OK, so actual zombification rites aren't included in these field recordings but I figure the shambling results of certain vodoun practices are the closest we've come to academic verification (and real-life examples) of one of the mainstays of the movie monster pantheon. Close enough for a music blog trying to work a Hallowe'en theme, anyway!
These particular rites were recorded in Haiti and released by Olympic Records Corporation. Not to be confused wih Joe Fletcher's Olympic Records from the 20s, the latter-day Olympic was a small independent label specialised in licensing public domain and ethnomusicological material. You've probably never heard of the company or its owner, Joseph Abend, for the same reason their history is most notable: losing a copyright suit brought by the estate of Scott Joplin to the tune of $200K in 1978. There's little other info available on Abend and ORC but around 1977 their catalogue dried up so I figure it's a safe bet to assume this mis-step (and what sounds like mediocre legal representation) bankrupted the label.
The spooky sounds and disembodied voices were captured by Maurice Bitter, who made many ethnomusicological field recordings for multiple record labels. He's also a prolific author in the subject of historical anthropology, often writing about the music and dance traditions of the societies he studies and he provides some good liner notes here as well.
1 Voodoo Drums 2 Nibo Rhythms (1:19) 3 Prayer To Shango 4 Petro Rhythms 5 Nago Rhythms 6 Invocation To Papa Legba 7 Dahomey Rhythms "The Paul'L" / Maize Rhythm / Diouba Rhythm "Cousin Zaca"
Let Soundological do the voodoo for you HERE or HERE.
A final Hallowe'en treat and one that will also see you safely through Dia de los Muertos, especially the track previewed above. This time the focus is more on the rhythms of the rituals rather than replicating them in their entirety and is basically a lesson in voodoo beats by a master drummer named Jobelou.
1 Yanvalou 2 Djuba 3 Banda 4 Petro 5 Bumba 6 Nago 7 Congo 8 Kita 9 Mahi Lété - Dahomey fla vodou 10 Ibo 11 Mazone - Crabigné - Guédé 12 Zepaule
Recorded live in Port-au-Prince, Haiti by Richard Hill & Morton Marks
Highly informative liner notes break it all down so without further ado, Soundological's pleased to provide voodoo party beats to youHERE or HERE!
Some spine-tingling spookiness as Vincent sermonises on arcane subjects in his signature style. Even though it's a bit grand in its guignol, as OOT as it may be it's still not exactly for the squeamish thanks to the comprehensive coverage given the subject matter.
AMG Bio by Linda Seida Vincent Price came to be identified with gothic horror and crazed villainy through a series of leading film roles in the 1960s that were based on such Edgar Allan Poe poems and short stories as The Raven, The Fall of the House of Usher, The Pit and the Pendulum, and The Masque of the Red Death. Thanks to the actor's wide exposure in those movies and others like them, his voice became immediately associated with the horror genre, opening the door for Price to contribute to a number of different recordings, as well as an album of his own.
His spooky laughter alone was enough to conjure all sorts of macabre thoughts and associations, and his elegant diction only enhanced the effect. A sampling of Price's contributions includes an appearance on Alice Cooper's Welcome to My Nightmare from Atlantic in 1975 and a guest spot on Michael Jackson's Thriller from Epic in 1982. He was also included on a 1998 children's soundtrack, Scooby-Doo's Snack Traks: The Ultimate Collection. Price's own album, Witchcraft and Magic, was released by Capitol Records.
SIDE 1 (25:30) Prologue The Tale of Master Seth Hitler and Witchcraft Witchcraft In History Women As witches Witch Burning Witch Tortures
SIDE 2 (25:56) Witch Tortures (continued) The World of Spirits and Demons Preparation for Magic Instruments of Magic How To Invoke Spirits, Demons, Unseen Forces The Magic Bloodstone The Witches Cauldron How To Communicate with The Spirits
SIDE 3 (26:45) How To Communicate with The Spirits (continued) Gerald Yorke and Necromancy How To Make A Pact with The Devil How To Become A Witch Curses, Spells, Charms
SIDE 4 (26:25) Curses, Spells, Charms (continued) Potions The Hand of Glory The Witches Sabbat Witchcraft Today Epilogue
Douglas Leedy , a classmate of Terry Riley, was on the experimental electronic scene pretty early. He made a bit of a stir in the late 60s with his recordings The Electric Zodiac and the influential electro-acoustic piece Entropical Paradise, a mammoth 3LP set (parts of which were used later in the film adaptation of Kurt Vonnegut's Slaughterhouse Five). If you wanna get the jump on coming festivities he also whipped off a disc of xmas ditties.
