CULT CLASSIC: HIDETO SASAKI, TOSHIYUKI SEKINE QUARTET +1-STOP OVER.
Cult Classic: Hideto Sasaki, Toshiyuki Sekine Quartet + 1–Stop Over.
Ever since the sixties, rather than sign to a label, many artists and bands have released their albums as private pressings. However, the majority of the labels releasing private pressings during this didn’t have the same resources as the major labels or even an indie labels.
Sometimes, the label was owned by the artist and it has only been setup for the release of this one album. Often the release was only a short run, with anything from 200-300 pressed. The more optimistic artists and groups took a chance and press 1,000-2,000 copies of an album in the hope that they don’t gather dust in a basement, spare room or garage. They tried not to think of that, and instead, hoped that the album was picked up by a bigger label. That was further down the line, and they had albums to sell before that.
The label usually didn’t have a distribution deal, so often the band hauled copies of the album around local record shops, hoping that the owner would take five or ten copies. Often, the best offer was sale or return, and as they looked at store owner, they wondered what were the odds of getting paid or their records back? It was a case of handing over the albums and hoping the vinyl gods smiled on them. If they were lucky, they would get either get some money back, or a pile of dusty vinyl. The alternative didn’t bear thinking about as often, artists and bands had put their savings into a private press and couldn’t afford to lose money.
Given many of the private presses released since the sixties were distributed by the artist or band locally, they never found their way to other parts of the country, never mind halfway around the world. This was all happening in world where before Spotify or You Tube where it’s now possible to find music from all the world in an instant. So every year, thousands of private presses were released to little or no fanfare, and often disappeared without trace.
Especially, if there were only between 50 and 100 copies of an album pressed. With so few copies of an album pressed, it would be easy for the album to disappear without trace and never be heard again. However, that didn’t happen to Hideto Sasaki, Toshiyuki Sekine Quartet + 1’s groundbreaking J-Jazz cult classic Stop Over.
The story begins at Chuo University in 1975, where a group of amateurs musicians joined the modern jazz study group. During term time they held regular jam sessions where the members of the modern jazz study group were joined by some of the top local jazz musicians.
Sometimes, the modern jazz study group headed to what were referred to as jazz training camps. They were held in Kita Kuraizawa, a rural area an hour to the North West of Tokyo. One of the musicians who attended a camp in the spring of 1975 was Toshiyuki Sekine, a twenty year old pianist who was a student at Chuo University. That was where he met Hideto Sasaki who just over a later, would produce Stop Over.
Before that, various jam sessions that took place at the jazz training camps and having heard them, Hiroyuki Inokari decided that he wanted to record an album by the university jazz study group in a recording studio. By then, he had already recorded some of their jam sessions and concerts. This was the next logical step for him.
Meanwhile, Toshiyuki Sekine’s band had just split up. They were raising stars and had been taking to the stage in some of Tokyo’s jazz clubs, including the Pit Inn. It was the end of an era, and the young bandleader decided to return to the environs of the modern jazz study group.
His timing turned out to be perfect, and Toshiyuki Sekine played piano at the modern jazz study group’s first formal concert. That night, they were joined by guest artist pianist Fumio Karashimo and his trio. This was a landmark concert for the modern jazz study group.
During the mid-seventies, Japan had a vibrant jazz scene and there were many jazz clubs not just in Tokyo, but across the country. This was perfect for young, up-and-coming artists like the members of the modern jazz study group who were making their way in the world of jazz.
By then, most jazz musicians had gravitated towards fusion, the marriage of jazz and rock. As a result, it wasn’t unusual to see drums, electric bass and guitars joining forces with synths and saxophones as well as piano and horns. However, that was not the case on the ‘15th’ of August 1976.
That was when Hideto Sasaki, Toshiyuki Sekine Quartet + 1 entered the studio to record their debut album Stop Over. The line up was drummer Takashi Kurosaki, bassist Kei Narita, pianist Toshiyuki Sekine, trumpeter Hideto Sasaki and alto saxophonist Noriyasu Watanabe. This was an all acoustic group who had decided to record an album of material that was similar to what they played in their live sets.
This included Denny Zeitlin’s Carole’s Garden, Tadd Dameron’s Soultrane, Cedar Walton’s Turquoise Twice, Robert Hutcherson‘s Little B’s Poem and Hideto Sasaki’s Stop Over. These five tracks were recorded with produced Hiroyuki Inokari on the ‘15th’ of August 1976 and released later that year on the Smile label.
The Smile label had been set up by Akihiro Nakayama, who was a member of the modern jazz study group. Stop Over was the first album released on the label and it’s thought that there were only between 50 and 100 albums pressed. Most of the them were given away to friends and family of the band and those involved in the making of the album. This wasn’t an album that was going to be available in the record shops of Tokyo and across Japan.
That’s a great shame as this blistering and breathtaking romp through four cover versions and Hideto Sasaki’s Stop Over as this acoustic combo turn back the clock and revisit the hard bop sound. This was very different to the majority of the albums their peers and contemporaries were making. Maybe, it was a case of playing the music they loved and were passionate about?
Stop Over opens with a cover of Denny Zeitlin’s Carole’s Garden, which originally, featured on his 1964 album Carnival. However, instead of staying true to the original version, the combo draw inspiration from Jean Luc Ponty’s cover on his 1967 outing Sunday’s Walk and breeze through the track at breakneck speed never missing a beat. It’s a truly impressive performance and Toshiyuki Sekine’s piano playing alone, is worthy of a rapturous round of applause.
Tadd Dameron wrote Soultrane for his 1957 collaboration with John Coltrane’s Mating Call. In the combo’s hands it has a beautiful, melancholy, late night sound. It’s music for those that have love and lost, and those that are yet to find that special one.
Cedar Walton recorded Turquoise Twice for his 1967 album Cedar. On Stop Over, the acoustic combo stay true to that version as this nine minute epic breezes along, the drums and bass locking down the groove with Toshiyuki Sekine’s piano drive the arrangement along. For some purists, a minor criticism would be that the ride cymbal is too prominent in the mix. That’s because of the close miking technique that had been used since the late-sixties. Having said that, Stop Over wasn’t a big budget recording run by a professional recordist, and it would be easy for an inexperienced engineer to place the microphone to close to the ride cymbal. However it could be argued this adds to the authenticity and honesty of the recording. Meanwhile, the maestro Toshiyuki Sekine plays with urgency, fluidity and confidence as his fingers effortlessly fly up and down the keyboard showcasing his considerable skills on this epic track.
The late, great vibes and marimba player Robert Hutcherson penned Little B’s Poem and it featured on his 1965 Blue Note album Components. It’s another beautiful, dreamy sounding track with another virtuoso performance from Toshiyuki Sekine, while the guitar and bass play supporting roles. Later, the alto saxophone soars above the arrangement its wistful sound adding the finishing touch to one of the album’s highlights.
Stop Over closes with the title-track which was written by Hideto Sasaki. It’s a breathtaking, blistering and explosive track that features nine magical minutes of hard bop as this group of young, talented amateur musicians shine brightly and never burn out as they close the album on a truly memorable high on this opus. Hopefully, having closed the album in such style Hideto Sasaki, Toshiyuki Sekine Quartet + 1 all took a bow as they finished recording Stop Over.
Sadly, Stop Over was the only recording by Hideto Sasaki, Toshiyuki Sekine Quartet + 1. It features four almost flawless covers and the one original Stop Over, where the combo shine bright as they showcase their combined and considerable skills on an album of hard bop that veers between spellbinding, beautiful, breathtaking, blistering and melancholy.
By then, hard bop was regarded by critics and most jazz fans as yesterday’s sound, but that didn’t matter to Hideto Sasaki, Toshiyuki Sekine Quartet + 1 when they were recording Stop Over. They wanted to record the music they loved and were passionate about. It wasn’t as if the album was a big budget release on a private press. Instead, it was a reminder of a group of friends studying together and making music in their spare time. When they went their separate ways after leaving Chuo University, Stop Over was a reminder of the time they spent together and the music they made. Or so they thought.
The Smile label only pressed between 50 and 100 albums, and they were given to friends of family of the band and everyone involved in the album. Despite that, Japanese jazz fans heard about Stop Over which remained tantalisingly out of reach given its rarity.
That remains the case today, and it’s almost impossible to find a copy of Stop Over which is on every J-Jazz fan’s want list. However, unless they’re fortunate enough to come across a copy in a thrift store, junk shop or dusty warehouse Stop Over will continue to elude them. If they hit the jackpot and find a copy of Stop Over hidden between the usual thrift store fare they’ll be discover the delights of one of rarest albums of J-Jazz released during its golden era.
Cult Classic: Hideto Sasaki, Toshiyuki Sekine Quartet + 1–Stop Over.
CULT CLASSIC: PHILOPSIS.
Cult Classic: Philopsis.
Over the last few years, there’s been a resurgence of interest in library music, with British and European independent record labels releasing lovingly curated compilations that are welcomed by a coterie of musical connoisseurs who have a passion for library music. This includes DJs, producers and record collectors who are willing to pay large sums of money to add rare releases to their collections of library music.
Many British collectors of library music started off collecting releases by labels like KPM, De Woife, Amphonic, Conroy and Sonoton from the sixties, seventies early eighties, which is regarded by many collectors as a golden age for library music. This is ironic as albums of library music were never meant to fall into the hands of collectors.
Originally, library music was meant to be used by film studios or television and radio stations, and was never meant to be commercially available. The music was recorded on spec by music libraries who often hired young unknown composers, musicians and producers. This ranged from musicians who were known within publishing circles, to up-and-coming musicians who later, went onto greater things, and look back fondly at their time writing, recording and producing library music. This they now regard as part of their musical apprenticeship.
For the musicians hired to record library music, their remit was to music libraries with a steady stream of new music, which was originality referred to as production music. During some sessions, the musicians’ remit was write and record music to match themes or moods. This wasn’t easy, but after a while they were able to this seamlessly. Soon, the musicians were able to enter the audio and write and record a piece of music that matched a theme or mood for a film or television show.
Once the library music was recorded, record libraries sent out demonstration copies of their music to advertising agencies, film studios, production companies, radio stations and television channels. If they liked what they heard, they would license a track or several tracks from the music libraries. That was how it was meant to work.
Sometimes, copies of these albums fell into the hands of record collectors, who realising the quality of music recorded by these unknown musicians, started collecting library music. However, it always wasn’t easy to find copies of the latest albums of library music. That was until the arrival of the CD.
Suddenly, record collectors and companies across Britain were disposing of LPs, and replacing them with CDs. It didn’t matter that the prices of LPs were at all-time low, some record collectors just wanted rid of their collection they were replacing with CDs. With people literally dumping LPs, all sorts of musical treasure was available to record collectors who didn’t believe the hype about CD. This included everything from rare psych and progressive rock right through to albums of library music. These albums were often found in car boot sales, second hand shops and charity for less than a skinny latte macchiato.
This was the case throughout the period that vinyl fell from grace, and suddenly, it was possible for collectors of British library music to add to their burgeoning collections. Gradually, longtime collectors of library music had huge and enviable collections and were almost running out of new music to collect. Some of them decided that the time had come to see what European library music had to offer.
Now these collectors had a whole continent’s worth of library music to discover. Some collectors were like magpies buying albums from all over Europe, while others decided to concentrate on just one country or company. Although it was more expensive to collect European library music, gradually, enviable new collections started to take shape.
This includes French, German and Italian library music which was recorded during the sixties and seventies. One of the rarest French library records of the seventies was Philopsis which was released in 1978 on Freesound, an imprint of the British publisher Ambient Music which was dedicated only to French composers. At the heart of the Philopsis project was Jacky Giordano who was a somewhat mysterious musician.
Over the last few years, the an air of mystique hangs over Jacky Giordano’s recordings, as well as the albums he recorded using various aliases. This includes Discordance, G. Serili, Jacky Nodaro, Joachim Sherylee and José Pharos. The enigmatic French organist music has gained a cult status, especially amongst a coterie of connoisseurs of library music.
In 1973, Jacky Giordano and Francis Personne recorded Rythmes Et Mélodies an album of library music for Sonimage. His next album was released on Freesound, where he released what’s recorded as the best library music of his career.
Collectors and connoisseurs of library music believe that Jacky Giordano’s Freesound years were the highpoint of his career. His This includes 1974s Challenger and Schifters which he recorded with Yan Tregger. However, four years would pass before Jacky Giordano released another album on Freesound.
Two years later, in 1976, he released Pop In… Devil’s Train on André Farry’s Editions Montparnasse 2000 label. It’s regarded as another of Jacky Giordano’s finest albums.
During this period, he could do no wrong and released Jacky Giordano Organ in 1977 on L’Illustration Musicale. So was the followup Jacky Giordano Organ Plus in 1978. These two albums of library music are highly collectable and it was no surprise in 2019 when they were reissued again. However, the other album Jacky Giordano recorded in 1978 was his library music masterpiece Philopsis for Freesound
Philopsis is instantly recognisable because of the portrait on the album cover. Just like Jacky Giordano, there’s an air of mystery to this enigmatic figure. With a cover that captured the imagination, the music on Philopsis was very different to what many people expected.
Many misguided critics of library music often put forward the same tired and inaccurate argument that the music was bland, lacking in inspiration and imagination and was mostly jingles that were used by the advertising industry. How wrong they were and proof of that was Philopsis.
On Philopsis, Jacky Giordano was accompanied by Yan dY’s. This it’s thought included his old friend and colleague Yan Tregger which was an alias for Edouard Scotto Di Suoccio. Nowadays, Yan Tregger is regarded as one of the forgotten heroes of European library music. Another musician who worked on Philopsis was Francis Personne, who later worked as a sound engineer and on numerous eighties zouk productions. Jacky Giordano and his group experimented as they recorded Philopsis.
Side One.
The resulting album of jazz-funk that Jacky Giordano and friends recorded features is best described as veering between light, airy and spacious to futuristic with sci-fi synths a feature of album opener Jumbo Flash. Quite different is the tough and funky sound of Magolia. Callisto is a jazzy jam where this talented band play within themselves. They manage to resist the urge to kick loose. Athanor has a seventies experimental sound that again, is futuristic. Supplice Form sounds as if it’s been written with a military drama in mind, while Agharta sounds like the soundtrack to space-age cop show.
Side Two.
Just like Supplice Form, there’s a military influence to the drums on Usine Inhumaine while the rest of the arrangement has a sci-fi sound. Steel Mongoes has a tough funky sound and wouldn’t sound out of place as part of the soundtrack to a seventies cop show. By contrast Screw On has a ruminative sound, while Fluid Man bounds along as this glorious tough, funky sci-fi sousing track unfolds. Acid Feerique is a multilayered track where genres and influences are combined by Jacky Giordano and his band. They close side two and Philopsis with the title-track, which sounds not dissimilar to the music that featured on children’s cartoons from the late-seventies. Just like so many tracks on Philopsis, it has a cinematic quality and paints pictures in the mind’s eye.
Philopsis is a incredibly coherent album where Jacky Giordano and his tight, talented and versatile band fuse elements of funk, fusion, jazz, jazz-funk, library music as well as electronica, the soundtracks to early seventies Blaxploitation movies and Herbie Hancock’s classic album Headhunters. They’ve also been influenced by Brian Eno’s early solo albums and the music of Ennio Morricone, Jean-Jacques Perrey, Lalo Schiffrin and Nino-Nardini. When all these genres and influences are combined by Jacky Giordano, the result is Philopsis, which was his finest moment for Freesound.
Nowadays, Philopsis is one of the rarest library records of the seventies and is the perfect introduction to the library music recorded by the enigmatic musical maverick Jacky Giordano who during the seventies could do no wrong. Proof of that is Philopsis which is Jacky Giordano’s library music masterpiece and a genre classic.
Cult Classic: Philopsis.
CULT CLASSIC: NANCY PRIDDY-YOU’VE COME THIS WAY BEFORE.
Cult Classic: Nancy Priddy-You’ve Come This Way Before.
Nowadays, many people remember Nancy Priddy as an actress who appeared in Bewitched, The Waltons and Matlock and later, alongside her daughter Christina Applegate in the television series Married…With Children and the film The Sweetest Thing. However, other people remember Nancy Priddy as a singer-songwriter who in 1968, released her debut album You’ve Come This Way Before. It’s a captivating and enchanting album of psychedelic baroque-folk that nowadays, is regarded as a cult classic.
Nancy Lee Priddy was born to Katherine Iona Driggs and Carl Priddy on January the ’22nd’ 1941, in South Bend, Indiana. Growing up, music played an important in her life, and after graduating from high school Nancy Priddy studied liberal arts at Oberlin College, and eventually graduated from the Northwestern School of Drama.
After graduating, Nancy Priddy decided to embark upon a career in the theatre. Initially, she worked in cabaret but soon decided to change direction.
In 1964, Nancy Priddy headed to Greenwich Village where she joined the folk group The Bitter End Singers. She joined Bob Hider, Lefty Baker, Norris O’Neill, Tina Bohlmann and Vilma Vaccaro in The Bitter End Singers who later in 1964, were signed by Mercury.
Having signed to Mercury, The Bitter End Singers began work on their debut album. Discover The Bitter End Singers was released later in 1964. The followup Through Our Eyes was released by in 1965. However, following the release of their sophomore album Nancy Priddy decided to leave The Bitter End Singers and resume her acting career.
Having left New York, Nancy Priddy moved to Chicago, where she resumed her acting career and began writing her own songs. She entered the studio and recorded demos of some of these songs. It seemed Nancy Priddy was still interested in a musical career, and in 1967, she left the Windy City and returned to New York.
When Nancy Priddy returned to the Big Apple, Leonard Cohen was about to record his debut album and was looking for a backing vocalist. Nancy Priddy fitted the bill and contributed backing vocals on the classic album Songs Of Leonard Cohen. It was released later in 1967 and launched the career of Leonard Cohen.
Later in 1967, Nancy Priddy met Phil Ramone, who was an up-and-coming producer. At the end of the year, the pair began working on what became Nancy Priddy’s debut album You’ve Come This Way Before.
It featured ten tracks which Nancy Priddy penned with various songwriting partners. This included And Who Will You Be Then, You’ve Come This Way Before and Christina’s World with Everett Gordon. Bobby Whiteside and Nancy Priddy penned Ebony Glass, while she wrote Mystic Lady and Epitaph with John Simon. The other four songs We Could Have It All, My Friend Frank, O Little Child and On The Other Side Of The River were written by Nancy Priddy and Manny Albam. These tracks were recorded at A & R Studios, in New York.
Phil Ramone took charge of production, and three arrangers worked on the album. This included Everett Gordon who arranged Christina’s World and John Simon arranged Mystic Lady, We Could Have It All and Epitaph. Manny Albam arranged the rest of the tracks on You’ve Come This Way Before which featured some top musicians including drummer Bernard “Pretty” Purdie. When it was completed, it was released by the Los Angeles based Dot Records in late 1968.
When You’ve Come This Way Before was released, Dot Records did little to promote Nancy Priddy. After It was no surprise when Nancy Priddy’s debut album When You’ve Come This Way Before disappeared without trace.
That was a great shame as When You’ve Come This Way Before is a hidden gem of an album that has been rediscovered by critics and discerning record buyers. It’s a fusion of disparate musical genres, ranging from baroque-folk to folk and folk-rock to pop, pop-soul and psychedelia to underground music that sounded unlike anything else that was released in 1968.
Although Nancy Priddy had been a member of The Bitter End Singers and recorded with Leonard Cohen, with the help of producer Phil Ramone she seemed to have no preconceived ideas about an album should be recorded.
There’s an innocence and unworldly sound Nancy Priddy’s vocal as she delivers some of the lyrics on Ebony Glass. Sometimes, Nancy Priddy delivers lyrics that are lysergic and trippy and sometimes have a surreal quality. It’s like a musical equivalent of Alice In Wonderland. Other times, the lyrics are akin to a stream of consciousness and sometimes, the lyrics have a dream like quality. However, some songs on When You’ve Come This Way Before are full of symbolism. It’s a quite beautiful, intricate album where layers of music are combined by Nancy Priddy and her band.
They try new things and push musical boundaries to their limits, and sometimes beyond. To do this effects units were deployed including echo and ring modulators which add to the instruments and vocals on a number of tracks and add to the psychedelic sound on You’ve Come This Way Before.
Meanwhile, the arrangements are quite different from those on other albums released in 1968. Curveballs are thrown as the mood and time signatures change keeping the listener on their toes. It’s a case of expect the unexpected on an album that features everything from the lushest of strings to trumpets that sound as if they belong on a Bacharach and David session. It’s as if You’ve Come This Way Before is trying to appeal to fans of pop and psychedelia and everything in between. And no wonder.
You’ve Come This Way Before is a beautiful, captivating and enchanting album and will win the listener over after just one listen. Soon, it’ll become a firm favourite as the listeners try to decipher the lyrics on this hidden gem of an album. Sadly, it failed to find an audience upon its release in 1968, but fifty-two years later, and Nancy Priddy’s debut album You’ve Come This Way Before is regarded as a cult classic and belatedly, is starting to find the wider audience that it so richly deserves.
Cult Classic: Nancy Priddy-You’ve Come This Way Before.
CULT CLASSIC: BREAD, LOVE AND DREAMS-AMARYLLIS.
Cult Classic: Bread, Love and Dreams-Amaryllis.
When Scottish acid folk trio Bread, Love and Dreams appeared at the 1968 Edinburgh Festival, David McNiven, Angie Rew and Carolyn Davis had no idea that the concert was going to transform their lives. In the audience that night, was Ray Horricks, a Decca Records staffer, who nowadays, is credited with discovering Bread, Love and Dreams.
They already had a loyal local following and were regarded as one of Scotland’s up-and-coming groups. It was no surprised when Bread, Love and Dreams were signed by Decca Records and went on to release three albums between 1969 and 1971. Their swansong was Amaryllis.
Having signed to Decca Records, Ray Horricks took Bread, Love and Dreams to London, where they began work on their eponymous debut album. It featured mostly original material, apart from a cover of Artificial Light (Of All The Living Lies). The album was produced by Ray Horricks, with Ian Green writing, arranging and conducting the strings on Bread, Love and Dreams. Once the album was completed, it was scheduled for release in early 1969.
Bread, Love and Dreams.
Upon its release, Bread, Love and Dreams was well received by critics who noticed the similarities to another Scottish group who had influenced them, the Incredible String Band. On their eponymous debut album, Bread, Love and Dreams showcased their trademark acid folk sound on an album that featured several tracks with string arrangements. It was a carefully crafted album of acid folk that deserved to find a much wider audience. However, the problem was that there many other groups releasing similar albums and the album failed commercially.
This must have been a huge disappointment for the band given the quality of music on the album. Guitarist Carolyn Davis was so disappointed that she left the band. However, that wasn’t the only problem facing Bread, Love and Dreams.
After the commercial failure of Bread, Love and Dreams, Decca Records wanted to drop the band. However, Ray Horricks still believed in the band and went into back for them. This resulted in Bread, Love and Dreams being given a second chance by Decca Records.
Bread, Love and Dreams headed out on tour with Magna Carta and T Rex, and during their downtime wrote new material for their sophomore album. That wasn’t all.
During this period, Bread, Love and Dreams began working with the Traverse Theatre Group in Edinburgh. Their director Max Stafford wanted David McNiven to adapt one of the songs he had written , Mother Earth, for the stage. It was performed to critical acclaim first in Edinburgh and then London, before heading to Scandinavia, the Benelux countries and Spain. This was the break that Bread, Love and Dreams had been looking for.
The Strange Tale Of Captain Shannon and The Hunchback From Gigha.
