Donald Byrd ~ USA

Ethiopian Nights (1972)

What was I saying on Black Byrd about wah wah rhythm guitar? Holy Moly. What a groove A1 has. And by the time Harold Land's sax solo comes across, you find yourself completely immersed into Byrd's new vision of jazz funk. As if to prove that track wasn't a fluke, the entire B side has a similar deep groove. Here, though, the psychedelic is played up much more. Of all the 50s and 60s era jazzers, Donald Byrd seems to be the one I connect with the most in his jazz funk stage. Even more so than Miles Davis and Herbie Hancock.

Ownership: 1972 Blue Note (LP). Acquired in 2026.

9/8/26 (review)

Thank You… For F.U.M.L (Funking Up My Life) (1978)

A good example of desperation so as to stay in the game. Back cover gives the game away with Byrd looking ridiculous in his double breasted yacht captain suit. Long ways from the gritty aura of Ethiopian Nights, Black Byrd, and Street Lady. Of course it must be stated that Byrd wasn't above recent trends, and played right into the jazz funk movement of the early 70s. He just happened to be really good at it. And here he follows the style of the day: Disco. And to be fair, this is a decent attempt for relevancy. The final track 'Close Your Eyes and Look Within' offers promise that Byrd could have had another winner on his side. Too many strings, boring beats, and annoying vocals sink this title though. Feels like a contract obligation album for Byrd. 

Source: 1978 Elektra (LP)

3/17/24 (review)

Black Byrd (1973)

Ever since hearing Street Lady, I knew I wanted to hear other Byrd albums from the time period. And Black Byrd is the beginning of the sound that we hear on Street Lady. As many have noted, it's pretty much a Mizell Brothers dominated release (i.e. they wrote most of the music). Apparently - in its day - the album caused an uproar with traditional jazz enthusiasts. And that frustration the critics expressed had such a profound effect - that Black Byrd became one of Blue Note's best sellers. Haha. I personally love this kind of analog breezy jazz funk. And Roger Glenn once again shines on flute, along with some innovative trumpet from Byrd. I'm a sucker for wah wah rhythm guitar and active percussion, and there's plenty of that too. Vocals are probably unnecessary but they are sparse. Love the 1897 vintage photo cover from Knoxville, Tennessee. A powerful image. Definitely keeping this one.

Ownership: 1973 Blue Note (LP). Acquired in 2021.

5/30/21 (review)

Stepping into Tomorrow (1975)

As the first notes play, it's apparent the groove will remain the same as on Street Lady. 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.

Ownership: 1975 Blue Note (LP). Acquired in 2021.

3/13/21 (review)

Street Lady (1973)

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. 

Ownership: 1973 Blue Note (LP). Gatefold. Acquired in 2021.

3/11/21 (review)

Also own: Fancy Free

9/8/26 (new entry)

Pat Martino ~ USA ~ Philadelphia, Pennsylvania

Joyous Lake (1977)

I'm still relatively unfamiliar with Martino's canon of work. But I was quite surprised to hear the energetic heavy guitar jazz fusion coming at me from the opener 'Line Games'. A little late in the game to get rolling on the Return To Forever sound, but I'm not complaining. A2 is more what I had expected here. Something like a jazz rock version of Gabor Szabo. The rhythm section is very busy, which I like. The rest of the album is mostly like this, with the exception of B1, which brings the heavy funk. Clearly inspired by Herbie Hancock. The bass and drums on this album is very complex, and I also appreciate the analog synth tones. Martino is picking away rather speedily. Intriguing album for sure. I'll hold onto it for now.

Ownership: 1977 Warner Bros. (LP). Acquired in 2026.

8/19/26 (review)  

El Hombre (1967)

I was a little bit familiar with Martino as his name has been bandied about when talking the kosmigroov genre, a style that I'm tangentially interested in. The one previous album I heard didn't leave much of a mark, though a relisten most certainly is in order. But this one did leave an impression. Immediately I was reminded of Gabor Szabo and Wes Montgomery, as Martino gently leads these jazz instrumental tracks with his fine lightly amplified guitar style. Complimenting him on the album are a five piece including no less than three on drums and percussion. But the two members that put this one into the excellent category are organist Trudy Pitts (check out the cover of Introducing the Fabulous Trudy Pitts - my kind of woman!) and Danny Turner on flute. The latter is known more for his saxophone work, but the instrument is not to be found on El Hombre. Wonderful late evening listening, a superb chillout close to the night. This was Philadelphia native Pat Martino's debut, though as the original liner notes point out, he was a veteran by this point. 

Ownership: 1985 Prestige (LP). Acquired in 2021.

1/10/21 (review)

1/10/21 (new entry)

Terje Rypdal ~ Norway

Terje Rypdal / Miroslav Vitous / Jack DeJohnette - To Be Continued (1981)

Strange one here as I completely forgot I owned it. It was a recent pickup just as the below was, but I didn't have it registered in all my databases. Once I added it to the Collection Rankings sheet, it fell right to the bottom. Oh dear.

No major surprises here, as the album is largely a continuation (no way) of the debut album from these three veteran jazzers. Essentially an atmospheric chamber styled outing. Very mature and sophisticated. Of which I'm neither. But I can pretend at least. Another one of those albums that I'm sure if I had a spiritual "moment" with it sometime in my past, then I would hold it in the highest reverence. Those moments just don't happen as much as they once did. Title track offers up a more fiery fusion, a welcome diversion.

