Dorothy Ashby - In A Minor Groove 1958

While not the first male or female jazz harp player (Casper Reardon of Jack Teagarden's bands, Adele Girardperforming with her husband Joe Marsala, or Corky Hale set precedents), Dorothy Ashby was the very best and most swinging performer on the multi-stringed instrument associated with the gates of heaven. Here on Earth, Ashbyadeptly plucked and strummed the harp like nobody else, as evidenced on this single CD reissue containing her two best LPs for the Prestige and Prestige/New Jazz labels from 1958 -- Hip Harp and In a Minor Groove. Alongside her prior efforts for the Savoy label, they collectively represent a small but substantive discography for the Detroit native in small group settings. With the exceptional flute sounds produced by Frank Wess, the combo plays music that is oriented via a unique sonic palate, further enhanced by the principals in the standards and originals they have chosen. Fellow Detroiter Herman Wright is here on bass, with duties split between legendary drummers Art Taylor and Roy Haynes, who place particular emphasis on subtle brushwork. Of course, the watchword of Ashby's sound is elegance, as she and Wess weave magical threads of gold and silver through standards like the circular and pristine "Moonlight in Vermont," the dramatic, slow "Yesterdays," or the sad "Alone Together." In a more Baroque or chamber setting, "Charmain" and "It's a Minor Thing" have Wess and Ashby thinking on a regal or Grecian platform. The variety on this collection is impressive, as you hear cinematic bluesy proclamations on "Autumn in Rome," striking mystery in "Taboo," mischievous and sly winks during "Rascallity," and a sexy calypso-to-swing beat as "You'd Be So Nice to Come Home To" unfolds. Two originals of Ashby's stand out -- the well swung, blues based yet exotic "Pawky" with the singularly unique flute of Wess, and the delicate but decisive "Jollity" that moves along nicely. Of course these are straight-ahead mainstream jazz musicians, and you also get a soaring, clean version of the tricky "Bohemia After Dark" and "Dancing in the Dark," where Ashby's harp acts like a rhythm guitar. In fact, it is this aspect of Ashby's performing style that sets her apart from being a singular or simplistic crystalline melodic implement. Then add to this element that Wess is so acutely fine tuned to pure tonal discourse simply by the nature of his instrument, and can carry the load by himself. This is a delightful package that deserves further recognition as a project unique to jazz and modern music, perfectly showcasing Dorothy Ashby as an individualist for the ages. AMG.

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Christie - For All Mankind 1971

Leeds-born Jeff Christie (b. 1946) entered music by way of a skiffle band that eventually moved into rock & roll, taking the name the Outer Limits. They eventually cut a pair of singles, before breaking up, and Jeff Christie decided to try a career as a songwriter. His demo tape made its way to Tremeloes' guitarist Alan Blakely, and happened to be heard by his brother, drummer Mike Blakely, formerly of the Epics and the Acid Gallery. Both were impressed enough withChristie's songs to arrange a recording session in London where the Tremeloes participated as Christie's backing band -- none of the sides from that session saw the light of day, but inspired by Blakely's faith in his songs, Jeff Christie decided to put together a group of his own. The latter included Christie on bass and lead vocals, Blakely on drums, and his ex-Epics/Acid Gallery bandmate Vic Elmes on guitar and vocals. The group decided to use Jeff Christie's family name as their own and were signed by British CBS. At the time, they bidded fair to become England's answer to Creedence Clearwater Revival.

