Kip Hanrahan – Vertical’s Currency (1995)

FrontCover1Kip Hanrahan (born December 9, 1954) is an American jazz music impresario, record producer and percussionist.

Hanrahan was born in a Puerto Rican neighborhood in the Bronx to an Irish-Jewish family. He has an unusual role in the albums released under his name, one which he has analogized to that of a film director. He assembles players and materials, combining modern/avant-garde/free jazz figures like Don Pullen and Steve Swallow, Latin jazz players such as Milton Cardona and Horacio “El Negro” Hernandez, and occasionally rock musicians like Sting, Jack Bruce and Grayson Hugh, also Bassist,singer,song writer,producer Fernando Saunders.

He produced a number of significant recordings by the nuevo tango master Ástor Piazzolla in the last decade of Piazzolla’s life, as well as recordings by Latin music figures including Jerry Gonzalez. Hanrahan also worked with the poet Ishmael Reed on three recordings with the Conjure Ensemble, featuring Taj Mahal on the first release. These side projects were not the only poetry-based discs: Darn It from 1994 celebrates the work of Paul Haines (by wikipedia)

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Sting founded the Pangea label in the mid-’80s, unearthing some important and overlooked recordings from the defunct American Clave catalogue, much to the delight of ears lucky enough to hear (as a side note, some of tango sensation Astor Piazolla’s most important work would be lost were it not for the mining of such treasure). Such is the case for Kip Hanrahan, a soulful, New York-based percussionist and producer who unleashed two particularly fantastic albums — Days and Nights of Blue Luck Inverted and Vertical’s Currency — a lush, sensuous Afro-Cubano feast for the ears that is so warm as to engulf the listener with flames. There is a wonderful spirit to “Shadow Song,” an instantly recognizable anthem of Ricky Ricardo cliché that roars with boisterous horn arrangements, congas, cowbells, and vocals of uncanny, third-person self-analysis: “Today I have these blues that are wittier than me/That jokes with my girlfriend while drinking my rum.” “Smiles and Grins” follows with tight polyrhythms that snap and clap along with syncopated piano clusters, as vocalist Jack Bruce hurriedly lilts beat poetry through the chord changes that only twice pause for contemplation.

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Elsewhere in the disc there is an element of sultry longing and hot Miami sunsets, as with “Two Heartedly, To the Other Side,” “Make Love 2,” and “Dark (Kip’s Tune).” It is with this all-star cast of the New York underground jazz fusion scene that Hanrahan finds such rich moods, textures, and symbiosis. Steve Swallow on the bass rarely disappoints, and both guitarist/avant-gardist Arto Lidsay and keyboardist Peter Scherer, who together comprise the group Ambitious Lovers, fill out the room with equally reliable musicianship. Vertical’s Currency overflows with rich contributions in an organic stew of worldly fusion that slinks through the city streets after hours. Find this album and pounce on it. (by Keir Langley)

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Taken from the American Clave catalogue
(is a part of the file)

Personnel:
Frisner Augustin (quinto, tambou, tamboura)
Ignacio Berroa (drums)
Jack Bruce (bass, piano, vocals)
Milton Cardona (percussion)
Anton Fier(drums)
Kip Hanrahan (percussion)
Nancy Hanrahan (vocals)
Andriau Jeremie (saxophone)
Arto Lindsay (guitar)
Claudette Mitchell (chekere)
David Murray (sacophone)
Elysee Pyronneau (guitar) (Electric)Charles Reilly PhotographyOrlando
Orlando “Puntilla” Rios (percussion)
Mario Rivera (saxophone)
Ned Rothenberg (saxophone)
Peter Scherer (organ, synclavier, synthesizer)
Lew Soloff (trumpet)
John Stubblefield (saxophone)
Steve Swallow (bass)
Richie Vitale (trumpet)
Nancy Weiss (vocals)

