Wednesday, May 10, 2017

Dom Um Romao - 1976 - Hotmosphere

Dom Um Romao 

01. Escravos De Jo 4:03
02. Mistura Fina 3:05
03. Caravan 5:09
04. Spring 3:30
05. Pra Que Chorar 4:40
06. Amor Em Jacuma 5:25
07. Cisco Two 4:06
08. Tumbalelê 3:17
09. Piparapara 3:50
10. Chovendo Na Roseira 3:14

Acoustic Guitar – Ricardo Peixoto, Sivuca
Backing Vocals – Célia Vaz, Gloria Oliveira, Julie Janiero, Sivuca
Bass [Acoustic] – Ron Carter
Bass [Electric] – Juan (Tito) Russo
Cello – Pat Dixon, Ulysses Kirksey
Clarinet – Lou Del Gatto, Mauricio Smith
Congas – Steve Kroon
Drums – Dom Um Romao
Flugelhorn – Alan Rubin, Claudio Roditi
Flute – Lou Del Gatto, Mauricio Smith
Percussion – Steve Kroon
Piano – Dom Salvador
Saxophone – Ronnie Cuber, Sonny Fortune
Saxophone [Soprano] – Mauricio Smith
Trombone – Jack Jeffries, Tom Malone
Trumpet – Alan Rubin, Claudio Roditi

More pop than hot, this mixed bag from Brazilian drummer/percussionist Dom Um Romao ranges from singalong Carnival tunes to more substantial tracks featuring superior arranging and solo work. A veteran of the Latin, pop, and jazz scenes, Romao's extensive CV includes work with Sergio Mendes & Brasil '66 and an early edition of Weather Report. Hotmosphere is in the Latin pop vein of the Mendes group, rather than a missing chapter from the days of Weather Report's I Sing the Body Electric. While Romao is the titular leader, his role on this 1976 release is more of an ensemble member than featured artist. It's Célia Vaz's arrangements for a crack lineup of session players that are the main interest. The high points are the four or five arrangements that gracefully interweave the horns with the sensuously pulsing voices of Sivuca, Julie Janeiro, and Gloria Oliveira. The charts also work in some intriguing Oregon-like passages for cello and soprano sax, and set up strong solos from Mauricio Smith on soprano sax and flute, Dom Salvador on piano, and from trumpeter Claudio Roditi, who brings some hard bop fire to the date. Sivuca's several solos where he vocalizes in unison with his uncredited accordion will be, at best, an acquired taste for listeners. Many, though, will find his piercing nasal tone annoying.

Dom Um Romao - 1975 - Spirit Of The Times

Dom Um Romao 
Spirit Of The Times (Espirito Du Tempo)

01. Shakin' (Ginga Gingou) 3:01
02. Wait On The Corner 6:18
03. Lamento Negro 4:01
04. Highway 4:28
05. The Angels 4:07
06. The Salvation Army 4:02
07. Kitchen (Cosinha) 2:52

Acoustic Guitar – Amauri Tristao
Bass – Frank Tusa
Drums, Percussion – Dom Um Romao
Flute – Lloyd McNeill
Guitar [Electric Guitar] – Joe Beck
Organ, Piano, Guitar – Sivuca
Percussion – Portinho
Piano [Electric Piano], Piano – Dom Salvador
Saxophone [Alto], Flute – Jerry Dodgion
Saxophone [Tenor], Saxophone [Soprano], Flute – Mauricio Smith