Former ownership: 1981 ECM USA (LP). Acquired in 2023. Downsized in 2026.

6/13/23; 5/31/26 (review)

Terje Rypdal / Miroslav Vitous / Jack DeJohnette (1979)

Terje Rypdal / Miroslav Vitous / Jack DeJohnette is an all-star international trio made up of contemporary jazzers doing what they do best: Modern atmospheric instrumental jazz. The cover is indicative of the chilly isolated tones. Scattered and abstract. David Torn was later to explore the style found here on his fantastic Cloud About Mercury album. It's best to go into a listening session with music like this in the same manner as you would with electronik. Sit back, chill out, and the let the music take you to places you haven't been in awhile. Or ever.

Former ownership: 1979 ECM USA (LP). Acquired in 2023. Downsized in 2025.

3/24/23 (review)

Odyssey (1975)

I first found this album while still in college in the middle 80s. It just wasn't for me at the time. In reacquiring the album and hearing it for the first time in over 25 years, I can understand why. I was expecting a more active jazz rock / fusion, fields of music I was just getting into in my early 20s. That's not what Odyssey is about. It's a sprawling double album made up of primarily late night noirish jazz. The kind that is usually the sole reserve of the saxophone. But Rypdal substitutes his electric guitar and it's thick, rich, and wonderful to hear. As mellow as it comes but with an acidic tone that gives it a back-end bite. Also worth pointing out are the longer tracks that feature hypnotic bass and drums. This aspect recalls Joe Henderson or Miles Davis. Or even fellow Norwegians Tangle Edge, who would apply this same technique many years later but for the psychedelic jam audience. Odyssey is an investment of time, and is best taken in on a quiet peaceful evening.

Ownership: 1975 ECM USA (2xLP). Reacquired in 2022. First purchased in 1986.

1986; 12/21/22 (review)

What Comes After (1974)

Like with John Abercrombie's Timeless, I thought I'd already heard Rypdal's 3rd solo album What Comes After. But this listen confirmed that I had not. One of his more abstract works, the album is very spacious and a bit on the noirish side. Great for late night solo listening. There's a bass heavy focus, while Rypdal adds plenty of atmospheric electric guitar. Fine album if in the right mood - which apparently I was.

Former ownership: 1974 ECM USA (LP). Acquired in 2021. Downsized in 2026.

12/18/21 (review)

Once owned: Whenever I Seem To Be Far Away; Chaser

Both of the above are fine albums, and I'd like to hear them again.

12/18/21 (new entry)

Michal Urbaniak ~ Poland

Live At Lile Eule, Bremen (1972)

After the last two sessions with early Michal Urbaniak, which proved to be pretty rough, I didn't have high hopes for a full 2 CD set of live material from the same era. All the pieces are taken from those two albums, and then extended. I'm not sure I'm up for all of this, but I'll at least let it play for a bit and see if some of this gels in a manner I can appreciate.

They waste no time getting into the noisy action with 'Winter Piece' from the debut, complete with Ursula's scat and a drum solo. Next up is a 28 minute centerpiece circling around 'Valium' from Paratyphus B. This will be telling.

Yea, no surprise, but this goes way beyond my interest level in jazz, rock, or music in general. Truly avant garde, one has to admire the creative spirit here. Would prove to be a tough task to emulate what Urbaniak and the gang are doing here. I can't imagine a "Michal Urbaniak Group" cover band.

I'll toss this in a box, and either sell it one day later, or trade it locally to anyone who is interested in it. I know that his later albums are far more to my tastes, and I'll update this post when I get to them.

3/9/26 (review)
 

Inactin (1973)

Back into the Sound Pieces set. Paratyphus B proved to be too "out" for my tastes, let's see how Inactin does.

Yes, a bit better. A little more focused, though its clear Urbaniak had no intention of going mainstream here. The German influences are more to the fore, and there's clearly some of that Krautrock experimentation going on. Mixed with free jazz. Every once in a while they catch a groove and you begin to think this might be more towards jazz rock. Then it shifts gear into atmospheric jazz, and a lot of noodling. Ursula sounds even more wacked out here. Not easy listening for certain.

Next up will be the live show. 

See Paratyphus B for ownership details. This title came from a VG record, curious why they didn't find a better one to use for their CD. Not so rare in Germany.

2/23/26 (review)

Paratyphus B (1971)

I'm largely ignorant of Michal Urbaniak's extensive canon of work, though I've been aware of him since I started crate digging in the middle 1980s. Some like-minded friends were into him, though I never pursued in earnest. I recall very little about his music that was played for me back then.

As I listen to Paratyphus B, I can understand why I probably didn't pursue. You really have to be in the mood for stuff like this. Released only in Germany on the Spiegelei label, you can hear the avant garde jazz of the era almost immediately. Urbaniak provides a very adventurous type of electric violin, miles away from the likes of Jean-Luc Ponty. On the final track he plays the saxophone in similar fashion. Future wife Urszula Dudziak is very much into scat singing, and she is at once energetic and atmospheric, occasionally at the same time. Electric piano also gets a workout. The three piece rhythm section rounds things out. 

This title is a bit rough for my ears. The melodic jazz parts work really well in this setting, but it gets very noisy in places that I don't find pleasant or comforting. Not sure how this CD set will turn out. Depends on where I land with the other recordings. I don't mind owning music like this, as it provides a stark contrast, just not too much of it please. More to come.

