thanks for looking.
november already, where does the time go? with so many great records coming out these days, the time sure does fly by… so far this week we have two big boxes of new arrivals, one from mississippi records (as noted in the top picks/essentials section, and both they be) and a bunch of reissues and comps from warner music uk and sony/bmg (great ones from elvis, roy ayers, herbie hancock, oscar brown jr and so much more)… plus there’s more records and cds expected later today/tomorrow… as always check the tequila sunrise records facebook page and/or twitter feed for up-to-the-minute new arrivals and restocks.
new fall hours (note thursday 12-8 and friday 12-6)!
as always, many of these titles are in very limited quantity, so if you're interested in anything listed below and can’t make it to the shop you can make a purchase via paypal or over the phone with a credit card and pick them up later or have them shipped (see more information below). i will no longer hold records. sorry.
prices are subject to change without notice.
prices do not include shipping and handling. for those of you shipping within the continental united states I offer a 5.00usd flat shipping rate for any amount of records and/or compact discs. shipping cost for international orders are calculated on an order by order basis. payments for orders can be made via paypal or with a credit card by telephone between 12-6pm/est.
i also offer bike messanger service via timecycle couriers. for the low cost of 10.00usd i can deliver any amount of records and/or cds you wish to purchase to your center city philadelphia location (this includes some parts of south, west and north philadelphia) within two hours (and for those of you who need your records even faster, we also offer ‘rush’ service for the low flat rate of 20.00usd for any amount of records/cds delivered to you within one hour). of course, we are still more than happy to ship records via the usps within philadelphia. orders placed before 5pm/est will ship out that evening and should reach their destination by the following day.
PICKS OF THE WEEK
V/A- MORTIKA: RECORDINGS FROM A GREEK UNDERWORLD 2LP BOX
*Amazing 2LP set of Greek underground folk music sometimes called 'Rembetica' and/or 'Greek Oriental Music.' Compiled by Tony Kline. Songs about drugs, sex, crime, poverty, and heartbreak. Housed in a box and includes 20 page notes with extensive archival photos and full lyric translations.
FRED MCDOWELL- FRED MCDOWELL LP (mississippi, usa)
*Licensed reissue of the Arhoolie LP originally titled Fred McDowell - Volume 2. A beautiful set by the Mississippi blues legend. One of Fred's best. Intense Delta blues.
ROCK AND PSYCHEDELIC
SANTANA- SANTANA LP (columbia/sony/bmg, germany)
*uk 180 gram reissue from last year, in shop for the first time… The self-titled 1969 debut by San Francisco ballroom favorite Santana singlehandedly brought Latin rock into the mainstream. Full of steamy, percolating Latin percussion and leader Carlos Santana's stinging, razor-sharp guitar work, Santana was released in August of that year, the same month as the group's legendary appearance at Woodstock. Bearing the smash hits 'Evil Ways' and 'Jingo.'
V/A- FORGE YOUR OWN CHAINS: HEAVY PSYCHEDELIC BALLADS AND DIRGES 1968-1974 CD (now again, usa)
*cd version of this recent shop favorite in stock for the first time… This compilation introduces a new direction for Now-Again Records and its owner, Stones Throw Records gm, A&R and producer Egon. With the same detailed, no-stone-unturned approach he used for Deep Funk (The Funky 16 Corners, Cold Heat), he tackles beat-heavy global psychedelia with Forge Your Own Chains. Forge Your Own Chains showcases music from all corners of the world: Colombia, Nigeria, Sweden, South Korea, Thailand and Iran. The focus – in keeping with Now-Again’s tradition – is on melody, driving rhythms and accessibility. Not one song is included on this
compilation because it is from a “rare” album. Certainly, many of these songs do spring from albums that exchange hands for many thousands of dollars and many of these songs have never seen reissue. But these songs are all beautiful in their own right and work to form a coherent album.