As for Karshner, the internet only seems to want to return page after page of search results for plays written by someone of that name. Producer-wise, besides this eeffort I found an earlier Capitol LP by Eli Radish (a 1968 Danny Sheridan project with David Allan Coe) and a 2006 London Philharmonic Orchestra album. Not much seems to have happened in between as far as music is concerned so it's not beyond the pale to figure it was the same guy. Eve more tantalizingly obscure is Terry d'Oberoff. After some searching, the only other credit I could find elsewhere for him was writing the liner notes for Black Magic'sdebut album Where Love Is .
Now that we've cleared up where the love is, find the fear from Soundological HERE (RS Part1RS Part 2) or HERE (MF Part 1MF Part 2) (reloaded by overwhelming demand 2012-02-15).
VARIOUS ARTISTS Soul Jazz Volume 2 1960 256+ VBR LAME mp3 Vinyl rip & scans from Status 1010
Today we're dropping a couple quick posts of soul jazz from the Prestige vaults for your sonic appreciation. Not much to say since one glance at all the familiar names lets you know it's heavy hitters all around. Both compilations remain OOP and are posted as a way to slide into the Halloween season so check out the treats inside those jack-o-lantern lookin' labels!
MILT BUCKNER & MARCEL ZANINI Blues and Bounce! 1976 256+ VBR LAME mp3 Vinyl rip & scans from Black & Blue 333110
One of the last sessions recorded by the Big Buck, taking place almost exactly one year before he passed away. He spent most of his latter years, especially a huge chunk of the 70s, playing in Europe and recording for many labels there. Black and Blue were one of those labels and they employed Milt to the hilt for the last five or so years of his life.
Here he's teamed up with Marcel Zanini, a Turkish-born French musician who could be compared career-wise as the Gallic equivalent to Acker Bilk or Al Hirt. Milt & Marcel lock hands and horns on a set of swingin' blues and bluesy swing with longtime Ellington drummer Sam Woodyard, Zanini's son Nabe on guitar, seasoned session vet Michel Gaudry on bass and the most mysterious man on this meet, Jean-Pierre Lindenmeyer, on vibes. He's listed as a "non-professional" musician and a "friend" of Marcel but from what I can tell, this person is a psychiatrist specialising in schizophrenia at his practice in NY - however lacking photographic corroboration I can't say for sure.
A nice set of swing, blues, soft ballads and Django-esque jazz that'll satisfy fans of those classic forms as well as those partial to Milt himself.
Found a still-sealed copy of this a few weeks ago at local record shop for only $7. Now, I'd never heard the two Cotillion albums Lou made at the tail-end of the 70s (Different Scene and this one) but I hadn't heard much in the way of favourable reviews for them, either. However, I was pretty sure that since it was Sweet Poppa Lou accompanied on horns by longtime jazz vets Ernie Royal and Seldon Powell, there had to be enough going for it to make it worth some change back from a sawbuck. It should come as no surprise that it was a safe bet but had the price been on the other side of a dixie I don't know if I'd feel quite the same.
There are some sweet moments here despite the routine arrangements, sterile production and cut-rate roster, close to half of whom count this album as either their only credit or one of less than a handful. Except for drummer Jimmie Young most of the rhythm section were nobodies and both horn and string sections were split down the middle as far as seasoned session vet vs. unknowns is concerned. On the plus side, it's obvious a lot of these guys were going for broke and giving it their best shot, especially William Phipps on the rhodes (check out the sweet washes and nimble solos he sprinkles throughout) and A.C. Drummer on the guitar (this man loves the phased wah-wah sound for better or worse).
A couple cookers, a few ballads and a bit of funk make it worth the minimal fee but don't expect any revelations from Lou, who maintains his standard of techical excellence even though he tends to get buried in the busy arrangements or lost in the mix. Not essential by any means but it will have appeal for the more forgiving fans of LD and those of Jazz-Disco-Funk fusion in general.
