Friday, December 31, 2066

The place to report broken links and request stuff!

Howdy people...

October 1, 2016 Update:

Sorry for being absent for a while, part of it was due to a very nice Indian Summer and discovering a new beach about 2 clicks from home. So now that I have worked up a bit of a tan, I am happy to inform you all that I am back, tons of stuff ready to post, And that I finally resolved the situation of my faulty hard drive and got myself a nice new 8  tb server for the house, Spent most time this week transferring from the Data DVD's I had as backup (It takes a while and a shitload of discs to back up 6tb)... Once this is done I will close shop for a little while as far as new posts go and concentrate on reuploading all the dead links, It will be much easier having it all on one drive than to have to sift thru a gazillion backup DVD's... wish me luck and happy music hunting y'all... o yeah! and Shanah Tova to my Jewish friends around the world!

From now on lets use this sticky post for all requests and re-post notices, So that I can keep better track of it, and get stuff done... Thanks a lot!

When notifying about a dead link, please include te link to the actual post, because that would make my work a lot faster (And I mean  A LOT). Thanks in advance to all the dudes and dudettes helping out!

Thanks a lot for all the encouraging messages and anonymous goodies! (I really appreciate it).

Monday, October 24, 2016

Ton Bruynèl / Dick Raaijmakers / Peter Struycken - 1971 - Geluid <=> Kijken

Ton Bruynèl / Dick Raaijmakers / Peter Struycken 
Geluid <=> Kijken: Drie Audio-Visuele Projekten

01. Peter Struycken Structuren 1-120 6:04
02. Peter Struycken Structuren 121-180 En De 24 Elementen 5:47
03. Dick Raaijmakers Ideofoon I 3:11
04. Dick Raaijmakers Ideofoon III 3:57
05. Dick Raaijmakers Ideofoon II 6:35
06. Ton Bruynèl Klankblok (Geluid Afgeleid Van Het Kubusprojekt) 5:30
07. Ton Bruynèl Klankblok (Geluid Afgeleid Van Het Kubusprojekt) 4:39

Composed By, Liner Notes [Text By] – Dick Raaijmakers, Peter Struycken, Ton Bruynèl
Design – Wim Crouwel
Liner Notes [Book Edited By] – Gerrit Kouwenaar
Liner Notes [Text Foreword] – Jan Martinet

Geluid <=> Kijken: drie audio-visuele projekten (Sound <=> sight: three audio-visuals projects), an exhibition held at Stedelijk Museum Amsterdam, The Netherlands, March 5 - April 19, 1971.
Realization of Ton Bruynèl's Cube project, Dick Raaijmaker's Ideophones, Peter Struycken's Sound and image programme 1.
Illustrated 44 pages catalogue with large fold-out, text in Dutch and English including three translucid sound sheets.
Peter Struycken's disc mastered in Mono. Other two discs mastered in Stereo.

This book was published in 1971 by the Stedelijk Museum (Museum of Modern Art) in Amsterdam for the exhibition Geluid < = > Kijken, or Sound < = > Sight. It contained three flexi-discs of artists that were involved. Ton Bruynèl, Dick Raaijmakers and Peter Struycken were notable Dutch artists experimenting with electronic sounds balancing on the fringes of science, art and music.
For this exhibition they created installations trying to transcend the auditory realm into the visual. The music is for example derived from speakers used as an instrument generating sounds through their scientific components and abilities. The loudspeaker as an instrument has also been used by John Cage in certain compositions. Here is a short overview of the works of the three artists.

Ton Bruynel’s subject is an object: visually it is a square in which the visitor finds himself among objects which are, in a sense, scale models of the room itself. The sound is derived from the size, the shape (cubic) and the material (steel) of the objects; it is subsequently stored on tapes which return it to the cubes. The succession of sound structures knows neither beginning nor end. Due to its reverberation against the hard (steel) walls, the sound identifies with the surrounding space to a high degree, just as it identifies with the material.

Dick Raaijmakers elecits a dialogue between sound and visual motion in a series of loudspeakers combined with steel balls, spheres or small metal rectangles. The subject of the dialogue is the unmasking of the loudspeaker. ‘The loudspeaker communicates in a very elementary fashion – it speaks and it listens.’ writes Dick Raaijmakers elsewhere in this catalogue.

Peter Struycken is concerned with the problem of how to obtain variations in large numbers of structures built up of similar component parts. Under certain conditions a relatively slight variation in a structural rule can bring about a high degree of variation in the visual and auditory effect. Hi Image and Sound programm I, is a model in which he investigates those conditions. The methods are similarly applied to image – changing in time – and sound.

Geluid  <=> Kijken is a great Dutch avant-garde document containing some harsh noise, electronic and weirdly generated sounds and it must have been one of the more interesting multidisciplinary exhibitions at the Stedelijk Museum in the early seventies. The book came with a fold out panel of all of Peter Struycken’s generated patterns. Scans of the whole book with information in Dutch and English are included in the file.

Thursday, October 20, 2016

Bobby Keys - 1972 - Bobby Keys

Bobby Keys 
Bobby Keys

01. Steal From A King
02. Smokefoot
03. Bootleg
04. Altar Rock
05. Key West
06. Command Performance
07. Crispy Duck
08. Sand & Foam

Bobby Keys - Tenor Saxophone
Jack Bruce - Bass
Charlie Freeman - Guitar
Jim Gordon - Drums
George Harrison - Guitar
Nicky Hopkins - Keyboards
Bobby Keys - Saxophone
Corky Laing - Drums
Dave Mason - Guitar
Felix Pappalardi - Bass
Jim Price - Horn, Keyboards
Carl Radle - Bass
Ringo Starr - Drums
Klaus Voorman - Bass
Leslie West - Guitar
John Uribe - Guitar
Eric Clapton - Guitar

Bobby Keys' self-titled debut is a bit of an odd beast. He's got one of the most amazing résumés in rock music as a sideman, so it's no surprise that there's quite a lineup on this album. Appearing are George Harrison, Jack Bruce, Ringo Starr, and possibly Eric Clapton, amongst many other famous players (proper credits would have been nice). Horn charts were by Keys' cohort Jim Price (who also played trumpet and keyboards) and the album was produced by Keys, Jim Gordon, and Andy Johns. It sounds great on paper, but the sound is more like backing tracks in search of a song, and only slightly more than a jam session with nice horn charts. It's not bad, it's just a bit disappointing. The liner notes indicate that the album took almost a year and suggest that Keys was not entirely into it. He only played live on one track ("Altar Rock") and it opens and closes as a bit of a proto-smooth jazz snoozer. Keys was also quick to note that the album was not the beginning of a solo career and kind of knocks his own playing. Of course, some people are better sidemen than bandleaders, but this was also a time of notorious partying (recording began after Keys, Price, and Nicky Hopkins wrapped up the Exile on Main St. tour). That said, the album isn't bad, just a bit on the slight side. The horn charts are great and there are some nice solos, particularly on guitar on what was once side two of the album. If you like the sound of the "Apple Jam" LP from All Things Must Pass (which also featured many of the players here), you'll probably like Bobby Keys.

Bobby Whitlock - 1976 - Rock Your Sox Off

Bobby Whitlock 
Rock Your Sox Off

01. Why Does Love Got To Be So Bad 6:38
02. If You Only Knew Me 4:13
03. Sweet Mother's Fun 3:12
04. The Second Time Around 4:59
05. Brand New Song 4:16
06. Bottom Of The Bottle 3:57
07. (It's Been A) Long Long Time 5:37
08. Make It Through The Night 4:59

Bobby Whitlock: organ, piano, rhythm guitar, electric guitar, 12 string acoustic guitar, vocals, writer, arranger
Kenny Tibbetts: bass, arranger
Jerome Thomas: drums, congas
Paul Hornsby: tambourine
Larry Howard: acoustic guitar
Dru Lombar: electric guitar, acoustic guitar, rhythm guitar, guitar, lead guitar, writer, arranger
Jimmy Nalls: lead guitar, electric guitar, rhythm guitar, Dobro
Les Dudek: electric guitar
Rick Hirsch: slide guitar, arranger
Jimmy Hall: alto saxophone
Skip Lane: baritone saxophone
Leo LaBranche: trumpet
Chuck Leavell: piano

Robert Stanley “Bobby” Whitlock (born March 18, 1948 in Memphis, Tennessee) is an American singer, songwriter and musician. He is best known for being a member of blues-rock band Derek and the Dominos with Eric Clapton in 1970–71. Whitlock’s musical career began with Memphis soul acts such as Sam & Dave and Booker T. & the MG’s before he joined Delaney & Bonnie and Friends in 1968. His association with Delaney & Bonnie bandmate Clapton led to Whitlock participating in sessions for George Harrison’s All Things Must Pass triple album (1970), in London, and the formation of Derek and the Dominos that year. On the band’s sole studio album, the critically acclaimed Layla and Other Assorted Love Songs (1970), Whitlock wrote or co-wrote six of the album’s fourteen tracks, including “Tell the Truth”, “Anyday” and “Why Does Love Got to Be So Sad?”