In the summer of 1970, Bread, Love and Dreams entered the studio to record a new album. They were joined by guest artists including drummer Terry Cox, Pentangle’s double bassist Danny Thompson, bassist Dave Richmond and organist and pianist Alan Trajan. Over a five day period they managed to record enough material for two albums.
The reason that Bread, Love and Dreams recorded two album’s worth of material was that they were scared they were about to be dropped by Decca Records.
Despite having enough material for their next two albums, Bread, Love and Dreams briefly considered releasing a double album like the Incredible String Band’s Wee Tam and The Big Huge. However, eventually, Bread, Love and Dreams decided to release two more albums, the first being The Strange Tale Of Captain Shannon and The Hunchback From Gigha.
When Bread, Love and Dreams released their sophomore album The Strange Tale Of Captain Shannon and The Hunchback From Gigha in 1970, it was to critical acclaim. The album feature the epic title-track which sounded as if it had been influenced by the Incredible String Band and Sucking On A Cigarette, which featured former guitarist Carolyn Davis. She played a walk-on part on an album that could’ve transformed the fortunes of Bread, Love and Dreams.
Sadly, when The Strange Tale Of Captain Shannon and The Hunchback From Gigha was released it failed commercially. This was a disaster for the two remaining members of Bread, Love and Dreams, and frustrated executives at Decca Records decided to rush release third album, Amaryllis.
Amaryllis.
In a way, Bread, Love and Dreams decision to record enough material for two albums backfired as the group knew that Amaryllis was the stronger and best album of their career.
David McNiven had written the three-part title-track, Amaryllis, Time’s The Thief and Circles Of Night. He also penned My Stair-Cupboard At 3 A.M. with Lindsay Levy. The other track on the album was Brother John which was written by Angie Rew, a talented songwriter and multi-instrumentalist.
Vocalist Angie Rew played guitar and percussion on Amaryllis, while David McNiven played guitar and added vocals. Augmenting Bread, Love and Dreams were drummer Terry Cox, double bassist Danny Thompson, bassist Dave Richmond plus organist and pianist Alan Trajan. Just like the two previous albums, Amaryllis was produced by Ray Horricks and released in 1971.
In their haste to release Amaryllis in 1971, Decca Records made two massive mistakes. The first was failing to promote the album properly. While this didn’t necessary mean the album was doomed to failure, failing to press enough albums was.
Ironically, Amaryllis was released to widespread critical and was regarded as their finest hour. Despite this, the album failed to even match the sales of Bread, Love and Dreams’ first two albums. This was because Decca Records had failed to press enough copies of Amaryllis, which had the potential to launch Bread, Love and Dreams’ career. Sadly, it wasn’t to be.
Side one of the album is taken up with Amaryllis, an ambitious three-part suite. Part. 1: Out Of The Darkness and Into The Night has a dark, mysterious and ruminative sound. Despite being released in 1971, there’s a flower power sound. There’s also acid guitar and beautiful folksy harmonies from Angie Rew and David McNiven as the song blossoms and Bread, Love and Dreams move Out Of The Darkness and Into The Night. The centrepiece of the first side was Part 2: Zoroaster’s Prophecy, an eleven minute epic that was inspired by religion and philosophy. Several songs are weaved into one by Bread, Love and Dreams to create this lengthy, imaginative and mysterious piece of modern musical folklore. It’s without doubt the album’s highlight. Closing side one is Part 3: Light, a truly beautiful, heartfelt, romanic and emotive song. Much of the success of the song is because of the way Angie Rew and David McNiven blend combines and creates another of the album’s highlights.
Opening side two is Time’s The Thief, a lovely folk ballad which is driven along by an acoustic guitar. Although Bread, Love and Dreams were often influenced by the Incredible String Band, here there’s a nod to Fairport Convention’s Song No. 5. Another beautiful folk ballad is My Stair-Cupboard, which hints at Sandy Denny’s Fotheringay and Pentangle which starred Danny Thompson who plays double bass on Amaryllis. Then on the wistful and ruminative sounding Brother John the hugely Angie Rew’s heartfelt and soul-baring plays a starring role as she paints pictures with the lyrics. Closing Amaryllis is Circle of Night which is the most traditional sounding folk song on the album. It’s also uplifting and irresistible and closes this oft-overlooked hidden gem of an album on a high.
On Amaryllis, Bread, Love and Dreams and friends fuse elements acid folk, traditional folk and progressive folk on what’s an album of quite beautiful, cerebral, emotive and sometimes romantic music. These tracks were part of a vastly underrated album that when it was released in 1971 deserved to find a much wider audience.
Sadly, that wasn’t the case. Decca Records’ failure to promote Amaryllis properly and then their failure to press enough copies of the album is an object lesson in how not to release an album. Ironically, Amaryllis was regarded as Bread, Love and Dreams’ strongest and best album and had the potential to transform their careers from also rans to acid rock contenders. Alas, that wasn’t to be for the band who many critics thought were about to follow in the footsteps of the Incredible String Band.
Following Bread, Love and Dreams’ presentation at the Royal Court Theatre in Edinburgh, executives at Decca Records decided to drop the band. The three albums that Bread, Love and Dreams recorded for the label were written down as a tax write off. It was a sad end to a musical adventure that began just three years earlier in 1968 and promised so much. However, Bread, Love and Dreams kept their finest album until last and Amaryllis was an ambitious and critically acclaimed opus that nowadays is regarded as this acid folk cult classic.
Cult Classic: Bread, Love and Dreams-Amaryllis.
CULT CLASSIC: ART TAYLOR-A.T.’S DELIGHT.
Cult Classic: Art Taylor-A.T.’s Delight.
One of the most influential drummers in the history of jazz is Art Taylor, who was born in New York, on the ‘6th’ of April 1929, and as a teenager, played in a local Harlem-based band that featured pianist Kenny Drew and saxophonists Sonny Rollins and Jackie McLean. Each of these young musicians would enjoy a successful career in jazz, and record for Blue Note Records.
Art Taylor only released one album for Blue Note Records, A.T.’s Delight in 1960. It was was recently reissued and is a reminder of the man who “helped define the sound of modern jazz drumming,” Art Taylor.
In 1948, nineteen year old Art Taylor joined Howard McGhee’s band. This was akin to a musical apprenticeship as Art Taylor played alongside one of the first bebop trumpeters.
As the fifties dawned, Art Taylor joined Coleman Hawkins band. Just like Howard McGhee, the Hawk was an inventive and innovative musician who forged his own sound. Although Art Taylor was only the Hawk’s drummer until 1951, it was another learning experience.
Having left the Hawk’s employ, Art Taylor joined bebop clarinetist Buddy DeFranco’s band in 1952. He was regarded as the finest jazz clarinet player and once again, Art Taylor was playing alongside top musicians. However, a year later, he was on the move again.
Art Taylor joined jazz pianist Bud Powell’s band for the first time in 1953. By then, Bud Powell was a hugely influential musician who nowadays, is credited with being a leading figure in the development of modern jazz. Once again, Art Taylor who was still only twenty-four was learning from the best and made his recording debut in 1953. He would feature on twelve albums Bud Powell released between 1953 and 1958, including five for Blue Note Records. However, in 1954 Art Taylor moved on.
In 1954, Art Taylor playing in George Wallington and Art Farmer bands, before returning to Bud Powell’s employ in 1955. Still, Art Taylor was a member of George Wallington’s band until 1955.
That year, 1955, Art Taylor played on Elmo Hope and Frank Foster’s album Hope Meets Foster. This was the start of a prolific period when the recording studio became a second home for Art Taylor.
The following year, 1956, was an important year for Art Taylor. As sideman, he played on the first of eleven Red Garland albums released between 1956 and 1961, and the first of twelve Gene Ammons solo albums released during the same period. He also joined Jackie McLean for the first time, and played on nine albums released between 1956 and 1960. Prolific seemed to be Art Taylor’s middle name.
During 1956, Art Taylor could be heard on a number other albums. This included two albums released by Thelonious Monk; Matthew Gee’s Jazz By Gee; Kenny Burrell’s All Night Long; Horace Silver’s Silver’s Blue; Lee Morgan’s Introducing Lee Morgan and Donald Byrd and Art Farmer’s collaboration 2 Trumpets. Although Art Taylor was still only twenty-seven, he was quickly becoming the go-to drummer for many jazz mucicians given his talent, versatility and inventiveness.
Art Taylor had also joined Gigi Gryce in 1956, and featured on five albums released between 1956 and 1958. The same year 1956, he formed his own band Taylor’s Wailers and also joined Donald Byrd’s band. Art Taylor would spend six years touring and also recording with Donald Byrd between 1957 and 1963. By then, Art Taylor was a respected figure and always in demand as a sideman.
1957, was a significant year for Art Taylor, who was now working with some of the giants of jazz. He was touring with Thelonious Monk, and in 1957, featured on Miles Davis album Miles Ahead. Art Taylor was part of John Coltrane’s band and featured on thirteen albums released between 1956 and 1964. This meant that Art Taylor featured on 1958s Soultrane, 1959s Giant Steps and 1964s Bahia. However, Art Taylor played on many more albums during the late-sixties.
When jazz fans looked at the credits on a number of albums released during 1957, often the drummer was Art Taylor. He played on Kenny Burrell’s All Day Long and 2 Guitars; Paul Chambers’ Bass On Top; Sonny Clark’s Sonny’s Crib; Pepper Adams’ Baritones and French Horns; Milt Jackson’s Bags and Flutes; Thad Jones’ After Hours;Toots Thielemans’ Man Bites Harmonica; Ernie Henry’s Presenting Ernie Henry; Sahib Shihab’s Jazz Sahib; Julius Watkins; Clifford Jordon’s and Charlie Rouse‘s Les Jazz Modes and two releases by Lee Morgan’s City Lights and Candy. Art Taylor was also a member of The Prestige All Stars on Interplay For 2 Trumpets and 2 Tenors. By then, he was still just twenty-eight and had come a long way.
Art Taylor had also released his critically acclaimed debut album Taylor’s Wailers, on Prestige in 1957. He had spent the best part of a decade as sideman, and had stepped out of the shadows on Taylor’s Wailers.
Despite that, 1958 saw Art Taylor return to working as a sideman, dividing his time between live work and spending time in the studio. Just like the last few years, Art Taylor featured on a number of albums released during 1958. He continued to work with Gene Ammons, Donald Byrd, Gigi Gryce John Coltrane and Red Garland. Art Taylor played on Dorthy Ashby’s two albums In A Minor Groove and Hip Harp; Kenny Bureell’s Just Wailin’; Dizzy Reece’s Blues In Trinity and Louis Smith’s Here Comes Louis Smith. However, the following year 1959, saw Art Taylor turn his attention to his solo career.
That was despite being busy working as a sideman for a growing number of jazz musicians live and in the studio. However, Art Taylor played on Clark Terry’s Top and Bottom Brass; Lem Winchester’s Winchester Special; Oliver Nelson’s Meet Oliver Nelson; Tiny Grimes’ Tiny in Swingville; Benny Golson’s Gettin’ With It; Arnett Cobb’s Party Time; Walter Davis Jr’s Davis Cup and Jimmy Cleveland’s A Map of Jimmy Cleveland. The other album Art Taylor recorded in 1959 was his much-anticipated sophomore album Taylor’s Tenors.
Just like his 1957 debut album Taylor’s Wailers, Taylor’s Tenors featured two of Thelonious Monk’s compositions, Rhythm-A-Ning and Straight, No Chaser. The album also featured the Art Taylor composition Dacor. This was a first for Art Taylor, whose album was released to plaudits and praise just like Taylor’s Wailers. However, Taylor’s Tenors was the last album Art Taylor released for Prestige. His next album A.T.’s Delight was released on Blue Note Records.
As the sixties dawned, there was no letup for Art Taylor as he continued to divide his time between his solo career and his work as a sideman. Before recording his third solo album and Blue Note Records’ debut A.T.’s Delight, on the ‘6th’ of August 1960, Art Taylor worked on Arnett Cobb’s More Party Time and Movin’ Right Along; Kenny Dorham’s Showboat; Ken McIntyre’s Looking Ahead; Julian Priester’s Spiritsville; Charlie Rouse’s Takin’ Care Of Business ; Johnny “Hammond” Smith’s Talk That Talk and Lem Winchester’s Lem Beat and Duke Jordan’s Flight To Jordan on the ‘4th’ of August 1960.
A.T.’s Delight.
Two days after recording with Duke Jordan’s on his fourth album Flight To Jordan, Art Taylor and his band made their way to Van Gelder Studio, in Englewood Cliffs to record A.T.’s Delight.
Joining drummer Art Taylor were bassist Paul Chambers, pianist Wynton Kelly, trumpeter Dave Burns, tenor saxophonist Stanley Turrentine and conga player Carlos “Patato” Valdes. They recorded six tracks with producer Alfred Lion.
For A.T.’s Delight, Art Taylor wrote Cookoo and Fungi, while the other five tracks were cover versions. This included John Coltrane’s Syeeda’s Song Flute; Kenny Clarke and Thelonious Monk’s Epistrophy; Denzil Best’s Move and two Kenny Dorham compositions High Seas and Blue Interlude. These six recordings became Art Taylor’s third album and Blue Note Records’ debut A.T.’s Delight.
When A.T.’s Delight was released to widespread critical acclaim later in 1960, and was hailed as the finest album of Art Taylor’s career. It was as if everything he had done had been working towards this one album.
A.T.’s Delight opens with Syeeda’s Song Flute, which was a John Coltrane’s composition from Giant Steps that hardly anyone covered. It’s reinvented and reinvigorated by Art Taylor and his band who take the track in a new direction. Playing starring roles are solos by Dave Burns’ trumpet and Stanley Turrentine’s tenor saxophone while Paul Chambers pizzicato bass returns to the melody in this bright, percussive and uplifting epic.
There was no surprise when Art Taylor’s covered Monk’s Epistrophy, which was originally called Fly Rite. It’s an atonal 32-bar tune in ABCB-form, where each member of the band enjoys their moment in the sun and showcases their considerable skills. This includes Carlos “Patato” Valdes’ whose congas compliment the drums as the arrangement bounds along during this homage to one of Art Taylor’s heroes Thelonious Monk.
As Move unfolds, the tempo rises and rhythm section power the arrangement along. There’s no stopping Art Taylor and the band who ensure the track swings and then some. Playing a starring role is trumpeter Dave Burns who steals the show with a barnstorming and blistering solo.
High Seas is a relatively simple but extremely effective 32 bar minor key theme. It finds Art Taylor’s drums and Paul Chambers bass power the pulsing arrangement along on this dark, bluesy and ruminative sounding track.
Cookoo and Fungi is the only Art Taylor composition on the album. When it eventually unfolds, it bristles with nervous energy before morphing into a calypso during the main theme. It’s akin to a trip on a musical roller coaster where it’s a case of expect the unexpected from Art Taylor and his band.
Closing A.T.’s Delight is the second Kenny Dorham composition Blue Interlude. It’s has a spacious arrangement that breezes along and later becomes dark and moody but still swings as this all-star band showcase their skills one last time.
A.T.’s Delight was the third of five albums that Art Taylor released during a career that spanned forty-seven years. For much of that time, Art Taylor was content to be a sideman and worked with the great and good of jazz. However, when he took centre-stage on his first three solo albums they’re a reminder of one of the best and most influential and inventive jazz drummers. Proof of that can be found on A.T.’s Delight, where Art Taylor comes of age as a solo artist on a flawless and truly timeless album that was the finest of his career.
Cult Classic: Art Taylor-A.T.’s Delight.
CULT CLASSIC: LOCOMOTIVE-WE ARE EVERYTHING YOU SEE.
Cult Classic: Locomotive-We Are Everything You See.
By 1965, all over Britain, new groups were being founded every day. They had watched as The Beatles and the rest of the British Invasion groups took America by storm. The new groups watched enviously, hoping and dreaming that one day soon, they would be signed by a record label.
For many of these groups, they would’ve been happy to release even one single. It would be something to show the grandchildren in the future.
Others groups however, wanted more than that. While they recognised the importance of singles, they wanted to make a statement musically, and the only way to do that was by releasing an album. They could also explore and fuse different musical genres and experiment musically. Birmingham-based Locomotive did all this on their 1970 debut album We Are Everything You See. However, the story begins five years earlier in 1965.
That was when the group the Kansas City Seven was founded in Birmingham, England, by trumpeter Jim Simpson and singer Danny King, drummer Mike Kellie, bassist Pete Allen, organist Richard Storey and saxophonists Chris Wood and Brian “Monk” Finch. They had all been members of other local bands before joining forces in the Kansas City Seven.
Initially, the new group played a variety of music including jazz. However, when they started to play more R&B and soul and less jazz, they changed their name to The Locomotive. That was when the group started to gain a reputation for their live performances. However, as is often the case with new bands, The Locomotive’s started to change.
By the end of 1966, Chris Wood had left to join Steve Winwood, Dave Mason and Jim Capaldi in Traffic. Danny King, Mike Kellie, Pete Allen, Richard Storey and Brian “Monk” Finch all left The Locomotive. Jim Simpson was the only original member of the group.
During this period, new arrivals included drummer “Mooney” Mezzone, bassist Jo Ellis, keyboardist Norman Haines and saxophonist Bill Madge. The arrival of Norman Haines was particularly important to the development of The Locomotive.
Norman Haines had worked in a record shop in Smethwick, a district of Birmingham, where he developed an interest in ska. He also filled the void after vocalist Danny King’s departure from the group. For The Locomotive this was the start of a new era.
By 1967, The Locomotive had signed to the Direction label and had recorded their debut single Broken Heart, which was written by Norman Haines. Tucked away on the B-Side was a cover of Dandy Livingstone’s Rudy-A Message To You which twelve years later in 1979, gave The Specials a hit single. That was still to come.
Before that, Broken Heart was released by The Locomotive and their debut single gave them a hit single in 1967. This could’ve launched the group’s career.
In 1968, Jim Simpson left the group and became The Locomotive’s manager. He also setup a new record label Big Bear Records. This wasn’t the end of the changes in changes in lineup.
Bassist Jo Ellis was replaced by Mick Hincks, while drummer “Mooney” Mezzone left and his replacement was Bob Lamb. The final change in personnel was the addition of Mick Taylor who replaced Jim Simpson who was now The Locomotive’s manager.
It was also at this time that The Locomotive decided to shorten their name to Locomotive. They also signed to Parlophone Records, and it was full steam ahead for Locomotive.
Their sophomore single was another Norman Haines composition, Rudi’s In Love. When it was released in late 1968, it reached twenty-five in the UK charts and gave the group another hit single. Executives at Parlophone Records wanted to build on the momentum, and work began on Locomotive’s debut album.
The majority of the album was written by the band. Mick Hincks penned Rain, Mick Taylor wrote Now Is The EndThe End Is When and Overture was written by Nigel Phillips who cowrote Nobody Asked You To Come, A Day In Shining Armour and The Loves Of Augustus Abbey-Parts One, Two and Three with Norman Haines. He also contributed Mr. Armageddon, Lay Me Down Gently, You Must Be Joking and Times Of Light And Darkness. They were joined by covers of the United States Of America’s Coming Down and Love Song For The Dead Che on what would eventually become We Are Everything You See.
By the time recording took place at Abbey Road Studios, with producer Gus Dudgeon, Locomotive had changed direction musically and were playing progressive rock. This was based around Norman Haines’ keyboard skills. We Are Everything You See was going to be a very different album than their first two singles.
As the recording began, Locomotive’s lineup featured drummer and percussionist Bob Lamb, bassist Mick Hincks who added backing vocalist and sang the lead on Rain. Norman Haines took charge of the rest of the lead vocals and played harpsichord, mellotron, organ and piano. Horns came courtesy of trumpeters Mick Taylor and Henry Lowther plus tenor saxophonists Bill Madge, Chris Mercer, Dick Heckstall-Smith and Lyn Dobson plus trumpeter Henry Lowther. While the completed album saw Locomotive move in the direction of progressive rock, there were also elements of progressive folk, psychedelia, soul and a good deal of jazz, especially the changes in tempo. Executives at Parlophone Records were in for a surprise when they heard We Are Everything You See.
That’s the case from the album opener Overture, a cinematic and symphonic sounding track that is a tantalising taste of what’s to come. This includes the dramatic sounding Mr. Armageddon. The drama comes courtesy of the vocal, washes of organ and sweeping, swirling string. Horns add to to the drama in We Are Everything You See, a lysergic, progressive rock track where effects are used effectively by Locomotive and producer Gus Dudgeon. Then Lay Me Down finds Locomotive seamlessly switching between rock and jazz, while there’s a progressive folk sound to Nobody Asked You To Come. Closing side one is You Must Be Joking, a carefully crafted, melodic and memorable genre-melting track which is one of the highlights of the album.
Elements of progressive rock, jazz and even R&B can be heard on A Day In Shining Armour, where Locomotive showcase their versatility and ability to switch between and fuse disparate genres. This they continue to do on The Loves of Augustus Abbey, Parts 1-3 which features on side two. Unlike other similar suites, it’s broken up by other tracks including the wistful and ruminative sounding Rain which features Mick Hincks only lead vocal. There’s also a “suite” of United States Of America’s Coming Down and Love Song For The Dead Che which later featured on several progressive compilations. Closing the album was the lysergic and anthemic rocker Times Of Light and Darkness which closes this hidden gem of an album on a high.
It was a very different album to the one executives at Parlophone Records expected. So much so, that when they heard it, they decided to delay the release of the album. This was a huge disappointment for the group.
It also caused a great deal of uncertainty and Parlophone Records decided that Locomotive should record a cover of Question Mark and the Mysterians’ I’m Never Gonna Let You Go. When it was released later in 1969, it sunk without trace. Things then went from bad to worse.
Keyboardist Norman Haines left the group later in 1969. He was then asked to join Black Sabbath, but turned down the chance and formed the Norman Haines Band. This wasn’t his best decision, and Locomotive had lost one of its creative forces.
Later in 1969, Mr. Armageddan was released as the lead single from We Are Everything You See. However, just like Locomotive’s previous single it failed to trouble the charts. This didn’t augur well for the release of their debut album.
As the seventies dawned, We Are Everything You See was belatedly released in early 1970. While the album was well received by critics who appreciated Locomotive’s new and more sophisticated sound, their fans weren’t won over by it. They preferred the group’s previous R&B sound and the album failed commercially. For Locomotive this was another disaster and spelt the end of the line for that lineup of the group.
After the release of We Are Everything You See most of the group left. Only Mick Hincks and Bob Lamb remained and tried to continue Locomotive with two new members John Caswell and Keith Millar. The new lineup released one more single a Locomotive, Roll Over Mary.
Later in 1970, Locomotive was no more, after group as renamed as The Dog That Bit People. The new band released their eponymous debut album in 1971, but spilt up later that year.
Fifty years after the release of We Are Everything You See, Music Box has rereleased Locomotive’s only album on vinyl. For too long it was an oft-overlooked album, but nowadays We Are Everything You See is starting to receive the recognition this progressive cult classic deserves.
It’s not just an album of progressive rock. We Are Everything You See also features elements of progressive folk, psychedelia, R&B, soul and jazz. Throughout the album Locomotive switch between and fuse disparate genres and seamlessly change tempo on an album where the vocals are impassioned, emotive and sometimes sound almost tormented. It’s a captivating album and a reminder of one of the great lost British groups of the late-sixties and early seventies. Sadly, their star only was shining brightly for only a short period of time. We Are Everything You See is a reminder of Locomotive, a tight, talented and versatile band whose music on what was an album of ambitious, imaginative and innovative music that features a band at the peak of their powers when their star was shining at its brightest.
Cult Classic: Locomotive-We Are Everything You See.
