Magic Carpet – Magic Carpet (1972)

folder cópiaThe emotion provided by Raga (classical India music) is not only effective, it’s a real message, an aesthetic of nature, of the divine, a virtue able to guide the listener to a state of emotional trance. In the ’60s, with the launch of the international success of raga, masters such as Ravi Shankar and Ali Akbar Khan, leaded European and American artists to become more and more captivated by the dynamical relation between mystical emotion, spirituality, and music. The emergence of Raga schools from everywhere (still perpetuating the ancestral musical traditions), and initiatory travels of Western minimalist-modern jazz composers (Terry Riley, Don Cherry) to India, founded a growing interest for this (transcendental) musical universe.

George Harrison & Ravi Shankar
George Harrison & Ravi Shankar

The emphasis on circular rhythms, ornamentation (gamaka), the use of acoustic stringed patterns, the sense of beatific endurance and lengthy improvisation are the central characteristics of this music in term of practice and sound aestheticism. Emotionally, the function on the listener is hypnotic, voluntary trying to reach him into a higher state of consciousness, modulating his perception of time and space. (!)

The basic conception of drone (continuous sound form) will be taken back in popular music and turned into kosmische electronica (70’s Berlin underground). After Seventh Sons’ first original but rather discreet effort simply called Raga (1964) and Malachi’s Holy Music (1967), famous bands such as The Beatles in Revolver (1966) and Traffic in their album Mr. Fantasy (1967) were seduced by the sonorities of Indian raga music, they also occasionally incorporate sitar elements to their music.

Raga Megha, Kailash Raj
Raga Megha, Kailash Raj

Let’s go to our artist:

Way back in the early ’70s in London, three friends came together to play some unusual music: Sitarist Clem Alford, guitarist Jim Moyes, and tabla player Keshav Sathe, formed a unique Anglo-Indian fusion, calling themselves Sargam (the name of a note in an Indian scale). They made one album under the name Sagram, misspelled by the Windmill recording company and inappropriately entitled Pop Explosion Sitar Style. This album was released without the band’s permission, with a ludicrous cover photograph bearing no relation to any band members or anything about them. (!)

In 1971, soon after the release of Sagram, the Sargam trio was offered another Lp recording contract by Mushroom Records, with the proviso that they find a singer. Having met her when they were both at Chelsea School of Art, Jim Moyes contacted Alisha Sufit. She busked in street markets, singing and playing at the London Underground by day, and did gigs around the clubs and colleges at night.

Cheesy Cover!
Cheesy Cover!

Jim Moyes invited her to play and the four musicians soon renamed themselves Magic Carpet, forming a unique Anglo-Indian musical collaboration, facilitated by the fact that Alisha was writing songs set in open modal tunings on the guitar making them instantly compatible with the tuning of the sitar. The band recorded the Magic Carpet album in the winter of 1971/1972 on Mushroom Records label.

The four stayed together for nearly a year, doing a few prestigious gigs, at the 100 Club in London, Wavendon (Cleo Laine, John Dankworth’s venue), several festivals, Sounds of the Seventies on BBC Radio, but they finally parted company in 1972.

Magic Carpet
Magic Carpet

After a considerable gap, the four met up again. Jim was no longer performing and Keshav had retired, but Clem and Alisha were still playing professionally and it was a natural step to do another album, in 1996 they recorded the album Once Moor (subtitle Magic Carpet II) released on the Magic Carpet Records label. It consists of songs written/sung by Alisha, plus some instrumental tracks, with Clem Alford on sitar/tamboura, Alisha on guitar, and Pandit Dinesh and Esmail Sheikh on tabla.

Let’s go to our album:

Originally published in 1972 for Magic Carpet records, the Lp shows a dynamic mixture of original folk inventions, psych-Hindu sitar gems and gorgeous, omnipresent, accentuated female vocals by Alisha. Lyrically all the album is about east mysticism, love, spirituality, time of Creation and such. The music itself is poetic, combining simplistic folk guitar motifs to raga scales, in spiritual Hindu-folk experience, with soft psychedelic flavor floating all along with the album!

