Grant Green – Live at Club Mozambique (1971)

Only Idris Muhammad and Ronnie Foster are held over from the famous line-up “Alive!” record from the previous year, but this one is featuring Supreme Court Justice Clarence Thomas on sax, so how can you go wrong?! The absence of vibes and percussion means the band sheds a little texture, but the resulting lean sound is its own reward.Log, cue, m3u, artwork, and ham sandwich included!

 

Release Date Jul 18, 2006
Studio/Live Studio
Mono/Stereo Stereo
Producer Francis WolffAlign Center
Engineer Ed Greene
Personnel Ronnie Foster – organ
Grant Green – guitar
Idris Muhammad – drums
Houston Person – tenor saxophone
Clarence Thomas – sopranino saxophone, tenor saxophonePersonnel: Grant Green (guitar); Clarence Thomas (sopranino saxophone, tenor saxophone); Houston Person (tenor saxophone); Ronnie Foster (organ); Idris Muhammad (drums).Mojo (Publisher) (p.127) – 4 stars out of 5 — “Guitarist and band deliver a bonanza of funk-fuelled jazz grooves.”—————————————————————————-
By Norman Weinstein at allaboutjazz dot comThis is some apotheosis of both jazz-funk and Grant Green, just when you thought Blue Note was practicing overexposure by adding yet another Green disk to last year’s three discs worth of funky compilations. But this live session, which spent 35 years in the vault, transcends all previous Grant Green funk sessions by a mile.

A lot of the credit has to go to the pluperfect chemistry of the band. Green may have been Blue Note’s most erratic artist of the ’60s and ’70s, but the key to his best work involved matching him with a drummer who kept him steady and on-task. Art Blakey did this for the bop-flavored Green, and Idris Muhammad did it during his funk period. Muhammad enlivened a lot of other Green sessions, though, so part of the magic of this gem needs to be explained by the fiery tenor saxophonist Houston Person and the totally obscure but piercing soprano saxophonist Clarence Thomas, perhaps woodshedding to get through law school (just kidding).

The eight tunes are nothing special, often one or two-chord pieces that the band dances around with uncanny creativity. “Walk On By” seems an odd tune in this context, but maybe the lyrics touched some sappy sentimentality in Green’s heart. No matter. The musicians ruthlessly rip into it until they sound like a house band at a fundraiser for the ’71 Oakland, California Black Panthers. The crowd, however, sounds comatose, which is perhaps a plus, since a rowdy, drunk audience might have interfered with hearing the tasty licks.

The title of the final track sums up Grant Green’s career as well as this generously programmed 76-minute funk fest: “I Am Somebody.” I think it took Green a lot of years to figure out the somebody he was. This recording is evidence that at the end of his life, he did find his truest musical identity. He was a fierce funk improviser, and no studio session caught the fire—but this live session does.
—————————————————-
From Dusty Groove

A rare funky treasure — lost live material from Grant Green’s hippest years at Blue Note — presented here for the first time ever ! The set’s an incredibly smoking one — with loads of long tracks that really stretch out in a hard-hitting, bottom-heavy funky mode — no surprise, considering that Idris Muhammad’s on drums, as part of a lineup that also includes Ronnie Foster, Houston Person, and Clarence Thomas! The groove here is a bit more Prestige jazz funk than Blue Note — the kind of rough-edged and spontaneous vibe that Rusty Bryant, Leon Spencer, and others cooked up during the early 70s on some of their best classics for that label — but Green’s a perfect person to catch the spirit of that wildfire, and jams long and nicely here on 8 tracks that include “Farid”, “Jan Jan”, “One More Chance”, “Patches”, “I Am Somebody”, “More Today Than Yesterday”, “Bottom Of The Barrel”, and “Walk On By”.
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flac button

password: vibes

For much more by Grant Green, see the stellar and truly flabbergasting labor of love that is the Blaxploitation Jive website for a Grant Green discography here

Pharoah Sanders – Live at the East (2007) 320kbs

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Pharoah Sanders – Live At The East

01 – Healing Song
02 – Memories Of J.W. Coltrane
03 – Lumkili

Pharoah Sanders – tenor sax
Harold Vic – tenor sax, voices
Marvin Peterson – trumpet
Carlos Garnett – flute, voices
Joseph Bonner – piano, harmonium
Stanley Clarke – bass
Cecil McBee – bass
Norman Connors – drums
Lawrence Killian – conga drums, bailophone
Billy Hart – drums

