Original article written by Matlo44 and published on Funkytown / Matlo44
Unauthorized copy forbidden
Original article written by Matlo44 and published on Funkytown / Matlo44
Unauthorized copy forbidden
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St. James - One World - Complete LP
Original article written by Matlo44 and published on Funkytown / Matlo44
Unauthorized copy forbidden
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King Curtis born 7 February 1934
Curtis Ousley (February 7, 1934 – August 13, 1971), who performed under the stage name King Curtis, was an American saxophonist known for rhythm and blues, rock and roll, soul, blues, funk and soul jazz. Variously a bandleader, band member, and session musician, he was also a musical director and record ![Image-97king-curtis-238x300%25402x.jpg]()
producer.
producer.
The son of Ethel Montgomery, he was born Curtis Montgomery in Fort Worth, Texas, and was adopted, with his sister Josephine Allen, by Josie and William Ousley. Curtis Ousley attended I.M. Terrell High School, and studied and performed music with schoolmate Ornette Coleman.
Curtis started playing saxophone at the age of twelve in the Fort Worth area. He took interest in many musical genres including jazz, rhythm and blues, and popular music. As a student pursuing music, he turned down college scholarships in order to join the Lionel Hampton Band. During his time with Hampton, he was able to write and arrange music and learn guitar. In 1952 Curtis decided to move to New ![king-curtis-f.jpg]()
York and became a session musician, recording for such labels as Prestige, Enjoy, Capitol, and Atco. He recorded with Nat Adderley, Wynton Kelly,Buddy Holly, Waylon Jennings and Andy Williams.
York and became a session musician, recording for such labels as Prestige, Enjoy, Capitol, and Atco. He recorded with Nat Adderley, Wynton Kelly,Buddy Holly, Waylon Jennings and Andy Williams.
Stylistically, Curtis took inspiration from saxophonists Lester Young, Louis Jordan, Illinois Jacquet, Earl Bostic, and Gene Ammons. Known for his syncopated and percussive style, he was both versatile and powerful as a musician. He put together a group during his time as a session musician that included Richard Tee, Cornell Dupree, Jerry Jemmott, and Bernard Purdie.
Curtis enjoyed playing both jazz and rhythm and blues but decided ![1106200.jpg]()
he would make more money as a rhythm and blues musician. From the 1950s until the mid-1960s, he worked as a session musician, recording under his own name and with others such as The Coasters, with whom he recorded "Yakety Yak" and "Charlie Brown", among others. Buddy Holly hired him for session work, during which they recorded "Reminiscing." Holly wrote this song, but gave Curtis the songwriting credit for flying down to the session.
he would make more money as a rhythm and blues musician. From the 1950s until the mid-1960s, he worked as a session musician, recording under his own name and with others such as The Coasters, with whom he recorded "Yakety Yak" and "Charlie Brown", among others. Buddy Holly hired him for session work, during which they recorded "Reminiscing." Holly wrote this song, but gave Curtis the songwriting credit for flying down to the session.
His best-known singles from this period are "Soul Twist" — his highest-charting single, reaching number one on the R&B chart and number 17 on the Billboard pop chart — and "Soul Serenade." He provided backing on a number of songs for LaVern Baker, including her 1958 hit single "I Cried a Tear", where his saxophone became "a second voice".
In 1965 he moved to Atlantic Records and recorded his most successful singles, "Memphis Soul Stew" and "Ode to Billie Joe" (1967). He worked with The Coasters, and led Aretha ![B1NKSrGovxS__SL1000_.jpg]()
Franklin's backing band the Kingpins. The Kingpins opened for the Beatles during their 1965 performance at Shea Stadium. Curtis produced records, often working with Jerry Wexler and recorded for Groove Records during this period, including the Joe South song "Games People Play" with guitarist Duane Allman.
Franklin's backing band the Kingpins. The Kingpins opened for the Beatles during their 1965 performance at Shea Stadium. Curtis produced records, often working with Jerry Wexler and recorded for Groove Records during this period, including the Joe South song "Games People Play" with guitarist Duane Allman.
In March 1971 he appeared with Aretha Franklin and the Kingpins at the Fillmore West. In July 1971, Curtis recorded saxophone solos on "It's So Hard" and "I Don't Wanna Be a Soldier" from John Lennon's Imagine. Along with the Rimshots, he recorded the original theme song for the 1971 hit television show Soul Train,
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King Curtis, Aretha Franklin & Joe Tex
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titled "Hot Potatoes". On June 17, 1971 Curtis played at the Montreux Jazz Festival, in the Casino Kursaal, with Champion Jack Dupree, backed by Cornell Dupree on guitar, Jerry Jemmott on bass and Oliver Jackson on drums.
