Dusty Groove:A great bit of funky fusion from Finland – recorded in 1970 by drummer Matti Oiling, one of the funkiest percussionists in Europe! The album kicks off with the amazing breakbeat track “Oiling Boiling” – a monster number that no beathead should be without – then rolls into a very tight batch of grooves played by a combo that includes organ, guitar, bass, and lots of funky saxes! The grooves are great – a crossroads of 60s and 70s soul jazz expression, handled here with a quality level that sounds more like a record on a US indie than some overseas pressing. ……
Impressive funk and jazzgrooves on this terriffic reissue of finnish drummer Matti Oiling’s 1970 album (originally on Finnlevy.) The openingtrack Oiling Boiling does its job with ease: it’s a strong showcase of Oilings madcap abilities as a percussionist that has you keep your ears pealed for what’s going to follow. But it isn’t Oiling’s drumming only that makes this album worthy of reissue. “Volga, Volga”, the arrangement of a traditional tune is almost entirely carried by Paroni Paakkunainen’s flute-playing and Setä “Tuomon Tupa” features some heavy Jimmy Smith-style organ improv by Tuomo Tanska. On tracks like “Africa” and “Pässi Ja Porkanna”, Nono Söderberg takes care of major guitar workouts while the entire album’s funk is in no small part driven by the bass of Matti Bergström. In short, this band is an A-team that is able to produce some seriously ill rare-grooves. After 30 years this is a most recommended reissue that should not be missed by any connaisseur of jazzgrooves. …..
Happy jazz band was the debut album of Matti Oiling’s band Oiling Boiling. Well, at this point they still called themselves Happy Jazz Band. Although the album is credited to Matti Oiling, it’s clearly an Oiling Boiling album. It’s very similar to their second album Oiling Boiling but somehow more raw and primitive. In a good way of course. In 1971 they did one soundtrack 45 to a movie called Saatanan radikaalit under the name Matti Oiling’s Happy jazz band. Right before they changed their name to Oiling Boiling. The line-up is pretty much the same as in Oiling boiling, although there was some changes and some additional musicians playing at the latter album. There’s a tight small combo playing in this one. Matti Bergström on Fender bass, Paroni Paakkunainen on saxophones, flute and African finger piano, Nono Söderberg on guitar, Tuomo Tanska on organ and Matti Oiling on drums and percussions.Can you imagine a lathe-hand who does lathing in his time off? Or a brick-layer who lays bricks for relaxation after his day’s work? Hard to picture, isn’t it? But I do know a number of professional musicians who relax by making music after a hard and sometimes quite exhausting session at the studio. But the difference lies in what you play in your leisure time. The musicians performing on this record have found a musical form that brings satisfaction and variation and gives them the chance to experiment and to create something new and still untried. That’s real work therapy. Matti Oiling - a first-class drummer - has gathered around him a number of fellow musicians whose vision and musical comprehension are harmonious and whose ways of thinking run parallel. They are all musicians of the young generation, to whom pop music and jazz music are equally close and whose artistic resources provide them with an opportunity of blending these musical elements. And when they want to make music, the music they make is pervaded by a sense of cheerfulness and humour. You’ll really enjoy this LP. Matti Oiling’s solo - something he cooked up himself - is called “Oiling Boiling”. The recipe, with spices, is provided by Matti himself. The “sound” idea is produced on a Lesley accessory. Paroni Paakkunainen’s soaring imagination is a triumph. His musical skill, uninhibited and humour-imbued, is full of surprises and a wicked Mephistophelean laughter pops up in his performances. Among his many instruments is the Bengal flute - featured in the piece by that same name. He has an impressive range of musical color. Matti Bergström - apart from his Fender bass - introduces his Bascello, which lends its very “different” sound to the item entitled “Stratosphere Inspiration”. Nono Söderberg performs his solo “3/8 Of Nono” on his 1-Watt guitar amplifier - not to save the ears of the rest of the group but just to produce the right instrumental color. Tuomo Tanska - organist, pianist and arranger - also appears on this disc as a composer. “Uncle Tom’s Cabin” (Setä Tuomon tupa) is his musical vision of a classic work. Thanks to this record I have spent a very rewarding forty-five minutes - and listening to it, one can only feel a gluttonous delight in its surprising and revitalizing musical ideas. Pop and jazz fans will find something that distinguishes this LP record from other LPs - a terrific dose of happy music. - Ossi Runne, Conductor, Finnish Broadcasting Company TV1 I must say that Happy jazz band is a one truly great album and well worth to get. It’s kind of a mix between 1960s soul jazz, funky drumming, jazzfunk