Former ownership: 2023 Made in Germany (3xCD). Part of Sound Pieces. Tri-fold digipak with historical liner notes inside the digipak. Obviously mastered from vinyl (or a noisy tape). Acquired in 2026.

2/9/26 (review)

Also once owned: Body English

2/9/26 (new entry)

The Headhunters ~ USA

Survival Of The Fittest (1975)

My CD emphatically states "THE Best Space-Funk Album". No room for negotiation, you just have to accept that premise. Funny to see that from a major label reissue.

Formed by Herbie Hancock, though he isn't a participant, The Headhunters go about making a funk album with a heavy jazz component, most notable in the free-ish saxophone playing from Bennie Maupin. Blackbird McKnight's guitar is more subdued here than on Straight From The Gate, except on B3 where he finally lets loose. There's more than a nod to the same sound Embryo and Missus Beastly were pursuing in Germany during this era. My favorite cut is the atmospheric flute / funk rhythm of 'Rima'. While Maupin has the burden of holding up these compositions, my MVP vote goes to bassist Paul Jackson, who puts the "funk" in this album.

Yea, I think I can go on record here and debate the CD's declaration of Best Ever Space Funk album. Regardless, it's still a fine effort in the style.

Ownership: 2025 Music On CD (CD). Essentially a repress of the 2001 Arista / BMG France release. Acquired in 2026.

2/9/26 (review)

Straight From The Gate (1977)

A mix of hard hitting instrumental jazz fusion and funky vocal numbers. They succeed on all accounts. Some great guitar from future P-Funk member Obsidian Blackbyrd.

Ownership: 1977 Arista promo (LP). Acquired in 2024.

7/3/24 (notes) 

The band reformed in 1998 and have released five new studio albums since. Haven't heard any of them, but if I do, I'll report back here.

2/9/26 (new entry)

Maynard Ferguson ~ Canada ~ USA

Carnival (1978)

As with Primal Scream and Conquistador, Carnival is an album I acquired in high school and doubtful it made it to college with me. I had forgotten about this title actually, and its impact was far less than the other two. If memory serves, this album showed up about a year later in my collection, and my brain was going underground by then. The 69 cent bin comes in handy once again, and let's see if I remember any of it. This is also the first vintage Maynard album for me to hear on CD (not counting Diane Schuur).

As with Conquistador, the album opens up somewhat in proggy territory, before finding its way into more friendly funky big band sounds. Strings and a light disco beat add that Love Boat cruise ship feel. That's not to say the funky beats aren't complex and well written. This isn't dance music, more like cocktail hour on the Lido Deck. The second track is my all-time favorite Earth Wind and Fire song 'Fantasy'. A very unique arrangement and entirely satisfying. 'Battlestar Galactica' is a repeat of the same idea and same placement as 'Star Trek' from Conquistador, which was one album prior. 'Stella by Starlight' is an old school jazz lounger.

The second side opens with 'Birdland', a signature song written by Joe Zawinul of Weather Report and can be found on Heavy Weather. We used to play this tune in our high school stage band in 1982-83, which may have been the impetus for me buying this. 'Baker Street' is an unnecessary cover of Gerry Rafferty's hit single. 'How Ya Doin' Baby?' sounds like a caricature of funk. The album closes with a smooth jazz rendition of 'Over the Rainbow', and you can imagine how that sounds.

Yea, I can see why this title didn't register much with me. The other two are powerful and dynamic. Carnival plays more to its perceived audience rather than asking the audience to accept what Ferguson brings. The opening two tracks are the winners here. I can move on from this title.

Source: 2003 Wounded Bird (CD). Booklet with recording details.

First copy: 1978 Columbia (LP). Acquired in 1982.

1982; 12/22/25 (review)

Primal Scream (1976)

Not long after I acquired Conquistador in high school, I ventured deeper into Ferguson's catalog and purchased Primal Scream. In reflection I may have bought his two best albums, using nothing more than my instincts at the time. As with Conquistador, I didn't give my music palate a chance to expand, and ultimately parted with it by the time I reached college. In my first revisit since (40+ years?), I hear this album as nothing short of great. Plenty of deep grooves to back up Ferguson's impressive lineup of jazz A-listers. I really appreciate the jazz funk cop show-ish 'Invitation', a track I was recently reminded of from Jaco Pastorius (of all artists). Nostalgia + great music = a long residence at Casa UMR. I'd put Ferguson in the same category as Sergio Mendes and Deodato: Regular thrift shop records that belong in your collection.

Ownership: 1976 Columbia (LP). Reacquired in 2024. First acquired in 1981.

 
1981; 10/4/24 (review)

 

New Vintage (1977)

I've been in the mood for big band jazz funk of late, and Maynard Ferguson was one of the leading lights in this area. I'm familiar with most of his output from this era, including the excellent Conquistador and Primal Scream (see reviews here), but this is one title I missed. And I can see why now. Fairly generic with the usual mix of covers, disco, and stage band. Misses the vibrancy of his best work.

Source:  1977 Columbia (LP)

 
8/2/24 (review)

 

M.F. Horn 4 & 5: Live at Jimmy's (1972)

Wow, the first side is excellent recalling the powerful 'Give it One' from MF Horn 2. My kind of rocking big band sounds. The rest is pretty standard "stage band" fare, the kind of music I used to play while in high school. Well done for what it is, but not something I will listen to much and can sell. But side 1 almost had me keeping it. 

