The THP Orchestra delivered one of the anthemic disco 12″ in ‘Too hot for love’ and this was the centerpiece of the first double CD of the collective earlier in the year. This latest double header contains the follow up two albums, ‘Tender is the night’ and ‘Good to me’ from 1979 and 1980 respectively alongside a whole host of 7″ and 12″ versions. The first album is significantly stronger than the second, which does sound as though the winning formula had run its natural course. Once again the Canadian-based group were in fact headed by Scotsman Willi Morrison and Ian Guenther and the obvious influence of Philadelphia International in the classy use of strings and brass is augmented by some Euro disco up-tempo beats. At best this works extremely well as on ‘Weekend two stop’ which features lush orchestrations and brass with vocoder vocals. While there is no obvious successor to ‘Too hot for love’ (and replacing the gutsy vocals of Barbara Fry with the smoother sounding sister pairing of Helen and Phyllis Nelson made any attempt at a follow up virtually impossible), it has to be stated that ‘Tender is the night’ is nonetheless in general a fine example of the more refined side of disco and the largely instrumental pieces often come across as an alternative to the MFSB sound. In fact ‘Weekend two step’ could conceivably be viewed as an equivalent to ‘Love is the message’. The album was originally released on milk-white vinyl, which was typical of the era. Its successor, ‘Good to me’, arrived at a time when commercially disco was in free fall from the ‘Disco sucks’ movement and, perhaps, commercial pressures played their part in the drum/handclap unison sound which to these ears now sounds a trifle dated, especially on songs such as ‘Who do you love’ with cheesy keyboards to match and clichéd. In another respect, however, the album was a precursor to the hi-NRG sound that would emerge during the 1980s. Arguably the strongest cut is ‘Two hearts. One love’ which combines a higher tempo with soulful gospel flavours in both the female lead vocals and the collective harmonies. As is the case with virtually all the Disco Recharge series, a plethora of 7″ and 12″ versions accompany the original albums and make the collection a DJs delight. Excellent sleeve notes too. Tim Stenhouse
Singer Phyllis Hyman belongs to a unique category of musicians including Jean Carn and Norman Connors who were successfully able to combine jazz and soul during the 1970s and beyond and yet during her lifetime she did not receive the amount of commercial success that her vast talent richly deserved. This compilation of her Buddah label work overlaps with another CD that is now some twenty-three years old and while there is overlap in the complete original album, fans of Phyllis Hyman will want to have superior quality sound and some additional bonus cuts not on the Sequel selection from 1990 (the latter does, however, contain the long-time favourite ‘Living inside your love’ which is notable by its absence on the new anthology of the singer’s early years along with three additional tracks and one point has been deducted from the valuation of the new compilation not being as fully comprehensive as it could have been, though copyright issues are probably the main cause). After initially singing at an uptown Manhattan restaurant where she was discovered, Phyllis Hyman first came to prominence as part of Norman Connors group, with ‘You are my starship’ becoming a cult favourite of the era. By the time she recorded this debut album as a leader, she was twenty-six years of age and approaching musical maturity. This is reflected in the sophisticated choice of material and by the masterly songwriters chosen to provide her with new material. With the benefit of hindsight these were the cream of session songwriters and included Linda and Thom Bell (on’ Loving you, losing you’), Gary Glenn (‘Be careful how you treat my love’) and Skip Scarborough (‘No one can love you more’). Of the bonus songs, ‘The answer is you’ is this writer’s favourite and typifies Hyman’s velvety vocals to perfection. The only pity is that she was never encouraged to cut a live album where she could have truly stretched out with some jazzy interpretations. Sadly, a long-term struggle with bipolar disorder resulted in an early death at the age of forty-five in 1995. What now seems all too obvious a musical gift was largely shunned by a music industry solely focused on commercial gain.
This is one of three CDs that the Soul Music label has devoted to Phyllis Hyman’s craft and rightly so.