Recorded June 6 & November 21, 1973

‘Espirito du Tempo’ or ‘Spirit of the Times’, is the third release from Brazilian percussion extraordinaire Dom Um Romao. Sometimes cited as Brazils ‘finest percussionist’, Romoa performed, collaborated and recorded with such greats as Antonio Carlos Jobim, Joao Donato, Herbie Mann, Sergio Mendes and even Frank Sinatra. However he is more commonly renowned for being one of the founding members of the Jazz Fusion superband ‘Weather Report’, which at the time boasted the ‘cream of the crop’ of The US and South American Jazz players. 
According to several sources, he was a purist and aimed to show, especially on this recording, the true spirit of Afro-Brazilian music.
So it says, so eloquently on the liner notes, “I have the Afro-Brazilian authenticity in my music, because I come from the black people there; my background is from Africa”. 
This album was recorded over two sessions in 1973 and was produced by Dom Um Romao with Joe Fields.
The ‘Spirit’ of Romaos history certainly shines through in the more traditional sounding tracks ‘Ginga Gingou’ and the closing track ‘Cosinha’, which are perfect example of the percussionist at work. Fast paced and super tight with all manner of drums being celebrated in a hypnotic samba rhythm.
The meat of the record is made up of some amazing Jazz fusion style performances featuring flute and saxophone solos and some incredible keyboard playing.
Apart from the traditional opener and closing tracks, ‘Lamento Negro’ stood out as being quite a superb arrangement that outshines the rest In my opinion. With it’s haunting choral lines and intense build ups.
Dom Um Romao is one gifted musician and I think any or all of his work would be appreciated by music fans.

Dom Um Romao - 1973 - Dom Um Romao

Dom Um Romao 
Dom Um Romao

01. Dom's Tune 8:39
02. Cinnamon Flower (Cravo E Canela) 3:30
03. Family Talk 5:30
04. Ponteio 6:30
05. Braun-Blek-Blu 4:40
06. Adeus Maria Fulo 7:59

Acoustic Guitar – Amauri Tristao
Bass – Frank Tusa, Stanley Clarke
Congas – Eric Gravatt
Drums, Percussion, Producer – Dom Um Romao
Electric Piano, Piano – Dom Salvador
Flute – Lloyd McNeil
Guitar [Electric Guitar] – Joe Beck
Harpsichord, Piano – Joao Donato
Organ, Piano, Guitar – Sivuca
Percussion – Portintio
Saxophone [Alto], Flute – Jerry Dodgion
Saxophone [Tenor], Saxophone [Soprano], Flute – Mauricio Smith
Synthesizer – Richard Kimball
Trombone – Jimmy Bossey
Trumpet – William Campbell, Jr.

Recorded June 6 & November 21, 1973

Dom Um Romão is an original stylist of the drums, an instrument in which he is able to evoke sounds of nature, adding much-appreciated overtones by the many artists to whom he has been associated. He also has developed an expressive solo discography.

Fool on the Hill Dom Um Romão became a professional in the late '40s, playing the drums at dance orchestras, later being hired by the Rádio Tupi's orchestra. He was responsible for taking Elis Regina from TV to the Beco das Garrafas (Rio's 52nd Street), where, in 1955, he formed his Copa Trio (which also had pianist Toninho and bassist Manuel Gusmão). In the same period, he was hired by the Vogue nightclub. In 1958, he participated in the bossa nova initial milestone, Elizeth Cardoso's album Canção do Amor Demais. In 1961, Romão played with Sérgio Mendes in his Brazilian Jazz Sextet, which performed in the South American Jazz Festival (Uruguay). In 1962, with Sérgio's Bossa Rio Sextet, he participated in the Bossa Nova Festival at the Carnegie Hall. With Cannonball Aderley, he recorded Cannonball's Bossa-nova (Riverside). With the Copa Trio, he performed in the historic bossa nova show O Fino da Bossa, at the Teatro Paramount (1964). It was the first time that bossa nova was launched in the city of São Paulo. His first album, Dom Um, is from the same year. With pianist Dom Salvador and pianist Miguel Gusmão as the new formation of the Copa Trio, he accompanied several singers at the Bottle's nightclub, at the Beco das Garrafas, including the Quarteto em Cy. Joined by Jorge Ben, they became the Copa 4. Philips released his Dom Um in the same year. In 1965, he participated in Flora Purim's (then his wife) opening album, Flora É MPB (RCA). In the same year, he was invited by Norman Granz to move to the U.S. again, where he performed with Stan Getz and Astrud Gilberto, following them to Europe. A most requested sessionman, he recorded many albums, including one with Tom Jobim. Romão joined Sérgio Mendes's Brasil 66, recording the LP Fool on the Hill (A&M), and toured Brazil (1966). In the next year, he participated on the LP Francis Albert Sinatra & Antônio Carlos Jobim. Leaving Sérgio Mendes's group, he recorded with Tony Bennett (The Movie Song Album), among others. In 1971, Romão replaced Airto Moreira in the Weather Report. Dom Um Romão came in 1972.
Spirit of the Times In 1973, he released Spirit of the Times and toured with Blood, Sweat and Tears. Hotmosphere was released in 1976. Owner of Black Beans studios in New Jersey, he moved to Switzerland in the early '80s. His Dom Um Romão Quintet performed abroad and backed many important artists like Blood, Sweat and Tears and Tony Bennett. Saudades was released in 1993, and in 1998, he recorded the CD Rhythm Traveller in Brazil.

