Wayne Jarrett: Youth Man, 1979

This Wayne Jarrett single has two different songs, but the B Side is just called Version. Youth Man is heavy and bass driven like a lot of the cuts off Jarrett's Bubble Up, but the production is not as big of a focus as on a lot of those songs. The B side is more upbeat. The sound quality is kind of rough, especially on the B side, but both songs are great, so I didn't mind it.

Youth Man by EasyJams

The Hyltonaires: Big Bamboo

Valentine's Day special! The Hiltonaires, who began as the house band of the Jamaica Hilton, bring us a great mento record full of good humor with hints of ska rhythms beginning to creep in at certain points. Many of the songs are covers of calypso and mento standards, although there are a couple that I was not familiar with. The instrumentals on this album are good and the vocal harmonies are a bigger focus here than in most mento music. The album was produced by Coxsone Dodd and released on his Coxsone label. I'd guess this was recorded in the late 50's. The record skips once on the track "Matilda".

Matilda by EasyJams

Jim Helms: Bossa Nova, 1961

Since his death late last year, I've been wanting to put up an album of reed/ flute player Buddy Collette, one of the all time greats of LA jazz. From his work with Chico Hamilton's Quintet in the 50's to his more recent recordings, Buddy's music has always inspired me. On this album, he joins a band directed by Jim Helms to play jazz songs based on Brazilian rhythms. As a soloist, Howard Roberts stands out as much as Collette on many of the tracks. Jim Helms wrote and arranged all the songs on the album. During his career, he mostly worked composing music for Hollywood soundtracks, including to 70's TV show Kung Fu, but also had at least one other title out on Crown Records, the label that released this album. The record wasn't in great condition, but the sound quality isn't too bad.

Buddy Collette: flute, reeds

Howard Roberts: guitar

Mel Pollan: bass

Leo Acosta and Darias: percussion

A Meia-Noite (At Midnight) by Easyjams

Carl McKnight: The Devil's Out Tonight

The Devil's Out Tonight probably came out some time around the early 80's in LA. McKnight leads the Sweat & Steel band through his own compositions, and the band's playing is precise. The accompanying percussion sounds more relaxed than that of many steel bands, giving this great record a unique quality. I copied the liner notes from the back cover:

"Sweat & Steel, under the brilliant and skillful leadership of Carl McKnight, is back, with calypso and reggae, gone funky. This album is dedicated to all who have tried, but failed to stop us from reaching our chosen goal. (Which is to promote the essential factors of life, such as, love, peace, and righteousness thru our unique music.) Thumbs down (as in the days of the gladiators) to those we have dealt with in the past, may we write your epigraphs, while you dig your own graves, for such dwellings are appropriate to your cause. Dread! Dread! Dread! Dead, dead, dead."

The Devil's Out Tonight by Easyjams

Gerald Wilson Orchestra: On Stage, 1965

Gerald Wilson always blows me away with his arrangements, both for his sound and how effective he is at writing for his musicians. Everything on this album is great, but I was especially impressed with the version of Ellington's El Viti and Anthony Ortega's (I think it was him) solo on it. Tons of amazing musicians in Wilson's orchestra, especially around this period. Personnel on Los Moros de España, Musette, Lighthouse Blues and Perdido:

Trumpets: Al Porcino, Jules Chaikin, Freddie Hilll, Nat Meeks, Mel Moore and Gerald Wilson

Trombones: Bob Edmondson, Les Robertson, John Ewing and Don Switzer

Reeds: Teddy Edwards, Harold Land, Curtis Amy, Jack Nimitz and Anthony Ortega

Piano: Phil Moore Jr.

Guitar: Joe Pass

Vibes: Roy Ayers

Bass: Herbie Lewis

Drums: Chuck Carter

Recorded on January 13th, 1965 at Capitol Studios, Hollywood, Calif.

Personnel on Who Can I Turn To, In the Limelight, El Viti, Ricardo and Lately:

Trumpets: Jules Chaikin, Bobby Bryant, Freddie Hilll, Nat Meeks, Mel Moore and Gerald Wilson

Trombones: Bob Edmondson, Les Robertson, John Ewing and Earnie Tack

Organ and piano: Jack Wilson

Piano: Phil Moore Jr.

Guitar: Joe Pass

Vibes: Roy Ayers

Bass: Victor Gaskin

Drums: Chuck Carter

Reeds and flutes: Bud Shank, Anthony Ortega, Teddy Edwards, Harold Land and Jack Nimitz

Recorded on March 10th, 1965 at Pacific Jazz Studios, Hollywood, Calif.

Joe Loco: Bailemos Con Joe Loco Su Piano y Ritmo

On this record, Joe Loco plays arrangements of romantic classical songs backed by a rhythm section and a vibraphone player. Loco's salsa-tinged style on the piano makes the fusion between these genres feel comfortable and natural. The bass lines are simple, the percussion is full and heavy, and the piano tends to focus more on harmony with relatively few melody-based solos. Not sure of the year on this one, but I would guess it is from some time in the 1950's. From the Tropical label.

