KTUH The Cookbook: Recipes of Sound 4/3/12 Lord Beginner / Noor Jehan / The Soul Jazzmren

Lord Begineer - Fed A Ray

London Is The Place For Me - Trinidadian Calypso In London (Honest Jons) 1950-56

- When the Empire Windrush, an old troop-carrier, arrived at Tilbury on June 21, 1948, and inaugurated modern Caribbean immigration to Britain, it also supplied calypso with its best-known image — on Pathe newsreel, Lord Kitchener singing his new composition London Is The Place For Me.

Kitch had boarded with Lord Beginner at Kingston docks, Jamaica, on Empire Day, May 24. In London they joined a milieu of fine band musicians familiar with Caribbean musical forms, and already represented on numerous recordings crucial to the development of British swing and jazz music.

Travelling with their own core audience, the Trinidadian calypsonians brought with them the vocal music of Carnival. Traditionally this ranges from social satire to sexual double-entendre, from voodoo to the most pressing issues of the day, from sporting events to competitive insult. The experiences of Britain’s growing Caribbean population were to be fabulously rich in raw material.

'... a witty and joyous testament to the creative power of popular culture and a document of more innocent times. It constitutes one of the best starting points for that rich, unfinished history of the black British diaspora and its intricate interweaving with British life that remains to be written' (Stuart Hall, The Guardian).

'... Not only is it a momentous record of real historical significance, but it comes in a finely produced sleeve with evocative photographs, background notes and recording details that bring the performances on the disc to life even more... a unique and marvellous compilation that lays open a whole era' (Chris Searle, Morning Star).

1st hour - Sega Semba Siria Carimbo Calypso, Cumbia Cha Cha Biguine, Bugalu, Bossa Nova,

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Kamal Ahmed feat Noor Jehan - I Am Very Sorry - Sound of Wonder

Sound of Wonder! (Finders Keepers) 2009

- Commonly, ignorantly but understandably lumped in with its wealthy not-too-distant cousin, Bollywood, Lollywood was inspired by, but often overshadowed by its posh and well-traveled relative. Following the simplistic Bombay + Hollywood = Bollywood name game (that would in later years spawn Nollywood in Nigeria), Lollywood's Lahore based film industry was a profitable and vibrant one that found great success in the modest boundaries of its own country but was seldom savoured outside Pakistan. However, the hugely important musical business spawned a bi-product that was viewed as a potential earner for international entertainment industry, EMI, which allowed talented musicians to create ambitious music with world class mediums at there disposal, which throughout the 60s and 70s ranged from fuzz-guitars, space-echo machines and American and European synthesizers, but, due to the composers indigenous roots, rarely a drum-kit. Here you'll find fuzzy, scuzzy, twang-happy, spaced-out and funked up urdu-grooves complete with harmonium melodies and driven by some of the most random factor, freakish, finger-numbing, percussion that the South East Asian mainstream has ever had to offer. Above all, Lollywood soundtracks sound RAW! Re-imagine some of the most action packed Bollywood productions (which Lollywooders actively did) then fire the make-up department, take away the special effects budget and then improvise. The lack of gloss on a dusty Pakistani mini-LP makes for truly experimental Eastern Pop music.

So, it's time to meet the culprits. The names on the back of the records that'll keep you gambling on Ghazals and taking punts on Pakistani pulp-balladry. As an introduction, in place of R.D. Burman and Asha Bhole, we have Mr. M. Ashraf and his long-term female collaborator, Nahid Akhtar. This duo would provide Pakistan with it's Gainsbourg / Birkin or it's Morricone / Dell'Orso for over 20 years, recording squillions of cut-and-paste sonic collages and moog-fuelled desperate love / hate / chase / chill / kill / songs mixing onomatopoeic Urdu lyrics with unexpected bursts of user friendly English language (which often elongates the running time passed the 5 minute mark) and throwing in the odd motif from a Barry White or Donna Summer hit. We also have legends like Noor Jehan, a national treasure and household name in Pakistan whose discography of film songs have deprived the vaults of EMI Pakistan of floor space for half a century.

2nd hour - Lollywood, French Indo Latin and Funk Rock, Panama Soul, AfriFunk

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The Soul Jazzmren - Inhlupeko (City Special) 1969