ANANDA SHANKAR- ANANDA SHANKAR LP (reprise/warner music, uk)
*beautiful looking and sounding uk reissue restocked… Sure, this record really isn't more than an exploitation of the crossover between psychedelic music and Eastern sounds, but that shouldn't detract anyone from listening to it in its entirety; in fact, that would be a huge mistake. The opener, the sitar- and Moog-soaked take on "Jumpin' Jack Flash," is performed perfectly, with every choice accent milked for maximum drama. Once the novelty of sitar-dosed covers of your favorite songs wears off, you really begin to notice how excellent the performances are on this record. Ananda Shankar manages to bridge the gap between kitsch and fine art on these tracks, from the opener all the way to the cover of "Light My Fire." One minute he is playing simple notes like it was taking the place of a guitar, at other times utilizing the full reign of the sitar's sound possibilities. The originals on the album follow an equally impressive path. The dreamy, hazy bliss of tracks like "Snow Flower" and "Mamata" is both meditative and slinky — light melodies with twisted atmospherics and tweaked Moogs. The drum breaks in the gurgling "Metamorphosis" are worth the price of the album alone. For the most part, the album rarely strays from the East-meets-West formula, with the Eastern rhythms getting the short shrift and the focus relying on Western funk and pop styles getting an Eastern makeover. Not that this is bad at all, but when the track "Sagar" ends, you realize that this record could have been much more than it was. This specific track guides the listener through a space/water odyssey over the course of 13 minutes. It's a slow build that gains momentum as the music progresses and flashes of acoustic guitar help the rhythm along. The final track is a great mixture of folk guitars that takes the focus away from the sitar for once, instead incorporating vocals and a chorus that manages to lock into a repeated chant that is the unexpected highlight of the album. -Jon Pruett/amg
V/A- PSYCH-FUNK 101: 1968-1975 CD (world psychedelic funk classics, usa)
*cd version of this recent shop favorite in stock for the first time… Funky fuzzy psychedelic tracks from '60s and '70s Nigeria, Iran, Turkey, Russia, South Korean and other exotic countries. Psych Funk 101 introduces students to the global phenomenon of psychedelic funk music, and covers the 'golden years' of the movement, from approximately 1967 until 1980. This compilation does not focus on American and British bands. Rather it focuses on the bands throughout the Global Village that were influenced by the innovation of American and British bands -- that many times one upped the heroes they sought to emulate. This compilation focuses on bands influenced by James Brown, The Meters, Sly and The Family Stone, Booker T and The MGs and The Bar Kays and unsung rhythmic forces such as drummers Bernard Purdie, Idris Muhammad, Earl Palmer, bassists such Carol Kaye and Jimmy Lewis. It focuses on bands who took that energy and combined it with the flair of psychedelic-rock musicians such as Jimi Hendrix and the ensemble known as Cream -- as well as pop-rock acts taken by the experimental side of psychedelia such as The Beatles. But these bands added their own, unique cultural flourishes. The result is mind-bending. Think about it for a second -- what musical forces were greater than that of funk and psychedelic music in the late '60s and early '70s? These forces, combined by bands happy to incorporate folk music and improvisational elements from other musical forms, lead to an amazing body of work still being unearthed by researchers the world over -- and still capable of inspiring new investigations into shapes of rhythm." Artists include: Husnu Ozkartal Orkestrasi, Kukumbas, Mulatu Astatke feat. Belaynesh Wubante And Assegedetch Asfaw, Kim Sun, Petalouda, Mehr Pooya, Staff Carpenborg And The Electric Corona, The Group, Armando Sciascia, Wadih Essafi, Omar Khorshid, Metin H. Alatli, George Garanian With The Melodiya Jazz Ensemble and Eskaton. Deluxe digipack with fully annotated 36-page booklet with liner notes and rare photos.