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Tracklist:
01. A Small Map Of Heaven (Hanrahan/Swallows) 5.17
02. Shadow Song (Mario’s In) (Hanrahan/Hernandez) 4.06
03. Smiles And Grins (Bruce/Brown) 3.02
04. Two Heartedly To The Other Side (Hanrahan/Swallows) 3.03
05. Chances Are Good (Baden’s Distance) (Hanrahan/Powell) 5.08
06. Make Love 2 (Bruce/Brown) 4.27
07. One Casual Song (After Another) (Bruce/Hanrahan) 3.03
08. Intimate Distances (Jack’s Margrit’s Natasha) (Hanrahan) 3.01
09. Describing It To Yourself As Convex (Hanrahan/Scherer) 4.07
10. What Do You Think ? That This Mountain Was Once Fire ? (Hanrahan/Swallows)v 1.41
11. Dark (Kip’s Tune) (Hanrahan/Lindsay) 2.59

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Julian Cannonball Adderley – And Strings (1955)

FrontCover1Julian Cannonball Adderley and Strings is the second album by jazz saxophonist Cannonball Adderley to be released on the EmArcy label and features Adderley with and orchestra directed by Richard Hayman.

The “and Strings” album is one of the biggest clichés of ’50s jazz. The idea of taking a prominent jazz soloist and placing him in an orchestral context usually doesn’t work as jazz and often doesn’t cut it as mood music, either. Julian Cannonball Adderley and Strings suffers a bit in terms of song selection — “Surrey With a Fringe on Top” and “Polka Dots and Moonbeams (Around a Pug-Nosed Dream)” are a little on the corny side — but Adderley himself plays beautifully, showing off his typically excellent soloing throughout, and Bill Russo’s orchestral arrangements are less invasive than similar arrangements for other “and Strings” albums, more Gil Evans than Mantovani. The opening “I Cover the Waterfront” is a stellar kickoff, a smoky ballad perfect for Adderley’s soulful style, but barring a few minor missteps, all of Julian Cannonball Adderley and Strings is well worth hearing. (by Stewart Mason)

And here´s another sentimental journey in the past …

Recorded in New York City on October 27 (tracks 9-12) & October 28 (tracks 1-8), 1955

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Personnel:
Julian Cannonball Adderley (saxophone)
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unknown Orchestra conducted by Richard Hayman ( arranged by Bill Russo

Inside
Tracklist:
01. I Cover The Waterfront (Green/Heyman) 2.27
02. A Foggy Day (Gershwin) 2.42
03. The Surrey With the Fringe On Top (Hammerstein II/Rodgers) 2.33
04. Two Sleepy People (Carmichael/Loesser) 3.01
05. I’ll Never Stop Loving You (Brodszky/Cahn) 2.41
06. (I’m Afraid) The Masquerade Is Over (Magidson/Wrubel) 3.11
07. I’ve Never Been in Love Before (Loesser) 2.20
08. Lonely Dreams (Gubenko) 2.30
09. Falling In Love With Love (Hart/Rodgers) 2.33
10. Street Of Dreams (Lewis/Young) 2.14
11. Polka Dots And Moonbeams (Burke/v.Heusen) 3.04
12. You Are Too Beautiful (Hart/Rodgers) 2.55

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Peggy Lee – Blues Cross Country (1962)

FrontCover1Blues Cross Country is a 1962 studio album by Peggy Lee, principally arranged by Quincy Jones, with some arrangements by Benny Carter. The album can be described as a concept album, consisting of a musical journey across the United States through swinging blues songs, many of which were written by Lee with other contributors.Blues Cross Country is a 1962 studio album by Peggy Lee, principally arranged by Quincy Jones, with some arrangements by Benny Carter. The album can be described as a concept album, consisting of a musical journey across the United States through swinging blues songs, many of which were written by Lee with other contributors.
Blues Cross Country was the second of Lee’s two albums featuring arrangements by Jones. He had also arranged her previous studio album, If You Go (1961). (by wikipedia)

