Thursday, May 28, 2009

Reup: Best of Cymande

Amazon review: Short-lived but legendary, Cymande is oft-compiled on funk assemblages, but this CD of their first two LPs is altogether necessary, even if the music moves away from tight beats into Rasta-folk toward the end. Cymande's reputation has grown considerably over the last twenty years. Featuring a multi-national crew with a strong Caribbean influence, the band produced a few hits in the early seventies, then disappeared. But the epochal "Brothers On the Side," and the ingeniously structured "Fug" contain a subtlety and tension lacking in all but the best bands of the era.

Funky 16 Corners: Their music was a sophisticated mixture of American soul and funk, African pop, Latin sounds, rock and all of the various and sundry intersections of those sounds. A close listen to their first LP is like a drive through Harlem in the early 70’s with your car windows down, letting snatches of Curtis Mayfield, Jimi Hendrix, Miles Davis, Stevie Wonder, Santana and a thousand lesser groups (woven securely into the fabric, but essentially lost to the ages) drift through the windows and into your ears. There are elements of early-70’s prog-cum-stoner rock guitar, hard drums, jazzy bass and horns as well as a bedrock of polyrhythmic percussion.

AMG bio


Cymande (1973)
320kbps, 180mb on megaupload
1. The Message
2. Brothers On The Slide
3. Dove
4. Bra
5. Fug
6. For Baby Woh
7. Rickshaw
8. Equitorial Forest
9. Listen
10. Getting It Back
11. Anthracite
12. Willy's Headache
13. Genevieve
14. Pon De Dungle
15. Rastafarian Folk Song
16. One More
17. Zion I

PS My bad, Willy's Headache in the archive is corrupted. Here's the good file: http://sharebee.com/4fb2fa67

Wednesday, May 27, 2009

John Huie and the Clear Wind Band - Shanghai Jazz 2

Another excellent disc from John Huie with the Clear Wind Band, the first one is here. Great swing jazz with some chinese folk instruments. A few of the tunes appeared on this blog before: The Pretender and Waiting For You to Come Back (AKA Waiting 4 U) were on the Shanghai Lounge Divas comp, and That Rhythm Man is better known as Reefer Man, and found here.

All thanks go to the original uploader, Shean Chin!


John Huie and the Clear Wind Band - Shanghai Jazz 2
REUP: High VBR, 110mb on depositfiles
1. Shan Hai Yao Bai - The Shanghai Shuffle
2. Kan Zhe Wo - Look At Me
3. Ni De Ta - Your Man
4. Jia Zheng Jing - Pretender
5. Nao Ren De Ye Yu - Rain Song
6. Qie Ting Wo Shuo - Listen to Me
7. Na Zou Jie Pai De Ren - That Rhythm Man
8. Deng Zhe Ni Hui Lai - Waiting for You to Come Back
9. Shang Hai LIL - Shanghai LIL
10. Mei Gui Mei Gui Wo Ai Ni - Mei Gui Mei Gui Wo Ai Ni
11. Zai Na Yao Yuan De Di Fang - Far in the Distance
12. Lao Cha Guan - The Old Tea House
13. Gei Wo Yi Ge Wen - Give Me A Kiss
14. Qing Ren De Yan Lei - Lovers' Tears

Una mas

FM Einheit jammin' with Django



Millie Small - My Boy Lollipop
Just a good song...



The common theme here would be Finland... The Millie Small clip is off Finnish TV, and the band in the first clip are finns.

Thursday, May 21, 2009

I got a vote for more youtube

...so here's another one:
Sweet Emma Barrett at Preservation Hall, I Ain't Gonna Give Nobody None Of My Jellyroll, 1959



via Badger

Wednesday, May 20, 2009

Arthur Doyle

My son tipped over one of my CD racks the other day. As I was cleaning up the mess, in the pile of "downtown" stuff along with the obligatory Zorn, Ribot, numerous Laswell projects, etc. I found two CDs with Arthur Doyle and Rudolph Grey. I remember buying them on eBay some eight years ago, but why?
Next day I was surfing the 'nets, and accidentally bumped into an album that features early Doyle playing:
For unrelenting screaming banshee saxophone, the septet includes tenor player Arthur Doyle. As the original album's liner notes have it, in words that can't be bettered, Doyle is "propelled throughout by an almost incoherent rage, a chaotic and murderous sound." This is written about Noah Howard's Black Ark, available at The Changing Same; great album, great blog, BTW.
So I figured the coincidence is an indication that I should share these.

These two LPs by Doyle are the missing link between the late 60's free jazz and NYC's No Wave scene of the late 70's (I never knew there was a link, let alone that it was missing). His collaborator on both of these releases, guitarist Rudolph Grey, is the person who introduced him to rock audience and booked their shows on the same bill as Glenn Branca, DNA, Mars, and other skronk-mongerers.

