The following came from another estate sale just a couple of weeks after the below, detailed primarily in the Funk / Soul journals (Mar):
Eddie Harris - Is It In. 1974 Atlantic (LP). I've run into this album a few times now between thrift shops and garage sales, but always took a pass. I thought it might be one of those silly funk albums ("Is it in?" hoho), and the resell value is pretty much nil. Ah what the heck - maybe it's a great jazz funk album after all. Ummm... no. But it's not what I thought either. In fact, it's kind of a weird album. Those opening electric sax notes from Harris reminded me of Tim Belbe's work with Xhol Caravan - maybe this is something? Unfortunately 'Funkaroma' lives up to its goofy name. In this album you'll hear jazz funk, straight jazz, experimental bits, and everything in between. And that can usually make for a great album in my world. But nothing really clicks here. There were no "let me hear that again" tracks. I've heard enough to keep exploring Harris, but I'm not holding onto this.
*Sergio Mendes & Brasil '66 - Crystal Illusions. 1969 A&M (Germany) (LP). The opener is inauspicious, and it reminded me of some of the duff tracks from Fool on the Hill. Things get on track with the Portuguese sung 'Viola'. After which, Crystal Illusions finds its groove, 'Song of No Regrets' reminds me of Burt Bacharach's 'Alfie' and is very solemn and moving. 'Salt Sea' is a stunner, the kind of song that turns me into a ball of mush. What a beautiful track. Not to be outdone, the closer of the side is 'Empty Faces', which adds some Bossa Nova to the same formula. Just breathtaking really. 'Pretty World' opens side 2 magnificently and is the kind of composition one would think only Bacharach, Hal David, and Dionne Warwick could have come up with. 'Dois Dias' is the other Portuguese track, and is oddly like 'Viola' in that it's not one of the highlights. 'You Stepped Out of a Dream' is way too saccharine, and one gets diabetes just listening to it. Then comes the closer, something entirely new for Mendes (I think). At close to 8 minutes, will it be prog? Haha, well no. It's the second half of the track that gets really interesting. There's an electric piano jam that recalls late-era Doors (a jam on a Mendes album? Who knew?), followed by some disorienting strings that is very psychedelic. Overall, a superb effort and a nice thick German copy too. This is my second favorite to date with only Brasil '65 topping it. Let's see if either get bettered.
---end of sale
The following all came from a great score of jazz funk LPs at an estate sale (Mar).
*Billy Cobham - Crosswinds. 1974 Atlantic (LP). Crosswinds is a strong jazz rock/fusion effort, at times recalling his work with Mahavishnu Orchestra. John Abercrombie is a force here, doing his best to rival McLaughlin. Fine horns from the Brecker Brothers and Garnett Brown on trombone. Mixes in some mellow moments to give the listener a breather. A tad generic for the style, but still on the plus side of the genre.
*Harold Alexander - Raw Root. 1974 Atlantic (LP). Of all the albums in the batch, this is the one that I was most curious about. An intriguing cover with the promise of a deep groove flute driven music. I have to admit I wasn't sold after Side 1. It starts off auspiciously enough with a funky bass on 'Down Home', and there's some fine moments on 'De Black Magician' and its postlude 'Lady Euphoria'. But the money side is the flip. 'Street Life' is freakout flute city and some fine guitar from Junior Hanson (yes, the same dude who released two Hendrix-y albums in the 70s on Manticore). This style continues throughout the side, pushing this one into ownership category.
*Joe Farrell - Canned Funk. 1975 CTI (LP). This album goes hand in hand with Upon This Rock. Everything from the album layout, song lengths, instrumentation, and musical focus. Side 1 is a bit off the pace, though once again guitarist Joe Beck is keeping it far above water. But Side 2 is the best of the "4 sides" if I can compare. 'Suite Martinique' is brilliant, moving towards progressive rock, given its relative complexity. Superb flute and sax from Farrell, and Beck is on fire here. Great rhythm section throughout. These Farrell albums are proving to be a revelation for me. As noted, comes in yet another fantastic thick gatefold cover, pointing to an earlier era of product.
*Joe Farrell - Upon This Rock. 1974 CTI (LP). Like with Donald Byrd and Joe Henderson, I don't know much about Farrell either. I was convinced to buy his Moon Germs album, which I dutifully picked up on CD many years ago. I did like it, but it wasn't revelatory, and since I could get good coin for the CD, I sold it. I probably need to revisit again now that my ears are more adjusted, and certainly would buy the LP in any case (and I did just that not much afterward). And even more so now since I've heard this follow-up album. Guitarist Joe Beck lights it up everywhere. I like everything he's on, so that should be another focus area for me. Opener 'Weathervane' can get pretty complex, and recalls Mahavishnu Orchestra at times. 'I Won't be Back' is also great with Beck's guitar and some fine flute playing from Farrell. The title track starts awesome with Beck seemingly ready to go into Manuel Gottsching mode, but unfortunately pulls back. I was hoping for a Gary Saracho moment here. My only "complaint" (ha!) is I'm not overly fond of Farrell's sax work here. He's not screechy or noisy, so that's good, but he does tend to "honk" which can be annoying, to my ears anyway. A small matter really, as this album is excellent overall. Like many CTI albums, this comes in a fine thick gatefold cover.