1 Too Much to Explain 2 Love for Sale 3 Piece of Your World 4 Passion Fruit 5 Comin' Thru the Back Door 6 Ebb Tide 7 Maker's Dream 8 Walkin' Sally
For more info on the man, be sure to click on his name in the line up above and visit his comprehensive website for a detailed bio and thorough notes on all the sessions he's played. While you're poking around you can make color a way of your life courtesy of SoundologicalHERE or HERE.
The Complete 1952 Lou Donaldson Blue Note Sessions at migue11e (APE) Quartet/Quintet/Sextet (1952-1954) atAvaxHome (FLAC) A Man With A Horn(Unissued material from Blue Note 1961+1963) c/o Blaxploitation Jive (mp3) Ha' Mercy (culled from Argo/Cadet catalogue 1961-1965)c/o My Jazz Worldpt1/pt2 Signifyin': The Best of Lou Donaldson at flageolette Blue Break Beatsat flageolette (mp3) + migue11e (APE)
BILL EVANS From The 70s: Previously Unissued Studio & Club Recordings, 1973-1977 1983
82.6 MB 256+ VBR LAME mp3 Vinyl rip & scans from Fantasy F-9630
Happened across this a couple weeks go and thought it would help round out the excellent overview of Bill's 70s period provided by Simon over at never enough rhodes. The CD with the same name and cover art released by Original Jazz Classics in 2007 is not technically a reissue since it's actually nine tracks taken exlusively from the gig with Gomez and Morell that make up the bulk of the original collection.
When this LP was put out in 1983, all seven selections (taken from four separate sessions) were being released for the initial time. With the emergence of CDs, these numbers are being used as "bonus tracks" to fill in the original programs that they came from, so this particular set went out-of-print. Bill Evans collectors who happen to run across the album may want to pick it up anyway for there are six fine trio numbers with bassist Eddie Gomez and either Marty Morell or Eliot Zigmund on drums. In addition one of the two versions of "Nobody Else but Me" is taken from the quintet date that Evans had with tenor saxophonist Harold Land and guitarist Kenny Burrell.— Scott Yanow
57.4 MB 192+ VBR LAME mp3 Vinyl rip & scans from La Val LVP-901
Just heard the news from 4BB that comedic icon and badass mutha Rudy Ray Moore has passed away. I just happened to rip this LP last night and was going to publish the post below this weekend but I'd like to send him off with some laughter from old friends, so this monkey's gonna signify right now. R.I.P. Rudy.
Rudy Ray Moore 1937 - 2008
I picked up this record so long ago, I can't even remember what town I found it in or when. Time comes to look it up on the internet and turns out the number one hit for his name on the google is Dolemite's web site and Jimmy's so totally his BFF. Damn! The amount of times I've seen Dolemite, The Human Tornado and Petey Wheatstraw and never clicked that the cat in those flicks and this guy were the same Jimmy Lynch is downright embarrassing.
Some damn funny stuff but not nearly as blue as you'd expect. As to Mr. Lynch's claim of it being released in 1961 well... he does have a degree in B.S. y'know. Besides, Lowell Fulsom's "Tramp" and James Brown's "I Got You (I Feel Good)" both date from '65-'66, same as that Nehru collar he's rockin' on the back cover. However, I tagged it as 1961 because I ain't arguin' with him. Not if it means dancin' with Dolemite!
From the Official Rudy Ray Moore site:
While Rudy Ray Moore did not have anything to do with these releases, Jimmy Lynch is one of Moore's longest and best friends, having worked together on many projects over the last 30+ years.
When I first met with Mr. Motion back in 1996, he told me this album was originally released in 1961. He also told me it is a historical album for being the first time the word "fuck" ever appeared on a record (without any background music.. this claim has not been yet verified).
LP Liner Notes: This Party Record Was Not Designed To Be Played On Radio At Any Time - This Record Only For Personal And Party Use Only.
This Tramp Time album was recorded by popular demand from the thousands of patrons in night clubs where he has appeared thru-out the mid-west. We admit that some of the words of this recording are not Sunday School words so if you are a preacher or a deacon do not listen to this album. If you are under 18 you will not understand it. If you are over 80 you cannot stand it.
This LP contains some of the common words used by the common people every day and we do not intend for them to be obscene in any way.
We advise you to hang on to this record, it could become a collector's item.
Jimmy Lynch is one of the most sensational new recording artists. He performs as a comedian, an impersonator, and a singer. He answers to the name Mr. Motion, The Tramp, and The Lover. You really would have to see him perform to appreciate him.
