Cabaret Voltaire: 2X45

I first learned about Cabaret Voltaire in the mid-1980s, when their videos to such tracks as "Kino" and "Do Right" were still fresh. By that point, the Cabs were a duo consisting of Steve Mallinder and Richard Kirk (Chris Watson was gone by the end of 1981), and their singles were mostly industrial dance tracks intended for rotation in clubland - and they managed some minor hits in their day. Of course even their hits were a bit too left-field to be accused of sounding mainstream. Before then, the band was known for their abrasive electronic experimentation. 2X45 finds the Cabs in transition between their past, when their only intention was to piss their audience off, and what would be their future. The album was recorded over two sessions with somewhat different lineups: one from October 1981 and the other from February 1982.

The sound will please fans of the No Wave scene to no end - it's dark, paranoid, angular, and downright funky. The Cabs' influences were varied, ranging from the minimalism of Steve Reich, ambient music of Brian Eno, the funk that made James Brown famous, and On the Corner-era Miles Davis. I've always dug on the first two tracks especially. "Breathe Deep" sounds like a tune ideal for some postpunk blaxploitation flick soundtrack. "Yashar" has some pretty interesting percussion and tape loops.

Personnel:
Tracks 1-3
Richard H. Kirk - Guitar, Sax, Clarinet, Synth
Stephen Mallinder - Bass, Vocals, Percussion
Chris Watson - Vox Continental, Tapes
Alan Fish - Drums, Percussion

Tracks 4-6
Richard H. Kirk - Guitar, Sax, Roland SHO9 and CSQ 100, Tapes
Stephen Mallinder - Bass, Vocals, Tapes
Eric Random - Guitar, Percussion
Nort - Drums, Percussion

Tracks:
1. Breathe Deep
2. Yashar
3. Protection
4. War of Nerves (T.E.S.)
5. Wait and Shuffle
6. Get Out of My Face

Download 2X45

Joseph Jarman: Earth Passage/Density

Here's another one from the vaults for fans of Joseph Jarman. Earth Passage/Density features Jarman and Moye, accompanied by two other multi-instrumentalists on four very distinct tracks, from the world music rooted "Zulu Village," to the relatively swinging straight-ahead jamming on "Happiness Is," the moody "Jawara," and to the concluding number "Sun Spots" (which is very free sounding and quite dominated by Moye - reminiscent of something from an AEC session). Challenging yet fun music that is easily worth a few listens.

Personnel:
Joseph Jarman - Flute, Clarinet (Bass), Flute (Alto), Flute (Bass), Piccolo, Sax (Alto), Sax (Soprano), Sax (Tenor), Clarinet (Alto), Bamboo Flute
Famoudou Don Moye - Percussion, Chimes, Drums, Triangle, Bells, Cowbell
Rafael Garrett - Bass, Clarinet, Flute, Pan Flute, Conch Shell, Bamboo Flute
Craig Harris - Flute, Percussion, Trombone, Vocals, Voices, Didjeridu, Cowbell, Bamboo Flute

Tracks:
1. Zulu Village (13:11)
a. Hommage
b. Summoning The Elders
c. Children's Sun Celebration
2. Happiness Is (10:15)
3. Jawara (12:15)
4. Sun Spots (11:00)

Recorded on February 16 & 17, 1981 at Barigozzi Studios, Milan, Italy, and released on Black Saint in 1981. The album saw one reissue in 1993.

Download Earth Passage/Density

Foday Musa Suso - Watto Sitta

Watto Sitta, credited to Foday Musa Suso's band Mandingo (also known as Mandingo Griot Society), was one of the fruits of his collaboration with Bill Laswell (during the 1980s and 1990s) and brief association with Herbie Hancock during the 1980s. Recorded during the period in which Foday Musa Suso appeared on Herbie Hancock's album Sound System, and collaborated with Hancock on Village Life and Jazz Africa, Watto Sitta has a considerably more popish sound. Some of that no doubt is due to the presence of Bill Laswell as co-producer, and the temptation at the time to add drum machine effects (they detract a bit considering that the crew assembled included plenty of expert drummers and percussionists). That said, it makes for an enjoyable listen, and although out of print currently, inexpensive copies can be found. The last track is my personal favorite. You'll recognize many of the musicians on Watto Sitta from their appearance as performers on Jazz Africa, and both those albums can be played back-to-back quite comfortably. If you enjoy one of those recordings, you'll enjoy the other as well.

