The buckle-polishers and skirt-swirlers are back! Presenting 28 rare goodies from Louisiana and South East Texas. The variant of rock’n’roll that emanated from the Gulf Coast of South Louisiana and South East Texas in the 1950s-60s is as evocative of the area as chicken gumbo, crawfish étouffée and red beans and rice. The youthful Cajuns of the period threw themselves into r’n’r like teenagers across the globe, but had additional influences, not just the hillbilly and blues that created rockabilly, but the ethnic music of their parents and, most telling, the R&B sounds carried over the airwaves from New Orleans.
Afro-music continues to inspire a whole host of musicians, producers and DJs but even now the full picture of Afro-music in the 1960s and 70s is still far from being properly represented. Ghana Soundz Volume 2 goes some way to readdressing the balance.
8-CD box (LP-size) with 47-page book, 137 tracks. Playing time approx. 725 mns. The third German Jazz Festival in 1955 was a four-day event that featured nearly 30 groups and soloists. It was recorded by Deutsche Grammophon for release on Brunswick, but only parts of it were released on long-deleted EPs. The complete tapes survived though. The 1954 festival was also recorded, but only the portion issued on an EP was saved. Now the surviving portion of the 1954 festival and the entire 1955 festival are issued complete by Bear Family on eight CDs.
First time on CD! Volumes 7 + 8 in our Exotic Blues & Rhythm series were released on limited edition 10” vinyl and sold out in next to no time! Enjoy amazing and danceable tunes from the late 50s and early 60s - a handful of Popcorn dancefloor smashs, a few grinding Tittyshakers, awesome Rhythm & Blues - most of them with an exotic twist! Raw rockers, offbeat groovers, and lots more odd bits from the glory days of the indie single – pulled together here in a package that sounds as sexy as it looks! The Stag-O-Lee label has been giving us some great collections in recent years, and this one's right at the top of their stack – a really well-chosen batch of unusual singles from the early years of rock and soul – served up here on a 24 track CD that brings together all the material from the previous 10" vinyl releases Boom A Lay and Chug A Lug.
Ghana was one of the centers of the music called highlife, but the Afro-beat and funk that came out of the country in the 1970s, in the wake of Fela Kuti's musical success in Nigeria, has largely gone undocumented – until now. Compiled from obscure 45s and albums, Ghana Soundz is the first of a three-volume series that will most definitely put Ghanaian funk on the map. Some of it is truly fabulous, like tracks by the Sweet Talks, the Ogyatanaa Show Band, and the Apagya Show Band, all of which do funk in the Afro-beat mold of interlocking parts over an infectious rhythm, giving room for improvisation. Others, like Oscar Sulley & the Uhuru Dance Band, take more of a jazz tack.
In 1960 bassist Charles Mingus helped to organize an alternative Newport Jazz Festival in protest of Newport's conservative and increasingly commercial booking policy. The music on this LP (which has been reissued on CD) features some of the musicians who participated in Mingus's worthy if short-lived venture. Trumpeter Roy Eldridge performs three numbers with pianist Tommy Flanagan, Mingus and drummer Jo Jones; of greatest interest is "Mysterious Blues" for it adds trombonist Jimmy Knepper and the unique altoist Eric Dolphy successfully to the group. The other selections match up drummers Max Roach and Jo Jones with Roach's quintet (featuring trumpeter Booker Little) on "Cliff Walk" and feature singer Abbey Lincoln on "Tain't Nobody's Bizness If I Do."
This aptly titles trio performance aligns alto saxman Tabnik with bassist Cameron Brown and drummer Carol Tristano, all committed to music shaped by the moment's inspiration. Still, they can pursue uncharted paths with confidence and music vocabulary rooted in past moments of the jazz experience. Thematically, the lines created by Tabnik are free of conventional melodic movement but they are not without structure and purpose. Both Brown and Tristano provide a steady pulse to nourish Tabnik's freer excursions and Brown goes beyond his support role to bring form and color to each piece. Except for one track which flashes back to Lester Young's fluid solo sound on Cahn/Chaplin's Shoe Shine Boy, all this music develops collectively on Tabnik originals.
It was always going to be a dangerous mission. Trevor Churchill’s brainchild, THE GOLDEN AGE OF AMERICAN POP, had been in development for some time and the prototype was about to be launched into the fray with a bundle of seemingly undifferentiated repertoire. The potential embarrassment factor was high with risk of heavy flak on the way and snipers on the ground in the landing zone. Trevor was calling for volunteers. There was a lot of nervous shuffling among the ranks. Some of the lads took to studying their toecaps, while others took an inordinate interest in the state of their cuticles, or tried to look inconspicuous by melting into the background.