Whitlock recorded four solo albums during the 1970s, among them Bobby Whitlock and Raw Velvet (both 1972), and contributed to albums by Clapton, John Lennon, Dr John and the Rolling Stones. He then retired from music until releasing It’s About Time in 1999. Following his return, Whitlock has recorded and performed with wife CoCo Carmel and, since 2006, with other musicians based in Austin, Texas. Among his and Carmel’s projects, the well-received Other Assorted Love Songs, Live from Whitney Chapel (2003) contains acoustic interpretations of songs originally recorded by Derek and the Dominos.

In an article for Mojo magazine in May 2011, music journalist Phil Sutcliffe described Bobby Whitlock as “born in Memphis, learned Hammond organ peering over Booker T’s shoulder at Stax studios”. While still a teenager, Whitlock befriended acts associated with Stax Records, including Albert King, Sam & Dave, the Staples Singers and Booker T. & the MG’s, and was the first white artist signed to the label. His first contribution to a recording was in 1967, when he supplied handclaps on Sam & Dave’s single “I Thank You”.

Between 1965 and 1968, Whitlock performed regularly in the Memphis area, playing organ with local soul band the Short Cuts before forming the Counts. In his 2010 autobiography, Whitlock writes of this period in Memphis: “It was a great time and town for music then, especially soul music. It was real rhythm and blues. Albert King R&B, that’s what I’m talking about. It was loose and all about music everywhere that you turned.” With established Stax musicians such as Steve Cropper as his mentor, and Donald “Duck” Dunn and Don Nix preparing to produce a pop album by him on a Stax subsidiary label, Whitlock instead left Memphis after meeting husband-and-wife team Delaney and Bonnie Bramlett. Whitlock recalls that he was performing at a club with the Counts when the Bramletts invited him to join a soul-revue band they were forming in Los Angeles.

Whitlock contributed on keyboards and vocals to two Delaney & Bonnie albums in 1969, Home and Accept No Substitute. Their touring band, known as Delaney & Bonnie and Friends, included musicians he would continue to work with on projects through to the early 1970s: bassist Carl Radle; drummers Jim Keltner and Jim Gordon; and a horn section comprising Bobby Keys and Jim Price. Another member was Eric Clapton, who joined the Friends line-up as lead guitarist midway through a US tour in July–August 1969. On this tour, Delaney & Bonnie were supporting Clapton’s short-lived supergroup with Steve Winwood, Blind Faith. Clapton later described Whitlock as “without doubt the most energetic sideman I had ever seen”. Along with all the other members of Delaney & Bonnie, Whitlock flew to England in November 1969 to prepare for a much-publicized European tour, financed by Clapton.

In his autobiography, Whitlock states that their arrival in London changed the dynamics within the band, as the Bramletts now considered themselves “big stars” and the ones solely responsible for the new-found success. Once in London, Whitlock participated in a session for US soul singer Doris Troy’s solo album on the Beatles’ Apple record label. The album, Doris Troy (1970), was co-produced by George Harrison, who, having championed Delaney & Bonnie in the British press, accepted Clapton’s invitation to join the tour. Through Harrison, Whitlock and the band then played at John Lennon’s “Peace for Christmas” concert, held at the Lyceum Ballroom in London on December 15, 1969.

In early 1970, Delaney & Bonnie and Friends backed Clapton on his debut solo album, Eric Clapton, and toured America with the English guitarist. Arguments over money with the Bramletts then led to the other Friends quitting the band and joining Leon Russell on Joe Cocker’s Mad Dogs and Englishmen tour. Whitlock continued to work with Delaney & Bonnie until April, following sessions for their To Bonnie from Delaney album (1970). On Cropper’s advice, he then returned to England to stay with Clapton at his Surrey home, Hurtwood Edge.

Seeking to start a new band, Whitlock and Clapton reunited with Radle and Gordon at a session for P.P. Arnold, before going on to back Harrison on his 1970 triple album All Things Must Pass. Whitlock has described the latter sessions as “spectacular in every way”. Although individual contributions remain hard to ascertain, due to the large cast of musicians on the Phil Spector-produced recording, Harrison biographer Simon Leng identifies Whitlock as one of two “core keyboard players” on All Things Must Pass. Having traditionally favored Hammond organ as his keyboard instrument, Whitlock played piano for the first time on a studio recording during the session for Harrison’s “Beware of Darkness”.

In June 1970, early in the All Things Must Pass sessions, Clapton, Whitlock, Radle and Gordon formed the blues-rock band Derek and the Dominos. Their first release was a US-only single, “Tell the Truth”, produced by Spector and written primarily by Whitlock. In August, once their work on Harrison’s album was complete, Derek and the Dominos toured the UK, playing to small venues. That summer, Whitlock and his bandmates also participated in London sessions for Dr John’s album The Sun, Moon & Herbs (1971).

Unhappy with Spector’s treatment of their sound, the band went to Criteria Studios in Miami to work with producer Tom Dowd, on what became a double album – Layla and Other Assorted Love Songs (1970). As well as a remake of “Tell the Truth”, the album included five other songs written or co-written by Whitlock, including “Anyday”, “Why Does Love Got to Be So Sad?”, “Keep on Growing” and “Thorn Tree in the Garden”. In addition, Whitlock helped Clapton finish “Bell Bottom Blues”, although he was not credited as a co-writer on that song. “Keep on Growing” and “Thorn Tree in the Garden” featured Whitlock on lead vocals, while on other tracks he and Clapton shared the singing in a style reminiscent of Sam & Dave.

After the recording [of Layla], we were on the road, and we scored an enormous amount of drugs to take with us. That was the beginning of the end… [Still], on our worst night we were the best band on the planet. It was impossible for us to play badly.

Adding to the power of the Dominos’ music, Clapton’s inspiration for the songs on Layla was his unrequited love for Pattie Boyd, Harrison’s wife. Whitlock began a relationship with Boyd’s sister Paula at this time, and was therefore, as he has described it, “in the inner circle … in the middle of it with all of them”. He comments on a musical dialogue between Harrison and Clapton in their songs: “There were subliminal messages, going back and forth, between two good friends as a way of healing and setting each other free … I have always known that the better part of those songs [on All Things Must Pass] were directed to Eric, just like Eric’s were to George on the Layla record.”

Between October and December 1970, Derek and the Dominos toured the United States in support of Layla, but the album made little commercial impact on release, failing to chart in the UK. Clapton’s despondency at being rejected by Boyd, the band’s drug consumption, and personal conflicts between the members, particularly with Gordon, all contributed to the break-up of the Dominos in May 1971.

Whitlock recorded his debut solo album, Bobby Whitlock (1972), at London’s Olympic Studios in 1971, with Andy Johns as his co-producer. The recording took place before the abortive sessions for the Dominos’ second studio album; a press release for the 2013 reissue of Bobby Whitlock gives the recording date as starting in March 1971, while Dominos biographer Jan Reid writes of sessions happening in January that year. Whitlock played acoustic or electric rhythm guitar on much of the album, which also included musical contributions from all the Dominos (often recorded separately), the Bramletts, Harrison, Keys, Price and Keltner. Among its tracks, “Where There’s a Will” was a Whitlock–Bonnie Bramlett collaboration that had featured in Delaney & Bonnie’s live shows in 1969–70, and “A Day Without Jesus” was co-written by Whitlock and Don Nix. The record peaked at number 140 on the US Billboard 200 chart, the same magazine praising it as “a persuasively powerful first album”.