Dom Um Romao - 1964 - Dom Um

Dom Um 
Dom Um

01. Telefone 1:54
02. Jangal 2:02
03. Vivo Sonhando 3:35
04. Consolação 2:15
05. África 3:10
06. Samba Nagô 2:25
07. Diz Que Fui Por Aí 3:00
08. Zona Sul 2:21
09. Zambezi 2:10
10 Fica Mal Com Deus 2:04
11. Birimbau (Capoeira) 2:34
12. Dom Um Sete 2:12

Acoustic Guitar – Waltel Branco
Alto Saxophone – Jorginho (tracks: 8), J.T. Meirelles (tracks: 5)
Arranged By – Cipó (tracks: 1, 11), Waltel Branco (tracks: 2 to 10, 12)
Baritone Saxophone – Aurino Ferreira (tracks: 10)
Bass – Manuel Gusmáo
Drums – Dom Um Romáo
Engineer – Sylvio Rabello
Flute – Jorginho (tracks: 9), J.T Meirelles (tracks: 1, 11)
Percussion – Jorge Arena, Rubens Bassini
Piano – Chaim Lewak (tracks: 7, 8, 10, 11, 12), Toninho Oliveira (tracks: 2, 3)
Technician [Original Recordings] – Célio Martins
Tenor Saxophone – Bijou, Juarez, Kaximbinho (tracks: 12), Cipó, J.T. Meirelles (tracks: 6), Paulo Moura (tracks: 3), Sandoval, Zé Bodega (tracks: 9)
Trombone – Norato, Edmundo Maciel, Edson Maciel (tracks: 3, 4), Macaxeira
Trumpet – Formiga, Hamilton Cruz, Maurílio Santos (tracks: 6), Pedro Paulo (tracks: 2)
Vocals – Edgardo Luís, Joab, José Delphino Filho (tracks: 4, 9)

Cool mix of jazz and samba over a percussions groove, Dom Um Romão being a drummer. Sounds much more modern than its age ...

Lloyd McNeill - 1980 - Elegia

Lloyd McNeill 

01. Samba For The Animals 7:38
02. Behind The Wind [Flute Solo] 2:23
03. Asha II 11:15
04. Elegiac Suite For Elizabeth 12:39
a. Time
b. The Mighty River
c. The Wind
05. Stripped Pants [With Cadenza] 3:14
06. Memory Cycle 7:27

Acoustic Guitar – Claudio Celso
Piano – Dom Salvador
Bass – Cecil McBee
Flute, Flute [Alto] – Lloyd McNeill
Drums [Samba Only] – Portinho
Percussion – Portinho (tracks: B2)
Percussion, Vocals – Nana Vasconcelos
Vocals – Susan Osborn

Recorded Dec., 13, 1979 at Right Track Recording Studios NYC

Lloyd McNeill - 1979 - Tori

Lloyd McNeill 

01. O Mercado (Brazilian Market) 4:55
02. Tori (Segment One) 1:36
03. Tzigane 11:01
04. Tori (Segment Two) 0:43
05. Sambinha 5:20
06. Time Still / Passaro - Pifaro (Flute Bird) 8:53
07. Tori (Segment Three) 1:56
08. Tranquil 11:40

Acoustic Guitar – Amaury Tristao, John La Barbera
Bass – Buster Williams
Flute – Lloyd McNeill
Drums – Victor Lewis
Percussion – Dom Um Romao
Piano – Dom Salvador
Tuba – Howard Johnson
Vocals, Percussion – Nana Vasconcelos

Recorded July 14, 1978 at Regent Sound Studios, Inc.

