Melting Pot

Archive for the ‘Dig Deep’ category


Los Tainos – Amor Mio
Los Tainos – Conjura
Los Tainos Te Digo Que Se Acabo

It’s gonna be my honor to return to Funky Sole at the Echo this Saturday, November 8th, for a guest set spinning soul, funk and whatever else I can get away with ’round Midnight. I’m currently pulling records, thinking about what kind of sounds I want to bring out for the people and realized I hadn’t posted this album from the Cuban outfit Los Tainos. Because of the long standing embargo this country has with Cuba, you don’t run across many Cuban records out and about here in the States. I got this one in addition to several others from a dealer out of Japan. I’d first heard “Amor Mio” on the amazing Si Se Puede collection put out by Waxing Deep back in 2007. That collection was a revelation uncovering the sounds of 1960s/1970s Cuba and the wealth of amazing funky sounds coming out of the island at that time.

I don’t have a lot of info on Los Tainos, other than the Cuban musical maestro Daniel Guzman. “Amor Mio” has an almost understated style in comparison to some of the big band inspired tracks that dominate the album, but it sure is funky. When the band finally slows it down again towards the end of the record, with back to back boleros, or as their described here “Bolero Beat,” that similar subtle funk comes back. The album’s closer “Te Digo Que Se Acabo” almost feels like two different songs, starting off as nothing special, but then making an aburpt left turn in hardcore percussion driven latin-funk. Just when they get in the groove, it seems like the song is gone, but they’ve certainly left quite an impression. As far as I can tell this is the only release from the group, which really is a shame. Then again, especially for us in the States, perhaps we should be thankful to even be able to hear these funky sounds out of Cuba.




Rusty Bryant – Fire Eater

Today would have been Matthew Africa’s 43rd birthday. As has been the case since his passing in 2012, on this day I pay tribute to my friend by posting about a record that I connect with him or that connected him to me. This record in particular is special for a couple of reasons. First, it actually came from Matthew’s collection, much of which has been auctioned off on Ebay, with proceeds going to his family (including a number of records that are up right now).

MattAfrica6The second and major reason this record is special is because of the place it holds in my history as a DJ and record collector. Rusty Bryant’s “Fire Eater,” maybe more so than any other piece of rare soul-jazz, ignited the passion I have for vinyl. If you’ve ever heard the “Fire Eater” you can understand how it might have that effect. It’s without a doubt the best song and the main reason to get this album. Now, that’s not to say that the other three tracks on the album aren’t great, they are. “Free At Last” and “The Hooker” solid slower tempo songs, and “Mister S.” is a capable up tempo soul-jazz groover…but they’re not in the same league with “Fire Eater.” Nothing I’ve heard before or since is in the same league as “Fire Eater.”

I first heard this song on a collection put out by Luv’n’Haight back in 1993 (I think I got a copy of it in 1994 or 1995) called Jazz Dance Classics, Vol. 1. This collection and this series was instrumental in getting me to move beyond CDs and cassettes and to search and dig for sounds that were no longer in print, that formed the backbone of Hip-Hop or that few people had heard before. Essentially my whole career as a DJ, at least what has distinguished me from many other DJs over the years, began with that collection. It wasn’t until a decade later, and 4 or 5 years after I already knew Matthew that I even realized that this classic collection had been compiled by Matthew Africa. One of the things that I am most thankful for is that I was able to let him know what a profound effect he’d had on me simply by doing what he did best, sharing the music that he enjoyed.

Listening to “Fire Eater” is easy to see why Matthew chose this one as the centerpiece of that collection. It’s an absolute fucking monster. There’s nothing I can say about it that improves on what Matthew said back in 1993, so I’ll just leave it to him:

“A few months ago I played a certain Rusty Bryant track on Beni B’s radio show here in Berkeley and the response was astounding –within moments the station was flooded with callers begging to know what they were listening to. One caller who couldn’t get through came all the way down to the station! Why? If you have to ask, you’ve never heard Fire Eater. What is it? A raw and rampaging slice of pure jazz funk. Rusty more than holds his own, but the track is dominated by Bill Mason’s hammering organ and Idris Muhammad’s brutal drums. Well worth the price of admission.”

