This latest 45 is another stunner with plenty of raw screams, wails and grunts all adding extra life and vitality to the already trilling guitars and bustling drum rhythms. Add in heavy percussion and you have a real heavy Afro psych-funk tune.
The flip is more deep and soulful, and just as good for different reasons. The group is Orchestre Poly-Rythmo de Cotonou Dahomey, and we get to listen to two different tracks that hit hard in their own way. Heavy drums and a carefully picked guitar are paired with screams and straight up Dance Yeah Dance - Various - Finders Keepers: Motown Girls 1961 - 67 (CD) throughout. The original, released in was described as soul.
While tehre might have been some elements of soul thrown in, this one in fact hits that funky psych rhythms that we all can get ourselves into.
No corners were cut, these tracks come to you in the best shape they can and continue to be a hot seven from start to finish. Originally released in Righteous spiritual jazz done with such a sophisticated execution that this album separates itself from anything else of its kind.
A moving, beautiful listen that sounds ever more contemporary. Further, his complex harmonic charts made his sextet sound like an orchestra, establishing him as an arranger. This set also marked the recording debuts of drummer Michael Carvin and bassist Henry Franklin who would issue The Skipper for Black Jazz the following year. The album opens with a brief read of John Coltrane's "Welcome" as brass, reeds, winds, modal and Rhodes piano, bass, and drums all enter on a crescendo before Jean wordlessly soars above them.
Hutcherson's "Little B's Poem" commences as a swinging, soul-jazz groover, led by Carn's whimsical Hammond organ and swinging hard bop drums. Jean nearly scats the lyric before the horns surround her in Dance Yeah Dance - Various - Finders Keepers: Motown Girls 1961 - 67 (CD) waterfall of cadences, underscoring her souled-out delivery.
Shorter's title cut is a long spectral ballad. Electric piano and cymbals whisper in the vamp before Jean deliberately and artfully articulates the melody through Carn's life-affirming lyrics; the band hovers and floats like a jazz chamber group behind her, providing her freedom to improvise. Carn's "Moon Child" offers humor as the piano playfully apes Traffic's vamp to "Low Spark of High Heeled Boys" in the intro before the horns enter in procession. Franklin walks them along the gradually unfolding modal groove while Carvin fills and rolls around them all.
Harper's tenor break channels Coltrane, Shorter, and Sonny Rollins. Franklin's furious bassline, Harper's roiling sax, and Carvin's skittering, break-laden kit work push Carn toward modal exploration with expansive chord voicings punctuated by speedy single-note runs. Carn never sacrifices the swinging, songlike structure while underscording the complexity in Tyner's harmonic inquiry.
The "Acknowledgement" section of Coltrane's "A Love Supreme" is rendered with elegance and spiritual soul in Jean's delivery. The familiar bass and piano theme buoys her. The horns gather force and cascade under and around her as Carn lays down fat, open-ended chords for the rhythm section to play off. His lyrics are full of optimism and spirituality.
Horace Silver's "Peace" closes. Carn's chart showcases an elegant interplay between bass and Rhodes piano as Jean expresses the lyric with nuanced resolve and resonance while the trombone emerges as a second voice. All of Carn's Black Jazz titles are influential, but Infant Eyes arrived at a special cultural juncture. It balanced accessibility with adventure and established both the label and the Carns as co-creators of a brand new, specifically Afro-centric approach to creative jazz.
He found a home at the Black Jazz label, where African-Americans called the shots and, of course, racial tension was nonexistent. Who was this year-old whose first album, Infant Eyes, sold very well away from the machinations of the music industry? Following his muse to Los Angeles, he worked in an organ trio and studied with organ and piano player Larry Young, who had co-founded the seminal jazz-rock band Tony Williams' Lifetime and recorded an excellent mids hard-bop record titled Unity, among other things.
Carn assumes several roles well: organ and piano player, arranger and lyricist. His wife at the time, Jean, is just as impressive singing. First track 'Welcome' -- a Coltrane piece found on the early s collection The Gentle Sound of John Coltrane -- has Jean's operatic voice and a swirl of instruments conjuring a state of awe in just over a minute. Next, Jean displays a world of conviction singing the joyous lyrics about a newborn that Doug penned for vibraphonist Bobby Hutcherson's 'Little B's Poem' originally an instrumental on Hutcherson's Components album.
Jean opens still another vista of wonder singing the new lyrics of the melodic Wayne Shorter ballad 'Infant Eyes. It was the first of twenty albums by a label that was very different from other new indie jazz labels that were being founded across the America. This included albums that featured political and spiritually influenced music. Between and the label released twenty albums that included everything from spiritual jazz and soul-jazz to free jazz and funk.
Eclectic described the music that the label released. That described the albums that Black Jazz Records released during That was still to come.
Doug Carn who was just twenty-three when he signed to Black Jazz Records. Not long after this, he began work on his debut album Infant Eyes. Doug Carn put together a band and spent the best part of a year practising and then when he signed to Black Jazz Records recorded the album. The rhythm section featured drummer Michael Carvin, bassist Henry Franklin and bandleader Doug Carn who switched between electric piano, organ and piano.