CULT CLASSIC: PAVLOV’S DOG-PAMPERED MENIAL.
Cult Classic: Pavlov’s Dog-Pampered Menial.
In the history of progressive rock, Pavlov’s Dog’s 1975 debut album Pampered Menial is regarded as a genre classic. That was despite the album’s commercial failure. It was released initially by ABC-Dunhill. The initial commercial failure was totally unexpected as the label had given Pavlov’s Dog a large advance which was thought to be in the region of $650,000. For everyone concerned this wasn’t just disappointing, it was a disaster.
Pavlov’s Dog was a big signing for ABC-Dunhill who thought that the group’s debut album Pampered Menial was going to be a commercial success. They were regarded as rising stars of the progressive rock scene, and had come a long way in just three years.
The Pavlov’s Dog story began in St. Louis, Missouri, in 1972, but how the band came into being is disputed. Mike Safron claims that he and Siegfried Carver founded the band. However, the other version of the story is that after the demise of a local covers band High On A Small Hill, which featured vocalist and guitarist David Surkamp and bassist Rick Stockton, Pavlov’s Dog was formed. By 1973, they were joined by drummer and percussionist Mike Safron, guitarist Steve Levin, keyboardist David Hamilton and flautist Doug Rayburn who also played mellotron. This was the first lineup of the Pavlov’s Dog.
Within a year, there was a change in the group’s lineup when Steve Levin left and was replaced by lead guitarist Steve Scorfina, who previously, was a member of REO Speedwagon. This new lineup headed to a studio in Pekin, Illinois.
That was where Pavlov’s Dog recorded a number of songs that they had written. When they listened to them, it wasn’t a case of the tracks having potential, the band felt they were good. So did executives at ABC-Dunhill Records.
When they heard the recordings, they wanted to sign Pavlov’s Dog and were willing to pay a hefty price. This was thought to be around $650, 000 a not inconsiderable amount of money in the mid-seventies. It was no surprise when Pavlov’s Dog signed on the dotted line.
Like many groups who are signed by a label, they had already written what they thought would be part of their debut album. However, despite having liked the songs Pavlov’s Dog had already recorded only some of them made it onto the album.
It featured nine songs, including Julia, Fast Gun, Theme From Subway Sue, Episode and Of Once and Future Kings which were penned by David Surkamp who cowrote Late November with Steve Scorfina. He also contributed Natchez Trace and Mike Safron penned Song Dance and Siegfried Carver wrote Preludin. These nine songs were produced by Sandy Pearlman and Murray Krugman who had worked with Blue Oyster Cult. When the album was completed, the release was scheduled for the spring of 1975.
Pavlov’s Dog’s much-anticipated debut album Pampered Menial was released on April the ‘4th’ 1975, it featured that distinctive cover, which featured engravings by Sir Edwin Landseer. By then, he had been dead for almost one hundred years and a new generation were discovering his work.
Mostly, critics were won over by Pampered Menial and it received plaudits and praise. Some critics disliked the band, and one reason was David Surkamp’s voice. It seemed to divide the opinion of critics. Despite this, executives at ABC-Dunhill thought they had a successful album on their hands.
When Pampered Menial was released it failed to even trouble the charts. To make matters worse, Pampered Menial Siegfried Carver left the band just after the release of the album. What happened next was unusual.
In mid-June 1975, Pampered Menial was reissued by Columbia with a slightly different sleeve. The album entered the lower reaches of the charts, and stalled at a lowly 181 in the US Billboard 200. Pampered Menial wasn’t the commercial success that executives hoped although Julia gave the group a minor hit in Australia when it reached seventy-nine.
Forty-six years after Pampered Menial’s release in 1975 and the album is regarded as a cult classic. It finds Pavlov’s Dog fusing elements of progressive rock, hard rock and art rock. They were a tight, talented and versatile band and Pampered Menial is proof of it. Each of the mucicians were master craftsmen and David Surkamp’s inimitable vocal was unlike the majority of progressive rock vocalists. He and the rest of Pavlov’s Dog showcase their considerable talents on Pampered Menial.
Seamlessly, Pavlov’s Dog switch between a variety of songs on Pampered Menial. They open the album with the instrumental Julia, which gave them a minor hit single in Australia. It gives way to the beautiful, emotive sounding instrumental Late November and then the hard rocking Song Dance. Fast Gun features an impassioned vocal from David Surkamp as the rest of the band combine to create one of the finest arrangements on the album. Then Natchez Trace which closes the first side, is a beautiful, melodic and sometimes haunting and dramatic song.
Opening side two is Theme From Subway Sue where blasting guitars give way to a piano and David Surkamp’s trademark vocal. It’s a mixture of power, passion and emotion on this anthemic track. The quality continues on Episode which gradually reveals its secrets and showcases Pavlov’s Dog’s considerable talents and another highlights of the album. Preludin is a stunning progressive rock instrumental and one of the album closer Of Once And Future Kings is one of the most ambitious tracks on Pampered Menial.
Although Pampered Menial wasn’t a commercial success upon its release in 1975, the album eventually started to find the wider audience it deserved. Gradually, fans of progressive rock discovered the delights of the album that should’ve launched Pavlov’s Dog’s career. Nowadays, this once lost album is regarded as a genre classic and in retrospective reviews is getting the critical acclaim it deserves.
No wonder, Pavlov’s Dog were like musical master craftsmen on their debut album Pampered Menial. The members of Pavlov’s Dog successfully combined an esoteric mixture of instruments to create a carefully crafted cult classic that forty-six years after its release, is best described as an ambitious and timeless progressive rock opus.
Cult Classic: Pavlov’s Dog-Pampered Menial.
CULT CLASSIC: STANLEY TURRENTINE-COMIN’ YOUR WAY.
Cult Classic: Stanley Turrentine-Comin’ Your Way.
When bandleader and saxophonist Stanley Turrentine entered Van Gelder Studio, Englewood Cliffs, in New Jersey on January the ’20th’ 1961, he was twenty-six and about to record what would eventually become Comin’ Your Way. It was the third time he had made this journey since he had signed to Blue Note Records.
The first time was just a month earlier, in December 1960, when he completed the recording Blue Hour, a collaboration between Stanley Turrentine and The Three Sounds. It had been recorded during two sessions in 1960, and was scheduled for release during March 1961. This album he was about to record would be released later in 1961. Or so Stanley Turrentine thought.
Sadly, that wasn’t the case and the release of Comin’ Your Way was postponed at the last minute. In its place, Up At “Minton’s”, a live album that was recorded at the famous Harlem venue, just one month after the Comin’ Your Way session. This came as a surprise to Stanley Turrentine and must have been disappointing and frustrating. However, he had still released his debut solo album on the legendary Blue Note Records. Surely it was only a matter of time before Comin’ Your Way was released?
Little did Stanley Turrentine realise that seventeen years would pass before the tracks on Comin’ Your Way were eventually released in 1978 by Blue Note Records as part of the Jubilee Shouts’ compilation. By then, he was signed to Fantasy Records and changed direction musically. However, Comin’ Your Way was a reminder of Stanley Turrentine as he blossomed as a bandleader and tenor saxophonist.
Now forty-two years later, Blue Note Records have reissued Comin’ Your Way as part of their Blue Note Tone Poet Series and is a 180 gram audiophile LP. It’s a welcome reminder of the late, great Stanley Turrentine who nowadays, is recognised as one of the great tenor saxophonists.
Stanley William Turrentine was born on April the 5th 1934, Pittsburgh, Pennsylvania and grew up in a musical family in the Hill District. His father Thomas Turrentine, Sr, was a saxophonist with Al Cooper’s Savoy Sultans, while his mother played piano and Stanley’s elder brother Thomas became a professional trumpeter and in January 1961, played on Comin’ Your Way. That was in the future.
When Stanley Turrentine started out, he wasn’t playing jazz. Instead, he was a member of various blues and R&B bands. However, his main influence was jazz tenor saxophonist, Illinois Jacquet who is remembered for his solo on Flying Home, which nowadays, is regarded as the first ever R&B saxophone solo. He wrote his name into musical history and later, so would Stanley Turrentine.
During the fifties, Stanley Turrentine was a member of Lowell Fulson and Earl Bostic‘s bands. However, when he joined Earl Bostic‘s band he was literally standing in the shadow of a giant as he replaced John Coltrane in 1953. Stanley Turrentine was also a member of pianist Tadd Dameron’s band during this period. Then in the mid-fifties Stanley Turrentine was drafted.
During his time serving his country, Stanley Turrentine received the only formal musical training he ever had. When he left the US Army in 1959 he was a much more complete musician.
Upon leaving the military, Stanley Turrentine joined Max Roach’s band. He featured on four albums by the jazz drummer including 1959s Moon Faced and Starry Eyed, 1960s Quiet As It’s Kept and Parisian Sketches plus 1964s Long as You’re Living. However, when Stanley Turrentine wasn’t working with Max Roach he was in constant demand as a sideman.
Another album he played in during 1959 was Abbey Lincoln’s Abbey Is Blue. This was just the start of prolific period for Stanley Turrentine, who by then, had met his future wife.
As the new decade decade dawned, Stanley Turrentine married organist Shirley Scott in 1960, and the pair often played and recorded together. He accompanied his new wife on nine albums between 1961 and 1978. However, there was no sign of Shirley Scott when Stanley Turrentine recorded his debut album.
In 1960, he signed to Blue Note Records and on June the 16th recorded the six tracks with drummer Al Harewood, bassist George Tucker and pianist Horace Parlan that became Look Out! It was a recording of traditional bop which was quite different from his later bluesy, soul-jazz outings. However, his debut was well received by critics who were impressed by the power, clarity and sweet and articulate album where Stanley Turrentine played within himself. Look Out! was a sign of what was to come from Stanley Turrentine.
Apart from recording his debut album Look Out! in 1960, Stanley Turrentine recorded Blue Hour, a collaboration with and The Three Sounds. It was recorded on June the ‘29th’ and December ‘16th’ 1960 at Van Gelder Studio, Englewood Cliffs, in New Jersey.
That was also where hard bop and post bop pianist Horace Parlan recorded his album Speakin’ My Piece on July the ‘14th’ 1960. It was just one of a number of albums Stanley Turrentine played on during 1960. These albums were released during 1961.
As 1961 dawned, Stanley Turrentine journeyed to Van Gelder Studio, Englewood Cliffs, in New Jersey on January the ’20th’ 1961 to record his sophomore album Comin’ Your Way.
It featured six tracks including Dorothy Fields and Albert Hague’s My Girl Is Just Enough Woman For Me; Yip Harburg and Arthur Schwartz’s Then I’ll Be Tired of You; Leon Mitchell’s Fine L’il Lass; George and Ira Gershwin’s Someone to Watch Over Me and Wild Bill Davis’ Stolen Sweets. While Stanley Turrentine didn’t write any of the tracks on Comin’ Your Way, his brother Tommy contributed Thomasville and joined the band.
Just like in his debut album, tenor saxophonist Stanley Turrentine was joined by drummer Al Harewood, bassist George Tucker and pianist Horace Parlan.The addition of his brother Tommy Turrentine on trumpet meant Comin’ Your Way was a quintet recording.
The session was engineered and ran by Rudy Van Gelder with Alfred Lion producing Comin’ Your Way. It found Stanley Turrentine moving away from the traditional bop of his debut album towards a bluesy soul-jazz sound.
Comin’ Your Way opens with a pliant and swinging version of My Girl Is Just Enough Woman For Me. While the rhythm section of drummer Al Harewood and bassist George Tucker create a jolting groove, Stanley Turrentine takes centrestage when he plays the main melody with an expressiveness and a smoothness that many of contemporaries would be envious of. However, he’s not finished and raises the bar with a solo that twists and turns. Then like any good bandleader, Stanley Turrentine lets other band members showcase their skills. This includes hs brother Tommy on trumpet and pianist Horace Parlan on this breathtaking opener.
Many people will know and love Ella Fitzgerald’s version of Then I’ll Be Tired of You. After one listen to the quintet’s cover that will be the case here. Tommy Turrentine takes centrestage before the baton passes to his brother and bandleader Stanley. Just like on his debut album he plays within himself, playing tender and emotively. When Tommy returns he ads to the sense of melancholy before later, the two horns combine on this beautiful, wistful, late night ballad.
There’s almost a subdued sound to Fine L’il Lass before Stanley Turrentine’s plays his a soulful saxophone solo. Later, George Tucker plays his only bass solo on the album. By then, this soulful track is starting to reveal its secrets, and is swinging.
Thomasville was penned by the older of the Turrentine brothers and is a blistering, driving slice of hard bop. Drummer Al Harewood drives and powers the arrangement along and also adds some swing. When it’s time for the solos it’s Stanley Turrentine whose up first and then his brother Tommy. It’s then time for Horace Parlan to steals the show with an uber funky piano solo, before Al Harewood enjoys a brief moment in the sun. Just like on the album opener, Stanley Turrentine allows his band the opportunity to shine on this hard bop opus.
Very different is the Gershwin’s standard Someone To Watch Over Me. It’s another beautiful, emotive ballad where Stanley Turrentine mournful, melancholy tenor saxophone plays a starring role. It’s soul-baring sound is accompanied by the rhythm section who take great care to play within themselves. In doing so, they play their part in a breathtakingly beautiful version of a much-loved jazz standard.
Closing Comin’ Your Way is Stolen Sweets which was written by R&B organist Wild Bill Davis. Following what’s akin to a fanfare, the Turrentine brothers lock horns as they play a series of ascending melodies. Then Tommy Turrentine drops out and leaves his younger brother to showcase his considerable talents as he plays an emotive and impassioned bop-tinged solo. Although Comin’ Your Way was only his sophomore album, Stanley Turrentine was determined to close the album on a high and does so.
After Stanley Turrentine and his band recorded Comin’ Your Way in January 1961, the twenty-six year old bandleader must have been looking forward to what was a breathtaking album of soul-jazz with diversions via hard bop and balladry. Here was an album that showcased the considerable talents of Stanley Turrentine and his band. They had accompanied him on his debut album with the exception of his brother Tommy, and he proved to be the missing piece of the jigsaw.
Tommy Turrentine could prove the perfect accompaniment for his brother, and other times was the perfect foil. Sometimes, he spurred his younger brother on to even greater heights and helped bring out the best in Stanley Turrentine. While he had been playing professionally for a while, he was relatively inexperienced as a bandleader and solo artist. Maybe having his elder brother beside him in the studio brought out the best in him. Stanley Turrentine playing is almost flawless on Comin’ Your Way and why executives at Blue Note Records decided to shelf the album at the last moment seems strange?
In its place, Up At “Minton’s”, a live album that was recorded at the famous Harlem venue, just one month after the Comin’ Your Way session was released by Blue Note Records later in 1961. The album was a success, and Up At “Minton’s” Volume 2 followed later in 1961. This allowed executives at Blue Note Records to argue that their decision to shelf Comin’ Your Way was vindicated. That is debatable as it may have been a much more successful album than Up At “Minton’s” and could’ve transformed Stanley Turrentine’s nascent solo career.
He spent the rest of the sixties signed to Blue Note Records and released albums of the quality of Hustlin’, Easy Walker, The Spoiler and The Look Of Love. Then as the seventies dawned, Stanley Turrentine left Blue Note Records.
In 1970 Stanley Turrentine signed to Creed Taylor’s CTI Records and changed direction musically. He recorded a series of albums of fusion including one of his finest outings Sugar which was released in 1970.
The following year 1971, Stanley Turrentine and Shirley Scott divorced after eleven years of marriage. Sadly, this talented couple never recorded another album together.
Following his divorce, Stanley Turrentine continued to record for CTI Records and released several critically acclaimed album. This included Salt Song, Cherry with Milt Jackson and Don’t Mess With Mister T. Then in 1974, Stanley Turrentine left CTI Records and signed for Fantasy Records. It was the end of an era.
Just like his time at Blue Note Record and CTI Records, Stanley Turrentine was prolific during his time at Fantasy Records. He released nine albums between 1974 and 1980 which encompassed a variety of styles. These albums were orchestrated by the likes of Gene Page and featured an all-star group. Despite that, the albums received mixed reviews, with some of the negative reviews often unwarranted. The Fantasy Records’ years weren’t as successful as Stanley Turrentine’s time at Blue Note Record and CTI Records.
In 1978, Comin’ Your Way was discovered in the Blue Note Records’ vaults and belatedly released as part of the Jubilee Shouts’ two LP compilation in America.
Another nine years passed before Comin’ Your Way was released on LP and CD by Blue Note Records in 1987. It was a case of better late than never. At last, record buyers were able to hear Stanley Turrentine’s stunning, mythical lost album of soul-jazz, hard bop and beautiful ballads which had the potential to transform his nascent solo career if it had been released in 1961.
Cult Classic: Stanley Turrentine-Comin’ Your Way.
CULT CLASSIC: PHAROAH SANDERS-WELCOME TO LOVE.
Cult Classic: Pharoah Sanders-Welcome To Love.
By the time Pharoah Sanders began recording Welcome To Love on the ‘17th’ of July 1990, at Studio Gimmick, Yerres, France, the American saxophonist and pioneer of free jazz was fifty, and was signed to the Dutch independent label, Timeless Records.
Pharoah Sanders debut for his new label was Moon Child, a much more traditional jazz album which featured ruminative and contemplative sounding tracks and was released in 1989. This was very different to the albums of blistering avant-garde and free jazz which feature his overblowing, harmonic, and multiphonic techniques. While this might not have pleased his longterm fans, Moon Child was a much more accessible album that had the potential to introduce Pharoah Sanders’ music to newcomers.
So had the followup, Welcome To Love, which was a similar sounding album. It was recorded by the quartet Pharoah Sanders led during three days in July of 1990. This was the latest chapter in the story of Pharoah Sanders’ career.
Born Farrell Sanders, in Little Rock, Arkansas, in October 1940, Pharoah Sanders’ career began in Oakland, California. That’s where the tenor saxophonist made his professional debut, playing in local blues and R&B bands. It’s also where Pharoah developed and honed his distinctive style. However, as the fifties drew to a close, Pharoah Sanders wanted to widen his horizons and headed to New York.
Initially, his time in New York wasn’t the happiest of his life. He was homeless, reduced to sleeping on the streets, under stairs or just about anywhere warm and dry. With his clothes reduced to rags, many a lesser man would’ve headed home. However, Pharoah Sanders wasn’t about to give up on his dream of making a living as musician. His persistence paid off when he met another Sun Ra.
Not only did Sun Ra give him a place to stay and bought him some new clothes, but brought him into his band. This was just the start of Pharoah Sanders’ career. Then in 1964, Pharoah Sanders released his debut album Pharoah’s First, on ESP Disk. A year later, he joined John Coltrane’s band where he came to the attention of a much wider audience.
It was during the two years he spent as a member of John Coltrane’s band, that he perfected his sheets of sound technique. Pharoah Sanders was best known for his overblowing, harmonic and multi-phonic techniques and was the perfect addition to John Coltrane’s band.
He played on albums like Ascension, Meditation and Om and playing alongside ‘Trane was a musical apprenticeship worth its weight in gold. Sadly, John Coltrane’s career was cut short, when he died in July 1967, aged just forty. Having learnt from the master, Pharoah Sanders returned to his solo career.
During his time playing with John Coltrane, Pharoah Sanders had released two solo albums, 1965s Pharoah and 1966s Tauhid, which his debut for Impulse!. It was at Impulse! where he released the best music of his career. Just like before, Pharoah Sanders split his time between his solo career and accompanying some of the giants of jazz. Among the artist he accompanied, were Alice Coltrane, McCoy Tyner and Don Cherry, and collaborated with Terry Callier, Sun Ra and Ornette Coleman. Between 1969 and 1974, Pharoah Sanders was prolific as he divided his time between his solo career and working as sideman.
In 1969, Pharoah Sanders recorded an album for the Chicago-based. This was Izipho Zam (My Gifts), which wasn’t released until 1973. By then, Pharoah Sanders had released some of the best music of his career during the Impulse! Years.
The Impulse! Years.
Karma.
Having signed to Impulse!, Pharoah Sanders released Karma, an album of spiritual jazz in May 1969. It found the pioneering saxophonist fusing avant-garde, free jazz, Indian and African music on album that was called innovative and progressive.
Jewels Of Thought.
So was Jewels Of Thought, which was released by Pharoah Sanders in October 1969. It featured an all-star band that included Leon Thomas, Lonnie Liston Smith, Cecil McBee and Idris Muhammad, and is an oft-overlooked album in Pharoah Sanders’ back-catalogue. This was the last album he released during the sixties, and as the seventies dawned, he continued to create groundbreaking music and push musical boundaries to their limits.
Summun Bukmun Umyun.
1970 saw Pharoah release one of his most ambitious and spiritual albums. Summun Bookman Umyun or Deaf Dumb and Blind, was influenced by African music. The album is an exploration of faith, spiritual truth and enlightenment. Deaf Dumb and Blind are the “non-believers,” those who have rejected faith. Joining Lonnie Liston Smith and Cecil McBee were Gary Bartz and Woody Shaw. They played their part in what critics called an ambitious album of spiritual music.
Thembi.
Sadly, critics didn’t say the same thing about the followup, Thembi, which is an underrated album and one of three Pharoah Sanders released during 1971. It was a quite different album to his previous albums. Gone were the lengthy jams which were replaced by shorter much more concise tracks that were breezy and uptempo. Pharoah Sanders and his band played an eclectic selection of instruments as they fused avant-garde, experimental music and free jazz during the two recording sessions.
This resulted in the criticism that Thembi didn’t flow, and instead, seemed like parts of two albums. That was unfair as Thembi which was a transitional album for Pharoah Sanders as he tried new instruments and techniques. However, one thing never changed, and that was that the music was inventive and captivating, just like on previous albums. So was the other album he released during 1971, Black Unity.
Black Unity.
When Black Unity was released in December 1971, it marked the end of era as Pharoah Sanders decided to change tack. He decided to innovate rhythmically and concentrated on the groove.
To do this, he brought onboard younger musicians, who could fuse Afrobeat, funk, free jazz, avant-garde and experimental music during a thirty-seven minute track. His front line played their part in what was heralded as an innovative as they pushed musical boundaries to their limits, sometimes, even way beyond. The result was a musical melting pot, that produced a mesmeric, hypnotic, genre-melting, groove-laden album that was one of Pharoah Sander’s finest albums. Despite this, in 1972, he returned briefly, returned to being a sideman and released two more albums.
Pharoah Sanders had featured on Alice Coltrane’s 1971 album Journey In Satchidanada. A year later, in 1972, he returned and played on the followup Ptah, The El Daoud which was released to critical acclaim. Meanwhile, Pharoah Sanders solo career continued.
Live At The East.
When Pharoah Sanders played at The East, in New York, in 1971, he was joined by an all-star band that included Stanley Clarke, Cecil McBee and Norman Connors. As the band took to the stage the tapes were running as they ran through Healing Song, Memories Of J. W. Coltrane and Lumkil during a forty-three minute set. It was an impassioned performance that was released to critical acclaim in 1972.
Wisdom Through Music.
The other album Pharoah Sanders release during 1972 was Wisdom Through Music. It was well received by critics, who thought that this golden period that Pharoah Sanders was enjoying would continue for the foreseeable future. How wrong they were.
In 1973, Pharoah Sanders left Impulse! after recording and releasing some of the best music of his career.
Love In Us All.
This included Love In Us All, which was released during 1972 and 1973, and included two extended, groundbreaking compositions Love Is Everywhere and To John. They were an aural representation of the way Pharoah Sanders believed that his music divided the opinion of critics and connoisseurs of jazz. When the album was released it was to plaudits and praise, unlike the other album Pharoah Sanders released during 1973.