ELVIS PRESLEY- ELVIS AT SUN LP (rca/sony/bmg, germany)
*2004 remastered vinyl version of this perennial shop favorite/essential in stock for the first time… Elvis at Sun marks the third time that rca has given Elvis Presley's seminal Sun Records recordings a refurbishing for release on compact disc (fourth if you count their appearance on the box set The King of Rock 'n' Roll: The Complete 50's Masters), but while 1987's The Complete Sun Sessions and 1999's Sunrise both added plenty of bonus materials along with the ten single sides and various outtakes Presley cut for Sam Phillips' pioneering label, Elvis at Sun seems to follow the notion that "less is more." While the supposedly definitive Sunrise spread 38 cuts over two discs, Elvis at Sun sticks to 19 cuts (all of which appeared on disc one of Sunrise), and reissue producers Ernst Mikael Jorgensen and Roger Semon have done extensive cleansing on these vintage recordings, in some cases buffing off layers of echo and reverb that have been part of these performances since they first appeared on LP (most notably on "You're a Heartbreaker" and "Good Rockin' Tonight"). With neither Elvis nor Sam Phillips around to offer their views, it's hard to say if this amounts to presenting the tapes as they were meant to be heard or playing around with history, but on most of the tracks the effect is startling — these recordings have never sounded quite so clear and sharp, with a richer sense of detail in the nooks and crannies of Elvis' voice and Scotty Moore's guitar (the always spooky "Blue Moon" is now gloriously spectral — has anyone ever sounded quite like that?). Too bad they couldn't fix the speed glitch on "I Don't Care if the Sun Don't Shine," though. The disc also abandons the sequencing of most previous releases of this material, which presented songs in the order they were released, in favor of assembling the songs in the order they were recorded, which is probably better history if less satisfying as pure listening. As for the music, well, this is arguably the most important music of Elvis' career and the growth of rock & roll into a mass art form; Presley's wildly idiosyncratic fusion of blues, country, pop, and anything else that crossed his path was still evolving as he recorded these songs, and there's a thrill of discovery here that's a wonder to behold. No, Elvis didn't invent rock & roll, but it would have been a very different creature without his guiding influence, and listening to him making it happen on Elvis at Sun is history at its most wildly entertaining; this isn't necessarily the best collection of these vitally important sides, but it inarguably presents this brilliant music in a new and fascinating light. -Mark Deming/amg
ELVIS PRESLEY- ELVIS' GOLDEN RECORDS LP (rca/sony/bmg, germany)
*late 90s remastered vinyl in shop for the first time… This was rock & roll's first greatest-hits album, and it set the standard for all others to follow. As originally conceived, it was a 14-song collection of most of the King's biggest hits up to that time, released on the eve of his start of military service — a dearth of material being in the offing, it seemed only logical to assemble these hits. Each of the 14 songs had earned a gold-record award for a million sales, a record unequaled at that time by anyone else in rock & roll. The album wasn't intended as a history lesson, so "Hound Dog" and "Loving You" precede "Heartbreak Hotel" — the 1997 remastering also tampers with the concept a bit, adding six bonus tracks. Elvis' singing never sounded richer or more expressive, and one can fully appreciate in vivid detail the delicate nuances of his phrasing on songs like "Too Much." On the downside, the remastering has made the sound so clean on some of the harder songs that some of the raw, "dirty" ambience that characterized this stuff on the radio and the original 45s is lacking. Still, Scotty Moore's groundbreaking lead guitar part on "Hound Dog" and the Jordanaires' backup singing never came through more sharply or cleanly, and the all-important rhythm section is almost up front in the mix. Those who own the first Elvis box from RCA, covering the '50s masters, may hesitate to pick up this or the other parts of this latest remastered series, but the sound has been upgraded one more level, and Golden Hits does give a bite-sized glimpse of where Elvis had come from and where he was going (for better or worse) musically on the eve of heading into the Army. Bruce Eder/amg
