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

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KTUH The Cookbook: Recipes of Sound 10/25/11 - Frances Burr / The Leaders / Orchestre Black Dragon de Porto - Novo Dahomey (LISTEN)

France Burr - "I Say No, No More" / I Wont Hurt You Anymore 45rpm ( Jukem / Jukebox Jam / Jazzman) 50's / 2011

- Raw rhythm & blues in the Juke Box Jam series from Jazzman! "I Say No, No More" starts off with a sinister little riff on the Dragnet theme on piano, leading into some ratatat drums – a spare beginning to a walloping little number that's both sweetened up and somehow made even fiercer by singer Frances Burr! Frances is sing here about shooting her man down, and such a vicious fate never sound prettier! Drums, piano and sax drive the background. "I Won't Hurt You Anymore" is a slower number and a actually a sweeter showcase for a more tender side of Frances's voice. - Dusty Groove

1st Hour: 50's R&B. Wille Tee, Spicy Carib Funk

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The Leaders - Rat Race (Instrumental) 45rpm (Superstar) 70's

- The Leaders was a veritable supergroup of leftward-leaning, mid-'80s jazz stars. Its front line was comprised of three of the era's important personalities -- trumpeter Lester Bowie, from the decade's most critically acclaimed band, the Art Ensemble of Chicago; alto saxophonist Arthur Blythe, whose Columbia albums of the time almost (but not quite) brought free jazz a measure of popular acceptance; and tenor saxophonist Chico Freeman, who made a series of records that melded the best of mainstream jazz with the passion and originality of the avant-garde. The horns combined with pianist Kirk Lightsey, bassist Cecil McBee, and drummer Famoudou Don Moye to make a pair of generally fine, if unspectacular, records. Like most (if not all) supergroups, the Leaders existed primarily as a novelty. It seems the band was designed more to attract attention than to exist as an evolving creative entity. The rhythm section also recorded independently for Sunnyside as the Leaders Trio. ~ Chris Kelsey, Rovi

2nd Hour - Skateboard Funk, Soulful Crazyness

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Orchestre Black Dragons de Porto - Novo Dahomey (Benin) - E Sa F'aiye / Se Djro 45rpm (Albarika Store) 70's

- "El Rego type funk" cut with same energy as any tune created by him. Listen.

3rd hour - Afrobeat Benin Ghana Mali

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Frances Burr / The Leaders / Orchestre Black Dragon de Porto - Novo Dahomey (LISTEN)


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KTUH The Cookbook: Recipes of Sound 9/13/11 - El Rego / Dee Edwards / Teddy "Mr. Bear" Mcrae (LISTEN)

EL Rego Self Title LP (Daptone Records) 70's / 2011

- Monumental Afro Soul from El Rego Et Ses Commandos – El Rego's best recordings from the late 60s to early 70s – a beautifully done compilation put together by Daptone and Frank Gossner, the deep digging West African music expert behind Voodoo Funk! Theophile Do-Rego is a legend in his native Benin, essentially credited as the godfather of Benin funk – but to date, he hasn't been celebrated around the world nearly as famously as the superstars of African music hailing from Nigeria and Ghana. That's something that can change really quickly if enough people pick up this truly great compilation of pioneering recordings. Singer El Rego and his excellent, diversely capable band – sax and flute by Baboni Oudou, sax by Michel Diogo, guitar by Oscar De Souza, trumpet by Emmanuel Ganssounou, guitar by Roger Coffi, tumba by Marcelin Kpohonon, additional vocals by Christian Agueh, and bass by band leader Paul Hounnou – take a tighter approach to funky soul. Just a couple tracks on this set roll past the 4 minute mark – which gives it a tighter soul sound, along with some Benin blues and some riveting JB-indebted vocal affections. We owe Voodoo Funk and Daptone big for putting this together! Includes "Feeling You Got", "Zon Dede", "E Nan Mian Duku", "Dkobime", "Dis-Moi Oui", "Djobime", "Hessa" (the centerpiece of the album, 3 minutes of Afro Soul perfection. . .the whole set is great, but this track is unforgettable), "Kpon Fi La", "Do Do Baya", "Vive Le Renouveau", "Achuta", "Cholera" and "Ke Amon-Gbetchea". (Vinyl version includes code for album download plus a bonus 45 with 2 extra tracks: "E Ma Non Tin Me" and "Se Na Min" - Dusty Groove