Alisha Sufit
Alisha Sufit

There’s a fantastic interview with Alisha Sufit with long details about them made by our friends from It’s Psychedelic Baby, with a track by track comments, and more!

The ‘IM’ highlights are: Father Time and Take Away Kesh.

बॉन यात्रा!

Tracks Include:

A1 The Magic Carpet (Alisha, Alford, Moyes, Sathe)

A2 The Phoenix (Alisha)

A3 Black Cat (Alisha)

A4 Alan’s Christmas Card (Alford, Moyes, Sathe)

A5 Harvest Song (Alisha)

A6 Do You Hear The Words (Alford, Moyes, Sathe)

B1 Father Time (Alisha, Alford, Moyes, Sathe)

B2 La La (Alford, Moyes, Sathe)

B3 Peace Song (Alisha)

B4 Take Away Kesh (Alisha, Alford, Moyes, Sathe)

B5 High Street (Alisha)

B6 The Dream (Alisha)

Credits

  • Electric Guitar: Jim Moyes
  • Sitar, Esraj, Tambura: Clem Alford
  • Tabla, Percussion: Keshav Sathe
  • Vocals, Acoustic Guitar: Alisha
  • Design (Cover Design)Alisha
  • Photography: Gabriel Weissman
  • Producer, Engineer: Vic Keary

Magic Carpet Records ‎– MC 1001 LP

Fantastic (Pulp) Magazine
Fantastic (Pulp) Magazine

Deuter – Aum (1972)

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It was English musician, sound designer, and conceptualist Brian Eno who first officially coined the phrase ambient, in the sleeve notes to his 1978 opus Ambient 1: Music For Airports he defines it as music designed to induce calm and space to think. One of ambient music’s prime sources is the classical avant-garde. Among the pioneers were two late-19th Century composers, Claude Debussy, and Erik Satie.

Satie’s concept of furniture music for solo piano or small ensembles now seems surprisingly congruous with Eno’s concept of ambiance: creating a sound environment that complimented the surrounds rather than intruded upon it. More musically direct but just as subtle and suggestive was the work of Debussy, who’s wandering, impressionistic tone poems like Prelude To The Afternoon of The Fawn heralded an openness in Western music, bursting the rules in structure/linear composition.

Debussy & Satie
Debussy & Satie

By the middle of the 20th Century, the American composer John Cage had blown stuffy notions of proper music right out of the water. He pre-empted world music with pieces that evoked the sounds of Africa, India, and Indonesia; he invented and composed for the prepared piano with objects stuck in piano wires to create Asian-like tones and percussive textures; and he perplexed his audiences with collisions of randomly created noise and, most infamously, his piece 4’33” which challenged listeners to consider silence as a perfect form of musical expression.

After Cage, the 60s saw the rise of a school of American composers with classical backgrounds who became known as minimalists (La Monte Young, Terry Riley, Steve Reich, Philip Glass). They took the idea of repetition and explored it over long distances, whether with orchestras, electric instruments or non-Western instrumental combinations. In turn, minimalism was to inform music as diverse as Krautrock, techno and new age music. German composer Karl Stockhausen further explored Cage’s tape experiments with odd collages, a precursor to modern digital sampling.

John Cage, Variations V
John Cage, Variations V

This was also a time of absorption of avant-garde ideas into rock music. In the late 60s rock was enriched enormously by a combination of electronic music technology, psychedelic drugs, and the innovations of jazzmen like Miles Davis. The classical music of India also made a significant impact on Western musicians, initially championed by minimalists from the classical world such as Terry Riley and La Monte Young and then absorbed by The Beatles and The Incredible String Band.

Krautrock pioneers such as Tangerine Dream, Popol Vuh, and Ash Ra Tempel took the next step by downplaying or abandoning pop’s emphasis on lyrics and taking audiences into totally new spaces. The tracks were instrumental, improvised, spacey and long. Rock was undergoing its own avant-garde and the open-ended sound of one instrument in particular: the analog synthesizer. Such an important tool of expression that music that’s been released since then simply wouldn’t exist without it!