Recorded: 1971 Live at ‘The East’, NYC

Taken from the Japanese CD: UCCI-9133

I woke up in another hemisphere
And you were gone.
I had no address,
No telephone
No family
No identity.
I spent the mornings sleeping in and the afternoons
Walking broken sidewalks in the unbelievable heat and light
Reacquainting myself with exile
Circumspectly watching the tourists, trying not to feel like one
Stranger
Climb the hills of the old city, a never-ending conversation in my skull
Like when I would hike in the mountains alone
Except, here, I was surrounded by thousands of people
Strangers
I woke up in a another month
And you still weren´t there
But there was a telephone now
And almost a place to live, to call home, though it was getting hard to find.
I was surrounded by beautiful music, beautiful bodies
Dancing beautifully and naturally as this language I can barely speak
My ears vibrate with a quiet joy but bittersweet
As I walk down the broken sidewalks to my temporary bed
To riotous American Soul Music inside my head, reminding me of
The only dance partner who really meant much
A trumpet riffing ‘Camp Town Races’ makes me grin in the new moon’s half-light
I knew at that moment that I was in need of a Healing Song
And I did not, not yet, know just how deep that need can ache.

Eccentric Soul – Soul Messages From Dimona (2008) [VBR]


Dimona, Israel. Between 1975-1981, a group of American ex-pats took their native sounds of Detroit and Chicago and intermingled them with the messages of the Black Hebrew culture. The results are a heavenly mix of spiritual soul and jazz with an undercurrent of gospel psychedelia. Featuring the Soul Messengers, the Spirit Of Israel, Sons Of The Kingdom, and the Tonistics, Soul Messages From Dimona is the only living document of a thriving community at both the center and fringe of the world.

“Our success educationally, industrially and politically is based upon the protection of a nation founded by ourselves. And the nation can be nowhere else but in Africa.” ~ Marcus Garvey

Or maybe Israel?

While Marcus Garvey voiced a Black Nationalist movement in the 1920s, his words carried on for decades, inspiring various communities like the Nation of Islam and the Rastafari, who even view him as a prophet. The Black Hebrew Israelites were equally influenced by Garvey’s doctrine of purity and redemption, but in place of Liberia, their holy destination was Israel. In 1966, Ben Ammi Carter accumulated hundreds of followers from Chicago and Detroit suburbs, preaching their linkage to Judah and the Ten Lost Tribes. Among Carter’s followers were some supremely skilled musicians, including Charles Blackwell and Thomas Whitfield who would later help form the Soul Messengers. The road from Chicago to Dimona is a long one, and to reveal the journey would take too much time and ruin part of the fun of unearthing the story yourself. It’s enough to say that the tumultuous voyage eventually ended in the desert city, just west of the Dead Sea. As Numero Group describes it, this record is yet “…another stop on the soul diaspora tour.” But it might be more accurate to call this an otherworldly musical revelation. The dance floor-filling bass lines, spiritual grooves, and Jackson 5 family chants combine for a sonic journey that’s as adventurous and fascinating as Carter’s pilgrimage itself.

Soul Messages From Dimona stands out as one of the most conceptually cohesive compilations in the Numero Group catalogue. Certainly this can be attributed to the esoteric nature of the recordings. Then again it wouldn’t be Numero Group if it wasn’t esoteric. But it’s also displayed in other ways. The 16 songs on the album are divided among only four bands with the bulk of the selections coming from the Chicago-based Soul Messengers. There are no brief, minute-long outtakes or rehearsals that often fill up Eccentric Soul track lists. Instead, the tracks are fully fleshed-out with lyrical content that oscillates between general messages of salvation and deliverance, to more specific references to Judaic principles and history.

Anyone familiar with the label’s output will recognize the thick slices of funk, cool jazz, and soulful harmonies that make up Soul Messages. But this, more than any other album, seems to encompass all of the flavors and genres of Numero Group’s far-reaching discography. The Spirit of Israel provides a slightly psychedelic rendition of the spiritual “Daniel” that’s full of background gospel response. “Hey There,” by the Sons of the Kingdom, unwinds with an especially “soft jazz” horn refrain before it picks up cadence and develops into a full-bodied mesh of layered harmonies. The Sons’ second track on the compilation is a rather clunky, paranoia-filled future jam. The band pleads and wails that modernization will lead to some kind of apocalypse.