Source: 1972 Columbia (2xLP)

4/18/22 (review)

M. F. Horn Two (1972)

Ferguson has something very interesting going here - that of a big band rock album. Not horn or brass rock, but big band. Terje Rypdal started his career with a similar type effort. The opener 'Give it One' packs a wallop, with multiple theme and meter changes. And jams heavy too. I would love to hear a whole album of this! The remainder is the usual Ferguson mix of cover tunes and originals, the latter being the highlight. Though I never tire of 'Theme from Shaft'. Overall, the album is quite good and unique.

Former ownership: 1972 Columbia (LP). Acquired in 2022.

 
3/9/22 (review)

Conquistador (1977)

This was the first jazz album I ever bought, going all the way back to 1981 while still a sophomore in high school. Ferguson was popular with the brass section of our school marching band, which I was part of. I really enjoyed it at first, but I didn't really have a foundation or perspective for the music, and a few years later I parted with it. I don't think I allowed myself a chance to like it honestly. Now it fits perfectly with my ever increasing interest in jazz funk. I'm a sucker for the 'Rocky Theme' anyway, and what better way to open an album. 'Mister Mellow' and 'Soar Like an Eagle' are superb jazz funk numbers. And the title track starts off in progressive rock territory of all things. After the opening trumpet proclamations, it breaks down into a massive oft-kilter bass and drum riff, before joining the rest of the album's genre motif. Today I consider this an excellent album and glad to be reunited.

Ownership: 1977 Columbia (LP). Half-Speed Mastered. Acquired in 2022

First copy: 1977 Columbia (LP). Acquired in 1981.

1981; 3/12/22 (review)

Diane Schuur / Maynard Ferguson - Swingin' For Schuur (2001)

This one goes back to 2019 when I bought a huge pile of CDs for pennies. Pretty good late night noir-ish release. Schuur does a decent job at the femme fatale role, though she isn't really sultry enough. When it's her and the band, the music is nice for driving. But oh boy, is Maynard Ferguson all wrong for music like this or what? His "primal scream" trumpet is all over the recording, and it's like an air raid siren blaring on top of a symphony orchestra. This music is made for Miles Davis and his followers. For me, 'Bésame Mucho' is the highlight of the 12 songs here. 

Source: 2001 Concord (CD)

11/28/21 (review)

7/29/22 (new entry)

Gabor Szabo ~ Hungary ~ USA

Mizrab (1973)

Mizrab represents the first Gabor Szabo album, as my introduction, to hear via CD. You can read my thoughts about this on the Macho addendum review below. 

The cover advertises the musicians participating, and it's a who's who of jazz fusion A-listers. Szabo always surrounded himself with top talent, so I'm curious if the music reflects more of a fusion angle, or a traditional jazz approach.

No one will ever accuse Szabo of trying to be the next McLaughlin or Coryell, and his lightly amplified picking / rambling style is apparent. The first two tracks, both penned by Szabo and encompassing the original A side, demonstrates a fusion leaning backup band, with complex rhythms and electric piano. On the flip side, Szabo slips back into his comfort zone with two soft affected orchestrated covers, while he continues to pick along on his guitar. Honestly I don't buy Szabo albums to hear him chase the voodoo down, so the easy listening stuff is fine with me. He also tackles Shostakovich in a hotel grand ballroom sort of way. Someone has to provide the background music for the ice sculptures while being unveiled. Bachelor Pad music for the 1973 set.

Ownership: 2025 CTI / King (CD). Booklet with liner notes in Japanese. Acquired in 2025.

12/8/25 (review)

  

Rambler (1974)

Standard issue Szabo album with lightly amplified acoustic guitar strummed over instrumental jazz rock. Bassist Wolfgang Melz is the centerpiece of the album, having written five of the six songs. His playing is also very noticeable. The title is a good description of Szabo's style. Not one of my favorites from him.

1974 CTI (LP). Gatefold. Acquired in 2024.

7/23/24 (review)  

Bacchanal (1968)

Bacchanal isn't quite as hypnotic as the albums I know from him during the same period which include the aforementioned Dreams as well as High Contrast and Gypsy '66, two albums I skipped over for documentation but do own. That said, it's still highly enjoyable. It's his usual mix of covers and original compositions, though in this case it's 75% of the former. Lays down a groove and Szabo picks away on his lightly amplified electric guitar. A timeless formula.

Ownership: 2006 Skye / Muzak (CD). Papersleeve. Acquired in 2024

First copy: 1968 Skye (LP). Acquired in 2023.

12/18/23 (review); 8/4/24 (update)

Dreams (1969)

My big score from the Denver Record show. Five bucks (yep) and a very nice copy at that. I beat the Rocky Mountain showrunner to it (the other Denver show), who subsequently shook his head wildly and went "DAMN!". It was from a wacky old lady who almost refused to sell it to me. She yelled "You're just going to resell it!!". I promised her I would not, that I really wanted it for my collection (all true). It took about five minutes of prostrating myself before the court before she relented. Jeesh. This is proof positive the best stuff goes when the dealers set up. Even the early entry fee guys missed out. We'd already set up and JL took the tables while I wandered around (as per protocol). 

OK, lots of talk about how I obtained it, but what about the music? It's classic 60s Gabor Szabo for sure. I love his guitar style and the groove of the jazzy backdrop. It's light but intoxicating. And how about that cover? I need to find a place on the wall for it. But I would have to remove the price tag. Can't do that.