Tangerine Dream
Tangerine Dream

Let’s go to our history:

Born Georg Deuter in 1945, in post-war Germany’s town of Falkenhagen, he taught himself ‘just about every instrument I could get my hands on’, though it wasn’t until after a near-fatal car crash in his early twenties that he decided to pursue a career in music. His first release in 1971, entitled D, marked the beginning of Deuter’s spiritual and musical journey, ostensibly paving the way for a new genre: New Age (Ambient).

Which combined acoustic and electronic elements with ethnic instrumentation and nature sounds, such as whale/bird song, the open sea, wind in the trees, rain, etc.

Deuter, 70s
Deuter, 70s

During the 70s and 80s, after traveling extensively through Asia in search of spiritual and creative inspiration, Deuter settled for a long time in Pune, India, where under the name Chaitanya Hari he became a neo-sannyasin, a disciple of Bhagwan Shree Rajneesh (Osho). With the aid of a multitrack tape machine, he produced a series of music tapes to be used in active meditations, consisting of several stages of ten or fifteen minutes each, which range between Indian classical motifs, fiery drums, loops, synthesizers, bells, musique concrète, and pastoral acoustic passages.

In the early 90s, Deuter ended his long-standing relationship with Kuckuck, the small record label that had released nearly 20 original albums, and relocated to Santa Fe, New Mexico where he signed a deal with New Earth Records, an independent label founded by fellow sannyasin Bhikkhu Schober and Waduda Paradiso. This proved to be a lucrative move for all involved, the majority of them intended to accompany various healing/spiritual practices such as Reiki, massage and meditation.

Western + Eastern
Western + Eastern

Deuter continues to learn and master an ever-expanding array of instruments, including the shakuhachi flute, the koto, sitar, Tibetan singing bowls, santoor, bouzouki, piano, and keyboard. He has recorded and released over 60 albums and claims to have sold more than he can count during the course of his career. (!)

Let’s go to our album:

This album sounds like when you keep waking up from dreaming and you can’t quite tell what’s the reality and what’s part of your dreams. That alternate dimension between the real world and the dream world, where nothing is in focus and you merely catch fleeting glimpses of images as they roll past your mind’s eye. Each song on Aum fades into silence before continuing into the following track, creating the feeling that they are all separate entities, unrelated to each other.

Bhagwan Shree Rajneesh
Bhagwan Shree Rajneesh

Drums, flute, guitar, and sitar, combined with the sounds of the ocean, create a variety of different moods and feelings. Some of the pieces are more meditative and reflective, while others are more rhythmic. Deuter is a highly skilled musician who joins his musical talent with spiritual insight and sensitivity.

Welcome to another example of transcendental music, such as Alice Coltrane’s previous post, today’s album has also a distinct imprint, leaving the controversial Guru aside, let’s just stick to Deuter’s heavenly music, ok?

Deuter, Lately
Deuter, Lately

Even though not being a diehard fan of New Age music, this Lp takes us to an atemporal world of discovery, freedom, and breaking of paradigms. Only a political and social landscape as Germany, would have so many strands and styles within a musical scene such as Krautrock, light an incense and put your headphones.

Enjoy the album as a whole and Udhëtimi I Mirë!

Tracks Include:

A1 Phoenix / Aum / Soham

A2 Offener Himmel 1 / Gleichzeitig / Offener Himmel 2 / Sattwa / Morning Glory

B Soma / Sunrat Shabda / Abraxas / Susani / The Key

Credits

  • Artwork (Cover) – Manfred Manke
  • Composed By, Performer, Producer – Georg Deuter
  • Music by, Arranged by – Deuter

 Kuckuck ‎– 2375 017

Darß (Darss), Coastline
Darß (Darss), Coastline

Osanna – Preludio Tema Variazioni Canzona (1972)

cover

Italy. Rome has for centuries been the leading political and religious center of Western civilization, serving as the capital of both the Roman Empire and Christianity. During the Dark Ages, Italy endured a cultural and social decline in the face of repeated invasions by Germanic tribes, with Roman heritage being preserved by Christian monks. Beginning around the 11th century, various Italian communes and maritime republics rose to great prosperity through shipping, commerce and banking (capitalism has its roots in Medieval Italy); concurrently, Italian culture flourished, especially during the Renaissance, which produced many notable scholars, artists, and polymaths such as da Vinci, Galileo, Michelangelo, and Machiavelli.