FUNK AND SOUL
BOOTSY'S RUBBER BAND- STRETCHIN' OUT IN BOOTSY'S RUBBER BAND LP
(warner bros., uk)
*beautiful looking and sounding uk reissue… "...the Rubber Band are -- by modern standards -- nothing short of an ensemble of A-list P-Funk all-stars featuring Gary 'Mudbone' Cooper (vocals), Robert 'P-Nut' Johnson (vocals), Phelps 'Catfish' Collins (guitar), Gary Shider (guitar), Michael Hampton (guitar), Frankie 'Kash' Waddy (drums), Mudbone Cooper (drums), Bernie Worrell (keyboards), and other former James Brown bandmates Maceo Parker (sax) and Fred Wesley (trombone). When you tie the whole thing up with none other than George Clinton as producer, the remarkable potential of Bootsy's Rubber Band soon becomes clear. As early as this initial offering, Collins' output served up one side of upbeat numbers perfect for getting jiggy. Then the mood of the music begins to turn incrementally more intimate, so that by the conclusion of the second side, if circumstances warranted, you could end up with an appropriately sexy ballad as a sonic night cap of sorts. That certainly is the case on Stretchin' Out as the title track is thrust forward 'on the one' by Collins' pulsating bass. Listeners are also introduced to the various inhabitants of the Rubber Band, such as Bootsy's 'Casper' character -- who alternates between being the 'holy' and the 'funky' ghost. The concept of P-Funk babies [read: think Muppet Babies concept applied to the world of the P-Funk mob] comes to life on the bouncy 'Psychoticbumpschool' before getting mellow with Leslyn Bailey (vocals) lending her voice to the down and funky 'Love Vibes' and the slinky soulful 'Physical Love.' Hardcore Funkadelic fans should ready themselves for some stunningly tasteful fretwork from an uncredited Eddie Hazel on the languid closer 'Vanish in Our Sleep' and the previously mentioned 'Physical Love.'" --amg
ROY AYERS- VIRGO VIBES LP (atlantic/warner music, uk)
*beautiful looking and sounding uk reissue… Long before he switched to playing disco and pop music, Roy Ayers was considered a promising young jazz vibraphonist. This LP, his second as a leader, was one of his finest. On four of the five selections (obscurities and pieces by group members), Ayers teams up with trumpeter Charles Tolliver, tenor saxophonist Joe Henderson, bassist Reggie Workman, drummer Bruno Carr, and the mysterious pianist Ronnie Clark (Herbie Hancock under a disguised name). On "Glow Flower," Ayers and Tolliver are joined by Harold Land on tenor, pianist Jack Wilson, bassist Buster Williams, and drummer Donald Bailey. The music is primarily advanced hard bop with some freer moments on Tolliver's "The Ringer." -Scott Yanow/amg
ROY AYERS- STONED SOUL PICNIC LP (atlantic/warner music, uk)
*beautiful looking and sounding uk reissue… Stoned Soul Picnic dates from the earlier part of Roy Ayers' career as a leader, before he delved heavily into R&B and funk fusions and instead concentrated more on soul-jazz grooves. Ayers leads a septet including such big names as pianist Herbie Hancock, altoist Gary Bartz, bassist Ron Carter, and flutist Hubert Laws. The Laura Nyro-penned title track foreshadows Ayers' later forays beyond the boundaries of pure jazz, and the group keeps the groove percolating nicely throughout, making Stoned Soul Picnic one of Ayers' better jazz-oriented outings. -Steve Huey/amg
ANDY BEY- EXPERIENCE AND JUDGEMENT LP (atlantic/warner music, uk)
