|
|
|
|
viewing 1 To 3 of 3 items
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
LS 86071HLP
|
Pressed on 180 gram vinyl. Exact LP repro, originally released on Limelight, 1969. "Bassist Melvin Jackson has exactly one album in his catalog as a leader (he spent most of his time playing with Eddie Harris). But man, that's all he needed. Pumping his upright through a Maestro G-2 filter box, a Boomerang, an Echoplex, and an Ampeg amp, he made that thing sound like something from outer space while keeping it firmly in the groove of the corner bar on Front Street. Gimmicky? That's what they once said about Roland Kirk playing multiple horns at once, too. As for the naysayers who think of this as a novelty, consider the heavies in his band: Roscoe Mitchell, Leo Smith, Lester Bowie, Phil Upchurch, Pete Cosey, Morris Jennings, Jodie Christian, Billy Hart, Byron Bowie, Steve Galloway, and a whole lot of others. All of these cats were heavyweights in their own right. What does Funky Skull sound like? Psychedelic, funky soul-jazz and a whole lot more. Jackson bowed his bass a well as plucked it depending on what the tune needed. Produced in Chicago by Robin McBride and originally released on the Limelight label, it marked an era of exploration and Jackson was on the ground floor of the space station."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LS 86027LP
|
Exact repro reissue, originally released on Limelight in 1965. Recorded in January 13, 1965 by Roland Kirk (tenor saxophone, manzello strich, castanets and siren), Elvin Jones (drums), Jaki Byard (piano) and Richard Davis (double bass). This is the U.S. stereo version (the mono version released in the U.K. had different cover art). "First there is the elegant modal music of 'No Tonic Press,' with its non-linear mathematic groove maintained with verve by Jones in all the knotty spots. Then there is the ethereal Middle-Eastern harmony juxtaposed against the changes in 'Once in a While' by Bennie Green. But the whole thing comes together by the third tune, when Kirk sifts his hearing of New Orleans music into gear with 'From Bechet, Byas, and Fats.' Using his loopy manzello to approximate the soprano saxophone, Kirk and Byard trade fours on some odd open-D modal theme before shifting into the music of Bechet's time and coming out on tenor with direct quotes from the Don Byas book, with Byard and Davis turning around on a blues motif as Jones double times with a sheet of rim shots. Through the rest, the set moves consistently more outside, with Kirk flipping instruments and Jones and Davis turning the rhythmic patterns around on Byard, who takes it all in stride and shifts the harmonic levels to Kirk's intensity on the title track and 'Mystical Dream.' The set ends with the bluesy, somnambulant groove of 'Slippery, Hippery, and Flippery.' There's a paranoid opening with Jones running all over the kit, Byard slipping up and down the board, and Kirk making siren sounds before entering his bluesy post-bop nightmare of a jam that winds itself out over studio distortion, Kirk's noises, and a killer tenor solo that caps everything on the album. Positively smashing." -- All Music Guide
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
LS 86071LP
|
Exact LP repro, originally released on Limelight, 1969; current CD version is on Dusty Groove. "Bassist Melvin Jackson has exactly one album in his catalog as a leader (he spent most of his time playing with Eddie Harris). But man, that's all he needed. Pumping his upright through a Maestro G-2 filter box, a Boomerang, an Echoplex, and an Ampeg amp, he made that thing sound like something from outer space while keeping it firmly in the groove of the corner bar on Front Street. Gimmicky? That's what they once said about Roland Kirk playing multiple horns at once, too. As for the naysayers who think of this as a novelty, consider the heavies in his band: Roscoe Mitchell, Leo Smith, Lester Bowie, Phil Upchurch, Pete Cosey, Morris Jennings, Jodie Christian, Billy Hart, Byron Bowie, Steve Galloway, and a whole lot of others. All of these cats were heavyweights in their own right. What does Funky Skull sound like? Psychedelic, funky soul-jazz and a whole lot more. Jackson bowed his bass a well as plucked it depending on what the tune needed. Produced in Chicago by Robin McBride and originally released on the Limelight label, it marked an era of exploration and Jackson was on the ground floor of the space station."
|
|
|
|