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Peggy Lee and Quincy Jones

One of Peggy Lee’s most intriguing concept LPs of the ’50s and ’60s, Blues Cross Country teams her with the Quincy Jones Orchestra on a set of swinging blues set all over America, almost like a continental version of Sinatra’s “Come Fly with Me.” She balances standards like “Basin Street Blues,” “St. Louis Blues,” “I Left My Sugar (In Salt Lake City),” and “Goin’ to Chicago Blues” alongside collaborations with Jones on “Los Angeles Blues,” “New York City Blues,” and “The Train Blues.” (She is also the lyricist of four other songs PeggyLee02on the album.) Though Jones’ arrangements are often a touch brassier than the blues standards can handle, Lee contributes just the right blend of vigor and feeling to the songs. Blues Cross Country also includes her first waxing of the Leiber & Stoller song “Kansas City,” which looks forward to her successful performances of their “I’m a Woman,” “Is That All There Is?,” and the Mirrors album. At a little over half-an-hour, it is a brief LP, and the 1999 CD reissue has two additional tracks. From the same spring 1961 sessions that produced the album came Lee’s single recording of Cy Coleman and Carolyn Leigh’s “Hey! Look Me Over,” the most popular song to emerge from the 1960 Broadway musical Wildcat, also arranged by Quincy Jones. Skipping ahead five years, there was another Lee single, “The Shining Sea,” which she wrote with Johnny Mandel, who also arranged it. Neither song fits in with the album’s concept, but they at least add more than four minutes to its running time. (by William Ruhlmann)

This not only a hot easy listening album, but a great album with Big Band music with a real hot voice … Peggy Lee at her best !

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Personnel:
Bob Bain (guitar)
Max Bennett (bass)
Hoyt Bohannon (trombone)
Aubrey Bouck (french horn)
Dennis Budimir (guitar)
Larry Bunker (percussion)
Pete Candolli (trumpet)
Benny Carter (saxophone, tuba)
Buddy Collette (saxophone)
Bob Cooper (woodwind)
Bob Fowler (trumpet)
Vern Friley (trombone)
Justin Gordon (saxophone)
Conrad Gozzo (trumpet)
Joe Graves (trumpet)
Bill Green (saxophone)
Chico Guerrero (percussion)
Bill Henshaw (rench horn)
Plas Johnson (saxophone)
Artie Kane (organ)
Harry Klee (woodwind)
Bobby Knight (trombone)
Peggy Lee (vocals)
Lou Levy (piano)
Stan Levey (drums)
Sinclair Lott (french horn)
Lew McCreary (trombone)
Dick Nash (trombone)
Jack Nimitz (saxophone)
Earl Palmer (drums)
Bill Perkins (saxophone)
John Pisano (guitar)
Al Porcino (trumpet)
Emil Richards (percussion)
George Roberts (trombone)
Howard Roberts (guitar)
Frank Rosolino (trombone)
Jimmy Rowles (piano)
Bud Shank (woodwind)
Jack Sheldon (trumpet)
Tommy Shepard (trombone)
Henry Sigismonti (french horn)
Frank Strazzeri (piano)
Toots Thielemans (guitar)
Ray Triscari (trumpet)

Arranged and conducted by Quincy Jones

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Tracklist:
01. Kansas City (Leiber/Stoller) – 2:29
02. Basin Street Blues (Williams) – 3:04
03. Los Angeles Blues (Lee/Jones) – 2:38
04. I Left My Sugar in Salt Lake City (Lange/ Rene) – 2:53
05. The Grain Belt Blues (Lee/Raskin/Schugler) – 1:52
06. York City Blues (Jones/Lee) 3:21
07. Goin’ to Chicago Blues (Basie/Rushing) – 2:37
08. San Francisco Blues (Lee/Raskin) – 2:37
09. Fisherman’s Wharf (Lee/Raskin) – 3:11
10. Boston Beans (Lee/Raskin/Schugler) 2:05
11. The Train Blues (Jones/Lee) 2:42
12. Saint Louis Blues (Handy) – 2:15
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13. Hey, Look Me Over! (Cy Coleman/Leigh) – 1:55
14. The Shining Sea (Lee/Mandel) – 2:45

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Keith Jarrett – Concerts (1982 – 2013)

LPFrontCover1The Bregenz/Munich concerts were Jarrett’s most brilliant live solo recordings to date; his level of inspiration is quite extraordinary, and the music covers a wider musical and emotional range than ever. He takes fabulous risks, pushing everything to the limit.”
– Jarrett biographer Ian Carr

After “Bremen/Lausanne” after “The Köln Concert”, after the epic “Sun Bear Concerts”, the next development in Jarrett’s solo concerts was the all-embracing music captured here. Two 1981 improvised concerts from Austria and Germany are featured, recorded respectively at the Festspielhaus Bregenz and the Herkulessaal Munich, venues noted for outstanding acoustics. While the Bregenz concert has hitherto been available as a single CD, this set marks the first appearance of the complete Munich performance on compact disc.