One of the most interesting features here is recognizing the different styles adopted by these artists. For instance, the Tonistics’ first entry “Holding On” is righteously funky and chock full of teenage spunk. But on “Dimona (Spiritual Capital of the World)” the boys sound more collective and free to linger on harmonies. And certainly this penchant for mixing it up is apparent on the hefty contributions from the Soul Messengers. They switch from freak-soul instrumentals to Hebrew croons to straight jazz. With all of these bands, the unexpected twists in sound are almost always a positive.

There is a noticeable innocence in the words of the Spirit of Israel’s second contribution. “A Place to Be” begins with a flock of female singers chanting, “It’s a place that’s free and easy / It’s a world of love and peace.” The tone is joyous and carefree, and of course, painfully ironic in light of the Middle East’s sociopolitical climate over the past decades. Then the lead singer enters with equally optimistic aspirations: “I just want to live in Israel. Live a life of purity. Away from the wild and wicked world, teach my children how to be free.” The song is gorgeously simple with only a light guitar strum providing the background instrumentation. But the way it speaks to the hopefulness and values of the Black Hebrew Israelites is no small measure.

At the time of this music’s production, Carter and his Black Hebrew followers were charging toward Israel without reservations. It was the revered holy land, free of the racial struggles and oppression that had afflicted the black American community for so long. The image of Dimona today, as a battered textile industry and placement ground for those Jews that Israel doesn’t quite know what to do with, well, that image doesn’t matter. Soul Messages is an incredible historical document. It’s an exploration of a very specific musical niche that, like all great albums, sounds utterly familiar, as if we’ve been listening to it for years and years.

1. Burn Devil Burn
2. Our Lord and Savior
3. Holding On
4. Daniel
5. Hey There
6. Go to Proclaim
7. Equilibrium
8. Prince of Zeal
9. Modernization
10. Heaven of Heroes
11. Victory
12. Dimona (Spiritual Capital of the World)
13. Junky Baby
14. Place to Be
15. Messiah
16. Savior in the East

Hey pal! I´ve been elsewhere lately and haven´t kept track at all. But suddenly I got a feeling of emptiness and was looking for you elsewhere. And now here… Doesn´t like your message at all. Whatever your situation is like I hope to see you around soon again. Take care and best wishes from one of your friends in cyberspace.
/k.
When you´re in the mood please check out this album. It´s really groovy!

Download
Updated link (sorry)

Siah and Yeshua Dapo ED – Visualize (1996) 320 kbs

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Siah and Yeshua Dapo ED (1996) 320kbs
Label: Fondle ‘Em
Catalog#: FE005

Tracklisting:
Fur Side

A1 The Visualz (3:44) Recorded By – Troy Davis
A2 Gravity (4:05)
A3 Glass Bottom Boat (2:32) Mixed By, Recorded By – Mark Morris [Featuring] – Ken Boogaloo
A4 No Soles’ Dopest Opus (4:55)

Side Beaz

B1 The Mystery (3:42) Mixed By, Recorded By – Mark Morris ([Featuring] – Ken Boogaloo
B2 A Day Like Any Other (11:00)

Credits: Mixed By, Recorded By – Hoover Le (tracks: A2, A4, B2) Producer – Jon Adler , Siah , Yeshua dapoED* Scratches – DJ Bless

VINYL RIP – Technical Specs: 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 24/96khzDeclicked on very light settings with Click Repair -> DC Offset and track splitting in Adobe Audition 2.0 Dithering to 16-bit using iXotope Mbit
Converted to FLAC and mp3 with DbPoweramp . *** Note to those who really care about this: There is a chance that dithering was accidentally done with the Audition native algorithim rather than iZotope. I will try to reup some files I can be more certain about some time soon.

Description courtesy of Clint Striker:

This is a special one. A highly sought after record among hip-hop vinyl collectors, Siah and Yeshua DapoED’s EP Visualize was the fifth release on Bobbito Garcia’s Fondle’ em records, arguably the greatest record put out by the most progressive independent hip-hop label of the mid-90’s. Fondle’ em, founded in 1995, was at the heart of the independent hip-hop movement in New York City, putting out records by the like of The Arsonists, The Cennubites, Cage, and MF DOOM and conceived of as an extension of the famed Stretch Armstrong and Bobbito Show on WKCR 89.9 FM. This is cutting edge hip-hop at its best, documenting a short-lived and long-gone period of unbridled creativity. You only need to listen to the last cut on the B-side, the legendary 11 minute A Day Like No Other, with its ever-changing beat, to get a sense of what this is about. The most celebrated records of the period, J-Live’s Braggin’ Writes (Raw Shack), Shades of Brooklyn’s Change (Tape Kingz) or The Arsonists’ The Session (Fondle ‘em) are all one song wonders, Siah and Yeshua’s EP gets you six of them on one piece of wax. I missed it when it first went out and later paid 60$ dollars for a (then) mint copy. It was recently reissued on CD (Traffic Entertainment), but here you get it, dirty as it should be. The MC’s later output, like Yeshua’s Head Bop (Raw Shack) or Siah’s Repetition (Fondle’ em) are strong records worth checking out but they failed to match the creativity seen on the EP. This is a piece of history and might very well be the best record you’ve never heard of…

For more info check the Fondle’em page (still on the web): http://www.sandboxautomatic.com/fondle/

Freddie Hubbard – Keep Your Soul Together (1973) 320kbs

Track List:
Brigitte
Keep Your Soul Together
Spirits of Trane
Destiny’s Children

Trumpeter Freddie Hubbard’s CTI recordings have long been underrated and a bit
downgraded by writers who get them confused with his much commercial output for
Columbia. For this LP (not yet reissued on CD) Hubbard is heard in fine form on
four of his originals (highlighted by “Spirits of Trane”) with a septet that
includes tenor-saxophonist Junior Cook, keyboardist George Cables, guitarist
Aurell Ray, either Kent Brinkley or Ron Carter on bass, drummer Ralph Penland
and Juno Lewis on percussion. The music is sometimes funky but definitely
creative jazz with Hubbard heard during his prime period.
– Scott Yanow, All
Music Guide

VINYL RIP – Technical SpecsMusic 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 24/96khzDeclicked on very light settings with Click Repair -> DC Offset and track splitting in Adobe Audition 2.0 Dithering to 16-bit using iXotope Mbit
Converted to FLAC and mp3 with DbPoweramp

Bobby Hutcherson & Harold Land – San Francisco (1970) 320kbs

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01 – Goin’ down south (7:05) (Sample)
02 – Prints Tie (7:24) (Hutcherson)
03 – Jazz (5:18) (Sample)
04 – Ummh (7:42) (Hutcherson)
05 – Procession (5:40) (Hutcherson)
06 – A Night In Barcelona (7:20) (Land)

LINK HERE!

Bobby Hutcherson – Vibes, Marimba, Percussion
Harold Land – Tenor Sax, Flute, Oboe
Joe Sample – Acoustic & Electric Pianos
John Williams – Acoustic & Electric Basses
Mickey Roker – Drums

Produced by Duke Pearson at UA Studios LA
Recording Date: July 15 1970

Review by Steve Huey

Bobby Hutcherson’s late-’60s partnership with tenor saxophonist Harold Land had always produced soulful results, but not until San Francisco did that translate into a literal flirtation with funk and rock. After watching several advanced post-bop sessions gather dust in the vaults, Hutcherson decided to experiment with his sound a bit, but San Francisco still doesn’t wind up the commercial jazz-funk extravaganza that purists might fear. Instead, Hutcherson and Land stake out a warm and engaging middle ground between muscular funk and Coltrane-style modality; in other words, they have their cake and eat it too. Joined by pianist/keyboardist Joe Sample (also of the Jazz Crusaders), acoustic/electric bassist John Williams, and drummer Mickey Roker, Hutcherson and Land cook up a series of spacious, breezy grooves that sound unlike any other record in the vibist’s discography (even his more commercial fusion sessions). The selections — all group-member originals — often skirt the edges of fusion, but rarely play it as expected; they might float some spare tradeoffs over a loping, heavy bass groove, throw in an oboe solo by Land, or — as on the slowest piece — keep time only with intermittently spaced piano chords. It’s all done with enough imagination and harmonic sophistication to achieve the rare feat of holding appeal for traditional jazz and rare-groove fans alike. It’s a shame Hutcherson didn’t explore this direction more, because San Francisco is not only one of his best albums, but also one of his most appealing and accessible. [Note: The song descriptions in the liner notes often match up with different titles on the CD reissue, suggesting that the tracks may have been scrambled to a startling degree. If the liners are correct, the actual CD running order is “A Night in Barcelona,” “Goin’ Down South,” “Procession,” “Ummh,” “Jazz,” and “Prints Tie.”]