Just in time to close out the year, here is Episode 15 of the ongoing saga of freeform flabbergasting podcasts. It also happens to be the third anniversary of when I first started sharing these things. Hope you enjoy it!
Here are some direct download links (note: you only need one)
The Soulful Strings – Sleigh Ride Lou Donaldson – Green Eyes Arthur Lee & Love – Be Thankfulf For What You Got
Mario Cavagnaro and Sonoro Sensación – El Pompo Reginaldo Rossi – Pra Sentir Felicidade Pinduca – Não Posso Mais Martinho da Vila – Camefeu Mongo and Justo – Cumbia Tipica Ed Watson – Judgement Day
Evidence – That World’s Life Voyage – Orient Express Faze-O – Space People Lynn Collins & The JBs – Mama Feelgood Beaver and Krauss – Saga of the Blue Beaver Earth Wind and Fire – Fair But So Uncool Gal Costa – Relance Los Van Van – La Habana Joven Dicró – Espírito Mau Linda Lyndell – What A Man Billy Paul – War of the Gods Andey Bey – Hibiscus Ira SUllivan – Norwegian Wood
A1 O Rico e o Pobre (public domain, adapted by Pinduca) 2:53
A2 O Ricardão (Pinduca) 2:46
A3 Fuma Porque Pode (Pinduca – Maria Gonçalves) 2:24
A4 Festa de Umbanda (Pinda – Deuza) 2:35
A5 Marcha do Top Less (Pinduca – O. Roosevelth) 2:55
A6 Curichão da Saudade (Pinduca) 2:44
B1 Sentando a Puã (Pinduca – Maria Izabel Pureza) 2:24
B2 Terra Boa É o Pará (Pinduca) 2:20
B3 Vou Dar Risada (Pinduca – Deuza) 2:55
B4 Joaninha, Meu Bem (Pinduca – João Antonio de Oliveira) 2:58
B5 Chorando À Beira Mar (Pinduca) 2:32
B6 Doce Menina (Pinduca) 2:31
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 96khz; Click Repair light settings; individual clicks and pops taken out with Adobe Audition 3.0 – resampled (and dithered for 16-bit) using iZotope RX Advanced. Tags done with Foobar 2000 and Tag&Rename.
Episode 9, in which we discover that Pinduca was a police sergeant and also harbored a secret desire to be a male stripper. Songs about how you can never trust a women. Songs about women who smoke, about umbanda parties, topless bars, and Tarzan – all this and more in the ninth installment of No Embalo do…..
Aw Christ who am I kidding, I don’t have anything to say about this record. This is the very definition of “phoning it in.” I’ve had a really crap week, or as I would be able to appropriately say if things had turned out better for me, “this week has been total shite.” Although if things had turned out better then I wouldn’t need to say my week was shit, rendering these last few sentences irrelevant. Not redundant, because nothing has been repeated, but possibly I have become redundant in the British sense, in that I might be imminently replaceable. If fact I encourage readers to write their own description of this album in the style of Flabbergasted Vibes. Please post your writing sample in the comments section, along with a CV, three professional references, and a statement of your goals and theoretical contribution to the discipline. Eligible candidates for the position will demonstrate a clear commitment to uncompensated writing and chronic anxiety about your future.
Trumpet, flugelhorn – Randy Brecker (tracks: 1,3,6)
Vibraphone – David Friedman (tracks: 2,5,6,7)
Producer – George Butler
Recorded By – Rudy Van Gelder
Critics have often blasted Blue Note Records’ output during the 1970s, and not without reason, for inconsistency and an overeager desire to flirt with a more commercial sound than during their classic 50s and 60s heyday. Horace Silver’s own wonderfully “far out,” genre-bending, and delightful three-part series of LPs from 1970-72, subtitled “The United States of Mind” , was probably a case in point for purist curmudgeons. Although he was certainly no stranger to commercial success or soul-jazz crossovers (he did write the song “Doodlin'”, after all), the sprawling eclecticism of the three “phases” of the US of M project must have had some Blue Note fans worried that they’d lost old Horace for good. So I can’t help hearing 1972’s “In Pursuit of the 27th Man” as a kind of deliberate return to form. That’s not to imply that it was a reaction to critics: perhaps Silver just felt like it was time to make a good solid hard bop album again after his recent experimentation.
And that’s what he did here, while retaining a lot of the same players from those other records. The Latin jazz opener, Liberated Brother (written by Weldon Irvine), is of the same high caliber as anything on his Cape Verdean Blues from 1966. Recorded during two sessions with slightly different lineups, half the tracks feature the Brecker Brothers on brass and the other half showcase David Friedman on vibes, which is a first for Silver’s bands. On the titular track, we get both at the same time. The interplay between Silver’s piano and the vibes on this song is marvelous, fabulous, and stupendous. The album also features one tune (Kathy) by the great Moacir Santos, then living in the US and who – as Silver mentions in the notes – was just about to make his first Blue Note LP.
This is a very worthwhile offering in the vast discography of one of my favorite jazz pianists and composers, so do give it a listen.
The ambiance of the record as a whole is an adept mixture of taxi fumes and sunlight, as captured by the breezy “Summer in Central Park.”
Hey let’s take a look at Silver’s charming liner notes now. They include lyrics to one track that are, in fact, not present anywhere on the actual recording. So read them and memorize them to recite along at the proper moment.
Note: the remastering engineer is not named in the credits, as it oddly the case for many of these TOCJ Blue Note CDs from Japan, but like all the others I have heard, this sounds stellar.