fusion, contemporary jazz sounds and traditional songs with a twist of Slavic melancholy and some weird vocals. And it’s strong from the beginning. The opening track, maybe some kind of a theme song, “Oiling boiling” starts with a banging break with additional tumbas played by Martti Metsäketo. There’s over a minute of drum-tumba breakbeat with some really weird vocals, then a short bridge and then the breakbeat continues again to the full almost two and half minutes length. Great song although it’s still quite unclear to me what are they talking about. As said in the sleeve notes, “Setä Tuomon tupa” (literally “Uncle Tuomo’s cabin”) is a composition of Tuomo Tanska, and you can hear that. It’s almost six minutes long midtempo organ driven r’n'b flavored track with heavy organ improvisation of Tanska that remind me somehow of the works of Jimmy McGriff and Jimmy Smith. “Baron’s beat” is a strong soul jazz track with really nice organs. It’s just too short, only two and half minutes. “Africa” instead is over seven minute jazz track with some great guitarwork of Nono Söderberg and really groovy drumming. The last track, “Pässi ja porkkana” (”A ram and a carrot”) has a quite slow start but turns into a great uptempo jazzfunk track with heavy breakbeat drumming of Oiling, wild guitars of Söderberg and wailing saxes of Paakkunainen. In the middle there’s a sort of a hectic break too. While the original is pretty rare and fetches serious prices around hundred euros, there’s a reissue from 2002 that should be more easily obtained. …..
After a few singles released to the market and a change of label, something very common in group life, Phillips decided to make their debut. Him show his versatility to play different types of music without clash, the disc goes through styles such as blues, rock and psychedelia. The psychedelic side of the disc brings them closer to The Beatles such as in “Love Millionaire” beautiful song composed by Henrik Michael and where they sing “In my portfolio there is only air, but you’m a millionaire in love” in the outstanding “Forever walking "theme that starts the disc or” Tove and all that, “where the psychedelic environment supports the use of harpsichord. "Ottenos” serves more as presenting “Aimsha” than anything else, because it actually is the issue and released as a single “Sonetto” recorded backwards. “Aimsha” is an instrumental with Indian touches, played with acoustic guitars and Indian tabla
The bluesy side of the disc belongs to the songs “Light blood, dark bleeding” and “Free as the little green men” where we transported to Middle America, to the sounds of the Mississippi Delta. But that’s not American influence, as one of the best tracks on the album “Nazarin again” Smash is put squarely on the dylaniano spirit and “It’s only nothing” is where weave path between blues and rock.
The rocker disc side is headed by “Sitting on the truth” theme that Sister Smash and Jimi Hendrix and opens with a cry of Matito to continue a fast pace of bass and drums spiced with obsessive guitar sound, in what is far more crude. And “Rock and Roll”, more a curiosity than a real song. It is a long jam session where you can hear the group rehearsing and discussing until the end, you get the topic.
The disc did not have much impact despite being the best of his career, here did not have the rush of “This Time We come to Hit” (Phillips, 1971) or the outside interference or misunderstanding, as we see, they had recordings for Bocaccio…….by … Roberto Macho
I have is inherited and there is a lot of material that I have not yet discovered, with eyes now, even though my ears remember what inevitably came to them in their day. The other day rummaging, I was rather surprised to find a vinyl, which was in very good condition and whose name is not known band. It occurred to me that I should be a good band, simply by presenting the vinyl, but even though he was turning his head … “Smash?” could not find my files to any melodic band with this name a Foreign . My ears at the age of seventy, were accustomed to listening to the Beatles, Supertramp, Barrabas … etc and have nothing to envy to none, I know that happened to me. This week on hearing this vinyl more closely, I have been amazed how advanced they were these guys. The album is very vindictive and is packed with psychedelic sounds, but simply, without abusing them, is curious that not abuse the notes live, they get the groups over the years and are holding the emotional feeling , after a clean and powerful sound. His melodies are very advanced for the time sounded. From my point of view is an eclectic vinyl, in which various styles, such as rock blues mix, without envying the very same Bob Dylan, as in the song entitled Nazarín Again and if you do not believe, pinchad and oídla. And all this without losing a thread that is progressive rock that makes bed where rests the whole work……
“Smash” is the onomatopoeia of the sound of a blow. simple, catchy and effective name thought by Gonzalo Garcia Pelayo for the groundbreaking musical combo that has existed in the Sevillian capital.