Their debut single, "Yellow River," however, was more a showcase for Jeff Christie and Vic Elmes as singers than for the band, as it featured their voices dubbed over the Tremeloes' backing track cut at Christie's first session. Whatever its origins, it did the job, riding the U.K. pop charts for 22 weeks and reaching the number one chart spot in several countries; even in the United States, where it faced the stiffest competition, the Epic Records-released single reached number 23, a very respectable showing for an act that was nowhere near ready to tour the U.S. Their follow-up, a group recording called "San Bernadino," reached number one in Germany and number seven in England, though it never climbed beyond the lowest reaches of the Top 100 in America. The resulting album, however, with "Yellow River" as the title track, reached the middle level of the charts and stayed in the Billboard listings for two and a half months, although it could and should have done a lot better. The LP had at least three additional potential singles on it, all in a similar catchy pop/rock vein, and then-Columbia president Clive Davis was a strong believer in using singles and albums to promote each other, but for some reason the label reached out to a song, "Man of Many Faces," that wasn't on the LP for the third single.

The group went through numerous lineup changes heading into 1971, including the departure of Mike Blakely, who had tired of the constant touring, who was replaced by Paul Fenton, and a second LP wasn't forthcoming until well into that year. For All Mankind abandoned the commercial, pop-oriented sound of its predecessor in favor of a harder, higher-wattage, more blues-oriented sound, and neither it nor the single "Picture Painter" did as well as their earlier records. They re-grouped, with former Unit 4+2 alumnus Howard Lubin in the lineup on a new song, called "Iron Horse," that was as catchy as the early singles. This proved to be their last full-fledged effort, however, asElmes and Christie began to clash personally and professionally, and the original quartet split up in 1972. Elmes went on to be a top session guitarist and made a name in film music, most notably in the scoring for the science fiction/fantasy series Space: 1999, whilePaul Fenton became a member of T. Rex and has continued to work in the latter capacity, as part of Mickey Finn's T. Rex, into the 21st century, and Lem Lubin participated in the recording of Ian Hunter's 1977 album Overnight Angels.Jeff Christie kept the group's name alive well into 1973 with replacement members, and cut songs for Mercury Records in the mid- '70s -- he kept using the group name as an alias on material recorded for the Epic and Wizard, and took back his full name for records on the RK label in the 1980s. There were disputes over the use of the group name in the 1980s, though Jeff Christie appears to be using it most recently, while Vic Elmes sometimes fronts a band called Christie Again in Europe. AMG.

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Dr. John - Dr. John's Gumbo 1972

Dr. John's Gumbo bridged the gap between post-hippie rock and early rock & roll, blues, and R&B, offering a selection of classic New Orleans R&B, including "Tipitina" and "Junko Partner," updated with a gritty, funky beat. There aren't as many psychedelic flourishes as there were on his first two albums, but the ones that are present enhance his sweeping vision of American roots music. And that sly fusion of styles makes Dr. John's Gumbo one of Dr. John's finest albums. AMG.

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Edgar Winter Group - They Only Come Out At Night 1972

While this album will forever be remembered for spawning the huge hit singles "Frankenstein" and "Free Ride," there's plenty more to appreciate on this stellar release. From "the other single," "Hangin' Around," to the pretty melodies of "Round & Around" and "Autumn," the set collects ten outstanding cuts, played with fervor by Edgar Winter, Chuck Ruff,Dan Hartman, Randy Jo Hobbs, and Ronnie Montrose, along with guest artist/producer Rick Derringer. The "party" feel of "We All Had a Real Good Time" and the singalong "Alta Mira" only add to this already red-hot mix, making They Only Come Out at Night the album Winter will always be remembered for. AMG.

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Blac Dog - Blackwoods Boogie 1978

Swamp fuzz rock, harmonica. Heavy southern boogie sound.
Louisiana's Blac Dog entitled "Backwoods Boogie (Louisiana's Answer To Punk Rock)" from 1978 on their own, private Crazy Horse label, 2001. There's 9 songs from this "bumpin' coon-ass band" as they sing on the opening title cut and you're guaranteed a raw, rocking good time!

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Di Melo - Di Melo 1975

Although he only ever recorded one album (and probably partly because of this fact), Di Melo is an almost mythical figure within the samba-soul-funk genre. His 1975 album is certainly one of the most inspired recordings not only within the genre, but also of that decade. Excellent album, recomended.

