Santos/Clóvis Mello – 1:52
l. A Morte De Um Deus De Sal (Roberto Menescal/Ronaldo Bôscoli) – 3:08

Note: While the music on this album was originally released under Neco’s name (Equipe (Br) EQ-803), it has subsequently become credited in further issues and compilations to the music’s producer and pianist, Eumir Deodato (with kind thanks to Paulo Sá Pereira, musician and professor of MPB at Ribeirão Preto College – Sao Paulo, who alerted me to this fact).

Issues: a-l on Equipe (Br) EQ-803, Ubatuqui (Sp) UBCD-502 [CD], Ubatuqui (Sp) UBCD-102 [CD], Bomba (Jap) BOM-22083 [CD].
Samplers: a-j also on Irma (It) 508350-2 [CD] titled THE BOSSA NOVA SESSIONS VOL. 1. b also on Irma (It) 508814-2 [CD] titled A DAY IN RIMINI. h & j also on Irma (It) 507901-2 [CD] titled SUMMER SAMBA.
Producer: Eumir Deodato. Executive Producer: Ogide. (LP). Eumir Deodato & Arnaldo DeSouteiro (CD).
Engineer: Umberto Contardi
Notes: Myriam Conceição.

Note: As with all posts here over the last month or two, the ID TAGS included restored diacritical characters (ç, ã, é, and so on ) as well as songwriting credits on each individual track. You may need to configure your media player to see these while listening, but you can also simply right-click (on a Windows OS) and see songwriter credits under “properties”. Also note that if you decompress to WAV and archive (that means you, Simon..), as far as I know you completely lose these ID tags.

Eumir Deodato – Percepção (1972)


PERCEPÇÃO
Eumir Deodato
1972 London/Odeon
LLB-1080

1 Dia de verão
(Eumir Deodato)
2 A grande caçada
(Eumir Deodato)
3 O sonho de Judy
(Eumir Deodato)
4 Adeus amigo
(Eumir Deodato)
5 Bebê
(Hermeto Pascoal)
6 Neve
(Eumir Deodato)
7 Barcarole
(Eumir Deodato)
8 Serendipity
(Eumir Deodato)

All compositions by Eumir Deodato except “Bebê” by Hermeto Pascoal.


An interesting and beautiful album from Deodato, very different from his funkier work from the same period. It´s extremely short — only 24 minutes — but its a very engaging listen, even as it can make good ‘background’ music for chilling out with a good book (as I found out recently), which can’t be said of his very lively funk interpretations of pieces like ‘Also Sprach Zarathurstra’. It’s dominated by lush orchestrations, most of the pieces being rather slow and often melancholic, with a few upbeat numbers (“A grande caçada”, The Great Hunt, and “Bebê”, written by Hermeto Pascoal). This might be one of his lesser-known albums but I think it is some of his best work. Unfortunately the musicians are uncredited on the sessions.

Eumir Deodato – Percepção (1972) in 320 kbs em pe three

Eumir Deodato – Percepção (1972) in FLAC LOSSLESS AUDIO  

Mirror

Jimmy Smith – Black Smith (1974)


Jimmy Smith
Black Smith
Pride Records PD 6011Ripped from a new reissue on Pride Records (Atlantic) only played once prior to transfer

1. Hang ‘Em High
2. I’m Gonna Love You Just a Little Bit More
3. Joy
4. Ooh Poo Pah Doo
5. Why Can’t We Live Together
6. Groovin’
7. Pipeline
8. Wildflower
9. Something You Got

Producer – Jerry Peters , Michael Viner
Cover painting by Klaus Voormann

I doubt Jimmy Smith was aiming for irony but this record is basically tailor-made to piss off the jazz purists. I know that’s like shooting fish in a barrel but he really tries on this one. There aren’t too many jazz organists who can, with aplomb and grace, mix up Western soundtrack music (“Hang ‘Em Hang”, which sort of makes sense being that Clint Eastwood is such a jazz fan), Barry White (“I’m Gonna Love You Just A Little Bit More”), Johann Sebastian Bach (“Joy”), surf rock (“Pipeline,” previously recorded by The Chantays and The Ventures), and The Young Rascals (“Groovin'”). But more surprising is the indisputable fact that he can pull it off, with no small credit going to arrangers Jerry Peters and Michael Viner, the later of whom must have had a big hand in the repertoire selection. The one song that falls flat here is Jessie Hill’s “Ooh Poo Pah Doh,” although I am biased because its a song that I just don’t like. It might have done better here if Smith had not made a stab at singing it — Hell, if I don’t like it when Tina Turner sang it, I’m not going to dig Jimmy Smith giving it a turn. I am guessing that the first mix of this tune probably used an arrangement like some of the other tracks here that have a few female vocalists singing only some parts from the choruses and leaving the rest instrumental; ‘Ooh Poo Pah Doh’, for all its New Orleans glory, just doesn’t have that much going on in it musically and so I can imagine Smith and company being frustrated at the mixing desk and decided to record a take or two of lead vocals for the entire song. Bad move.