Meanwhile, Italian explorers such as Polo, Columbus, Vespucci, and Verrazzano discovered new routes to the Far East and the New World, helping to usher in the European Age of Exploration. Nevertheless, Italy would remain fragmented into numerous warring states for the rest of the Middle Ages, subsequently falling prey to larger European powers such as France, Spain, and later Austria. Italy would enter a long period of decline that lasted until the beginning of the 18th century.

Renaissance Ensemble
Renaissance Ensemble

The second and the third wars of Italian independence resulted in the unification of most of present-day Italy between 1859 and 1866. From the late 19th century to the early 20th century, the new Kingdom of Italy rapidly industrialized and acquired a colonial empire in Africa. However, Southern and rural Italy remained largely excluded from industrialization, fuelling a large and influential diaspora. Despite victory in WWI, Italy entered a period of economic crisis and social turmoil, which favored the establishment of a Fascist dictatorship in 1922.

The subsequent participation in WWII at the side of Nazi Germany ended in military defeat, economic destruction, and civil war. In the years that followed, Italy abolished the monarchy, reinstated democracy, and enjoyed a prolonged economic boom, thus becoming one of the most developed nations in the world.

El Duce, Speech
El Duce, Speech

Let’s go to our history:

The Years of Lead was a period of socio-political turmoil in Italy that lasted from the late 1960s into the early 1980s. This period was marked by a wave of terrorism, initially called Opposing Extremisms (Opposti Estremismi) and later renamed as the Anni di Piombo. Among the possible origins of the name is a reference to the vast number of bullets fired, or even the 1981 Margarethe von Trotta’s homonym film (in Italy).

There was widespread social conflict and unprecedented acts of terrorism carried out by both right-and left-wing paramilitary groups. An attempt to endorse the neo-fascist Italian Social Movement (MSI) by the Tambroni Cabinet led to rioting and was short-lived. The Christian Democrats (DC) were instrumental in the Italian Socialist Party (PSI) gaining power in the 1960s and they created a coalition.

Multiple Murders
Multiple Murders

The assassination of the Christian Democrat leader Aldo Moro in 1978 ended the strategy of historic compromise between the DC and the Italian Communist Party (PCI). The assassination was carried out by the Red Brigades, then led by Mario Moretti. Between 1969 and 1981, nearly 2,000 murders were attributed to political violence in the form of bombings, assassinations, and street warfare between rival militant factions. Although political violence has decreased substantially in Italy since that time, instances of sporadic violent crimes continue because of the re-emergence of anti-immigrant, neo-fascist, and militant communist groups. (!)

The left-wing autonomist movement lasted from 1968 until the end of the 1970s. The years of lead began with the shooting death of the policeman Antonio Annarumma in 1969 and the Piazza Fontana bombing.

Aldo Moro, Kidnapped
Aldo Moro, Kidnapped

Is in the midst of this boiling cauldron that Italian prog (or symphonic) scene is established from Collage, La Orme’s second album in 1971. The Lp, beyond the indisputable technical merit, had a great reception and was hailed as a turning point to Italian rock. At the dawn of the 70s, Italy was the first country to recognize the talents of some British progressive bands such as Genesis, Gentle Giant, and Van der Graaf Generator, whose first albums had been ignored at home, becoming their market reference; they even toured and entered at the musical charts.

Thenceforth bands like Premiata Forneria Marconi, New TrollsBanco del Mutuo Soccorso, MetamorfosiIl Balletto di Bronzo, Goblin and Osanna played symphonic rock heavily influenced by classical music, against the backdrop of the Italian canzone tradition. The scene more or less ran dry by the end of 1975, owing to the difficulty of making a living as a rock band, many bands from Italy released only one or two albums before disappearing. Emphasis on PFM, they were the only band to enter the U.S. charts and completed four tours in the country!