This 3-CD set includes an extensive German-English text booklet with liner notes by Keith Jarrett, an essay by Peter Rüedi, and poetry by Michael Krüger. (press release)

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By the early ’80s, Keith Jarrett was definitely under siege, accused of arrogance, singing along too loudly, rambling eclecticism, and other “heinous” jazz crimes, especially in the wake of the massive success of the Köln Concert seven years before, and the issue of the massive, unprecedented Sun Bear Concerts box set in 1978. Indeed, around this time, Jarrett would verbally attack music critics at his solo concerts, and the reflected paranoia is obvious in Peter Ruedi’s defensive booklet essay included here, “The Magician and the Jugglers.” This multi-disc set was recorded during two concerts over four days in the spring of 1981 in Bregenz, Austria, and Munich, Germany. This recording is not to be KeithJarrett02confused with the earlier, more consistently inspired Solo Concerts: Bremen/Lusanne from 1973, which made Jarrett a star, yet the pianist was far from tapped out in these performances. He is often in his best lyrically funky form, where he makes the most out of a single ostinato idea — particularly at the beginning of the Bregenz concert and in the middle of the Munich concert — and his touch and exploitation of the dynamics and timbres of a grand piano are always a pleasure to hear. Even the passages of stasis or seemingly aimless rippling do not cancel out the treasurable moments and have real worth — though for some, the string plucking near the end of the Munich show may be somewhat gratuitous. In any case, this is far more interesting and elevated music-making than that of the New Age navel-gazing imitators who were cropping up in Jarrett’s wake in the early ’80s en masse, and adds immeasurably to the historically unique portrait of the artist.  (by Richard S. Ginell)

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Personnel:
Keith Jarrett (piano)

NotesByKeithJarrett

Tracklist:

CD 1: Bregenz, May 28, 1981:
01. Part I / 22.00
02. Part II / 12.07
03. Untitled 9.30
04. Heartland 6.02

CD 2: München, June 2, 1981:
01. Part I / 23.24
02. Part II / 24.21

CD 3: München, June 2, 1981:
01. Part III / 26.00
02. Part IV / 11.44
03. Mon Coeur Est Rouge 8.29
04. Heartland 6.11

Music composed by Keith Jarrett

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Hugh Masekela – The Americanization of Ooga Booga (The Lasting Impressions Of Ooga Booga) (1966)

OriginalFrontCover1The Americanization of Ooga Booga is an album by South African jazz trumpeter Hugh Masekela. The album is a blend of American jazz themes and traditional South African musical influences. It was recorded live in November 1965 at The Village Gate night club in New York City and released in June, 1966 via MGM Records label. MGM’s president was convinced that Masekela’s albums were too African for American tastes, so soon after Masekela moved to Chisa/Blue Thumb labels.The Americanization of Ooga Booga is an album by South African jazz trumpeter Hugh Masekela. The album is a blend of American jazz themes and traditional South African musical influences. It was recorded live in November 1965 at The Village Gate night club in New York City and released in June, 1966 via MGM Records label. MGM’s president was convinced that Masekela’s albums were too African for American tastes, so soon after Masekela moved to Chisa/Blue Thumb labels.
Verve Records re-released the album in 1996 as a CD named The Lasting Impression of Ooga-Booga, adding five more tracks from his 1968 album The Lasting Impression of Hugh Masekela. (by wikipedia)

HughMasekela02Getting Americanization of Ooga Booga released was evidently akin to pulling teeth, because MGM Records’ president was convinced it would be a bomb — what Hugh Masekela and his band had played at this early 1965 gig at the Village Gate was jazz, but it was too African-based for American tastes, or so the label chief maintained. What he missed was the infectious joy woven through every note of music here, which was enough to carry any kind of music from anyplace in the world over any unfamiliar patches, including the language, melodies, references to events, and places on the other side of the world; if this was to be New Yorkers’ (and the recording world’s) introduction to South African music, it was made incredibly genial and accessible, even from a jazz standpoint. The influence of Dizzy Gillespie and Freddie Hubbard can be heard, along with McCoy Tyner in the playing of pianist Larry Willis, and he shows his debt to John Coltrane as an inspiration on “Mixolydia” as well as his affinity for Brazilian music on “Mas Que Nada.” But the core sound was what Masekela called “township bop” — his short trumpet bursts, sometimes seemingly approaching microtonal territory, are engrossing celebrations of the melodies of his repertory, which is mostly of South African origin (including a pair written by his then-wife, Miriam Makeba).