Piano Concerto by Easyjams

Etoile de Namaco: La Mauvaise Politique, 1981

A great album from from either Cameroon or Gabon. I've been told both, but I suspect that the band is from Gabon because they sing about Gabonese politics. This one is a personal favorite of mine. The second track, Chere Maman, is a French cover of Sweet Mother by Prince Nico Mbarga from Nigeria. The last track is addressed to Omar Bongo, then-president of Gabon, who was widely known for the extent of his corruption. He recently died and was succeeded as president by his son. Great guitar work and solid musicianship throughout. The last track was also posted here: http://www.africambiance.org/phpBB3/viewtopic.php?p=24957&sid=3c7f4247484fb8bb8d6d14fe69154711

La Mauvaise Politique by Easyjams

fuck the giants

Lobo y Melón: s/t, 1959

This is a great son record by the Acapulco-based band led by percussionist Lobo and singer Melón. Lots of solid short cuts with plenty of percussion. For some reason, there is some line noise here that was actually recorded onto the album and never lets up, but the recording was good enough that I decided to post it anyways.

George M'lely: Trio, 1981

On this album, pianist George M'lely's trio is made up of Peter Barshay on bass and Eddie Moore on drums. Most of the compositions are by M'lely, and the whole band shows a real competence in playing them. They manage to keep it straight ahead but their playing, especially M'lely's, is pretty unique. The album was released on the label Alternatives in American Music, which seems to have only released M'lely's music. From what I can gather on M'lely, he was enjoying a reasonable amount of success in the early 80's but stopped playing professionally in 83, not making his comeback until the early 2000's. Trio was recorded in the bay area, but M'lely now lives in Hawai'i.

An April Piece by Easyjams

The Silvertones: Don't Cry, 1972

This great 7" inch comes out of Studio One. It features a warm, full horn section and smooth harmony singing. Part 1 on the A side seems more like a radio vocal mix and the B side mix is more instrumental, with the vocals cut out at points.

Don't Cry (Part 1) by Easyjams

Ray Sylvester Orchestra: My Elusive Dreams, 1976

Impressive big band music from Trinidad bandleader Ray Sylvester. Mostly slower romantic songs, but there are a couple upbeat ones in there as well. He mixes in a lot of different genres including calypso, salsa, and of course the classic big band sound, but his style is really unique. Not a lot of solos, but the arrangements and execution are great. This is the band's fourth album, arranged by Art de Coteau and produced by Max Serrao. I was not able to find much information on Sylvester other than that moved to Trinidad from Grenada as a young child, that his band was the resident band at a nightclub in Port-of-Spain, and that he died in 2002. No last names were listed in the musician credits, but here's what they gave us:

Timbales: Ronnie

Percussion: Felix, Bobby

Congas: Cummings

Drums: Keith

Organ: Davy

Bass: Winston

Tenor sax: Bert

Alto sax: Mackie

Trumpets: Joe, Granger, Guerra

Trombone: John

Guitar: Cito

Endless Vibes by Easyjams

Linc Chamberland and David Friesen: Yet to Come, 1981

Linc Chamberland is an incredible guitarist. I once heard a story that he turned down an opportunity to place in Miles Davis's quintet because he could make more money giving private lessons. Although this album is not as popular as the earlier A Place Within, which you can find here: http://oldhippierick.blogspot.com/2010/01/linc-chamberland-place-within-1977.html, this album is definitely also essential. I've never really heard anyone play like Chamberland, but the other musicians on this album (David Friesen on bass, Gary Hobbs on drums) do a fine job keeping up and contribute well with their own playing. As far as I know, Yet to Come and A Place Within are Chamberland's only two commercially available recordings. Chamberland would die 6 years after recording this album, but his legacy as a musician is sure to live on through his recordings and his many students.

I Hear a Rhapsody by Easyjams

Zaire Volume 2- The Kinshasa United Artists: Dr. Nico et L'Orchestre African Fiesta b/w Orchestre Bana Mambo, 1981

This is a split LP between the great Docteur Nico (Side A) and Orchestre Bana Mambo (Side B). Both sides are full of great soukous. Docteur Nico's contribution is solid, but I was especially impressed with the Bana Mambo tracks. Although they are not as percussion-heavy as the songs on the A side, the two tracks making up the B side are full of intricate, inspired, driving guitar lines with a really raw sound. From what I can gather, Orchestre Bana Manbo was a short-lived project (this might have been their only release,) featuring singer Kanda Bongo Man, who would go on to have a very successful career. The record was a little warped, so both sides, especially the A side, start off with some record noise, but the sound quality is pretty good otherwise.

Mwana Na Ngai Pt. 1 & 2 by Easyjams

George Russell Sextet: At Beethoven Hall II Guest Don Cherry, 1965

George Russell kicks off this album with a 10+ minute long cover of You Are My Sunshine that ranges from very abstract to almost straight ahead. He always amazes me with his compositions and arrangements. He had been exploring the sextet format for some years by this point and you really get the sense how comfortable he was with a combo of that size by the time of this recording (although there are actually 7 musicians on this session.) As far out as this album is, you still get the sense that every note is perfectly placed. Strong performances all around.

George Russell: piano, leader, composer, arranger

Don Cherry: trumpet

Bertil Loevgren: trumpet

Brian Trentham: trombone

Ray Pitts: tenor saxophone

Cam Brown: bass

Al Heath: drums

You Are My Sunshine by Easyjams