PFM, U.S. Tour
PFM, U.S. Tour

Let’s go to our album:

Osanna came from Naples and was formed in 1971. The band was composed of Danilo Rustici (guitar), Lino Vairetti (vocals), Lello Brandi (bass) and Massimo Guarino (drums), all these musicians come from the band Cittá Frontale. There was also Elio D’Anna who came from Showmen. The group immediately began an intense concert activity, beginning in 1971 at the Caracalla Pop Festival and later taking part in the Festival of Avant-Garde Music and New Trends in Viareggio. With all band members dressed in long vests and with their faces painted, the collaboration with theatrical groups produced unique shows, odd for the Italian audience of the time.

The group signed a contract with Fonit and debuted with the album L’uomo, who receives a good reception and won the Record Critics’ Award Italian.

The following year, master Luis Enriquez Bacalov involves the group in the execution of the soundtrack composed for the film Milano Calibro 9, a police noir thriller. The album is titled Preludio Tema Variazioni Canzona, and fits into the genre between classical orchestra and rock music, which had just been started by the same Bacalov with the Concerto Grosso by New Trolls.

1972, Backcover
1972, Backcover

The intense live activity continues in 1973, in that year, they release Palepoli, which is considered one of the most successful Lp’s of the Italian prog scene (mine’s favorite). The record consists of three long compositions, which are developed around the contrast between tradition and modernity, between the urge to innovate which is opposed to the recovery of the folk tradition. Palepoli, means the ancient city, is ideally opposed to modern Naples, cold and detached in his metropolitan selfishness.

In 1974, Landscape of Life is released, though the group is undermined by internal strife, heightened during the process of recording. After its publication, the group dissolves to reconstitute itself in 1977 without Elio D’Anna, replaced by keyboardist Fabrizio D’Angelo, and with Enzo Petrone on bass. With this formation, Osanna realizes Suddance in 1978 for CBS, a record that despite critical acclaim does not receive the expected success. They finally melt at the beginning of the following year.

Palepoli Promo
Palepoli Promo

The band reformed in 1999 (with Lino Vairetti) releasing the Lp Taka Boom the following year, including old successes and some new songs. Their next production was Prog Family, under the name of Osanna/Jackson, featuring notable figures of prog rock history, such as Van der Graaf Generator’s saxophonist David JacksonKing Crimson’s David CrossBalletto di Bronzo’s Gianni Leone and others. (!)

Later, with David Jackson and Gianni Leone, the band contributed eight tracks to the live boxed set Prog Family (2009). And finally Rosso Rock Live In Japan (2012).

Although not being a proghead, I’ve always tried to bring things beyond the usual, thankfully, today’s album is no exception, and despite not even being the best of the band, Palepoli (forementioned). Here, Osanna’a terrific timbres, strong recording, and performance is a need between the Italian scene, they’re my faves!

Portrait
Portrait

Classical and Rock, I will leave the magnificent Preludio and Tema with you, this Lp also ends with some tacky  (sentimental) rock ballad, a must-see. The ‘IM’ highlights are for: Variazione III (Shuum…), a preview of the direction the band took in Palepoli, Elio D’Anna’s performance resembles Hermeto Paschoal freaky technique, short but amazing. And Variazione VI (Spunti Dallo Spartito…) a serious hard rock with a soul pause and a King Crimson ending. Kyau Tafiya!

Tracks Include:

A1 Preludio (Bacalov)

A2 Tema (Bacalov)

A3 Variazione I (To Plinius)

A4 Variazione II (My Mind Flies)

B1 Variazione III (Shuum…)

B2 Variazione IV (Tredicesimo Cortile)

B3 Variazione V (Dialogo)

B4 Variazione VI (Spunti Dallo Spartito n° 14723/AY del Prof. Imolo Meninge)

B5 Variazione VII (Posizione Raggiunta)

B6 Canzona (There Will Be Time) [Baldazzi, Bacalov, Bardotti]

Fonit ‎– LPX 14

Music A3 ~ B5 by: Osanna

Credits

  • Arranged by, Directed by (Orchestra Direction) – Luis Enriquez Bacalov
  • Bass – Lello Brandi
  • Drums, Percussion, Vibraphone, Vocals – Massimo Guarino
  • Guitar, Vocals – Danilo Rustici
  • Saxophone, Flute, Vocals – Elio D’Anna
  • Vocals, Synthesizer – Lino Vairetti
  • Producer: Sergio Bardotti
  • Recorded by: Giancarlo Jametti
  • Recorded by, Mixed by: Plinio Chiesa
  • Liner Notes: Matthias Scheller
  • Artwork, Photography by: G. Greguoli
  • Transferred by: Franco Brambilla