MattAfricaSignIn the years since I came into contact with that collection, later on tracking down the original record, I’ve played this record now on four different radio stations in three different states. Without fail someone will call up in a slightly crazed, dazed or shocked manner, asking what song this is, (generally about halfway through Bill Mason’s fiery solo on Hammond B-3). When I think back about all those times, I think about Matthew playing it at KALX for the first time and wondering what kind of effect that had on him. I’m not sure, maybe Beni knows, but I wonder if the response the “Fire Eater” got, along with other gems Matthew used to throw on, was the thing that finally convinced him to host his own show. Maybe I’ll never know, that is part of the tragedy of losing people you care for, you’re never able to answer the questions you never asked when they were here. But we do have our stories, and those of us who knew Matthew have many stories and so much music to remind us of him, for that I am eternally grateful.

Peace be with you,



Chris Connor – Where Are You
Chris Connor – Ev’rytime
Chris Connor – Get Out Of Town

As I’ve mentioned here and on the radio show, I’ve been on a major jazz record kick here in 2014. Quite a lot of that started earlier in the year when I ran across a couple records from vocalist Chris Connor while at Groove Merchant in San Francisco. While I was familiar with the name, I couldn’t recall here voice, but from the moment I dropped the needle to this album while at the store, I was in love.

Chris Connor was associated with the “cool” school of vocalists coming out of the 1940s and early 1950s, including Anita O’Day and June Christy. She actually got her big break when Christy recommended her as a replacement with Stan Kenton’s band. While I love a lot of the vocalists associated with this period of jazz, what I feel like sets Connor apart is not only how cool and effortless her singing sounds, but also the hint of vulnerability in her phrasing.

This album was her debut on Atlantic, after recorded some splendid sides on the Bethlehem record label. It’s actually a historic record, as this album was the first from a white jazz vocalist to have been released on the label, which by the mid-1950s was especially associated with Rhythm & Blues. This album, and several of the ones that followed for the label, have a mix of jazz and pop stylings. Most of the pop stuff with the strings and background vocals I can do without, it seems a waste of Connor’s talents, but when she’s with a smaller group (that on this album features John Lewis, Connie Kay, Oscar Pettiford and Barry Galbraith), as she is on “Where Are You” and “Ev’rytime,” the results are simply stunning.

On a more sociological note, I find artists like Connor fascinating, singing heterosexual love songs and never publicly being able to acknowledge the woman you love, at least not while your career is in full swing. I wish she were still alive or there were more interviews with her or her partner to detail what that life was like. Thankfully we have the music and in that music there are many layers of wonder to consider.




The Albert – Pity The Child
The Albert – Misery
The Albert – Been So Good (For So Long)

As best I can gather, the Albert were a rock & soul group out of New York. They released a couple of records for the Perception label, which both appear to have come out in 1970. The debut record is even rarer than this one, their second album, even though many of the same songs are on both records (though apparently in different arrangements). To my ears they remind me of a smoother, less psychedelic version of Demon Fuzz. This was another record that I got at the September 2014 Beat Swap Meet, also from Andy of the Record Jungle. When I arrived there were already at least 10 people going through the records in Andy’s spot. Directly in front of me, a guy was browsing through the records and picked out this one to take a look. A buddy of his shared the news that it was a good record and that it had breaks on it, but for whatever reason, the guy didn’t decide to hold on to the record…as soon as he left that box, I swooped in and grabbed it quickly. I’d been aware of this record for years, but had never actually run into a copy of it. With the more than affordable price of $10, there was no way I could let it slip by.

When I got a chance to listen to the break-laden early parts of “Pity The Child” and “Been So Good,” I was very pleased with my decision to pick this one up. A full listen to “Pity” caused me to realize that I’d heard the song sampled before, as it reminded me immediately of Gonjasufi and Gaslamp Killer’s song “Made.” Interestingly enough the sample for the song is listed online as belonging to Wanda Robertson, who also recorded for Perception. Many many moons ago I used to own a copy of that record, but couldn’t remember any of the sounds on it. Turns out the Robinson track is essentially an instrumental version of “Pity The Child” just with Robinson’s spoken word layered on top of it. I think the bad loses a bit of their verve the more upbeat they get, but when they keep it slow and low, it’s a special mix of sounds.