Ownership: 1969 Skye (LP). Gatefold. Acquired in 2023.

10/28/23 (review)

Macho (1975)

As noted on one of the other Szabo reviews, I'll buy any of his albums, no questions asked. And to date I've kept them all, this one no exception. 

My notes from the next album Nightflight stated: "...Everything about it screams the era from which it came...Enter in Gabor Szabo, who then proceeds to jam over what appears to be backing tracks. His tone is that of a lightly amplified electric guitar, and sporadic acoustic guitar. Some of his solos are sublime, while others don't belong at all, adding to the strange vibe." 

That could work here, though it must be said that Macho seems more put together. Macho is a very soothing album, and the funk and disco elements are mostly muted. This was a known jazz guitarist beginning to branch out into new mediums. Full eight piece band with lots of invention.

---11/17/25

I've moved back to one of my older philosophies of collecting, that of selling commodity LPs and bringing in more scarce CD reissues. Szabo sells well at the shows, and I have no nostalgia here. Besides I appreciate his sound in clear digital form. Some of his LPs, however, are going nowhere. And you can guess at least one. :-) Using history as my guide, these Japanese CDs will likely skyrocket. You can get them dirt cheap now, for those of you so inclined.

Ownership: 2025 CTI / Salvation / King (CD). Booklet with notes all in Japanese. Acquired in 2025.

First copy: 1975 Salvation (LP). Acquired in 2022.

12/16/22 (review); 11/17/25 (update)

Gabor Szabo Live with Charles Lloyd (1974)

This is a strange little title. If you've been keeping up with this blog you'll have noted I've become something of a Szabo nut. So I'm buying everything I see - and once again this one was languishing in a thrift shop. Not sure how any album with a cover like this goes unnoticed, maybe I got there right after they put it out? Well it's not rare or anything.... The weird part of this is the title itself. Charles Lloyd is on about half of one of the four songs - it's the one he composed ('Sombrero Sam'). Guess Szabo needed his name to sell the album? I didn't realize one was more known than the other. It's a nice track with some fine flute from Lloyd. The selling point for me is 'Stormy' and here the flute is more fiery - this time from woodwinds specialist Tony Ortega. Meanwhile Szabo does what he does - finger pick his lightly amplified guitar. If there was ever a time for him to plug in and wail, it would have been this album. Guess that wasn't to his taste. Pity. 

1974 Blue Thumb (LP). Acquired in 2020.

11/6/20 (review)

Nightflight (1976)

I don't know a lot about Szabo's discography, but I found Nightflight to be very engaging. Everything about it screams the era from which it came. Had I not known better, I would have presumed the album to have come from France, as the sound here isn't that far removed from some of the artists you'd find on the Cobra label for example. In some ways, it's a bit too pre-packaged. The occasional strings and disco beat only underscore this point. On other tracks, one will hear a heavy funky racket in the background, with wah-wah guitars and tribal rhythms. Enter in Gabor Szabo, who then proceeds to jam over what appears to be backing tracks. His tone is that of a lightly amplified electric guitar, and sporadic acoustic guitar. Some of his solos are sublime, while others don't belong at all, adding to the strange vibe. And Szabo sings too - at least I think it's him - in the grand ill advised tradition of other jazz fusion artists like Tony Williams and Al Di Meola. Still, the compositions are well written, and the melodies stick out in a good way. I can live without 'Funny Face' and 'Theme for Gabor', but the other five tracks are super.

Overall the album captures the optimism of mid to late 70s Paris. Richard Pinhas would later also celebrate jet-setting across the pond, except his vision turned Szabo's upside down into a nightmarish fiery inferno.

Ownership: 1976 Mercury (LP). Single sleeve. The inner sleeve has an advert for the Mercury stock of artists, in addition to a rant on the "dangers of home taping". Acquired in 2019.

12/22/19 (review) 

Other albums I own: Gypsy '66; High Contrast

Albums previously owned: Magical Connection (not in good condition, need to hear again)

12/22/19 (new entry)

Freddie Hubbard ~ USA

High Energy (1974)

When I wrote the below for Liquid Love, I didn't realize this album existed. RYM has it listed as a "Live" recording, but that's not really correct. It's "Live in the Studio", a whole different concept. High Energy certainly explains the trajectory from Sky Dive and Keep Your Soul Together to Liquid Love. The music has a jazz fusion slant as well, a style I wasn't certain Hubbard played in. Of course it makes sense he did since he was in and around that camp throughout the 70s. And Joe Sample has a Clavinet on hand, almost guaranteeing a certain funk element is present. Hubbard maintains a more in-control and traditional jazz approach to his trumpet soloing. Highlight for me is the funky trippy closer 'Too High'.

One wonders why this is a $5 record when so many others of its ilk go for multiples of that. Did it really sell that well to begin with? I doubt it. Likely low demand, which I find strange. Seriously, if you're into same era Miles or Eddie Henderson, you'd be into this. Maybe a bit more friendly and less intense. Nothing wrong with that.