Whitlock’s second solo album, also on ABC-Dunhill Records, was Raw Velvet, released in November 1972. It included appearances by Clapton and Gordon, on “Hello L.A., Bye Bye Birmingham”, although the majority of the album, including another remake of “Tell the Truth”, featured new associates such as guitarist Rick Vito and ex-Van der Graaf Generator bassist Keith Ellis. The album was co-produced by Jimmy Miller, whose connection with the Rolling Stones led to Whitlock making an uncredited contribution to the band’s Exile on Main St. double album (1972). By this point, Layla’s title track had become a hit song, following its release as a single to promote the History of Eric Clapton compilation (1972), leading to a critical reappraisal of Derek and the Dominos and belated commercial success. A 1970-recorded live album, In Concert, was similarly well-received when issued in January 1973. Raw Velvet peaked at number 190 on the Billboard 200, however, and it was Whitlock’s last album to place on the chart. Whitlock tried in vain to get Clapton to come out and play; realizing it was not going to happen, after two years of waiting, he went back to the United States.

"You know I’m indirectly responsible for disco? [Clapton’s manager] Robert Stigwood took the Dominos’ money, used it to create RSO Records and record the Bee Gees. My deepest apologies to the entire music world."
Bobby Whitlock, December 2006

Featuring many of the same musicians as his previous, One Of A Kind, Rock Your Sox Off mines similar sonic landscapes. The album is the expected mix of bluesy rockers and gritty soul, elevated above the ordinary by Whitlock's heartfelt vocals. Sweet Mother's Fun adds a little diversity, with mexican trumpets giving it a cantina blues sound. Also of note is a song he previously did with Eric Clapton's Derek and the Dominoes, Why Does Love Got To Be So Sad, here slower and more groove-oriented. In addition, the album features the top-notch production of Paul Hornsby and the gutsy guitar of relative unknown Jimmy Nalls.

Bobby Whitlock - 1975 - One Of A Kind

Bobby Whitlock 
One Of A Kind

01. Movin' On 5:05
02. You Still On My Mind 3:06
03. Rocky Mountain Blues 2:55
04. Be Honest With Yourself 4:04
05. Goin' To California 3:47
06. Free And Easy (Way Of Lovin' You) 4:30
07. The Right Road Back Home 3:45
08. You Don't Have To Be Alone 5:45
09. Have You Ever Felt Like Leavin' 3:25
10. We Made It To The Moon 3:35

Bass Guitar – Kenny Tibbetts
Drums – Rick Eckstein
Electric Guitar, Banjo – T.J. Tindall

Guest, Congas – Jaimoe (tracks: A1, B1)
Guest, Piano – Chuck Leavell (tracks: A3, B2, B5)
Guest, Slide Guitar – Richard Betts* (tracks: B3), Dru Lombar (tracks: A3)
Guest, Tambourine – Johnny Sandlin (tracks: A5, B4)

Lead Vocals, Guitar [Leslie Guitar], Organ, Piano, Acoustic Guitar, Chimes, Backing Vocals – Bobby Whitlock

By the time of One Of A Kind, Bobby Whitlock had signed to southern-rock stalwart Capricorn Records. As a result, the album features some notable label-mate guests including Johnny Sandlin and members of the Allman Brothers. One of the highlights is Dickey Betts' tasteful and haunting slide on You Don't Have To Be Alone. Other notable tracks include Free And Easy (Way Of Lovin' You) which recalls Never Ending Song Of Love from Whitlock's days with Delaney & Bonnie and is a light and airy mini-masterpiece. Movin' On is one of the best songs from his entire career, featuring a driving rhythm section and amazingly tight band interplay. As usual, Whitlock injects everything he's got into his vocals, which range from a bluesy growl to a whisper.

Bobby Whitlock - 1972 - Raw Velvet

Bobby Whitlock
Raw Velvet

01. Tell The Truth 3:50
02. Bustin' My Ass 3:35
03. Write You A Letter 2:28
04. Ease Your Pain 3:04
05. If You Ever 3:19
06. Hello L.A.,Bye Bye Birmingham 3:52
07. You Came Along 3:04
08. Think About It 3:09
09. Satisfied 3:00
10. Dearest I Wonder 3:50
11. Start All Over 3:25

Bass – Keith Ellis (tracks: A1 to A5, B1 to B5)
Drums – Don Poncher (tracks: A1 to A5, B1 to B5)
Lead Guitar – Rick Vito (tracks: A1 to A5, B1 to B5)
Rhythm Guitar, Keyboards, Vocals – Bobby Whitlock

Co-produced with Jimmy Miller, "Raw Velvet" was Bobby Whitlock's second studio album in less than a year.  Musically the album was divided into a side of rockers ("raw") and a side of ballads ("velvet"), To my ears the collection wasn't a major departure for Whitlock, though this time around there were fewer country-blues tunes; replaced by an emphasis on Derek & the Dominos/Allman Brothers-styled ballads and rockers - notably a cover of 'Tell the Truth'.  The Allman Brothers influences were clearly heard throughout the set's slide guitar moves which were provided by Eric Clapton and Rick Vito.  The real star of the show remained Whitlock's amazing blue-eyed soul howl of a voice.   Exemplified by tracks like 'Write You a Letter', 'Hello L.A., Bye Bye Birmingham', and 'Dearest I Wonder', Whitlock seemingly effortless unleashed the sense of personal pain and anguish that Delaney Bramlett and Eric Clapton could only dream about.   Was it Whitlock's best album ?  Nope.  That said, it's one of those album's with enough charm and surprises to make its way on to my turntable a couple of times a year.

"Raw Velvet" track listing:
(side 1)
1.) Tell the Truth   (Eric Clapton - Bobby Whitlock) - 3:50
At least to my ears 'Tell the Truth' was one of the highlights on the Derek and The Dominos LP.  Whitlock apparently felt the same way, opening his sophomore album with a rousing cover of the tune.  complete with a touch of Elvis snarl in his delivery, this was one of the album highlights.   Over the years folks have speculated about who played lead guitar on the tune.  Familiar possibilities include Duane Allman, Eric Clapton, and George Harrison.  Doesn't really matter who it was since Whitlock turned in a blazing remake.  
2.) Bustin' My Ass   (Bobby Whitlock) - 3:55
Enthusiasitic Bonnie and Delaney-styled country-tinged rocker (emphasis on rocker). Killer slide guitar solo and a nice example of what a great voice Whitlock had.
3.) Write You a Letter  (Bobby Whitlock) - 2:28
'Write You a Letter' has always reminded me of Bon Scott and company trying to record a true boogie rock tune.  Wonder what Whitlock had to do to get his voice to get that unique snarl ...  The track featured another killer lead guitar.
4.) Ease Your Pain   (Hoyt Axton) -3:04
The first disappointment, Whitlock's cover of Hoyt Axton's 'Ease Your Pain' was given an irritating old-time Gospel/country feel.  Complete with massive backing chorus, the feeling was about as forced as a chewing gum commercial.  No idea why Dunhill tapped it for release as a promotional single.  
5.) If You Ever  (Bobby Whitlock) - 3:19
Hum, kind of a rockabilly tune with some nice Beatle-esque chords hidden in the background.  
6.) Hello L.A., Bye Bye Birmingham   (Delaney Bramlett - Mac Davis) - 3:52
Literally blanketed in squealing fuzz and slide guitar, 'Hello L.A., Bye Bye Biimingham' was the album's heaviest tune; sounding like it would have been right at home on the Derek and the Dominos LP.   With Whitlock sounding like he was going to lose a lung, the song also had one of the album's most commercial edges.   Dunhill released the song as a promo single.   s

(side 2)
1.) You Came Along  (Bobby Whitlock) - 3:04
One of Whitlock's prettiest songs - the piano powered 'You Came Along' had a very Derek & the Dominos vibe on this one.
2.) Think About It  (Bobby Whitlock) - 3:09
Another modest disappointment, 'Think About It' started out sounding a bit MOR-ish, before picking up mid-song steam.
3.) Satisfied  (Bobby Whitlock) - 3:00
Pretty acoustic guitar powered mid-tempo number.  Always liked Whitlock's plantaitive vocals on this one.
4.) Dearest I Wonder  (Bobby Whitlock - Paula Boyd) - 3:50
Showcasing some stunning slide guitar and Don Pncher's martial drums, 'Dearest I Wonder" was easily the album's standout performances.  Perhaps worth the price of the album on its own ....   Co-written with then girlfriend Paula Boyd (Patti Boyd's sister), for year's folks speculated Duane Allman played on this track (easy to see why),.  Others guessed it was Eric Clapton trying to sound like Duane.   Finally, in his autobiography "A Rock 'n' Roll Autobiography" Whitlock credited Rick Vito with the stunning slide performance - guess Vito was trying to channel his inner Duane.
5.) Start All Over  (Bobby Whitlock) - 3:25
The highlight of the pretty closing ballad 'Start All Over' came in the form of Rick Vito's chiming electric guitar.  It's always reminded me a bit of something from George Harrison's catalog.