Bassist Steve Swallow began as a leader on an ECM 1974 album ‘Hotel hello’ and a follow up five years later with ‘Home’. However, so cordial and personal was the musical relationship with ECM head Manfred Eicher that by 1986 the musician had concluded a unique deal whereby Swallow could henceforth release albums on his own Xtra Watt label using all the promotional tools that ECM had at its disposal. This agreement has lasted through to the present and is once again on evidence on this latest offering that is notable for the presence of musical and life partner Carla Bley on organ which makes for an interesting departure. As with other recordings under Swallow’s name, they are distinctive in that the leader rarely undertakes long solos himself, but instead prefers to remain in the background, though of course he plays a major role in both the compositions and arrangements and he has a further tendency to be a slow-writing composer. This is a quite a deliberate choice on Swallow’s part and reflects his own quiet, unassuming approach to music. Secondly, the contribution of the leader is unusual in that he prefers to favour electric bass over double bass which is different from musician’s of his own generation. On this new recording, Swallow has surrounded himself with some of the cream of session musicians including drummer Jorge Rossy (formerly with the Brad Mehldau trio), guitarist Steve Cardenas and tenorist Chris Cheek. The music was actually recorded in a Provençal village which goes someway to explaining why there is such a relaxed and joyous feel to proceedings and this has certainly impacted upon the musicians themselves. The laid back opener ‘Sad old candle’ has a somewhat eerie feel to it with Bley conjuring up at atmospheric sound on organ while the gentle unsion playing of guitar and tenor works extremely well, with Cardenas offering a solo into the bargain. More uplifitng is the title track which is initially performed as an organ trio piece before the tenor enters. In fact in terms of small organ combos, this is the nearest the group gets to anything remotely resembling a conventional soul-jazz infused ensemble. The warm tone of Cheek hints at Getz here. Possibly the strongest composition is the laid back groove of ‘The butler did it’ with some soulful tenor that recalls Stanley Turrentine in his prime and the lyrical guitar of Cardenas and subtle polyrhythms of Rossy make this number, the shortest on the album, equally one of the most enjoyable. Swallow’s CV reads like a who’s who of post-bop jazz and he has performed on some memorable albums including ‘Jimmy Giuffre Three’ with Giuffre (ECM re-issues, 1961), ‘Basra’ with Pete La Roca (Blue Note, 1965), ‘Sing me softly of the blues’ with Art Farmer (Atlantic, 1965) and ‘Gary Burton and Keith Jarrett’ (Atlantic, 1971) among many others. Just some of this impressive legacy can still be heard on pieces such as ‘Suitable for framing’ which features a quasi-classical bass sound that goes back to Swallow’s tenure with Jimmy Giuffre and is a bass and guitar duet of distinction. Steve Swallow’s career as a sideman has followed several paths and informed his later period as a leader. From the early 1960s performances as part of a trio with Paul Bley, he then became an integral member of Stan Getz’s quartet before later joining Carla Bley’s big band. He has also collaborated with non-jazz musicians such as Rabih Abou-Khalil on ‘Blue Camel’ (1992) and tenorist Joe Lovano’s ‘Universal language’ (Blue Note, 1993). A European tour will take place between 11-25 July, though sadly there are no dates planned in the UK this time round. Catch the group on the continent if you can. Tim Stenhouse
Coinciding with the thirtieth anniversary of this historic piano trio comes a sumptuous live recording in Lucerne that dates from 2009 and features the long-time trio of bassist Gary Peacock, drummer Jack de Johnette and the leader Jarrett in top form throughout. Collectively they revisit some old favourites and add some new additions to the standard repertoire and this provides an ideal entry point for new fans of the trio as well as long-established ones. A minor Miles Davis theme includes a faithful re-interpretation of ‘I thought about you’ which Miles famously recorded on the ‘Someday my prince will come’ album from 1961 while Miles’ own ‘Solar’ receives a brisk, business-like rendition in keeping with the original. Where the trio excel is on the songbook classics and a glorious uptempo version of ‘Tonight’ is both intense and instantly recognisable with fine ensemble interplay and Jarrett himself at his most lyrical. The leader on ‘Between the devil and the deep blue sea’ begins with a short piano intro that then leads into some lovely drum rolls from de Johnette and heavy basslines from Peacock. After thirty years together, the trio no longer needs to make any kind of musical statement and simply concentrate on delivering some of the most melodic music on the planet. Ideal for a summer’s (or any other) day listening.
