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Raulzinho & Impacto 8 - International hot

August 9th, 2012

Raulzinho & Impacto 8 - International HotRAULZINHO & IMPACTO 8

  • International hot
  • Equipe
  • 1968
  • Brazil

1934 born Raul De Souza - actually his real name is João José Pereira De Souza - is a well known trombonist from Rio De Janeiro, Brazil. He started his career in the mid 1950s and has played with many of the key figures in the Brazilian music scene. In the mid 1960s he released his first solo album - using his pseudonym Raulzinho (little Raul) and the second album with his group Impacto 8 was released in 1968. Within his career, Raul De Souza has played with Sergio Mendez, Flora Purim, Airto Moreira, Milton Nascimento, Sonny Rollins, Cal Tjader among countless others. After spending great share of his career in United States he has returned to his home country Brazil. Not to rest though, as he’s still active composer and trombonist today.

The album starts and ends with the same song, a heavy latin take of Herb Alpert’s “Treasure of San Miguel” here named “Teasuro de Sao Miguel”. It’s very dancefloor friendly with banging breakbeat drums and catchy horns that follow quite strictly the original. The only minus is the length, it’s only one minute and fortyfive seconds long. The second song on side a is a heavy Portuguese version of “Spinning wheel” with nice organ work. Originally recorded by Blood, Sweat & Tears, it’s somehow similar to Doors hit “Light my fire”, almost all the versions are good. Then comes a funky uptempo boogaloo track called “Boogaloo Bill no. 2″ with two very short but really banging breaks that somehow remainds me of the legendary “Amen” break of The Winstons. Next up is the uptempo latin track “Two beat manchild” followed by uptempo breakbeat latin jazz take “Fried bananas” and a nice version of Brenda Holloway’s “You’ve made me so very happy”. B-side opens with heavy organ driven midtempo soul jazz version of Marvin Gaye hit “Mercy Mercy”. It’s followed by a mellow groover “Hello Monalisa”. Next is a heavy downtempo take of Herbie Hancock’s “Cantaloupe island”. Then comes another highlight of the album, an uptempo and funky take of “I’ve got the feelin’” with raw vocals of Raul De Souza. Needless to say it’s a very dancefloor friendly with tight breakbeats and catchy horn stabs. Finally comes uptempo “slick” before the replay of “Teasuro de Sao Miguel” ends the album.


Teasuro de Sao Miguel


Spinning wheel


Boogaloo Bill no. 2


Two beat manchild


Fried bananas


You’ve made me so very happy


Mercy Mercy


Hello Monalisa


Cantaloupe island


I’ve got the feelin’


Slick

Written by Mista Tibbz, at 18.00, filed under funk, jazz, latin, south america | No Comments »

Grupo Irakere - Chekere

July 31st, 2012

Grupo Irakere - ChekereGRUPO IRAKERE

  • Chekere
  • Cuba
  • 1976
  • Finland

1973 formed Irakere is no doubt one of the best known groups that ever came from Cuba and they’re one of the most influental bands too. They created their own style with mixing together almost everything rhythmic they heard; jazz, funk, rock and traditional Cuban rhythms. They were busy with album recordings and even more busy with travelling around the world. They also used to record albums wherever they were performing and that was the case in Finland too. Irakere visited Finland in 1976 to play at the Turku Jazz festival and at the same time they visited the Finnvox Studio in Helsinki to cut an album that was then released on Finnish Love Records‘ Cuban music oriented sublabel Cuba. Otto Donner produced the album by the way. The time they visited Finland they weren’t yet known in the United States and they were playing with their original tight line up with Oscar and Chucho Valdés, Arturo Sandoval, Paquito D’Rivera, Jorge Alfonso and Enrique Plá among others.

Album starts with one of the best version I have heard of their standard “Chekere son”, a great funky son track with tight start and a nice break. Then comes two mellow tracks “38½” and “En nosotros”. They’re followed by another funky uptempo one, the magnificent studio version of “Juana 1600″. Side b opens with similar sounding uptempo Cuban funk track “Moja el pan”. It’s followed by Chucho Valdes‘ piano track “Este camino largo”. Then comes “Xiomara” that starts with a heavy beat and continue as a groovy midtempo vocal number. Last track is the horn driven Cuban funk track “Illa” with some serious fuzz guitar, heavy percussion work and a sort of a break.


Chekere son


38½


En nosotros


Juana 1600


Moja el pan


Este camino largo


Xiomara


Illa

Written by Mista Tibbz, at 18.00, filed under afro-cuban, caribbean, europe | No Comments »

Perez Prado - Tequila!