Curtis was killed on August 13, 1971, when he was stabbed during an argument with a pair of drug dealers he discovered on the steps outside his Manhattan apartment. Curtis was attempting to carry an air conditioner into his apartment when Juan Montanez refused to move from the entrance. A fight ensued and Montanez stabbed ![KINGCURT-05.jpg]()
Curtis. Curtis later died at Roosevelt Hospital. In March 1972, Montanez was sentenced to seven years for second-degree manslaughter, but was released in late 1977 for good behaviour.
Curtis. Curtis later died at Roosevelt Hospital. In March 1972, Montanez was sentenced to seven years for second-degree manslaughter, but was released in late 1977 for good behaviour.
Here's a clip from King Curtis & Champion Jack Dupree Live from Montreux June 17th 1971 with Cornell Dupree on guitar, Jerry Jemmott on bass and Oliver Jackson on drums. Filmed two months before King Curtis' tragic death.
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Wanda Sa - Wanda Vagamente (1964)
Come to think of it, there has so far been not one career album by singer Wanda Sá on Parallel Realities. The main reason for it was that I assumed that her albums are all copyright protected, as many have been released also as CD.
But I thought that maybe it would be a good idea to actually test this assumption with her first LP and so far it has shown no signs of protection.
Take this with a grain of salt and be quick.
She is singing:
01. Adriana (Roberto Menescal / Luis Fernando Freire)
02. E Vem o Sol (Marcos Valle / Paulo Sérgio Valle)
03. Encontro (Wanda Sá / Nelson Motta)
04. Só Me Fez Bem (Edu Lobo / Vinicius de Moraes)
05. Mar Azul (Francis Hime / João Vitório)
06. Também Quem Mandou (Carlos Lyra / Vinicius de Moraes)
07. Tristeza de Nós Dois (Durval Ferreira / Maurício Einhorn/Bebeto)
08. Vivo Sonhando (Tom Jobim)
09. Sem Mais Adeus (Francis Hime / Vinicius de Moraes)
10. Inútil Paisagem (Tom Jobim / Aloysio de Oliveira)
11. Tristeza de Amar (Geraldo Vandré / Luiz Roberto)
12. Vagamente (Roberto Menescal / Ronaldo Bôscoli)
+
13. Samba de Verão (Marcos Valle / Paulo Sérgio Valle)
14. Corcovado (Tom Jobim)
15. Pra Dizer Adeus (Edu Lobo / Torquato Neto)
WANDA ON THE BEACH
Créditos: Arvor 31
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Willy and Jane under the shadow of the Kabaka (Uganda)
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| Kabaka Mukaabya Walugembe Muteesa II |
On-line i found a nice site about the Buganda royal family. It contains fascinating knowledge like:
The title of a king is Kabaka.
Did you know that the Baganda people are ruled by two (2) kings? A spiritual king and one king for the other affairs. The spiritual, or supernatural king is represented by the royal drums. As any other king this invisable ruler has a palace, servants and al the regalia of this human counterpart.
Curious way of seperating state from church...
A very unique fact is that the kings of Buganda never die. It can however happen that they get lost in the forest and never to be seen again.
Why don't you visit this royal website and in the mean time listen to some precious music from Uganda's lovely singing artists Willy and Jane.
Willy Mukabia & Jane Nakayenga
and let's not forget some BUGANDA MUSIC from best Dutch national radio program on local music de Wandelende Tak (ceased to exist)
Op het wereldwijde web vond ik een aardige pagina over de koninklijke familie van de Buganda.
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Kabaka Daudi Chwa II |
Wisten jullie dat de Baganda in Buganda altijd geregeerd worden door 2 (twee) koningen? Een spirituele vorst en eentje voor alle andere zaken. De spirituele bovennatuurlijke koning wordt vertegenwoordigd door de koninklijke drums. Zoals alle koningen heeft deze onzichtbare heerser een eigen paleis, lakeien en alle andere regalia als zijn menselijke tegenhanger. Wel een aparte manier om staat en kerk te scheiden!
Bijzonder is ook dat koningen in Buganda nooit sterven. Wel verdwalen ze op een gegeven moment in het bos en dan zie je ze niet meer. Zeer interessant allemaal.
Waarom ga je niet ff kijken op die site en ondertussen kan je luisteren naar Uganda's zingende duo Wille en Jane. Willy Mukabia & Jane Nakayenga
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also nice and from Uganda are mr and mrs Clipper. I am their follower now (on YouTube).
ook fijn en uit Oeganda zijn meneer en mevrouw Clipper. Ik heb me via YouTube op ze geabonneerd.