Ownership: 1974 Columbia (LP). Acquired in 2025

9/2/25 (review)
 

Liquid Love (1975)

By 1975 Hubbard finally caved to the jazz funk movement and released Liquid Love, much to the dismay of jazz critics at the time. Even today, one sees a dramatic fall on his RYM ratings starting here. But how does it stack up against others who attempted similar? Extremely well in my opinion. It does start inauspiciously with Maria Muldaur's big hit 'Midnight at the Oasis'. As an instrumental cover tune it comes across as hokey. 'Put it In the Pocket' follows and doesn't elevate the proceedings much further. From that point forward the album becomes engaging and soulful. The title track is a 5 star knockout, with some of the smoothest grooves you'll ever hear. I only wish Ray Parker had dropped an Ernie Isley fuzz solo in the middle to make it one of the all-time greats. The album closes with the lengthy deep groove Miles Davis styled track 'Kuntu'. You'll find yourself immersed into the sea as the cover suggests.

Ownership: 1975 Columbia (LP). Acquired in 2025.

5/24/25 (review)
 

Sky Dive (1972) 

I really enjoy this period of friendly-to-the-ear jazz, that of melodic compositions and fine soloing. Sky Dive album brings together a slew of jazz A-listers, and the results bring me back to a musical era that needed to last longer. Yet another brilliant thick gatefold cover with intriguing art brought to us by Creed Taylor. In reading his biography, that was no accident. He firmly believed a great package would lead to more sales, and he was proven correct. Too bad not everyone saw that value.

Ownership: 1972 CTI (LP). Gatefold. Acquired in 2023

5/25/23; 10/20/24 (review)

Keep Your Soul Together (1973)

This was part of the jazz selection I bought last week and represents the first title for me to dig into. Despite being on CTI, and Hubbard all pimped out on the cover, this is no jazz funk title. Very much has that late 60s chill vibe. The kind of retro jazz they use as background on modern movies and TV shows. Take away George Cables' electric piano and it could be 1967. A very calm and easy listening album (with plenty of compositional thought) perfect for winding down the day. 

Former ownership: 1973 CTI (LP). Gatefold. Acquired in 2023.

4/5/23 (review)

4/5/23 (new entry)

The Chris Hinze Combination ~ Netherlands

Despite what it may look like below, I have a few Hinze albums in the collection. I just haven't written anything meaningful for any of them. We'll get there eventually.

Here is my summary from 7/18/09: Dutch flautist Chris Hinze was far more than just your usual jazz flute player. Especially on Mission Suite where he combines jazz and progressive rock very effectively. Stoned Flute and Live at Montreux are more steeped in the jazz tradition, but aren't standard by any means. Who Can See the Shadow of the Sun is a bit looser than the others during this period, and will appeal most to those into "out" jazz. Sister Slick is probably Hinze's heaviest album, with Philip Catherine on guitar, and is a good representation of the harder edged fusion style. His later 70s work strayed towards fuzak. Interesting to note that his other album from the early Seventies, 1972's Virgin Sacrifice, has been reissued on CD. I'm sure it earned a CD imprint (on his own label) since it foreshadowed his future work as a new age artist. It's very different from his other albums during the early 70s.

Stoned Flute (1970)

I've had this LP for well over 20 years but I think it's only the second time for me to hear it. I had such high hopes for this when I first obtained it. That most awesome title and the fact that I was already an established Hinze fan. But this falls to the free jazz side of the equation. It's not unpleasant at all, with plenty of standup bass and piano along with Hinze's flute. Everyone once in awhile they'll catch a groove and you begin to think there might be something here to grasp onto. But then it falls apart per protocol. Lot of folks I know into this scene, but I'm just not one of them.

Former ownership: 1970 CBS (LP). Gatefold

3/3/03 (acquired); 1/7/25 (review)

Charlie Mariano with the Chris Combination (1973)

Straight up jazz session with American WWII veteran saxophonist Mariano joining forces with the Chris Hinze Combination from the Netherlands. This CD is a reissue of Charlie Mariano With The Chris Hinze Combination with the 18+ minute "bonus" title track improvisation thrown in the middle. Mariano himself was just taking baby steps into the European underground (see Osmosis for some American subversiveness) with jazz flutist Hinze's outfit. He was later to embark into an enlightening journey with Krautrock legends Embryo, and participate on some of their finest works shortly thereafter. 'Traditional South Indian (Carnatic) Kirtanam' is exactly the type of music he performed later with the underground Embryo. A real Hepcat, man.

Former ownership: CD: 1995 Black Lion (Germany) as Blue Stone. Booklet has original liner notes.

7/08/03 (acquired); 12/10/15 (review); 4/23/24

Other albums I own and need to review: Live at Montreux; Virgin Sacrifice; Mission Suite; Sister Slick

12/10/15 (new entry)

Catalyst ~ USA ~ Philadelphia, Pennsylvania

Perception (1973)

Second album that is very similar to their first. Even copies the same track order flow of atonal versus melodic. Perception is a little bit more hard jazz mainly due to the title track being 14.5 minutes, and it gets a bit noisy. As such I rate the debut one point higher. If I had this on its own, I'd probably let it go (though I'd probably keep an original LP, there's a cool vibe here), but since the CD is attached to the first album, which I really enjoy, it's going nowhere.

Ownership: 2010 Porter (CD) As The Complete Recordings Vol. 1. See below for more details.

3/27/12; 9/19/19; 1/10/24 (review)

Catalyst (1972)

Catalyst were a band from West Philadelphia, who managed a strong 4 album run before calling it a game. Their music is not an easy one to describe, and requires multiple listens to penetrate. Essentially one could call this modal jazz for the funk crowd, with emphasis on the former. There are some stop-in-your-tracks melodies found here, generally noted right from the beginning of each. The longer tracks allow for some jazz soloing, and can get a bit dull in places. After hearing Side 1, it starts to feel like a slog, but after hearing the stunning 'Jabali' and the sunny-skies 'New Found Truths', the mood changes. A replay of side 1 reveals more of the essence of the recording and seems more lively throughout. Sometimes that's how it works. 'Salaam' is beautiful and it's the one track one wishes would have gone longer.