1st hour: Every Week Afrobeat Afrofunk Ivory Coast Ghana !!!!!!!!!!
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Dee Edwards - Why Can't There Be Love ? / Hurt a Little Everyday ( Bump Shop) 60's

- Swwwwwwwwweeeeeeeeeeet guitars and funky back beats with female soul sugar on top. Sampled by many but none can touch the original classic from Dee - Chef

2nd hour: Bahama Funk and Gospel Funk & Jazz !
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Teddy "Mr. Bear" Mcrae - Hi FI Baby / Hold Out Baby (Amp Records) 50's

- Mr. Bear growls his way through this double headed r'n'b monster rocker. "Hi Fi Baby" is one of those brilliant rhythm & blues rockers that makes the genre so irresistible, while "Hold Out Baby" is a laid-back blues groover. - Piccadilly Records

3rd hour: Hip Shaking 50's n 60's Black Boss Blue Rhythms - Goodness !
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9/13/11 El Rego / Dee Edwards / Teddy "Mr. Bear" Mcrae (LISTEN)

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KTUH The Cookbook: Recipes of Sound 9/6/11 - Le Rail Band / Little Ann/ Renaldo Domino (LISTEN)

Le Rail Band - Buffet Hotel De La Gare LP (Superfly Records) 2011

- The great and rare Buffet Hotel De La Gare from the Rail Band – amazing Mali music from a most pivotal and groundbreaking time in the group's early history – and some its best! At this point, the group was essentially the house band at the Buffet Hotel De La Gare – blending traditional Mandingo melodies and instrumentation with boundary free jazz and funk. Truly amazing work! Titles include "Jurukan", "Marabayasa", "Baja Male", "Sunan", "Duga", "Tidiani Kone", "Nantan" and "Moko Jolo" - Dusty Groove

1st hour: Afro Funk Soul Ethio Malian Ghanian Grooves

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Little Ann - Deep Shadows LP (Timmion) 60's /2011

- Brilliant soul from the Detroit underground of the late 60s – a full set of work by vocalist Little Ann, issued here for the first time ever! You might recognize Ann's name from her appearance on a few of the Ace/Kent Records issues of material by Detroit producer Dave Hamilton over the years – and the work here all comes from those classic collaborations with Hamilton – trapped on tape for many years, always contemplated as a possible Little Ann album – but only issued in full by the funky folks at Timmion Records! The groove here is as offbeat as some of Dave's other great work – not nearly as tight, or uptight, as Motown music – and instead, done with a sly undercurrent of darkness on most numbers, even the mellower ones – almost that earliest mix of Detroit styles that you get on pre-fame singles from Westbound Records artists. Ann's vocals are nice and lean, and slide right into the mix with ease – heartfelt enough to grab us right away, yet without any obvious cliches as well. Titles include "What Should I Do", "Deep Shadows", "Possession", "Who Are You Trying To Fool", "Sweep It Out In The Shed", "The Smile On Your Face", and "I Got To Have You" - Dusty Groove

2nd hour: Deep Soul Extravaganza !
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Renaldo Domino - I'll Get You Back / Two Years, Four Days (Sincere/Numero) 70's /2011

- Wonderful sweet soul from the amazing Renaldo Domino – an artist who always sounds great to our ears! Both of these tracks are previously unreleased – for some reason that still remains a mystery, given the strength of the work – and they really continue the genius that Domino laid out during his work for Twinight. "I'll Get You Back" is a slow-stepping number with some really wicked guitar alongside the vocals – and "Two Years" is a bit more upbeat, with a groove that's almost shagging, but a bit more Northern. - Dusty Groove

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9/6/11 - Le Rail Band / Little Ann/ Renaldo Domino (LISTEN)

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KTUH The Cookbook: Recipes of Sound 8/30/11 Billy Garner / The Superlatives / Dorsey Brockington & Soul (LISTEN)

Billy Garner - Brand New Girl / I Got Some Pt. 1 45rpm (BGP)

