Showing posts with label Afro-cuban. Show all posts
Showing posts with label Afro-cuban. Show all posts

Thursday, April 23, 2009

Gichy Dan's Beechwood #9 - s/t

I've had this thing (pics & audio) ready to go for quite some time now but just couldn't get the write-up done. Well, I found a few free moments today and tried to knock it out. N-joi!

Have you ever had a song stuck in your head, yet you didn’t know the artist, didn't know the title, didn't know the words and only had a vague recollection of a melody--but that melody was strong enough to keep you haunted, hunting high & low in a seamlessly never-ending search...no, ... QUEST, to find it? Well folks, I did and this record was my "white whale" for years.

Now dig while I bore y’all with the details…

Back in the late 70s, my sister would wake me up for school every morning and the radio in our room was always set to either "WBLS" or "92 WKTU-FM" (thems iz NYC radio stations for the uninitiated). Both stations primarily spun R&B & Dance Music but I remember that the KTU DJs would always throw in some odd-sounding stuff during their morning shows. Now when I say "odd-sounding," I just mean odd to my ears at the time, since the tunes were usually novelty records and material they strayed far from their ordinary programmed playlist. I was 6 or 7, but I remember hearing stuff like the Waitresses' "I Know What Boys Like," Coati Mundi's "Me No Pop I", and "Eugene" by Crazy Joe & The Variable Speed Band.

One morning, I heard a song that caught my attention. They played it a few more times over the following weeks but I always missed the station ID breaks in-between sets where they'd back-announce the songs so I never got a title or artist to hang on the song. The few listens were all it took for the melody of the hook to get stuck in my brain. That unknown melody would randomly play on repeat in my head over the next 4 years before I finally decided to do something about it. The only problem was, by the time I’d decided I liked the song enough to want to own it, it had long since been dropped from rotation and the station's format had changed since I'd heard it in it's original form so I had no way of tracking it down or finding out who it was or what it was called

I don’t know how, but somehow I got the notion that the song I wanted was sung by Kid Creole & The Coconuts. Maybe it was because their stuff had the same kinda vibe as the track I was looking for…who knows. Still, being a kid with basically no income, it took a loooong time but I started buying up Kid Creole records one by one when I could afford to. I was usually semi-disappointed with each one because although each one was a gem in its own right, none of them had the song I wanted. I did figure out that this cat by the name of August Darnell was the common link between all the Kid Creole stuff I’d been buying and the Dr Buzzard’s Original Savannah Band 45 of “Cherchez La Femme” fame I‘d already had at home and that kinda had that same sound. Armed with this nugget of knowledge, I began snatching up anything and everything with Darnell’s name on it. Over the years that followed, I wound up collecting all four Savannah Band albums as well as a bunch of material from Creole/Darnell offshoot projects like Coati Mundi, Machine, Don Armando’s 2nd Avenue Rhumba Band, and Cory Day. After all this I still was no closer to finding my mystery song and just about gave up the hunt cuz it was just costing way too much dough.

Cut to my freshman year of college, during which time I worked nights at a NYC record store where I met up with a “music connoisseur” who mentioned he was a huge Kid Creole fan. I sang him the melody and he said it sounded familiar but he couldn’t remember the title or artist but was sure it had something to do with August Darnell. I finally had some sort of confirmation that I was on the right track and with that, the hunt resumed. One night a few months later, during my lunch break, I stopped in to Bleecker Bob’s in Greenwich Village and rifled thru his “Kid Creole” section (they would sometimes lump related artists together in the same bin). I pulled up this colorful, self-titled album that I’d never seen before by a group I’d never heard of calling themselves Gichy Dan's Beechwood #9. I flipped it over and sure enough...BAM!...there was Darnell’s name all over the back of the jacket. I was already down to my last few dollars for the week but I couldn’t resist the gamble, so I walked out of the store that night, flat-broke with a new addition to my stacks tucked under my arm. I subsequently ran back to work, pulled my handy Mister Disc portable turntable out of my locker and dropped the needle on it….SUCCESS!!! The track was “Laissez Faire” and my search was finally over.