Jimmy Scott – Exodus
Jimmy Scott – (Sometimes I Feel Like A) Motherless Child
Jimmy Scott – Our Day Will Come
Jimmy Scott – This Love Of Mine

When Jimmy Scott passed earlier in the year, I know only felt a great deal of sadness, but also deep regret. I had a chance to see him perform in both the Bay Area and in LA and didn’t take advantage of it. As I’ve started to pick up more of his music on vinyl, I’m struck by how listening to his vocals makes you feel like he is right there, singing near you. I’d been trying to pick up a solid copy of this album for a very long time, never running into it in the field. At the most recent Beat Swap Meet, I managed to score this copy (in addition to some other choice LPs) from Andy at the Record Jungle. The Source finds Scott’s voice matched with a number of pop hits and a few standards. There are quite a lot of albums like this from singers who’s best days were already past them by the time the 1960s were closing. The unique beauty of Jimmy Scott’s voice allows him to rise above and soar through these tunes. Few artists can stop me dead in my tracks with a single note. Hearing Scott’s voice on this album certainly has that power.




Randy Weston – Little Niles
Randy Weston – Nice Ice
Randy Weston – Let’s Climb A Hill

Been on a major jazz kick this year, might have doubled my whole collection in the past nine months. It’s strange spending most of my DJ career been associated with jazz, playing it exclusively on “The Blue Note” in Atlanta and “Stompin’ Grounds” in Madison, but since moving to LA, it hasn’t been a major part of my show at KCRW or KPFK. I’ll be working to change that in the future. Ran into this lovely album at Atomic in Burbank during a pre-birthday jaunt. Weston’s Uhuru Afrika from 1960 is one of my all-time favorites and so when I noticed a lot of the same personnel, particularly Melba Liston, one of the truly unsung geniuses of modern jazz, I had a feeling it would not disappoint. As an added bonus there are some gorgeous words on the back from legendary poet Langston Hughes…gorgeous words to match the gorgeous music.




Byron Lee – Psychedelic Train
Byron Lee – Chin to Chin
Byron Lee – Singer Man

Despite not being on the blog for basically the last month, I was a busy boy over the last couple of months to close out my summer of record therapy. This record is one of a number classic exploitative covers, one owhich I’d only rcognized as belonging to the Trojan records collection of the same title. Had a chance to pick up a relatively cheap copy and jumped at it. The vinyl itself has a lot of “personality,” but not so much as to take away from some classic early reggae sounds from Byron and the gang.




Luiz Gonzaga Jr. – Rabiscos N’Areia
Luiz Gonzaga Jr. – Galope
Luiz Gonzaga Jr. – Uma Familia Qualquer

Picked this up around the same time as the Richard Menexes 45 I’ve mentioned earlier. During the tail end of that same auction, the seller put up this record for a scant $5. It seemed that there really wasn’t anything wrong, except that the cover was missing. All I needed was a quick listen to “Galope” to swoop this one up, especially at that price. When it arrived, I was surprised that the album actually did have a cover with it and so the price seemed all the more perplexing, that is until literally this morning.

As I was preparing to record songs and then post this album to the blog, I finally realized that the cover was actually for his 1973 album, but this was his 1974 album. Brazilians, for whatever reason, often only gave their albums the title of the artist. Thus, it becomes important to know which year or which songs are on an album, because if you only went by the artist’s name, you might be dealing with 4 or 5 or 6 different releases.

Hadn’t heard of Gonzaguinha, as he’s also known, before this one. He definitely has a different style than many of his contemporaries, much darker and not as overtly funky, but it’s mighty tasty nonetheless.