- Two tasty funky numbers on a limited reissue 45! Billy Garner's "Brand New Girl" is a non-stop groover – with a hard James Brown/Lee Fields vocal style, and compin' and chompin' guitar underneath! Next is a break you can't live without – served up on the amazing intro to Billy Garner's classic "I Got Some"! The tune's one that you'll recognize from a few famous samples, but to our ears it sounds best here in the original – a badass funky soul tune with all elements right, tight, and outta site ! - Dusty Groove

1st hour: Mother Funk ! God Father Sleazy Soul & Mr. Rhthym's Soul Bounce
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The Superlatives - Lonely In A Crowd / I Dont Know How - To Say I Love You (Westbound)

- Midtempo detroit northern soul double header nugget with the funky backbeats with soul on top !

2nd hour: Detroit Soul - Silky Vocal Soul Shouters
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Sleeper stormy funk with thunderous sounds out of Norfolk, VA

3rd hour: Funky Storms - Jamaica Jazz - Ramblin Rhodes !
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8/30/11 Billy Garner_The Superlatives_Dorsey Brockington (LISTEN)

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KTUH: The Cookbook: Recipes of Sound 8/23/11 Little Beaver / Ahehehinnou Vincent / Antonio Carlos Jobim & Luiz Bonfa (LISTEN)

Little Beaver - Do Right Man - 45rpm (Saadia Records) 1965

- William Hale, 15 August 1945, Forest City, Arkansas, USA. Little Beaver, a singer and guitarist, made his mark on the tail-end of the soul era in the early 70s, with a typical southern-style body of work that included both blues and soul traditions. Little Beaver grew up in Arkansas but as a teenager moved to Florida. He recorded some local hits for various labels, with a Bobby Bland -style gospel-blues voice. He then joined Henry Stone’s TK complex of labels in 1971, and penned some hits for Betty Wright as well as playing on innumerable sessions. By the time Little Beaver first recorded on his own for TK’s Cat subsidiary in 1972, he had found his own voice and style and had a national hit with ‘Joey’ (number 48 R&B). His biggest hit was ‘Party Down’ (number 2 R&B) from 1974. His deep southern sound was not all that compatible with the emerging disco and funk trends and Beaver had his last chart record in 1976. - Oldies.com

Few record labels have garnered the feverish attentions of soul & funk collectors and DJs as much as the Saadia imprint of late ‘60s Miami, Florida. In a collecting world dominated by oddball one-offs, random indie obscurities and the occasional major label mishap, a local independent label with a small but consistently impeccable musical output is a truly rare thing. Saadia sets the benchmark for rare, local, independent funk and sets it very high indeed.

Never before put together, this 10 track LP compilation selects the highlights from the small but perfectly formed Saadia catalogue and offers an opportunity to shed some light on the story behind these outstanding recordings for the first time. - Jazzman

1st Hour: Detroit Miami Chicago - FUNK SOUL !
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Vincent Ahehehinnou & Orchestre Poly-Rhythmo (Analog Africa) 1973

- Nestled in between Nigeria and Ghana, the traditional heavyweights of the golden West African musical axis, Benin, formerly known as Dahomey, has birthed some of the most raw and psychedelic Afro sounds to emerge from a continent blessed with artistic talent. From Lome to Luanda, Africa's coastal cities have constantly served as creative hubs and Benin's economic capital, Cotonou, is no exception. The former French trading post has spawned several bands and performers, the most indefatigable and prolific of which undoubtedly remains Orchestre Poly-Rhythmo. Extensively featured on Analog Africa's previous releases, Poly-Rythmo and its legendary members constitute arguably Africa's most innovative band. By building upon and modernizing the traditional rhythms of Vodoun, conforming to the Afrobeat sound of the time, incorporating Western styles and injecting a healthy Latin dose, Orchestre Poly-Rhythmo fostered a diverse groove that remained unique to Benin and resonated with the region's urban centres. Despite consisting of 16 members at its peak, the band was originally founded as Orchestre Poly-Disco in 1968 with original members Melome Clement, Bentho Gustave, Amenoudji Vicky Joseph and Bernard "Papillon" Zoundegnon. Seeking to expand and in search of a soul singer, Bentho and Papillon persuasively lured a certain Vincent Ahehehinnou from Daho Jazz, a band with little prospect of major success that often performed in seedy venues. Due to changes in producers and financiers, Orchestre Poly-Disco switched its name to Orchestre El Ritmo before finally establishing themselves as Orchestre Poly-Rythmo de Cotonou after signing with Adissa Seidou, the owner of the Albarika Store label, in 1969. Influenced heavily by Fela Kuti, Vincent, who by this time had transformed himself into an Afrobeat and funk specialist, perhaps Benin's best, soon became a supremely influential member of Poly-Rhythmo and was approached by Albarika to record a 7-inch single. Realizing the band's preeminence on the African music stage, Vincent believed the time was ripe to follow in the footsteps of African music greats and record a full album instead. A deal was subsequently struck with the label for a production fee of 320.000 CFA - about 500 Euros given today's exchange rates.

