Melting Pot

Archive for the ‘Dig Deep’ category


Nina Simone – The Backlash Blues
Nina Simone – Do I Move You?
Nina Simone – Blues For Mama

Though I’ve had a hiatus here and there, this is the first Sunday since 2010, that I don’t have my show on Sunday. Melting Pot has moved to Fridays from 8-10pm and it definitely feels a bit weird, somewhat like the discombobulation that occurs at the beginning of daylight savings time for us in the US. I’ll work it out, and probably end up posting Friday’s shows on Sundays, so it’s almost like it’s still on Sundays. Today thought, during the time I used to be doing my show, I’ll be watching the new documentary on Nina Simone, Liz Garbus’ “What Happened, Miss Simone?” 2015 has been a pretty great year for documentaries, but this one in particular I’ve been waiting for. I’ve been a fan most of my adult life of Miss Simone. When Simone passed away, I was lucky enough to host a tribute show with Oliver Wang on KALX to celebrate her music and life. Hell, even my dog is named Nina, after Simone. Strangely though, until fairly recently, I had a lot of music from Nina Simone, but not actually a lot of records from her.

That all changed when I saw a beautifully rendered dance routine to “Do I Move You?” My admiration for the dancer and her dance was one thing, but part of the effect it all had on me is that it was like I was hearing this song for the first time. The album that “Do I Move You?” is from is one of her biggest. Released in 1967, it was her first album for RCA, and contains several of her signature songs, including House Of The Rising Son, Put A Little Sugar In My Bowl and Backlash Blues. All of those songs I knew well and had digital copies, but for whatever reason, I’d just never bothered to get this record. When I was blown away by that dancer and that song, I knew I had to rectify that situation immediately. The experience caused me to redefine a number of things and led to a couple of months of tracking down classic albums that should be in my collection because of how much I treasure the music, but like this album were not in my possession.

Over the past year, as we’ve seen greater civil unrest, related to police brutality and racism, the music of Simone has remained as relevant as when it was originally recorded in the 1960s. With the week we just had here in the US, I feel it’s a particularly apt time to reflect not just on Simone, but especially her song, “Backlash Blues.” Written by the legendary poet Langston Hughes, “Backlash” takes a very different tact as a protest song. There’s a defiance here, that’s not always present in songs like this, and something that of course really comes through in the performance of Simone:

Mr. Backlash, Mr. Backlash
Just who do think I am
You raise my taxes, freeze my wages
And send my son to Vietnam

You give me second class houses
And second class schools
Do you think that all colored folks
Are just second class fools

Mr. Backlash
I’m gonna leave you with the backlash blues

When I try to find a job
To earn a little cash
All you got to offer
Is your mean old white backlash

But the world is big
Big and bright and round
And it’s full of folks like me
Who are black, yellow, beige and brown

Mr. Backlash
I’m gonna leave you with the backlash blues

Mr. Backlash, Mr. Backlash
Just what do you think I got to lose
I’m gonna leave you
With the backlash blues

You’re the one will have the blues, not me
Just wait and see

When you look at the amazing changes that have happened in the last week, the stunning quickness with which Southern states have begun the process of removing the Confederate battle flag from public grounds after the Charleston Church Murders and the Supreme Court’s decision that legalizes gay marriage throughout the country, it can feel like Nina & Hughes song has prophetically come true. But it should also be a reminder, that in moments of change, which was very true of the turbulent 1960s as it is for this moment, what is positive for one group is often viewed negatively by another, and the backlash can sometimes be severe. It’s worth noting that this week we’ve seen at least 5 churches set on fire throughout the South, and this summer has only just now begun. But when you’re on the right side of history, you keep fighting, because you know eventually, we’ll leave the inequality, oppression, discrimination and the backlash in the past. And when we do, we’ll still be marveling at the music and majestic of Nina Simone.