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Manolo Gas & The Tinto Band Bang - Con Sabor Internacional 1977 Complete Lp
* Hola a todos estoy de regreso de nuevo a mi cueva musical después de cierto tiempo de inactividad,he leído algunas inquietudes de parte de los seguidores del blog debido a mi ausencia y la preocupación de finalizar el blog pero....no aún y si llega el día en que tenga que poner fin al blog será en cualquier día,semana,mes o año que yo anunciaré a través de este medio pero por el momento seguimos navegando a través del tiempo con algunas publicaciones interesantes que solo este blog nos ofrece,para comenzar os ofrezco una cortesía de nuestro colaborador ''Toysme''
Arranged By, Directed By, Producer – Manuel Gas
Tracklist :
A1 Volare
A2 Moonlight Serenade
A3 Unchained Melody
A4 Only You
A5 Let's Twist Again
B1 El Continental
B2 Again
B3 When The Saints Go Marching In
B4 Night And Day
B5 El Amor Es Algo Maravilloso
Style : Disco,Funk/Soul,Pop,Instrumental
Buy Vinyl :
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Let's Be Friends
A1 - Hello Babe
A2 - If You Want To Share Your Love
A3 - If Won't Sell My Love
A4 - Romance In The Dark
A5 - How Come You Do Me Like You Do
A6 - Now What Do You Think
A7 - What's The Matter With Love
A8 - Why Don't You Do Right
B1 - You're Just Fool Of Jive
B2 - I Want A Good Man Bad
B3 - Give Your Mama One Smile
B4 - Let's Be Friends
B5 - My Mellow Man
B6 - I Have A Place To Go
B7 - Outside Of That
B8 - That Old Feeling
Posted by bopping
(Scratchy) Vinyl rip. Artwork
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VA - Seventies Anthems (4 CD Box Set) (2018)
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Rock Workshop - The Very Last Time (1971 uk, fascinating brass jazz blues groovy classic rock, 2004 remaster and expanded)
It’s probably accurate to claim that Rock Workshop couldn’t exist today. Only during the early seventies did record labels bestow upon bands the flexibility and freedom that led to the creation of such original and often avant-garde albums.
Rock Workshop were just such an innovative project. The band formed in 1971 when guitarist Ray Russell (who had previously worked with Georgie Fame And The Blue Flames) colluded with the legendary singer Alex Harvey. Russell had first met Harvey after standing in for Harvey’s brother Leslie (of Stone The Crows) in the musical ‘Hair’ (at a tender age).
Their shared enthusiasm in producing more left-field material enabled them to recruit a sprawling band of twelve members that included a lively brass section.
Their debut album ‘Rock Workshop’ was recorded over a two-day period in April 1970, and released soon afterwards, though it surprisingly failed to make any substantial impact on the charts. Containing such tracks as ‘Hole In Her Stocking’ and ‘Born In The City’- both delivered with Alex Harvey’s hefty vocals- and it remains fresh even today.
Yet the record label was sufficiently impressed with the debut to fund a second album.
Regrettably, by the time of the recording of the second album, Alex Harvey had effectively left the band in order to pursue his own career (with the first of many Sensational Alex Harvey Band albums being released in 1972).
Replacing Harvey were Al Greed (who had sung on a number of the songs on the first album) and the somewhat mysterious figure of Ginger who only worked with the band on this record.
This release is enhanced by the inclusion of some previously unreleased material, which Russell has recently unearthed, that were recorded in the period between the first and second album.
“Well, these are tracks that I didn’t know that I had. I found the tapes, along with a few photos of Alex, in the bottom of a box in my loft,” he smiles. “I’m actually amazed that the tapes have survived so long as they were left out in my barn for ages!”
Including rehearsals (with Harvey on vocals) of tracks such as ‘Wade In The Water’ and ‘Ice Cold’ along with live material recorded at London’s Goldsmiths College they provide a valuable insight into how the band arranged and performed their material in a live setting.
1. Living Reason - 4:13
2. Street War (Parts 1-2) - 9:12
3. Going Home (Ray Russell, Alan Greed) - 5:42
4. What's Mine Is Mine (Ray Russell, Alan Greed) - 2:54
5. Weeping Wood Mandalas - 1:51
6. Forgotten How To Live (Ray Russell, Alan Greed, Ginger Harper) - 4:00
7. Light Is Light (Ray Russell, Alan Greed) - 3:49
8. I Think It's... (Ray Russell, Alan Greed, Alan Rushton) - 4:01
9. Ella Banta Dum Bundy - 6:22
10.Very Last Time - 3:31
11.Is This End... Baby? - 0:51
12.Let My Bluebird Sing (Alex Harvey, Ray Russell) - 4:04
13.Wade In The Water - 3:41
14.Ice Cold (Ray Russell, R. Shepherd) - 3:04
15.Heavy Weather - 4:39
16.Patterns - 2:44
17.Watch Your Step - 4:16
18.Ashen Besher - 5:28
All songs by Ray Russell unless as else stated
Bonus Tracks 12-18
Personnel
*Ray Russell - Guitar
*Harry Beckett - Horn
*Bob Downes - Wind
*Alan Greed - Keyboards, Vocals
*Ginger Harper - Vocals
*Alex Harvey - Vocals (Tracks 11-14)
*Alan Rushton - Drums
*Brian Miller - Keyboards
*Tony Roberts - Wind
*Daryl Runswick - Bass
*Alan Rushton - Drums
*Derek Wadsworth - Trombone
*Phil Wainman - Percussion
*Tony Uter - Percussion
1970 Rock Workshop - Rock Workshop (2002 bonus tracks remaster)
1969-71 Paul Korda - Passing Stranger (2012 remaster and expanded)
1973 Mouse - Lady Killer 1972-73 The Sensational Alex Harvey Band - Framed / Next
1974-75 The Sensational Alex Harvey Band - The Impossible Dream / Tomorrow Belongs to Me
1975-76 The Sensational Alex Harvey Band - Live / The Penthouse Tapes
1976-78 The Sensational Alex Harvey Band - Stories / Rock Drill
1969 Keef Hartley Band - The Battle Of North West Six (2008 remaster)
1969 Sweet Pain - Sweet Pain
Free Text
the Free Text
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Nicanor Zabaleta: Boïeldieu (DGG, 1959)
Nicanor Zabaleta (07.01.1907 - 31.03.1993): Spaanse harpist. Had harples van Vincenta Tormo de Calvo (Madrid) en Luisa Menarguez. Studeerde vanaf 1925 in Parijs bij Marcel Tournier en Jacqueline Borot.