Born in 1954, singer-producer Linval Thompson first came to prominence in 1974 when he cut his first 45 and enjoyed major success in 1975 with the Bunny Lee produced hit ‘Don’t cut off your dreadlocks’ which also spawned an album of the same name. By the end of the 1970s, Thompson had recorded two albums of dub material, ‘Negrea love dub’ and ‘Outlaw dub’ from 1978 and 1979 respectively. This previously unissued album from the master tapes in 1979 completes the trio and reworks both soul and reggae vocal interpretations to good effect backed by the heavyweight rhythm section that are the Revolutionaries. Of immediate interest to dub devotees is ‘Babylonian dub’ which is a version of Thompson’s ‘Six Babylon’ and is characterised by the use of keyboards over organ with a brief vocal intro that leads into a prominent bassline and the odd sound effect, doubtless taking a leaf out of the Mighty Two’s chapters 1-5 recordings. It is certainly one of the strongest melodies on the set. A more surprising inclusion, perhaps, is that of a dub version to the US soul group the Delfonics ‘La La means I love you’ ballad (the original of which was heard on the film soundtrack to Quentin Tarantino’s ‘Jackie Brown’). This receives a complete make over with the subtle use of horns and dub echo, but essentially the lyricism of the soul tune is retained and it is not the only soulful re-interpretation on the album for Alton Ellis’ evergreen ‘Willow tree’ classic is also successfully transposed into the dub idiom. Freddie McKay scored a hit with ‘Lonely man’ and a pared down version here focuses on a strong bass and drum riddim. More percussive effects are heard on ‘Boss man’s dub’ with some echo effects on guitar bubbling away in the background. Extensive sleeve notes by reggae aficionado David Katz provide some useful historical overview to the development of the dub phenomenon and this includes some beautiful graphic illustrations of label covers and photos from the roots era.
Here is one of the strongest roots releases of the year so far and a fascinating exploration of the roots of Puerto Rican music which would eventually morph into what we now know as salsa. Madrid-based label Vampi Soul have quite simply assembled the principal sources of archival material for this high quality re-issue anthology with major labels such as Ansonia, Gema and Seeco all showcased within, lavishly packaged it all in a gatefold sleeve with a superlative booklet in English and Spanish that provides historical notes on the evolution of bomba and plena, and virtually all the major artists are covered to some degree (following on from the excellent volume 1). One of the key singers is the legend that is Ismael Rivera, affectionately known as ‘Maelo’ to his fans and he in particular plays a pivotal role in the development of bomba and plena into modern day salsa during the late 1950 and throughout the 1960s. In a very real sense he is the equivalent in terms of influence and stature of Celia Cruz and in fact both belong to the ‘sonero’ school of singers who can ad lib and embellish any song with their own individual voice. As for the twenty-eight numbers on this fantastic value for money compilation that is just a tad under eighty minutes, a few key songs nonetheless stand out among the generally high caliber of numbers. They include the collaboration of Maelo with master percussionist Cortijo (who later turns up on the mid-1970s Latin-fusion classic ‘Time Machine’, an album long overdue for a deluxe re-issue) on ‘El negro bombón’ that has become a Latin standard, another duet on ‘Moliendo café’ and a third on ‘Oriza’ – all of which stand out. Trombonist Mon Rivera is another key musician who re-surfaces at a later date during the salsa revolution, but here he kicks off a new format of trombone playing that would be called ‘trombonga’ with two numbers on offer and subsequently Eddie Palmieri would draw on this influence for his early La Perfecta formation of the 1960s. Elsewhere bandleaders Joe Cotto and Moncho Leña impress as does lead singer Chivirico Davila (who also later became a seasoned salsa singer in the 1970s). What is important to recognise is that the majority of the folk music contained on this compilation, and more generally, was actually recorded in New York and the Puerto Rican diaspora in the Big Apple is crucial to understanding how the roots of Puerto Rican music along with the Cuban son and jazz all fused into a cohesive whole that would commercially be titled ‘salsa’. To find out how the music started off, you need to investigate this anthology urgently. Tim Stenhouse
