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Zbigniew Namyslowski
Lola
Decca
From 1964, a fresh, invigorating, up-for-it, personal take on happening US jazz — Coltrane in particular — blending in themes from Polish folk music. Try the rollicking Piatawka, with its evocation of highlander bagpipes. Scorcher!
Multi-instrumentalist Namyslowski was an alumnus of Krystof Komeda’s ground-breaking quintet. In the early sixties, he formed the Jazz Rockers with Micha Urbaniak, and in 1962 both joined The Wreckers, playing the Newport Jazz Festival. In 1964 his own Modern Jazz Quartet toured throughout England, Scotland, and Wales. “We had songs like Piatawka in the programme, inspired by Polish mountain folklore… These were the forms that had never been heard there before… Not only was I a musician from behind the ‘Iron Curtain’, but it also turned out that this musician had his own voice and showed something innovatory.”
Pianist Wlodzimierz Gulgowski plays a blinder, too; nodding to both Chopin and Mal Waldron. (A decade later he hooked up with Urbaniak, for the LPs Fusion III and Funk Factory.)
Lola was recorded in London; produced by Mike Vernon, who founded the Blue Horizon label, and produced Fleetwood Mac and David Bowie, amongst others. For the cover shot, Decca commissioned the same photographer as for the first Rolling Stones LP, to follow suit. “We are in the same sweaters from Marks & Spencers, only each in a different colour.”
The Tenderness Trio was sisters Jussara and Jurema Silva, and their brother Robson.
From 1973, A Gira is dedicated to nature, spirituality and mindfulness, by way of a tribute to a Candomblé deity, with mesmerizing polyrhythms from the start, soaring vocals and beautiful playing. As the women put it — “It has the dancing, the expression, the lyrics and musical relaxation. Something very Brazilian.”
B/w a surprise version of Gato Barbieri’s Last Tango In Paris.
Ace.
‘Battle of Cannae is a dubby roller filled with crisp percussion and meditative warmth. Next up, Battle of Carrhae is a deep 120bpm bass groover with detailed percussion and rich textures that tie the first side together beautifully. On the flip, Stolen Land, a collaboration with Melbourne heavyweight Pugilist, takes things into club territory. Spacious, weighty and rhythmically twisted, filled with polyrhythmic grooves, a few wubs, and gritty percussive drive. Strap in. To close, Battle of Edessa pushes the tempo to 160bpm — a sharp, hypnotic finisher that shows why Big Hands continues to stand out as one of the most exciting producers doing it right now.’
Only a previously unreleased Curtom recording, from the sessions for Closer To The Source, in 1977.
‘A beautiful floating mid-tempo dancer, with anthemic lyrics, in two different 7” edits: a short-intro version, perfect to drop in the middle of set to keep the dancefloor moving; and a version with the original forty-second intro, using the fantasic female backing vocals as the outro.’
From 1974, featuring knockout rare groove like I Don’t Need Nobody Else and What Do You Want Me To Do.
Limber, feeling and introspective, with full horns and strings setting fine songs and frankly soulful singing.
Lou came through in Detroit as a writer and producer with Barbara Lewis, before signing in his own right to Epic, via the Rags label run by legendary producer Jerry Ragovoy. Hereafter he was briefly a member of The Fifth Dimension.
One of the greatest of all modern soul albums.
A gorgeous reissue of his first LP, from 1957; with Curtis Fuller, Hugh Lawson, Ernie Farrow, Louis Hayes, and Doug Watkins. Beefy, alive, and exploratory, with Lateef’s Eastern trajectory flagged already, in the thrilling argol introduction to the opener, Metaphor. On the flip, Morning is ravishing, unmissable Lateef.
In its full-length glory, from the great man’s 1980 LP Journey To The One; plus his version of the Marvin Gaye classic, from his 1978 LP Love Will Find A Way, with Norman Connors.
Both recordings luxuriating on 12” for the first time.
‘Classic Vinyl Series.’
Scorcher!
Just cop the opener. Such a knockout!
Six Horace Tapscott compositions and arrangements. Swirling, passionate, raging, valedictory, richly allusive music.
Teddy Edwards is here; Tommy Flanagan. Criss is on fire.
Hotly recommended. Something really special.
Of all his albums, this was Stan Getz’ favourite. Ours, too.
Freed from the formal orthodoxies of small-group bebop, and revelling in the freedoms opened up by Eddie Sauter’s thrilling strings-based arrangements, lyrical improvisation pours out of the saxophonist (with Lester Young coursing through as per). The music shimmies devil-may-care through jazz, classical, soundtrack, show-tune, and the rest.
Try the dazzling opener. A theme from Béla Bartók’s Music for Strings, Percussion and Celesta is mashed into skittering, paranoid funk, with a killer spot for Roy Haynes. And next up, something quite different, a quiet, complexly tender tribute to Getz’s mum, exquisitely proffered. Just a shame Bill Evans wasn’t sitting in.
Original, knockout; very warmly recommended.
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