P.S. If you haven’t seen it or heard about it, here is the trailer for “What Happened, Miss Simone?” the new documentary on the life and times of Nina Simone:


Jon Lucien – Would You Believe Me
Jon Lucien – Rashida
Jon Lucien – Luella

When you spend a lot of time (and money) on tracking down rare records, you sometimes will skip right over more well-known and easier to find things, precisely because they are well-known and easier to find. That was the case with me and this record for years. At some point in passing I’m sure I had heard “Rashida,” but because I always seemed to see this record around, and rarely for more than $5, I didn’t feel any burning need to add it to my collection. Earlier in the Spring I had a bout of record therapy that largely entailed me tracking down more classic, well known records (mostly Jazz from Mingus, Coltrane and the like) that everyone should have and that are great listening experiences. It was around that time that I picked this record up finally and I’m truly glad that I did.

Lucien’s sound strikes me as a kind of cross between Leon Thomas, Eugene McDaniels and Jorge Ben, with an emphasis on rhythmic wordless singing anchored often by acoustic guitar around soulful backing. “Rashida” is a classic, beautifully constructed and worthy of it’s reputation. It was the other songs that really surprised me, especially “Luella” and “Would You Believe Me,” that have a funkier approach that is right in my wheelhouse. Though this section, especially after 5+ years, is generally reserved for out-of-print and hard-to-find records, I think you’ll see me “Dig Deep” on other perhaps under-appreciated classics like this, just to keep reminding us just how good REALLY good music is.




Sod – Pushie
Sod – House Rules
Sod – Rock’n’Roll Express

Picked this up at a (fairly) recent trip to Atomic in Burbank. SOD were a horn-rock band originally out of the Vegas area. Their debut album, simply titled SOD, begins with a massive drum break that makes it a prized possession for those who collect such things. Breakdowns aside, I think both of the records are pretty comparable, solidly played…a lot of rock dudes don’t mess with “Horn-rock” but for me, this is a horn-rock album for the whole family.

“Pushie” takes a little while to get started, but once it does it rocks along just fine. As an added bonus there’s a nice “Funk #49″ inspired drum break down. “House Rules” has a really slinky funky groove from the guitar that will have your head nodding. David Axelrod is credited with producing this album, though it doesn’t necessarily have any of his trademark style, he does (in comparison with the first record, that I’m still trying to track down) give the band a warmer feel.

On a side note, that cover art, which looks like something pulled from a Twilight Zone or X-files episode, has got to be one of the most disturbing and unsettling ones I’ve ever seen.




Carl Sherlock Holmes – Black Bag
Carl Sherlock Holmes – Better Think It Over
Carl Sherlock Holmes – Your Game
Carl Sherlock Holmes – It Ain’t Right

Was taking a look at my shelves, wondering what I was going to put up here as I caught up with posts, and realized to my shock and horror that I hadn’t put this record up here. I’m not sure, but this might be the rarest record I own, or at least one of the ones that cost me the most to track down. For years I’ve sung the praises of “Black Bag,” ever since it ended up on a Luv’n’Haight collection it’s been a favorite of mine for it’s raw and heavy funk. I’d known about this record since then, but never saw it, never expected to see it. With all the turmoil in my life over the last couple of years I’ve done a lot of record therapy and this was a record that when I saw a copy available online, I just said “fuck it” and got it.

“Black Bag,” “Investigation,” and “Modesa” were already well known to me, though when I heard them separately I thought they were from different records. Though unfortunately a bit short with only 8 songs, “Investigation No. 1″ covers a lot of territory. The thing that I was most pleasantly surprised by were the slower and sweeter soul songs, including a version “Close To You” and “Better Think It Over,” shared above. Occasionally super rare records don’t live up to their hype, many of them really are just “one-trackers,” and you immediately feel buyer’s remorse after that initial euphoria. This one has staying power and ain’t moving out of my collection until I’m done with this world.




