Larry Knechtel (1989) Mountain Moods (LP) Universal Master Series (UVL-6279)

Larry Knechtel
Mountain Moods
1989
Universal Master Series (UVL-6279)
Produced by Norbert Putnam and Jim Horn
*** noteworthy

While a set of mellow pop-jazz instrumentals from the late 80s sounds like something that should be lost and soon forgotten, this was the first solo album by legendary session man Larry Knechtel so it should not be surprising that it’s quite enjoyable.

The mellow sound might come as a surprise to listeners who knew Larry as the bassist on the Doors’ first album, a member of Duane Eddy’s Rebels, and an important part of the Wrecking Crew and their “Wall of Sound,” but this man also played a big part in the band Bread, contributed piano and arrangements for “Bridge Over Troubled Water,” played bass on “Mr. Tambourine Man,” and offered Hammond B3 organ on Beach Boys’ Pet Sounds.

His more reflective work from the past foreshadows the music on this album, but this seems mostly a reflection of his many years in the Pacific Northwest. This was recorded in his new home in Nashville after living for many years in Yakima, Washington. While this perhaps has some slight connection with Chet Atkins and Nashville’s use of sophisticated arrangements to compliment their down-home sounds, this was clearly Larry Knechtel’s project. As the title suggests and the sound supports, this seems much less a reflection of his new home in Nashville and more a remembrance of his mountain home in Washington.

When he was barely 30, he might have been frustrated with the soft-rock of Bread, but here he seems completely comfortable, slipping into the music like slipping a flannel jacket over your shoulders, and this comfortable feeling makes listening to this music so enjoyable, like taking a stroll down a mountain road. This certainly is not an essential outing, but if you have a weakness for softly spoken instrumentals by talented musicians, this is worth a listen.

— winch (author of

 

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Ivan Conti (1984) The Human Factor (LP) Milestone (M-9127)

Ivan Conti
The Human Factor
Milestone (M-9127)
1984
Produced, written & arranged by Ivan Conti

*** noteworthy

Solo outing from the drummer for the Brazilian jazz-funk trio Azymuth, here Conti offering up a mixed bag–regarding styles and quality–starting off with a rather uneventful version of fusion, perhaps a notch above most of the fusion from this era but that’s not really saying that much. Fortunately, about ten minutes into the proceedings–about halfway through the first side–Arturzinho’s popping baseline rises in the middle of the second cut. This focus on rhythm leads us to the third cut that closes the side–the tribal percussion workout “Pantanal II (Swamp)” taking us into the massive wetlands of Conti’s homeland.

The original electronic-heavy “Pantanal” from Azymuth’s 1980 album used electronic sounds to likely mimic the buzzing/chirping/squealing of the swamp fauna, while the sequel on this album discards the keyboards and focuses on four percussionists running down the voodoo and doing their thing, a frantic dance around the fire, a run through the jungle, the rhythm of the hunt, the beat of the heart. A fourth musician offers some whistles to help paint the wetland scene, and Conti doubles up with some vocoder to apparently represent the growl of some sort of fauna, all the instruments sounding like they are conversing, the mix of old tribal and new electronics both recalling the roots of fusion put down by Miles Davis and Weather Report and helping to reveal the jungle roots of that innovative music. With its percussion-heavy tribal electronics, this cut also helps pave the way for things to come. While the selection isn’t groundbreaking, it does get the earth shaking, causing the listener to stand up and take notice.

The flipside eases into the proceedings with moderately enjoyable jazz fusion, picking up the pace with a jazz-trio piece (drums, acoustic piano, and electric bass), and slowing down again with a brief solo number–the drummer offering vocals, acoustic guitar and splashes of synthesizers. The set concludes with the title track, another multi-tracked Conti solo number, this one just drums and synthesizers, sounding extremely dated and fairly charming, very intentional and robotic–in many ways in sharp contrast to the closer of side one. While the rest of the set was recorded in Rio, this title track was recorded where the set was mastered and mixed–in Fantasy Studios in Berkeley, California.