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The Headhunters - Straight from the Gate 1977

The Headhunters represented a major turning point for Herbie Hancock, whose approach to fusion became slicker and more commercial (though not without substance or integrity) with the formation of this popular band in 1973. Before that, the chameleonic pianist/keyboardist had been leading a daring unit called the Sextant, which fused jazz, R&B, and rock with world music and took more than its share of chances. But regrettably, the Sextant's three albums for Warner Bros. were modest sellers at best, so in 1973, he disbanded the Sextant and formed The Headhunters. Employing saxman/clarinetist Bennie Maupin (a holdover from the Sextant), bassistPaul Jackson, Jr., drummer Harvey Mason, and percussionist Bill Summers, Hancock made a point of being more accessible when he unveiled The Headhunters with his 1973 Columbia date Head Hunters. Fusing jazz with funk and rock, the album sold over a million copies and attracted many R&B and rock fans. In fact, Head Hunters even outsold Miles Davis' popularBitches Brew. Defined by the catchy "Chameleon" (which was interpreted by jazz singer Eddie Jefferson in 1976 and sampled by various rappers in the '80s and '90s) and a funky remake of his 1962 boogaloo "Watermelon Man,"Headhunters set the tone for subsequent Columbia projects with The Headhunters, including Thrust (1974), Man-Child (1975), Secrets (1976), and Sunlight (1977). By the end of the decade, The Headhunters were no more, andHancock was turning his attention to everything from outright R&B to standards and acoustic post-bop. In the '90s, Sony's Legacy label reissued most of The Headhunters' work on CD, and in 1998 the group reunited to record Return of the Headhunters! AMG.

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Salena Jones & The Keith Mansfield Orchestra - Salena Jones & The Keith Mansfield Orchestra 1971

Born in Newport News, VA, in 1944, Salena Jones (real name: Joan Elizabeth Shaw) would -- over the course of a 60-plus-year career -- become one of the leading vocalists of swing music, performing in a number of countries in Europe and Asia and recording a number of albums. Jones got her first break at the famed Apollo Theater in New York, winning a talent contest that resulted in a record deal. She spent the early part of her career touring and performing with such leading lights as Louis Armstrong, Cab Calloway, and Duke Ellington. Her first forays overseas, to Spain and the U.K., were in the mid-'60s and were to begin a life spent mostly outside the rather fickle confines of the United States. In 1978, she made her first appearance in Japan and performed there on an annual basis. By the first decade of the 21st century, she had performed on most continents, recorded more than 40 albums, and sang at the 2006 Shanghai International Jazz Festival. AMG.

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The Stanky Brown Group - Our Pleasure to Serve You 1976

Group from New Jersey, good interesting rock. Hard to find. Thanks to www.raremp3.co.uk.

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The JB's - Hustle With Speed 1975

The JB's grab at a piece of the disco market that made Van McCoy a solo star with this production. It's excellent throughout despite James Brown's subdued arrangements on some songs. "(It's Not the Express) It's the JB's Monaurail," usually a six-minute song, rambles for over eight. Fred Wesley's funky trombone peppers "All Aboard the Soul Funky Train" (an update of "Night Train"). "Transmograpfication" is similar to jazz trumpeter Eddie Henderson's crossover attempts on his Sunburst and Realization albums. "Thank You for Letting Me Be Myself and You Be Yours" is better than the title, with a Dyke and the Blazers-type vocal that sets it right. AMG.