"Al" Johnson is none other than bassist Alphonso Johnson who went on to Weather Report and ultimately jazz fusion fame.

Ownership: 2010 Porter (CD) As The Complete Recordings Vol. 1. Includes their second album Perception. Digipak with recording details. One bonus track. Acquired in 2012.

3/27/12; 5/24/19 (review); 1/10/24; 5/22/26

Chick Corea and Return to Forever - Light as a Feather. 1973 USA

I bought my first Return to Forever album while still in high school in the early 80s (Romantic Warrior - still have that copy), because of Al Di Meola's involvement + it looked like a cool prog album. In college I filled out the heavy fusion back catalog from the band. But I never did bother with the first two Chick Corea named albums, figuring without the guitar, they wouldn't be of much interest to me. And my instincts proved correct - for that period of my life. In hearing the album for the first time, it's hard to tell if this is an American group, or one from Brazil. This has all to do with Flora Purim's vocals and the bossa nova-ish rhythms. Corea jams on his electric piano and Stanley Clarke is doing his thing on the bass. I've been on a big Brazilian kick for a few years now, and Light as a Feather scratches that itch one more time. Big changes were coming for Return to Forever, but I very much enjoyed this lighter side of the group. Keeping this one.

Ownership: LP: 1974 Polydor. Single sleeve. Thrift shop find (2021). Looking at the label, it appears to be a pressing from 1974, one year after its initial run. 

7/6/21 (LP 2.35); 3/23/23 (new entry)

Herbie Mann ~ USA

Memphis Underground (1969)

Even though I truly enjoy flute jazz, I'm not so keen on Herbie Mann. The hairy chested one (what was with that anyway?) tended to be too steeped in tradition to break into the next level of spiritual jazz or heavy fusion. And honestly, Memphis Underground isn't that much different in terms of style. Except Larry Coryell and Sonny Sharrock were on board for this recording, and it's their variations of psychedelic guitar that make the album intriguing.

Former ownership: 1969 Atlantic (LP). Acquired in 2021. Downsized in 2026.

11/30/21 (review)
 

Herbie Mann & The Bill Evans Trio - Nirvana (1964)

Nirvana was originally released in 1964 (and recorded in 1961 / 62). There are Three tracks on each side, and the first two of each are seriously M..E..L...l...l....o.....w. What a great late night listen. Highly recommended for people who can get high strung - like me. The final piece is a Herbie Mann original 'Cashmere', which is more upbeat but still a fine composition. The only "standard" is Cole Porter's 'I Love You' which is just OK. Fine album for those who enjoy soft flute and piano. Makes you want to sit in some dimly lit place, near the piano, softly speaking with a sultry long haired vixen smoking a long stemmed cigarette.

Former ownership: 1984 Atlantic Jazzlore (LP). Acquired in 2021. Downsized in 2026.

2/25/21 (review)

12/10/21 (new entry)

Joe Henderson Quintet - If You're Not Part of the Solution, You're Part of the Problem. 1970 USA-New York

I'm not familiar at all with Joe Henderson's extensive catalog. He was a fixture on the Blue Note jazz scene of the 1960s and persevered through the 70s, continuing to remake himself for the times. His quintet's concert at The Lighthouse in Hermosa Beach captures the ethos of the year 1970 perfectly. The political turmoil of the late 60s was transitioning into a more militant early 70s and ultimately softened to good times, party disco later in the decade. There are two originals from Henderson, and I swear each were written in 27/29 meter, or something that insane. Woody Shaw is the star of 'Caribbean Fire Dance', as he proves to be a real trumpeter's trumpeter. Even Miles Davis acknowledged that. Henderson provides the smoky sax session on the noirish 'Round Midnight'. 'Mode For Joe' is a look back to Henderson's formative years as a hard bopper. 'Blue Bossa' is another crowd pleaser that brings in the easy-on-the-ears Bossa Nova sound to soothe the nerves and close out the album. But the absolute killer here is the title track, another one of those tricky meter jobs written by Henderson. It's here that bassist Ron McClure and drummer Lenny White really shine. McClure trades in the spinning big bass for electric, and in sync with White, create an intense hypnotic groove. Perhaps the inspiration for Jannick Top and Christian Vander some years later. Eleven and a half minutes of pure intensity. Rounding out the ensemble is George Cables on electric piano (if only Larry Young was onsite with his organ - whoo-boy) and Tony Waters on conga drums. My kind of jazz. Need to get more of this.

I'm starting to notice that live albums that have drapes in the background are all fantastic. We need to bring back drapes. With smoke stains embedded.

Ownership: LP: 1970 Milestone. This was part of that thrift shop jazz find I spoke of a few weeks ago that included Pat Martino, Yusef Lateef, etc... The older (non reissue) originals all needed a good cleaning, and many are still in that stack. The cover is pretty rough (not even as good as the Discogs stock photo shown here), but the vinyl was well preserved. Finding albums like this in the wilds is hard, but every once in awhile, a break comes your way.