If he is to appear in any of the night clubs in your locality don't miss this sensational, unforgetable artist.
This LP was recorded live at the famous El Grotto bar in Battle Creek, Michigan at one of its fabulous Sunday afternoon matinees. Without any notion he is Mr. Motion.
I can only say we didn't actually release this album, it escaped.
Jimmy in his buddy Dolemite's The Human Tornado
Bulk up your bindle with some Jimmy from SoundologicalHERE or HERE.
QUINCY JONES The Dedication Series, Vol. IV: The Quintessential Charts 1978
132 MB 256+ VBR LAME mp3 Vinyl rip & scans from Impulse! IA 9342-2
This OOP double-LP set is a reissue of the 1956 release This Is How I Feel About Jazz (ABC/Paramount ABC-149/P-149) and The Quintessence (Impulse! AS-11) from 1961. My Favourite Sound posted the latter earlier this year but it appears the former hasn't popped up in the blogosphere for a while, if at all.
AMG Review by Scott Yanow The music on this CD is from a period when arranger Quincy Jones was a major part of the jazz world, rather than being content just to take bows for it. Six high-quality selections from a 1956 album offer logical, swinging, and often distinct arrangements with plenty of solos from the all-star cast (which includes Lucky Thompson on tenor, altoist Phil Woods, and trumpeter Art Farmer); highlights include "Stockholm Sweetnin'," "Walkin'," and "Sermonette." The remainder of the CD reissues two-thirds of a slightly odd collection led and produced (but not arranged) by Jones.
Originally titled Go West, Man, the LP was designed to show off the talents of West Coast arrangers Jimmy Giuffre, Lennie Niehaus, and Charlie Mariano. Three selections feature an alto summit with Benny Carter, Art Pepper, Herb Geller, and Charlie Mariano, and there are also some numbers with a sax section; three songs with a trumpet section had to be left out due to lack of space. Although these performances are enjoyable, it is the Quincy Jones charts that are most memorable, making one regret his decision in the early '70s to leave jazz altogether.
1 Sermonette 2 Evening In Paris 3 Boo's Blues 4 A Sleeping Bee 5 Walkin' 6 Stockholm Sweetenin'
AMG Review by Thom Jurek The Quintessence is perhaps the most accurate title ever given to a Quincy Jones & His Orchestra recording. Issued in 1961 for Impulse!, this is the sound of the modern, progressive big band at its pinnacle. Recorded in three sessions, the core of the band consists of Melba Liston, Phil Woods, Julius Watkins, and bassist Milt Hinton and pianist Patricia Brown on two sessions, with bassist Buddy Catlett and pianist Bobby Scott on another. The trumpet chairs are held alternately by players like Freddie Hubbard, Clark Terry, Thad Jones, and Snooky Young, to name a few. Oliver Nelson is here, as are Frank Wess and Curtis Fuller.
Despite its brevity -- a scant 31 minutes -- The Quintessence is essential to any appreciation of Jones and his artistry. The deep swing and blues in his originals such as the title track, "Robot Portrait," and "For Lena and Lennie" create staggering blends. They are beautifully warm, with edges rounded, but the brass section is still taut and punchy. The reeds cool the heat enough to give the rhythmic dialogue in these tunes its inherent strolling swing.
Elsewhere, on Thelonious Monk's "Straight, No Chaser," the time is speeded up to nearly dizzying intensity, and it's played like a big band popping bebop with incredible counterpointed double solos happening between trombone, muted trumpet, and Brown's piano. Though only 2:27 in length, the piece packs an entire harmonic universe into its furious pace. Benny Golson's "Little Karen," is, by contrast, held in character: lithe, limpid, and fluid, it's the ultimate laid-back, midtempo ballad. That said, with the brass charts being notched up just enough, it's got the kind of finger-popping groove that makes it irresistible. The solo spot taken by Nelson is pure knotty bop.
What is beautiful about this recording -- and every second of the music -- is that because of its brevity, there isn't a wasted moment. It's all taut, packed with creativity and joy, and without excess or unnecessary decorative arrangement. It doesn't get much better than this.
1 The Quintessence 2 Portrait Robot 3 Little Karin 4 Straight, No Chaser 5 For Lena And Lennie 6 Hard Sock Dance 7 Invitation 8 The Twitch
You can get the complete essentials from Soundological in a single dose HERE or in two helpings, 1st HERE and 2nd HERE.