On esko we go on a musical journey across Europe to the extraordinary land of Bohemia (popularly known as esko, but officially means Czech), the homeland of two composers we have come to love so much. It doesn't seem to matter that we hardly know their country: the indescribable energy of the music, with its folk melodies and harmonies, revealing the essence of a nation steeped in a deep cultural history, takes us there instantly.
Dope funk, psychedelic soul and acid jazz from New York City '70-'74. UK compilation featuring 20 soul, funk and jazz classics from the legendary underground label best known for their acts, the Fatback Band and Black Ivory who are both represented here along with Dizzy Gillespie, Bobby Rydell and many more. Original vinyl from Perception and it's twin label today goes for a small fortune and has been sampled by DJ Shadow and KRS-One. Double slimline jewel case. 2000 release.
Although the titles to several of the tracks may be the same as those at Broad Chalke, the performance in front of a large audience has a much grander and at times, darker feel, to the previous evening. The difference can be heard almost immediately in the opening track. Whereas, The Apparent Chaos of Stone was a more languorous affair at Broad Chalke, here at Bishop’s Cleeve, Fripp begins to throw some startling curve-balls of pensive guitar after only a few minutes. Given the slow silky tones that makes up much of the opening piece it can be easy to miss some of the detailed interplay that occurs between the two players.
This Is Acid Jazz Vol. 7: Steppin' Out (INS514, 50:17) is a low-key affair, showcasing the usual suspects (Shakatak, The JB Horns, Gota) and talents deserving wider recognition (The Sharpshooters, Woody Cunningham). Perfect beat moments: CFM Band's churning Bobby Byrd ("Get on up/Get into it!")/Headhunters/Tom Browne-pastiche "Make It Funky CFM," Cunningham's straight-outta-'70s funk-on-a-slow-roll "Tonite."
Nick Saloman of the Bevis Frond once again invites us to join him in the obscure pleasures of little-known pop, R&B, and jazz instrumental sides of the '60s and '70s with this collection. A number of the selections featured on Return of the Instro-Hipsters are so obscure that even Saloman isn't sure just who is responsible for them (though he offers some educated guesses on the artists behind such names as Sharks, Oliver Bone, and the Masked Phantom), but there are a good share of solid grooves and kicky melodies to be found here from a number of gifted little-knowns. If you went to the movies in the '70s, "Soul Thing" by Tony Newman will sound familiar, while flautist Harold McNair solos over a Dave Brubeck-influenced piano groove on "The Hipster," Jerry Allen demonstrates new uses for game calls on "Fuzzy Duck," Thunder Road's synthesized version of "Peter Gunn" beats Art of Noise's variation on the theme by more than 15 years, "The Brooke Bond Beat" by Cliff Adams may be the most swingin' tea commercial ever, and the Outer Limits serve up some tough, moody rock, appropriately titled "Black Boots".
The organ can often take a back seat in the pecking order of great Jazz instruments but underappreciate it at your peril. The likes of Jimmy Smith, Jack McDuff, Booker T and Ray Charles, to name but a few, made the instrument their own while crafting jazz cuts of dazzling brilliance.