US-based group Morgan Heritage have constantly bridged the gap between old school roots reggae and soulful grooves with an updated version that combines the two styles. Their latest offering finds them stretching out even more into non-roots reggae territory with music recorded in both Florida and Kingston and this with mixed results. On the plus side, a take on Michael Jackson’s ‘The girl is mine’ works surprisingly well with soulful lead vocals and this could be a potential single to showcase the album more generally. Furthermore Morgan’s long-term roots fans will not be disappointed by a song such as the title track which has an endearing lilting groove with both tight harmony vocals and a rocking rhythm section with dub effects. There is even a reprise of Junior Byles’ ‘Chant down Babylon’ for Lee Perry re-titled ‘Stand up’ and one only wishes more numbers in this vein had been attempted. Where the album falls down slightly is in the group’s deliberate attempt to meddle needlessly with their long-established sound. Introducing ragga-style vocals simply sounds strange in this context and is typified by songs such as ‘Looking for the roots’ and it does come across as though Morgan Heritage are searching for new pastures, but not really finding new terrain they actually feel that comfortable with. Having too many co-producers on the album has simply resulted in a confused state of mind on their part. The group sounds far more confident on roots riddims and social lyrics like ‘Dem all run come’, which was recorded at Tuff Gong. Quite possibly, Morgan Heritage are attempting to attract a younger generation that has grown up on dancehall and ragga, but the group’s forte has always been a modern update on the roots tradition and that is surely where their long-term future success lies.
Euro disco sometimes receives a bad press in the UK and that would be unfair because it groups together disparate elements some of which have produced enduring dance floor grooves and were massively popular in France and much of the rest of continental Europe at the time. A case in point is Italian songwriter, arranger and producer Celso Valli who was closely linked to another New York-based producer Jacques Fred Petrus who in turn would be instrumental in promoting the early careers of Change, BB and Q Band and of course his own Peter Jacques band. It is important to stress from the outset that Valli was not in any sense attempting to create a carbon copy of the New York dance beats. Rather the producer was primarily focused on including his own highly eclectic influences that took in world roots beats from the Mediterranean and Africa interspersed with Latin flavours. These all combined beautifully on the hit dance floor tune ‘Hills of Katmandu’ which is included here not only in its original album format, but equally in a much sought after unreleased full-length Patrick Crowley mix. The piece has a Middle Eastern feel with the keyboards replicating a horn instrument quite convincingly. Elsewhere there is a harder, funkier edge in the bassline and drum beat to ‘Wishbone’. For more of an Afro-Latin sound, the berimbau intro to ‘Su-ku-leu’ leads into some African-style chants whereas ‘Mother Africa’ has a more contemporary soulful groove in the male lead and harmony vocals. The second CD has one of the strongest disco cuts in a near seven minute take on ‘Get happy’ and this is the one occasion on which Valli sounds as though he was directly influenced by music from the Big Apple, most notably here with the pared down rhythm guitar and heavy bass of the Chic organisation. Even the use of collective female harmony vocals and strings is a homage of sorts to the masterful Edwards/Rodgers production line. Not everything comes off as well and the rock guitar on ‘Top shot’ should have been dispensed with first time round while ‘Get ready to go’ has all the feel of Abba. Otherwise this is a sonic delight for fans of Euro disco and that should cement the reputation of Ceso Valli internationally.
