Tuesday, March 27, 2007

Guilherme Coutinho

Guilherme Coutinho e Seu Conjunto - Procura-Se Chantecler CMGS-9040 (1971)

Here's another genre blurring recording courtesy organist Guilherme Coutinho. A mammoth melange of groovy, funky club tunes just ripe for dancing. Infectious samba flavoured afro-latin cuts give way to funky breakbeats and easy jazzy ballads, all in all a little known and catchy tour de force. Miss this one at your peril...

Joining Guilherme on piano & organ are Fernando on drums & percussion, Tangerina on bass and the soulful vocals of José Carlos and Walter Bandeira.

1) Saravá Babalorixá
2) Faléncia
3) Tributo A Mim Mesmo
4) Adios, Guadalajara
5) Vai Lá
6) Crepúsculo
7) Papa Jimmy
8) Vira Bróto
9) Trepadeira
10) Bar Do Parque
11) Baby
12) Belo Kid

Tuesday, March 20, 2007

Mike Nock Underground

Mike Nock Underground - Between Or Beyond MPS/BASF CRM 722 (1970)

Mike Nock has long been one of the top modern jazz keyboardists to emerge from New Zealand. He began taking piano lessons from his father when he was 11 and began gigging four years later and at 18 moved to Australia. After heading a trio that toured England in 1961, Nock went to the U.S. to attend the Berklee College of Music. After a year he dropped out of school to be the house pianist at a Boston club and had opportunities to work with Coleman Hawkins, Pee Wee Russell, Phil Woods and Sam Rivers among many others. Nock gained some recognition during this period as a member of Yusef Lateef's band (1963-65). He led his own combos, gigged for a short period with the Jazz Messengers and eventually moved to San Francisco where he worked with John Handy.

During 1968-70 Nock was involved with fusion, leading the seminal jazz-rock group The Fourth Way. After a few years he became a studio musician in New York (1975-85) and then returned to Australia where he has been busy as both an educator (teaching at the N.S.W. Conservatorium of Music) and as a musician, occasionally revisiting the U.S. As a leader, Nock recorded as early as 1960 (Move which was recorded in Australia) and has made records for Capitol (with the Fourth Way), MPS & Improvising Artists (in a band called Almanac).

This album, recorded in the legendary MPS Studio Villingen features Mike Nock on piano & electric piano, Ron McClure on electric bass and Eddie Marshall on drums in a funky, spacey, modal jazz groove. One of the toughest to find from the Saba/MPS/BASF stable.

1) Outfall
2) The Squire
3) Hobgoblin
4) Between Or Beyond
5) Space Bugaloo
6) Lady Love
7) Wax Planet
8) Denim Dance

Tuesday, March 13, 2007

Peru's Bossa 70

Bossa 70 - Bossa 70 Philips 6350-003 (Peru) (1970)

Bossa 70 was the brainchild of Nilo Espinoza, a Peruvian musician with a Brazilian heart. Nilo, a classically trained musician, was the top flute player in Peru in 1960. In 1961 he was honored with a scholarship to Austria to study advance classes of his instrument as well as other kinds of wind instruments. He lived in Europe for five years. It was during that time that he developed a profound attraction for all forms of the jazz language.

When he returned to Peru, in 1966, Nilo approached the best musicians he could find to form a group to play jazz and Bossa-nova, the new music craze from Brazil. Very soon they found out there were not too many followers for their preferred musical styles. The group decided to play popular dance music on a part time basis so everyone in the band could make a living. They named the group Los Hilton's, because they got a gig as the house band in the best International Hotel in Lima, Peru, called "Hilton".

They had several singers during the time they played at the Hilton. This was their major weakness, since it was hard to find a singer that could feel comfortable singing jazz and Bossa-nova as well as popular music. In 1967 they recorded an long-play under the name Los Hilton's, which became extremely rare, since the Peruvian record label printed only 200 copies. The tracks on the album are a compilation of original compositions with some popular songs, played in The Hilton' s style.

In 1968 the group got busy giving concerts of jazz and Bossa nova. They decided to change their name to Bossa 70, to reflect the musical style they were going to offer, specially after their main singer was replaced by Carmen Rosa Basurco. Carmen Rosa was a beautiful black woman that could sing in English, Portuguese and Spanish, and also had an electrifying personality with good control of audiences. As a means to promote their new name the group recorded a mini-lp with four fantastic songs. 100 copies were pressed and giving as a prize during the concerts and to personal friends and family.

In 1970, to commemorate the anniversary of the band, they recorded a long-play for Phillips, represented by El Virrey in Peru. The label pressed 300 copies that were sold quickly. In 1972 the members followed their own musical paths, Enrique "Pico" Ego Aguirre, leader of Los Shain' s went on to form the band Pax. Otto De Rojas played keyboards on the Traffic Sound "Tibbet's Suzetts" album & finally Nilo Espinoza formed Nil's Jazz Ensemble who went on to record the only great jazz funk lp from Peru (MAG-LPN 2535).

Nilo Espinoza: Sax, Flute & Vocals
Enrique Sescun: Trumpet,Trombone & Vocals
Carmen Rosa Basurco: First Female
Otto De Rojas: Progressive Keyboard & Chorus
Roberto Rafaeli: Bass & Chorus
Tito Cruz: Drums & Percussion
Enrique "Pico" Ego Aguirre: First Electric Guitar & Rhythm Guitar
Manuel Marañon: Percussion
Adolfo Bonariva: Timbales & Cowbell

1) Nubes
2) Get Out Of My Way
3) Te Quiero Bien
4) Think
5) Nunca Te Olvidare
6) No Sabes Nada De Mi
7) Me Quedo Con El Shingaling
8) Otra Vez
9) Birimbao
10) Cuelgalo Bien Alto

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