Soundtrack from the movie Milano Calibro 9

Vesuvius View
Vesuvius View

Totem – Descarga (1972)

cover

Unlike Argentina, Uruguay has a share of over 13% of the non-white population, composed of blacks, mulattos and mestizos. Since before its independence in 1830, the coming of Africans for slave labor was present along with the presence of European settlers. Together with them, a specific rhythm survived and spread in different ways throughout Latin America. In Brazil it is called Candomblé, has strong religious ties and is present today in different parts of the country as we have seen in previous posts. In Uruguay the Candombe’s origins lie in the Kings of Congo ceremonial processions and have a main festive mark; it is also related to other musical forms of African origin found in the Americas such as Cuban Son and Brazilian Maracatu and Congadas.

The form had evolved by the beginning of the 19th century and was immediately seen as a threat to the elites, who sought to ban the music and its dance in 1808. Candombe is what survives of the ancestral heritage of Bantu roots, brought by the blacks arriving at the Rio de la Plata, this rhythm traveled to Uruguay from Africa and is still going strong in the streets, halls, and carnivals of this enchanting country. Nowadays was recognized by UNESCO as a World Cultural Heritage of Humanity!

Candombe Festivity
Candombe Festivity

Let’s go to our history:

Long known as the Switzerland of South America, it had a stable, two-party political system with a large middle class. This underrated country has one of the highest indices in quality of life, administrative transparency, income distribution and security in the whole South and Central America. It is constantly at the forefront of controversial issues such as the legalization of marijuana, abortion and media’s regulation, making him an example to be followed by Brazil and Argentina. Uruguay has historically served as a geopolitical buffer zone, a nation whose own political and cultural identity has been overshadowed by its neighbors. Yet during the 1960s, this tiny state generated some of the most original rock found anywhere in the hemisphere.

Foreign influences abounded, from the Anglo-rock invasion by the U.K. and the U.S. to the commercialized pop of Argentina and the cultural remixing of the Brazilian Tropicalistas, Uruguayan rockers chewed on these influences and spat them back, mockingly at first and more somberly as the night of political repression fell in the late 60s and early 70s. Discódromo, a legendary radio program (and, later, TV show) started by Rubén Castillo in 1960, had already exposed the youth of Montevideo, Uruguay’s capital, to the teen culture emerging abroad by the Beatlemania.

Los Shakers
Los Shakers

By the mid-1960s, scores of so-called beat bands were performing across Uruguay: Los Shakers, Los Iracundos, Los Mockers and such. Except for Los Shakers, whose subsequent recordings were mostly originals, these bands essentially performed covers of foreign hits. By 1968, the cultural climate for making music was undergoing a radical shift, Los Tupamaros, an urban guerrilla group, captured the headlines with a spate of kidnappings in the name of revolutionary justice.

Che Guevara was dead, but his spirit was more alive than ever, in June 1968, the president declared a state of emergency, suspending numerous constitutional protections. Uruguay was now on a slippery slope that leads to direct military rule in 1973 led by Juan María Bordaberry (sic). Inside this theme, Costa Gavras directed an excellent film in 1972, State of Siegedeserves your full attention, check!

June, 1973 Coup
June 1973 Coup

But let’s back up a bit and understand the contexts of this turbulent time! By 1955 an economic crisis which also affected political institutions began, during the 1960s there was a continuous process of social and economic decline with a significant increase in the agitation of union sectors left. Simultaneously, the activity of ten revolutionary groups (!), among them the Tupamaros, that leaned toward an urban guerrilla.

The action of these groups on the radical left was met by right-wing organizations, such as the Juventud Uruguaya de Pie (JUP) and the Comando Caza Tupamaros (CCT), known as Death Squad. The Armed Forces, used to favor the deterioration that plagued the country, gradually assuming prominence. These facts led, ten years later, a civilian-military coup d’etat. During this process a lot of political tension, several clashes occurred between the Tupamaros and the armed forces, highlighting facts like Toma de Pando or the criminal escape of Punta Carretas.