Debuut in 1926 in Parijs.
Van 1959-1962 leidde hij een harp masterclass op de Accademia Musicale Chigiana in Siena.
Hij speelde veel 18e eeuwse, maar ook oude en moderne muziek. Veel componisten componeerden voor hem, w.o. Ernst Krenek, Darius Milhaud, Walter Piston, Joaquín Rodrigo en Heitor Villa-Lobos.
François-Adrien Boïeldieu (16.12.1775 - 08.10.1834): Frans componist. Bijnaam: "De Franse Mozart". Componeerde 38 opera's, waarvan Le Calife de Bagdad (1800) en La dame blanche (1825) het bekendst werden.
Het harpconcert in C op.82 is ook in 1800 gecomponeerd.
F.-A. Boïeldieu: Harpconcert in C op.82 (1800) 21:28
allegro brillante - andante, lento attaca - rondeau: allegro agitato
Nicanor Zabaleta, harp
Radio Symfonie-Orkest van Berlijn o.l.v. Ernst Märzendorfer
LP 25 cm: DGG 17 265
Download mp3
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As 14 Mais - Vol. XX, V/A (LP CBS 37523, 1967)
As 14 Mais - VOL. XX, V/A (LP CBS 37523, 1967).
Trata-se do volume XX (LP 1967) desta famosa e popular série “As 14 Mais”, que reunia os grandes sucessos da época, da gravadora Columbia/CBS, num só álbum.
Kátia Cilene
Faixas/Tracklist:
A1 – Roberto Carlos – Eu Daria a Minha Vida
A2 – Wanderléa – Finalmente Encontrei Você
A3 – Leno e Lilian – Não Acredito
A4 – Jerry Adriani – Não Te Quero Mais
A5 – Renato E Seus Blue Caps – Amanheci Chorando
A6 – Roberto Livi – Teresa
A7 – Os Jovens – Deixe o Tempo Passar
B1 – Renato E Seus Blue Caps – Ana
B2 – Jerry Adriani – Uma Especial Oração
B3 – Roberto Carlos – Fiquei Tão Triste
B4 – Wanderléa – Foi Assim
B5 – Leno E Lilian – Parem Tudo
B6 – The Sunshines – Palavra de Rapaz
B7 – Ketia Cilene – Brasa Viva
Álbum gentilmente cedido pelo nosso amigo Nestor Chainho, a quem agradecemos.
O agradecimento estende-se também ao nosso amigo Deyler Silva (Brasil) que nos facultou a capa do LP.
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Demetrius Perry - Another World - Complete LP
Original article written by Matlo44 and published on Funkytown / Matlo44
Unauthorized copy forbidden
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Steve Arrington's Hall Of Fame - Positive Power - Complete LP
Download « steve-arrington-s-hall-of-fame-positive-power-zip »
Original article written by Matlo44 and published on Funkytown / Matlo44
Unauthorized copy forbidden
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James Brown & Friends - Soul Session Live - Complete LP
Download « james-brown-friends-soul-session-live-zip »
Original article written by Matlo44 and published on Funkytown / Matlo44
Unauthorized copy forbidden
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dusk at the frogpool in Kubah NP Serawak Borneo Malaysia
Although a small park, it holds a wealth of 55 Amphibian species!
"We've spend three wonderfull evenings at your frog pool", i told the friendly warden of the Kubah national parc. "Yes? You enjoy?" he replied with a smile. He was standing in front of a glass counter exhibiting several souvenirs: pencils with a raffia adornment, luxury ball pen sets and various key rings with local motifs, "You should sell CD's here with the sounds of your frog pool," i suggested: "That is really something tourists would like to buy." He stared hazy at me: "You mean a compact disc with frog sounds?" he shook his head in disbelief and chuckled: "Haha, nobody will ever buy that. Frog sounds!"