*Deodato 2. 1973 CTI (LP). Last year I picked up the promo 45 of 'Super Strut' at an estate sale, and was subsequently blown away. This has an even longer version of the cut. For all the rarities we constantly dig up, sometimes the best underground sounds can be found on a platinum seller. Guitarist John Tropea is absolutely on fire here. It's like the first Chicago Transit Authority and Isaac Hayes' Shaft, in that these mainstream albums have more freakouts per minute than is expected. I've enjoyed the more even popular Prelude for some years now, but Deodato 2 is actually better in my estimation. It's a misnomer by the way. Eumir Deodato's album output goes back to the mid 60s Bossa Nova scene while still living in Brazil. But most folks only know him for his association with a one Creed Taylor. My only wish is that Deodato would compose his own songs. 'Super Strut' is one. The other is the fantastic 'Skyscrapers' which also features Tropea going wild. Then we get the cover tunes. My problem with Deodato's covers is they are too familiar. He would be better served rearranging more obscure cuts. But no one can claim Deodato for not coming up with inventive arrangements. 'Nights in White Satin' also has a killer guitar mid-section that you would never have a chance to hear from the Moodies. Gershwin's 'Rhapsody in Blue' - which I always associate with United Airlines - is also much juiced up. The other track is a classical cover of a Ravel composition - is very stately - and somewhat out of place. Speaking of large ensembles, a cast of thousands played on this album. Comes in a nice gatefold. If you never thought to buy this - do so - it costs less than a hamburger, and I promise it will last longer...
*Donald Byrd - Stepping into Tomorrow. 1975 Blue Note (LP). And not surprisingly, this was next to Street Lady. As the first notes play, it's apparent the groove will remain the same. But it's even more slick, and adds female vocals to give it a more commercial feel. Gone is Roger Glenn and his flute, and his playing would have been perfect here. For this album, the best track IMO is towards the end, and that would be 'You are the World'. Overall not at the level of Street Lady, but a keeper all the same.
*Donald Byrd - Street Lady. 1973 Blue Note (LP). The first two tracks are about perfect for funky jazz. What a groove. Wonderful analog synthesizer, guitar, and of course Byrd's trumpet. Best of all is Roger Glenn's flute. He's killing it here. I love these large ensembles, and this one counts to 10. All six songs are great, but the first two and 'Witch Hunt' take the prize. Most of you guys probably know this one already, but new to me. Comes in a fine gatefold with a factory audiophile sleeve no less.
---end estate sale (Mar)
*Joe Henderson - Black is the Color. 1972 Milestone (LP). With the Lateef's (Jan). The opener 'Terra Firma' gets things going in a positive way with a deep funk track, and a killer groove. Very Miles Davis like, substituting the trumpet for Henderson's sax. Special mention goes to David Horowitz's synthesizer, which interestingly recalls the Love Cry Want album. 'Vis-a-Vis' is the requisite hard bop number. Side B opens with an intense hypnotic groove. But alas 'Foregone Conclusion' is only five minutes long, and should have gone on for another 15. The title track provides the noirish soft piece. The closer deviates from the formula, as 'Current Events' is an experimental composition. Fine in theory, but it's pretty noisy to be honest.
Yusef Lateef - 10 Years Hence. 1975 Atlantic (LP). With the other Lateef (Jan). More Lateef, which I'm looking forward to. This title is a bit too standards/trad for me. More in sound than actual tuneage. Most of these are originals, with some stretched out pieces from his late 1950s past. The opener is the most interesting for me, with its trance like flute passages. A fine jazz album, but I can't keep them all.
Yusef Lateef - Blues for the Orient. 1974 Fantasy (2xLP). Thrift shop find (Jan). This double LP set is a compilation and remaster of 2 albums: Eastern Sounds (1961) and The Sounds of Yusef from the Yusef Lateef Quintet (1957). It's an odd pairing as they don't really have a similar sound. As you may recall, Lateef is new to me, having found his 1969 Detroit album in RT's collection. Eastern Sounds has a cool mellow vibe. The Sounds of Yusef is very early in Lateef's career as a band leader. It is - as you might imagine - more trad jazz. There's some interesting avant garde ideas here, but for the most part the music moves away from where my interest in jazz lies. Of course it's very good for what it is, so don't pass up a chance to hear it if standard 50s jazz pushes your buttons.
Jeff Beck - There & Back. 1980 Epic (LP). Thrift shop find (Jan). I always thought it was There & Beck lol. This was Beck's first new album since I started listening to FM radio in 1977. I remember liking some it, but never enough to buy a new copy. Much more glossy (80's of course) than his previous output, but nonetheless of similar consistency. Hammer and others bring the latest in keyboard technology while Beck does what Beck does - solid guitar soloing and melody lines.
* - Keeping for the collection
No comments:
Post a Comment