The band took advantage of their producer's cross-border contacts and traveled from Cotonou to Lagos, which possessed better-equipped studio facilities, to record their first LP consisting of four heavy Afrobeat tracks, wholly composed by Vincent Ahehehinnou himself, in 1973. In fact, the four track-LP was recorded twice. Albarika rejected the first recording because of far too much background noise - the possible culprit being an obnoxious organ amplifier - forcing another recording to be done. The second recorded session met expectations and made it as the official vinyl release. That recording remains not only one of Benin's rarest LPs but one of its best works of music, setting the standard for all future Poly-Rythmo releases and firmly cementing the band and Vincent's reputation.

The test-pressing of the rejected first recording was found and Analog Africa founder, Samy Ben Redjeb, chose two tracks from each recording. The two remastered tracks from the rejected recording are being exclusively released for the very first time on the recording you are holding.

Vincent has acknowledged that his entire life, including that of his family's, revolved around and is owed to Orchestre Poly-Rythmo. The Afrobeat mastermind left his beloved band on May 28, 1978. He chose not to reveal the reasons for his departure. - Analog Africa


2nd Hour: Legendary FUNKY AFRO BEAT !
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Antonio Carlos Jobim & Luiz Bonfa - Black Orpheus (Soundtrack) 1959

- Before the world heard Astrud Gilberto's whispy voice, before they knew of Stan Getz' velvety sax, they saw Black Orpheus. The film (in Portuguese, Orfeu Negro) put a face on a new style of samba that was fresh, romantic and very accessible to jazz hipsters. It was later called bossa nova (or "new wave" or "new groove"). Only a year before (November 1957), Antonio Carlos Jobim (and Newton Mendonca) had released the album Desafinado, featuring this new style of samba, incorporating it with jazz stylings, poetic lyrics sung by João Gilberto, and a 4 on 3 stammering rhythm. Jobim and Luis Bonfa wrote the soundtrack to the motion picture. This 1959 Cannes Film Festival Grand Prize winner (and Oscar's Best Foreign Film, and a Golden Globe winner) was based on the Orpheus-Eurydice legend but updated and played against the colorful background of Carnival in Brazil, featuring an all-Black cast. French director Marcel Camus created the movie from Vinícius de Moraes musical play Orfeu da Conceição."

More than just showcasing samba, Black Orpheus brought this music to life, making Antonio Carlos Jobim and Luis Bonfa international stars. From the very opening title scene, where favalistas burst through an ancient frieze of Orpheus and Eurydice, to the climactic Carnival parade, music pervades practically every moment of the film. Even the streetcars seem to dance.

As in the Greek legend, Orpheus is a legendary minstrel among his neighbors in the slums above Rio. He also works as a streetcar driver, where he first meets a naive county girl, named Eurydice. She has run to the city to escape from a jealous suitor that means to kill her. Orpheus protects her, and they fall in love. Death finally catches her but unlike the snake in the Greek myth, in the film she's bitten by the electrical sting of a hot cable-car wire. Inconsolable over his loss, Orpheus searches for her in the land of the dead. The underworld in Rio is the Bureau of Missing Persons and a Macumba ceremony, where Orpheus attempts to contact her spirit. With the help of Hermes, Orpheus is finally guided to the city morgue where he finds his deceased love. Despite it's tragic ending, the film ends on a happy note with the children singing "Samba de Orfeu." The legend of Orpheus and Eurydice lives on.