Bobby Callender – Rainbow/Nature
Bobby Callender – Purple
Bobby Callender – Symphonic Pictures

While I might still hold on to that Spontaneous Combustion record, I’ve already said goodbye to this one from Bobby Callender. It’s no comment on the quality of the album, more connected to knowing that I’d be able to get something else that I’d truly cherish through a trade with Cool Chris at Groove Merchant. Rainbow is a true-blue Hippie psychedelic album of the times, with Callender reciting poetry to sitar laden, fuzz inflected psych sounds. “Rainbow” and “Nature” lead off the album and although they’re separate trakcs they just seem like they should go together and so, here they do. Callender“Purple” is the magnum opus of the album clocking in a over 11 minutes, but it’s “Symphonic Pictures” that has the most staying power. Partially because of the recent events all over the country as communities seek redress for abuses from police, the words of Callender still ring depressingly true here in 2015. Apparently Callender released a couple of other records, both in a similar vein as Rainbow, though even more difficult to come by. I’ll be on the hunt for them, though chances are, I’ll likely run into them on a future pilgrammage to Groove Merchant.




Spontaneous Combustion – Space Shout
Spontaneous Combustion – Time Stitch
Spontaneous Combustion – Stone Shake

Picked this up at a PCC record swap a couple months back. As I’m doing some spring cleaning of my collection (mostly connected to a quick trip up the Bay Area and to the Mecca of West Coast record stores Groove Merchant) I’ve been on the fence about this one. Spontaneous Combustion appears to be a studio concoction of Bob Thiele, legendary for his work with Impulse and Flying Dutchman, featuring nine dudes (all pictured and listed on the front cover) who played on a fair amount of jazz-rock-funk albums around this period of time. As far as I can tell, this is the only release from the band, and while most of the songs are nothing to write home about, when they get into some good business, it’s mighty good. In addition to getting right funky, there’s all kinds of little weird avant-funk flourishes throughout the songs presented here. Solid work if you can find it.




Buddy Collette – Fun City
Buddy Collette – Shatara
Buddy Collette – Safari West

As I’m pretty sure I mentioned previously, I’ve been buying and listening to a lot of jazz over the past year. This record came my way via KPFK’s Jazz guru Mark Maxwell, host of Rise on Sunday/Monday Midnights to 2am on the station. Last year Mark was selling records at the Beat Swap Meet and mentioned that he also had some rarer things up on Ebay at that time. He asked me if I had heard this record from Buddy Collette, who did some really solid work with Chico Hamilton and on his own in the 1950s and 1960s…I had not. Lucky for me (though not I supposed for Mark), no one else seemed to be interested in this record and I got it for a shockingly low price (so low that I think I actually gave Mark some additional money, because it just didn’t seem right getting a record this good for that cheap).

Collette was a really central figure in the jazz scene here in Los Angeles, both as a musician and as a teacher (Eric Dolphy was a student of his and I think we can all be thankful for that), well respected though not as well-known as others associated with West Coast Jazz. Just over the past year I’ve added more than a few records featuring Collette, particularly his gorgeous work with Chico Hamilton in the 1950s. This album was a bit of a surprise, mostly because I hadn’t heard much from Collette out of the 50s/60s sweet spot. Though most of the album is fairly straight ahead and what you might expect (“Shatara” in particular reminds me of those Chico Hamilton years), “Fun City” and “Safari West” have a fantastic, almost Spiritual jazz quality to them. Like so many of the records Collette was associated with in his many many years as a player, this music seems designed to be played on calm and serene Spring days, just like the one we enjoyed today here in Los Angeles.




Light Rain – Beautiful Friend
Light Rain – Rabekin
Light Rain – The Sword Dance

Apparently this was the first “belly-dance” album recorded by American artists, for trivia buffs. I’m not sure if I’m really “supposed” to like this music. It’s unabashedly on the “new-agey hippie” tip, but I can’t help but find the music beautiful and something that hits all the right notes in a sort of Game of Thrones background music kind of way. The slow burn of “Beautiful Friend” is just gorgeous, and as I mentioned previously, this album was probably one of the ones I listened to the most last year, just a great listen from start to finish.