As I mentioned above, Gichy Gan's Beechwood #9 was a side-project of writer/producer/musician August Darnell while he was still part of Dr. Buzzard's Original Savannah Band. The story goes that Darnell had written a number of tunes that Savannah Band wound up not using so he called upon the talents of Frank "Pago Pago" aka "Gichy Dan" Passalaqua and vocalist Lourdes Cotto along with a huge roster of musicians whose names would adorn many Darnell-produced album covers in years to come. In 1979, the ensemble delivered their sole LP on the RCA label. In the following year, Darnell would go on to release the first of many albums under his Kid Creole alias. In 1981, a single called "Cowboys & Gangsters" was released on Island Records' ZE subsidiary. This would be the last official Gichy Dan project.

Gichy Dan's Beechwood #9 is long out of print on vinyl and might give you a hard time if you're looking for a clean copy to call your own. Still, you can try your luck here. If the vinyl frontier isn't for you, fear not good people, because an official CD reissue of the album is slated for release sometime in the very near future. When it drops, you should be able to nab a copy here.


Featured cut: "Laissez Faire"

Listen to my vinyl rip here.

Monday, December 1, 2008

Dizzy Gillespie - Soul & Salvation

Okay, now that Thanksgiving '08 is out of the way I've got a small window to get a few posts in before I get knee deep in prep for Dec. 25th. I pulled this one from the crates a few weeks ago but didn't get around to ripping & cleaning it up until tonight. Dizzy Gillespie's 1969 Soul & Salvation album released on the indie, New York-based label, Tribute Records. With masterful arrangements by Ed Bland, this set features stellar performances by sax man James Moody and trumpeter Joe Newman.

John Birks "Dizzy" Gillespie was an American jazz trumpeter, band leader, singer, and composer. He was born on October 21, 1917 in Cheraw, South Carolina, the youngest of nine children. Dizzy's father was a local band leader, so instruments were made available to Dizzy. He started to play the piano at the age of 4. Together with Charlie Parker, he was a major figure in the development of bebop and modern jazz.

With Charlie Parker, Gillespie jammed at famous jazz clubs like Minton's Playhouse and Monroe's Uptown House, where the first seeds of bebop were planted. Gillespie's compositions like "Groovin' High", "Woody n' You", "Salt Peanuts", and "A Night in Tunisia" sounded radically different, harmonically and rhythmically, than the Swing music popular at the time. One of their first (and greatest) small-group performances together was only issued in 2005: a concert in New York's Town Hall on June 22, 1945. Gillespie taught many of the young musicians on 52nd Street, like Miles Davis and Max Roach, about the new style of jazz. After a lengthy gig at Billy Berg's club in Los Angeles, which left most of the audience ambivalent or hostile towards the new music, the band broke up. Unlike Parker, who was content to play in small groups and be an occasional featured soloist in big bands, Gillespie aimed to lead a big band himself; his first attempt to do this came in 1945, but it did not prove a success.

After his work with Parker, Gillespie led other small combos (including ones with Milt Jackson, John Coltrane, Lalo Schifrin) and finally put together his first successful big band. He also appeared frequently as a soloist with Norman Granz's Jazz at the Philharmonic. He also headlined the 1946 independently-produced musical revue film "Jivin' in Be-Bop".

In 1956 he organized a band to go on a State Department tour of the Middle East and earned the nickname "the Ambassador of Jazz".

Gillespie was also involved in the movement called Afro-Cuban music, bringing Latin and African elements to greater prominence in jazz and even pop music, particularly salsa. Gillespie's most famous contributions to Afro-Cuban music are the compositions "Manteca" and "Tin Tin Deo"; he was responsible for commissioning George Russell's "Cubano Be, Cubano Bop", which featured the great but ill-fated Cuban conga player, Chano Pozo. In 1977, Gillespie discovered Arturo Sandoval while researching music during a tour of Cuba.

Unlike his contemporary Miles Davis, Dizzy essentially remained true to the bebop style for the rest of his career.

Gilliespie died of pancreatic cancer on January 6, 1993, at the age of 75 and was buried in the Flushing Cemetery, Queens, New York. He was survived by his widow, Lorraine Willis Gillespie; a daughter, jazz singer Jeanie Bryson; and a grandson, Radji Birks Bryson-Barrett. Dizzy had two funerals. One was a Bahá´í funeral at his request, at which his closest friends and colleagues attended. The second was at the Cathedral of St. John the Divine in New York open to the public.

Soul & Salvation has never been reissued on CD but you can usually find a few collectible, original vinyl pressings alongside the more affordable, unofficial repressings right here.

Featured cut: "Stomped & Wasted"

Listen to the full album here.