A beautiful album of soul jazz flute tracks – one of the few self-released classics by the legendary Lloyd McNeill, a player who's never really gotten his due! The album's got a warm spiritual sparkle that brings together Latin and Brazilian touches with McNeill's own lyrical style – definitely in the mode of 70s spiritualists like Harold Vick or Sonny Fortune. McNeill's in the lead on flute, and most of the tracks have Dom Salvador on piano, Dom Um Romao on percussion, and Buster Williams on bass. With a rhythm team like that, you can imagine the soulful modal grooves on the session – and the album's got a number of nice tracks, like "Tori", "Sambinha", and "Tzigane". 

Lloyd McNeill - 1976 - Treasures

Lloyd McNeill 

01. Griot 16:50
02. As A Matter Of Fact 5:48
03. Salvation Army 11:16
04. You Don't Know What Love Is 10:15

Bass – Cecil McBee
Drums – Brian Brake, Portinho
Flute – Lloyd McNeill
Percussion – Ray Armando
Piano – Dom Salvador

Recorded June, 1975 New York City (ASCAP)

The first thing to know about Lloyd McNeill is that his are the very best soul-jazz flute LPs, and each is first-rate, a masterpiece of self-direction. The second thing to know is there is much more to him than his recorded legacy. He is one of those incredible, super-sensitive people who excels at every artistic idiom and endeavor; making wonderful music is just part of his flowing creativity. A professor (at Rutgers University, earlier Dartmouth), he has much to say about music and creativity as well as an impeccable gift for saying it...sensibly. McNeill's writings on his musical experiences provide invaluable documents of "the period" (late 1960s-1970s) as well as a rare glimpse at the joy of a relatively unsung master.

Born in Washington, DC in 1935, McNeill earned his B.A. at Morehouse College in Atlanta and also studied painting at Howard University in his home town and lithography at the Ecole des Beaux Arts in Paris. He has taught variously painting, illustration, and music at Dartmouth, Howard, Spelman, and Livingston College at Rutgers University. Films he has scored include "To Market, To Market," "TV Education in Samoa," and "Summer in the Parks." Also his quartet provided the music for the Spoken Arts LP "The Dream Awake."

McNeill has played with jazz legends --Andrew White (his longtime collaborator/producer), Eric Dolphy, Sabu Martinez, Mulatu Astatke, among many others-- and he has had a significant hand in the arts scene of Washington, D.C. The major galleries of art, including those of the Smithsonian, sponsored multi-media "happenings" that soared far above the hippie caricature of acid rock with light show. During the first flowering of post-Civil Rights, African-American culture, the Lloyd McNeill Quartet's improvisitory, simultaneuous jazz and large-scale painting "happened" while a lucky, perhaps unsuspecting public drank it in.

McNeill believes his influences and their results in his art, music, and poetry are inseparable and mutually reinforcing. Time spent with Picasso in Cannes, 1965 led to new expressions in all three, for instance. And when one brushes against a force such as Picasso, just the idea of "meeting Picasso" has a certain momentum, never mind the inevitable casting of rays of a different kind of light. Canvas, vinyl, the stage, paper, and books of poetry offer a few key imprints of McNeill, and McNeill consistently pays tribute to many illustrious peers.

There are six principal albums, all produced and entirely under the artist's control. Each title surpasses anything comparable on the major labels, even Blue Note. The Black Jazz label may be roughly similar in style, but Asha and Baobab are wholly Lloyd McNeill. The records reflect none of the usual external trends from the decade in which they were recorded; all sound like 1971 rather than 1979. The final record even reprises the first (the exotic, broodingly moody "Asha"), and the sound throughout remains somewhat interchangeable and timeless. But each record has its own themes and currents, and even improvisation has its signatures and fingerprints.

Lloyd McNeill - Marshall Hawkins - 1969 - Tanner Suite

Lloyd McNeill - Marshall Hawkins 
Tanner Suite

01. Black Expatriate 11:20
02. Tanner Blue 9:50
03. Daniel In The Lion's Den 10:43
04. The Banjo Lesson 10:47

Bass, Composed By – Marshall Hawkins
Flute, Composed By – Lloyd McNeill

Tribute to African American artist Henry Ossawa Tanner at the Smithsonian National Gallery Of Art.

Improvised and recorded in the galleries of the National Collection of Fine Arts, at the Tanner Exhibition, July 20, 1969.