As far as I know, the first single was only released in promo format:

- 1972's 'Ease Your Pain' b/w 'Ease Your Pain'  (Dunhill catalog number D-4318)
- 1972's 'Hello L.A., Bye Bye Birmingham' b/w 'Start All Over'  (Dunhill catalog number D-4326)

With little promotional support the album still managed to hit # 190 on the US album charts.

For anyone interested, Whitlock has a website at:

Bobby Whitlock - 1972 - Bobby Whitlock

Bobby Whitlock
Bobby Whitlock

01. Where There's A Will There's A Way 3:43
02. Song For Paula 4:17
03. A Game Called Life 4:17
04. Country Life 2:58
05. A Day Without Jesus 3:22
06. Back In My Life Again 3:30
07. The Scenery Has Slowly Changed 3:50
08. I'd Rather Live "The Straight Life" 2:30
09. The Dreams Of A Hobo 3:17
10. Back Home In England 2:50

Bobby Whitlock: vocals, acoustic guitar, 12-string guitar, keyboards, producer
Eric Clapton: guitar
George Harrison: guitar
Jerry McGee: guitar
Klaus Voormann: bass
Carl Radle: bass
Jim Gordon: drums, tabla
Jim Keltner: drums
Chris Wood: flute
Jim Price: trumpet, trombone
Bobby Keys:saxophone
Delaney Bramlett: guitar, backup vocals, producer
Bonnie Bramlett: backup vocals
The L.A. Symphony Orchestra

Whitlock’s story is a remarkable one. Born to a hardscrabble existence, raised in abject poverty, abused by his preacher father and was sent out to pick cotton in the fields. Moving from one railroad town to another, Whitlock was quite literally from the wrong side of the tracks.

Yet thanks to his singing and piano playing, music was Whitlock’s escape. Winding up in Memphis, Whitlock hooked up with Stax Records, who signed him as the first white artist to their new pop label HIP. But it was soul music, not pop, that was in Whitlock’s heart – and his break came when Delaney & Bonnie asked him to join their band, The Friends.

Following Delaney & Bonnie from Stax to Elektra Records, Whitlock found his life starting to intertwine with ‘60s rock royalty. Delaney & Bonnie took him on tour with Blind Faith, where Eric Clapton was impressed with Whitlock’s playing and the camaraderie he saw in The Friends. Soon, Whitlock joined Clapton, Jim Gordon and Carl Radle in Derek & The Dominos, the crack unit that backed George Harrison on much of the seminal All Things Must Pass and recorded the classic rock album Layla And Other Assorted Love Songs.

During the recording of those albums, Whitlock tentatively made his first steps as a solo artist. Though drugs were already beginning to tear Derek & The Dominoes apart, Whitlock was able to call on some high profile friends (and “Friends”) to play on his album, including Clapton, Harrison, session bassist Klaus Voorman (John Lennon, Carly Simon, et al), drummer Jim Gordon, Chris Wood (of Traffic) and others. “I really loved my first record and everything that was behind it,” says Whitlock now. “And for the love that was brought to the room by everyone each time we recorded. I know that you can hear it in Eric’s solo on "The Scenery Has Slowly Changed.”

When Bobby presented his album to Atlantic Records they rejected it, citing a different vision for his debut record. So Bobby bought himself out of his contract.

Pat Thomas, the reissue producer of this CD, told Bobby Whitlock during their first conversation about reissuing these recordings: "Your first two solo albums are the missing link for all this seminal music that has been on CD for years; Layla and Other Assorted Love Songs, All Things Must Pass, Mad Dogs and Englishmen, Dave Mason’s Alone Together, and Delaney & Bonnie and Friends ’On Tour’ with Eric Clapton.”

Bobby paused for a moment, and said, “I never thought about it like that, but you’re absolutely right.”

Kush - 1975 - Nah,Tellus Wh't Kush Means Yer Great Sausage

Nah,Tellus Wh't Kush Means Yer Great Sausage

01. Come Down
02. I'm Your Football
03. Out Of My Tree
04. What Do Mountains Say
05. Dream On (Parts I, II, And III)
06. Mr. Plod

Bonus Tracks:
07. I'm Your Football
08. Banana Song
09. Whatever Happened To The Good Old Days
10. Hey Sam
11. Temptation's 'Bout To Get Me
12. Where Will I Be? (Tomorrow)
13. The Clapometer
14. Soul Vaccination
15. All Right In The City
16. MacArthur Park
17. It's Your Move

Bass, Vocals – Clive Harrison
Drums – Nick Lister
Guitar – Dave Herzog
Organ, Piano, Clavinet – Steve Ball
Saxophone, Flute, Clarinet, Violin – Arthur Robinson (2)
Vocals – Geoff Duff

Kush's second album, enigmatically tilted  Nah, Tellus Wh't Kush Means Yer Great Sausage is also a little bit of an enigma itself. Without going into too much detail (because I don't understand it myself anyway), the "sausage" is Geoff Duff himself, "Super Sausage" being an alter ego of his on which he based costumes, stage designs and even planned a book and concept album about two groups of warring sausages or some such. And of course no one really knows what "Kush" means.

Anyway, I probably like the follow up less than the debut because the band toned up the camp, which is not necessarily a bad thing, but unfortunately it appears to be at the expense of the prog which was the highlight of the debut. The band's personnel changed significantly between albums with only two of the original members making it to the second album. With a number of line-up changes, the band eventually went from an eight-piece to a six-piece with the brass section suffering the most.

Most of the tracks end up pretty flat ('Come Down', 'Out of My Tree', 'What Do Mountains Say') or downright annoying ('I'm You Football'). 'I'm Your Football' especially was fairly notorious for its double entendre lyrics, which are all "obvious" and quite tame by today's standards, but were very controversial at the time of the song's release. But to me it's not clever or funny. The music itself is generic big band vaudeville, serving no purpose but to be a platform for the "playful" lyrics.

Without the prog, the majority of tracks end up just being standard jazz or jazz rock. So a track like 'Easy Street' from the debut is representative of most of the tracks on the first side such as 'Come Down' and 'Out of My Tree', even if 'Come Down' is a fair bit more funkier. I don't mind 'What Do Mountains Say' too much although it's a real strange track with all sorts of changes of direction in its four-minute running time – from tropical reggae to jazz to funky progressive instrumental breaks and back again before suddenly finishing.

'Dream On' is a bit better. Subtitled as being in three parts to clearly emphasise its epic nature, this track is primarily an atmospheric, somewhat emotional, epic ballad with a number of jazzy instrumental breaks. Pretty good all around. The closing track 'Mr. Plod', with its frantic keyboards and bass, is musically probably the best thing here. It's got a nice catchy main theme and some pretty neat instrumental breaks, but it's always annoyed me lyrically, because it ain't that clever, right down to the ending "oink, oink, oink oooiiiinnnkk!" to finish the album.

Unfortunately, with all the personnel changes and numerous stylistic and commercial issues, the band broke up shortly after the release of this album and never got a chance to "right the wrongs" of the album. Based on the liner notes in the Aztec release, Geoff Duff openly admits all the weaknesses of the album. To be honest it's a not a terrible album or anything, it's just a whole lot weaker than it might have been and a disappointment compared to the debut.