Women reggae singers have been few and far between on the ground in the general history of reggae music which says more about their limited access to opportunities than anything whatsoever to do with the quality of their singing. A few years back, US re-issue label Heartbeat released an excellent anthology of women singers at Studio One and Trojan trumped this with a double CD that covered the 1970s and early 1980s that plugged the gap magnificently. Joe Gibbs’ label regularly released 45s and 12″ disco mixes of women artists and this new anthology is a terrific overview of those singers at a crucial time in Jamaican musical history. Pride of place goes to the duo of Althea and Donna who went to the highest echelons of the UK pop and reggae charts in the late 1970s with the anthemic ‘Uptown top ranking’ and here the full-length extended version is made available in all its glory. Of course the riddim was based on an earlier classic by Alton Ellis, ‘I’m still in love with you’, and this was reprised by another singer who regularly recorded with the Mighty Two, Marcia Aitken. This update was a minor hit at the time. Invariably, reggae singers of either sex would cover classic soul numbers and the sister of Alton, Hortense Ellis, offers an excellent interpretation of Ann Peebles’ southern soul anthem, ‘I can’t stand the rain’ in its 12″ version while Marcia Aitken and Ruddy Thomas collectively cover ‘Emotion’. There has always existed an intimate rapport between soul and reggae music and it is certainly true to say that US soul music heavily influenced the singers of the rock steady era. It should come as little surprise, then, that there would be a cover by Marica Aitken on the anthology of ‘Danger in your eyes’, a hit first time round for the Paragons featuring John Holt. A surprise inclusion is by one of the members of the I-Threes, Judy Mowatt, under her earlier name of Julie Ann with ‘The gardener’, which was a soul standard for the Staple Singers. Another addition of interest is the interpretation by Althea alone this time of a classic Studio One riddim in ‘Downtown thing’. Lovers rock was an ideal way for UK-based women singers to enter the reggae market and Joe Gibbs quickly sensed the gap in the field and the result was June Lodge’s ‘Someone loves you honey’ which has something of a Wackies groove in the instrumentation. Elsewhere a clear indication that women singers were equally adept at more cultural themes is illustrated on the bouncy rockers riddim of ‘Ina Jah children’ by Dhaima. What made these recordings special was the accompaniment of Kingston’s very top session musicians and these included the who’s who of reggae instrumentalists such as Sly Dunbar, Lloyd Parks, Cedric ‘Im Brooks to name but a few. It should be pointed out that these sides have been re-mastered from the original vinyl rather than master tapes, which are simply unavailable. As such on a top grade hi-fi system, they will not play at an equivalent sound frequency to the original vinyl, but for most sound systems having all these songs in one place will be sufficient and on most hi-fi units the sound is perfectly acceptable.
Roots reggae singer Cornell Campbell captivated fans during the 1970s with his sensitive falsetto vocals over some of the toughest of roots riddims and so it is very welcome indeed to hear him return to recording duties after a prolonged absence with a brand new album of new lyrics backed by some of the UK’s top session musicians collectively known as the Soothsayers. In many respects this is a trip back to the golden era of roots music in Jamaica and the instantly catchy bassline and subtle use of horns on this writer’s favourite song ‘Good direction’ is a sure indication that Campbell is right back on form. The voice still delivers that distinctive understated sound and the harmony backing vocals are ideally suited to compliment the lead singer. Dennis Brown would feel at home on the minor theme soulful groove of ‘There’s a fire’, which is a potential single and has something of a lover’s rock feel to it. For those in search of a more pared down sound, ‘Conqueror’ will fit the bill accordingly with piercing horns and dub effects giving this song a harder feel. There is even some Stevie Wonder inspired 1970s keyboards and funk-tinged backbeat on ‘Never give up’ while ‘I’ll never leave’ is a real grower of a tune. Long-time fans will want to compare and contrast the original interpretation of ‘Jah Jah me no born yah’ with the new one on this set which also features it’s instrumental version. After the collective horn intro. The tempo goes up a notch and this take bears favourable comparison with the original. It is worth pointing out that the lyrics of the original have never been more relevant today. A fine return for Cornell Campbell and this should be the continuation of a long and fruitful collaboration with the Soothsayers, which began with a single ‘We’re not leaving’ back in August 2011, which is not included here.