This isn’t an essential outing, but for better or worse, it has plenty of variety, and the more interesting selections make this set at least worth a listen.

 

— winch (author of

The Shirelles (1972) S/T (LP) RCA Victor (LSP-4698)

The Shirelles
Shirelles

RCA Victor (LSP-4698)
1972
*** noteworthy

The Shirelles played a huge part in creating the girl group genre and bringing black music to white audiences, but by the time the Beatles covered two of their songs, audiences are opting for new acts. Still, the Shirelles kept at it, releasing singles and albums into the 70s, as this 1972 album shows (which reportedly is better their previous RCA album from 1971).

Their classic songs from the late 50s and early 60s were as much R&B and doo-wop as pop, so it shouldn’t be surprising that this outfit were able to update their sound and fit in with the soul music of the early 70s. This set features Shirley and Micki (who were both there from the beginning) and focuses on soul numbers from 1971.

Not surprisingly, they start the set with a then-recent Carole King number, “Brother, Brother” (not surprising because their relationship with King goes back to the beginning). This version seems to be a mix of King’s 1971 version and The Isley Brother’s version from 1972. Shirelles’ version was also released as a single, with “Sunday Dreaming” as the B-side–the second cut on this album. The first side also includes “It’s Going to Take Some Time” (another number from Carole King’s 1971 Music album) with a solid reading of Bill Withers’ 1971 “Ain’t No Sunshine” and the Bee Gees’ 1971 “How Can You Mend a Broken Heart. Al Green’s 1972 version of the Bee Gees’ song might have inspired the version on this album, especially considering this is followed by an Al Green number to conclude the first side.  (Of course, it’s that the Isley Brothers and/or Al Green were inspired by the versions on this album.)

When you cover classics by the great soul singers (Al Green’s “Let’s Stay Together,” Joe Simon’s 1971 Gamble/Huff-penned “Drowning in the Sea of Love, Mary Clayton’s 1971 Carole King-penned “Walk On In” and Marvin Gaye’s 1971 “Mercy Mercy/Inner City Blues/What’s Going On” the listener can’t help from recalling the sharp bite of the originals, but if one lets go of all that and enjoys all these girls had offer, this offers plenty to enjoy. The band is uncredited but backs them up well, sounding like different line ups were perhaps used on different cuts, some arrangements by bassist David Van De Pitte (who arranged many Motown classics, including the What’s Going On sessions for Marvin Gaye), others by Wade Marcus (who was just beginning to make a name for himself in the worlds of jazz and soul), the set produced by Randy Irwin.

— winch (author of

 

 

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Sinkane (2007) Color Voice (LP) Embed Records (EU 8022)

Sinkane
Color Voice
2007
Embed EU 8022
Written, produced and mixed by Ahmed Abdullahi Gallab.
Recorded/engineered by Mark Himmel
**** recommended

Gallab likely absorbed the music of many settings, times and places and people, perhaps Brian Eno, Tangerine Dream, Kraftwerk, Ginger Baker, Husker Du, various forms of jazz and fusion and music from his Sudan homeland.

He offers an engaging blend of jazz and progressive rock, electronic soundscapes and drums.

Interesting and enjoyable. Recommended listen for fans of electronic music.

— winch (author of

 

 

LINK TO SELLERS:

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Clearing (1970) Who is in my Temple (LP)

Clearing

Who is in my Temple 

circa 1970

*** noteworthy

Clearly coming from 1960s’ folk but like classic UK outfits from this era, this is influenced by the music of other places and times.  And like the late-60s folk from the British Isles, this is superior to most commercial folk from the US.

It’s mostly vocal cuts, a mix of originals and traditional songs, and also features a few instrumentals–including a wonderful mandolin/dulcimer rendering of Beethoven’s “Ode to Joy.”