Limited, numbered edition of 1000.

Tanner Suite is one of the most beautiful and by far the rarest of all of McNeill’s records, a unique piece of music especially commissioned by the Smithsonian National Gallery Of Art in the late 1960s to accompany an exhibition of the work of Henry Ossawa Tanner, the first African-American painter ever to gain international success.

Tanner Suite was originally released in 1969 as a private individually numbered pressing of 1000 copies on McNeill’s own Asha Record company and has never been issued since. Soul Jazz Records new pressing of this album is also limited to 1000 copies each on vinyl and CD. Both editions come in heavyweight exact-replica hard tip-on USA card sleeve original artwork.

This beautiful and intense set of pieces based around improvisation was the soundscape to the significant exhibition of Tanner's work, created at an important point in post-civil rights African-American self-definition. The music is both profound and spiritual.

Lloyd McNeill is flautist, composer and painter. As musician he studied with Eric Dolphy, played with Nina Simone, Mulatu Astatke, Nana Vasconceles, Ron Carter, Dom um Romao and Sabu Martinez. In the mid-1960s McNeill headed to Paris and became friends with Pablo Picasso. 

Paulo Moura - 1976 - Confusão Urbana, Suburbana E Rural

Paulo Moura
Confusão Urbana, Suburbana E Rural

01. Espinha De Bacalhau
02. Notícia
03. Bicho Papão
04. Tema Do Zeca Da Cuíca
05. Carimbó Do Moura
06. Se Algum Dia
07. Peguei A Reta
08. Amor Proibido
09. Dois Sem Vergonha
10. Eu Quero É Sossego
11. Dia De Comício
12. Pedra Da Lua

Arranged By – Wagner Tiso
Brass – Altamiro Carrilho, Ary Carvalhaes, Cacau, Joãozinho, Lloyd McNeill, Marcio Montarroyos, Maurilio, Mauro Amoroso, Nivaldo Ornelas, Paulo Bombardino, Pirulito, Raulzinho, Ré Menor, Toninho
Cavaquinho – Mané Do Cavaco, Neco
Contrabass – Jamil
Drums – Alexandre Papão, Paulinho Batera
Guitar – Rosinha de Valença, Toninho Horta, Valdir
Leader – Paulo Moura
Percussion – Doutor, Eliseu, Geraldo Bongô, Gilberto, Luna, Marçal, Paulinho, Raphael Corderdos, Serginho, Zeca Da Cuica
Violin – Pareschi, José Alves, Spalla
Vocals – Gilda Horta, Isauro Tiso, Miucha

Even though instrumental choro has been jazz-influenced for decades, reedsman Moura really falls somewhere between choro and jazz-samba. The jazz elements are very strong, the local ingredients more varied and more Afro-Brazilian than usual, and he is fond of a big-band sound and a somewhat staid avant-gardism, both of which are foreign to the mainstream idiom. But the spirit and the underlying sound are choro rather than anything else, even if they do stretch the boundaries. And Moura is a fine player with a fine group.
I'm no expert on Paulo Moura, but after several albums, this is the one that seriously sticks out for me (with maybe 'mistura e manda' not far behind). The first two tracks are seriously scorching, and the rest of the album isnt far behind.
Very highly recommended. An album I can keep coming back to - there's nothing else that quite scratches the same itch!

Charles Earland - 1980 - Coming To You Live

Charles Earland 
Coming To You Live

01. Cornbread
02. Take Me To Heaven
03. Good Question
04. I Will Never Tell
05. Zee Funkin' Space
06. It's The Woman In You
07. Coming To You Live
08. Spend The Night With Me

Charles Earland: Organ

Earland’s Coming To You Live another one of those rare infectious 12? releases which has grown in stature over the years.

Championed by big names such as Gilles Peterson, Theo Parrish and Moodymann, it has become a firm favourite with DJs and clubbers alike, entertaining many discerning dance-floors. Taken from the original master tapes, and released on 180g vinyl.

The groove here is greatly helped out by arrangements from Tom Washington, Weldon Irvine, and Marcus Miller – all great talents for mixing soul into Earland’s jazzier keyboards – yet in a way that still keeps all of the best elements intact! Many of the tracks feature vocals, but in a gently soulful way that glides in nicely alongside the keys – and speaking of keys, Charles plays Fender Rhodes and Arp here in addition to his usual organ.