Village Of The Pharoahs.
This was Village Of The Pharoahs which was recorded at sessions held during 1971, 1972 and 1973. When its was released in 1973, critics felt there wasn’t the same spontaneity as previous album and the music failed to flow. Critics wondered why? Some wondered if it was because the album featured a new band? Others wondered if its was because he played tenor saxophone on one track? For the rest of the album he played soprano saxophone, and added some vocals on Village Of The Pharoahs. Although critics regraded it as a disappointing album compared to previous releases, they thought that stylistically, it was like a return to his earlier albums. It was the penultimate album that Pharoah Sanders released on Impulse!.
Elevation.
Pharoah Sanders’ swansong for Impulse! was Elevation, which was released in 1974. It was a fusion of Afrobeat, avant-garde, free jazz, post bop and progressive jazz and although it was well received, Elevation didn’t receive the same critical acclaim as previous albums. Part of the problem was free jazz was no longer as popular and was perceived as yesterday’s music. With musical tastes changing, record buyers missed out on an ambitious, bold, innovative and progressive album that brought to an end Pharoah Sanders’ Impulse! years.
He was without a record deal, and only released one album since leaving Impulse in 1973, Pharoah in 1977 on the American independent label India Navigation. However, things were soon to change when a musician from his past would reenter his life, Norman Connors.
The Arista Years.
He had first played with Pharoah when he was just sixteen, and part of John Coltrane’s band. Due to Trane’s regular drummer Elvin Jones not being able to play, Norman Connors replaced him. After this, Norman Connors and Pharoah Sanders paths continued to cross.
By 1978, Norman had released a trio of successful albums, 1976s You Are My Starship, 1977s Romantic Journey and Norman’s first album for Arista, 1978s This Is Your Life. Having seen the conditions Pharoah Sanders was living in, and realized how their careers had taken quite different paths Norman Connors decided to try and help his idol.
He approached Clive Davis, head of Arista, and broached the subject of signing Pharoah to Arista. Clive Davis agreed to this, and Pharoah Sanders who then signed a recording contract with Arista.
This saw Pharoah Sanders leave his rundown flat in New York, as he headed to California where he recorded two albums for Arista. The first was 1977s Love Will Find A Way which reached number forty-one on the US R&B Charts. This marked a change in Pharoah Sanders fortunes commercially.
The following year, 1978, Pharoah Sanders retrained with his second album for Arista, Beyond A Dream. However, the album failed to find an audience and not long after this, Pharoah Sanders left Arista. However, three years later, Arista released the live album Beyond A Dream. By then, a new chapter was unfolding for Pharoah Sanders.
Theresa Records.
Just seven years after leaving Impulse!, which was one of the greatest labels in jazz history, Pharoah Sanders released his first album for Theresa Records. This was the double album Journey To The One, which was released in 1980. It was followed in 1981, by Rejoice, a captivating double album that was one of Pharoah Sanders’ finest albums for Theresa Records.
He returned in 1982 with another Pharoah Sanders Live and Heart Is A Melody in 1983. It featured drummer Idris Muhammad, while Andy Bey, Deborah McGriff and Jes Muir were among the vocalists on Heart Is a Melody of Time (Hiroko’s Song). It’s one of the highlights of the album which is a hidden gem in Pharoah Sanders’ back-catalogue.
Two years later, Pharoah Sanders returned with Shukuru, in 1985. At times, the album harked back to his Impulse! years, and other times, it seemed that he was paying homage to his mentor John Coltrane and sometimes, sounded like him. However, Pharoah Sanders time at Teresa Records was almost at an end.
A Prayer Before Dawn was released in 1987, and brought to an end another chapter in the career of Pharoah Sanders.
After leaving Teresa Records, Pharoah Sanders released one album for the Doctor Jazz label. This was Oh Lord, Let Me Do No Wrong in 1987. Next stop for Pharoah Sanders was Timeless Records.
Timeless Records.
Moon Child.
Pharoah Sanders debut for Timeless Records was Moon Child, which was released in 1989. It was an album where new compositions and standards rub shoulder on what was a much more traditional jazz album. Moon Child featured ruminative and contemplative sounding tracks and showed a different side to Pharoah Sanders. While this may have disappointed some of his fans, it was a much more accessible album that had the potential to introduce Pharoah Sanders to a much wider audience. So would the followup Welcome To Love.
Welcome To Love.
Recording of Welcome To Love began on the ‘17th’ of July 1990, at Studio Gimmick, Yerres, France. Joining Pharoah Sanders who switched between tenor and soprano saxophone, were drummer Eccleston W. Wainwright Jr, bassist Stafford James and pianist William Henderson. They recorded a mixture of standards and the Pharoah Sanders’ composition The Bird Song, over the next three days.
Three of the standards had been recorded by John Coltrane. This included two tracks from his 1961 album Ballads. They were You Don’t Know What Love Is which opened the album, and Nancy (With The Laughing Face), while Mal Waldron’s Soul Eyes featured on ‘Trane’s 1960 album Coltrane.
Other tracks included the Hoagy Carmichael and Ned Washington composition The Nearness Of You; Guy Wood an Robert Mellin’s My One and Only Love; Billy Eckstine’s I Want to Talk About You and Jimmy Van Heusen and Johnny Burke’s Polka Dots and Moonbeams. They were joined by Frank Loesser and Jimmy McHugh’s Say It (Over and Over Again); J. J. Johnson’s Lament and John Blackburn and Karl Suessdorf’s Moonlight In Vermont which closed the album which was produced by Russ Musto and Tetsuo Hara and was completed on the ‘19th’ of July 1990.
When Welcome To Love was released in 1991, Pharoah Sanders continued to reinvent his music. Pharoah Sanders’ eschewed his trademark sheets of sound and overblowing. Instead, his music was much more subtle and understated on what critics called a much more traditional jazz album. It feature a much gentler, understated sound on an album that was a tribute to John Coltrane’s 1961 album Ballads.
On Welcome To Love, Pharoah Sanders plays within himself, and chooses each note with the utmost care. His plays with a subtlety and there’s a serene sound to the music which has a much more subtle and understated sound. It was what some critics called a much more traditional jazz album. There were no detours via avant-garde nor free jazz on an album where the music was variously beautiful, emotive and tugged at the listener’s heartstrings. Other times, the music was melancholy, wistful and sometimes was ruminative and invited reflection. Pharoah Sanders was certainly in a reflective mood during as he was homesick during the recording. Despite that, there’s a warmth to the music on Welcome To Love, which is a beautiful album of what’s often referred to as “straight up” jazz from a musical master craftsman Pharoah Sanders.
Despite being released to critical acclaim upon its release in 1991, Welcome To Love wasn’t a commercial success and nowadays, it’s a rarity. This oft-overlooked album is one of the hidden gems Pharoah Sanders’ back-catalogue. That’s not all.
Welcome To Love shows another side to one of the legends of jazz, saxophonist Pharoah Sanders who throughout his career continued to reinvent his music. That was case during his time with Timeless Records when he released Welcome To Love a beautiful and sometimes ruminative sounding album that is perfect late night listening for those in love and those who have loved and lost and have lived to tell the tale.
Cult Classic: Pharoah Sanders-Welcome To Love.
CULT CLASSIC: EZE-NRI ROYAL DRUMMERS VOL. 1
Cult Classic: Eze-Nri Royal Drummers Vol. 1.
One of the most important labels in the history of African music is Tabansi Records, which was founded in Onitsha, a trading centre in the Igbo southeast of Nigeria, in 1952. Chief (Dr) G.A.D. Tabansi had watched as Decca, and then Philips, closed the doors on their Nigerian operations. His new label became the most important and influential Nigerian record label, and consistently released music that was groundbreaking and of cultural significance.
Without doubt, one of the most culturally significant albums Tabansi even released was a live recording of the investiture ceremony of an Eze-Nri King. Given the cultural importance of the album, nowadays, original copies of Eze-Nri Royal Drummers Vol. 1 are incredibly rare and valuable. Sadly, this puts copies beyond the budget of the majority of record buyers. However, anyone who is lucky enough to find an original copy of the album at a reasonable price will be able to hear what is a hugely important ceremony. The album was very different to the majority released by the Tabansi label.
Having founded his new label in 1952, Chief (Dr) G.A.D. Tabansi began recording artists and then pressed the records at The United African Company’s pressing plant. After that, record vans promoted the latest releases in Nigerian villages. This was just the start for Tabansi Records.
In the sixties, The United African Company decided to concentrate on importing American and European music. With very little competition Tabansi Records was able to concentrate on local music which The United African Company had turned its back on. This was a big mistake.
During the seventies, Tabansi Records was the most successful Nigerian label, and its founder Chief (Dr) G.A.D. Tabansi was one of the leading light’s of country’s thriving and vibrant music scene. He had invested in the company he had founded in, in Onitsha, Lagos, all these years ago, which had its own studios and pressing plant. The company was going from strength-to-strength.
By the eighties, Chief (Dr) G.A.D. Tabansi was joined in the company by his son Godwin. He helped with promotion and developing the artists on the Tabansi roster. This included many of Nigeria’s young and up-and coming musicians plus some of its biggest names. However, by then, the label was also releasing albums of culturally significance.
This included a live recording of the investiture ceremony of an Eze-Nri king. Historians believe that the musical elements of the ceremony have never changed in over a thousand years. That is despite there being many changes in Nigeria, and indeed other parts of West Africa.
Nowadays, the majority of the countries in West Africa are republics. However, there are still a few countries that are traditional and ritual kingships. The oldest of these in Nigeria is the Nri kingdom, which is situated within the Igbo area which coincidentally, is where Tabansi Records was founded in 1952.
Originally, the kingdom of Nri was a medieval society in what’s now known as Nigeria. In medieval times, the kingdom was an area of political and religious centre and influenced around a third of the population of Igboland. It was administered or ruled by a sacred king or priest king called an Eze Nri. Their role was to manage trade and diplomacy on behalf of the Nri people. They were group of the Igbo speaking people who had divine authority in religious matters.
The kingdom of Nri welcomed anyone who had been rejected by their community and was a safe haven for them. It was also a place for slaves to free themselves from their bondage. Over the years, the kingdom expanded but never through force. Instead, Nri expanded by forming allegiances with neighbouring communities. That was all in the future.
Nri’s royal founder Eri, was said to be a “sky being” who came down to earth and established civilisation. Later, Nri culture went on to have a permanent influence in Northern and Western Igbo, and especially through religion and taboos.
By the eighteenth Century the Nri kingdom was no longer as influential. However, remnants of the eze hierarchy persisted until the establishment of colonial Nigeria in 1911, and even today, it represents one of the traditional states within modern Nigeria. Some things it seems don’t change in Nigeria.
That includes the music on Eze-Nri Royal Drummers Vol. 1. It historians and archaeologists believe is similar to what people in Igboland heard in the early agrarian settlements at the time of Christ, or even before. That is the case with the music played by the royal investiture music group. It features three or four musicians playing hand and stick drums of various sizes as well as a large Alou Ogene. This is an Igbo cowbell, which is struck by two musicians who are seated facing each other and each strike the bell in a series of intricate cross patterns. However, on Eze-Nri Royal Drummers Vol. 1 another instrument is deployed an Oja flute which is sometimes referred to as a talking flute.
The Oja flute is wooden, and is hand carved and has a cavity inside. On the top, is a wide opening which fits the shape of the human lower lip. There’s also a small hole at the bottom and two smaller holes close to the top on the opposite side. The musician blows through the wide opening, and places their thumb and ring fingers on the two smaller holes to control rhythm and tempo. This unique and ancient instrument can be heard throughout Eze-Nri Royal Drummers Vol. 1.
It’s an album of huge cultural significance and Eze-Nri Royal Drummers Vol. 1 allows a wider audience to hear a live recording of the investiture ceremony of an Eze-Nri king. This is an important, ancient ceremony which previously very few people have heard. It’s an important part of Nri culture and historians and archeologists believe this has been the case since the time of Christ, or maybe even before.
While much has changed in Nigeria the investiture ceremony of an Eze-Nri king stayed the same. Now for the first time, many people will be able to listen to this ancient and scared ceremony. The music on Eze-Nri Royal Drummers Vol. 1 is powerful and spiritual, and it’s a privilege to hear such an important musical document that will be of interest to anyone who is interested in Nigeria, its history, culture or African music.
Cult Classic: Eze-Nri Royal Drummers Vol. 1.
CULT CLASSIC: SUN RA AND HIS MYTH SCIENCE ARKESTRA-WHEN ANGELS SPEAK OF LOVE.
Cult Classic: Sun Ra and His Myth Science Arkestra-When Angels Speak Of Love.
One of the most prolific artist of the twentieth century was the inimitable Sun Ra, who released around 125 albums during a career that spanned six decades. One that is a render of one of jazz’s pioneer and innovators is When Angels Speak Of Lovse. It’s also one of Sun Ra’s rarest albums as it was recorded in 1963 and only a small quantity were released in mono in 1966. By then, Sun Ra had achieved much.
Before dawning the moniker Sun Ra, Herman Poole Blount was born on the ‘22nd’ of May 1914, in Birmingham, Alabama. Very little is known about Herman Poole Blount’s early life. So much so, that for many years, nobody knew what age he was. What we do know, is that growing up, Herman Poole Blount immersed himself in music.
He learnt to play the piano at an early age and soon, was a talented pianist. By the age of eleven, Herman Poole Blount was to able read and write music. However, it wasn’t just playing music that Herman Poole Blount enjoyed. When musicians swung through Birmingham, Herman Poole Blount was there to see everyone from Duke Ellington to Fats Waller play. Seeing the great and good of music play live inspired Herman Poole Blount to become a professional musician.
By his mid teens, Herman Poole Blount was a high school student, but even by then, music was his first love. His music teacher John T. “Fess” Whatley realised this, and helped Herman Poole Blount’s nascent musical career.
John T. “Fess” Whatley was a strict disciplinarian, and this rubbed off on Herman Poole Blount. Later, he would acquire a reputation as a relentless taskmaster when he formed his Arkestra. He was determined that the musicians in his Arkestra to reach his high and exacting standards and fulfil the potential that he saw in them. At rehearsals, musicians were pushed to their limits, but this paid off when they took to the stage. Led by Sun Ra, the Arkestra in full flow were peerless. However, that was way in the future. Before that, Herman Poole Blount’s career began to take shape.
In his spare time, Herman Poole Blount was playing semi-professionally in various jazz and R&B groups, and other times, he worked as a solo artist. Before long, Herman was a popular draw. This was helped by his ability to memorize popular songs and play them on demand. Strangely, away from music, the young Herman Poole Blount was very different.
He’s remembered as studious, kindly and something of a loner. Herman Poole Blount was also a deeply religious young man despite not being a member of a particular church. One organisation that Herman Poole Blount joined was the Black Masonic Lodge. This allowed him access to one of the largest collection of books in Birmingham. For a studious young man like Herman Poole Blount, this allowed him to broaden his knowledge of various subjects. Whether this included the poetry and Egyptology that would later influence his musical career.
In 1934, twenty-year-old Herman Poole Blount was asked to join a band that was led by Ethel Harper. She was no stranger to Herman Poole Blount, and just a few years earlier, had been his high school biology teacher. Just a few years later, and he was accepting Ethel Harper’s invitation to join her band.
Before he could head out on tour with Ethel Harper’s band, Herman Poole Blount joined the local Musicians’s Union. After that, he embarked on a tour of the Southeast and Midwest. This was the start of Herman Poole Blount’s life as a professional musician. However, when Ethel Harper left her band to join The Ginger Snaps, Herman Poole Blount took over the band.
With Ethel Harper gone, the band was renamed The Sonny Blount Orchestra, and it headed out on the road and toured for several months. Sadly, The Sonny Blount Orchestra wasn’t making money, and eventually, the band split up. However, other musicians and music lovers were impressed by The Sonny Blount Orchestra.
This resulted in Herman Poole Blount being always in demand as a session musician. He was highly regarded within the Birmingham musical community, so much so, that he was awarded a music scholarship to Alabama Agricultural and Mechanical University in 1937. Sadly, he dropped out after a year when his life changed forever.
In 1937, Herman Poole Blount experienced what was a life-changing experience. It’s a story he told many times throughout his life. He describes a bright light appearing around him and his body changing. “I could see through myself. And I went up … I wasn’t in human form … I landed on a planet that I identified as Saturn. They teleported me. I was down on a stage with them. They wanted to talk with me. They had one little antenna on each ear. A little antenna over each eye. They talked to me. They told me to stop attending college because there was going to be great trouble in schools … the world was going into complete chaos … I would speak through music, and the world would listen. That’s what they told me.” For a deeply religious young man, this was disturbing and exciting. It certainly inspired the young Herman Poole Blount.
After his: “trip to Saturn,” Herman Poole Blount decided to devote himself to music. So much so, that he hardly found time to sleep. Day in, day out, Herman Poole Blount spent his time practising and composing new songs in his first floor home which he had transformed into a musical workshop. That was where also where he rehearsed with the musicians in his band. Away from music, Herman Poole Blount took to discussing religious matters. Mostly, though, music dominated his life.
It was no surprise to when Herman Poole Blount announced that he had decided to form a new band. However, his new band was essentially a new lineup of The Sonny Blount Orchestra. It showcased the new Herman Poole Blount, who was a dedicated bandleader, and like his mentor John T. “Fess” Whatley, a strict disciplinarian. Herman Poole Blount was determined his band would be the best in Birmingham. This proved to be the case as seamlessly, The Sonny Blount Orchestra were able to change direction, as they played an eclectic selection of music. Before long, The Sonny Blount Orchestra were one of most in-demand bands in Birmingham, and things were looking good for Herman. Then in 1942, The Sonny Blount Orchestra were no more when Herman was drafted.
On receiving his draft papers, Herman Poole Blount declared himself a conscientious objector. He cited not just religious objections to war and killing, but that he had to financially support his great-aunt Ida. Then there was the chronic hernia that blighted Herman Poole Blount’s life. Despite his objections the draft board rejected his appeal, and things got worse for Herman Poole Blount.
Herman Poole Blount’s family was embarrassed by his refusal to fight, and some turned their back on him. Eventually, though, Herman Poole Blount was offered the opportunity to do Civilian Public Service. However, he failed to appear at the camp in Pennsylvania on the December ‘8th’ 1942.
This resulted in Herman Poole Blount being arrested, and when he was brought before the court, Herman Poole Blount debated points of law and the meaning of excerpts from the Bible. When this didn’t convince the judge Herman Poole Blount said he would use a military weapon to kill the first high-ranking military officer possible. This resulted in Herman Poole Blount being jailed. For Herman, this led to one of the most disturbing periods in his life.
Herman Poole Blount’s experience in military prison were so terrifying and disturbing that he felt he no option but to write to the US Marshals Service in January 1943. By then, Herman felt he was on the verge of a nervous breakdown. He was suffering from stress and feeling suicidal. There was also the constant fear that he would be attacked by others within the military prison. Fortunately, the US Marshals Service looked favourably on his letter.
By February 1943, Herman Poole Blount was allowed out during the day to work in the forests around Pennsylvania. At nights, he was able to play the piano. A month later, Herman Poole Blount was reclassified and released from military prison. This brought to an end what had been a harrowing period of his life.
Having left prison, Herman formed a new band. They played around the Birmingham area for the next two years. Then in 1945, when his Aunt Ida died, Herman Poole Blount left Birmingham, and headed to the Windy City of Chicago.
Phase One-Chicago.
Now based in Chicago, Herman quickly found work within the city’s vibrant music scene. This included working with Wynonie Harris and playing on his two 1946 singles, Dig This Boogie and My Baby’s Barrelhouse. After that, Herman Poole Blount worked with Lil Green in some of Chicago’s strip clubs. Then in August 1946, Herman Poole Blount started working with Fletcher Henderson but by then, the bandleader’s fortunes were fading.
By then, Fletcher Henderson’s band was full of mediocre musicians, and to make matters worse, the bandleader was often missed gigs. This couldn’t be helped as Fletcher Henderson, was still recovering after a car accident. What Fletcher Henderson needed was someone to transform his band’s failing fortunes and this was where Herman came in. His role was arranger and pianist, but realising the band needed to change direction, he decided to infuse Fletcher Henderson’s trademark sound with bebop. However, the band were resistant to change and in 1948, Herman left Fletcher Henderson’s employ.
Following his departure from Fletcher Henderson’s band, Herman formed a trio with saxophonist Coleman Hawkins and violinist Stuff Smith. Alas, the trio was somewhat short-lived and didn’t release any recordings.
By then, Chicago was changing, and was home to a number of African-American political activists. Soon, a number of fringe movements sprung up who were seeking political and religious change. When Herman became involved he was already immersing himself in history, especially, Egyptology. He was also fascinated with Chicago’s many ancient Egyptian-styled buildings and monuments. This resulted in Herman Poole Blount discovering George GM James’ book The Stolen Legacy which turned out to be a life-changing experience.
In The Stolen Legacy, George GM James argues that classical Greek philosophy actually has its roots in Ancient Egypt. This resulted in Herman concluding that the history and accomplishments of Africans had been deliberately denied and suppressed by various European cultures. It was as if Herman’s eyes had been opened and was just the start of a number of changes in his life.
As 1952 dawned, Herman had formed a new band, The Space Trio. It featured saxophonist Pat Patrick and Tommy Hunter. At the time, they were two of the most talented musicians Herman knew. This allowed him to write even more complicated and complex compositions. However, in October 1952 the author of these tracks was no longer Herman Poole Blount was Sun Ra had just been born.
Just like Malcolm X and Muhammad Ali, adopting the name Sun Ra was perceived by some as Herman choosing to dispense with his slave name. This was a kind of spiritual rebirth for Sun Ra, and was certainly was a musical rebirth.
After Pat Patrick got married, and moved to Florida, this left The Space Trio with a vacancy for a saxophonist. Tenor saxophonist, John Gilmore was hired and filled the void. He would become an important part of Sun Ra’s band in the future.
So would the next new recruit alto saxophonist Marshall Allen. They were then joined by saxophonist James Spaulding, trombonist Julian Priester and briefly, tenor saxophonist Von Freeman. Another newcomer was Alton Abraham, who would become Sun Ra’s manager. He made up for Sun Ra’s shortcomings when it came to business matters.
While he was a hugely talented bandleader, who demanded the highest standards, Sun Ra, like many other musicians, was no businessman. With Alton Abraham onboard, Sun Ra could concentrate on music while his new manager took care of business. This included setting up El Saturn Records, an independent record label, which would release many of Sun Ra’s records. However, El Saturn Records didn’t released Sun Ra and His Arkestra’s debut album, Jazz By Sun Ra.
Instead, Jazz By Sun Ra was released in 1956, on the short-lived Transition Records. However, Sun Ra and His Arkestra’s sophomore album Super Sonic Jazz was released in March 1956, on El Saturn Records. Sound Of Joy was released on Delmark in November 1956. However, it was El Saturn Records that would release the majority of Sun Ra and His Arkestra’s albums.
In 1961, Sun Ra deeded to leave Chicago and move to New York where he would begin a new chapter in his career. Much had happened to Sun Ra since he first arrived in Chicago 1945 as the World War II drew to a close. Back then, he was still called Herman Poole Blount and was trying to forge a career as a musician. By the time he left Chicago he was a pioneer of free jazz
Phase Two-New York.