Kush - 1974 - Presents Snow White...And The Eight Straights

Presents Snow White...And The Eight Straights

01. Wait Overture
02. Easy Street
03. All Right In The City
04. MacArthur Park
05. Wait
06. Satanic Diety
07. Christopher John
08. Klue

Singles - 1973
09. Peter Gunn
10. The Sky Is Falling
11. Can't You Hear Me Calling
12. Wait
Live In The Studio - 1973
13. Introduction
14. Does Anybody Really Know What Time It Is?
15. Beginnings
16. Interview With Jeff Duff

Geoff Duff — lead vocals, percussion
David Herzog — guitar
Rob Matthews — bass
John Ellis — alto saxophone, baritone saxophone
Bill Harrower — tenor saxophone, flute
Steve Ball — keyboards
John Santos — trumpet
Ian Hellings — trumpet
Nick Lister — drums
The Cookies — backing vocals (05)
Ron Anderson — flute (07)sax (9, 10)
Howard Gable — producer

Graeme McDonald Drums (tracks: 9, 10)
Roger Pell Guitar (tracks: 9, 10)
Ian Mason Keyboards Vocals (tracks: 9 to 12)
Colin Chapman: Trumpet (track 9 to 15)
John Hughes: Trumpet (track 11 to 15)

There are so many styles on this album that it is hard to classify. I guess the defining sound of Kush would be lead singer Jeff Duff's powerful, gruff voice (reminds me a little if Ian Dury), and funky horn section ala Chicago (they covered "Does anybody really know..." on this album, BTW).

However, the band also extends itself into full-blown progressive rock in songs like "Christopher John Suite" (which reminds me of something King Crimson or Yes might have done at that period). Check out the lush mellotrons and flutes! The fantastic "Satanic Deity" has flavours of Blue Oyster Cult or even Herbie Hancock, with a great extended middle section best described as progressive funk.

Contrast this with a song like "Easy Street" which is 12-bar rock song. I also love "Alright in the City" - a song that could be home on a Stevie Wonder or Earth Wind and Fire album, with it's densely complex horns making a cutting interplay with Duff's voice. And yes, it does have a cover of Mcarthur Park - done pretty straight up. I find this song listenable but unessential.

Dispite their obvious influences, Kush still manages to carve out a unique voice, and write energetic music very stong on melody and harmony. This band won't appeal to everyone, but fans of early 70's funk and progressive will find much to enjoy. The 2007 remaster features georgous, clear sound and does justice to a long out-of-print minor Australian classic.

It may appeal to fans with tastes as diverse Chicago, Steely Dan, Yes, early 70's King Crimson, and 70's funk and fusion.

Keep - 1982 - Keep II (Rock'n Rocked Rock)

Keep II (Rock'n Rocked Rock)

01. Rock'n Rocked Rock 9:43
02. Moonbeam 9:26
03. Modja 6:00
04. Aristocrat Bachelor 7:05
05. Ballad 5:12

Drums – Hideo Yamaki
Electric Bass – Yasuo Tomikura
Electric Guitar – Akira Wada
Keyboards – Jun Fukamachi

Despite the subtitle "Rock'n Rocked Rock", Keep's second album is definitely a fusion affair, similar to their contemporaries like Crosswind, Prism, and Casiopea. But the separator here is the ferocity of the instrumental work - recalling edgier outfits of the early 70s like Mahavishnu Orchestra. A marked improvement on Keep's own lightweight fusion debut. 'Aristocrat Bachelor' is the definite highlight here, and is closer to heavy progressive rock than jazz.

Keep - 1981 - DG-581


01. Owl Flight 7:13
02. Pan Neo 7:53
03. Never Ending Sad 6:57
04. Dance Of Paranoia Opus 3 4:10
05. Sonatine 14:57

Drums – Hideo Yamaki
Electric Bass – Yasuo Tomikura
Electric Guitar – Akira Wada
Keyboards – Jun Fukamachi

Early-80's Japanese band, fronted by two important figures of the Fusion scene of the country, keyboard wizard Jun Fukamachi and skillful guitarist Akira Wada, founding member of the Jazz/Fusion act Prism.Bass duties were delivered by Yasuo Tomikura, while behind the drum kit was  Hideo Yamaki.They recorded their debut album ''DG 581'' for the Jazz-oriented label Trio, a work released in 1981.

Entering the 80's you should expect from any Jazz Rock-oriented band a bit of a slick sound compared to the 70's and Keep are no exception.Obviously influenced by acts such as WEATHER REPORT, RETURN TO FOREVER with a bit of BILL BRUFORD thrown in, they offered an energetic Jazz/Fusion with excellent chaging climates, impressive alternations between dense solos and structured, more progressive themes, while the technical level of the band remains constantly high, even if the production's quality is rather thin.The album contains five, mostly long tracks with fiery guitar work, dominant piano lines and interesting keyboards, only one of them, ''Never Ending Sad'' contains vocals delivered by female singer Miki Sekikawa, propably the most commercial cut of the album with a very mediocre chorus, but even so this one contains evident symphonic and Neo-Classical inspirations in some of the piano and guitar instrumental passages.The rest of the album is solid Prog/Jazz/Fusion with series of bombastic breaks, highlighted by the very good, 15-min. instrumental journey of ''Sonatine'', where the jazzy side of FOCUS meet the grandiose textures of Classical-influenced piano lines and the rich, convincing face of Classic Japanese Fusion, as melody meets virtuosity.Lots of nice variations, both fast and more down-to-earth tempos and clever changes between piano and synth explorations result a very solid and at moments masterful piece.

Not very consistent, but definitely among the goodies of early-80's regarding Japanese music.Well-crafted and dynamic Prog/Fusion, a decent acquirement for all fans of the style.Recommended.

Thursday, October 13, 2016

Free Agents - 1980 - £ 3.33

Free Agents 
 £ 3.33

01. Untitled 17:43
02. Untitled 4:15
03. Untitled 8:36
04. Untitled 6:16

Eric Random
Francis Cookson [aka Sinister Dexter]
Alan Deaves
Pete Shelley

PVC outer sleeve with sticker: GROOVY £3.33

Original Groovy LP never credited Free Agents anywhere. That wasn't known until the record was advertised in music papers like Sounds, and the inserts that came with later copies and other Groovy releases.

Side A live at York University (11/8/78) supporting Gang Of Four.
Side B studio recordings Graveyard Studios, Prestwich.

Front and rear covers of art (not credited) by Francis Cookson a la the original.

From Tony McGartland "Buzzcocks The Complete History" (1995, page 78):
"While [Buzzcocks] are mixing 'Love Bites', the rest of The Tiller Boys play support to Gang Of Four at York University. The gig, played by Francis Cookson and Eric Ramsden, is recorded and subsequently released on Groovy Records - the off-shoot of The Tiller Boys call themselves Free Agents, and the record is both called, and sells for, £3.33p. Despite [Pete] Shelleys absence from the live recording, the remaining tracks which make up the album feature Shelley, Cookson and Alan [Deaves] (guitarist/vocalist with The Worst), recorded at Graveyard Studios in Prestwich, Manchester."

Pete Shelley
b. Peter McNeish, 17 April 1955, Leigh, Lancashire, England. When the Buzzcocks disbanded in 1981, Shelley soon embarked on a variety of solo projects. In fact, his solo history extended before, and during, the Buzzcocks career. As one of the Invisible Girls, he helped out on John Cooper Clarke albums while the Buzzcocks were still active. Around the same time he also launched his own independent label, Groovy. On this he released Free Agents (subtitled Three Pounds And Thirty Three R.R.P., which was also its original price). This consisted primarily of tape loops and feedback, and general free-for-all improvisation. Meanwhile, on New Hormones (the Buzzcocks' original label) came The Tiller Boys EP, another of Shelley's pet projects. The second release on Groovy was Sky Yen, a solo album originally recorded by Shelley in 1974 using electronic instruments. Much akin to work by Kraftwerk, it prefaced the electronic feel of his later solo work. However, it was 1982's Homosapien, a weighty slice of electro-pop concerning bisexuality, that marked the high point in Shelley's solo career. It was produced by Martin Rushent as a launch for his Generic label, and caused much discussion of Shelley's sexuality, and a re-examination of his Buzzcocks lyrics.XL1 in 1983 was more tame, although it did boast the novelty of including a Sinclair computer programme that reproduced the lyrics. One review compounded matters by mentioning no less than five Buzzcocks titles in comparison - a trifle unfairly. Again, it was produced by Rushent, this time with a predominantly disco feel.After 1986's Heaven And The Sea Shelley sought the comfort of a band again, and attempted to retain anonymity in Zip. He re-formed the Buzzcocks in 1989, enjoying an artistic and critical renaissance with the studio recordings Trade Test Transmissions, All Set and Modern. In October 2000 he reunited with the Buzzcocks' co-founder Howard Devoto under the Buzzkunst moniker. The duo recorded a well-received album which owed little to their respective musical pasts.