Universal Order Of Armageddon – Visible Distance
Universal Order Of Armageddon – Stepping Softly Into
Universal Order Of Armageddon – No Longer Stranger

Since 95% of the music on this blog tends to be funky, soulful or soulfully psychedelic, this might seem like an odd choice. But longtime readers (and anyone who just happened to pay attention last year’s tribute to Double Nickels On The Dime) know that I have a deep love and appreciation for the punk rock. The Universal Order Of Armageddon, along with the Nation of Ulysses, is a band that I might have had a chance to see during my youth in Atlanta, but regrettably, I never saw live. Like Ulysses, the band was an elemental force in the studio and on stage. Switch Is Down is perhaps their finest moment, and for my money is the best example of post-hardcore music. Every single element of this band just killed. Tonie Joy’s massive walls of feedback on guitar, the booming thunder of Scott Malat’s bass, the esoteric ramblings and screams of Colin Seven and more than anything else, the hard as hell drums of Brooks Headley. “Stepping Softly Into” is one of my all-time favorite songs from this period of time and something that I’ve frankly surprised has never ended up in a film. Perhaps an even bigger surprise is that Brooks Headley eventually left the music scene all-together and became a pastry chef in NYC. Hearing this music, I’m not sure anyone would have seen that coming. The band got back together for some shows a couple of years ago with hopes that they might record, since it was clear they’d lost none of their power. For now that remains a dream, but no matter the future, the past was searingly bright and will never be forgotten.




Brother Jack McDuff – Come And Carry Me Home
Brother Jack McDuff – Seven Keys For Seven Doors
Brother Jack McDuff – Yellow Wednesday

The last time I ran into this record was over 15 years ago, at the Jazz Record Mart in Chicago, though I recently picked up another copy from Atomic in Burbank. Back in the day, I’d heard “Hunk O’ Funk” on a Blue Note compilation that was one of the first to really get me searching for Jazz-Funk on the label. I was surprised when I heard the album and few of the tracks had that same kind of “Super-funk” feel. Over the years I’ve grown to appreciate those other songs, which have a completely different style and sound to virtually everything else in the Brother Jack catalog. Part of that might be because more than other session of his, this one has the feel of being a “hired gun” session, with McDuff doing his thing with a host of British musicians, uncredited on the original album. I’m not sure the story behind this album, but the music on it, from the pensive “Come and Carry Me Home” to the almost Axelrodian “Seven Keys For Seven Doors” and “Yellow Wednesday” is some of my favorite from this long time soulful organist.




Harvey Mandel – The Snake
Harvey Mandel – Bite The Electric Eel
Harvey Mandel – Peruvian Flake

I wasn’t really planning on posting this record anytime soon, but when Harvey Mandel turned 70 years old on March 11th, there was a beautiful and touching appreciation for the man posted to Aquarium Drunkard that detailed the terrible times that Mandel’s been going through over the last several years. Just calamity after calamity, in recent years Mandel has been diagnosed with Nasal Cancer, lost both his mother and his son, and even his dog has come down with cancer. Josh Rosenthal’s post mentions that if you appreciate Mandel and have the ability to help him during these trying times, you can donate directly to his paypal account via harveysnake[at] or via the Help Harvey Mandel website.

Snake1Mandel is one of my favorite guitarists, though he’s been fairly overlooked, his sound is so iconic and so repeatedly fantastic. From his debut along with Charlie Musselwhite, to his many varied and adventurous solo LPs, to stints with Barry Goldberg, Canned Heat and John Mayall, he’s laid down some of the most beautiful guitar lines and gorgeous sustains of any guitarist since the 1960s. This particular album that I’m sharing is the one that carries his nickname, “The Snake.” In contrast to the more psychedelic sound of 1968’s Cristo Redentor (which was one of the first records I shared on this blog back in 2009) The Snake features a more muscular and funky sound, in a slinky groove on the title cut to more upbeat tracks like “Peruvian Flake” and “Bite The Electric Eel.” It’s a sound that’s well known by Hip-Hop and beat heads and one that I can’t imagine never have hearing. Felt the need to post something and maybe direct people, not only to the music, but also to help out this extraordinary musician in his time of need.