To understand the origin of this curious group must go back to the concerts that were held at the Club Ye Ye, where he played a quartet formed by Carlos Fernandez voice, Miguel Lobato on guitar, Julio Matito on bass and Antonio Samuel Rodriguez to battery. They called Foren Dhaf, name without any language translation or meaning.
These young people found that their performances appeared and disappeared a mysterious type of black dress. After several concerts came in contact with him; was Gualberto Garcia.
Two components of Foren Dhaf (July and Antonio) join Gualberto to make a new project as a trio. Hence the embryo of future Smash emerged.
This trio started its activity in 1967, although it was actually in 1968 when it became known in the Spanish underground environment.
Invited to participate in a contest of rock in the Campo de Gibraltar, match another group located in Jerez de la Frontera called The Solos. Among them was the peculiar Danish musician Henrik, who commented their concerns, joining the Smash project.
Smash concerts both in Seville and in other locations, they began to be very recognized, creating great excitement by offering musical creativity on stage.
Those first public recognition quickly paid off with the release of their first albums (four singles and an EP between 1969 and 1970) to reach his first LP.
Both “Glorieta de los lotos” (1970) and “We come to smash this time” (1971) were sung entirely in English except for small fragments in Castilian. They were innovative and ahead of their time records. They contained an amazing musical amalgam which fit everything (blues, rock, folk, psychedelia …).
After several years of hard roll for endless places and grab the attention of music critics of our country, the group renewed its sound at the end of 1971, produced by Alain Milhaud, integrating the singer and flamenco guitarist Manuel Molina ( member after the duo Lole y Manuel).
The single “The garrotín” built on the flamenco of the same name, with lyrics in Castilian and English, was a huge commercial success. The group explored this new path on several songs, which were collected in 1978 as side A of the LP “Vanguard and pure flamenco” (whose face B Agujetas presented the singer with guitarist Manolo Sanlúcar.
The aesthetic vision of the group was always very peculiar, given the high personality of each of its components. This mixture of characters, ways of seeing things and thus interpret the music was what made this the most peculiar group of our country, marking history and breaking canons.
They were young rebels and undisciplined, but great artists when they climbed to the stage. So they were applauded by crowds in Seville, Madrid, Barcelona and endless places where waiting as the best rock band of the moment.
His flirtations with flamenco ( “Behind the stars”), its sharp guitars ( “One hopeless whisper”), its Andalusian blues ( “Light blood, dark bleeding”), its continued ability to improvise ( “Sitting on the truth”) and surprise(“Glorieta de los lotos”) turned them into unique and unrepeatable.
The group disbanded in 1973. Years later the early death of its charismatic component, Julio Matito, who left us solo single “Waking” (1974) and the LP “Health” (1976) occurs. In 1979 his colleagues decide to meet to dedicate an affectionate tribute live with great popular support.
Gualberto continued exploring the fusion of rock with Indian music and flamenco with an intense musical work of high level, Antonio (Antoñito Smash) has collaborated with other artists such as Goma, Pata Negra, Silvio and Lucifer and Kiko Veneno, with work also solo, while Henrik returned to his native country and Molina began his career with Lole Montoya.
Since 2003 the band has met in special occasions to celebrate his legacy with major concerts such as those offered at the Bienal de Flamenco de Sevilla.