Meanwhile his wife Jean added her unmistakable vocals. George Harper played tenor saxophone and flute and was joined in he front line by trombonist Al Hall Jr and Bob Frazier who played trumpet and flugelhorn.
This talented and versatile band worked their way through the seven tracks which became Infant Eyes. The session was engineered and produced by label owner Gene Russell and the album was scheduled for later in When Infant Eyes was released inDoug Carn still regarded the album as a demo. Despite that, it was well received by critics and hailed as a groundbreaking album. It was a similar case with the other two albums Doug Carn released for the label.
That was no surprise given the quality of the three albums he released. The first was Infant Eyes. Initially the arrangement is intense and almost frenetic before the band lock into a groove.
By then, the scat disappears as unleashes an impassioned vocal. On Moon Child Doug Carn switches to piano, and his playing is moody and melancholy. Meanwhile, the Dance Yeah Dance - Various - Finders Keepers: Motown Girls 1961 - 67 (CD) add an atmospheric backdrop during this eight minute epic which is an emotional roller coaster.
Horns are to the fore as the organ sweeps and swirls and join with the cymbals in playing a crucial role in the sound and success of the track. However, six years later Doug Carn added lyrics and his wife Jean takes charge of the vocal.
Doug Carn added new lyrics full of social comment which are delivered by Jean. She plays a leading role in the success of breathtaking, powerful and poignant take on a familiar track from the late, great jazz pianist.
Despite that, it was the most successful album that Black Jazz Records released that year. Infant Eyes was very different to old school jazz and was new type of jazz album. It featured everything from avant-garde and even elements of free jazz, funk, fusion, soul, soul-jazz and spiritual jazz.
These genres were combined by Doug Carn and Jean Carn who unleashed her Dance Yeah Dance - Various - Finders Keepers: Motown Girls 1961 - 67 (CD) octave vocal on Infant Eyes which introduced the pair to the record buying public across America.
This was just the first chapter in the Doug and Jean Carn story. Infant Eyes was the first of four critically acclaimed albums that Doug Carn released between and These albums are now regarded as cult classics, and amongst the best that Black Jazz Records released during the five years it was in business.
And nothing elsewhere in the infinite universe like them either. Peter will ask, you know: "Have you dug 'Faces in the Jazzmatazz'? And which person are you in "Flibbity-Jib'? But the thing he is probably best loved for is a series of albums released in the late Fifties on Dot Records called Word Jazz.
The four albums, recorded between andhave been anthologized several times over the course of their history including a vinyl collection on Blue Thumb and a CD on Rhinobut they have never before been made available on CD in their entirety. In all, 27 tracks make their CD debut.
Needless to say, Ken has also written some notes, and has provided some rare photos for the set. The Charlie Parker Dial MastersThe Judy Garland Decca MastersThe Machito Columbia Masters —the titles assume a certain form: the imperious definite article, the name of the artist, the recording company, and, at the end, that masterful word, masters.
But he did not define his era, and it did not define him. He is a performing artist of indeterminate medium, all but unknown to the general public and not well-known among musicians either. Most of his career has been in television and radio, where he lent his dark, agile bassvoice to numberless commercials. His album Colors was originally a series of radio spots for the Fuller Paint Company. The accompaniment is not always jazz, nor is it exactly accompaniment.
The absence of any clear boundary between music and sound, or sound and voice, might spark the thought that word jazz has more to do with Cagean compositionin sound than any bongos-and-angst record. But Nordine raises this possibility with the lightest touch, for he can be very funny, and this is maybe why his albums have aged so well.
The twenty-page insert booklet includes appreciationsby Laurie Anderson and Tom Waits, reminiscences by Nordine and Cunningham, all the original cover art and liner notes, and a new poem by Nordine. The only shortcoming of this album is its stingy run of five thousand copies, which are intermittently hard to find. So if you see a copy, snap it up while you can. Bass — Emmet Frazier tracks:toHarold Gaylor tracks: toJimmy Bond tracks: toJohn Frigo tracks: to, Drums — Bob Frazier tracks:toJerome Slosberg tracks: to,Red Holt tracks: to Engineer — Jim Cunningham tracks: toto, Mason Coppinger tracks: toto Woodwind — Ken Soderbloom tracks:toPaul Horn tracks: to Tracks taken from Next!
Track 20 recorded Dance Yeah Dance - Various - Finders Keepers: Motown Girls 1961 - 67 (CD) No re-channeled stereo was employed in this recording. The Fairchild stereophonic disc mastering was use in transferring the original masters from tape to disc.
Posted by Jillem on Friday, October 01, Sometimes I'm in the mood for hip music and nothing else will do. He is now highly recognized as one of the foremost exponents of a sophisticated style of largely instrumental music that combines elements of lounge music and jazz with Latin flavors.
They're of such a similar qualitative standard that none can be singled out as definitive, or even recommended above the others. The 20 tracks are drawn from RCA releases spanning toincluding both original compositions and oddball versions of standards like "Harlem Nocturne," "Night and Day," "Malaguena," and "Take the 'A' Train.
Kansas City. Posted by Jillem on Thursday, September 30, Essential for all Prince Buster fans. One of the best from the man himself, worth every penny, now that it has been deleted. LibriVox volunteers narrate, proof listen, and upload chapters of books and other textual works in the public domain.
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