Personnel:
Foday Musa Suso - Kora, Dousongoni, Kalimba, Talking Drum, Lead Vocal
Joe Thomas - Bass
Abdul Kakeen - Guitar
Adam Rudolph - Congas, Moroccan Bongos, FraFra Bell, Gnaua Clapper, Shekere, Turtle Shell
Hamid Drake - Drums
Reymond Sillah - Dudungo
Isatou Walker - Backing Vocals
Nora Harris - Backing Vocals
Robin Robinson - Backing Vocals
Manu Washington - Djembe (track 6)
Herbie Hancock - DX7 Synthesizer (tracks 1, 5)

Tracks:
1. Harima
2. Muso
3. Natural Dancer
4. Kansala
5. Dewgal
6. Don't Worry

Produced by Bill Laswell and Foday Musa Suso. DMX programming by Bill Laswell and Foday Musa Suso. All songs written and arranged by Foday Musa Suso.

Released initially in 1984 on Celluloid (catalogue # CELL 6103) as an LP and three years later as a CD. Later reissued on CD by Terrascape.

Download Watto Sitta

Herbie Hancock & Foday Musa Suso: Jazz Africa

Jazz Africa is the live companion piece to Village Life. Recorded in Los Angeles at some point around 1986, the duo is augmented by a number of sidemen - many of whom were heavy hitters in the music world at the time. Here's an AMG review of the album:

Recorded in Los Angeles' Wiltern Theatre one December afternoon as part of the Jazzvisions project, this was released four years later almost as an afterthought to the series -- and even many of Hancock's electric music fans weren't aware it was out. A pity, for this is one of the great unheralded Herbie Hancock recordings, a rock-'em, sock-'em, live tour de force that fuses Hancock's electric keyboard work, Foday Musa Suso's kora, incantory vocals, and scraping violin, and a thundering African/Caribbean rhythm section. The CD opens and ends quietly with the delicate, folk-like music introduced on Village Life but the record is dominated by two lengthy, madly swinging workouts for Hancock, Suso and the rhythm section, which is anchored by Santana's ageless Cuban-born percussionist Armando Peraza. Though not all of the concert is included here (the laserdisc and VHS versions contain more music), the CD does convey a good deal of the incredible energy level of the live event, where Hancock looked and played like a man possessed. This was a real breakthrough for Hancock, but alas, this perpetual chameleon has yet to pursue this stimulating direction further.

The music draws on the ideas explored on Village Life, but more danceable, funkier than the original. I've done my best to determine the credits from extremely minimal information. Hopefully it's accurate enough. If you liked Village Life, you'll dig this one was well. Copies of this album now sell for around $125, if you can find 'em.

Personnel:
Herbie Hancock - keyboards
Foday Musa Suso - kora, vocals
Aiyb Dieng - percussion
Armando Peraza - percussion
Adam Rudolph - percussion
Joe Thomas - bass
Hamid Drake - drums, percussion
Abdul Hakeem - guitar

Tracks:
1. Kumbasora
2. Debo
3. Cigarette Lighter
4. Jimbasing

Download Jazz Africa

Griot Galaxy: Kins

Griot Galaxy was a Detroit-area crew that flourished during the 1980s. Kins was, as far as I know, their first release. I first of heard of Griot Galaxy in 2004, and over the next year learned a good deal about the band and one of their members, Faruq Z. Bey. These cats at times sound like a portion of one of Sun Ra's arkestras - indeed the song titles alone suggest a Sun Ra influence, as did the band's apparent tendency to perform in Sun Ra-style costumes. At other times throughout the album, they show some definite punk and funk influences, such as on "Zenolog Aintro". Overall, the music is moody, angular music, perfect for the times (then and now). Fans of Sun Ra, Ornette Coleman (especially his Prime Time band), James "Blood" Ulmer (even though there is no guitarist in this band), late-1970s Human Arts Ensemble, and Defunkt should find plenty to like about this crew.