The music is timeless. The soundtrack sold millions. United States jazz musicians like Stan Getz and Charlie Byrd began to cover Orpheus numbers like "A Felicidade" and "Manha de Carnaval" (Morning of Carnival) with as much enthusiasm as other popular Jobim songs like "Corvacado" and "One Note Samba." As bossa nova began to grow in the U.S., Getz along with João Gilberto and his wife, Astrud, released "The Girl from Ipanema" in early 1963. This created a big hit in the U.S. and Europe, and virtually sent the whole bossa nova movement into orbit. Throughout the mid-Sixties all-things-Brazilian became an integral part of world culture. Bossa nova would have become fashionable without Black Orpheus. However the film brings the music alive. - Wayne Whitwam - Rootsworld.com

3rd Hour: Samba Bossa Nova Beginnings
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8/23/11 Little Beaver / Ahehehinnou Vincent / Antonio Carlos Jobim & Luiz Bonfa (LISTEN)

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KTUH: The Cookbook: Recipes of Sound 8/16/11 James Tatum / TSU Toronadoes / Pierre Antoine (LISTEN)

James Tatum - Lotta Chant
- A Collection of Progressive & Independent Spiritual Jazz 45s, 1968-75 - EP (Jazzman) 2011

- As the ears of jazz enthusiasts become ever more refined, the interest in Spiritual Jazz has risen greatly in recent years. We’re talking about music that is rich, warm, deep, progressive, peaceful, conscious, cerebral and celebrating, and the period of enlightenment was the ‘60s and ‘70s. This was the time when private press LPs were custom made by the musicians themselves in order to exhibit their art, reflecting the neglect and disregard afforded to them by the jazz mainstream. See our Spiritual Jazz album JMANCD.020 for an appraisal of such LPs, because here we turn our attention to the often-ignored format of the jazz 45.

James Spaulding is a jazz flautist and saxophonist who has appeared on countless recordings over the past 50 years. But his recordings as leader are few and far between – a travesty as the 45 re-released here is as astounding as the beauty of the label of his solitary East 45; why didn’t he make more records under his own name?

The Lightmen was a loose group of musicians from Texas led by Bubba Thomas. They recorded several 45s and LPs, all of which remain highly collectible, not just because of their rarity, but because of the sheer quality of the deep, spiritual jazz etched in their grooves. So if they were so prolific, what was their message, and why are their records so rare.
James Tatum is still performing as a pianist with his jazz group and has a great deal of involvement with education and the church. His two highly collectible LPs yielded no 45s, but we are here to put that right. What is the relationship between jazz and the church and why has he devoted his life to explaining that connection through music?.
These are the questions we ask and their answers, and a lot more, are inside the gatefold sleeve to our new triple 45 Jazz Box. Three jazz 45s of the highest calibre music you’re likely to find. - Jazzman

1st Hour: Wartime - Spiritual - Bossa Jazz
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And Now ... The TSU Toronadoes ! (Funky Delicacies)

Coming straight out of Houston Texas and Texas State University, the TSU Tornadoes were the House band for Skipper Lee Frasier’s record label Ovide. I’ve featured some Ovide artists on previous mixes (Bobo Mr. Soul), and as a whole this record label really put out some funky ass sides to say the least. This band would go on to back many of them, as well as vocal group Archie Bell and the Drells biggest hit “Tighten Up”. Composed of Cal Thomas (guitar/vocals), Will Thomas (guitar/vocals), Peter Newman (bass), Darryll Busby (saxophone), Clarence “Creeper” Harper (trumpet), and Nelson Mills (horns), the TSU Tornadoes (named after their school where they were students, and their favorite car the Oldmosbile Toronado) would slowly gain a reputation on campus and in Houston as a tight unit.