Sun Ra and His Arkestra journeyed to New York in the autumn of 1961, where they lived communally. This allowed Sun Ra to call rehearsals at short notice, and during the rehearsals, he was a relentless taskmaster who was seeking perfection. However, this paid off and Sun Ra and His Arkestra recorded a string of groundbreaking albums. This included Secrets of the Sun in 1962 which was the most accessible recording from their solar period. However, Sun Ra and his music continued to evolve in the Big Apple
The Heliocentric Worlds of Sun Ra Volume 1 was released by Sun Ra and his Solar Arkestra in 1965. Sun Ra had dispensed was the idea of harmony and melody, and also decided there should be no continuous beat. Instead, the music revolved around improvisation and incorporated programmatic effects. This was the case The Heliocentric Worlds of Sun Ra Volume 2 which was released later in 1965.
As Sun Ra and His Arkestra came to the end of their time in New York, their music was often described as “avant-garde jazz” or “free jazz.” However, Sun Ra started to reject the free jazz label that was attached to his music. He pointed out that his music had been influenced by different types of ethnic music and he often used percussion, synths and in one case strings. Regardless of the the name given to Sun Ra’s music, it was album innovative. This was the case with Sun Ra and His Myth Science Arkestra’s 1966 album When Angels Speak Of Love.
A year after releasing Secrets Of The Sun, Sun Ra And His Myth Science Arkestra released When Angels Speak Of Love in 1966. It was also reissued by Grey Scale and showed a very different side of Sun Ra.
When Angels Speak Of Love was released on Sun Ra’s El Saturn label, and was only available by mail order or at concerts. Those that bought When Angels Speak Of Love discovered what some critics at the time called “a bizarre record” However, these critics failed to discover what was a truly groundbreaking album where Sun Ra And His Myth Science Arkestra continued to move free jazz in a new direction.
To do this, they used increasingly shrill notes, layered rhythms and effects including echo reverb. During Next Stop Mars, which is the centrepiece and highlight of the album, a space chant sets the scene for Marshall Allen and John Gilmore braying, growling and shrill horns as they push them to the limits. Meanwhile, Sun Ra’s keyboards underpin the arrangement, during Next Stop Mars, which was part of genre-melting album of groundbreaking album.
It finds Sun Ra And His Myth Science Arkestra fusing avant-garde and free jazz with their unique brand of space age jazz on When Angels Speak Of Love. For fans of Sun Ra’s music this was album where not for the first time, he was way ahead of the curve musically.
Sadly, Sun Ra died on May the ’30th’ 1993, aged just seventy-nine. That day, music lost an innovative musician who had played his part in rewriting the history of jazz. Sun Ra is remembered as one of the pioneers of free jazz, and helped shape the genre on over 125 albums.
For nearly forty years, Sun Ra pushed musical boundaries to their limits, and sometimes, way beyond. He was a pioneer and innovator, and also a perfectionist and relentless taskmaster. With some of most talented, inventive and adventurous musicians of their generation, Sun Ra set about honing his Arkestra’s sound. He was demanding and exacting standards. Second best was no use to Sun Ra. What he was after was an Arkestra who were innovators and musical adventurers.
Sun Ra was never content to stand still musically, and was always looking to reinvent familiar tracks. The original version of a song was merely the starting point. What it became, was anyone’s guess? Sun Ra was forever determined to innovate, and when he reinvented a track, he took the music in the most unexpected direction. He combined Egyptian history and space-age cosmic philosophy with free jazz, avant-garde, improv. Another component of Sun Ra’s music was his unique and inimitable brand of futuristic, space-age jazz which was part of an innovative fusion that totally transformed the career of the man born Herman Poole Blount.
Very little is know about the early years of Herman Poole Blount. However, over a long and illustrious career that spanned six decades, Sun Ra fulfilled his potential and became a giant and legend of jazz. This took time, patience and dedication and by his death in 1993, Sun Ra had come a long way since his early days as musician in Birmingham, Alabama.
The early days of Sun Ra’s career as a musician in Birmingham, Alabama, helped shape him, and make him the man and musician that he later became. So did his mentor John T. “Fess” Whatley, his religion and the time Herman Poole Blount spent studying at the Black Masonic Lodge, in Birmingham. That was where his love of poetry and interest in Egyptology blossomed. This helped shape the future Sun Ra’s philosophy and music. However, it was his ‘trip’ to Saturn that changed his life forevermore and influenced the music he made as Sun Ra.
By his death in 1993, Sun Ra had released over 125 albums with a variety of different bands. This includes Sun Ra and His Myth Science Arkestra who released When Angels Speak Of Love in 1966. It’s a reminder of the Sun Ra, the man simply known as Mr. Mystery, who was musical pioneer who spent six decades creating groundbreaking, innovative and inventive music which nowadays, is more popular than ever.
Cult Classic: Sun Ra and His Myth Science Arkestra-When Angels Speak Of Love.
CULT CLASSIC: TERRY CALLIER-TURN YOU TO LOVE.
Cult Classic: Terry Callier-Turn You To Love.
Talent alone sadly, is no guarantee of success. If it was, the late, great, Terry Callier would’ve enjoyed a long and successful career. Sadly, for much of his career, he was one of music’s best kept secrets whose music was appreciated more in Britain than it was in own country.
Even by the time his music started to find an audience in Britain, Terry Callier had already released six albums. This included two for Elektra. The second of these albums was Turn You To Love which was a new chapter in the Terry Callier story.
He was born in Cabrini–Green, on the North Side of Chicago and grew up alongside Curtis Mayfield, Jerry Butler and Major Lance. As a child, Terry Callier learnt to play the piano and later the guitar.This would stand him in good stead for the future.
By the time he was a teenager, Terry Callier was singing in doo wop groups. Little did he realise that this was the start of a long musical career that spanned five decades.
In 1962, Terry Callier auditioned at Chicago’s famous Chess Records and this resulted in him recording his debut single. This was Look At Me Now, a minor classic and future favourite on the UK’s Northern Soul scene.
Although he had released his debut single Terry Callier was attending college in Chicago. It was also around that time that he started playing in folk clubs and coffee houses around the city. By then, he had discovered John Coltrane’s music who would be an important influence on his music.
Two years after releasing Look At Me Now, Terry Callier met Samuel Charters of Prestige Records in 1964. The following year, 1965, The New Folk Sound of Terry Callier was recorded. However, for some reason best known to himself, Samuel Charters took the master tapes with him to the Mexican desert. It was three years later before Terry Callier’s debut album was released in 1968.
That year, psychedelic rockers H. P. Lovecraft covered Spin, Spin, Spin and It’s About Time on their eponymous album. This introduced Terry Callier’s music to a wider audience.
In 1969, H. P. Lovecraft’s George Edwards coproduced several tracks for Terry Callier. By then, he had been part of the Chicago music scene for the best part of a decade. However, he still had only released one album.
As the seventies dawned, Jerry Butler founded the Chicago Songwriters Workshop in 1970. By then, he and his songwriting partner Larry Wade were writing songs for Chess Records and its Cadet imprint which would sign Terry Callier.
Having signed to Cadet, Terry Callier began work on his sophomore album. This became Occasional Rain, which was released in 1972 and was the first of a triumvirate of criticality acclaimed albums Terry Callier released for Cadet. Sadly, Occasional Rain wasn’t a commercial success and it wasn’t until much later, that the album started to find a wider audience.
It was a similar case with What Color Is Love which followed in 1973. What Color Is Love, showcased a truly talented singer-songwriter who was maturing with every album. What Color Is Love was released to widespread critical acclaim, but just like Occasional Rain, failed to find a wider audience. For Terry Callier this was a disaster and must have been disheartening.
Terry Callier returned in 1974 with his third album for Cadet, I Just Can’t Help Myself. It was the fourth album of his career and released to plaudits and praise. However, sadly, the album failed commercially and was not long after this, Terry Callier dropped by Cadet.
Later in his career, the trio of albums Terry Callier released for Cadet were recognised as the finest of his career. However, a lot would happen before that.
Six years after Jerry Butler founded the Chicago Songwriters Workshop in 1970, it closed its doors for the last time in 1976. For Terry Callier who had been a regular at the Chicago Songwriters Workshop since 1970, this was another disappointment. However, his luck changed in 1977.
Three years after the release of his Cadet swansong I Just Can’t Help Myself, Terry Callier was signed by Elektra in 1977 and began work on the fifth album of his career Fire On Ice.
For Fire On Ice, Terry Callier wrote four of the nine songs and cowrote four more with his songwriting partner Larry Wade. He then entered the studio with producer Richard Evans and an all-star band. They played their part in an album that combined elements of soul, jazz and funk on Fire On Ice which won over critics. It was released to critical acclaim, but just like Terry Callier’s trio of albums for Cadet it failed to find an audience. The followup to Fire On Ice was the already looking like a hugely important album for Terry Callier.
Not long after the release of Fire On Ice, work began on the followup Turn You To Love. Eventually, the Terry Callier and Larry Wade songwriting partnership contributed four of the nine tracks tracks Sign Of The Times, Turn You To Love, A Mother’s Love and You and Me (Will Always Be In Love) with Reginald “Sonny” Burke. Larry Wade wrote Pyramids Of Love and Terry Callier covered two songs from his Cadet years, Ordinary Joe and Occasional Rain. The other two tracks were covers of Steely Dan’s Do It Again and Still Water (Love) co-written by Smokey Robinson and Frank Wilson. Turn You To Love was a mixture of something new, something borrowed and something blue.
Producing Turn You To Love was Reginald “Sonny” Burke, and just like its predecessor, the album saw an all-star band join Terry Callier. This included drummer James Gadson, Keni Burke who played bass and synths, guitarists David T. Walker, Wah-Wah Watson and Larry Wade, saxophonist Ernie Watts and trombonist Fred Wesley. They accompanied Terry Callier on the nine tracks that became Turn You To Love which was released in 1979.
Sadly, when Turn You To Love was released in 1979, it was a familiar story for Terry Callier the critics loved the album but it wasn’t a commercial success. At the time, disco was king and albums by singers like Terry Callier were almost unfashionable. Singers like Bobby Womack, O.V. Wright, Syl Johnson and Ann Peebles suffered the same fate and failed to find an audience.
There was one small crumb of comfort for Terry Callier with Turn You To Love. That was when Sign of the Times provided him with the biggest hit single of his career. It was released as a single after DJ Frankie Crocker used it as the theme for his radio show. On its release, it reached number seventy-eight in the US R&B Charts. This sadly, was the only success from Turn You To Love.
Not long after this, Terry Callier was dropped by Elektra, and for the second time in three years, he was without a record label. His second and final album for Elektra Turn You To Love, was a hidden gem in his back-catalogue that later, would find a wider audience.
Of the two albums Terry recorded for Elektra, Turn You To Love was quite different from its predecessor Fire On Ice. Terry Callier and his tight and talented all-star band continue to combine soul, jazz, funk and R&B and even elements of rock on the cover of Steely Dan’s Do It Again.
It’s part of a carefully crafted album that is variously beautiful, joyous, thoughtful, moving, understated, spacious and full of emotion. The music veers between jazzy, soulful, funky and rocky as Terry Callier showcases breathes life and meaning into a selection of songs that are best described as something old, new borrowed and blue.
As well as revisiting two of his classics Occasional Rain and Ordinary Joe, Terry Callier delivers a beautiful cover the Smokey Robinson and Frank Wilson track Still Water (Love). Terry Callier breathe new life and meaning into these tracks and they’re welcome additions to Turn You To Love.
The other cover was Steely Dan’s Do It Again, which critics weren’t sure about. Some felt it was the wrong song for Terry Callier. However, he and his multitalented band take the track in a new direction and reinvent it. Do It Again was an unlikely song for Terry Callier to cover but he and his all-star band transform this classic tracks and make it work.
Of the songs that Terry Callier and Larry Wade cowrote, Sign Of The Times and Turn You To Love are the best, and among the album’s highlights. Sadly, very few record buyers heard these tracks as Turn You To Love which was the wrong album at the wrong time.
When Turn You To Love was released in 1979, disco was at the peak of its popularity and Terry Callier’s second album for Elektra failed commercially. Not long after this, he was dropped by Elektra and just like Bobby Womack he was left without a record label. Little did he realise it would be nearly twenty years before he released another album.
Terry Callier continued to tour until 1983, but never made another studio album during this period. By 1983, changes were afoot in his life.
He won custody of his daughter, and started taking evening classes in computer programming. This lead to him taking what would be a prolonged sabbatical from music that lasted fifteen years. During this period, Terry Callier gained a degree in sociology, raised his daughter, and worked at the University of Chicago. Sadly, during this period he never recorded any music, and the only album that was released was a live album of a 1982 show in Washington, TC In DC.
This sabbatical from music meant that one of the most talented singer, songwriter and musician of his generation was lost to music for far too long.
In 1991, Terry Callier made his first visit to Britain playing gigs during his vacation from his job at the University of Chicago. It wasn’t until 1998 that he recorded a new album Timepeace which marked a return to form from Terry Callier whose music had been discovered by a new generation of DJs, musicians and record buyers.
The following year, 1999, Terry Callier retrained with his seventh studio album Lifetime. It was released to plaudits and praise and Terry Callier’s comeback continued apace. Of all the albums Terry Callier would release between 1998 and his tragic death on October the ’27th’ 2012, Timepeace and Lifetime are by far the highlight of his comeback years and essential listening.
Of all the albums Terry Callier released during a career that spanned five decades, he never surpassed the trio of albums he released for Cadet. For newcomers to Terry Callier’s music, Occasional Rain, What Color Is Love and I Just Can’t Help Myself are the best place to start. After that, the two albums Terry Callier released for Elektra, Fire On Ice and Turn You To Love are a reminder of one of music’s best kept secrets, and a truly talented singer, songwriter who was at the peak of his creative powers during the seventies.
Cult Classic: Terry Callier-Turn You To Love.
CULT CLASSIC: ANDY BEY-BALLADS, BLUE AND BEY.
Cult Classic: Andy Bey-Ballads, Blue and Bey.
By the time Andy Bey released Ballads, Blue and Bey in 1996, his career had already spanned four decades. His career began in 1959 when he worked on the Startime television show with Connie Francis. This continued until 1960, and by then, he had also sang for legendary musician, songwriter and bandleader Louis Jordan. However, when he was seventeen Andy Bey decided to form a new group with his sisters.
The new group became Andy and The Bey Sisters. They recorded a trio of albums 1961s Andy and The Bey Sisters, 1964s Now! Hear and 1965s Round Midnight. Andy and The Bey Sisters also toured extensively, and spent sixteen months touring Europe. However, two years after releasing Round Midnight, the group split-up in 1967 and Andy Bey embarked upon a new chapter in his career working with various jazz musicians.
He had already worked with the Howard McGhee Orchestra on their 1966 album Cookin’ Time. Two years later in 1968, he worked on Max Roach’s Members, Don’t Git Weary. The following year, 1969, Andy Bey worked with Duke Pearson on How Insensitive. However, as the sixties gave way to the seventies, Andy Bey entered one of the busiest and most fruitful periods of his career.
As the new decade dawned, in 1970, Andy Bey was one of a trio of featured vocalists on Horace Silver’s album That Healin’ Feelin’. This was the first of four Horace Silver albums that Andy Bey would feature on over the next three decades.
In 1970, Andy Bey collaborated for the first time with jazz saxophonist Gary Bartz on his latest project NTU Troop. They combined jazz, funk, and soul with social comment and powerful messages. Andy Bey, who was then thirty-one, featured on Gary Bartz NTU Troop’s sophomore album Harlem Bush Music Taifa. He returned for the followup Harlem Bush Music Uhuru which was released in 1971. That wasn’t the only album Andy Bey worked on during 1971.
He was invited to join the Mtume Umoja Ensemble when they recorded what became their debut album Alkebu-Lan: Land Of The Blacks (Live At The East). It was released by the Chicago-based label Strata East in 1972. The same year, Andy worked on two albums.
This included Children Of Forever the debut album by jazz fusion bassist Stanley Clarke. Andy Bey and Dee Dee Bridgewater were the two featured vocalists on the album which was released to critical acclaim and launched Stanley Clarke’s solo career.
The other album released during 1972 that featured Andy Bey was Gary Bartz NTU Troop’s Juju Street Songs. It was hailed as one of the group’s finest releases. However, like so many groundbreaking groups Gary Bartz NTU Troop’s only really started to find a wider appreciative audience at a later date.
In 1973, Gary Bartz NTU Troop released Follow, The Medicine Man. This was the fourth and final album that Andy Bey recorded with Gary Bartz NTU Troop. The thirty-four year old vocalist was about to embark upon a solo career.
A year later, in 1974, Andy Bey released Experience and Judgment on Atlantic Records. It had been recorded during two sessions at New York’s Regent Sound Studios on July ‘26th’ and September the ’19th’ 1973. Jazz, funk, soul and Indian music were combined by Andy Bey and his band on what’s regarded as the finest album of his long and illustrious career. Sadly, it failed to find the audience it deserved upon its release and it was seventeen years before Andy Bey returned with the followup.
Two years later, in 1976, Andy Bey took to the stage in a theatre production of Adrienne Kennedy’s A Rat’s Mass, directed by Cecil Taylor at La MaMa Experimental Theatre Club in the East Village of Manhattan. However, the following year Andy Bey returned to music.
Andy Bey featured on Grachan Moncur III’s 1977 album Shadows. This was the last album released during the seventies to feature Andy Bey.
After six years away, he made a guest appearance on Heart Is A Melody Of Time (Hiroko’s Song), a track from Pharoah Sanders’ 1983 album Heart Is A Melody. Alas, it was another five years before Andy Bey returned.
He was reunited with Horace Silver on Music To Ease Your Disease, which was released in 1988. This was the second album Andy Bey had recorded with Horace Silver and they could continue to collaborate until 1996.
Andy Bey’s long-awaited sophomore album As Time Goes By was rcorded live in B.P. Club, on the ‘4th’ of May 1991 and released that year. It found Andy Bey delivering a set of that included a jazz classics like It Ain’t Necessarily So and As Time Goes By. However, it would another five years before he released anther album and much had happened in his professional and private life.
In 1993, Andy Bey featured on Horace Silver’s It’s Got to Be Funky. It featured an an-star band was released to plaudits and praise. Things seemed to be going well for Andy Bey. Then in 1994, he received devastating news.
Andy Bey had never hid his sexuality, and was openly gay. However, in 1994 he was diagnosed as HIV-positive. Despite the diagnosis, Andy Bey decided to continue his musical career.
In 1995, Andy Bey featured on tenor saxophonist Bob Malach’s album The Searcher. Then in 1996 he joined forces with his old friend Horace Silver.
Total Response which was released in 1996 was the fourth and Horace Silver to feature Andy Bey. They had first collaborated in 1970, and three decades later in were still making music.
1996 was also the year that Andy Bey returned with his much-anticipated third album Ballads, Blue and Bey. This was only the second studio album that Andy Bey had released since his 1974 debut album Experience and Judgment. However, Ballads, Blue and Bey which has just been released as 2 LP set by Ko Ko Music is very different to Andy Bey’s debut.
Instead of a band, Ballads, Blue and Bey features just Andy Bey who accompanies himself on piano on the ten jazz standards. These he extends and delivers with in his own inimitable style with his four octave baritone vocal.
Opening Ballads, Blue and Bey is a beautiful heartfelt version of Ira and George Gershwin’s Someone To Watch Over Me. It gives way to a cover of Cole Porter’s You’d Be So Nice To Come Home To where Andy Bey’s piano provides the perfect accompaniment as his vocal veer.
Andy Bey then covers two songs cowritten by Duke Ellington. The first is a soul-baring take of I Let A Song Go Out Of My Heart. It’s followed by a beautiful, emotive rendition of In A Sentimental Mood . This seven minute epic features one of Andy Bey’s best vocals and showcases his skills as a pianist.
A wistful sounding cover Willow Weep For Me where Andy Bey lays bare his soul is followed by a thoughtful reading of Jerome Kern and Otto Harbach Yesterdays. Then on If You Could See Me Now Andy Bey breathes meaning and emotion into the lyrics.
Duke Ellington and Mack David’s I’m Just A Lucky So and So features a vocal that’s joyous as he reflects on his good fortune at having found the one he loves. Day Dream is another song that Duke Ellington cowrote and this time he joined forces with Billy Strayhorn and John Latouche. Here, Andy Bey takes the track in a new direction and partly this is because of the understated arrangement where the piano sets the scene for Andy Bey’s vocal masterclass. He paints pictures against an arrangement where less is more on another of the album’s highlights. Embraceable You which was written bye George and Ira Gershwin closes Ballads, Blue and Bey on a high thanks to what can only be described as a spellbinding vocal.
For anyone yet to discover Andy Bey’s music, Ballads, Blue and Bey is one of his finest albums. His finest hour was his 1974 album Experience and Judgment which is a cult classic that’s highly regarded by connoisseurs of funk and soul. However, Ballads, Blue and Bey which was Andy Bey’s third album was very different from his debut.
By then, twenty-two years had passed and Andy Bey’s music had evolved and Ballads, Blue and Bey is album of jazz. This wasn’t the only change.
Andy Bey isn’t accompanied by a band on Ballads, Blue and Bey and instead, accompanies himself on piano. These understated arrangements are hugely effective and provide the perfect backdrop to the vocals on the ten standards. He makes good use of his four octave baritone vocal throughout the album as he breathes life, meaning and emotion into these familiar and oft-covered songs. Sometimes, Andy Bey’s vocals are heartfelt, other times hurt-filled, reflective, rueful, thoughtful, wistful and worldweary. Like an actor in a play, Andy Bey lives the lyrics on the standards on Ballads, Blue and Bey, which is a truly timeless jazz album that is the perfect introduction to one of music’s best kept secrets.
Cult Classic: Andy Bey-Ballads, Blue and Bey.
THE LIFE AND TIMES OF MUSICAL PIONEER EMILIO APARICIO.
The Life and Times Of Musical Pioneer Emilio Aparicio.
Nowadays, the words pioneer and innovator tend to be overused, and musicians who create truly groundbreaking music seem to be sadly, few and far between. While there are some pioneering musicians whose music continues to push musical boundaries, there are no longer as many as there once were. Especially in the sixties and seventies which was a golden period for music that saw creativity and innovation blossom.
The sixties and seventies was also when Emilio Aparicio, an electronic experimental musician from Guatemala, pioneered the use of the Moog synth in Latin America. Between 1969-1971 he used his newly acquired Moog synth to record new and groundbreaking music which was released on the Salvavidas Roja label. It showcases a true musical pioneer, Emilio Aparicio.
Just two years before Emilio Aparicio started to record the music on Expansión Galáctica, he was a student at the National Music School, in Guatemala City. That was where he first came across fellow student and member of Abularach dynasty, Roberto Abularach. Twenty-one year Roberto Abularach came from a very different background to Emilio Aparicio, but their paths would cross again after they had completed their respective studies.
After leaving the National Music School, the friendship between Emilio Aparicio and Roberto Abularach continued. By then, Roberto Abularach was managing the La Estrella warehouse in the Zona 1. It was where musical instruments were imported into Guatemala and sold. However, before long the warehouse was a favourite place for local musicians and bands.
Soon members of Apple Pie, Modulo 5 and Cuerpo y Alma and were hanging out at the La Estrella warehouse. So were local musicians who weren’t part of bands. Some of these musicians went on to form bands, including Les Prince. Many of the bands and musicians were supported by Roberto Abularach who became their patron. There was no ulterior motive to this as Roberto Abularach was a kind, generous and wealthy young man.
Not only did Roberto Abularach’s generosity include helping musicians buy their instruments, he sometimes gave instruments to musicians embarking upon musical careers. One of the musicians who made their way to the La Estrella warehouse was Emilio Aparicio.
A graduate of the National Music School, Emilio Aparicio had two passions in life, music and electronics. When he entered the La Estrella warehouse he remembered Roberto Abularach from the National Music School. Soon, they started talking and realised that they had much in common. This was the start of a close friendship.