- It's hardly news anymore that Cape musicians are the best in the Republic of South Africa. It goes without saying that they are still the originals from who almost every group draws more inspiriation. Still it may help silence the jazz diehards who have been doing the 'Cape artists are not that great bit' all year. In this disc they have come out with a very impresive package that will knock you out. The title tune Inhlupheko (Distress) a ditty that wraps around you with infiinite sadness was born at the 'Blue Berry', home of iimpressario Ray Nkwe and Soweto's jazz workshop where entertainers meet to share ideas and knock tunes into shape. It happened during the festive season in 1968. Four gawky figures, their limbs ached and their faces were masks of dejection. They were from Port Elizabeth and had come to the Golden City to perform at shows. The concerts were financial flops and the four musicians were left stranded. When they finally reached the Blue Berry their lonely desperation flooded into Rays heart and he fed the four hungry men. With their tummies full the four jazzmen controbuted towards a drink work fifty cents and it gurgled happily down their throats.They picked up their instruments and started to blow. They blew into the night and temporarily forgot their distress. Thats how Inhupeko was born. The composer of the song, Duku Makasi has been called the new tenor-sax voice of 1969 and this recording proves he is also the sound of '69. He has that hard core of progressive jazz and tears up with a fine rhythm backing of Tete Mbambisa on piano, drummer Mafufu Jama and the thudding bass of "Big T"Ntshele. The other tunes on this LP record illustrates the group's fine voice. And the musical mind behind the success story of the Soul Jazzmen is Duku Makasi. Just one more treat for jazz fans. (From the original liner notes)

3rd hour - Township Jazz! - Nigerian Jazz - Sun Ra

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4/3/12 Lord Beginner / Noor Jehan / The Soul Jazzmren (LISTEN)

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KTUH The Cookbook: Recipes of Sound 3/13/12 Ray Charles / Abbey Lincoln / The Silvertons

Ray Charles - I Dont Need No Doctor / Please Say Your Fooling - 45 RPM (ABC Records) 1966

-"I Don't Need No Doctor" was a hit song written by Nick Ashford, Valerie Simpson and Jo Armstead, and first recorded by Ray Charles in 1966. Over the years, it has been covered by bands such as garage rock band The Chocolate Watch Band in 1969, Humble Pie in 1971, New Riders of the Purple Sage in 1972, metal band W.A.S.P. in 1986 and by the garage punk band The Nomads in 1989. Styx also covered this song. Humble Pie's version became an FM radio hit and peaked at #73 on the Billboard Hot 100 singles chart. - Wikipedia

1st hour - Blue Organs and Beats - Jive Talkin! Tittyshakin'

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Abby Lincoln - Abbey is Blue (Riverside) 1959

-Abbey Lincoln recorded three albums for the Riverside label in the late '50s, the last of which was ABBEY IS BLUE. On four cuts, including the album opener, Lincoln is backed by a three-piece horn section and a propulsive rhythm section (including her then-husband, Max Roach). The opening cut features the first vocal presentation of Herbie Mann's "Afro-Blue." Two pieces by Kurt Weill stand nicely alongside numbers by Ellington, Lincoln herself, and other jazz composers of the day. The entire album has the feel of a chamber piece, with its quietly propulsive arrangements and Lincoln's elegant simplicity and emotional depth. ABBEY IS BLUE is yet another highly recommended title from Abbey Lincoln's rich catalog.

Personnel: Abbey Lincoln (vocals); Les Spann (guitar, flute); Stanley Turrentine (tenor saxophone); Kenny Dorham, Tommy Turrentine (trumpet); Julian Priester (trombone); Phil Wright, Wynton Kelly, Cedar Walton (piano); Bobby Boswell (double bass); Max Roach, Philly Joe Jones (drums).

2nd hour - Vocal Jazz Carib Breaks

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The Silvertons - Make it Funky - West Indies Funk Vol. 3 (Trans Air) 70's / 2011

- San Juan's Trans Air imprint set a high standard with the previous two volumes in their West Indies Funk series. They rounded up obscure 45s and album tracks from numerous obscure Caribbean outfits, from proto reggae and instrumental funk groups to steel bands that played the cruise ship circuit and fantastically original arrangements of well-known jams dictated, no doubt, by economic necessities of the tourist trade -- but who cares? Those two offerings were solid through and through. That said, one can't be blamed for wondering just how deep the well goes before it hits sand. It might, but West Indies Funk, Vol. 3 is every bit as fine as its predecessors. Go no further than album opener "Funky Abbey Road," by the Original Tropicana Steel Band. The sound quality is quite high on this number, and while the title certainly hints at the Beatles, this jam is actually a completely insane percussion and guitar orgy based on "I'm a Man" by Chicago (off their debut album). Later on the same group nails -- with muddier sound -- an equally twisted version of Bill Withers' "Ain't No Sunshine," with stellar snare breaks. It gets wilder still with the Trinidad & Tobago Steel All Stars laying out a tough and spliffed-out version of Charles Wright & the Watts 103rd Street Rhythm Band's "Do Your Thing." While there isn't a weak tune in the bunch, there are some other clear standouts: the pure hand-drum, jazz-funk glory of Earl Rodney's "Midnight Man"; the primitive "The Devil's Out Tonight" by Carl McKnight's Sweat & Steel Drum Band; and the Trinidad Steel Drummers' completely narcoticized reading of "Cissy Strut" to close the package. You can't go wrong with this series thus far, and these three volumes are a summer party soundtrack all on their own. No matter what time of year it is, it's always summer in these grooves. ~ Thom Jurek (CD Universe)

3rd hour - FUNKY funk funk JAZZ JAZZ!!!