Arthur Doyle bio from AMG


Arthur Doyle Quartet - Live at the Cooler
VBR, 60mb on rapidshare, zshare, badongo, megaupload, depositfiles
1. Spiritual Healing
2. Flue Song
3. Noah Black Ark


AMG on the Blue Humans: The Blue Humans is the unit name given to any performance led by improvisational guitarist Rudolph Grey. (Members have included reedsman Arthur Doyle, guitarist Alan Licht, drummers Beaver Harris and Tom Surgal, and tenor saxophonist Jim Sauter.) Bridging the gap between free jazz and downtown art noise (and with records as likely to be released on a punk label as on a jazz imprint), Grey is far more interested in textures and sound patterns than conventional notes, chords, and melodies, but his improvisatory performances have a structural logic and grace to them that makes them more interesting than some of the aimless Strat splat that gets passed off as experimentation.
The famously taciturn Grey basically refuses to answer any questions about his past and admits to no influences. Grey first appeared on the post-punk New York art scene in the late '70s, forming the short-lived Red Transistor with maniac guitar terrorist Von LMO. Although the duo lasted barely a year, they were an important formative influence on the nascent no wave scene percolating in the East Village. (Grey participated in that short-lived scene by playing briefly in Mars, one of its most extreme practitioners.) Grey then formed the Blue Humans in 1980, initially with Harris, a veteran free jazz drummer, and Doyle. (This lineup was finally documented on disc with 1995's Live NY 1980.) A Blue Humans performance can be anything from a duo to a four-piece, but Grey seems to prefer the trio format above others. The Blue Humans' albums and EPs are primarily live recordings of single extended improvisations such as 1988's Incandescense (recorded during an opening set for Sonic Youth at CBGB) and 1990's To Higher Time, but there's also a studio album produced by Thurston Moore of Sonic Youth, 1993's Clear to Higher Time.

AMG review: This album is the earliest recording of the explosive free improvisation group led by guitarist Rudolph Grey, recorded live in New York with a lineup that featured the power of legendary free jazz drummer Beaver Harris behind Grey's corrosive feedback guitar. Free jazz saxophonist Arthur Doyle also appears through the smoke of guitar feedback, and speaker destruction is provided by Rudolph Grey, whose style is like a more aggressive and abrasive Sonny Sharrock. No wonder this post-punk free improvisation had a profound influence on Sonic Youth and later incarnations of the Blue Humans featured Thurston Moore on second guitar. Live NY 1980 is a quintessential recording of the no wave scene that abridged punk, free jazz, and noise music.



The Blue Humans - Live 1980
VBR, 104mb on depositfiles, badongo, megaupload, zshare, rapidshare
Four untitled tracks

Monday, May 18, 2009

A couple of youtube videos

I was reading a review for Billie Holiday and Lester Young - A Musical Romance the other day; here's a quote:

Like any good newsworthy event of the 20th century, one of the most touching pieces of jazz history happened in front of the television cameras. On 5 December 1957, CBS aired a jazz special, The Sound of Jazz, which brought together many of the living jazz superstars. Billie Holiday was to sing the song "Fine and Mellow" in a casual group setting. Holiday was close to death, though still one of the most attractive women in the world in her ponytail and plaid slacks. She had been courting a serious love affair with heroin for many years. Accompanying Holiday was a myriad of horn-playing legends. Of particular interest was the tenor sax section, which was comprised of Ben Webster, Coleman Hawkins, and Lester Young.
[...]
Prez, who had wrecked his body with alcohol, was in such ill health he couldn't stand for the duration of the six-minute song. Holiday launched into the song and each sax man took a turn. Gerry Mulligan was first and played a solo in double-time. Webster was next, blowing a beautiful, breathy chorus. And then it was time for Prez. When it was Young's turn he wearily stood up, and locked eyes with Holiday as she sang a song with lines like "Love is like a faucet / It turns off and on". As Lady Day sang, Prez hit every note exactly in time with her and they took off like two eagles riding an air current as they rose higher and higher, way out of that studio and those television sets, circling around each other, Prez blowing the notes that sustained her as if he was the body to her soul, and then they came together in mid-air, as mating eagles will, and plummeted hundreds of feet earthward together, before breaking off and flying their separate ways. People in the control booth had tears in their eyes. It was the swan song of a bittersweet affection. After the show, the two had some brief backstage conversation and then they bid goodbye. They each had less than two years to live. Prez would die alone in a New York hotel, his body finally calling it quits. Not long after that, Holiday would be arrested on her deathbed for heroin possession.


A beautiful description, although I suspect the author was writing from memory, and a very embellished one, too. Mulligan's solo is actually fourth, after Prez, and there's maybe one bar in double time out of two choruses. The brass section riffs behind her, but none of this interlocking duo "like mating eagles" ever actually happens. The performance is great, the writing is beautiful, it's a pity they don't quite match...

Billie Holiday - Fine and Mellow (1957)




T-Bone Walker w/ Jazz At The Philharmonic - Live in UK 1966, playing Woman, You Must Be Crazy and Goin' To Chicago Blues
Dizzy Gillespie - t, Clark Terry - t, Coleman Hawkins - ts, Zoot Sims - ts, Jimmy Moody - ts, Benny Carter - as, Teddy Wilson - p, Louis Bellson - d, and Bob Cranshaw - b.
It's Clark Terry taking a solo at 3:10 and he is playing a trumpet mouthpiece.