Dusk @ the frog pool in Kubah NP Serawak Borneo
"We've spend three wonderfull evenings at your frogpool," zei ik de parkwacht van het Kubah Nationale Park. "Yes? You enjoy?"lachte hij vriendelijk. Hij stond voor de kast met souvenirs: potloden met een raffia frutseltje, kunstlederen schrijf-setje en diverse sleutelhangers met lokaal motief. "Jullie zouden hier een CD moeten verkopen met de geluiden van de frogpoel", opperde ik: "Dat zou best aftrek vinden bij kooplustige toeristen." Glazig keek hij mij aan: "Je bedoelt een compact disc met kikkergeluiden?" Hij schudde zijn hoofd in ongeloof: "Haha. dat koopt toch helemaal niemand. Kikkergeluid!
track 1 - cicades + fast running kreek. 21'05
Locally they call him 'Kriang pakul anam' , the six-o'clock-cicade. Not long before darkness falls, indeed around six, they really make a lot of noise. I've baptised it trumpet cicade myself. By then you should be climbing the narrow steep tarmac road , away from the guesthouses and the office, along the fast running stream and after a mile or so you'll see the sign pointing to the left: Frog Pool. There between the vegetation lies a small pond and while the noice-insects slowly quiet down, the amphibian inhabitants start to declare themselves present.Ze noemen 'm lokaal 'Kriang pakul anam' ofwel de zes-uur-cicade. Niet lang voor de duisternis invalt, inderdaad zo rond een uur of zes, maken ze een ongelofelijk kabaal. Trompet-cicade.had ik 'm zelf al gedoopt. Als je dan de smalle asfalt weg oploopt voorbij het kantoor en de guesthouses, langs het snel stromende beekje, het pad gaat redelijk steil omhoog , zie je na een kilometer of wat een bordje dat naar links wijst: frogpool. Daar ligt tussen de vegetatie een bescheiden vijver en terwijl de lawaai-insekten stilvallen, beginnen de amfibische bewoners om het hardst te kwaken.
track 2 - knerpkikkertjes - 9'44
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| cold-blooded love |
Voordat je het pad naar de kikkerpoel inslaat kan je in de berm laag bij de grond een wellustig geknerp horen, afkomstig uit de kelen van kikkermannen, waarvan de lucky ones zich hebben weten vast te klemmen op de rug van hun lief en deze kikvorsten houden van forse vrouwen. Gelukkig hebben ze de perfekte kleur om niet op te vallen tussen de dode bladeren.
While the last light vanishes, we walk to the frog pool and put our behinds on the wooden jetty
Terwijl het laatste licht verdwijnt lopen we naar de de kikkerpoel en nestelen ons onder een paraplu op de kleine houten steiger.
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| Polypedatus otilophus |
track 3 - kikkerkoor - 76'23
In this national parc live around 55 species of amfhibians. Probably you can't hear them all, there at the frog pool, but the concert is a colourfull variety of quacking, gaggling, cracking, whistling, croacking and plopping. The whistle is coming from the Polypedates otilophus, aka file-ear tree frogs.
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| foto's van broer Klaas en mij |
Dusk @ the frog pool in Kubah NP Serawak Borneo
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| carefull: do not jump and drink! |
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Eddie Barclay And His Orchestra – Film Festival At Cannes (LP 1957)
Eddie Barclay And His Orchestra – Film Festival At Cannes (LP Mercury – MG 20188, 1957).
Género: Easy Listening.
Edouard Ruault, conhecido como Eddie Barclay, (Paris, 26 de janeiro de 1921 - Boulogne-Billancourt, 13 de maio de 2005) foi um pianista, compositor, maestro, editor e produtor de música francesa, entre os anos 1950 e 1980 que apoiou cantores como Jacques Brel, Dalida ou Charles Aznavour, entre outros. Eddie fundou a Barclay Records.
Na sua juventude, aprendeu música e piano. Gostava particularmente do jazz americano. Visitava com alguma frequência o Hot Club de França para ouvir o quinteto de Stéphane Grappelli e Django Reinhardt.
“Film Festival At Cannes“ é um excelente LP de 1957 que nos apresenta fantásticas interpretações de Eddie Barclay e Sua Orquestra, de temas dos filmes famosos do Festival como, “Continent Perdu” (Lost Continent), “Vacances a Venise” (Summertime), ou “Bonjour Tristesse”, entre outros.
Eddie Barclay faleceu em Boulogne-Billancourt no dia 13 de maio de 2005, vítima de cancro (câncer) na garganta.