Pete Shelley notes: 'More of a solo project by Francis Cookson. One side features live recording from Tiller Boys gig at YMCA London [w/] Barry Adamson, Eric Random, Francis Cookson [& Pete Shelley]. Other side studio recordings done at Graveyard Studio, Prestwich.Doodles by Francis.'
The following is from a Shelley interview by C.P. Lee in N.M.E. Feb 9, 1980, although this is Lee talking, not Shelley: "The solo album is entitled `Free Agents' and subtitled `Three pounds thirty three, R.R.P' which is (not surprisingly) also the price. `Free Agents' is a collection of tracks about which the sleeve and the label give no information whatsoever. It's a montage of feedback, tapeloops and drum machines, with possibly a bit of the T.V in the background (well, it was made at home). Experiments in rhythmic annihilation and free form improvisation with just a hint of Buzzcock attitudes in the framing of several of the structures."[Gez notes that C.P. Lee is ex-Albertos Y Los Trios Paranoias and journalist / personality.]
The C.P. Lee interview also mentions an album that was soon to be released called "Cinema Music And Wallpaper Sounds" recorded 1976.
Pete Shelley notes: '"Cinema Music And Wallpaper Sounds" was never released.'
Greg Earle notes: '6 pieces performed for a film soundtrack using guitars / effects / oscillators, drums and other noises. No vocals. It comes in a plain 12" (with hole) cover, much like a "white label" 12" single would. There is no writing on the record label, and there is a "cover" taped over the outer sleeve which basically looks like a page out of someone's notebook (lined paper, etc. ) that someone did some pen doodles on.'

Jukka Hauru - 1975 - Episode

Jukka Hauru 

01. Enema Syringe
02. When I Met My Wondergirl
03. Waltz Bourgeois
04. Episode
05. Elegy
06. Goodbye Pinochet

Teemu Salminen - flute, clarinet, soprano, tenor and baritone saxophone
Pekka Pöyry - soprano and alto saxophone (A1 and A2)
Jukka Hauru - guitar
Jukka Linkola - acoustic and electric piano, synthesizers
Esa Kotilainen - jousisyntetisaattori
Heikki Virtanen - bass
Pekka Pohjola - bass (A1 and A2)
Tomi Parkkonen - drums

Episode was a completely different beast. Eradicating any sense of the Hendrix inspired psychedelic nature of the first album, Hauru did what many early 70s artists did in the fusion era by slicking up his sound into a unit where complicated unison lines are practiced into sterility and virtuosity becomes prominent. Fortunately Hauru brought with him from Information his skill at balancing aggressive pieces with those more low key, although by now all focus is on fusion and jazz to the detriment of those zany, wild-flying pieces that made his debut such a joy. It's not to say the playing isn't any good, if anything it's certainly more mature, yet the restraint and lack of raw power takes the edge off in ways that adds to the loss of distinction. Information was a psych rock ensemble verging fusion, while Episode is after the arrival to the latter. There are still plenty of solo moments from guitar, sax and even an increase in the synthesizer/keyboard prominence, but the atmosphere here seems subdued. I suppose I'd have been more impressed had I heard this album first; it even has a smaller song line up. But overall, it's difficult to see this as anything but "yet another fusion album," particularly disappointing after such an amazing debut.
Undoubtedly Hauru went onto other things, but left no other solo albums under his name after these two. Certainly Information is highly recommended and fans of fusion should probably check out Episode as well. Hauru was truly one of the better unknown guitar players from Europe.

Jukka Hauru - 1972 - Information

Jukka Hauru 

01. Mai-Ling 6:16
02. Room 1972 1:52
03. Jamsession The Finnish Yes Federation's Skinheaded Board 1:33
04. No More Blues 6:55
05. Evil 6:08
06. Splitting 3:24
07. Information 4:35
08. Refilling Valve 3:40
09. What? 4:44
10. Waltz For The Straight Relatives 2:25

Bass – Heikki Virtanen (tracks: A1, B1 to B5), Tapani Tamminen (tracks: B5)
Double Bass – Tapani Tamminen (tracks: A3, A3, A5)
Drums – Reino Laine (tracks: A2 to B5), Tapani Ikonen (tracks: A1)
Guitar, Composed By, Arranged By, Producer – Jukka Hauru
Piano – Olli Ahvenlahti (tracks: A5)
Soprano Saxophone – Markku Marstela (tracks: A4), Sakari Kukko (tracks: A1)
Tenor Saxophone – Raimo Wallen (tracks: A1, A2, A4, B1 to B5)
Violin – Juhani Poutanen (tracks: A2, A5 to B5)
Vocals, Other [Initiations] – Matti Jakola (tracks: A3)

Recorded at Finnvox studios, Helsinki, July 1972.

Jukka Hauru is a forgotten figure in Finnish 70s rock, an artist long lost in the waves of Wigwam, Piirpauke and Pekka Pohjola albums that generally get the lion's share of attention. One of Hauru's albums was even released on the stalwart label of Finland, Love records. It's time to set the record straight. Hauru's debut, Information, was his prize moment. It's a guitar fan's paradise, a psychedelic rock album with some slight jazzy touches that includes wave after wave of Hendrix inspired soloing. Hauru is just absolutely brilliant, sort of the long lost brother of guitar sensation Jukka Tolonen. Riffing drums and bass set down tremendously dexterous performances over which Hauru wails like a madman, pushing the songs, from short to long, to tremendous heights. There is also a sense of humor prevalent on the album, as if Hauru didn't take himself so seriously - read titles like "Jam Session The Finnish Yes Federation's Skinheaded Board" and "Waltz for the Straight Relatives" (a piece heavily reminiscent of Flying Teapot-period Gong). But Information is not all about trio jams, although there are plenty here. Strings are brought in at times and there are also sax leads which help to break up the potential monotony of a guitar, bass and drums type of sound, interesting moments that add to the dynamic flow of the release, such as the piano piece on side 2. The way Hauru juxtaposes rather complicated ensemble sections with the free form, rocking jams works well to give the entirety a diverse flow. But in the end, it's Hauru's guitar show (as well as the less prevalent violin and sax solos), and he was just such a magnificent player, riffing at light speed over anything his backups throw at him. If you love good playing, this album is a no-brainer. Never was the intense riffing style of the earliest Mahavishnu so matched in energy. One of my favorite albums to come out of Finland... Get it!!!!

Wasama Quartet - 1983 - Dirty Date (Featuring Ed Palermo)

Wasama Quartet
Dirty Date (Featuring Ed Palermo)

01. Dirty Date 5:43
02. For You 6:50
03. Club Privé 6:09
04. Blue Funk 6:40
05. Soft Coco 8:03
06. La Maison Joie 1:30
07. Daisy Chain 3:49

 Recorded At – Soundtrack Studios, Helsinki

Alto Saxophone – Ed Palermo (tracks: 1 &4)
Double Bass – Olli-Pekka Wasama
Drums – Jukka Wasama
Guitar – Ilkka Niemeläinen
Reeds – Pentti Lahti

Wasama Quartet - 1980 - Wasama Quartet

Wasama Quartet 
Wasama Quartet

01. Hickory 4:30
02. Cherrytree 4:28
03. Con Dong 4:00
04. Super Slug 3:33
05. 7? 8? 4:44
06. Aschkopf 5:01
07. Cheyenne 3:01
08. T.H.E.C. 3:59
09. Goodbye Hickory 5:30
10. Black Oho!! 4:47

Acoustic Guitar – Ilkka Niemeläinen
Bass – Olli-Pekka Wasama
Drums, Percussion, Vocals – Jukka Wasama
Violin – Mikko-Ville Luolajan-Mikkola

Recorded October -79 at Soundtrack Recording Studios.