*beautiful looking and sounding uk reissue… Criminally overlooked by academics, critics and purists who refuse to listening to anything outside of conventional jazz vernacular, Andy Bey's delivery on Experience and Judgment goes beyond anything he previously committed to tape, revealing a spiritual side that's punched up and supported by a jazz-funk ensemble. The album's opener "Celestial Blues" finds Bey delivering lines that wouldn't be out of place on Bill Withers records from this era, and the remainder of the album sounds similar to the works of such contemporaries as Roy Ayers and Gil Scott-Heron. It's soul soothing music that's been played with great reverence by the rare soul and funk community for years and rightly so, as Bey captures the essence of the soul world brilliantly, and fuses it into something that is uniquely his own. -Rob Theakston/amg
OSCAR BROWN JR.- MOVIN' ON LP (atlantic/warner music, uk)
*beautiful looking and sounding uk reissue… Oscar Brown, Jr.'s vocal and lyrical talents shine on this reissue of his 1972 album Movin' On. Brown's witty, politically conscious scats meld art and humor into innovation. Movin' On's nine songs, including highlights like "A Dime Away from a Hot Dog," "Ladiesman," and "No Place to Be Somebody" enhance Brown's reputation as an inventive jazzman. -Heather Phares/amg
FREEDOM SOUNDS- PEOPLE GET READY LP (atlantic/warner music, uk)
*beautiful looking and sounding uk reissue… People Get Ready was the first of two albums cut for Atlantic Records by Freedom Sounds, a nine-piece group put together by trombonist Wayne Henderson of the Jazz Crusaders. It was cut around the same time that Henderson appeared as part of Hugh Masekela's band at the Monterey International Pop Festival, and it comes from a similar multi-cultural, musical, multi-lingual sensibility. Henderson and his band — including Al Abreus on tenor and soprano sax, James Benson on baritone sax and flute, Pancho Bristol on electric bass, Harold Land at the piano, Moses Obligacion on the conga drum, Ricardo Chimelis on the timbales, Max Garduno on percussion, and Paul Humphrey on drums — range freely across excellent Henderson originals such as "Cucamunga," and cover "Respect," "People Get Ready," "Things Go Better" (yes, the Coca-Cola jingle, which they do wonderful things with), and "Fa-Fa-Fa-Fa-Fa (Sad Song)." The originals, especially "Orbital Velocity" and "Cathy the Cooker," possess vast kinetic energy and the bracing quality of a concert performance, capturing for posterity the reality behind this group's reputation as a live band. –bruce eder/amg
JACK MCDUFF- CHANGE IS GONNA COME LP (atlantic/warner music, uk)
*beautiful looking and sounding uk reissue… This album is an elegant mix of soul and sambas, interspersed with a pair of distinctly blues-focused pieces. Jack McDuff's Hammond B-3 organ surges and trills and rocks, at times seeming to talk as the lead instrument on renditions of works as different as Ray Charles' "What'd I Say" and Sam Cooke's "A Change Is Gonna Come." His calls and responses with the five-man brass section on several of the tracks here comprise another highlight, but even the slow numbers, such as "No Tears," offer virtuoso playing by McDuff. The tempo and texture shifts throughout keep this record continually interesting to the listener, and the range of influences, from jazz to gospel with side trips into the blues (culminating with a seven-minute epic in the latter genre), gives a lot of great playing for everybody. –bruce eder/amg
JACK MCDUFF- TOBACCO ROAD LP (atlantic/warner music, uk)