June 28th, 2012

Perez Prado - TequilaPEREZ PRADO

  • Tequila
  • Cannon Records
  • 1974
  • Belgium

Everybody has heard about the king of mambo, Perez Prado. At least at some point. But most of the people don’t know that there was two of them. Brothers Damason Pérez Prado and his little brother, Pantaleón Pérez Prado both shared the same artist name. Neither of the Perez Prados used their first name, but only their last names and the confusion was quite obvious. While Damason Pérez Prado was mainly working on the States, his bass playing brother was in Europe acting as the “true king of mambo”. Even when Pantaleón Perez Prado died in 1983, the press announced the death of his brother as the news was only about the death of Perez Prado. In Spanish speaking countries people have two last names. First one is the paternal (father’s surname) and second is maternal (mother’s surname). That’s the reason for the name issue. So, Damason Pérez Prado was the more famous brother, the king of mambo, but his brother was the funkier one. Even though a lawsuit in 1956 eventually restrained Pantaleón from making further use of the name Perez Prado, there was still few of his albums released in the 1970s under that name. And they were pretty banging.

This album was most propably released originally in Italy, as it was licensed from Beat Records. I’m just not sure what the name of that version is. Tequila! was the name of the Belgian release and the album was also released in the UK by the name Now. Anyways, whatever the name is, it’s a very strong album. There’s no weak tracks, it’s just full of very funky afro-cuban groovers with a loads of breaks. Check for yourself.


Brazil


Tommy


El Manisero


Escandalo No 1


Chicago Banana


Tequila


Cangrejo


Smack!

Written by Mista Tibbz, at 18.00, filed under afro-cuban, europe, funk | No Comments »

Nico Gomez and his Afro Percussion Inc. - Ritual

June 16th, 2012

Nico Gomez and his Afro Percussion Inc - RitualNICO GOMEZ AND HIS AFRO PERCUSSION INC.

  • Ritual
  • Omega International
  • 1971
  • Netherlands

Joseph Van Het Groenewoud was born in Amsterdam in the mid 1920s. In 1947, in the aftermath of the World War II he moved to Belgium to avoid the military service in Dutch East Indies (nowadays Indonesia). He had already started to play violin and bass during his time in Amsterdam and his musical career started in Brussels ballroom orchestra almost immediately after he moved to Belgium. He also changed his name to Nico Ooms, Propably to confuse the Dutch authorities or something. In the late 1950s he was also involved with the forming of the famous Belgian latin influenced group The Chakachas. Throughout the 1950s and 1960s Ooms was quite active in the latin music scene of Belgium. At some point - possibly in the late 1960s - he changed his name again, this time to Nico Gomez. And that name he bore till his death in 1992. At that time he also started to record albums with his own bands. In 1971 he released an album with his new group, The Afro Percussion Inc. The album was called Ritual. In the late 1960s and early 1970s there were only very few studios in Brussels, so it was obvious that the same studio musicians were used in different projects. The same musicians that were involved with Ritual, were also responsible for most of the other funky releases that came out from Belgium in the 1970s - El Chicles, Chakachas, Chicken Curry, Super Funky Discotheque, SSO, Black Blood, The Sumos etc. The list is very long and it explains the quality of certain recordings from Belgium that time.

What comes to the music, Ritual is quite different compared to his previous albums. While the previous recordings were more or less big band performed latin music with an easy listening feel, Ritual has some serious funk, afro-cuban and even chicano rock influences. The album starts wth the raw latin funk take of Perez Prado song “Caballo negro”. It’s an uptempo, a little messy but really funky song with a short break in the end. Next one is a midtempo latin track “Naci para bailar”, which is really groovy but a little lazy. There’s also some nice organ work. Then comes “Cuba libre”, again a very funky latin groover with a very dominating guitar sound and a catchy hook “te quiero, cuba libre..”. After that comes a very groovy version of “Samba de una note so” (better known as “One note samba”) followed by another banging uptempo latin funker “Baila chibiquiban”, with a nice break in the middle. Then comes a song that always reminds of a certain local beer comercial no matter who’s version it is that I hear. Nico Gomez‘ version of “El condor pasa” with a quite heavy downtempo beats is however one of the best I’ve heard so far. Next up is the first standout track of this overall great album called “Lupita”, originally by the king of mambo Perez Prado. With funky and banging latin beats and a quite massive and long break makes it a bboy friendly banger. It’s followed by another heavy downtempo latin funk track “Pa! pa! pa! pa!”. Then comes another bboy friendly standout track, “Ritual”, with banging breakbeat drums, nice breaks and som fuzz guitar works. Last track of the album is mellow but heavy and banging version “Eso es el amor” (the original was Belgian #1 hit in 1958 as performed by The Chakachas), that is mostly quite downtempo but fastens the pace every now and then. The original pressing of this album is really rare and pricy - last time I saw it, was at Utrecht record fair few years ago, and it was 800 euros. Well 800 is way too much in any circumstances, but one can always ask… There’s however few different later pressings around, although they seem to be quite scarce too.