Bo Rhambo – Two For The Blues
Bo Rhambo – Blues For Two
Bo Rhambo – Dream Awhile
Bo Rhambo – My Mother’s Eyes

Yesterday was my 39th birthday, and I celebrated earlier in the week by taking a trip down to New Orleans. I haven’t to “the Big Easy” since I was a kid, which seems strange given how much I love the music and culture of the city. With only a few days there, predictably, I spent most of my time in record stores. I’ll likely be posting many of the things I picked up there on this blog in the coming months, but this record was the one I wanted to share first.

I picked up this album from trumpeter/saxophonist (a rare combination) Bo Rhambo while at Jim Russell’s Records. While most of the DJs who had suggested going to Jim Russell’s (or JR’s as I like to call it) talked about the 45s, I was able to find a number of really high quality jazz LPs while I was there. Sadly, Mr. Russell recently passed away, but his daughter-in-law Denise Russell has been running the place for a long time and it doesn’t seem like the store is going to close anytime soon. At JR’s the vast majority of LPs are $5 (or $10 if it’s a double record) and the 45s are $3 ($5 if it’s a picture disc) which leads to some extraordinary deals. If that wasn’t enough they also have a deal where every two records you buy, you get a third one free…needless to say, this was just my kind of store.

I’ll be sharing a story about my adventure looking for 45s here in the coming weeks, but for now I wanted to focus on my favorite record from the 7 or 8 I ended up getting. Recently I’ve been buying a lot of jazz, more so than usual, especially 1950s jazz. Most of the records I picked up were from “cool” female vocalists, like June Christy, Chris Connor and Anita O’Day. When I first saw the cover for this album, I thought for a moment that the model on the cover was Bo Rhambo, and she might be another vocalist. The cover art screams late 1950s early 1960s so it seemed like it would be in my sweet spot. When I found out the woman pictured wasn’t the musician, I almost put the album down right there, but something told me to give it a listen. I’d never heard of Bo Rhambo and the stylized cover made me curious to find out what the music might sound like. Rhambo2As I took out the record to see what kind of condition it was in, I was absolutely amazed at the level of smoke “damage” the record had. Dust looks very different. Sun damage looks very different. When smoke builds on a record it has a very distinctive look. I don’t know who originally bought this record, where it was played, but that must have been one seriously smokey joint!

Smoke doesn’t necessarily mean that the sound quality will be compromised, especially if you can clean some of the gunk off. So I gave the record a spin on the house turntable and was greeted with even smokier music in the lead track, “Two For The Blues.” At the time it seemed like there was some kind of warp, but since it also seemed to be perfectly on beat, I couldn’t tell if it was actually a warp, or just the percussive sound of the heavy organ on the track. Pretty much from the moment I heard that song I was hooked. Rhambo3I kept on shopping and kept on listening just to see if the condition of the record was going to be good. Sure enough, it played straight through with all kinds of smokey feeling. Earlier today I set about trying to clean up the record. I got about 1/2 of the smoke cleared from Side 1, but noticed that (aside from the phantom warp, which now had disappeared) there really wasn’t much of a difference between the two sides, so I decided to keep side 2 just as smokey as I found it. As the liner notes detail, this is an album that really does sound better in the evening. It was built for late nights and nefarious activity. It really has an old-school Los Angeles feel to, very noir-ish, even though I ran into it in New Orleans, I guess it fits that city too. So very thankful that I took a chance on this one, I really love this sound and hope you do to.




Rahsaan Roland Kirk – The Black Mystery Has Been Revealed / Expansions
Rahsaan Roland Kirk – Lady’s Blues
Rahsaan Roland Kirk – A Flower Is A Lovesome Thing

Here at Melting Pot, every August 7th, we celebrate Rahsaan Roland Kirk day! Rahsaan is the patron saint of this blog and one of my all-time favorite musicians and this year’s celebration brings with it a review and head’s up for the fantastic documentary directed by Adam Kahan on Rahsaan, called The Three-Sided Dream. So far, it’s been screened on a very limited basis at a few festivals around the country. When Melting Pot returns to the air on August 17th, I’ll be running an interview I did with Adam ahead of the screening here in LA for the Don’t Knock The Rock fest that Allison Anders curates. I’ll likely close the interview with a song from this 1969 album, “Lady’s Blues,” which according to Adam was the first song that he really “heard” from Rahsaan.