*beautiful looking and sounding uk reissue… Brother Jack McDuff recorded an enormous number of albums during the '60s, so it can be difficult to figure out where to start digging a little deeper into his output (which Hammond B-3 fans will definitely want to do). 1967's Tobacco Road stands out from the pack for a couple of reasons. First, unlike many of his groove-centric albums, it's heavy on standards and pop/rock tunes (seven of nine cuts), which make for excellent matches with McDuff's highly melodic, piano-influenced style. What's more, about half of the album finds McDuff leading a large ten-piece ensemble arranged and conducted by J.J. Jackson, including a soulful horn section that sounds straight out of Memphis or Muscle Shoals (though this was recorded at Chess studios in Chicago). McDuff himself handles the arrangements on the rest of the material, which is done in a guitar/sax/drums quartet. The LP's style is fairly unified, though — no matter what format, the tunes are given fantastically funked-up treatments that sound surprisingly natural. And these aren't grooves where everyone just settles back and stays in the pocket; McDuff attacks the arrangements with wildly funky rhythms and solos, and there's a polyrhythmic sense of interplay that recalls the best Southern soul. Arguably the most distinctive track is a cool, grooving quartet version of "The Shadow of Your Smile," complete with snaky bassline and airy flute solos from Danny Turner. Unfortunately, none of the tracks are all that long, in keeping with the jukebox/radio orientation of McDuff's Atlantic period, but that won't prevent soul-jazz fans from thoroughly enjoying Tobacco Road. –Steve Huey/amg
HERBIE HANCOCK- FAT ALBERT ROTUNDA LP (warner bros./warner music, uk)
*beautiful looking and sounding uk reissue… Centered around some soundtrack music that Herbie Hancock wrote for Bill Cosby's Fat Albert cartoon show, Fat Albert Rotunda was Hancock's first full-fledged venture into jazz-funk — and his last until Head Hunters — making it a prophetic release. At the same time, it was far different in sound from his later funk ventures, concentrating on a romping, late-'60s-vintage R&B-oriented sound. with frequent horn riffs and great rhythmic comping and complex solos from Hancock's Fender Rhodes electric piano. The syllables of the titles alone — "Wiggle Waggle," "Fat Mama," "Oh! Oh! Here He Comes" — have a rhythm and feeling that tell you exactly how this music saunters and swaggers along — just like the jolly cartoon character. But there is more to this record than fatback funk. There is the haunting, harmonically sophisticated "Tell Me a Bedtime Story" (which ought to become a jazz standard), and the similarly relaxed "Jessica." The sextet on hand is a star-studded bunch, with Joe Henderson in funky and free moods on tenor sax, Johnny Coles on trumpet, Garnett Brown on trombone, Buster Williams on bass, and Albert "Tootie" Heath on drums. Only Williams would remain for Hancock's 1977 electric V.S.O.P.: The Quintet album to come. In addition, trumpeter Joe Newman, saxophonist Joe Farrell, guitarist Eric Gale, and drummer Bernard Purdie make guest appearances on two tracks. –Richard S. Ginell/amg
HERBIE HANCOCK- CROSSINGS LP (warner bros./warner music, uk)
*beautiful looking and sounding uk reissue… With the frenzied knocking of what sounds like a clock shop gone berserk, Crossings takes the Herbie Hancock Sextet even further into the electric avant-garde, creating its own idiom. Now, however, the sextet has become a septet with the addition of Dr. Patrick Gleeson on Moog synthesizer, whose electronic decorations, pitchless and not, give the band an even spacier edge. Again, there are only three tracks — the centerpiece being Hancock's multi-faceted, open-structured suite in five parts called "Sleeping Giant." Nearly 25 minutes long yet amazingly cohesive, "Sleeping Giant" gathers a lot of its strength from a series of funky grooves — the most potent of which explodes at the tail-end of Part Two — and Hancock's on-edge Fender Rhodes electric piano solos anticipate his funk adventures later in the '70s. Bennie Maupin's "Quasar" pushes the session into extraterrestrial territory, dominated by Gleeson's wild Moog effects and trumpeter Eddie Henderson's patented fluttering air trumpet. Even stranger is Maupin's "Water Torture," which saunters along freely with splashes of color from Hancock's spooky Mellotron and fuzz-wah-pedaled Fender Rhodes piano, Gleeson's electronics, and a quintet of voices. Still a challenging sonic experience, this music (which can be heard on Warners' Mwandishi two-CD set) has yet to find its audience, though the electronica-minded youth ought to find it dazzling. –Richard S. Ginell/amg
