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LP
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ACV 2036LP
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This is the original Bob James; his very first album, in fact, recorded at age 22 (and produced by Quincy Jones) as a prize for winning the 1962 Collegiate Jazz Festival. "This collection, largely bop in its approach, is astonishing in its precocious reach, featuring two James originals: the intriguing 'Quest' and the daringly impressionistic 'Trilogy' that involves the playing of oil drums, temple blocks, and golf balls, among other things." --AllMusic. Limited edition of 500 copies pressed on audiophile clear vinyl (ACV).
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7"
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GET 741EP
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"Bob James' breakbeat classic 'Take Me to the Mardi Gras' has long been a staple in many DJs' and producers' catalogs for decades. Though initially made famous as the back bone to Run DMC's 'Peter Piper,' the cut's lineage within hip-hop goes all the way back to the park jams of '70s. From its unmistakable drum roll to the signature bells, 'Take Me to the Mardi Gras' is undeniably one of the most famous and recognized breaks. Over the years producers such as Rick Rubin, Mantronix, Pete Rock, and RZA have all used 'Take Me to the Mardi Gras,' always showcasing the song's monster musicianship. Now available for the first time since its release, Get on Down brings 'Take Me to the Mardi Gras' back on 7" with the original (and rare) Italian version of song. Side A features the Italian version of 'Take Me to the Mardi Gras' with a tad bit more panning on the left so the drums will play louder. Side B features the Undercover Brother edit which takes the break of the song and edits it to masterful perfection. This is essential for any DJ or collector!"
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3LP
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DEC 1103LP
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Repressed. "Legendary keyboardist and composer Bob James is one of the major architects of the '70s jazz-funk sound, and is also notorious among a younger generation raised on hip hop. His early albums have been plundered for samples countless times, and his tunes 'Nautilus' and '(Take Me To The) Mardi Gras' are two of the most revered B-boy classics, acknowledged as musical foundations of the hip hop movement. Amazingly, until now there has been no collection that focused on the funkiest side of the keyboardist's vast catalog, the years when his instrument of choice was the classic Fender Rhodes electric piano. Previous Bob James collections have attempted to please smooth jazz aficionados who know the man for his later, synthesized-based sound, throwing in a token representative or two of the rougher, groove-based tunes of his early career. Compiled by Wax Poetics magazine's contributing editor Andrew Mason, Rhodes Scholar makes no concessions to fans of the smooth jazz sound and goes straight for the funk jugular. The 22 songs here are the gold that beat-diggers sift through stacks of albums to find, with all of James' heaviest (and most heavily sampled) tracks included. Fans of rappers Wu-Tang Clan, Run-DMC, Arrested Development, De La Soul, and EDM/house music stars Royksopp, Moodymann and Dmitri From Paris will hear familiar themes as this compilation lays bare the sources of some of their biggest hits. An extremely scarce alternate mix of one of James' biggest and most controversial tracks, '(Take Me To The) Mardi Gras,' is included for the first time since its Italian-only 1975 release. Previously unseen vintage photos plus detailed liner notes by Mason with comments from Bob James himself further enhance this long awaited package."
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CD
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ESPDISK 1009CD
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Bob James (piano); Barre Philips (bass); Robert Pozar (percussion). Also including Bob Ashley and Gordon Mumma (electronic tape collage). The recording is made of an assembly of estranging electronic sound effects, trite sports commentaries, and the music of a beautifully improvising jazz trio. Bob James has, through this convulsion of out-of-context sound elements and music of a trio, tried to emphasize the strange acoustic complex of modern man in his city, in his world, in his cosmos. "Bob James, a recent college graduate, brought ESP a master of a session he had produced, featuring Barre Phillips and Bob Pozar. He chose for the front cover a torn poster he had photographed on a visit to Australia. In 1974, having garnered several gold records, he returned to visit ESP on the ground floor at 290 West End Avenue, in New York City. Lounging in a swing back leather chair, he commented that he thought his ESP album was the best one he had ever made." -- Bernard Stollman
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