The intimate basement sound makes this a window to another time, a view through a basement window to a candle-making collective trying to deal with the death of the 60s. It’s also a musical exploration of the innocent Boston beginnings of the Unitarian Universalists. Most important, it’s a rare gem for fans of folk music from this long-gone era.  You can almost smell those sand candles burning.

 

— winch (author of…

 

LINK TO SELLERS:

The Funk Apostles

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Booker T.

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David Amram (1979) No More Walls (LP) Flying Fish (GRO-752)

David Amram

No More Walls

1979

Flying Fish GRO-752

**** recommended
With all that was going on in 1979, the music scene was also plagued with stagnation. Disco music was transforming into hip-hop and electronic music but few were taking notice because disco sucked. Punk had reminded the world that rock doesn’t always need to progress: it can go back to its roots to refuel the fury but few cared because while disco sucked, punk swallowed. The underground scene had been slowly growing for years and soon a diverse independent music scene would emerge but it would be a long time before most took notice because in the 1970s the major labels had perhaps more control of the industry than ever before.

The executives had sorted through the countless bands and perhaps during a year or so in the 1970s, positive (and of course negative) repercussions existed. But by 1979, it was clear that the major labels were completely clueless and the music scene was suffering.

Of course a few minor labels had somehow managed to survive, perhaps because they focused on music that was so unhip that the major labels didn’t care. These labels posed no threat. Flying Fish was one of those independent labels and while they focused on folk music, they were also giving home to artists such as Amram. This was one of many Amram released on Flying Fish, and certainly one of his most interesting. And enjoyable.  While the liner notes only mention that Amram created these compositions from 1959 to 1971, they don’t mention that this is likely a reissue of the second half of a double album released on RCA Red Seal in 1971.  (Flying Fish were perhaps keen enough to recognize that the second two sides of the original release deserved to be revisited without the classical content of the first two sides.)

The title likely refers to the breaking down of walls between genres of music. Influences appear to be plentiful: Latin-American, African, and Near-Eastern music; folk musicians such as Woody Guthrie and Bob Dylan; and some of the more innovative jazz musicians of the previous decades, especially those who incorporated world influences–from Yusef Lateef in the 50s to the ECM artists of the 70s. Mostly laid-back as a hammock swaying in an ocean breeze, this also has plenty of depth. Recommended listen.

— winch (author of…

LINKS TO SELLERS:

Blind Date (1979) S/T (LP)Windsong (BXL 1–3403)

Blind Date

Blind Date

1979

Windsong Records (BXL 1–3403)

Produced by Jeff Glixman

*** noteworthy
Sole album by this mystery group, power pop on John Denver’s Windsong label with Arnie Badd, Brad Billion, Dane Bramage, and Pinky Chablis. While they don’t sound like Cheap Trick, it’s sort of the same idea, power pop with focus on pounding drums and electric guitar (and of course vocals, harmony and melody), lots of content about love but also the violent crime of “Trouble Maker.”  This is power pop but not the soft-rock or candy-coated bubblegummy brand, somewhere between the Raspberries and Thin Lizzy, the Babys and Van Halen.

Both sides end with hard-rock content, the instrumental “Twin Engines” closing the first side, the 5+ minute “Midnight Imagination,” ending the proceedings. This closer brings the Beach Boys influence into power ballad mode, bridging 60s’ pop and 70s’ excess to the power ballads of the 80s, the straight-forward aspects of 70s glam and the excesses of the glam of the 80s. Mostly it’s the Beach Boys channeled through 70s hard rock.

While this is varied set, it’s fairly entertaining through both sides and even the filler falls into the background without becoming annoying. This group never comes close to the best of the power poppers, but they’re also obviously a few notches above the bland new wavers from this era. It’s pure juvenile fun, all songs written and arranged by Blind Date.

— winch

author of

 

LINK TO SELLERS:

Tamara Stephens

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