Personnel:
Jaribu Shahid - Acoustic Bass, Electric Bass
Tani Tabbal - Drums
David McMurray - Flute, Tenor Sax, Alto Sax, Soprano Sax
Anthony Holland - Alto Sax, Soprano Sax
Faruq Z. Bey - Tenor Sax, Alto Sax

Tracks:
1. Xy-Moch
2. Zycron
3. Zenolog Aintro
4. Androgeny
5. Kins
6. Xy-Moch Theme

Recorded September 13 & 14, 1981 at Spectrum Sound Studio, Detroit, Michigan. Poem by Mashashahid dated 1-4-82. Released on Black & White Records, catalogue # B & W 001.

Download Kins

The Blue Humans: Live - N.Y. 1980

This album was my introduction to Arthur Doyle. The way that cat could hold his own with Rudolph Grey's guitar playing (with the amps turned all the way to 11) turned me into a believer. During the relatively quieter moments, Beaver Harris lays out this tribal groove that practically calls listeners to join the pit. These cats were playing some extra-loud free-form energy music at punk clubs in the late 1970s and early 1980s, which seems appropriate enough. Hell, we'll call it jazz you can mosh to. Free jazz buffs who dig on punk and no wave, and punks who can groove on jazz will want to play this one at stun volume.

Personnel:
Rudolph Grey (Electric Guitar)
Arthur Doyle (Tenor Saxophone, Flute)
Beaver Harris (Percussion)

Tracks:
1. Untitled
2. Untitled
3. Untitled
4. Untitled

Cover Photo: Ronald V. Williams
Cover Design: Rudolph Grey
Recording Engineer/Graphics Production: R. Bianca
Recorded at Hurrah, NYC March 12, 1980

Released on Audible Hiss in 1995.

Download Live - N.Y. 1980

Plunky & Oneness of Juju: Make a Change

1980's Make a Change marks the completion of the transition Plunky Branch was making from avant-jazz (as was the case on his early 1970s band Juju) to radio-friendly R&B and funk. That's not to say that there aren't some jazzy moments, but the jazz takes a back seat on this outing. The title track even manages to work in some reggae influences. The track "Every Way But Loose" would become a minor hit in the clubs and on the R&B charts in 1982, and sends the message that in addition to becoming more aware, these cats want to make you partay! "Run Away Bay" and "Love's Wonderland" would be considered "smooth jazz" today. Many of the tracks remind me of what bands like Earth Wind & Fire were doing at the time. Jazz purists won't groove on this, but those who don't mind exploring something with an R&B edge will find plenty to love.

Personnel:
Plunky Branch - Horns, Tenor Sax, Soprano Sax, Flute, Lead Vocals, Background Vocals
Muzi Branch - Bass, Background Vocals, Handclaps, Percussion
Ras Mel Glover Jr. - Lead Rhythm Guitars
Virtania "Cookie" Tillery - Lead Vocals, Background Vocals
Kevin Davis - Drums, Conga Drums, Timbales
Weldon Hill - Piano, Fender Rhodes, Synthesizers, Organ
Marcus Macklin - Rhythm Guitar
Eka Ete Jackie Lewis - Lead Vocals, Background Vocals
Okyerema Asante - Talking Drums
Judy Spears - Background Vocals
Veronica "Nilaya" Jones - Background Vocals
William "Bill" Joyner - Piano, Clavinet

Tracks:
1. Make A Change
2. Run Away Bay
3. Love's Wonderland
4. Every Way But Loose
5. Higher
6. Always Have To Say Good-Bye

From the liner notes:

The Oneness of Juju speaks of the unity of our magic, the togetherness of our purpose and the universality of our roots.

This music bridges several groupings who have performed as a family making changes, collectively creating music.

This album is dedicated to all those who have given themselves to make and/or support this music.