Tupamaros Propaganda
Tupamaros Propaganda

Let’s go to our album:

The Uruguayan rock was not their entrenched roots when society entered a spiral of violence motivated by a fairer system, the middle stage of change throughout the world, so that the rock was set aside, and then would come the civil-dictatorship Uruguayan military from 1973 to 1985. Youth movements and the intelligentsia couldn’t found a way to express their disagreement and have evolved into popular folk song or traditional musical events, such as Murga and Candombe.

Within this context that Totem forms itself, coming from the ashes of El Kinto, one of the first bands to leave the beat/garage to start the Candombe Rock era, alongside Eduardo Mateo. Other famous acts from that time would be Días de Blues, Psiglo and world-famous Opa, respectively blues, prog, and fusion proposals.

1971 Promo
1971 Promo

Inside its formation is one that is considered one of the greatest artists of his country: musician, composer, and performer, Ruben ‘Negro’ Rada as part of the three biggest bands in Uruguay’s history, El Kinto, Totem and Opa (Fattoruso brothers), apart from his extensive solo career. His rough voice, serious songwriting, and shiny mood are the main focus of this great rock act that lasted only 3 albums. Rada’s career are still active and in the last decades, he released more than 30 records!

The ‘IM’ highlights are Pacifico, a hippie ballad with spiritual feeling, fine guitar work, hard bridge, and open coral final, simply fantastic! And Negro, a soul-bomb with lots of fuzz, heavy percussion and a stand out performance by Rada. Prepare yourself for another Latin rock act, with superb melodies and well-tuned band, by the end of the record you’ll understand the Candombe spirit.

Opa, 1981
Opa, 1981

Lastly, the song Heloisa that I thought might be from Pot Zenda actually opens this Lp, less a question for us. хороша поїздка!

Tracks Include:

A1 Heloisa (Rada)

A2 Orejas (M. Cabral)

A3 Manos (Rada – Lagarde)

A4 Pacifico (Lagarde – Useta)

A4 Todo Mal (Rada – Lagarde)

B1 Negro (Rada)

B2 Mi Alcoba (E. Useta)

B3 Un Sueño Para Gonzalo

B4 Descarga

Discos de la Planta– KL-8321

Credits

  • Bass Guitar: Daniel ‘Lobito’ Lagarde
  • Drums: Santiago Ameijenda
  • Guitar: Eduardo Useta, Modesto Rey
  • Percussion: Mario ‘Chicito’ Cabral
  • Voice, Percussion: Ruben Rada

Artwork by: Juan Alberto Arrubarrena

Mastered by: Luis Quinteros

Recording Technician: Carlos Píriz

Recorded: Estudios ION, Buenos Aires, June 1972

Montivideo
Montevideo Breeze

Alice Coltrane W/ Strings – World Galaxy (1972)

capa cópiaToday’s record has a distinct imprint, something really powerful, different from everything that already appeared here. With a very suggestive name, i invite you all to enter in a spiritual journey led by the surpassing Alice Coltrane, namaste!

Let’s go to our history:

Born and raised in the religious family of Solon and Anne McLeod in Detroit, Michigan, Alice McLeod (August 27, 1937 – January 12, 2007) became interested in music and began her study of the piano at the age of 7. She consistently and diligently practiced and studied classical music. Subsequently, she enrolled in a more advanced study of the music of Rachmaninoff, Beethoven, Stravinsky, and Tchaikovsky.

Alice: ‘Classical music for me, was an extensive, technical study for many years. At that time, I discovered it to be a piece of truly profound music with a highly intellectual ambiance. The classical artist must respectfully recreate the composer’s meaning. Although, with jazz music, you are allowed to develop your own creativity, improvisation, and expression. This greatly inspires me.’ (!)

Heavenly Strings
Heavenly Strings

With a scholarship to the Detroit Institute of Technology, her musical achievements began to echo throughout the city, to the extent that she played in many music halls and churches, for various occasions as weddings, funerals, and religious programs. Her skills and abilities were highly enhanced when she began playing piano and organ for the (gospel) junior and senior choirs at her church.