Yusef Lateef - Detroit Latitude 42° 30' Longitude 83°. 1969 USA-Michigan

Yusef Lateef is a name I'm familiar with, but as I'm something of a novice when it comes to jazz, I cannot say I've heard any of his albums until now. I'm sure his earlier work is more traditional, though I'm reading he incorporated more Asian influences than most. On Detroit Latitude 42° 30' Longitude 83°, Lateef has joined in with the funk crowd, with a bit of psychedelia. His primary instrument here is flute, and his playing recalls the great Lloyd McNeill at times. I was completely sold at the opener 'Bishop School', which is darn near perfect for the style. 'Eastern Market' is a another highlight. And so it goes. Only the finale, the noirish smoky jazz of 'That Lucky Old Sun', could be considered traditional. Overall a wonderful piece of music, and I look forward to discovering more from Lateef.

Ownership: LP: 1969 Atlantic. Single sleeve. Promo. This will be the first of many albums I will be reporting on from the RT Collection. RT is a local collector and a customer/friend of Purple Peak Records. He has thousands of albums strewn about everywhere, and has asked us to help him curate them. His interest is in 60s folk (and we found many already for his permanent collection), so we'll end up with the rest per agreement. As you can imagine, most of the albums are junk - either good for mailers or, at best, $1 bin items. Of course there's plenty more good stuff to sell at the shows or trade locally. For the first few hundred, this is the only album I've kept so far. I have a few more I've pulled to listen to though. Tons more to go through. And that's just the first batch! This will be a huge undertaking.

Hiromasa Suzuki - Silk Road Rock Joint Cither. 1973 Japan

Rock Joint Cither goes back to the heyday of our CDRWL research. We were digging deep into the mines of Japan, and new discoveries continued to surface on a regular basis. One of the earliest of those was the Rock Joint series. This title, as seen on the cover, was commonly presumed to be Silk Road and the artist as Rock Joint Cither (or vice-versa). Not too long after our "discovery", a CD surfaced for both. It was then that it was revealed to be pianist and jazzer Hiromasa Suzuki who was behind these recordings.

Cither is a "lost in translation" scenario. Cither is a synonym for zither, but of course the instrument in question is really a sitar. For Rock Joint Cither, the truth of the matter is there isn't much rock, beyond some of the deeper rhythmic grooves. Mostly this is a type of heavy straight jazz, as was played more commonly in 1970 with, not surprisingly, sitar blended in throughout. I find the album intriguing though not necessarily satisfying on the whole. Without a doubt worth hearing, but I didn't find it as revelatory as Rock Joint Biwa, the other album from the series.

Lard Free ~ France

Gilbert Artman's Lard Free (1973)

I'd longed struggled with the debut album from Gilbert Artman's Lard Free. Having already digested the superb I'm Around Midnight and Lard Free III, the debut was cut from a different cloth, one not so much to my liking. To this day, I'd submit it's the weakest of the three, but on reflection there's still much to admire. One thing that becomes apparent here is that Lard Free were still working with a jazz background. And free jazz at that, a style I'm not ever likely to warm up to. So the opening songs reflect that, though the raw guitar is very appealing in this setting. Side 1 would have fit perfectly on the Futura label. It's not until Side 2 that the band demonstrates an early version of the sound that Heldon adopted just one year later. Brooding electronics, and searing atmospheric electric guitars and calming-the-nerves smooth saxophone. 'Livarot Respiration' has this wonderful late night jazz groove - as found in the Twilight Zone. Overall a good one, but not necessarily representing the sound Lard Free are most known for.

Ownership: 2008 Captain Trip (CD). Papersleeve gatefold. Acquired in 2019.

First copy: 1973 Vamp (LP). Acquired in 1994. Sold in the mid 90s.

1994; 4/3/19 (review)

I'm Around Midnight (1975)

Whereas the debut tended towards noisy electronics and free jazz, Lard Free on the follow up I'm Around About Midnight brings in no less a luminary than Richard Pinhas, and subsequently turns out a Heldon styled nightmare (and that's a very good thing). Pinhas' tortured bluesy guitar and down tuned Moog are in abundance, and the whole album sounds like a long lost Heldon album from around the time of Agneta Nilsson. Perhaps with a touch of Artman's future project Urban Sax on display. A splendid album of electronik musik. As well, I enjoy the late 1940's era Pigalle District artwork.

Ownership: 

1975 Vamp (LP). Gatefold. Acquired in 1994.

2008 Captain Trip (CD). Papersleeve. Acquired in 2014.

1994; 2/15/03; 1/3/14 (review)

Also own: Lard Free III.

1/3/14 (new entry)

2018 Journal #7: Michel Madore, Bayete, Cesar Ascarrunz, AnVision

Michel Madore - La Chambre Nuptiale. 1978 Canada

Instrumental electronic album. A bit static on the whole. Never been reissued.

Bayete - Worlds Around the Sun. 1972 USA

Bayete, Todd Cochran by any other name, is a highly praised jazz release, but I don't hear anything overly special myself. It's... jazz. Good but nothing more.

Cesar Ascarrunz - Cesar 830. 1975 Bolivia

Has a couple of great songs, along the lines of Santana ('See Saw Affair' and 'Gotta Get Away'), but mostly this is fairly typical of the region. I had such high hopes for this title originally.

Anvision - Astralphase. 2012 Poland

Despite purporting the album to be more progressive rock oriented, along the lines of Eloy, this album proved to be somewhat generic prog metal. It's good though.