Thank you all, Plunky

Recorded at Omega Studios, Kensington, MD. Released on Black Fire Records, catalogue # BF19811).

This album would be re-released two years later on Sutra as Every Way But Loose, with a different track sequence, and an instrumental version of the title track added.

Download Make a Change

Rudolph Grey: Transfixed

Transfixed was released in 1988 on New Alliance Records, catalogue # NAR 036. As far as I know this was never issued as a CD. "Ghosts" is mildly reminiscent of the work Doyle and Grey were doing back when they were together in The Blue Humans. "1,000 Luminous Flowers" and the title track are blasts of pure guitar energy with the amps cranked up to 11. Only "Whirl" provides anything close to relief, and even it, which I believes features Crane on piano, is extremely dissonant. Definitely not for the faint of heart.

Performers:
Rudolph Grey
Arthur Doyle (track 1)
Sumner Crane

Tracks:
1. Ghosts
2. 1,000 Luminous Flowers
3. Whirl
4. Transfixed

Download Transfixed

Joseph Jarman & Famoudou Don Moye: Black Paladins

Tracks

1. Mama Marimba
2. In Memory of My Seasons
3. Humility in the Light of the Creator
4. Black Paladins
5. Ginger Song
6. Ode to Wilbur Ware

Personnel

Henry Dumas - Poetry
Johnny Dyani - Bass, Piano, Tambourine, Vocals, Multi Instruments
Joseph Jarman - Flute, Clarinet (Bass), Sax (Baritone), Sax (Tenor), Voices, Multi Instruments, Conch, Bamboo Flute, Sax (Soprano)
Famoudou Don Moye - Percussion, Drums, Multi Instruments
Isio Saba - Photography
Gigi Barbieri- Cover Art
Giancarlo Barigozzi - Engineer
Giovanni Bonandrini - Producer
Lee Jeske - Liner Notes

The review from AMG:

During the '70s, Art Ensemble of Chicago members Joseph Jarman and Famoudou Don Moye often performed outside the band as a duo, sometimes bringing in other musicians. Here, they made the inspired choice of the late, great South African bassist Johnny Dyani (founding member of the Blue Notes and long-time collaborator with musicians such as Abdullah Ibrahim and John Tchicai) resulting in a buoyant, joyful release. Dyani's opening "Mama Marimba," propelled by both his bass and voice, is an exceptionally infectious number and contrasts wonderfully with Jarman's ensuing "In Memory of My Seasons," a misty dirge featuring the composer's haunting flute work. Moye is ablaze throughout, notably backing Jarman's lovely sopranino on "Ginger Song," and Dyani's deep, throbbing bass is a joy. On the closing piece, "Ode to Wilbur Ware," the bass groove is as thick as honey, providing the framework for elaborate, coloristic percussion and plaintive bamboo flute, bringing the album to a rich, satisfying conclusion. Black Paladins was the Jarman/Moye duo's most successful effort, and one of the most rewarding projects either was involved with outside of the Art Ensemble. A delicious recording.

That it is. Hope y'all enjoy this one as much as I do.

Recorded December 19 & 20, 1979 and released in 1980.

Download Black Paladins, or on sharebee.

Miles Davis: Live Chatelet March 5, 1982

These tracks are bootleg recordings of a live gig from Miles' post-retirement era. Although I'm not a big fan of a lot of his 1980s and early 1990s material, he could still bring down the house live. The vibe on this gig is definitely more laid-back than anything one would get from the 1970s. Fun compare and contrast: check out this gig's version of Ife, and then listen to recordings of Ife from the early to mid 1970s.

The tracks should fit on two CDs. I've broken this down into three parts in order to deal with Rapidshare's limitations.

Download Live Chatelet March 5, 1982: Part 1, Part 2, and Part 3.

Herbie Hancock and Foday Musa Suso: Village Life

A personal favorite for a number of years, that I tracked down on ebay (and which will often fetch a premium unless you get lucky, which was what happened in my case).