Wasama Quartet was founded in Helsinki, Finland in 1976. The band played a mixture of folk, ethnic music and jazz because of the various musical backgrounds of its members. The founding members were Mikko-Ville Luolajan-Mikkola (violin), Ilkka Niemeläinen (guitar), Olli-Pekka Wasama (bass) and Jukka Wasama (percussion). Luolajan-Mikkola left the group in the early 1980s and he was replaced by Pentti Lahti (flute, saxophone, clarinet). The band released albums in 1980 and 1983.

Uni Sono - 1975 - Uni Sono

Uni Sono 
Uni Sono

01. TVL 6:15
02. Chorea Urbana 8:30
03. Boulevard Blues 6:45
04. Jedi And Rekku (Redi Jekku, Pennut) 11:22
05. Iltatähti 9:31

Bass – Pekka Pohjola
Drums – Reino Laine
Electric Piano, Grand Piano, Synthesizer [Moog Satellite, String Synthesizer], Organ – Olli Ahvenlahti
Flute, Saxophone [Soprano, Alto, Melody], Other [Maestro Woodwind Sound System] – Paroni Paakkunainen*
Guitar – Nono Söderberg
Percussion – Reino Laine, Paroni Paakkunainen*

Recorded at Marcus Music AB, Stockholm, May 1975'
"Chorea Urbana" dedicated to Matti Kurkinen

Sort of a Finnish Fusion supergroup, set up in 1973 with Paroni Paakkunainen on sax/flute, Olli Ahvenlahti on synths/elctric piano, Reino Laine on drums, Mike Koskinen on trumpet, Piirpauke's Hasse Walli on guitar and Make Lievonen on bass.For unkown reasons though the line-up that made it to Uni Sono's sole self-titled album from 1975 was Paakkunainen, Ahvenlahti and Laine along with Pekka Pohjola on bass and Nono Soederberg on guitar.The album was released on the Hi-hat label.

''Uni sono'' is somewhat similar to pre-Bill Connors WEATHER REPORT lp's, smooth Jazz Fusion, which occasionally breaks into a minimalistic moods and ethereal soundscapes, due to the presence of Ahvenlahti there are maybe stronger bits of atmospheric synthesizers around.Regarding the veteran, experienced line-up, we should expect much more from such a formation, the combination of keyboards, sax soloing and funky lines on bass is not fully convincing and the album lacks certain levels of energy, ending up to be pretty monotonous and laid-back as a whole.Lots of electric piano, dreamy sax melodies and solos and sporadic guitar moves are contained in this one, but the atmosphere even tends towards Lounge Jazz at moments, making the album better as a background listening.Not very fond also of the individual and isolated instrumental noodling or the abstract improvisations.On the other hand, when the team decides to collaborate, the music becomes more cohesive, tight and interesting like in the opening ''Tvl'' or the second part of the 11-min. long ''Jedi and Rekku'' with the very good guitar solo of Soedberg and the pounding electric piano of Ahvenlahti.

The project came to an end the very same year, when Paakkunainen moved to USA to study in the Berklee School of Music.Pekka Pohjola of course continued his very interesting solo career and teamed up again with Olli Ahvenlahti in The Group.

Average Jazz Fusion, executed by an impressive line-up, but good moments are unfortunately few, as the team spent its time mostly in relaxed and non-risky ideas.Recommended to fans of early WEATHER REPORT.

Jukka Linkola Octet - 1982 - Lady In Green

Jukka Linkola Octet 
Lady In Green

01. Boogie Woogie Waltz 7:40
02. Blues For Oliver 4:39
03. Lady In Green 4:18
04. Ode To C.S. 5:17
05. Hawaii 5:41
06. Short Story 4:53
07. Eyes 6:26
08. Malaria 5:38

Esko Heikkinen
Ilkka Hanski
Jukka Linkola
Jukkis Uotila
Pentti Lahti
Teemu Salminen
Tom Bildo

All compositions on this album were composed during the years 1981 and 1982 with the subsidy of the Finnish Government particularly for this line-up except for A3 which was originally composed for the play "Peer Gynt" performed at the Helsinki City Theatre and afterwards arranged for the octet.
The suite "Festival Movements" including the Big Band arrangements of the compositions B2, B3, B4 won the first prize in the competition for jazz compositions in Finland 1981.
This record has been produced by the support of the Foundation for the Promotion of Finnish Music.

Recorded at Finnvox Studios, Helsinki, May 1982.

Four years after "Proto-funk" they came back with another record that charts more squarely in the big band style-- even more reminiscent of the German group Noctett, by this time, even in Finland, fusion was probably a dirty word...

But I would like to feature it because of the awesome track called "Hawai'i."  Surprisingly, it's not all about ukulele strumming, circles of fifths, and diatonic ditties with major chords a la Don Ho and Tiny Bubbles.  Like the "Seven Sacred Pools" of Joachim Kühn (footnote: the natives make a point of saying they are not sacred, this is an inappropriate misnomer like calling the White House a sacred temple) it's a serious composition that evokes the verdure, the clouds, the beautiful birds and the fresh rainshowers that appear so suddenly but depart so swiftly.  For those who have been there, this is a place that stays in the heart forever, as Joachim and Jukka probably realized.

The minute you step off the plane-- passing through the open-air Honolulu Airport with its mahogany walls and numerous palms, you will smell the unmistakable thick subtropical wind full of orchids, rainforest and warmth, a smell you will never forget for as long as you live.  In Hawai'i you will do the dutiful tourist activites-- seeing the volcano on the big island, the longest continuous erupting volcano in the world, drive through the lush rainforests and stare, slack-jawed, at the plummeting cliffs going down to the ocean on the 'road to Hana', trek through jungles to see brilliant huge waterfalls falling hundreds of feet down into cold fresh pools, watch the championship level surfers on the North Shore of Oahu and be awed by their skills-- which took years of daily practice to master, make no mistake about it (I've tried it, and it's really hard), taste the wonderful abundance of seafood and hopefully try the magnificent fish called Wahoo, the name supposedly derived from the island name of Oahu, which the natives there call Ono (meaning delicious), maybe you will see the mandatory-touristy luau and watch the dancers-- but this is just a superficial tasting...

It's only when you've spent a few weeks there, enjoying the friendliness of the locals and their universal 'hang loose' hand signal, finding completely empty white sand beaches with gorgeous waters, walking hours along rainforest trails, swimming in secret ponds at the foot of waterfalls, visiting enormous valleys in the central parts of certain islands, as majestic as the Grand Canyon, that you will understand, really understand... Hawai'i is a paradise on earth, as close as we will get to experiencing Eden.  Then when you return home to the boring daily job of 30-40 hours a week you use to waste time and buy food until you get old and retire, having to deal with angry coworkers, upset clients, insoluble problems you are required to fix, the horrid cold in our Northern Hemisphere, driving past the endless suburbs of home depots, Starbucks, and Burger Kings to drive home late at night with no forest anywhere nearby, you will miss Hawai'i-- I guarantee.  And the more you go there, the more deeply you will miss it...

How you'll yearn to go back, like Gaugain to Tahiti, or Rimbaud to Africa, to hear the sweet music, to smell those gorgeous orchids, walk through the forests with grand three-hundred foot wide monkey pod trees, grander than the cathedrals the Europeans spent hundreds of years building, sit on a rock at the bottom and pass hours just watching the forest in its element...