Today, everyone agrees that without the existence of Smash music developed in Andalusia would not have been the same. They scored styles and trends, something that only manage to make great artists. They were so amply. ……
Forever walking Light blood, dark bleeding Free as the green little men Tove and all that It’s only nothing Glorieta de los lotos Nazarin again Love millonaire Sitting on the truth Ottenos Aimsha Rock and roll
1970- Glorieta de los Lotos 1971- Esta Vez Venimos A Golpear 1978- Vanguardia Y Pureza Del Flamenco
ESOTERIC RECORDINGS are pleased to announce the release of a newly remastered edition of the classic debut album bythe acclaimed saxophonist and woodwind player Johnny Almond.“Patent Pending” was the first album by the Johnny Almond Music machine and was issued on Decca’s “Progressive” imprint Deram in 1969. The album was one ofthe finest Jazz Rock albums of the era, by a band featuring Geoff Condon ( Trumpet, Flugel Horn), Johnny Wiggins (Piano, Organ), Jimmy Crawford (Electric Guitar), Steve Hammond (Guitars), Roger Sutton (Bass) and future Yes member Alan White (Drums).Johnny Almond first came to prominence through his work with John Mayall, Zoot Money, Alan Price and ChickenShack, before he formed his own group in 1969. A truly original album, “Patent Pending” showcased Almond’sprowess as a composer and outstanding multiinstrumentalist, with him also playing Organ, Mellotron andVibes in addition to a variety of Woodwind instruments.This Esoteric Recordings reissue has been remastered from the original Deram master tapes and includes a bookletwhich fully restores the original album artwork and a new essay. ……
Multi-instrumentalist / composer Johnny Almond was one of the most versatile and in-demand players on the British scene in the late 1960s. A member of the Alan Price Set, he also led a septet of young up-and-coming musicians called Johnny Almond Music Machine, which recorded two albums of which this is the first. Soon after recording this album Almond joined the new version of John Mayall’s Bluesbreakers, which recorded the revolutionary “The Turning Point” album. In that group he met guitarist Jon Mark, with whom he formed one of the best British Jazz-Rock groups – Mark-Almond. Bass player Roger Sutton (ex-Brian Auger’s Trinity), who plays on this album, was also a founding member of Mark-Almond and would later be e member of Riff Raff and Nucleus. Another player, the drummer Alan White, would later join the legendary Yes. This album is a splendid example of early Jazz-Rock, with strong Rhythm & Blues influences. Almond plays tenor, alto and baritone saxophones, flute, alto flute, organ, vibes, mellotron and bass clarinet – surely deserving the “music machine” nickname. His virtuosity (my favorite being his flute playing) is obvious. He also composed all but one of the eight tunes included here. Overall this is an excellent album and a great trip down the memory lane. Wholeheartedly recommended! …..
John Almond (also sometimes referred to as Johnny Almond) was a ubiquitous figure on the British blues-rock scene of the ‘60s, playing with the likes of Alan Price and John Mayall before partnering up with multi-instrumentalist Jon Mark in the Mark-Almond Band.
Born in Enfield, Middlesex, in 1946, Almond displayed an interest in music from an early age, helped by the fact that his father was a drummer – although percussion was only one of the categories of instrument on which he started to learn. He was also quick to learn from his father’s collection of records, which included a lot of '40s jazz by the likes of Benny Goodman and Woody Herman. Alto saxophone became his first instrument, but he also became proficient on tenor sax and eventually achieved professional mastery on seven others, including various keyboard instruments and the vibraphone.
He had turned professional before finishing high school and played in various groups as a teenager, including a big band under the direction of Wally Johnson. His late teens coincided with the British beat boom, but Almond was working with sounds and instruments far removed from what was sweeping popular music out of Liverpool and Manchester. Rather, he led a jazz combo of his own for a time and played with a group called Tony Knight’s Chess Men before he found an extended berth, lasting a couple of years in a relatively prominent young outfit, Zoot Money’s Big Roll Band. Following Money’s breakup of the band (to join Eric Burdon’s psychedelic-era Animals), he joined the Alan Price Set, and then signed on to John Mayall’s Bluesbreakers in June of 1969. By the end of the year, with the encouragement of producer Mike Vernon, he had cut his first solo album, Patent Pending, credited to the Johnny Almond Music Machine, on which he played a half-dozen instruments. A year later came his second solo album, Hollywood Blues, also credited to the Johnny Almond Music Machine.