Caballo negro


Naci para bailar


Cuba libre


Samba de una nota so


Baila chibiquiban


El condor pasa


Lupita


Pa! pa! pa! pa!


Ritual


Eso es el amor

Written by Mista Tibbz, at 18.00, filed under europe, funk, latin | No Comments »

Armando Peraza - Wild thing

October 12th, 2011

Armando Peraza - Wild ThingARMANDO PERAZA

  • Wild thing
  • Skye
  • 1968
  • USA

Armando Peraza was born in Havana, Cuba, ca. 1924 (due to the circumstances in 1920s Cuba, the birth date is uncertain). He was orphaned by the age of 7 and lived most of his childhood on the streets. As a natural musician, it didn’t take long until he was playing with all the famous conjuntos (small bands) in Havana. In 1948 Peraza left Cuba to join his friend Mongo Santamaria in Mexico. They arrived in New York 1949 and immediately found themselves playing with the famous latin jazz musician Machito. After a while Charlie Parker asked Peraza to join in to a recording session with him, Buddy Rich and some others. After moving to San Francisco in the early 1950s Peraza worked with with Perez Prado, Dizzy Gillespie, Charles Mingus and Dexter Gordon to name a few. In 1954 he met Cal Tjader and years later joined his band for six years. Throughout the 1960s Peraza played with various jazz and latin artists before joining the Carlos Santana’s band in 1972. He was a key player for 18 years before retiring from the band at the age of 66. During that period he was playing around the world partnering with other top class percussionists like José Chepito Areas, Mingo Lewis, Raul Rekow and Orestes Vilató.

Although Peraza never wanted to be a bandleader, preferring to be recognized as a featured musician, he released a solo album in 1968. This album, Wild Thing, was released on small Skye label that was co-owned by Cal Tjader, Gary McFarland and Gábor Szabó. Skye was active only few years releasing 21 studio albums before filing a bankcruptcy in 1970. Due to his connections, Peraza got a quite interesting set of musicians to his album. Pianist Chick Corea, flautist Johnny Pacheco, bassist Chuck Rainey, percussionists Cal Tjader and Tommy Lopez, drummer Donald McDonald and saxophonist Sadao Watanabe among some others joined him on this session.

Many of the tracks on this one are covers. First up is a nice latin groove cover of “Wild thing”, originally recorded by a New York band The Wild Ones and later made famous by the UK band The Troggs. In a weird way it reminds me more of “La bamba” than the original. Next one is a midtempo version of “Mony Mony”, originally by Tommy James & the Shondells and later covered by Billy Idol and several others. Another much covered song here is “Funky Broadway”, originally by Dyke & the Blazers. It turns out to be a great midtempo latin funk track. The last song, “Granny’s samba” - originally by Gary McFarland - is a heavy latin jam with a really long tight break in the middle. There’s also original compositions like “Red onions”, which is a really good one. As expected, this album is really percussion heavy with occasional breaks on almost every song and continuous rhythm grooviness throughout the album.


Wild thing


Mony mony


Funky broadway


Granny’s samba

Written by Mista Tibbz, at 18.00, filed under funk, jazz, latin, north america | No Comments »

Enrique Lynch y su conjunto - Bomba tropical

January 21st, 2011

Enrique Lynch - Bomba tropicalENRIQUE LYNCH Y SU CONJUNTO

  • Bomba tropical
  • Sono Radio
  • 1971
  • Peru

It’s almost impossible to find any reasonable info of this mysterious Peruvian bandleader Enrique Lynch, who was apparently quite famous in his own country however. And he was really productive too. Huge number different releases pop up every here and there when trying to find anything of him. Seems that he did a lot of local music and a lot of international covers. And (too) many of the songs he released were medleys. Seems also that Peru was very innovative place for music throughout the 1970s. This album was pointed out to me by my friend Dj Dee from the Redhill Records store and I ended up buying this from him. And I haven’t regretted it.

I don’t have that much knowledge on different musical styles of the Latin America or the Caribbean, but seems that this music Lynch was playing o this album is called either salsa, guaguancó or cumbia in different occasions. The album title Bomba tropical instead is clearly referring to one of the folk music styles of Puerto Rico. For me however, there’s only one song that’s over the top. Or should I say one medley of two songs. The last track, “Safari salvaje / K-jee” is a cover of two pretty well known songs. “Safari salvaje” or as we know it better “Wild safari”, was an international hit of the Spanish latin rock group Barrabas written by their drummer/bandleader Fernando Arbex. It was released in 1971 as a single and an album of the same name. “K-Jee” was a major hit by the US instrumental funk group The Nite-liters that was first released as a b-side cut of their single “Tanga boo gonk”. Besides this one great track, the cover of Bomba tropical is one of the greatest covers I’ve ever seen coming from Latin America.


Safari Salvaje / K-jee

Written by Mista Tibbz, at 18.00, filed under funk, latin, south america | 3 Comments »
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