Faixas/Tracklist:
A1. Continent Perdu (Lost Continent) (Lavagnino) 2.55
A2. Mon Amour (Lavagnino) 2.40
A3. Vacances a Venise (Summertime) (Icini) 2.45
A4. La Derniere Manche (Barclay/Boyer) 2.35
A5. Si Tu m’Aimais (v.Parys) 3.00
A6. Tango Mandoline (Chevrier/Fuller) 2.50
B1. Chiens Perdus San Colliers (The Little Lost Dog) (Parker/Misrati) 2.25
B2. Les Amours Oubliees (Cloerec) 2.35
B3. Soleil Noir (Halffter) 2.50
B4. Chanson de Gervaise (Auric) 2.35
B5. Amoureuse (Louiguy) 3.20
B6. Bonjour Tristesse (Ruccione) 2.45
LP gentilmente cedido pelo nosso amigo Georges Berger, a quem agradecemos.
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Sky Rocket Love
(Paula Cloud)
The Cruisers
The Cruisers
Vocal Paula Cloud
MacGillvray, Gentry, McKenzie)
(The Spacers Vocal Sid Mack
Nike Records
(The Spacers Vocal Sid Mack
Nike Records
1958
Mrs Hortense Cludius (aka Paula Cloud) was born around 1912 in Louisiana. She resided in Ohio with her husband, Harold C. Cludius, in 1940 and the couple moved afterwards to Texas. She copyrighted "Sky Rocket Love" in 1958. As far as I know, this was the only song she wrote.
Even less is known about The Spacers featured on the top side. One Sid Mack from Dallas posted some fifteen years ago various messages on alt.assassination.jfk, a forum dedicated to the President Kennedy assassination, he's possibly him, the vocalist on XR9?
Both sides were published by S & M Music launched by "Skippy" Settle at the same time as his Skippy Records label in March 1958.
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Varios – Cuba y sus Orquestas
1.Orquesta Riverside – Pituka La Bella (3:24)
2.Pacho Alonso Y Sus Pachucos – Ay María Luisa (2:30)
3.Orquesta Estrellas Cubanas – Tu, El Sipison Y Yo (4:39)
4.Grupo Monumental – Me Quede Sin Chivo (3:59)
5.Conjunto Rumbavana – Juancito Trucupey (3:23)
6.Bebo Valdés Y Su Orquesta – Sazonando (3:05)
7.Orquesta Cubana De Rosendo Rosell – Mejor Que El Mantecado (2:46)
8.Orquesta Pancho El Bravo – La Regla De Oro (2:15)
9.Conjunto Roberto Faz – Clarita Y Su Minifalda (3:09)
10.Orquesta Típica Juventud – Me Llaman Loco (3:14)
11.Carioca – Se Paso Carioca (3:01)
12.Orquesta Sublime – Ay Quilele Chon (2:05)
13.Orquesta Revé – Barcelo (2:53)
14.Conjunto Gloria Matancera – Óyeme Antonia (2:34)
15.Orquesta Riverside – Mambo De Los Pocitos (3:02)
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Trio Los Cancilleres
1.Trio Los Cancilleres – Como Un Naufrago (3:00)
2.Trio Los Cancilleres – Decide Tu (2:46)
3.Trio Los Cancilleres – El Calor De Tu Voz (2:41)
4.Trio Los Cancilleres – Esta-Fiebre (2:57)
5.Trio Los Cancilleres – Gracias (3:01)
6.Trio Los Cancilleres – La Flor De Mi Camino (3:11)
7.Trio Los Cancilleres – Me Canse De Esperar Por Ti (3:05)
8.Trio Los Cancilleres – No Me Hagas Pensar (3:00)
9.Trio Los Cancilleres – No Tengo Edad (3:08)
10.Trio Los Cancilleres – Nos Veremos (3:17)
11.Trio Los Cancilleres – Que Parte De Tu Vida (3:29)
12.Trio Los Cancilleres – Regálame Su Amor (2:41)
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“Superstition” and why we all love the Clavinet
“Superstition” may be one of the most universally beloved songs on record – few and far between are the freaks who won’t freely admit Stevie’s mastery of funkiness
Remarkably, Stevie Wonder – strangely inured to his own genius – nearly gave the song away to instrumental rocker Jeff Beck. The well-known guitarist is credited with creating the drum part which opens and propels “Superstition”, although it is of course Stevie who pl
The question is why do we love “Superstition” so much? In a larger sense what is it about Stevie’s seminal 1970-1972 albums (Signed, Sealed & Delivered, Where I’m Coming From, Music of my Mind, and the boy wonder’s magnum opuses Talking Book, Innervisions and Fulfillingness’ First Finale)? Believe it or not the answer to our questions is first found in the music of the Baroque period…
Although the clavichord was invented in the fourteenth century, it was during the Baroque period that it achieved it’s greatest popularity, especially in Bohemia, the Iberian Peninsula, and Scandinavia. It’s assumed that many of the leading composers of Baroque music enjoyed performing on the clavichord in their homes, even if little music was specifically composed for the instrument.
Clavichords are too quiet for the concert hall, unfortunately. They are also among the most expressive keyboard instruments because the player has so much control over the duration and volume of each note. Pressing a key on a clavichord causes a hammer to strike the string in a way more similar to a guitarist’s “hammering” technique than a similar action inside a piano. The hammer remains in contact with the string, and as the player’s finger releases the key the string is dampened and thereby silenced. This allows the performer to create a punchy, percussive – potentially funky – sound on the instrument. See where this is headed?