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Thank you for listening to Hawaii's Only Alternative KTUH !

KTUH The Cookbook: Recipes of Sound 3/13/12 Ray Charles / Abbey Lincoln / The Silvertons (LISTEN)

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KTUH The Cookbook: Recipes of Sound 3/6/12 Orchestra Overture/ Pedro Santos/ Tumbele!

VA - Calypso Atrocities w/ Mighty Cypher and Small Island Pride (Cook) 1959

- Saucy, ballsy, outspoken, yes, but not exactly an "atrocity." Pay close attention to these calypso lyrics by Small Island Pride and Mighty Cypher.

1st hour - Calypso Calloloo and Cyril Diaz

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Pedro Santos & Helcio Milito – Krishnanda (CBS) 1968

- Pedro Santos aka Pedro Sorongo, played with someone, invented instruments, including the Tamba, which names the renowned bossa jazz trio, and made this album: little or nothing is known about this artist “in the name is not. ” In fact, there is no information to enable better access the work of Sorong. Including in relation to their deeds, I will use the past tense, because I do not know at least you’re alive … However, hearing the album and appreciation of the short history we collect via the web allows us to have facts and details. For example, keeping in mind the ability to create tools to Sorong, we identified the second track a rattle of water, whose first ocorrrência that comes to mind is touched by Jamie Muir in Lark’s Tongues in Aspic, King Crimson’s fifth album. But I wonder if this can be useful because the album speaks more than technical acumen. What one hears in Krishnanda is the product of a very particular sound design, even taking into account the prolific sixties.

After several hearings, we find the method from which the work of Sorong is developed, which gives it the status of a rarity. Bossa, jazz and samba-jazz he absorbs the harmonic concepts, arrangements of metal and balance. Behind the songs and musical themes, percussion beds that border on genius inscribe the name of Sorong between our great musicians in this endeavor. The disc opens with the african drumming of “Black Ritual”, surrounded by female voices, whose central theme recalls both the attacks metals Orchestra Tabajara as the arrangements of the Modern Jazz Quartet. In “Living Water”, the procedure is repeated on an unusual rhythmic bed, formed by kalimbas rattles and water, a horn section draws a melody like the samba-jazz style, remembering the music of Moacir Santos. “Only One” is composed of berimbau and drums, but what draws attention is the quality of the song and the harsh voice of Sorong. “Warning” is quite an experience resonates with some contemporary works that interleave cacophony and arrangements for orchestra. Bangs are accompanied by drums and apocalyptic Wagnerian orchestra, producing perhaps the most experimental track of the album – along with granola “Lotus Flower”. “Who Am I” also admires the quality through pop, bossa middle of the song – sometimes resemble the afrossambas – and concluding, “Aranbindu,” a simple melody played in a playful and at the same time, with a degree of strangeness conferred by the sound of the xylophone.

2nd hour - Worldly Travels to Puerto Rico, Brazil, Ghana, Congo, Burkina Faso, Angola

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VA Tumbele! Biguine, Afro & Latin Sounds From The French Caribbean (Soundway) 1963 to 1974

- Rare recordings from the islands of Guadeloupe and Martinique in the French Caribbean – rare Afro Latin grooves from the mid 60s to the mid 70s – a fantastic compilation from the global groove compilation heroes at Soundway! The material generally has the thumping drum & percussion backdrop the seizes you pretty hard, but some of more of a lilting melodicism, and many manage both – and simply put, a wonderful primer on more than a decade of Caribbean sounds that we just haven't heard enough! Lighter melodies mix with heavier drums, and it's blend of Creole, Haitian, Congolese and Puerto Rican influences that's passionate and amazing! 18 tracks on 2LPs: "Jeunesse Vauclin" by Barel Coppet Et Mister Lof, "Jet Biguine" by Les Loups Noirs D'Haiti, "Henri Te Vle Maye" by Robert Mavounsy Quartet, "Oriza" by Les Kings, "D'Leau Coco" by Les Leopards, "Jojo" by Ensemble La Perfecta, "Jean Fouille, Pie Fouille" by Robert Loison and more - Dusty Groove

3rd hour - Francophone Latino and Nuyorican Top Tunes !

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Thank you for listening to Hawaii's Only Alternative KTUH !

KTUH The Cookbook: Recipes of Sound 3/6/12 Orchestra Overture/ Pedro Santos/ Tumbele! (LISTEN)

Any Questions?

Download IPOD QUICKTIME READY AUDIO COOKBOOK (Stereo Mixed)

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