Left & Right is an interesting album. It’s one of the few that features Rahsaan with strings on most every track. The title, and the iconic cover photo, certainly reference the multiple sides of Rahsaan’s musicianship, as do the two sides of the album. The first side begins with a short call to arms from Rahsaan, titled the “Black Mystery Has Been Revealed,” which gives a bit of a preview of the direction Rahsaan would turn to on his later album Blacknuss. Most of the side is taken up with a long, seven-part piece called “Expansions,” which features the always brilliant Harp of Alice Coltrane.

Side two almost entirely features (aside from the aforementioned “Lady’s Blues” which Kirk wrote) covers of songs that are clearly inspirational to Rahsaan, including songs associated with Mingus (“I X Love”), Billy Strayhorn (“A Flower Is A Lovesome Thing”) and Quincy Jones (“Quintessence”). The inclusion of these songs, with the strings, acts as a real stark contrast to the more experimental “Expansions,” and gives another layer to the “Left & Right” metaphor with Rahsaan, something Adam & I talked about in our interview, the tension between pushing the music forward as an innovator and holding on to a sense of reverence of past traditions and styles. When I think of the criticism I’ve read of Rahsaan, it always seems like this dichotomy, described in the album’s notes as composer/entertainer, is the thing people who don’t dig him can’t wrap their head around. Rahsaan was many things and like the multiple instruments he often played, he was all these many things simultaneously. Which is precisely why we loved him so.

Bright Moments,


p.s. If you haven’t seen the film just yet, or even just the trailer for it, here it is. Once we run the interview with Adam, I’ll use that post to update about the status of the film and any scheduled screenings or (hopefully soon!) a release date to see it in theaters…the film is exactly what every fan of Rahsaan’s music could have hoped for:


Year number five boiled down to the best twenty tracks from the past twelve months of our Dig Deep section…Later this year I hope to have a special 5th anniversary mix put together by one of the best DJ’s here in LA, but until then, Dig On It!

Melting Pot’s Deepest Digs Volume 5

1.  Phil Upchurch – Adam and Charlene – Upchurch
2.  The Emotions – Take Me Back – Untouched
3.  Johnny Frigo Sextet – Gardens On The Moon – The Electric Jazz Of Gus Giordano
4.  The Peppos and Jones Straightjacket Band – Humanity – 7″
5.  Clifford Coulter – Yodelin In A Whatchamaname Thang – Do It Now…Worry About It Later
6.  Miguel De Deus – Fabrica De Papeis – Black Soul Brothers
7.  Lenny White – Sweet Dreamer – Big City
8.  Gabor Szabo – Galatea’s Guitar – Dreams
9.  Ame Son – Eclosion – Catalyse
10. Joe Henderson – Earth – The Elements
11. Richard Menezes – Nova Jersey – 7″
12. Marcia Griffiths – Here I Am Baby – Sweet Bitter Love
13. Little Richard – The Rill Thing – The Rill Thing
14. Jean Kassapian – The Snake – 7″
15. The Latinaires – Camel Walk – Camel Walk
16. Horace Silver – Won’t You Open Up Your Senses – Total Response
17. Billy Harper – Soulfully, I Love You – Capra Black
18. Jerry Butler – Ain’t Understanding Mellow – The Sagittarius Movement
19. John Mayall – Looking At Tomorrow – Back To The Roots
20. Erasmo Carlos – Minha Gente – Sonhos e Memorias 1941-1972


Jun Mayuzumi – Black Room
Jun Mayuzumi – Miracle
Jun Mayuzumi – Answer To Me
Jun Mayuzumi – Yagi-Bushi

I’m not entirely sure where or how I first heard the sounds of Jun Mayuzumi. I thought it might have been from the Nippon Girls collection, but that wasn’t put out until 2009 and I’m pretty sure I must have at least heard this while I was still living in the Bay Area on KALX Berkeley (probably due to Mathew Africa…R.I.P.).

Jun accepting her trophy for the most breaktastic Japanese song of all-time!