Emilio Aparicio and Roberto Abularach enjoyed long conversations on music and electronics. By then, Roberto Abularach had spotted Emilio Aparicio’s potential, and was keen to help his friend.
The opportunity arose when Emilio Aparicio decided to buy purchase what was his very first piano. However, the piano was expensive, so Roberto Abularach helped his friend buy the piano. This Emilio Aparicio put to good use, and his talent blossomed.
Over the next year, Emilio Aparicio interest in electronic and experimental music grew. This was something he discussed at length with his friend Roberto Abularach, who in 1969 was about to journey to New York.
During Roberto Abularach’s visit to New York, he visited the Modern Art Museum. That was where Roberto Abularach saw the very first Moog synth, which had been presented to the Modern Art Museum by its founder Robert Moog. Having seen the Moog synth, Roberto Abularach decided to purchase one directly from its inventor, Robert Moog and take it home to Guatemala.
When Roberto Abularach met Robert Moog, he bought a 3P modular synth which bore the serial number 00003. This was only the third Moog modular synth that Robert Moog had made, and Roberto Abularach was taking it home to Guatemala, where it would go to a good home.
Given his interest in electronic and experimental music, it seemed fitting that Roberto Abularach gave the Moog 3P modular synth to his friend Emilio Aparicio. His passion for music and electronics, and interest in both electronic and experimental music meant he would put the Moog to good use.
Having gifted the Moog 3P modular synth to Emilio Aparicio, Roberto Abularach had it installed in his friend’s home in late 1969. Roberto Abularach told Emilio Aparicio that the Moog was his, and he had complete freedom to use the synth in whatever way he wished. While Emilio Aparicio had gained a synth, he had also gained a patron and the man who would support and champion his music.
From late-1969 until 1971, Emilio Aparicio transformed a room in Roberto Abularach country mansion in Zona 12 into a makeshift studio. This was the perfect location for a recording studio, as the country house was empty for much of the year, which allowed Emilio Aparicio to concentrate all his efforts on writing and recording new and innovative music.
In his new studio, was Emilio Aparicio’s newly acquired Moog 3P modular synth and some of the early drum machines. Compared to the drum machine available nowadays, the drum machines were almost primitive. Meanwhile, it took time and patience to work with the Moog 3P modular synth.
It was a relatively instrument which its inventor Robert Moog had demonstrated in early 1967. Even two years later, only a relatively small number of people knew how to setup and use the Moog synth. Through patience and persistence this now included Emilio Aparicio, who had even worked out how to deal with a couple of common problems.
One of the problems that Moog users encountered were that the its oscillators were somewhat unstable. However, soon, Emilio Aparicio realised that if he switched the machine on way before the session began, this allowed them to warm up. Occasionally, the Moog failed to stay in frequency and the tuning was out. Emilio Aparicio knew to expect teething problems with such a complex and groundbreaking piece of equipment. Having got to grips with the Moog 3P modular synth, Emilio Aparicio started making music.
Sometimes, the seclusion that Emilio Aparicio enjoyed was interrupted when Roberto Abularach arrived at his country house. Sometimes, he was joined by various musicians and poets, and the assembled company experimented with hallucinogenic drugs including LSD and Floripondio. This helped Emilio Aparicio open the doors of perception, as he created experimental, innovative and ambitious music.
Not only did the Moog 3P modular synth transform now Emilio Aparicio made music, but also what type of music he made. It was unlike most of the music being made within Guatemala, especially what the pop and rock bands were making. Instead, the music that Emilio Aparicio was making had more in common with the electronic and experimental music being made in Europe and America.
As the sixties gave way to the seventies, Emilio Aparicio continued to spend long periods of time in the studio he had built in Roberto Abularach’s country home. Little did anyone who visited the studio or even heard the music realised that Emilio Aparicio was making the music of tomorrow, today.
After two years locked away in his studio, Emilio Aparicio had completed the ten tracks that feature on Expansión Galáctica. There was only one problem, though, Emilio Aparicio had no idea what to do with the music?
Emilio Aparicio wasn’t chasing the rock star dream, and had no interest in fane and fortune. His interest was making music. Fortunately, his friend and patron, Roberto Abularach, who continued to champion Emilio Aparicio’s pioneering music had come up with a plan to introduce his friend’s music to a wider audience.
To do this, Roberto Abularach planned to use one of one of the Abularach dynasty’s businesses, Salvavidas Rojas. It was a popular drink within Guatemala, and Roberto Abularach had come up with a plan that if customers sent four corks from Salvavidas Rojas’ bottles and three quetzal coins they would receive the five volumes of 45 singles featuring the music that Emilio Aparicio had recorded between late-1969 and 1971. This must have seemed a good idea at the time.
Sadly, very few people took the time to collect the corks and return them to Salvavidas Rojas. Those that sent away for Emilio Aparicio’s five singles, didn’t understand the music. It was unlike anything they had heard on the radio or bought in local record shops. What didn’t help was that Emilio Aparicio didn’t play live and wasn’t part of a band. Instead, he was a relative unknown, who was part scientist, sonic explorer and musician, whose natural habitat was the recording studio. That was where he had spent the best part of two years recording the singles.
It was frustrating that people who sent away for the records often threw them away, or that they were recycled with the other discarded vinyl. Meanwhile, in the Salvavidas Rojas factory piles of unclaimed vinyl sat in the store rooms. They too, were destined for the recycling plant. This was something that many people would later regret.
Following the failure of his first release, Emilio Aparicio dusted himself down and created his next project, La Banda Plastica. Just like his previous project, La Banda Plastica was an experimental and non-commercial project. It was signed to Guatemala’s biggest record label Dideca. They gave Emilio Aparicio total freedom to record whatever he wanted.
This was unusual for Dideca, who usually told bands and artists what type of sound they expected from them. Dideca frowned upon music that wasn’t commercial or had an aggressive sound. That was a no-no. The exception to this was Emilio Aparicio and his new La Banda Plastica project. However, deep down, executives at Dideca and Emilio Aparicio knew that a single from La Banda Plastica had no commercial appeal. La Banda Plastica released just a couple of singles, including Libertad Viene, Libertad Va. Neither single sold well, and the majority of the singles were given away to DJs at radio stations during the Christmas period. This brought to an end what was a somewhat surreal period for Emilio Aparicio.
Sadly, after the commercial failure of La Banda Plastica, Emilio Aparicio became a much more reclusive figure who recorded purely for his own interest. The music Emilio Aparicio made he had no intention of releasing. That was his hobby, while the jingles and videos he made for television and technical companies paid the bills.
Later, Emilio Aparicio changed direction and started working with computers. He went on to build the first ever computer to be used by the National Bank of Guatemala. Emilio Aparicio had come a long way from when he started working with his Moog synth.
By the early eighties, Emilio Aparicio was one of the leading lights in electronics and technology in Guatemala. He was also working on a new piece of musical technology which he hoped would be used by musicians and bands across the world. This was a guitar synth, and he presented the prototype at Audio Engineering Society’s conference when it took place in Anaheim, California, in 1982. While Audio Research bought patent for the guitar synth, developing it proved problematic. Emilio Aparicio’s invention never made the same impression as Robert Moog’s Moog 3P modular synth.
Still, Emilio Aparicio never lost his love of music, and he continued to record at the home he shared with his wife. Now Emilio Aparicio was recording onto cassettes, which were cheaper and allowed him to record much more music. These recordings were only heard by the person who was closest to him…his wife. She was his musical confidante. It was as if Emilio Aparicio feared that his music would be rejected for a third time. As a result, the music he recorded has never been released.
While music was Emilio Aparicio’s first love, he gradually started to concentrate his efforts on video art in his spare time. By day, Emilio Aparicio was a professor at the Galileo University, which was founded on October ’31st’ 2000 in Guatemala City. Emilio Aparicio taught a new generation of computer scientists, who knew nothing about his former career in music.
Sadly, Emilio Aparicio fell victim to prostate cancer and passed away in 2012. By then, Ruffy Tnt had rediscovered the five volumes of music that Emilio Aparicio had recorded between late-1969 and 1971.
Ruffy Tnt was on a crate-digging expedition in Quetzaltenango in Guatemala, and found himself in a dusty basement that had once been the warehouse of Iximché, who had once distributed the rock-o-la machines. With dust and detritus on the floor, Ruffy Tnt was wary as he hunted through the warehouse. The last thing he wanted was to be bitten by one of the rats that had obviously been present. However, his patience, persistence and bravery was rewarded when he spotted two rooms crammed full of old singles. In amongst some incredibly rare records were two of the five privately pressed volumes of Emilio Aparicio’s music released by Salvavidas Rojas.
The two volumes of Emilio Aparicio’s music that Ruffy Tnt left the warehouse with were Brujería (Witchcraft) and Transmutación del iniciado (Transmutation Of The initiated). However, this was just the start of a seven-year treasure hunt.
Over the next seven years, Ruffy Tnt searched far and wide for the remainder of Emilio Aparicio’s recordings. By 2017, Ruffy Tnt had found the eight singles released baring Emilio Aparicio’s name. This includes the five volumes that were released by Salvavidas Rojas as part of special offer, which Roberto Abularach hoped would introduce Emilio Aparicio’s music to a much wider record buying public.
Sadly, that wasn’t the case, and very few Guatemalan record buyers were won over by the music on the five singles that recently featured on Expansión Galáctica. They’re a reminder of Emilio Aparicio, who throughout his career, was a musical pioneer, who pushed musical boundaries to their limits, and sometimes, way beyond. Proof of that are the ten genre-melting Emilio Aparicio recorded.
The genre-melting tracks that Emilio Aparicio made between late-1969 and 1971, were way ahead of their time and incorporated elements of disparate musical genres. This included everything from electronic and experimental music, to abstract and avant-garde, through to Latin and psychedelia. There’s also occasional elements of dub, jazz, musique concrète pop and rock on Expansión Galáctica, which was lysergic and mind-expanding magical mystery tour where a true musical pioneer combines the music of the past and present to make the music of the future.
Apart from a few aficionados of electronic and experimental music, sadly, very few people will have heard of the late Emilio Aparicio Moog. This little known musical pioneer, who created ambitious, innovative and imaginative music during what was a short, but unsuccessful recording career.
Emilio Aparicio Moog only released eight singles, which sadly, failed to find the audience they so richly deserved. Especially the five singles he released as part of an offer in conduction with the popular drinks’ company Salvavidas Rojas. Very few people took up the offer, and those that did, failed to understand the music. Many of the singles were thrown away or recycled and nowadays, the five singles are extremely rare. Fortunately, Ruffy Tnt rediscovered these singles, which are a a welcome reminder of Emilio Aparicio Moog, who was a groundbreaking musician whose music was way ahead of its time.
That was why people failed to understand Emilio Aparicio Moog’s music, which is ambitious, innovative, imaginative and even today, has the potential to inspire a new generation of electronic musicians.
Emilio Aparicio Moog spent two years recording the music on Expansión Galáctica, where he pushed musical boundaries to their limit, and sometimes, way beyond. In doing so, musical pioneer Emilio Aparicio Moog created the truly timeless, genre-melting music which hopefully, will somewhat belatedly find the audience that it deserves.
The Life and Times Of Musical Pioneer Emilio Aparicio.
CULT CLASSIC: DON ELLIS-SHOCK TREATMENT.
Cult Classic: Don Ellis-Shock Treatment.
Bandleader, composer and trumpeter Don Ellis’ life was changed forevermore in 1974, when he was diagnosed with an abnormal heart condition, and a year later, in 1975, suffered his first heart attack which very nearly cost him his life. Fortunately, Don Ellis recovered and in 1977 signed to Atlantic Records.
Later in 1977, he released his Atlantic Records’ debut Music From Other Galaxies and Planets. This was his first album in three years and was the start of the comeback of Don Ellis. His comeback was complete after playing at the Montreux Jazz Festival, in Switzerland on July the ‘8th’ 1977. That concert was recorded and was released in 1978 as Don Ellis Live At Montreux and was a poignant release.
By 1978, all the years of touring were taking a toll on Don Ellis. After what was his final concert on April the ’21st’ 1978, his doctor advised him to stop touring and playing the trumpet as the strain on his heart was proving too great.
Sadly, just under eight month later, on December the ’17th’ 1978, Don Ellis returned from a Jon Hendricks concert and suffered what proved to be a fatal heart attack at his North Hollywood home. Don Ellis was just forty-four and that day, jazz lost one of its great trumpeters.
Just over forty-two years after his death and sadly , Don Ellis’ music is often overlooked by the majority of jazz fans, and only a small but appreciative audience remember a man who was one of the great jazz trumpeters. His career began in 1956 and over the next twenty-two years his raison d’être was to innovate and take jazz in a new and different direction. A reminder of this truly talented bandleader, composer and trumpeter is his 1976 album Shock Treatment which nowadays is regarded as a cult classic. However, the story began ten years earlier.
As 1968 dawned, Don Ellis was already regarded as an innovative bandleader, composer and trumpeter within jazz circles due to his use of willingness to experiment, and particularly due to his use of different time signatures. This had been the case since he released his debut album How Time Passes in 1960. Eight years later, and Don Ellis was preparing to record Shock Treatment which was his ninth album and second for Columbia Records. It was the followup to Electric Bath.
Electric Bath.
In 1967, Don Ellis left Pacific Jazz after releasing three albums, and signed to Columbia which would be his musical home for the next five years. During that time, he would release six albums including his Columbia debut, Electric Bath.
Having signed to Columbia, Don Ellis was paired with jazz producer John Hammond and on the ‘19th’ of September 1967 he and his big band entered Columbia Recording Studios, in Hollywood, California to record what became Electric Bath. It took two days to record five tracks and by the end of the ‘20th’ of September 1967 Don Ellis had recorded his eighth album. It was a stylistic departure for the thirty-three year old trumpeter.
When Electric Bath was released later in 1967 it was to widespread critical acclaim. Critics and cultural commentators were won over by what was a groundbreaking album of fusion. Don Ellis had been heavily influenced by rock and incorporated electronics during the recording. The result was a breathtaking and exhilarating album of fusion that nowadays, is regarded as a genre classic. It was nominated for a Grammy Award and won the Down Beat Reader’s Poll. It was the perfect way for Don Ellis to start his career at Columbia.
Just like many artists who had released a groundbreaking, genre classic like Electric Bath, Don Ellis knew the difficult thing was following it up. He had set the bar high and knew this wasn’t going to be easy. However, he as keen to build on the success of Electric Bath, and began work on his ninth album Shock Treatment.
Shock Treatment.
For his ninth album, Don Ellis wrote five new tracks Homecoming, Star Children, Beat Me Daddy, Seven To The Bar, Milo’s Theme and The Tihai. He also joined forces with Kelly MacFadden to write Night City. John Magruder who played baritone saxophone, clarinet and flute in Don Ellis’ band wrote Zim. These tracks were joined by four cover versions.
This included Hank Levy’s A New Kind Of Country and Mercy Maybe Mercy. The other two tracks were covers of Howlett Smith’s Opus 5 and Seven Up. These eleven tracks would eventually became Shock Treatment.
It took just two days to record Shock Treatment. Don Ellis and his twenty-four piece orchestra recorded the eleven tracks on February the ’14th’ and ’15th’ 1968. It was an impressive sight and sound with the rhythm and horn sections combining with keyboards, percussion and Eastern instruments as bandleader Don Ellis played a starring role and unleashed a series of trumpet solos. Once again, John Hammond took charge of production on Shock Treatment, which was the much-anticipated followup to Electric Bath.
Shock Treatment opens with A New Kind Of Country which becomes funky, energetic and vibrant in the hands of Don Ellis and his orchestra who play part of a composition in 7/4 time. Briefly, the tempo drops on Night City, but soon builds and reveals its secrets as lysergic soulful harmonies combine with Don Ellis and his orchestra, and play their part in the sound and success of this genre-melting track. Straight away, the soulful blues Homecoming takes on a late-night sound, and is played in 3/4 time before bandleader Don Ellis seamlessly changes to 7/4 time on Mercy Maybe Mercy where drummer Steve Bohannon provides the heartbeat as horns and Hammond organ play leading roles. Very different is Zim, which is a more ruminative piece, while Opus 5 finds Don Ellis and his orchestra showcase their versatility and talent by switching to 5/4 time during this nine minute modal jazz epic.
Star Children could only have been recorded during the late-sixties, with its captivating mixture of cosmic sounds, Eastern influences, drama and Don Ellis’ Hispanic-tinged trumpet interjections. The bandleader then switches to 7/4 time on Beat Me Daddy, Seven To The Bar and takes centre-stage for the first thirty-seconds before he and his orchestra combine jazz and Latin influences during this six-minute propulsive opus which eventually reaches an explosive crescendo. Milo’s Theme offers the opportunity for experimentation as Don Ellis plays electric trumpet and effects are deployed during this ambitious and innovative piece. Seven Up finds Don Ellis returning to 7/4 time during this dazzling, jaunty and lively composition. Closing Shock Treatment is The Tihai which is played in 9/4 time and initially is mellow before becoming exuberant and ultimately a complex rhythmic piece that allows Don Ellis and orchestra to showcase their considerable skills while combining elements of jazz and Latin.
When critics heard Shock Treatment, they realised that it was an ambitious and innovative album. Don Ellis incorporated elements of blues, experimental music , funk, fusion, Indian and Latin influences plus psychedelia and rock into what was his ninth album. Shock Treatment which was Don Ellis’ much-anticipated followup to Electric Bath was the album that he hoped would transform his fortunes.
While Don Ellis was a popular live draw his albums never sold in vast quantities. That was the case with Electric Bath in 1967 and Shock Treatment when it was released in 1968. Sadly, it failed to trouble the US Billboard 200. That was despite Shock Treatment being another ambitious and innovative album and Don Ellis being one of the top jazz trumpeters. After nine albums, Don Ellis had still to make a commercial breakthrough. It must have been hugely frustrating for him.
Just ten years after the release of his cult classic Shock Treatment, Don Ellis passed away on December the ’17th’ 1978 aged just forty-four. That day, jazz lost one of its great bandleader, composer and trumpeter.
Sadly, just over forty-two years after Don Ellis’ tragic death his music is almost forgotten amongst jazz fans. His recording career began in 1960 and continued right up until his death in December 1978. During that period, Don Ellis released eighteen albums and composed nine soundtracks, including his Grammy Award-winning soundtrack to The French Connection in 1971. It’s a reminder of a truly talented bandleader, composer and musician.
So is Don Ellis’ 1968 cult classic Shock Treatment which feature Don Ellis at the peak of his powers as a bandleader, composer and trumpeter. It’s the perfect introduced to Don Ellis whose music is oft-overlooked and sadly never reached the wider audience that it so richly deserved.
That is a great shame as Don Ellis was a talented, imaginative, inventive and innovative compeer and musician, but never enjoyed the success his talent deserved. Incredibly, even winning a Grammy Award didn’t transform Don Ellis’ fortunes, and although he was a popular live draw, cult classics like Shock Treatment and Autumn weren’t huge sellers and sadly slipped under the radar. Maybe one day that will change and Don Ellis will no longer be described as one of jazz music’s best kept secrets?
Cult Classic: Don Ellis-Shock Treatment.
MARIANNE FAITHFUL: THE DECCA YEARS.
Marianne Faithful: The Decca Years.
By March 1964, it was apparent that pop music wasn’t just a passing fad. The Beatles were a global phenomenon and the British Invasion of the American charts had just begun. Britain was a musical powerhouse ,that the world envied. Despite this, many labels weren’t resting on their laurels.
Record companies in Britain were constantly on the search for ‘the next big thing.’ Surely they reasoned, there was another Fab Four somewhere in Britain. It was all a matter of finding them. Some labels put more effort into this than others.
Decca Records had an enviable network of A&R executives and talent scouts across Britain who had their finger was on the pulse of the local music scene. Night after night, these talent scouts headed out to local pubs and clubs where they listened to new bands and singers. Promising artists were signed to contracts before other labels even had a chance to hear them. Helping Decca Records add to their already enviable roster were various producers and music ‘impresarios.’
They were the trusted ears of some record companies. This included the Rolling Stones manager Andrew Loog Oldham. He was by 1964, was managing the second biggest band in the world. The Rolling Stones only rivals were The Beatles. So when Andrew Loog Oldham recommended a new, unknown artist to Decca Records, they took notice.
The artist Andrew Loog Oldham was unlike any he had come across. Even her background was unlike that of any artist he had encountered. The eighteen year old former convent girl was the daughter of an Austrian aristocrat and a former British Army officer who was now a professor of psychology and Italian literature at Bedford College of London University. They had met in Vienna, and were living in Hampstead when Marianne Faithful was born on 29th December 1946. However, this would soon change.
The Faithful family had to move to Ormskirk in Lancashire, while her father finished his doctorate at Liverpool University. Later, the Faithful family lived at the commune and institution for social research in Braziers Park, a Grade II listed building at Ipsden, Oxfordshire. This must have seemed an idyllic place to grow up. However, when Marianne was six, her parents divorced.
For Marianne Faithful the Reading years weren’t exactly happy ones. She lived with her mother in Milman Road, Reading, which she later referred to as the “Reading Gaol.” No wonder as it was a far cry from the early years of her life.
By then, money was tight and Marianne and her mother were reduced to living in suburbia. To make matters worse, Marianne suffered from tuberculosis; and she had to become a subsidised pupil at St Joseph’s Convent School where she was a weekly boarder. It was at school, that Marianne Faithful first took to the stage.
It wasn’t as a singer though. Instead, she was part of the school’s Progress Theatre group. Little did anyone realise, that when Marianne Faithful left St Joseph’s Convent School, she spend much of her life on the stage. Before that, she escaped the drudgery and boredom of suburban Reading.
Very different was London’s social scene, which Marianne Faithful threw herself into. It was as if she was making up for the Reading years. London was different from small-town Reading and she enjoyed the constant round of parties, record launches and gallery openings. She even travelled to Cambridge to attend a University ball, where she met her future husband John Dunbar. By then, Marianne Faithful was regular in London’s folk circuit.
For some time, she had been playing coffee shops including Cafe Au Lait and Shades. Her career was in its infancy but through John Dunbar, Marianne Faithful met Peter Asher of Peter and Gordon. They were already enjoying a successful career. However, not as successful as the two men Peter Asher introduced Marianne Faithful to at a party in March 1964.
She went along to a party with John Dunbar in March 1964 which was where she was introduced to the leaders of the two biggest groups in the world. First Marianne Faithful met Paul McCartney, and then she was introduced to Mick Jagger. Little did she realise the effect this meeting would have on her career.
Through Mick Jagger, Marianne Faithful was introduced to Andrew Loog Oldham. Straight away, he signed Marianne Faithful to Decca Records. Soon, work began on her debut single.
As Tears Go By which was penned by Mick Jagger and Keith Richards was chosen as For Marianne Faithful’s debut single. It was produced by Mike Leander, and released in the summer of 1964. It reached number nine in Britain; twenty-two in the US Billboard 100 and thirty-five in Australia. The eighteen year old had enjoyed a hit single on three continents. However, the followup single wasn’t as successful.
Having chosen to cover a Jagger-Richards song for her debut single, Marianne Faithful decided to cover Bob Dylan’s Blowin’ In The Wind for her sophomore single. When it was released later in 1965, it failed to chart on both sides of the Atlantic. Surely Marianne Faithful wasn’t a one hit wonder?
Decca Records didn’t think so, and decided that Marianne Faithful should begin work on not just one album, but two albums.
Come My Way.