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Among the latter, the opening number, “Bajabula Bonke,” aka “Healing Song,” got its first airing on record here — it would later receive a bolder performance at the Monterey Pop Festival, comprising one of that event’s numerous musical highlights, but where that later performance streaked and soared, this one starts out slowly and quietly, exquisitely harmonized and rising gradually and gently like a glider catching rising winds; it’s impossible to fully appreciate the Monterey performance without hearing this one. With Herbie Hancock’s “Cantelope Island” providing one firm reference point in the American jazz idiom, the set really wasn’t that removed from 1965 listeners, as its stronger-than-expected sales proved. (by Bruce Eder)

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As we all knew, Hugh Masakela died on  23 January 2018

Taken from the official website:

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Personnel:
Hal Dotson (bass)
Henry Jenkins (drums)
Hugh Masekela (cornet, flugelhorn, vocals)
Larry Willis (piano)

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Tracklist:
01. Bajabula Bonke (Healing Song) (M.Makeba) 8.06
02. Dzinorabiro (The Good Old Days) (M.Makeba) 5.38
03. Unhlanhla (Lucky Boy) (A,Makeba) 5:01
04. Cantelope Island (Hancock) 5.30
05. U-Dwi (Song To My Mother) (Masekela) 5.26
06. Masquenada (Ben) 7.43
07. Abangoma (Song of Praise) (M.Makeba) 4.04
08. Myxolydia (Masekela) 7.01
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09. Con Mucho Carino (With Much Love) (Willis) 4.41
10. Where Are You Going? (Masekela) 7.43
11. Moroloa (Masekela) 5.07
12. Bo Masekela (Semenya)
13, Unohilo (The Bird, aka Ntyilo, Ntyilo) (Salenga) 6.49

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Hugh Ramapolo Masekela (4 April 1939 – 23 January 2018)

Les McCann & Eddie Harris – Swiss Movement (1969)

FrontCover1Swiss Movement is a soul jazz live album recorded on June 21, 1969 at The Montreux Jazz Festival in Switzerland by the Les McCann trio with saxophonist Eddie Harris and trumpeter Benny Bailey.[2][3] The album was a hit record, as was the accompanying single “Compared to What”, with both selling millions of units.

The album was nominated for a Grammy Award in the category of best jazz performance, small group.[6] It reached No. 1 on Billboard’s jazz album chart, No. 2 on the R&B chart, and No. 29 on the LP chart.
A Billboard writer commented in 2006 that “what put Montreux on the recorded-live-in-concert map was the legendary Swiss Movement album”.
The tapes of this impromptu concert were originally recorded by the festival’s organisers and then passed on to Atlantic, who decided to release them after paying a fee of less than 100 dollars. (by wikipedia)

Something of a happy accident, this recording from the 1969 Montreux Jazz Festival has actually become one of the most talked about, exhilarating and fun live jazz performances ever captured on wax.

The session (on the last night of the festival) was a truly impromptu event – this particular line up had never played together before and at least half of the group had no idea what material they were going to play as they took the stage!

Kicking off with Gene McDaniels’; ‘Compared To What’, vocalist & pianist Les McCann sings this topical rant against Nixon and the Vietnam war over a funky backbeat. Horn men Eddie Harris and Benny Bailey take turns to blow some down home blues in between verses, surprisingly holding together brilliantly what was nothing more than a jam session to great effect.

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The Harris original “Cold Duck Time” continues with a similar feel, an extrapolated blues vamp in the key of F. This simple good-time approach may not have pleased those with more critical ears, but the sound of the enthusiastic crowd prove that an up-tempo groove with some spirited blowing was exactly what the audience wanted to hear.