Jun accepting her trophy for the most breaktastic Japanese song of all-time!

I do know for sure the moment I freaked out for the song and had to get a copy. I’ve actually mentioned it here already, back in 2010, thanks to Scott Craig at the old Records LA spot. “Black Room” is quite possibly the greatest dancefloor filler, break-beat champion sound to have ever been released out of Japan and its one of my top five favorite songs to dance too (which I was reminded of this past weekend when Soul Marcosa dropped it in his set, followed by Los Kifers “El Sol Es Una Droga,” almost resulting in murder on the Funky Sole dance floor at the Echo). It’s got the great drums courtesy of Akira Ishikawa, big heavy bass lines, snappy horns and this fantastic long call “Awwwwwwwwwwwwwwwwww” from Jun with the drums only behind her at the start of most verses. Just a brilliant, brilliant tune.

A couple years ago, I found out that in addition to the 45, the song, along with 13 other tracks, was featured on this album from Mayuzumi, released in 1968 (I think, since I don’t read, speak or write Japanese). Most of these songs are also featured on 45s from Mayuzumi, and so instead of spending a small fortune tracking all of them down individually, I got this one as a birthday gift to myself. From what I can tell the cover of the record depicts Mayuzumi winning the Japan Record Award in 1968, sort of the equivalent of the Grammy’s here in the States. The same group that backs her on “Black Room” is featured on every track and while half of the songs are slower pop ballads, things still get soulful and funky just about everywhere else. There isn’t a lot of information on Jun in English on the interwebs, I know she also did a fair amount of acting, but not much more than that. One day hopefully I’ll be able to add her story here, but until then let’s just be thankful for the tunes.




DJ Rogers – Listen To The Message
DJ Rogers – Celebration
DJ Rogers – Bail Out
DJ Rogers – March On

{This record is one of several that I currently have up on Ebay, solid titles and you know the money goes to a good cause, namely this blog and my ongoing vinyl addiction!}

Picked this up at a recent dig at one of my favorite LA spots. As I was going through all of the bins, turning up a few pieces but nothing spectacular I happened upon this plain blue jacket with no information at all. Intrigued, I took the album out, which felt like it was made from something other than vinyl, metal perhaps, and saw that this was clearly a test pressing. The album turns out to be D.J. Rogers debut album, released on Shelter records in 1973. DeWayne Julius Rogers was a homegrown talent who got his start singing in local church choirs, most notably the Watts Community Choir and the Los Angeles Community Choir. That gospel influence is clear from pretty much the start of the album, in his vocals and in the way the vocals from the chorus (which features Maxayn Lewis) are arranged. It’s also pretty clear that Rogers was a major fan of Sly Stone, because this album could have been mistaken for a Sly side-project. Though the funk here has clear nods to Sly, it doesn’t retain any of the murky sonic character of Sly’s There’s A Riot Going On or Fresh. Instead the funk only adds to the uplifting messages in the songs.

I thought I would be able to find more information about this test pressing, but struck out in every online search I could find. In some cases test pressings like this were made as the last step before sending the record out, sometimes as a kind of personal promo. Artisan Sound Recorders was a fairly well know pressing operation, and there are more than a few test pressings from that company, but I could find anything on this one. Might just be a one-of-a-kind find.




Charlie Haden & the Liberation Music Orchestra – Song For Che
Charlie Haden & the Liberation Music Orchestra – The Introduction/Song Of The United Front/El Quinto Regimento/Los Cuatro Generales/Viva La Quince Brigada/The Ending To The First Side

A great and glorious light in this world has gone out…on Friday, July 11th, we learned of the passing of Charlie Haden. I’m not sure it’s possible to fully understand the impact Haden’s music and style have had on musicians the world over. I’ll leave that for others. Instead here I’ll just tell of the effect his music has had on me, a subject I’ll return to next week when I host an hour long tribute to Haden on my radio show. I have no memory of the first time I heard Haden on bass. I’m sure it must have been at some point in high school, when I was starting to take baby steps into jazz, but I don’t remember it. I’m sure I had heard his music, particularly from the years he spent with Ornette Coleman, by the time I arrive at college. Surely by the time we (myself, James Diggs and Daryl “G-Wiz” Felker) brought jazz back to Album 88 I must have been familiar with his name and his work. By the time James and Daryl had left the show and it was all my own I’m certain I must have owned several records with Haden playing on them. At that time, shortly after my mother’s death, I engaged in quite a lot of record therapy and with the jazz show, much of what I dug up was out of print jazz on vinyl. At the time I had pretty extreme tastes, either funky soul-jazz that often got sampled by Hip-Hop producers or the fiery free and spiritual jazz that was rarely ever heard on the radio.