It was a case of striking while the iron was hot as many artists weren’t didn’t enjoy a long shelf life. So as soon as they had a single under their belt, they were sent into the studio to record an album. Decca Records decided that Marianne Faithful should record two quite different albums, Come My Way and Marianne Faithful. Of the two albums, Come My Way would only be released in Britain.
For Come My Way, Marianne Faithful chose fourteen tracks. Many of the tracks were traditional songs. This included Come My Way, Jaberwoc and Spanish Is The Loving Tongue, Fare Thee Well, Down In The Salley Garden, Full Fathom Five and Bells Of Freedom. Other tracks included Lee Hayes’ Lonesome Traveller and Ian Tyson’s Four Strong Winds. These songs were recorded at IBC Studio, London with producer Tony Calder.
On Come My Way, Marianne Faithful concentrated purely on folk music. This was what Marianne had been singing up until then. She sang and played her acoustic guitar against John Mark’s spartan arrangements. This would prove successful when Come My Way was released.
It wasn’t until 15th April 1965 that Marianne Faithful released Come My Way. The album was well received by critics, and reached number twelve in Britain. However, Come My Way wasn’t released in America. Instead, Marianne Faithful’s eponymous sophomore was released on both sides of the Atlantic the same day as Come My Way.
Marianne Faithful.
Marianne Faithful was recorded at the same time as Come My Way, and would be released in America and Britain. However, it was a very different album to Come My Way. Gone was the folk sound which was replaced by pop, chanson and ye-ye. Already, Marianne For Marianne Faithful was showing that she was a versatile singer.
For Marianne Faithful, fourteen pop covers had been chosen. This included Jackie DeShannon’s Come and Stay With Me; Bacharach and David’s If I Never Get to Love You; Tony Hatch’s Downtown; Jagger and Richards’ As Tears Go By; Jackie DeShannon and Jimmy Page’s In My Time of Sorrow; and Lennon and MCartney’s I’m A Loser. Marianne Faithful also made her songwriting debut, cowriting Time Takes Time with Barry Fantoni. These songs were recorded in two London studios.
At Lansdowne Studios and Decca No. 2 Studio, London, Marianne Faithful recorded another fourteen songs with producer Tony Calder. This time, she was accompanied by a band who flitted between musical genres. This included Plaisir D’Amour the first songs that Marianne Faithful recorded in French. The London born chanteuse was about to become one of the ye-ye girls, and also enjoyed commercial success on both sides of the Atlantic.
Just like Come My Way, Marianne Faithful was released on 15th April 1965. Reviews of the album were positive, with critics remarking that some of the song’s were perfectly suited to Marianne Faithful. She brought life and meaning to the songs and it wasn’t a surprise when the album reached fifteen in Britain and twelve in the US Billboard 200. This wasn’t the end to the success.
Come And Stay With Me was released as the lead single and reached number four in Britain and twenty-six in the US Billboard 100. Then This Little Bird was released later in 1965, and reached number six in Britain and thirty-two in the US Billboard 100. Just a year after signing to Decca Records and Marianne Faithful was a star on both sides of the Atlantic.
Less than a month after the release of Come My Way and Marianne Faithful, she married John Dunbar on the 6th of May 1965, in Cambridge. After the wedding, the pair lived in a flat in Belgravia, in London. What looked like a fairytale continued.
Go Away From My World.
Although newly married, and expecting her first child, Marianne Faithful had to record a new American album. It featured twelve tracks which were a mixture of traditional songs and cover versions.
Among the traditional songs were Come My Way, Mary Ann, Scarborough Fair and North Country Maid. Cover versions included Lennon and McCartney’s Yesterday and Tom Paxton’s The Last Thing On My Mind. Marianne also decided to cover Francis McPeake’s Wild Mountain Thyme and Cyril Tawney’s Sally Free and Easy. These songs were produced by Mike Leader, and scheduled for release in November 1965.
Reviews of Go Away From My World were mainly positive. However, looking back with the benefit of hindsight, it’s an album that’s appealing to everyone. There’s songs for people who like folk and pop music; while Marianne Faithful had been a much more pop oriented album. Maybe Go Away From My World fell between two stools?
After the success of Marianne Faithful in America, Go Away From My World reached a disappointing eighty-one on the US Billboard 200. The only crumb of comfort was that when Summer Nights was released as a single and reached number ten in Britain and number twenty-four in the US Billboard 100. Then Marianne’s cover of Yesterday reached number thirty-six in Britain. Her last single from Go Away From My World was the title-track which reached a lowly eighty-nine in the US Billboard 100. Little did Marianne Faithful realise that Go Away From My World would be her last American hit. Sadly, that would’ve been the least of her worries.
In December 1965, Marianne Faithful left her husband of seventh months and went to live with the Rolling Stones’ frontman Mick Jagger. Little did she realise this decision would change her life and people’s perception of her forevermore. That was still to come. Before that, Marianne Faithful began work on her next album North Country Maid.
North Country Maid.
As 1966 got underway, Marianne Faithful and Mick Jagger through themselves headfirst into swinging London’s social scene. They epitomised swinging London and were seen at the smartest parties. However, Marianne Faithful had an album to record.
This was her third British album North Country Maid. However, six of the songs had already featured on the now ironically titled American album Go Away From My World. This included traditional songs like Scarborough Fair; How Should I Your True Love and North Country Maid. The other tracks included Cyril Tawney’s Sally Free and Easy; Jon Mark’s Lullabye and Francis McPeake’s Wild Mountain Thyme. This left Marianne to record six new songs.
They were a mixture of traditional song and cover versions. The traditional songs included Cockleshells; She Moved Through The Fair and How Should I Your True Love Know. Other tracks included covers of Tom Paxton’s Last Thing On My Mind; Ewan McColl’s The First Time Ever I Saw Your Face and Donavon’s Sunny Goodge Street. These tracks were recorded with producer Mike Leander.
When the recording the six songs began, Marianne Faithful was joined by guitarists Big Jim Sullivan and Jon Marks. He had worked on all of her albums arranging the tracks. Joining them in the studio was an up-and-coming engineer, Gus Dudgeon. Soon, the six songs took shape, and the release of North Country Maid was scheduled for spring 1966.
Before the release of North Country Maid on 1st of April 1966, critics had their say on Marianne Faithful’s third album. The consensus was, that North Country Maid was the finest album of her nascent career. That however, was no surprise.
Great care had gone into choosing the twelve songs that became North Country Maid. These songs seem tailor made for Marianne, as she flits seamlessly between musical genres. Although primarily an album of folk music, blues, country, acid folk and even pop can be heard on North Country Maid. It’s the perfect showcase for Marianne’s versatility as a singer.
Playing an important part in the success of North Country Maid, were Mick Taylor and Jon Mark’s arrangements. Jon Mark and Big Jim Sullivan accompany Marianne on arrangements that although they’re mostly understated and spartan, allow Marianne’s vocal to take centre-stage; She’s equally comfortable singing traditional songs and cover versions on North Country Maid, which was by far, the best album of Marianne Faithful’s career.
Despite that, North Country Maid failed to chart on its release on 1st April 1966. For Marianne Faithful this was a huge blow. Her two previous albums had sold well in Britain, and she had enjoyed several hit singles. However, the warning signs were there when Go Away From My World failed to chart. This made Marianne Faithful’s next album a crucial one.
Love In A Mist.
For her fourth British studio album, Love In A Mist, Marianne Faithful decided to change tack. It was a case of needs must. Not only had her career stalled but acoustic folk music was no longer as popular. Even Bob Dylan had plugged in and gone electric in 1966. So Marianne decided to reinvent herself on Love In A Mist.
She had already started to reinvent herself on her American album, Faithful Forever which was released in September 1966, but failed to chart. Despite this, half of the tracks that featured on Faithful Forever found their way onto Love In A Mist. Along with the other seven songs, a total of fourteen tracks found their way onto Love In The Mist.
Among the tracks on Love In The Mist were a trio of tracks from Donovan, In the Night Time, Young Girl Blues and Good Guy. Marianne covered Jackie DeShannon’s You Can’t Go Where the Roses Go and With You In Mind. She also covered Tim Hardin’s Don’t Make Promises and Reason To Believe. Other tracks included Lennon and McCartney’s Yesterday; John D. Loudermilk’s; This Little Bird; Bob Lind’s Counting and Bernstein and Sondheim’s I Have A Love. Ne Me Quitte Pas and Coquillages allowed Marianne to show her versatility on a couple chanson songs. Love In The Mist was shaping up to be her most eclectic album.
With seven tracks to record, Marianne entered the studio with a band. This was a first. They played on Love In The Mist, but took care not to overpower Marianne’s vocal. It veers between elegiac and ethereal, to melancholy and wistful. Sometimes it’s hopeful, but often it sounds worldweary. Marianne it seemed, had lived some of the lyrics. On several tracks, there’s a return to the understated sound of previous albums. However, Mike Leander decided to orchestrate parts of Love In The Mist. He even added subtle horns on several tracks. They work well, and should’ve played an important part in the reinvention of Marianne Faithful.
Sadly, by the time Love In The Mist was released, Marianne Faithful had been embroiled in scandal. Her decision to befriend the Rolling Stones had backfired on her badly. This could be traced back to 1965, when she left husband John Dunbar in December, and moved in with Mick Jagger not long after this. By 1965, Marianne had befriended another member of the Rolling Stones’ inner circle…Anita Pallenberg.
Marianne Faithful and Anita Pallenberg became friends in 1965 and soon, they were smoking marijuana together. Then in 1966, Marianne Faithful decided to take her son to stay with Anita Pallenberg and Rolling Stone Brian Jones. By then, Marianne Faithful was a familiar face with Mick Jagger at swinging London’s smartest and wildest parties. However, when she had some free time she spent it with her friends.
This included Anita Pallenberg and Brian Jones. The time they spent together passed off without incident. If only the same could be said of the events of 12th February 1967.
By then, it was less than a month before Marianne Faithful would release her fourth album. On Sunday the ‘12th’ of February 1967, she was relaxing with members of the Rolling Stones’ inner circle at Keith Richards country estate Redlands. That night, Sussex police raided Redlands looking for drugs. They claimed to have been tipped off that a drug were being consumed on the premises When they entered Redlands, they discovered MarianneFaithful covered by just a fur rug. This would come back to haunt her.
After a search of Redlands, various tablets and substances including amphetamine and cannabis were discovered. This lead to the arrest of Mick Jagger and Keith Richards. They were charged, and were facing imprisonment. However, as the story became front page news, so did the details of how the police discovered Marianne Faithful. This shocked many little Englanders, who viewed not just Mick Jagger and Keith Richards with distaste, but Marianne Faithful too.
Suddenly, the press were raking over her private life and serving up every salacious piece of petty gossip for the titillation of the little people in their two up, two downs. They stood in judgment of Marianne Faithful who was about to release a new album.
Just over three weeks later, Marianne Faithful released her fourth album, Love In A Mist on the 2nd of March 1967. Despite the quality of the music on Love In A Mist, the album never came close to troubling the charts. Whether the unwanted publicity affected sales of Love In A Mist is a matter of speculation? Following the release of Love In A Mist, Decca Records and Marianne Faithful parted company. Marianne’s Decca Records ‘ swan-song was her most underrated albums.
Love In A Mist is a genre hopping album were Marianne Faithful flits between folk, chanson and pop to country, acid folk and baroque pop. It’s a captivating roller coaster of emotion. However, sadness, melancholy and hurt feature throughout Love In A Mist. Sadly, very few people heard Love In A Mist, which makerked the end of Marianne Faithful’s career at Decca Records. It would be a long time before she reached these heights again.
Indeed, it wasn’t until 1975 that Marianne Faithful released another album Dreamin’ My Dreams. By then, Marianne Faithful had been to hell and was still on the way back. The last eight years had taken their toll.
By 1968, Marianne Faithful was pregnant but sadly, suffered a miscarriage. This must have been a devastating blow for her. At the time, the twenty-two year old singer was struggling to battling cocaine addiction. The last year of her life had been the toughest. However, she was a survivor and would be back.
In 1970, her relationship with Mick Jagger was over, and she lost custody of her son. This lead to Marianne Faithful trying to commit suicide. Over the next few years, she battled anorexia nervosa and heroin addiction. Things got so bad that for two years she was homeless in London. Mike Leander found Marianne Faithful living on the streets of London and tried to revive her career. However, her addictions and problems made recording an album impossible.
During the early-to-mid seventies, Marianne Faithful made just a few public appearances. Many critics thought that her career was over and some feared the worst. It was a far cry from 1964, when her star was in the ascendancy and she was the brightest star in the London music scene. However, in 1975. she returned with a new album.
Dreamin’ My Dreams was released in 1975 and reached number one in Ireland. It was a start, and a step in the right direction.
When Broken English was released in 1979. the comeback of Marianne Faithful was complete. The album featured her now husky voice. Drink and drugs had taken their toll but this didn’t stop Broken English being released to critical acclaim, and selling over a million copies worldwide.
Since then, Marianne Faithful has rebuilt her life and today one of music’s true survivors celebrates her seventy-fourth birthday. She’s written two biographies, forged a career as an actress and in 2018 released her twenty-first album Negative Capability. However, Marianne Faithful’s Decca years are regarded as the highlight of what been a long and eventful life and career.
Marianne Faithful: The Decca Years.
THE RISE OF THE DOORS.
The Rise Of The Doors.
By 1972, The Doors had decided to call the upon their career after the tragic death of their charismatic frontman Jim Morrison, who had died on the 3rd July 1971. The Lizard King became the latest entrant into the twenty-seven club, where he joined Brian Jones, Janis Joplin, Alan Wilson and Jimi Hendrix. This meant that The Doors’ career ended at the top and their fans memories of them were never tarnished.
The Doors were never going to grow old together and they would forever be the band that featured on their final album L.A. Woman. Never would they age and nor would they make a series of ill-advised comebacks or reunions that resulted in the release of third-rate albums. That would never happen as The Doors career ended whilst they were at the top and had just released another classic album. What saddened their fans is that The Doors’ career ended in tragic circumstances. However, their many fans still have their musical memories and can enjoy the group’s rich musical legacy.
These memories included a sextet of critically acclaimed and commercially successful albums. Between 1967s The Doors and 1971s L.A. Woman, The Doors only ever released six albums. Their debut album, The Doors was certified platinum five times over. After that, four of the next five albums were certified platinum and one double platinum. That wasn’t all.
1970 saw The Doors’ release Absolutely Live which was certified gold. The same year, they released their first compilation, 13 in January 1970, and it was certified platinum. Then six months of the tragic loss of Jim Morrison, a second Doors’ compilation was released, Weird Scenes From Inside The Gold Mine. It was a fitting tribute to one of rock’s greatest ever groups, The Doors. Their career began in LA in late-1965.
The Doors were formed in Los Angeles in 1965 and took their name from Aldous Huxley’s seminal book The Doors Of Perception. The nascent quartet was led by the charismatic vocalist Jim Morrison.
Jim Morrison was more than a singer and was also a lyricist and poet. He was a free spirit, charismatic, enigmatic and wildly unpredictable. Life was for living and Jim Morrison lived a thousand lives in twenty-seven years. However, The Doors weren’t a one man band.
The Doors’ success was down to the four band members and this included drummer John Densmore, guitarist Robby Krieger and keyboardist Ray Manzarek. Together, they were about to enjoy the kind of commercial success and critical acclaim that they could only have dreamed of.
The Doors got their break in 1966 when they signed to Elektra Records. It was the first label to spot the potential in psychedelic rock and before long it started signing up a whole host of psychedelic rock bands. Among the most successful were Love and The Doors who recorded their debut album in the summer and autumn of 1966.
The Doors.
By then, classic lineup of The Doors had been together since late-1965 and Bobby Krieger had only been playing the guitar for six months. During that time, they were a familiar face on the LA live scene where they honed their sound and the songs the group had written.
By the time The Doors arrived at Sunset Sound Recorders, in Hollywood, Los Angeles, they had already written eight of the ten tracks that would eventually feature on the album. This included Break On Through (To The Other Side), Soul Kitchen, The Crystal Ship and The End. They were joined by covers of Alabama Song (Whisky Bar) and Back Door Man on The Doors. It was recorded between the August the ‘29th’ to September the ‘23rd’ 1966 and was produced by Paul A. Rothchild.
Six months later, on 4th January 1967, The Doors was released to mostly positive reviews. It opened with Break On Through (To The Other Side) which invited listeners to expand their consciousness and was bookended with The End an example of Jim Morrison’s rock poetry. The Doors was hailed by some critics as a future classic and would become one of the group’s most influential album.
Break On Through (To the Other Side) was released as the lead single in January 1967 but stalled at 126 in the US Billboard 100. This was an inauspicious result for The Doors’ debut single.
Gradually, The Doors reached number two in the US Billboard 200 and was certified platinum five times over. Meanwhile the album was was certified platinum in Germany, certified platinum twice in the UK; three times platinum in France and four times platinum in Canada. This was helped by the commercial success of Light My Fire.
Light My Fire was released in April 1967 and reached number one on the US Billboard 100 charts. It became a Doors’ classic and so would several songs from the group’s sophomore album, Strange Days.
Strange Days.
The Doors returned to Sunset Sound Recorders, in Hollywood, LA, in May 1967 and during breaks in their touring schedule recorded what become their sophomore album Strange Days. It featured ten tracks written by The Doors which were produced by Paul A. Rothchild and completed in August 1956.
Eight months later, on the The Doors released their sophomore album Strange Days on the on the ‘25th’ of September 1967. It was released to the same widespread critical acclaim as The Doors and hailed a heavy, psychedelic classic. Strange Days featured some of the most psychedelic songs The Doors ever released. Among them were Strange Days, Love Me Two Times, When The Music’s Over and the moody, haunting People Are Strange.
When Strange Days was released it reached number three in the US Billboard 200. This resulted in another platinum disc for The Doors. The lead single People Are Strange reached twelve in the US Billboard 100 whole the followup Love Me Two Times reached just twenty-five. This was just part of the story.
Elsewhere, Strange Days was certified gold in Germany and Britain; two times gold in France and platinum in Canada. Eventually, nine million copies of The Doors’ sophomore album were sold worldwide. That’s no surprise given the psychedelic delights of Strange Days which later became The Doors’ second classic album.
However, by the time The Doors released Strange Days they were already one of the heaviest, psychedelic rock bands of the sixties. The chameleon-like band were led by the charismatic Lizard King and critics wondered what direction their music would head?
Waiting For The Sun.
In January 1968 The Doors headed to TTG studio to record their third album with producer Paul A. Rothchild. Just like Strange Days, many of the songs had been written before The Doors signed their recording contract with Elektra. The Doors had matured early as songwriters and had enough material for several albums of material. This included Waiting For The Sun. However, the album which was completed in May 1968 and would be released two months later has almost exhausted the band’s stock of songs.
On the ‘3rd’ of July 1968 The Doors release their much-anticipated third album Waiting For The Sun. Although it was generally well received many critics believed the album lacked the quality of The Doors and Strange Days.
Despite that, Waiting For The Sun became The Doors’ first number one album. The album also gave the The Doors’ their second platinum album. Just like their two previous albums, Waiting For The Sun was a huge success worldwide and eventually sold seven million copies worldwide.
When it was released, Waiting For The Sun was certified gold in Britain and Germany; double gold in France and platinum in Canada. Whether it was Britain, Europe or North America,The Doors were providing the soundtrack to a generation’s life
This included the two singles which were released from Waiting For The Sun. The lead single was The Unknown Soldier which stalled at thirty-nine in the US Billboard 100. It was Jim Morrison’s reaction to the Vietnam War and was a poignant, dramatic anti-war song that gave voice to the frustration and anger a generation felt. Instantly, The Doors became the voice of a generation and this showed another side to their music.
Very different was the second single from Waiting For The Sun, Hello I Love You which is a two minute, timeless pop anthem that topped the US Billboard 100. On the B-Side was Love Street which started life as a poem and became a baroque pop song. It’s another example of Jim Morrison’s talents as a poet and lyricist.
Despite some disappointing reviews, The Doors were celebrating they first number one album and their first number one single. The big question was how would The Doors top Waiting For The Sun?
The Soft Parade.
After the commercial success of Waiting For The Sun The Doors were being offered vast sums of money to play live. They embarked upon a gruelling touring schedule and it was a case of fitting recording sessions in when they could. This wasn’t ideal and there was very little time to write and develop new songs.
To complicate matters, Jim Morrison the “acid-evangelist of rock,” was behaving erratically, drinking heavily and suffering from anxiety. At one point he thought that he was about to have a nervous breakdown. Things were becoming increasingly difficult for The Doors’ charismatic frontman who was struggling to cope with his newfound fame. So much so, that he considered leaving the band but Ray Manzarek convinced him to complete the album.
Jim Morrison was also spending more time writing poetry and was less involved with the songwriting process. This meant that the Lizard King and Robby Krieger had to divide songwriting duties. They each wrote four songs each and joined forces to write Do It. The nine new songs were recorded at Elektra Sound West with Paul A. Rothchild who encouraged the band to change and develop their sound.
On The Soft Parade The Doors dispensed with the stripped down, understated sound of their first three albums. Instead, Paul Harris who was an arranger for the Los Angeles Philharmonic was brought onboard to arrange the strings and horns which were played by local jazz musicians. They were joined by session musicians Doug Lubahn and Harvey Brooks who were both bassists and were drafted in by producer Paul A. Rothschild who was also going through a difficult time.
By then, Paul A. Rothschild was addicted to cocaine and took control of the sessions. The Doors hadn’t any readymade songs and what they had was work in progress. This resulted in numerous takes of each song being recorded. It didn’t help that the Lizard King lacked enthusiasm during the sessions. Engineer Bruce Botnick later remarked that: “It was like pulling teeth to get Jim into it.” The Soft Machine wasn’t an easy album to record and it took until early 1969 to complete and cost $80,000 to record.
The Doors flitted between art rock, blues rock, fusion and psychedelic rock on The Soft Parade where producer Paul A. Rothschild tried to get the band to reinvent their original sound. Music was evolving and he knew that The Doors music had to evolve.
This genre-melting The Soft Parade had the potential to become the most ambitious release of their career. It was a good idea in theory but with the Lizard King seemingly uninterested in writing and recording the album it wasn’t up to the standards of their first two albums.
The Soft Parade was released on the ‘21st’ of July 1969. Never before had a year passed before The Doors’ released an album. That was until they released The Soft Parade which showcased their new sound. However, some fans and critics didn’t welcome this change of sound and also had a problem with the lyrics.
Some critics and fans felt that The Soft Parade was the group’s weakest album. They also felt that the lyrics on the album were formulaic. The accusation was that the group were now following a formula when it came to writing lyrics. This was disappointing given that when The Doors released Waiting For The Sun they were regarded as the voice of a generation. Something had to change if The Doors were to make up the ground that they had lost. Despite this, The Soft Parade and the singles were a commercial success.
In December 1968, The Doors released Who Scared You as a single. Although it didn’t feature on The Soft Parade it reached number three in the US Billboard 100. This augured well for the release of The Doors’ fourth album.
When The Soft Parade was released it reached number six in the US Billboard 200 charts and was The Doors’ least successful album. Despite that, it still was certified platinum in America and across the border in Canada. Elsewhere, The Soft Parade didn’t sell in the same quantities as their three previous albums and it was only certified silver in Britain. This was disappointment and so was the performance of the singles.
Wishful Sinful reached forty-four in the US Billboard 100 while Tell All The People stalled at fifty-seven. Then Runnin’ Blue reached a lowly sixty-four in the US Billboard 100. The commercial failure of the three singles released from The Soft Parade was a disappointment for The Doors. By then, critics were wondering what was next for The Doors?