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The Mama's & The Papa's - If You Can Believe Your Eyes And Ears 1966

In the spring of 1966, If You Can Believe Your Eyes and Ears represented a genuinely new sound, as fresh to listeners as the songs on Meet the Beatles had seemed two years earlier. Released just as "California Dreaming" was ascending the charts by leaps and bounds, it was the product of months of rehearsal in the Virgin Islands and John Phillips' discovery of what one could do to build a polished recorded sound in the studio -- it embraced folk-rock, pop/rock, pop, and soul, and also reflected the kind of care that acts like the Beatles were putting into their records at the time. "Monday, Monday" and "California Dreamin'" are familiar enough to anyone who's ever listened to the radio, and "Go Where You Wanna Go" isn't far behind, in this version or the very similar rendition by the Fifth Dimension. But the rest is mighty compelling even to casual listeners, including the ethereal "Got a Feelin'," the rocking "Straight Shooter" and "Somebody Groovy," the jaunty, torch song-style version of "I Call Your Name," and the prettiest versions of "Do You Wanna Dance" and "Spanish Harlem" that anyone ever recorded.
If the material here has a certain glow that the Mamas & the Papas' subsequent LPs lacked, that may be due in part to the extensive rehearsal and the exhilaration of their first experience in the studio, but also a result of the fact that it was recorded before the members' personal conflicts began interfering with their ability to work together. The work was all spontaneous and unforced here, as opposed to the emotional complications that had to be overcome before their next sessions. AMG.

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The Hans Staymer Band - Dig A Hole 1972

Band from Canada excellent folk rock formed by harmonica player Hans Steimer, this is their first album. Hard to find.

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Rotary Connection - Dinner Music 1968

The only accurate prediction one could have made before going into a Rotary Connection record was that it would be unpredictable, and attempting to list who the group's peers were to the uninitiated only worked on a song-by-song basis. No other record quite fits this bill like Dinner Music. The least-uniform Rotary Connection record -- and that's saying a lot -- it comes off like a series of tangents with little in the way of cohesion. One moment, they could be jumping in piles of hay on the set of Hee Haw ("Country Things"), later on they could be at a packed juke joint ("Stormy Monday Blues"), and then they could be lulling a crowd at the Newport Folk Festival ("Amuse"), or even taking over the BBC Radiophonic Workshop to twiddle with electronics ("Lektricks #2"). The most bizarre song of all is "Merry Prankster," which has all the cracked acoustic pop of late-'60s Arthur Lee until it shifts into an odd tempo and a chorus made from an even odder melody of grunts. The record's best moment is buried in the latter half. "Amuse" is a beautifully folky song sung by Minnie Riperton at her most gentle and arresting. It's nothing but an acoustic guitar and her voice, which effortlessly wraps around your ears despite not taking full advantage of her five-octave range. Altogether, Dinner Music is the only record where Rotary Connection's eclecticism worked to their disadvantage. AMG.

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Ram Jam - Portrait Of The Artist As A Young Ram 1978

After scoring a major hit with "Black Betty" in 1977, Ram Jam returned in 1978 with another punchy set of hard rock tunes. Though Portrait of the Artist as a Young Ram failed to produce any hit singles like "Black Betty," it actually improves on their previous album by managing to broaden the group's sound without cutting back on the hard rock firepower that got them noticed. For instance, songs like "The Kid Next Door" and "Please Please (Please Me)" add keyboard textures that flesh out the group's sound without distracting from their guitar-driven attack. Ram Jam also makes an interesting departure from their trademark twin-guitar rock sound on the dramatic power ballad "Turnpike": this lost-love lament alternates a hard-rocking chorus with moody piano-driven verses to create an surprisingly ornate blend of AOR melodicism and hard rock bombast. However, the majority of Portrait of the Artist as a Young Ram is devoted to straightforward guitar rock; "Wanna Find Love" and "Saturday Night" blend pop hooks and metal riffs as effectively as anything on Ram Jam. Other tunes up the ante by presenting a frenetic level of energy that borders on punk rock: "Just Like Me" and "Hurricane Ride" both toss out slashing guitar riffs over double-time rhythms to create songs that sound like the Ramones gone metal crazy. Portrait of the Artist as a Young Ram further benefits from short, tight song structures that keep things from getting too excessive (the ambitious "Turnpike" is the only song that runs over 4 and a half minutes). All in all, this is a fine hard rock outing that is worthy of its cult reputation and a treat for anyone who likes hard-driving 1970s rock music. AMG.

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