But her brother, bassist Ernie Farrow, introduced her to jazz early on, and as a teen, she became quite taken with bop and its offshoots. In Detroit, she played piano on sessions with masters like guitarist Kenny Burrell and saxophonist Lucky Thompson. By the early 60’s she was sharing the bandstand with vibes player Terry Gibbs, it was on tour with Gibbs that she met saxophonist John Coltrane.

John & Alice
John & Alice

Their 1965 wedding was the start of a musical union as well. When she replaced pianist McCoy Tyner in the classic Coltrane Quartet there was hubbub in the jazz world. But John Coltrane’s music was unfolding further with every passing month, he had begun probing musical motifs and deep inspiration from the East.

When her husband died in 1967, Alice continued working with members of his last group, including Garrison, saxophonist Pharoah Sanders, and drummer Rashied Ali. She began playing the harp, utilizing sitar and tablas in the ensemble, and turning fully to Eastern cultures for inspiration. Spiritual and colorful, her music morphed into the soundtrack for prayer and meditative techniques. (!)

70's Alice
70’s Alice

Coltrane was a devotee of the Indian guru Sathya Sai Baba, and over the 70’s she established herself into the Vedantic Center, in California, changing his name to Turiya and evolving as a spiritual Hindu guru. Even releasing some albums through the 80’s and 90’s, she decided to diminished their public appearances, and following a 25-year break from major public performances, returning to the stage for three U.S. appearances in the fall of 2006, with a concert for the San Francisco Jazz Festival with her son Ravi, drummer Roy Haynes, and bassist Charlie Haden.

Alice Coltrane died of respiratory failure at West Hills Hospital in LA, aged 69. (RIP)

Alice & Swami Satchidananda
Alice & Swami Satchidananda

Let’s go to our record:

This big lush symphonic beauty must be heard over and over, with no distinction of tracks or highlights, Alice’s music creates his own wash of color and dynamic for the strings to fall like water from the sky into her mix, it shifts and change constantly as the rhythm section responds, in the prism of Coltrane’s textured harpistry.

This set may take some getting used to for some, but it’s easily one of the strongest records Alice Coltrane ever released, and one of the finest moments in 70’s jazz!

Prepare yourself and be ready for the voyage, चांगल्या ट्रिप!

Tracks Include:

A1 My Favorite Things (Rogers – Hammerstein)

A2 Galaxy Around Olodumare

A3 Galaxy In Turiya

B1 Galaxy In Satchidananda

B2 A Love Supreme (Coltrane)

All Galaxys composed by Alice Coltrane

Personnel

  • Alice Coltrane: percussion, piano, organ, harp, tamboura
  • Reggie Workman: bass
  • Ben Riley: drums
  • Elayne Jones: timpani
  • Frank Lowe: saxophone, percussion
  • Swami Satchidananda: voice
  • Leroy Jenkins: solo violin

The String Orchestra

  • David Sackson: concertmaster (all other members, strings)
  • Alan Shulman
  • Arthur Aaron
  • Avron Coleman
  • Edward Green
  • Harry Glickman
  • Henry Aaron
  • Irving Spice
  • Janet Hill
  • Joan Kalisch
  • Julien Barber
  • Ronald Lipscomb
  • Seymour Miroff
  • Thomas Nickerson
  • William Stone

Credits

  • Arranged, Orchestrated, Producer – Alice Coltrane
  • Cover, Design – Peter Max
  • Engineer (Assistant) – Dan Tuberville, Dennis Ferrante
  • Mixed By – Baker Bigsby
  • Mixed At – The Village Recorder (LA)
  • Narrator – Swami Satchidananda (tracks: B1, B2)
  • Photography By – Philip Melnick
  • Producer – Ed Michel
  • Recorded By – Tom Flye
  • Recorded At – Record Plant, NYC

Recorded November 15 and 16, 1971, at The Record Plant (NYC)

Impulse AS-9218

Alice's Lastly Portrait
Alice’s Lastly Portrait