I suppose another reason for jazz snobs to hate on this album would be the use of uncredited session musicians.

This may not be the landmark that ‘Root Down’ was a few years before it, but this is still a cool album, long-cherished by crate diggers and beat seekers.
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REVIEW FROM DUSTY GROOVE:
A record that’s way way different than the sound of Jimmy Smith Blue Note work — and a much-loved set by fans of 70s funk! Jimmy’s organ is still very strongly out front of the arrangements — but it’s soaring over the top of grooves done by Jerry Peters and Michael “Incredible Bongo Band” Viner — tracks that have a harder, hipper style than most of Smith’s other recordings from the time — in a groove that often comes close to the best blacksploitation soundtracks of the time! The drums are plenty heavy on many numbers here — kicking in a hard and heavy bottom that gives the record a few key breaks — and other numbers even use a bit of chorus vocals, but in a way that never overwhelms the tracks, just supports them with a nice righteous edge. Titles include the classic break version of “I’m Gonna Love You Just A Little More Babe”, plus “Something You Got”, “Wildflower”, “Hang Em High”, “Groovin”, “Pipeline”, “Why Can’t We Live Together”, and “Joy”.

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VINYL RIP specs. Ripped in December 2008 on the old rig ->
Music Hall MMF.5 Turntable with Goldring 1012GX cartridge, Gyger II diamond stylus, and MK II XLR Ringmat –> Projekt Speedbox II -> Parasound Z Phono Preamp -> Marantz PMD 661 digital recorder at 24/96khz. Declicked on very light settings with Click Repair -> DC Offset and track splitting in Adobe Audition 2.0

Dithering to 16-bit in Isotope Rx (I think! Honestly don’t recall). Converted to FLAC and mp3 with DbPoweramp

 

Donald Byrd – Ethiopian Knights (1972) SBM CD Pressing

This is not a repost. I got hold of a the Super Bit-Mapped (SBM) Remaster of this album from the late 90s and figured I would share it here. Probably not great propaganda for my own vinyl rips, because I think this remaster probably sounds better than my nth-generation Blue Note repressing. But don’t judge me — I have some tasty vinyl treats coming up soon that really do sound lovely! You can see the original description for this album here

Donald Byrd – Ethiopian Knights (1972) SBM REMASTER in 320kbs

Donald Byrd – Ethiopian Knights (1972) SBM REMASTER in FLAC LOSSLESS AUDIO

Tomasz Stanko, Michal Urbaniak, Zbigniew Seifert – We’ll Remember Komeda (1972)


Tomasz Stanko Piano, Trumpet
Zbigniew Seifert Violin, Sax (Alto)
Michal Urbaniak Violin, Sax (Soprano), Sax (Tenor), Violectra
Roman Dylag Bass
Peter Giger Drums
Armen Halburian Percussion
Urszula Dudziak Percussion Vocals
Attila Zoller Guitar

This is a tribute album for the jazz pianist and composer Krzysztof Komeda, who died far too young at age 38. Six compositions of his are performed and arranged by musicians who had all worked with him, the most famous of which by far is trumpeter Tomasz Stanko. It may be a testament to the prolific legacy of Komeda’s work that an album this incredible can remain largely unknown. It is one of those records that is both beautiful and terrifying at the same time. Terror, incidentally, is not really an accident here, as two of the compositions draw from his film work with Roman Polanski (“A Knife in the Water,” and “Rosemary’s Baby.”) Everyone is firing on all cylinders on this session and they sound very tuned-in to each other, but the vocalizations of Urszula Dudziak are particularly noteworthy for having given me goosebumps every time. The music is also recorded especially well, which is never a bad thing. This share is for my dear friend MC Aardvark, who is a big aficionado of Komeda but was not familiar with this album. He’s turned me on to a lot of good music over the years and it is one of my biggest pleasures in life to be able to return the favor whenever possible.

 320kbs

in FLAC LOSSLESS AUDIO