His biggest success came, however, when he joined up with his fellow Bluesbreaker alumnus, arranger/multi-instrumentalist Jon Mark to form the Mark-Almond Band, which lasted for most of the '70s (with a breakup in the middle) and generated a lot of great press and reviews, even if they didn’t sell huge numbers of records after the early part of the decade. Since the late '70s, Almond has worked primarily as a session musician, but his name recognition is such that his 1969-1970 solo albums have found an audience on compact disc in the 21st century, at least in Japan and Europe.
*** A stone groover from British multi-instrumentalist Johnny Almond – stepping out here on a range of instruments that includes tenor, alto, flute, organ, vibes, and mellotron! Like Almond’s other session from the time, the set’s got a tightly arranged groove that feels a lot like some of the best funky soundtrack work of the late 60s – an approach that has the larger band vamping in a mix of electric and acoustic instrumentation, while Almond soars out on expressive solos that nicely shift with the feel of each track! A few numbers take on a slightly exotic feel that we really love – using heavy percussion and a bit of effects to emphasize the groove – and a good part of the credit for the strength of the album should go to drummer Alan White, who’s really cutting it up nicely here! Titles include a version of Yusef Lateef’s “Before Dawn”, plus the original numbers “Tales Of Junior”, “Solar Level”, “Voodoo Forest”, “Pequeno Novo”, and “To RK”, a great tribute to Roland Kirk! (Dusty Groove)…
Reviewed by Nathan Ford
Originally released on Deram in 1969, this first release by Johnny Almond’s Music Machine is now startlingly rare in its original form, and surprisingly, this new Esoteric reissue seems to be only its second reissue since 1969.
This is surprising given Almond’s pedigree. By 1969 Almond had already been a member of Zoot Money’s Big Roll Band (he only left when Zoot folded the band in order to join Eric Burdon’s recently psychedelicised Animals), the Alan Price Set, and John Mayall’s Bluesbreakers. And after the two Music Machine albums, he formed Mark Almond with Jon Mark (whom he’d played with in the Bluesbreakers). All bands with a certain amount of collector’s cache, so this must be absolute garbage to have been left untouched until now, right? Guess again.
“The Johnny Almond Music Machine” is an excellent, diverse album that epitomises the adventurous spirit of the 1969 underground, featuring a crack young band, with a teenaged (future Yes) Alan White tearing it up on drums. Almond himself plays a ridiculous numbre of different instruments on here - Sax (Tenor, Alto & Baritone), Flute, Alto Flute, Organ, Vibraphone, Mellotron and Bass Clarinet.
Almond’s R&B, jazz, and blues roots aren’t forgotten, but the funk levels are amped up considerably on the numbers that vamp on this theme. Check out “Solar Level” and Junior Parker tribute “Tales of Junior”, which are particularly beaty and brassy.
In keeping with the spirit of the times though (not to mention the label), there’s a strong progressive and post-psychedelic element to a number of these tracks too, and these are the tracks that are most likely to capture the imagination of readers of this rag. “Voodoo Forest” will be familiar to many readers from its appearance on Decca’s bargain-bin staple “World of Progressive Rock” compilation, and its moody atmospherics are indeed one of the highlights here for those of an adventurous mindset, but it’s not alone. “Reversed for Two Horns” is a startling, explorative duet between Almond and trumpeter Geoff Condon, who was apparently flu-ridden during this session. If so it certainly explains the feverish, hallucinatory levels this track often reaches. And opener, “Ensign” is a beaty jazz funker which would have been ideal for soundtracking a UK crime film of the time, were it not for it’s face-melting psychedelic conclusion. ……
Johnny Almond - Sax, Flutes, Organ, Vibraphone Steve Hammond - Guitars Roger Sutton - Bass, Claves Alan White - Drums, Congas, Cowbell, Percussion Jimmy Crawford - Electric Guitar Johnny Wiggins - Piano, Organ Geoff Condon - Trumpet, Flugelhorn
Ensingle Before Dawn Voodoo Forest Solar Level To R.K. Reversed For Two Horns Pequeno Nova Tales Of Junior
A virtual primer in the art of soul-jazz guitar, Eddie Fisher and the Next Hundred Years is a record of uncommon virtue and consummate skill. A longtime R&B sideman behind greats including Solomon Burke and Albert King, Fisher clearly relishes his turn in the spotlight, unspooling a series of endlessly inventive solos boasting the reach and consciousness of psychedelia. Backed only by an uncredited bassist and drummer, Fisher shifts gears effortlessly, transitioning from nuanced, intimate melodies to wild flights of fancy in the blink of an eye. Songs including “Jeremiah Pucket,” “Land of Our Father,” and “Either One” twist and turn like rides at an amusement park, achieving a comparable excitement and awe. …..