Especially after the events of the ‘1st’ of March 1969 when a drunken Jim Morrison took to the stage in front of an audience of 12,000 at the Dinner Key Auditorium in Coconut Grove, Florida. That night, it’s alleged that he exposed himself during the concert. This resulted in him being charged with indecent exposure on the ‘4th’ of April 1969 and resulted in a March For Decency” at the Miami Orange Bowl.
The rest of The Doors’ tour was cancelled and their records were blacklisted by radio stations. To add to their woes, twenty-five concerts on their next tour were cancelled. Drummer John Densmore estimated that the cancellation of the concerts cost the band one million dollars. It was a disaster for The Doors.
Morrison Hotel.
Eight months after that fateful night in Florida that proved so controversial and costly for The Doors started recording their fifth album. By then, Jim Morrison was trying to shed his Lizard King image and had got rid of his stage leathers and had grown a beard. Worryingly his weight had ballooned, his alcoholism was worsening and he was becoming increasingly unpredictable.
Having just stared recording the new album, Jim Morrison decided to fly to Phoenix to see the Rolling Stones in concert. During the flight the drunken Lizard King caused a disturbance and was charged under a recently introduced skyjacking law. He could be sentenced to ten years in jail or fined up to $10,000. The Doors could’ve been looking for a new frontman.
The Doors entered Elektra Sound Recorders in November 1969. This time around, Jim Morrison had written four new songs, cowrote five with Robby Krieger and two with the rest of The Doors. These songs would become Morrison Hotel.
Joining The Doors in the studio was John Sebastian of The Lovin’ Spoonful who played harmonica on Roadhouse Blues. Just like on The Soft Parade two bassists were used. This included session musician Ray Neapolitan and blues rock pioneer Lonnie Mack. His addition made sense as The Doors flitted between psychedelic rock and blues rock on Morrison Hotel. It was completed in January 1970.
Just a month later, Morrison Hotel was released on the ‘9th’ of February 1970. The first side was entitled Hard Rock Cafe and featured classic tracks like Roadhouse Blues, Waiting For The Sun and Peace Frog. Amongst highlights of the second side which is entitled Morrison Hotel are The Spy and Indian summer.
When Morrison Hotel was released it was billed as The Doors’ comeback album. Critical acclaim accompanied an album that an album of blues rock, hard rock and psychedelic rock which reached number four in the US Billboard 200 and was certified platinum. The Doors were back with their best album since Strange Days. However, the only disappointment was when the single You Make Me Real stalled at fifty in the US Billboard 100..
Elsewhere, Morrison Hotel was certified gold in Austria, Britain and Switzerland. In Canada, France, Poland and Spain The Doors’ comeback album was certified platinum and became their most successful album since Strange Days. The Doors were back with one of their finest albums and a future classic.
Absolutely Live.
Just five months after the release of Morrison Hotel, The Doors released their first live album, Absolutely Live. It was a double album that had been compiled from concerts that took place between July the ‘21st’ 1969 to May the ‘8th’. 1970. Producer Paul A. Rothchild claimed that he had edited different versions of songs to create: “the ultimate concert…I couldn’t get complete takes of a lot of songs, so sometimes I’d cut from Detroit to Philadelphia in mid-song. There must be 2,000 edits on that album”
When Absolutely Live was released on the ‘20th’ of July 1970 the reviews were mixed. Some critics, including Robert Christgau of The Village Voice wrote favourable reviews, while other were highly critical of the Lizard King’s performances. This included Gloria Vanjak in Rolling Stone magazine. It seemed that even 2,000 edits couldn’t salvage Absolutely Live.
On its release Absolutely Live sold just 225,000 copes and reached number eight in the US Billboard 200. Eventually The Doors’ first live album was certified gold. The same year, they released their first compilation, 13 and the commercial success kept on coming.
13.
Released in November 1970, 13 featured some of greatest music The Doors released between 1967 and 1967. So, it’s no surprise that it reached number twenty-five in the US Billboard 200. This resulted in 13 being certified platinum. It seemed The Doors could do no wrong.
L.A. Woman.
L.A. Woman was recorded between December 1970 and January 1971 at The Doors’ Workshop, Los Angeles. This time there was no sign of longtime Doors’ producer Paul A. Rothchild. He had been replaced by Bruce Botnick who coproduced L.A. Woman with The Doors.
L.A. Woman featured nine songs penned by The Doors and a cover of John Lee Hooker’s Crawling King Snake. At this point in his life, Jim Morrison was heavily Influenced by legendary blues singers like Howlin’ Wolf, Muddy Waters and John Lee Hooker. This influence began on Morrison Hotel, and continued on L.A. Woman. Little did The Doors know when they completed what was their sixth studio album that it wold be the last to be released during Jim Morrison’s lifetime.
When L.A. Woman was released on 19th April 1971 it was to mostly positive reviews. Just like Morrison Hotel, L.A. Woman saw The Doors combine blues rock and psychedelic rock. This had been a successful formula for The Doors over the last few years.
Prior to the release of L.A. Woman Love Her Madly was released as a single and reached twenty in the US Billboard 100. Then when L.A. Woman was released it reached number eight in the US Billboard 200 and was certified double platinum. When Riders On The Storm was released it reached fourteen in the US Billboard 100 and gave The Doors another hit single.
Meanwhile, across the world, L.A. Woman was selling in vast quantities. In Australia, L.A. Woman was certified four times platinum; three times platinum in Canada; two times platinum in France and platinum in Spain. L.A. Woman was also certified gold in Austria, Britain, Germany and Switzerland. It was the most successful album of The Doors’ career. Their decision to return to their blues rock roots had worked.
Just three months after the release of L.A. Woman The Doors’ charismatic frontman Jim Morrison died on the ‘3rd’ of July 1971. Music was in mourning at the death of the man they called The Lizard King. He was only twenty-seven and had achieved a lot in the six years The Doors were together. However, who knows what they might have gone on to achieve?
Other Voices.
One can only speculate the direction that The Doors’ music might have headed? They did release one further album, Other Voices. It was released in October 1971 and reached just number thirty-one in the US Billboard 200. Without the charismatic Lizard King’s vocals The Doors weren’t the same band. Despite that, they continued their career.
Weird Scenes From Inside The Gold Mine.
In January 1972, the second compilation of The Doors music was released. This was Weird Scenes From Inside The Gold Mine which reached number fifty-five in the US Billboard 200. It was certified gold and is a captivating compilation of one of the greatest bands in musical history. One of the reasons for this, is the choice of music on Weird Scenes From Inside The Gold Mine, which was a double album.
Rather than just make Weird Scenes From Inside The Gold Mine a greatest hits album it features B-Sides, rarities and album tracks. The result is a fascinating overview of one of the most innovative and pioneering bands in musical history. It’s also a fitting tribute to The Lizard King who had played a huge part in the rise of The Doors.
Full Circle.
On August the ‘15th’ 1972, the three remaining members of The Doors returned with their second album as a trio, Full Circle. Bruce Botnick who produced L.A. Woman and their previous album declined to produce Full Circle. Instead, The Doors produced the nine tracks they recorded at A&M Studio. Joining them were some top session players which allowed the group to take their music in new and different directions.
The result was an album where The Doors flitted between funk-rock, fusion and rock. Critics weren’t won over by the album which wasn’t the group’s finest hour. It was an unremarkable and unfocused album that very occasionally hinted at The Doors’ past glories.
When Full Circle was released it reached sixty-eight in the US Billboard 200. Just like Other Voices there was no gold or platinum disc. The Doors without their charismatic frontman just weren’t the same band. Critics and the band’s fans wondered what the future held for The Doors?
In January 1973 The Doors disbanded. There was no point limping on as a trio and releasing mediocre albums. It was best to call time on their career rather than damage the band’s reputation. This looked like the end of the road for The Doors.
An American Prayer.
Five years later, The Doors released An American Prayer on November the ‘17th’ 1978. This was an album of Jim Morrison’s poetry and also featured pieces of music and spoken word during the audio collage. Excerpts from the short film HWY: An American Pastoral, snippets from jam sessions and a composite version of Roadhouse Blues recorded in New York and Detroit were included on An American Prayer.
When An American Prayer the reviews were mixed. It was an album that divided the opinion of critics. Despite that, it reached fifty-four in the US Billboard 200 and was certified platinum. An album that divided the opinion of critics and continues to do so had sold over a million copies.
The classic lineup of The Doors was formed in late-1965 and they released their eponymous debut album on the ‘4th’ of January 1967. They were at the peak of their powers between the release of The Doors in January 1967 and the release of L.A. Woman in April 1971. By then, they had released six studio albums, one live album and a compilation and in America alone, The Doors had sold over 12.5 million albums.
Across the world, The Doors were one of the biggest selling bands of the late-sixties and early seventies. That’s no surprise as The Doors’ music was ambitious and innovative and led by the charismatic Lizard King they released a quartet of classic albums during a four year period.
This began with their 1967 debut album The Doors which they followed with Strange Days later that year. The Doors’ fifth album Morrison Hotel marked a return to form and their swansong L.A. Woman is regarded as one of their finest albums. However, their most underrated album is The Soft Parade which is the most experimental and ambitious album of their career. Just like their quartet of classics it’s a reminder of one of the greatest groups of the late-sixties and early seventies.
Sadly, The Doors’ career was tragically short after releasing just six studio albums. L.A. Woman was the original lineup’s swansong and never again would they set foot in a recording studio. The original lineup of The Doors’ final album L.A. Woman was a classic and one of their most successful albums.
After the death of Jim Morrison the three remaining members of The Doors decided to continue and released two more albums, 1971s Other Voices and 1972s Full Circle.. Without the charismatic Lizard King at the helm The Doors were a pale shadow of the group they once were and it was no surprise when they disbanded in 1973. Many of the group’s fans thought that they should’ve called time on their career after the death of Jim Morrison rather than limping on as a trio.
The Doors briefly reunited in 1978 to release their ninth album An American Prayer. It was another album divided the opinion and the group soon disbanded. It was the last album the band released. By then, seven years had passed since the death of Jim Morrison.
Despite the three remaining members releasing three decidedly average albums this hadn’t tarnished memories of The Doors. Instead, their legion of fans remembered the group in their prime. In their eyes, The Doors were forever young and would always remember the band that featured on their swansong L.A. Woman.
It brought to an end of what had be a roller coaster ride that lasted four years. During that period, The Doors had enjoyed commercial success and critical acclaim but controversy was never far away. Despite that, The Doors will forever remain one of the most important, innovative, influential and successful groups in musical history whose contribution to musical history is the is six albums they released between 1967 and 1971 including a quartet of classics.
The Rise Of The Doors.
CULT CLASSIC: BEN JAGGA-HOLD ON PRETTY WOMAN.
Cult Classic: Ben Jagga-Hold On Pretty Woman.
Nowadays, every third rate, regional bar band has delusions of becoming the next Led Zeppelin, Deep Purple or Black Sabbath and spend their days dreaming of fame and fortune. Alas, these poor deluded fools shouldn’t give up their day job and should stick to pumping gas and parking cars because they usually lack one important thing…talent.
Meanwhile, many talented artists have released albums that through no fault of their own, never found the wider audience that they deserved. This includes Shuggie Otis, Nick Drake, Linda Perhacs and even the likes of John Martyn, Tom Waits, Andy Bey and Jon Lucien. To these names add Nigerian singer, songwriter and arranger Ben Jagga, who released the West African boogie classic Hold On Pretty Woman.
The story begins when Nigerian singer, songwriter and arranger Ben Jagga wrote the eight tracks that would eventually become his debut album Hold On Pretty Woman. It was the only album that he would release as a solo artist, although he was a member of Cloud 7 and The Ice Cream. However, nowadays, Ben Jagga’s is best known for his debit album Hold On Pretty Woman.
It was recorded and produced by Ephraim Nzeka of Brother To Brother at Tabansi Recording Studios. Joining Ben Jagga was a band who are responsible for tight, understated arrangements. It consisted of just drums, bass, guitar and keyboards. Adding backing vocalists was a who’s who of artists signed to the of Tabansi label. This included Bummy Olajubu, Judith Ezekoka, Zak Roberts, Eric Kol and Nkem Njoku. They were part of the all-star band that featured on Hold On Pretty Woman.
Once the album was recorded, Martin Ikebuaku, who worked for all of the major Nigerian record labels, and is regarded as one of the architects of the West African boogie sound. This included several classics including Hold On Pretty Woman which was released by Tabansi and marks the debut of Ben Jagga.
Sadly, when Ben Jagga’s debut album Hold On Pretty Woman was released it wasn’t a huge commercial success. It was a familiar story, in that it wasn’t until much later when DJs and record collectors picked up copies of Hold On Pretty Woman did they realise that this hidden gem was in fact a West African boogie classic.
Opening with the title-track Hold On Pretty Woman which is a joyous, funky slice of boogie and sets the bar high. You’re The Light Of My Life is a heartfelt soulful ballad which gives way to the heartachingly beautiful Let’s Vow We’ll Never Part where gospel and soul melt into one. You’re My Reason For Living is a gorgeous paean, while Aliyenju is a fusion of the boogie and roots reggae of Aliyenju. Just Forgive and Forget has an understated arrangement that allows the vocal to take centrestage, while It’s You Forever is another irresistible slice of West African boogie. Closing Hold On Pretty Woman is an adaptation of the nursery rhyme Jack and Jill which is given a musical makeover and heads in the direction of what’s best described as Brit Pop. It brings to a close this West African boogie classic.
Sadly, Ben Jagga never released a followup to Hold On Pretty Woman which nowadays, is much prized amongst collectors of boogie. That comes as no surprise as it’s an album that oozes quality. Ben Jagga was companied by a tight, talented and versatile band on Hold On Pretty Woman features eight tracks that are funky, soulful and dancefloor friendly. Despite the quality of music music on Hold On Pretty Woman commercial success eluded Ben Jagga’s debut album.
It was only much later that crate digging DJs and discerning record collectors rediscovered Hold On Pretty Woman. By then, it was almost impossible to find a copy of Ben Jagga’s debut album, and especially one that was in good condition. They’re rarities and much-prized amongst DJs and collectors. That’s no surprise as Hold On Pretty Woman is an oft-overlooked hidden gem and a West African boogie classic from the multitalented Ben Jagga who should’ve reached greater heights and gone on to enjoy a successful solo career. Sadly, though, the Ben Jagga story is yet another case of what might have been?
Cult Classic: Ben Jagga-Hold On Pretty Woman.
CULT CLASSIC: RALPH THOMAS-EASTERN STANDARD TIME.
Cult Classic: Ralph Thomas-Eastern Standard Time.
Back in 1980, saxophonist and flautist Ralph Thomas released his debut album Eastern Standard Time on the obscure Zebra Jazz imprint. Sadly, when this future spiritual jazz cult classic failed to find the audience it deserved until much later.
By then, copies of Eastern Standard Time were almost impossible to find, and when a copy came up for sale the prices were prohibitively high for most jazz fans. The majority were unable to afford a copy of Ralph Thomas ’s oft-overlooked hidden gem Eastern Standard Time which nowadays, cost in excess of $350. It’s a reminder of a Ralph Thomas cult classic which sadly, was the only solo album he released.
Ralph Thomas was born into musical family in the Windy City of Chicago in 1950. Growing up, Ralph Thomas’ principal instrument was the saxophone, but he was able to play a variety of different instruments. It was no surprise when Ralph Thomas decided to study music at one of Chicago’s most venerable institutions.
In 1969, nineteen year old Ralph Thomas nerved at the Chicago Conservatory of Music which was his home for the next few years. During this period, he became a member of the Chicago A.A.C.M, and studied alongside master musicians Phil Cohran and Richard Muhal Abrams. By then, Ralph Thomas was keen to put what he had learnt into practise.
Soon, Ralph Thomas was recording with blues legend, Howlin’ Wolf and Mighty Joe Young for the Cadet imprint of Chess records. Although this was just the start of his career he was already working with some big names,
Five years later, this continued when Ralph Thomas moved to LA and continued to work as a session player ‘20th’ Century Fox and Motown. Ralph Thomas recorded with Marvin Gaye, Jermaine Jackson, Smokey Robinson and Rick James. A talented and versatile reedman, Ralph Thomas was never short of offers of work.
As the eighties dawned, Ralph Thomas was keen to embark upon a solo career. Although Ralph Thomas enjoyed session work, he felt the time had come to record and release his debut solo album. It would be a reflection of the music that had influenced him as a musician.
Later, Ralph Thomas described himself as a practicing ethnomusicologist and said that his musical vision had evolved during the sixties. However, by the time he came to record Eastern Standard Time his multifaceted, global approach gave the music a captivating and unique sound. “My music has always been open to different cultures and sounds Afro-Cuban, Brazilian, Mexican, Peruvian, American, Hebrew, Turkish, African, Indian and Japanese.” Ralph Thomas was inspired by different types of music from all over the world. These would influence him as a musician when he began work on his debut album Eastern Standard Time
For his debut album the thirty year old wrote Cafe Phillipp, E.S.T. and Spellbound and cowrote Muscavado and Venice with Lawrence Dixon. Ralph Thomas and Thierry Sharfe joined forces to write Doloreso which was joined by Joel Ector’s Big Spliff. These seven tracks were recorded by Ralph Thomas and his band and became Eastern Standard Time,
Ralph Thomas arranged and produced Eastern Standard Time, alto, tenor, soprano and baritone saxophone and flute. His rhythm section featured drummer and percussionist Joel Vierset, Joel Ector who switched between acoustic and electric bass plus guitarist Thierry Sharfe. They were joined by flautist Joann Leauanthal, percussionist Warren Thomas and keyboardist Lawrence Dixon.
One the ‘9th’ of January 1980, Eastern Standard Time was released on Zebra Jazz, but sadly failed to find the audience it deserved. With tracks of the quality of Cafe Phillipp, EST, Spellbound, Muscavado and Venice, Eastern Standard Time where Ralph Thomas and his talented band combined hard bop, modal, post bop and spiritual jazz. The result was Eastern Standard Time, which was an ambitious and innovative debut album from Ralph Thomas. It passed record buyers by like so many albums released on small labels.
The problem was many small independent record labels didn’t have the financial muscle or expertise to promote an album properly. Some didn’t even have a distribution deal which meant the label was unable to get the album into shops in different towns and cities. Instead, the album was sold locally and often labels went round record shops trying to get them to take a one or two boxes of albums and sometimes were willing to risk a sale or return agreement. It’s no wonder that many albums released on small independent labels weren’t a commercial success.
It wasn’t until much later that this Ralph Thomas’ spiritual jazz cult classic started to receive the recognition it deserved. By them, copies of Eastern Standard Time were almost impossible to find, and on the rare occasion when a copy came up for sale the prices were prohibitively high for most jazz fans. Nowadays, original copies of Ralph Thomas’s Eastern Standard Time change hands for in excess of $350. That’s despite a reissue a couple of years ago.
Forty years after Ralph Thomas’ oft-overlooked hidden gem Eastern Standard Time was released by Zebra Jazz in February 1980 and somewhat belatedly it’s starting to find the wider audience it so richly deserves. Eastern Standard Time is a reminder of a talented and versatile saxophonist and flautist at the peak of his powers on his spiritual jazz cult classic which sadly, was also Ralph Thomas’ only solo album.
Cult Classic: Ralph Thomas-Eastern Standard Time.
CLASSIC ALBUM: OSCAR PETERSON-MOTIONS AND EMOTIONS.
Classic Album: Oscar Peterson-Motions and Emotions.
By 1969, forty-four year old Oscar Peterson was signed to the MPS label and was well on his way to becoming one of the greatest pianists in jazz history. The man who Duke Ellington called the Maharaja of the keyboard eventually won eight Grammy awards and released over 200 recordings. This included Motions and Emotions which was released in 1969 and is a reminder of Oscar Peterson at the peak of his considerable powers.
Just a year earlier, in 1968, Oscar Peterson had signed to MPS, and began a new chapter in a recording career that began in 1945. Since then, he had already recorded over 100 albums.
Although Oscar Peterson had only signed to MPS in 1968, he had already released four albums. This included The Way I Really Play, My Favorite Instrument, Mellow Mood and Travelin’ On. They were all released to critical acclaim and were a commercial success. These four albums set the bar high and Oscar Peterson was keen to begin work on a new album for MPS.
This was Motions and Emotions which was arranged and conducted by the vastly experienced Claus Ogerman. He had already worked with Billie Holliday, Frank Sinatra, Antônio Carlos Jobim and now Oscar Peterson on his new album Motions and Emotions.
Before recording of Motions and Emotions began, Oscar Peterson chose ten tracks including Henry Mancini’s Sally’s Tomato, Bobby Hebb’s Sunny, Jimmy Webb’s By the Time I Get To Phoenix, Gayle Caldwell’s Wandering and Bacharach and David’s This Guy’s In Love With You. They were joined by Antônio Carlos Jobim’s Wave, Ray Evans, Jay Livingston and Mancini’s Dreamsville, Lennon and McCartney’s Yesterday and Eleanor Rigby and Bobbie Gentry’s Ode To Billie Joe. These tracks eventually became Oscar Peterson’s album Motions and Emotions.
Joining pianist Oscar Peterson were the other two members of his trio drummer Bobby Durham and guitarist Bucky Pizzarelli. They were joined by arranger Claus Ogerman who conducted the orchestra, was responsible for the orchestral arrangements and co-produced Motions and Emotions with Matthias Kunnecke. When these ten familiar tracks were recorded by Oscar Peterson they became Motions and Emotions.
Sally’s Tomato opens Motions and Emotions with Oscar Peterson’s fingers gliding across the keyboard as Claus Ogerman’s orchestral arrangement provides the perfect accompaniment. It’s a similar case on Sonny, which features another flawless performance from Oscar Peterson as he plays with speed and accuracy whilst transforming this familiar song. The tempo drops on a slow, sometimes spacious and wistful rendition of By The Time I Get To Phoenix, with strings augmenting the sense of longing and yearning in the Jimmy Webb’s lyrics. Wandering is akin to musical journey, while the cover of This Guy’s In Love With You is one of the finest recorded and is the perfect homage to Bacharach and David.
Strings add a wistful cinematic sound on Wave before Oscar Peterson’s piano enters. It takes centre stage and soon, the orchestra provide the perfect accompaniment to Oscar Peterson as he gives a virtuoso performance playing with speed and flamboyance. He then reinvents Dreamsville and then Yesterday with the addition of lush strings. Then Oscar Peterson toys with the introduction of Eleanor Rigby before a walking bass and cinematic strings accompany his brisk probing piano. Ode To Billie Joe closes Motions and Emotions and features rasping, growling horns as the tempo quickens and Oscar Peterson plays with speed, confidence and fluidity before the album closes on a dramatic high.
For anyone yet to discover the delights of Oscar Peterson and unsure where to begin Motions and Emotions is the perfect place to start. It was released in 1969 in the middle of a period where Oscar Peterson could do no wrong. By then, he had released just over a 100 albums and was regarded by critics as one of the greatest jazz pianists ever. Proof of that can be found on Motions and Emotions.
It features a series of virtuoso performances by Oscar Peterson that are variously cinematic, emotive, melancholy, uplifting and full of honesty. The music on Motions and Emotions is sure to stir the emotions, and tug at the heartstrings as Oscar Peterson and Claus Ogerman’s orchestral arrangement provide the perfect accompaniment. By then, Oscar Peterson was at the peak of his considerable powers as Motions and Emotions shows, as he interprets and reinterprets a mixture of classics and familiar songs. One flawless performance follows another on Motions and Emotions which is a reminder of one, if not the greatest jazz pianists at his very best, Oscar Peterson.
Classic Album: Oscar Peterson-Motions and Emotions.
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