One of Charles Earland's sweet albums from his years at Columbia Records – done in a mode that's much more R&B than his earliest work, but in a style that's still A-OK with us! The groove here is greatly helped out by arrangements from Tom Washington, Weldon Irvine, and Marcus Miller – all great talents for mixing soul into Earland's jazzier keyboards – yet in a way that still keeps all of the best elements intact! Many of the tracks feature vocals, but in a gently soulful way that glides in nicely alongside the keys – and speaking of keys, Charles plays Fender Rhodes and Arp here in addition to his usual organ. Titles include "Coming To You Live", "Spend The Night With Me", "Take Me To Heaven", "Cornbread", "Good Question", "Zee Funkin Space", and "I Will Never Tell".

Charles Earland - 1978 - Perceptions

Charles Earland 

01. Let The Music Play (6:48)
02. I Like It (5:04)
03. Changes (3:41)
04. Dance America (5:10)
05. Over And Over (9:31)
06. Smile (6:35)
07. Broken Heart (3:50)
08. Charley (0:22)

Backing Vocals – Skyy
Bass, Backing Vocals – Gregory Spotswood
Congas – Alfredo Rios, Jr.
Drums, Backing Vocals – Daryle Moss
Drums – Larry Payton (track 2)
Guitar, Backing Vocals – Clifford Richmond
Lead Guitar – (Butch) Sierra
Lead Vocals, Keyboards, Percussion – Charles Earland
Percussion – Lenny A. Gibbs
Rhythm Guitar – Sol Roberts
Saxophone – Keith Larence (track 6)
Strings – Irv Spice Strings

Earland, one of the leading proponents of the Hammond B-3 organ, meets Randy Muller, the innovator of brassy riffs with Brass Construction, for a crossover attempt. Muller produced the set, and his brass arrangements are OK, but it's Earland's powerful organ that stays on point throughout. The first side is more jazz-disco fusion, while side two is more quiet storm-ish (except for the funky, relentless, nine-minute "Over and Over"). "Smile," a beautiful piece with a stunning sax solo, is the closet thing to jazz. "I Like It" and "Let the Music Play" are earnest but unexpected shots at the disco market.

Charles Earland - 1978 - Mama Roots

Charles Earland 
Mama Roots

01. Undecided (07:44)
02. The Dozens (03:45)
03. Red, Green & Black Blues (04:54)
04. Mama Roots (06:33)
05. Old Folks (05:26)
06. Bluesette (06:37)

Charles Earland - organ,
Dave Schnitter, George Coleman - tenor sax,
Jimmy Ponder - guitar,
Walter Perkins,  Bobby Durham - drums.

Charles Earland - 1977 - Smokin'

Charles Earland

01. Penn Relays
02. Danny Boy's Soul
03. Milestones #2
04. Soon It's Gonna Rain
05. Strangers In The Night

Drums – Walter Perkins (tracks: A3, B1, B2)
Guitar – Jimmy Ponder
Organ – Charlie Earland
Percussion – Herb Fisher
Tenor Saxophone – Dave Schnitter, George Coleman

Fine mid-'70s sextet set featuring Earland's customary soul-jazz, blues, and funk, with uptempo and ballad originals. Tenor saxophonists David Schnitter and George Coleman excel, as does guitarist Jimmy Ponder.

Charles Earland - 1977 - Revelation

Charles Earland 

01. Betty Boop
02. Ode To Chicken George
03. Revelation
04. Shining Bright
05. Singing A Song For You
06. Elizabeth
07. I Wish

Bass – Paul Jackson (tracks: All except B3)
Drums – Harvey Mason
Guitar – Eric Gale (tracks: All except B3)
Organ, Electric Piano, Synthesizer [Arp String Synthesizer], Clavinet, Synthesizer [Mini Moog], Piano – Charles Earland
Percussion – Patrick Ankrom (tracks: All except B3)
Tenor Saxophone – Michael Brecker (tracks: All except B3)
Tenor Saxophone, Bass Clarinet – Arthur Grant
Trumpet – Randy Brecker