The info:

Tracks:

1 Moon/Light 7:57
2 Ndan Ndan Nyaria 9:50
3 Early Warning 2:50
4 Kanatente 19:59

Credits:
Herbie Hancock: Yamaha DX-1 Synthesizer, Yamaha RX-11 Digital Drum Machine, Producer
Foday Musa Suso: Kora, Talking Drum, Vocals
Bill Laswell: Producer

Recorded August 7-9, 1984 at CBS/Sony Studios, Shinao-Machi, Tokyo Japan

Released by Columbia Records, 1985

An absolutely gorgeous live-in-studio album with Hancock and Suso jamming together, weaving these tranquil, improvised tunes that defy easy categorization and must have given the marketing wonks fits. Of course, unlike Hancock's previous albums (Future Shock and Sound System), there was no recognizable hit - nothing to inspire break dancing or made-for-MTV videos. Not too surprisingly, it's been out of print for ages. Hancock and Suso had worked together before (on Sound System), and it's cool that the two musicians chose to explore their ideas outside of a pop or fusion context. It's a shame these two didn't pursue this collaboration further.

A more professional view from Allmusic.com:

This quiet, lovely record, in which the Gambian kora virtuoso Foday Musa Suso is given equal billing, was generally ignored when it came out, probably because it fit no one's preconceived idioms -- be they jazz, funk, MTV, or even world music. The only performers are Hancock on a detunable Yamaha DX-1 synthesizer and drum machine and Suso spinning his webs of delicate sound on the zither-like kora, vocalizing a bit and playing a talking drum -- all in real time in a Tokyo studio. The results are absolutely mesmerizing, with Herbie aligning himself perfectly within Suso's unusual, complex rhythmic conceptions and folk-like harmonies. On the 20-minute "Kanatente," Hancock does introduce some of his own advanced harmonic ideas, and he contrasts and interweaves them with Suso's deceptively simple lines in a splendid jam session that eventually ends in a dance that can only be described as Gambian funk. This music generates the same feeling of ecstatic well-being as an Indian raga -- and even hardcore jazz fans may find themselves seduced against their will.

There was a subsequent live album credited to Hancock and Suso (also out of print) that I'll upload a little later.

Download Village Life.

Leo Smith: Human Rights

First some info:

Leo Smith
Human Rights
Gramm/Kabell records

1. Ethiopia/Africa
2. Don't You Remember
3. Freedom Song
4. Rastafari #4

5. Humanismo Justa (human rights)
6. Trutmonda Muziko (world music)

Leo Smith: voice, trumpet, chinese hand gong, mbira, fluegelhorn, percussion
Stanya: guitar, synthesizers on 3
James Emery: guitar on 1, 4
Thurman Barker: drums on 1, 4
Michele Navazio: acoustic guitar, synth bass on 1, 4
Tadao Sawai: kotos, percussion on 6
Peter Kowald: bass, tuba, percussion on 6
Guenter Sommer: drums, percussion on 6

recorded between 1982 and 1985

a rip by nonwave
thanks to d. smith

I don't often post 1980s recordings here, but every now and then I stumble across a gem that is worth passing along. Leo Smith (these days known as Wadada Leo Smith) recorded this album in the early to mid 1980s and as I understand it, the album was released in the mid 1980s, before vanishing in the ether. Side 1 has some definite 1980s touches, from the electric guitar stylings that would fit within any rock or fusion band of the period, but it never sounds corny or over-produced. Mainly the tunes on the first side are a mix of jazz, reggae, funk, and blues - some of it instrumental, some of it includes Smith singing. Side 2 is a whole different experience altogether, and starts out with a spoken word statement by Smith, followed by some spirited world music-inspired free improv jamming that goes on for nearly a half hour. To an extent it reminds me of the music that trumpeter & multi-instrumentalist Don Cherry had been doing during the 1970s and 1980s, and I can easily imagine that fans of Cherry's world fusion recordings will like this offering as well.

It would have been a difficult recording for marketing wonks to categorize, and I really think the recording deserves to be simply listened to for what it is - nothing more, nothing less. The sound quality on this one seems pretty good. Still would be great if a proper digital reissue became available.

Download Human Rights