In the 1960s Baroque music experienced somewhat of a short-lived revival, both in the classical world and in pop music. One of my favorite composers of the era, Burt Bacharach, began writing elaborate, narrative melodies often orchestrated with traditionally Baroque instrumentation. Bacharach’s orchestrations from this period frequently rely on flugelhorns for accent and color.
The Beach Boys’ Pet Sounds is often identified as the high point of “Baroque pop”, fitting as Brian Wilson had been one of the first to explore the high-falutin’ sub-genre with his elaborate work on the second side of the 1965 album The Beach Boys Today! The era’s other leading acts followed suit: The Rolling Stones with “Lady Jane” and the Beatles with “Eleanor Rigby”, a track on which their voices were backed only by a string quartet arranged by George Martin. As with many of the Beatles’ passing fancies, Baroque music was by and by the subject of ridicule, this time via George Harrison’s parody “Piggies” on the White Album.
Sophisticated baroque arrangements became commonplace in pop music, often occupying the upper echelon of the charts (Although remarkably many of the perennial favorite to come out of this era – the Moody Blues’ Days of Future Passed, the Bee Gees’ Odessa or the Zombies’ Odyssey and Oracle, for instance – would top Billboard’s US albums chart). Although it was enormously popular for a short time, inspiring not one but two Bacharach Baroque albums, the sub-genre faded rapidly as pop music took a turns towards rootsy-er, more basic influences like blues and classic country.
In this brief Baroque flourishing, Hohner introduced the Calvinet, an electronically amplified keyboard instrument based on the clavichord. It used electronic pick-ups in the same way as a guitar, although it was initially marketed at enthusiasts of Baroque and Renaissance music, not rock and soul performers. The Clavinet retained the intimate action of the clavichord as well as it’s percussive potential, and as an electronic instrument could be run through pedals the same as a guitar. It was only a matter of time before this modest, wood-paneled 60-key Baroque instrument would change popular music.
The earliest appearance of this instrument, first introduced by the German manufacturer in 1968, may have literally dropped out of the sky. Sun Ra’s 1969 album Atlantis is of greatest interest to his fans for establishing the framework in which he would work for the following decade with its side-long title track, but two songs on the flip of the disc feature “the solar sound instrument”, something that sounds distinctly like the Clavinet.
With some irony, it is an American-roots band (from Canada) who next fold the new instrument into the rock tableau – The Band’s keyboardist Garth Hudson played the instrument through a wah wah pedal on the group’s hit single “Up on Cripple Creek” the same year Sun Ra was exploring the distant expanses of the deep sea.
With Hudson’s innovative performance in “Up on Cripple Creek” (credited on the back of The Band as the “clavinette”) the potential of this mysterious new machine was revealed. Stevie Wonder was an early innovator, presaging “Superstition” with his reworking of the Beatles’ “We Can Work It Out”.
Sly Stone tapped into the Clavinet’s potential for subtlety with “Family Affair”, a song also remarkable as an early drum machine experiment.
On the flip side to his hit single “I Wrote A Simple Song” Billy Preston took the instrument to new funky heights in his first piece written for it, an instrumental called “Outta-Space”.
And then there was “Superstition” – All hell broke loose because everybody wanted to use the Clavinet, yet few could engineer and perform at the level of Stevie Wonder. A year later, his own “Higher Ground” was the closest anyone came to the total awesome-ness of “Superstition”. Our choice for a close second? Dr. John’s “Right Place, Wrong Time”:
Oftentimes in this period the Clavinet was used to establish a funky backing track, as with several tracks Bob Marley and the Wailer would record in the early 70s. Their first to feature a Clavinet, “Concrete Jungle”, remains one of the best, with the keyboards bubbling with lively energy underneath a searing guitar solo.
The Clavinet never played a central role in jazz fusion, despite the coincidental appearance of each in the late 60s and the instrument’s feature on what we imagine must be the genre’s most popular album, Herbie Hancock’s Headhunters. The fifteen minute “Chameleon”, not surprisingly a dancefloor favorite then and now, is entirely unimaginable without the Clavinet.
In fact, Hancock is pictured on both sides of the jacket seated at a Hohner D6 Clavinet, the most popular model.
So there you have it: Strange connections, unimagined consequences, and technological innovation driving new creations. We’d be surprised if you didn’t have several of these records on your shelves, or at least several of these songs saved in the computer through which you’re reading these words. Although very different from one another (you can’t get much further apart than Sun Ra and Garth Hudson, can you?) each owes it’s unique sound to an instrument that has not been made for years. In fact, more often than not the only appearances of a Clavinet in pop music are in the form of samples from songs recorded between 1969-1973.