As well as doing gigs on their own, the band would often be the backing band (which was popular with many bands during this time) to national acts that would be in town to play in the Houston area. They backed artists like Jackie Wilson, Barbara Acklin, Etta James, and others. It was their backing of Archie Bell and the Drells that really got them their notoriety, opening the doors for them to switch to Altantic from Ovide to release this very record. With the releases they were able to do a bit of touring throughout the United States, but as it always seems, the popularity of the Tornadoes would start to fade. They released two records on Volt which would not raise many eyebrows, and put them back on Ovide, which would close it’s doors in 1971. The band eventually split up into two different groups, recording and touring respectively. Not being able to reach a happy medium with Lee and publishing, the band would be out of the picture for the next ten years or so, when they would reunite and rerecord Tighten Up. - Flea Market Funk

2nd Hour: Toronado Twinight Soul Review
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Pierre Antoine - Kalabuley Woman
Ivory Coast Soul – Afrofunk In Abidjan From 1972 to 1982 (Hot Casa)

Massive music we've never heard before – a really heavy helping of grooves from the Ivory Coast – an African scene that's hardly been tapped by crate diggers and collectors! There's a really fresh feel to the grooves overall – not just the familiar Afro Funk modes, but a nice range of styles that moves between rootsy local numbers through some great crossover styles, through even a few of the African Disco modes that are better known from other scenes! The tracks here are all massively funky – scoured out over the course of a number of different crate-digging trips to the coast – and the package presents the music with great images of the original record covers, too – so that you can still retain some of the feel of the rarity of the work, even though the collection presents things in an easy to handle format. Definitely one for fans of Soundway and Analogue Africa titles – with cuts that include "True Love" by Rato Venance, "Yatchiminou" by Jimmy Hyacinthe, "Kalabuley Woman" by Pierre Antoine, "Mammy Nia" by Nguessan, "Wazi Doble" by Gougoumangou, "Zadie Bobo" by Ernesti Djedje, "Unite" by Moussa Doumbia, "Mon Falou Nan" by Soro N Gana Et L'Orchestre Guilana-na, "Onginwe" by Prince Dgibs, and "Essemon Moupoh" by Jean Guehi - Dusty Groove

3rd Hour: Afrobeat Ivory Coast & Mali & Benin
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8/16/11 James Tatum / TSU Toronadoes / Pierre Antoine (LISTEN)

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KTUH: The Cookbook: Recipes of Sound 5/18/11 The Roaring Lion and Drew Redmond (LISTEN)

The Roaring Lion plays African War Call !

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1st Hour: Calypso from Trinidad and Jamaica
2nd Hour: Rhythm & Blues, Soul for the Music Ingredient Chef
3rd Hour: Soul, Garage, Exotica, Rhythm & Blues from Drew Redmond



Drew Redmond plays good music - listen !

Drew Redmond Mix (LISTEN)

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5/18/11 The Roaring Lion and Drew Redmond (LISTEN)

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KTUH: The Cookbook: Recipes of Sound 5/10/11 Bobby Paunetto (LISTEN)

Bobby Paunetto - Paunetto's Point (Pathfinder Records) 1975

A landmark in 70s jazz and Latin – one of 2 legendary sets cut during the decade by composer/arranger Bobby Vince Paunetto – easily one of the most unique voices of his generation! Bobby's got an approach to melody that's all tied up in the rhythms – one that has most of the instruments in the group vamping along with the grooves, while solos take off in wonderful flights that soar to the skies on waves of sound and soul – echoing a sense of joy and life that few other albums of the period can match, and hitting a groove that's complex, yet instantly moving and deeply personal. Players include Tom Harrell on trumpet, Ronnie Cuber on baritone sax, Billy Drewes on soprano sax, and Bobby himself on vibes – sounding wonderful throughout the album, matching the 70s brilliance of Roy Ayers or Bobby Hutcherson! Also features percussion by Manny Oquendo, Jerry Gonzale, and Milton Cardona – and titles include "Osiris" - Dusty Groove

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1st Hour: Breaks, Soul Jazz, Funk, Afro Funk
2nd Hour: Afrobeat Afrofunk Afro Psych
3rd Hour: Spanish and French Caribbean Grooves, Vocal Jazz, More Breaks !