HERBIE HANCOCK- HEADHUNTERS LP (warner bros./warner music, uk)
*beautiful looking and sounding uk reissue… Head Hunters was a pivotal point in Herbie Hancock's career, bringing him into the vanguard of jazz fusion. Hancock had pushed avant-garde boundaries on his own albums and with Miles Davis, but he had never devoted himself to the groove as he did on Head Hunters. Drawing heavily from Sly Stone, Curtis Mayfield, and James Brown, Hancock developed deeply funky, even gritty, rhythms over which he soloed on electric synthesizers, bringing the instrument to the forefront in jazz. It had all of the sensibilities of jazz, particularly in the way it wound off into long improvisations, but its rhythms were firmly planted in funk, soul, and R&B, giving it a mass appeal that made it the biggest-selling jazz album of all time (a record which was later broken). Jazz purists, of course, decried the experiments at the time, but Head Hunters still sounds fresh and vital decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul, and hip-hop. –Stephen Thomas Erlewine/amg
V/A- THE LADIESMAN: MUSIC FOR THE BACHELOR... AND HIS LADY LP (wea/warner strategic marketing, uk)
*excellent uk compilation featuring Oscar Brown, Jr.- A Ladiesman; Tony Alvon & The Belairs- Sexy Coffee Pot; Chiles & Pettiford- The Joker; Cold Blood- Funky On My Back; Hank Crawford- I Can't Stand It; Oscar Brown, Jr.- But I Was Cool; Don Cherry- California; Mose Allison- Wild Man On The Loos; Oscar Brown, Jr.- Gang Bang; Herbie Mann & Tamiko Jones- A Good Thing (Is Hard To Come By); Brother Jack McDuff & David Newman- Duffin' 'Round; T-Bone Walker- If You Don't Come Back; Chris Towns & Townsmen- Earthy; Clifford Jordan- Black Girl.
V/A- PSYCHEDELIC JAZZ AND SOUL FROM THE ATLANTIC AND WARNER VAULTS LP (wea/warner strategic marketing, uk)
*excellent uk compilation featuring Gary Burton- Vibrafinger; Yusef Lateef- Back Home; Rahsaan Roland Kirk- Freaks For The Festival; Sun Ra- Spontaneous Simplicity; Freddie Hubbard/Ilhan Mimaroglu- This Is Combat I Know; Yusef Lateef- Raymond Winchester; Charles Lloyd- Sorcery; Black Heat- Check It All Out; Charlie Mariano- Mirror; Eddie Harris- Smoke Signals; Freddie Hubbard/Ilhan Mimaroglu- Threnody For Sharon Tate.
V/A- SOUL BOSSA NOVA FROM THE VAULTS OF ATLANTIC AND WARNER BROS: 1961-1975 LP (wea/warner strategic marketing, uk)
*beautiful looking and sounding uk compilation featuring Yusef Lateef- Brother; Nat Adderley- Manchild; Roy Ayers- In The Limelight; Shorty Rogers And His Giants- Samba Do Empasghi; Mose Allison- I'm Not Talking; Freddie Hubbard- Coral Keys; Sergio Mendes- Nana; Shorty Rogers And His Giants- Chega De Saudade; Roy Ayers- Ayerloom; Herbie Mann- Paper Man and Roland Kirk- Echoes Of Primitive Ohio And Chili Dogs.
V/A- THE BEAT OF BRAZIL 2: BRAZILIAN GROOVES FROM THE WARNER VAULTS LP (wea/warner strategic marketing, uk)
*beautiful looking and sounding uk compilation featuring Airto Moreira- The Happy People; Carlos Dafe- De Alegria Raiou O Dia; Gilberto Gil- Toda Menina Baiana; Antonio Carlos Jobim- Berimbau; Eddie Cano & Nino Tempo- Reza; Herbie Mann- Bossa Velha; Sergio Mendes- Maria Moita; Azymuth- Circo Marimbondo; Sergio Mendes & Brasil '65- O Morro; Mary Wells- The Boy From Ipanema; Antonio Carlos Jobim- She's A Carioca; Herbie Mann- Groovy Samba; Hermeto Pascoal- Voz E Vento; Carlos Dafe- O Metro; Azymuth- Tamborin,Cuica,Ganza,Berimbau.
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