Tracklist: 01. Jeremiah Pucket (Fisher) - 4:40 02. Land of Our Father (Fisher-Matthews) - 5:13 03. Either Or (Fisher) - 5:41 04. Another Episode (In the Continuing Story of Zeke and the Man) (Fisher) - 2:54 05. Beautiful Things (Fisher) - 12:01 06. East St. Louis Blues (Fisher) - 4:09
Danser’s Inferno,“ a 14-piece jazz-rock group, was conceived by London-born composer-multi-instumentalist John Danser in the 1970s. The group performed in NYC at jazz clubs and concert halls and was considered one of the three foremost bands of the 70s, alongside the legendary Blood, Sweat, and Tears and Chicago. The record received a 5 star review by David Kerr of Variety Magazine. …..
There was a time when jazz, funk, and soul music meant absolutely nothing to me. I was fifteen when I bought my first garage-sale turntable and listened to my father’s Grateful Dead and Doors albums. Names like Otis Redding, Thelonious Monk, and Parliament were not in my vocabulary. Regardless, after that needle hit its first groove, I was hooked, and I hit the streets in search of new acquisitions.
I convinced an older friend to drive to the Salvation Army one rainy afternoon. After an hour of digging, I was disappointed over the absence of my rock idols on disc, but did walk out clutching one LP whose graffiti-laden cover caught my eye. After one listen at home, my virgin ears unaccustomed to tremendous drum breaks and killer horn production, I filed the record away. A few years later, I stumbled upon an auction of this desirable piece of wax that ended at $1000. Within seconds, I located the diamond in the rough, blew away eons’ worth of dust, and gave John Danser the second chance he deserved.
Creation One offer eight jaw-dropping tracks that are jam-packed with complex and over-the-top horn arrangements, all scribed by Danser, who plays his share of brass on the session. Fourteen unknown musicians make up his troupe, each contributing a dizzying array of talent.
It’s easy to get lost within the depths of this disc, backtracking and dissecting countless breaks. In doing so, the last minute of “Love, the Rhythm of the World” often gets overlooked. Its hushed and quiet beginning belies the climactic peak of Randy Maddison’s vocals over one of the band’s tightest grooves. “Sombre Guitar,” the standout track that excites diggers around the globe, is an upbeat body-mover whose opening dose of horns and congas will get feet shuffling on the dance floor.
Little is known about this enigmatic LP, except for two reissues in 1975: one with an alternate cover on Thimble, and the other an original pressing repackaged with sheet music. Needless to say, whatever copy you can obtain of this rarity is a keeper, whether you paid one dollar or a thousand.
Bass – Jaime Austria Drums – David Cox French Horn – Bill Hamilton Guitar – Frank Vanto Layout – Boro Hall Graphics Organ, Clavinet – Mitchell Kerper Other [Librarian] – Daniel Danser Saxophone [Soprano, Bariton], Flute, Piccolo Flute – Larry Charles Saxophone [Tenor], Clarinet [Amplified], Flute – John Danser Trombone – Andy Matzkow Trombone [Bass] – Jim Morris Trumpet [Lead], Flugelhorn – Saul Lefkoff Trumpet, Flugelhorn – Dave Tucker, Thomas Rheam Trumpet, Flugelhorn, Congas – Fred Gaud Vocals – Randy Maddison