With regards to the sample song "Hawai'i" notice how the woodwinds-- as usual I should say-- evoke the clouds passing by, or a flock of birds flying away, with their turbulent, arpeggiated style.  As well, using the 'polytonality' of D on top of the key of C (the tritonal F sharp in fact) here makes one think of mists, showers, water, etc., due to the layering of one chord on top of the other, as if a reflection in a pool of water.  A very composed track for sure from the hand of this master:

Jukka Linkola Octet - 1979 - Protofunk

Jukka Linkola Octet 

01. Protofunk 6:15
02. Morning Song 5:21
03. Discantus 6:08
04. Smash 7:00
05. Dithyrambos 1 6:05
06. Dithyrambos 2 6:35
07. Dithyrambos 3 5:04
08. Athmos 5:46

Bass – Ilkka Hanski
Clarinet, Soprano Saxophone, Tenor Saxophone – Teemu Salminen
Drums – Jukka-Pekka Uotila
Flute, Flute [Alto], Alto Saxophone, Bass Clarinet, Piccolo Flute – Pentti Lahti
Keyboards, Composed By, Arranged By – Jukka Linkola
Percussion – Upi Sorvali
Trombone, Tuba, Horn [Baritone], Flugelhorn, Recorded By – Tom Bildo
Trumpet, Flugelhorn – Esko Heikkinen

Recorded at Finnvox Studios, Helsinki, June and August 1979

I must repeat how lucky I am to have such friends spread widely over the world, who can introduce me to artists and recordings I would be utterly unfamiliar with were it not for them.
It's impossible to keep on top of what we are trying to do: resuscitate the lost musical treasures from the past decades of rock history, from all over the world.  So I am eternally grateful that there are others to help me who will send material they find that is extraordinary and worth hearing.  This is a labor of love from beginning to end.  Also a labor of time, which I have in short supply, unlike the love for music, which I have in endless supply.  And um, love for my wife which is even more limitless.  .

This particular record-- is just incredible, He created it when he was only 21!

Here you will find some amazing fusion, chamber composition, intensity and energy, coming from the genius composer's hand.  The whole album uses an ancient Greek theme, although it's entirely instrumental, with such references as dithyrambos (a style of poem) and athmos (I remember from Univ. it means breath or soul, because it's the cognate of Indian or sanskrit atman and French 'ame', in fact, the English word breath probably derives from the first part of atman.  I read in a recent review article that there is still fierce disagreement, even though molecular genetics and new statistical analyses were hoping to clear up the issue, about who those Indo-Europeans were, who spread their language over all of Europe and half of Asia about 5000-8000 years ago.)

Notice in the discography he made two other albums with this lineup, one called "Lady in Green" in 1982 and another called "Scat Suite" from 1983 which I have heard, and I can relate to you that it is far more jazzy and far less satisfying, as you'd expect, for by this time fusion was on the way out all over the world.

When you have a look at the man's biography and discography (sans octet), you can see he was quite prolific. The album he made in 1980 with Otto Donner is highly recommended for the progressive fan, being similar almost to a weaker Samla Mammas Manna album.  It's called "Kuinka Myöhään Valvoo Blues?"

As a sample track I will present to you the first, Proto-Funk, which is a perfect representative of the remainder.  Sit back, turn it up loud, and think of how happy and beautiful the musical world was back then-- 35 years in the past, half a lifetime ago, and thank my friend, who knew enough to introduce us to this lost album.

From the back, I will reproduce most of the blurb:

This album is long overdue.  Jukka Linkola Octet, the little big band of comtemporary jazz, has paid its dues.  The group received particular attention at the Pori Jazz Festival 1978, where the Octet played engagingly both by itself and together with several internationally established musicians in the heated jam-sessions of the festival.

And now here is the first album of the JLO, filled with fire and sensitivity seldom heard even in live appearances.  Just listen to the intense but controlled power of the opening selection PROTOFUNK, the misty awakening optimistic rise of MORNING SONG, and the variable rhythms and moods of the DITHYRAMBOS suite.

As a composer, Linkola has been compared to Chick Corea.  Though there are similarities, this music is pure Linkola consisting of material whose originator knows his musicians and their abilities perfectly.  Do I dare compare him to Duke Ellington?  Anyway Linkola sure knows how to use the innumerable possibilities of sound combinations offered by his multitalened reed and brassmen...

by Jaakko Tahkolahti

Jukka Linkola - 1976 - Banana

Jukka Linkola

01. Prologi
02. Tapausten Alku
03. Edistyksen Juhlaa
04. Aita
05. Tottele Aitaa
06. Laulu Aidan Takaa
07. Valkoinen On Kaunista
08. Keskustelu / Lakko
09. Kylän Kuolema
10. Ei Mitään Enää
11. Epilogi Osa 1
12. Epilogi Osa 2

Bass - Ilkka Hanski
Guitar - Juhani Rantanen
Percussion - Jukka Linkola , Upi Sorvali
Piano, Synthesizer, Composed By, Arranged By - Jukka Linkola
Producer - Tommi Liuhala
Recorded By - Dan Tigerstedt
Saxophone, Flute - Pentti Lahti

Jukka Tapio Linkola (born July 21, 1955 Espoo, Finland ) is a Helsinki-based jazz pianist , bandleader and composer. He studied at the Sibelius Academy in Helsinki 1972-1980, and in addition has made a study trip to the United States. He served on the Helsinki City Theatre's conductor from 1979 to 1992.

Composer, conductor and pianist Jukka Linkola began his career in jazz, but since the 1980s he has become better known as a composer of serious music. His repertoire as a composer is exceptionally large. It contains not only orchestral works, concertos and chamber music but also operas, songs, musicals and jazz. In all, 40 recordings of Linkola’s works have so far been released. Linkola has composed a wealth of music for the stage. In 1976 he composed the music for a production by the Dance Theatre Raatikko called “Banana”.

He composed the musicals “Peter Pan”, “Kallion kimallus”, “Peer Gynt” and “Boris Godunov” and the ballet “Näkki” for the Helsinki City Theatre, the musical “Max and Moritz” for the Theatre 2000 in Tampere, “Antti Puuhaara” for the Tampere Theatre and the musical “King Lear” for the TTT-Theatre of Tampere. In 1989 the Finnish National Opera commissioned a ballet for the story by Astrid Lindgren “Ronia the Robber’s Daughter... [long biography follows]

So we see again how brilliant music can be when a classical education is combined with willingness to delve in the realms of jazz and rock. I'm not surprised to read that this is music for dance since it has that extreme variety and change that is typical of ballet. We start with a very atmospheric opening, a sustained piano note (Linkola plays all keys) leading into a very pohjola or wigwam-like sequence of piano chords. Side one progresses into some fairly soft conventional light fusion sounds. By track 5 it seems the experimentation session has gotten started with those typical smooth sounding dark grooves that we often hear in northern european jazz combining electric piano and a lot of minor seconds.
Side two then proceeds into the stratosphere of musical ingenuity. I believe the sixth song is a copy or direct quote of Debussy's Cathedrale Engloutie with the right and left hands playing same chords but I may be wrong. The sense of drama starts to really build up. Track 7 returns us to euphony with a sax and acoustic guitar melody accentuated with electric piano arpeggios sounding like ibises flying off. A long track ensues with all kinds of styles cycling throughout, a more classical composed opening moves into finnforest style electric jazz ending in a gorgeous electric guitar solo and drum break. The prologue is quoted from again with the sustained piano notes, with a really out of this world spacey piano composition in the middle that to me all on its own makes the whole work priceless. The album curiously closes out with some very conventional chord changes on a light fusion sound-- I would almost call it a throwaway song.

What a work! As usual I can only pray someday this kind of music can be regarded rightfully as on a par with the more famous composers in the canon of western music.
Again mention should be made of the brilliant album cover showing barbed wire in closeup. How this refers to banana [republic?] I don't know.

Pentti Hietanen & Teppo Hauta-aho Duo - Wasama Quartet - 2016 - Jazz-Liisa Volume 8

Pentti Hietanen & Teppo Hauta-aho Duo, Wasama Quartet 
Jazz-Liisa 8

01. Pentti Hietanen & Teppo Hauta-aho Duo - April Moon
02. Pentti Hietanen & Teppo Hauta-aho Duo - Shades On The Snow
03. Pentti Hietanen & Teppo Hauta-aho Duo - Pilvi
04. Wasama Quartet - Hickory
05. Wasama Quartet - Celene
06. Wasama Quartet - Witchi Tai To

Pentti Hietanen – piano
Teppo Hauta-Aho – double bass

Acoustic Guitar – Ilkka Niemeläinen
Bass – Olli-Pekka Wasama
Drums, Percussion, Vocals – Jukka Wasama
Violin – Mikko-Ville Luolajan-Mikkola

Black vinyl limited to 300 copies. Includes two insert sheets, poster and a download card.

Live at Liisankatu Studios, Helsinki.
Live broadcast on Channel 2,
Wednesday, November 17th, 1976, 8 PM to 8.40 PM.
Produced by Yle.
Hosted by Jaakko Tahkolahti.