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KTUH: The Cookbook: Recipes of Sound 5/3/11 Orchestre Leardee du Celebre Bal Colonial de la rou Blomet (LISTEN)

Orchestre Leardee du Celebre Bal Colonial de la rou Blomet - Edamyso
Biguine, Valse et Mazurka Creoles Vol 2 (Fremeaux & Associes) 1930-1943 - Deeeeeeeeeeeeeeeeeep biguine rhythms ! Classic songs from the French Caribbean ! Edamyso OH !

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1st Hour: Soul Jazz - Bass, Organ, Vibraphone
2nd Hour: Biguine, Calypso, Cumbia
3rd Hour: Early Soul, Rhythm & Blues, Rock

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KTUH: The Cookbook: Recipes of Sound 4/26/11 Stone Love / The Symbolics (LISTEN)

Side A: Stone Love - Stone Spanada (Plut Records) 1972
Side B: The Symbolics - A Taste of Your Love (Plut Records) 1975

Rare early 70s funky soul! "Stone Spanada" is a stone killer, with a sweet guitar groove and some totally killer conga percussion. The flip "A Taste Of Your Love" is by The Symbolics backed by Shake, with some great drums and 70s synth grooves. - Dusty Groove

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1st Hour: Afro Psych, Afro Funk, Afro Soul
2nd Hour: Rare Soul Funk Jazz
3rd Hour: Ethio Jazz, Ethio Funk, Ethio Soul, Ethio Blues

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KTUH: The Cookbook: Recipes of Sound 4/19/11 Rudy Ray Moore w/ Various Artists - R&B HIpshakers: Scratch That Itch ! (LISTEN)

Various Artists - R&B Hipshakers Vol 2 - Scratch That Itch (Vampisoul) 50 - 60"s

- Second volume of our “R&B Hipshakers” series, featuring rockin’ R&B and early soul from the King/Federal/DeLuxe catalogue

A long fingernail, calamine lotion, a Rudy Ray Moore back scratcher, this set of wild King and Federal rhythm-and-blues songs: what do they all have in common? Why, itch relief, of course! If volume 1 of our series (“Teach Me to Monkey”) left you with an acute case of R&B pruritus, we at Vampisoul are here to dispense 20 more doses of musical medicine to help you SCRATCH THAT ITCH! -





Side B: Rudy Ray Moore - The Buggy Ride (Federal) 1956
Side A: Hank Marr - Marsanova (Federal) 1963
7" 45 rpm BoxSet (Vampisoul) 2011


- We clawed our way into the King Records vaults again to come up with more virtuosic instrumentals (‘Marsanova’ rhymes with “bossa nova”, more or less, if you pronounce organist supreme Hank Marr’s surname with the right accent; Freddy King raises Mr Marr two dance crazes in ‘Bossa Nova Watusi Twist’); more classy love songs with a hook (‘Burnt Toast And Black Coffee’, besides being the epitome of that particular sub-subgenre, is highly elusive and expensive on an original Federal 45 and much in demand in the R&B dance parlors of Western Europe; kudos to the gong banger on the plaintive ‘You Have My Blessings’); more unholy dances (‘Monkey Tonight’ is one of Eddie Kirk’s more restrained performances, believe it or not; this compilation’s title track describes a dance that, like so many of the worthwhile ones, might get you escorted from your high-school prom in handcuffs if you tried it); and more holy nonsense (“My name is Puddentane,” declares the prolific and wonderful Lula Reed, an earthily appropriate reply to Hank Ballard’s to-the-point pick-up line ‘What’s Your Name’; if ‘Whiz-A-Shoo-Pepi-Dada’ meant anything, would it get your hips shaking quite so violently?). Then there’s the record that’s almost always in my DJ box, one of my favorite 45s ever – so exciting when its drums and taunting female chorus kick in over a loud system in a sweaty club, only to be answered by Johnny Watson’s blistering voice and guitar: “I say, I love you.” The women singing “Get them women off your mind” – confusingly, I can’t get them off my mind.

And the capper? A strong contender for Greatest Song Ever, in its best incarnation: Otis Redding’s ‘Shout Bamalama’. The custodians of the King vaults couldn’t come up with this recording for us; for some reason, they found only a tamer mix. I had to dub it off my well-worn 45 (speaking of scratches!).

Mr Fine Wine
WFMU’s “Downtown Soulville” show

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No excuse not to attend...

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