At some point in that period of time I bought a copy of this album, the first by Charlie Haden’s collective of musicians known as the Liberation Music Orchestra, originally released on Impulse records in 1970. In those days my ears were not as patient as they are now, I’d buy 10-15 records in a week and generally listen to the ones with breaks (or that I thought had breaks) and leave the others for some later day, often Sunday when the “Blue Note” aired. I may have listened to this album once or twice, I can’t remember the exact circumstances, but I do remember vividly when I finally HEARD the music on this album. I was going about my business with the album on the turntable, probably alphabetizing other records, and the moment on the first side where everything falls away and you hear, a chorus of voices rise up, almost like voices from beyond the grave, to sing a few lines of Spanish Civil War Song “El QUinto Regimento” before a blistering flamenco style solo arrives from Sam Brown that closes with a solo from Haden himself with these lightly cascading cymbals in the background. When I heard those voices and then the music that followed I stared at my turntable from across the room for a good long while. In all honesty I wasn’t sure if the voices actually came from the record, which didn’t make sense, why would these Spanish voices be coming out of this avant-grade jazz record, or there was some kind of ghostly happenings afoot.

The album finally reached another passage where the old Spanish Republican songs were super-imposed again (which, incidentally, last for longer periods of time on this version only, the 1973 repress of this album, in some cases a full second or two longer than the original from 1970 and all of the post-1990s reissues) and I finally was able to move and went over to the turntable to begin the side over again, now with my full attention on the piece. I spent the next 26 minutes listening to this extraordinary piece of music, brought together by Carla Bley and inspired by the music of Spanish Civil War. Haden2From the opening notes of “The Introduction” through all that followed after I was completely mesmerized. I just sat there in front my stereo with my hand on my chin trying to process all of that beauty. When the piece arrived at “Viva La Quince Brigada” with it’s deep swells of emotion from the entire ensemble and especially the screaming saxophone of Leandro Barbieri and the chorus now singing “Ay Carmela” I was completely overwhelmed by this music and began to openly and uncontrollably weep. I’ve shed tears over music before and since, but I’ve never had that experience again. The experience fundamentally changed aspects of my character, beginning with an obsessive look into the Spanish Civil War, deeper investigations into political music and leftist political theory from outside the US and also forever shifted my listening habits so that whenever I buy music that is new to me, I always make sure to set aside time to hear it fully.

When I finally flipped the record over and played “Song For Che” I was just as deeply moved. After years of now listening intently to the music of Charlie Haden, in all his many groups and all the many styles he played in, there’s still not a more perfect song than this one that expresses everything that was so beautiful about him. About three minutes in there is a stretch where he plays the central melody in an almost flamenco style on his double bass as a short passage of Carlos Puebla’s “Hasta Siempre” makes a brief appearance before all manner of glorious sounds erupt with the parts of the orchestra coming in led by Dewey Redman’s plaintive tenor saxophone. Every time the full group returns to the central melody near the end of this song, with Dewey’s Saxophone on one side and Don Cherry’s trumpet on the other, my heart swells. To this day it remains one of the most beautiful and deeply affecting pieces of music I’ve ever heard.