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Lonnie Johnson born 8 February 1899
Alonzo "Lonnie" Johnson (February 8, 1899 – June 16, 1970) was an American blues and jazz singer, guitarist, violinist and songwriter. He was a pioneer of jazz guitar and jazz violin and is recognized as the first to play an electrically amplified violin.
Blues guitar simply would not have developed in the manner that it did if not for the prolific brilliance of Lonnie Johnson. He was there to help define the instrument's future within the genre and the ![MI0001460737.jpg]()
genre's future itself at the very beginning, his melodic conception so far advanced from most of his pre-war peers as to inhabit a plane all his own. For more than 40 years, Johnson played blues, jazz, and ballads his way; he was a true blues originator whose influence hung heavy on a host of subsequent blues immortals.
genre's future itself at the very beginning, his melodic conception so far advanced from most of his pre-war peers as to inhabit a plane all his own. For more than 40 years, Johnson played blues, jazz, and ballads his way; he was a true blues originator whose influence hung heavy on a host of subsequent blues immortals.
Johnson was born in New Orleans, Louisiana, and raised in a family of musicians. He studied violin, piano and guitar as a child and learned to play various other instruments, including the mandolin, but he concentrated on the guitar throughout his professional career. Johnson pioneered the single-string solo guitar styles that have become customary in modern rock, blues and jazz music.
By his late teens, he was playing guitar and violin in his father's family band at banquets and weddings, alongside his brother James "Steady Roll" Johnson. He also worked with the jazz trumpeter Punch Miller in the Storyville district of New Orleans. In 1917, Johnson joined a revue that toured England, returning home in 1919 to find that all of his family, except his brother James, had died in the 1918 influenza epidemic. He and his brother settled in St. Louis in 1921, where they performed as a duo. Lonnie also worked on riverboats and in the orchestras of Charlie Creath and Fate Marable.
In 1925 Johnson married, and his wife, Mary, soon began a blues career of her own, performing as Mary Johnson and pursuing a recording career from 1929 to 1936. Also in 1925 Johnson entered and won a blues contest at the Booker T. Washington Theatre in St. Louis, the prize being a recording contract with Okeh Records. he ![thZ05Q3BEU.jpg]()
commenced to recording at an astonishing pace -- between 1925 and 1932, he cut an estimated 130 waxings. The red-hot duets he recorded with white jazz guitarist Eddie Lang (masquerading as Blind Willie Dunn) in 1928-1929 were utterly groundbreaking in their ceaseless invention. Johnson also recorded pioneering jazz efforts in 1927 with no less than Louis Armstrong's Hot Five and Duke Ellington's orchestra.
commenced to recording at an astonishing pace -- between 1925 and 1932, he cut an estimated 130 waxings. The red-hot duets he recorded with white jazz guitarist Eddie Lang (masquerading as Blind Willie Dunn) in 1928-1929 were utterly groundbreaking in their ceaseless invention. Johnson also recorded pioneering jazz efforts in 1927 with no less than Louis Armstrong's Hot Five and Duke Ellington's orchestra.
After touring with Bessie Smith in 1929, Johnson moved to Chicago and recorded for Okeh with the stride pianist James P. Johnson. However, with the temporary demise of the recording ![2d4fa5b5b2a57d0fa2c7425af7a4ec54--guitar]()
industry in the Great Depression, he was compelled to make a living outside music, working at one point in a steel mill in Peoria, Illinois. In 1932 he moved again, to Cleveland, Ohio, where he lived for the rest of the decade. There he performed on radio programs and intermittently played with the band backing the singer Putney Dandridge.
industry in the Great Depression, he was compelled to make a living outside music, working at one point in a steel mill in Peoria, Illinois. In 1932 he moved again, to Cleveland, Ohio, where he lived for the rest of the decade. There he performed on radio programs and intermittently played with the band backing the singer Putney Dandridge.
After enduring the Depression and moving to Chicago, Johnson came back to recording life with Bluebird for a five-year stint beginning in 1939. Under the ubiquitous Lester Melrose's supervision, Johnson picked up right where he left off, selling quite a few copies of "He's a Jelly Roll Baker" for old Nipper.
Johnson went with Cincinnati-based King Records in 1947 and promptly enjoyed one of the biggest hits of his uncommonly long career with the mellow ballad "Tomorrow Night," which topped the R&B charts for seven weeks in 1948. More hits followed post-haste: "Pleasing You (As Long as I Live)," "So Tired," and "Confused."
Time seemed to have passed Johnson by during the late '50s. He was toiling as a hotel janitor in Philadelphia when banjo player Elmer Snowden alerted Chris Albertson to his whereabouts. That rekindled a major comeback, Johnson cutting a series of albums for Prestige's Bluesville subsidiary during the early '60s and venturing to Europe under the auspices of Horst Lippmann and Fritz Rau's American Folk Blues Festival banner in 1963. Finally, in 1969, Johnson was hit by a car in Toronto and died a year later from the effects of the accident.
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