Muddy Waters – I Am The Blues
Muddy Waters – Bottom Of The Sea
Muddy Waters – Blues And Trouble

Had originally planned on posting this just after we’d had a spell of multiple days of rainy weather in water starved Los Angeles. But a quickie storm rolling through today gave me a chance to have this record be timed perfectly (after all, who knows when it will rain again out here). After The Rain was the follow-up to the much more well-known and more controversial Electric Mud. In some ways the fact that they crafted a follow-up, with essentially the same group (featuring the other-worldly guitar of Pete Cosey) should have dispelled some of the controversy surrounding Water’s feelings on this sound. It’s clear that after the sonic freakout of Electric Mud, Waters exerted perhaps a bit more control over these proceedings, as the record has a more conventional sound (though “Bottom Of The Sea” sounds like it could have been an out-take from the first session). But dialing it back from the previous effort still gives this album a sound all it’s own. While not as overtly psychedelic, with more slow groovin’ songs, After The Rain has a bit more ooomph to it.

I’d been looking for a copy of this for years and years, and finally ran into one at Gimme Gimme Records new location at 5810 N Figueroa St, essentially down the corner from my other favorite record store (at least in the Record Store heavy Highland Park) Avalon Vintage. If you haven’t been, he’s got more space and more records, and that is a mighty good thing, just like this album.




Leon Thomas – Malcolm’s Gone
Leon Thomas – The Creator Has A Master Plan
Leon Thomas – One

Today marks the 50th anniversary of the assassination of El-Hajj Malik El-Shabazz, better known as Malcolm X. Malcolm is an important figure in my life, as he is for many others. For me Malcolm’s influence is two-fold, there is the model he provides of Gramsci called an “Organic Intellectual,” the individuals who are the vanguard of social change, who through their lived experience and talents are able to bring together disparate communities to fight against inequality and push towards liberation. Perhaps more than any other figure from the 1960s, though his time in the public was relatively short, Malcolm presented a critical and uncompromising understanding of the nature of racism, oppression and the promise of uplift through self-determination. This is especially true of Malcolm after he split from the Nation of Islam, and broadened his vision of equality.

Malcolm is also deeply important to me because there are few people who so vividly modeled the nature of redemption. From street criminal to prisoner to firebrand to finally, in his final year, visionary. Part of the lesson in the life of Malcolm X is that we always have the possibility of changing our lives, living our lives for the better and effecting change once we start on the righteous path.

So on the 50th anniversary of the moment he was ripped from us, I wanted to commemorate that by sharing one of the many tributes dedicated to Malcolm. This album by Leon Thomas is fairly well known. It marked his debut as a leader, after gaining attention earlier in 1969 as the vocalist on Pharoah Sanders’ legendary Karma album. The album features Sanders on tenor, though strangely he’s listed as “Little Rock,” a reference to his birthplace and I suppose connected to contractual obligations (you would have thought Bob Thiele’s connections to Impulse would have smoothed things over, but guess not). Aside from that, the album is notable for having a much shorter version of “The Creator Has A Master Plan,” a vocal version of Horace Silver’s “Song For My Father” and the anti-war anthem “Damn Nam” and most importantly, “Malcolm’s Gone,” dedicated to the fallen leader.

I know he’s gone,
But he’s not forgotten,
I know he died,
Just to set me free.

Yes Malcolm’s Gone,
But he’s not forgotten,
He died to save me,
Gave me my dignity.

It’s a beautiful sentiment, one that pays tribute to this beautiful man and one that I felt compelled to share on this day…Additionally, here is Malcolm, in the last few months of his life, debating the issue of “extremism” at Oxford in December 1964. On display are so many of the things that many of us loved so much about Malcolm, his exceptional intelligence, his disarming smile and sense of humor and his ability to critically dismantle his opponent’s argument, often using the very same logic his opponent attempted to use against him. Missed dearly, but especially during the last year of his life, a beautiful model of the redemptive power of love and the strength of speaking truth to power:

Breakdown: Top 5 Finds of 2014

January 6th, 2015


With a whole year just by myself to engage in record therapy, you could bet that I was going to I was going to stumble into some great records. As with previous years, quite a few of the records I got this year were online buys (particularly the many records I got that used to belong to dear friend Matthew Africa), but this year I also got back to digging in earnest and even went to New Orleans essentially just to buy records.