Haden3A few years ago, at the 75th anniversary of the Spanish Civil War, I did a tribute to the music of that conflict, including tracks from this album and other Liberation Music Orchestra releases (as well as the original tracks they interspersed in this album, which were released in 1963 on a 78 and reissued on CD in 1996 with notes in English, Spanish and French). At one point during the broadcast a caller called in saying that he was Charlie Haden and thanking me for doing the show and for playing his music. I honestly didn’t believe it was him until he called up again at the end of the show to give me his post office box address to send a copy of the show to, which I promptly and inexcusably lost. I thought I might have dreamed the whole thing until Maggie Lepique, the Music Director at KPFK, told me that Charlie had called her and wanted a copy of the show. In the last several years I’ve had an opportunity to interview Charlie’s son, Josh Haden and his group Spain, and have had short conversations with one of his daughters Rachel Haden who sometimes works in a local record store (in fact I bought this particular copy of this album, replacing an older one, at that store and she was at the counter when I brought my records and she beamed and proudly showed it to her co-worker). Though they play different styles of music than their father, his light shines in them and thankfully will be carried on in their music and their lives.

I feel incredibly lucky to share music like this, here online and on the various radio stations I’ve been at. Even people who don’t like Avant-Garde music recognize the incredible majesty of these songs. I’m also thankful that I got to see Charlie Haden perform late last year, perhaps one of his last public performances, as he led a CalArts edition of the Liberation Music Orchestra, performing a variety of songs, including a tribute to the then recently departed Nelson Mandela. It was sadly clear just what ill health Haden was in at that time, so frail and especially at the beginning of the night seemingly unable to stand or talk for stretches of time. But as the music played and he got excited by what the young musicians were doing, he kept coming to the microphone and telling stories, most of them centered of love in one form or another. That night closed with one of my most cherished memories, as Haden took up his bass and played some of the sweetest and saddest notes I’ve ever heard in a blissfully long rendition of “Blue In Green.” As with the first moment I really heard his playing on this album, I’ll never forget hearing Haden play on that evening. We all should feel blessed to have spent time with and been able to hear such lovely music from a truly lovely human being.

Peace be with you Charlie Haden, thank you for all you shared with us…


Ame Son – Eclosion
Ame Son – Reborn This Morning On The Way Of…
Ame Son – Hein Quant A Toi

This post marks the last post of our fifth year, with our anniversary being July 7th. I first heard of Ame Son from a collection Finders Keepers put out a few years ago called the BYG Deal, covering some of the more proggy & psychedelic recordings from BYG/Actuel Record label in France. On that compilation was a edited version of “Eclosion” that blew my mind. It remains one of my all time favorite psychedelic songs because of the way the drums tumble out of the speakers and for the searing electric guitar work. Needless to say, that wee taste was all I need to put the album from the group on my radar.

A couple of years ago I finally tracked down a decent copy of the album Catalyse from Ame Son. I really dug all the tracks and must have listened to the album if not daily, certainly weekly for several months. Something bugged me about the album though, it seemed like there was either a problem with the track listing or I had the feeling like one of the songs on the second side was edited. Eventually that nagging feeling sent me to the Internets and specifically to Discogs, where I discovered that my feelings were true. I learned that for whatever insane reason, the folks at BYG had significantly truncated “Reborn This Morning On The Way Of…” essentially cropping off 90% of the song and attempting to seamlessly blend it into the next track.

I then learned that on the German pressing the song was presented in it’s full version. So, then I had to find the German version, released on the Metronome record label. When I finally did, I was able to appreciate “Reborn” in all it’s glory, but I ended up with another problem. I liked the packaging and the sequencing of the French version better! Even the lyrics to the songs, sung in English and French, were written in German on the Metronome release. I thought about keeping them both, but since I’m not a club DJ or producer with great turntable skills, having doubles has always seemed a bit greedy. So ultimately I ended up trading the French version with Cool Chris of Groove Merchant for a few other records. I suppose that’s the definition of a win-win situation…now, if only I could find a German version mispress that has the songs sequenced in the way they are on the French version. Not likely to happen, but a boy can dream can’t he?

One final thing about this record, when I first played “Hein Quant A Toi,” and it got to the part where the flute is amplified and distorted, my dog couldn’t figure out what was going on and why the speakers were making such a weird sound, she just kept turning her head, giving the speakers a sideways glance that I’ve only seen dogs give when they find something strange and peculiar…if you have a dog, you should play it for them and see how they respond.



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