‘Kathleen’s Theme’ swings in a more straight ahead approach and gives Harris’s tenor the opportunity to investigate the intricacies of the melody – before the gospel based ‘You Got It In Your Soulness’ takes us right back to funky soul-jazz territory. McCann probes into the piece with his spiky, articulated piano chords and solo lines whilst drummer Donald Dean provides a sanctified back beat that reminds us of the church roots of much jazz & blues music.

Montreux1969The more contemplative and modal piece “The Generation Gap” provides a brief respite from the blues before the final track (not included on the original vinyl issue of the date). ‘Kaftan’ written by bassist Leroy Vinnegar is a pleasing if not overwhelming jaunt with a mildly afro-Cuban feel. Swiss Movement has long been a sought after collectors piece and the addition of expansive sleeve notes and anecdotes from the musicians involved makes this anniversary edition a great live recording to enjoy once again – 35 years after this very happening event. (by Greg Boraman)

One of the most popular soul jazz albums of all time, and one of the best, although Harris (and trumpeter Benny Bailey) had never played or rehearsed with the Les McCann Trio before, and indeed wasn’t even given the music. Perhaps that’s what sparked the spontaneous funk coming through clearly on the tape of this show, recorded at the Montreux Festival in 1969. It’s actually much more of a showcase for McCann than Harris, although the tenor saxist’s contributions are significant. The sole vocal, a version of Gene McDaniels’ “Compared to What,” remains McCann’s signature tune. (by Richie Unterberger)

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Personnel:
Benny Bailey (trumpet)
Donald Dean (drums)
Eddie Harris (saxophone)
Les McCann (piano, vocals on 01.)
Leroy Vinnegar (bass)

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 Tracklist:
01: Compared to What (McDaniels)
02. Cold Duck Time (Harris)
03. Kathleen’s Theme (McCann)
04. You Got It In Your Soulness (McCann)
05. The Generation Gap (McCann)
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06. Kaftan (Vinnegar)

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Pete York Percussion Band – Same (1972)

FrontCover1After the split of “Hardin & York” Pete York formed his first own Group, The Pete York Percussion Band …

“By 1972 Pete York’s Percussion Band had hit the road. It featured a brass section and three drummers as well as guitarist/singer Miller Anderson. Occasional guest drummers in this adventure were Ian Paice, Keef Hartley, Roy Dyke and Keith Moon.” (as told by Pete York).

But for this studio recordings he jammed with old friends from the Birminham jazz-scene … and the album was co-produced by Ian Paice from Deep Purple, an old friend of Pete York.

Bill Coleman played a few years earlier with Kenny Ball,

And they Play during these days of Prog-Rock an great old fashioned jazz Album with lot´s of drums and percussion (of Course) and a real string brass section.

One hightlight is a ten Minute jam “Sombrero Sam ” (written by Charles Lloyd).

Another highlight is a classical jazz Version of “The Arrival Of The Queen Of Sheba” (written by the German baroque composer George Frideric (or Frederick) Handel) … Great !

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A few months later Pete Yorks Percussion band recorded a great concert for the “BBC In Concert” series featuring Ian Paice and Jon Lord … you will hear this Show very soon in this blog.

10 yearts later, Pete York formed another jazz Group, called “Pete York´s New York” (see here) and he played again with Mel Thorpe and Roger Munns ,,,

I guess, this is one of the rarest Pete York recordings and it´s real good one!

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Personnel:
Bill Coleman (bass, e-piano)
Steve Fearn (guitar, vocals)
Roger Munns (piano, trombone, clarinet)
Barry Sutton (trumpet)
Mel Thorpe (saxophone, flute, clarinet)
Gordon Williamson (drums, percussion)
Pete York (drums, percussion)
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Ian Paice (Percussion on 04.)

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Tracklist:
01. Keep On Running (Edwards) 2.39
02. Nothing Yet (Munns) 3.28
A3 Cold Night In The City (Fearn) 2.06
04. Sombrero Sam (Lloyd) 10.11
05. Mel’s Blues (Thorpe) 2.54
06. Moleshawk (Coleman) 3.55
07. Stroke (Coleman) 3.49
08. The Arrival Of The Queen Of Sheba (Händel) 2.43
09. Points (Munns) 4.00
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