***Honorable Mentions: The Albert – S/T [Record Jungle at The Beat Swap Meet, Chinatown], The Pyramids – King Of Kings AND Birth Speed Merging [Recycled Records, San Francisco], Sidney Bechet – Jazz Classics Vol. 1 [Euclid Records, New Orleans], Sun Ra – Nuclear War [Groove Merchant, San Francisco], Lenny White – City Lights [Amoeba Records, Hollywood], Little Ann – Going Down A One-Way Street The Wrong Way / I’d Like To Know You Better [Jim Russell’s Record Cellar, New Orleans]

5. Jimmy Scott – The Source – Atlantic [Record Jungle at The Beat Swap Meet, Chinatown]


Jimmy Scott – (Sometimes I Feel Like A) Motherless Child

Probably more than any other style this year, I picked up a lot of jazz records, many of them from cool vocalists like Chris Connor, June Christy and the incomprable Little Jimmy Scott. Of the three Jimmy Scott records I picked up, this was the first. As I mentioned earlier in the year, I got this one from Andy of Record Jungle fame, while at the Beat Swap Meet. I really can’t improve on what I said earlier, so I’ll just say it again:

“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.”

4. Light Rain – Dream Dancer – Magi [Atomic Records, Burbank]


Light Rain – Beautiful Friend

I swore that I had posted this one earlier, but now that I think about it, I’m pretty sure I was waiting to get another record from this same group before posting this one. I’d seen this album a couple of times at Atomic and each time I’d thought that maybe i should pick it up. I’m not sure why I pulled the trigger on the third time seeing it still there, but I’m glad that I did. Light Rain was a ensemble put together by Doug Adams, and as far as I understand it they were the first American group to perform this style of music, often described as belly dance music. While that is clearly a major part of this album, what struck me about the album in its totality, and “Beautiful Friend” in particular, was just how beautiful and idyllic the music was. More than any record in 2014, this was the one that I listened to again and again and again and again.

3. Bo Rhambo – Enchanted Evening – Imperial [Jim Russell’s Record Cellar, New Orleans]


Bo Rhambo – Two For The Blues

I think this record finds itself on this list as a representative for my trip down to the Crescent City. I’ve already said a bit about the story behind finding this one at Jim Russell’s, but damn if every time I drop the needle I’m transplanted back to that dusty space, looking at the smokiest record my eyes have ever seen and swaying to the smoky sounds coming out of the speakers. I hope that feeling never leaves me.

2. Jean Kassapian – The Snake / Aman Amn – Kassap [Private Collection]


Jean Kassapian – The Snake

Back in the spring I wrote about this one and also the 45 that ended up as my top find of the past year. I’ve never actually gone through a private collection like that, the thought had never even occurred to me to ask a dealer if they had more that I could look through. Clearly I’m glad that I finally did. Aside from the beauty of copping a rare 45 that runs for $100-200 for only $5, I got this one just before doing a guest set at Funky Sole. Hearing that crowd let out a little cheer when the song came on, as if it was #1 hit or something, instead of a obscure bit of Armenian belly dance music…writing that, I just realized that this list includes not one, but two belly dance records. Maybe I need to pay more attention to that style.

1. The Peppos and Jones Straigtjacket Band – Humanity / High School Years – Straitjacket [Private Collection]


The Peppos and Jones Straightjacket Band – Humanity

When I wrote about this one back in the spring, I didn’t really think of it as the best thing I found for the entire year. It really wasn’t until I was playing it on-air during my year end show that I really fully appreciated how special, strange and unique this record is. The louder you can play it, whether on house speakers or head phones, the better it gets. “Humanity” is so good, it just makes how ordinary “High School Years,” sounds even more frustrating…I mean, if this group could produce something as amazing as “Humanity,” just think what they could have created if they’d realized just how amazing those sounds would sound to our ears in 2014…oh well. I’m just thankful I found this one.


It had been a solid month since I was last on the air at KPFK, but aside from some janky needles that I can’t replace, my skills seemed no worse for the wear…here at the end of the month and the end of the year, I generally do not only an all vinyl show, but a look back at the best pieces of wax that I picked up over the year. As you can see, based on the pictures above and below, I bought a LOT of records in 2014. With all the changes that were going on in my personal life, I was overdue to engage in some record therapy and that’s clearly what I did. The show features things that I picked up in stores and online, but a couple of moments were major parts of the year and the show. The trip I had in New Orleans, netted some choice records, a few I’ve already shared and more than a few that should have already been up on here. There was also week long dig through a collector’s material back in the Spring that as you’ll see next week gave me some of my top finds of the whole year. Finally, throughout much of the year there have been auctions of records from the collection of dearly departed DJ and Collector Matthew Africa, of which I’ve been really lucky to win most of the auctions I took part in and now have a number of records that were connected to specific memories I had of Matthew.

When you get these many records though, it’s hard to showcase them in just two hours. It’s impossible really, unless you go all “mega-mix” and only play 45 seconds of each record. That ain’t me. So, I tried to play some of the ones that I was most jazzed about finding this year with a whole set highlighting some of the sweet soul that I got through Matthew Africa. Next week we’ll be doing our “Best of 2014″ show and all next week we’ll be taking a look back at my favorites from the past year. Until next year, enjoy the sounds.

Melting Pot on KPFK #185: First Hour
Melting Pot on KPFK #185: Second Hour

Playlist 12-28-2014:
{opening theme} Boris Gardiner – Melting Pot – Is What’s Happening (Dynamic)

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The Advancement – Painful Struggle – The Advancement (Philips)
Eduardo Conde – De Onde Vens – Eduardo Conde (1969) (Philips)
Eugene McDaniels – Lovin’ Man – Headless Heroes Of The Apocalypse (Atlantic)
Jon Lucien – Would You Believe In Me – Rashida (RCA)

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David Crosby – Laughing – If I Could Only Remember My Name (Atlantic)
Richard Menexes – Nova Jersey – 7” (Fono Press)
The Albert – Pity The Child – The Albert (Perception)
Bo Rhambo – Dream Awhile – Enchanted Evening (Imperial)

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Light Rain – Beautiful Friend – Dream Dancer (Magi)
Tim Buckley – Driftin’ – Lorca (Elektra)
Dennis Olivieri – I Cry In The Morning – Welcome To The Party (VMC)
Buddy Collette – Fun City – Now And Then (Legend)

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The Lumpen – No More – 7” (Seize The Time)
Big John Hamilton – Take This Hurt Off Me – 7” (Minaret)
Betty & Angel – Everlasting Love – 7” (Every Day)
The Ponderosa Twins Plus One – Bound – 2+2+1 = The Ponderosa Twins Plus One (Horoscope)
Pi-R Square – Fantasy Pt. 2 – 7” (Wee)

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Chris Connor – What Is There To Say? – Sings Lullabys Of Birdland (Bethlehem)
Johnny Hartman – There’s A Lull In My Life – And I Thought About You (Royal Roost)
June Christy – Day Dream – The Misty Miss Christy (Capitol)
Little Jimmy Scott – Recess In Heaven – If You Only Knew (Savoy)
Sidney Bechet – Days Beyond Recall – Jazz Classics Vol. 1 (Blue Note)

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Lenny White – Sweet Dreamer – Big City (Nemperor)
Caroline Peyton – Brister – Intuition (Bar-B-Q)
The Peppos and Jones Straightjacket Band – Humanity – 7” (Straightjacket)
The Paul Butterfield Blues Band – In My Own Dream – In My Own Dream (Elektra)

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{closing theme} Chico Hamilton Quintet – Gone Lover – Quintet in Hi-Fi (World Pacific)

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