Thursday, August 25, 2011

2

Desafinado - Coleman Hawkins



















Rating: 7/10
Sound Quality: Lossless
Format: Flac
Record Label: Impulse
Year Released: 1962
Album Covers: Included
Pass: radiodada
Links: Click Here -->
Links: (Part 1)-(Part 2)

Note From Dada!
Κάποια δισκάκια κάνουν τον κύκλο τους. Έτσι και αυτό το album του "Γερακιού" ενώ υπήρχε κάμποσα χρόνια στη δισκοθήκη μου, φέτος για έναν "άγνωστο" λόγο (όπως άλλωστε συμβαίνει με τη μουσική) κατάφερε αρκετές φορές να μετατρέψει το cdplayer μου στην πιο δροσιστική ηλεκτρική συσκευή του σπιτιού μου.
Νομίζω ότι ιδιαίτερα σ΄αυτο το δίσκο μπορεί κάνεις να καταλάβει γιατί ο πάτερας του τενόρο σαξόφωνου...αποκαλείται πατέρας. Γιατί ακόμα και "έξω απ' τα νερά του" (αν μπορεί κάποιος να το πει αυτό για τον Hawkins βέβαια...) κινούμενος σε latin/bossa nova μονοπάτια, καταφέρνει να διατηρεί τον ήχο του τόσο προσωπικό, ξεχωριστό, ζεστό και συμπαγή ενώ ταυτόχρονα κάθε σόλο και νότα του είναι παιγμένη με ουσία αποφεύγοντας τις φλυαρίες.
Ιδιαίτερα το ομώνυμο Desafinado για εμένα είναι μακράν η καλύτερη προσέγγιση που έκανε jazz μουσικός (μη προερχόμενος από τη Βραζιλία) πάνω στο κλάσικ του Jobim.
Και επειδή κάποιες φορές συλλαμβάνω τον ευατό μου να αισθάνεται ότι τα κείμενα που γράφω για τους δίσκους που αναρτώ, όχι μόνο δεν καταφέρνουν να με εκφράζουν, αλλά αγγίζουν και τα όρια μία "δισκοκριτικής βλακείας" που δεν μου πάει καθόλου...θα δηλώσω λοιπόν απλά κι απέριττα: Έκσταση!

Σας φιλώ στο μόντεμ!
Radiodada

About Coleman Hawkins
Coleman Randolph Hawkins (November 21, 1904 - May 19, 1969), nicknamed "Hawk" and sometimes "Bean", was a prominent jazz tenor saxophonist.
He is commonly regarded as the first important and influential jazz musician to use the instrument: Joachim E. Berendt wrote, "there were some tenor players before him, but the instrument was not an acknowledged jazz horn".
While Hawkins is most strongly associated with the swing music and big band era, he began playing professionally in the early 1920s and was important in the development of bebop in the 1940s. He continued to be influenced by the avant-garde jazz of the 1950s and '60s.
Lester Young, who was called "Pres", 1959 interview with Jazz Review said "As far as I'm concerned, I think Coleman Hawkins was the President first, right? As far as myself, I think I'm the second one."
Miles Davis once said: "When I heard Hawk I learned to play ballads."

Tuesday, August 23, 2011

3

Darkest Light - The Best Of Lafayette Afro-Rock Band


















Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Strut
Year Released: 2009
Album Covers: Included
Pass: radiodada
Links: Click Here -->
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Wednesday, August 17, 2011

3

Studio One Lovers





















Rating:
6/10
Sound Quality: Lossless
Format: Flac
Record Label: Soul Jazz Records
Year Released: 2005
Album Covers: Included
Pass: radiodada

Tuesday, August 16, 2011

4

Mojo Rocksteady Beat - Sound Dimension



















Rating:
6/10
Sound Quality: Lossless
Format: Flac
Record Label: Soul Jazz Records
Year Released: 2007
Album Covers: Included
Pass: radiodada
Links: Click Here -->
Rapidshare (Part 1)-(Part 2)
Extra Links (Part 1)-(Part 2)

Note From Dada!

Για το "νέο ξεκινήμα" σας τρατάρω μία συλλογή της Soul Jazz Records με πρωταγωνιστές τους Sound Dimension - μία από τις καλύτερες μπάντες της Jamaica.
Καλή ακρόαση!
Radiodada

About the Sound Dimension
The Sound Dimensions was a reggae band formed in 1967 in Kingston, Jamaica. They backed Burning Spear on his debut album, Studio One Presents Burning Spear.

Bass
Lloyd Brevett, Festus Walker, Leroy Sibbles

Keyboards
Jackie Mittoo, Richard Ace, Robbie Lyn, Denzel Laing, Lloyd 'Beardy' Richard, Paul Dixon (AKA Pablove Black), Roland Richard

Saxophone
Cedric Im Brooks, Roland Alphonso, Karl Bryan, Carl McClacking, Ed Bennett

Trombone
Vin Gordon

Trumpet
Johnny "Dizzy" Moore, David Madden

Drums
Lloyd Knibbs, Phil "Fil" Callender, Leroy "Horsemouth" Wallace, Joe Isaacs, Noel Alphonso

Guitar
Ernest Ranglin, Eric Frater, Val Whittaker, Jah Privy

Melodica
Monty Alexander

Vocals
Alton Ellis, Freddie McKay, Leroy Sibbles

Monday, August 15, 2011

3

Contact With Dada

















Hi everybody!
Please write down the e-mail of my blog in case it is down again : contactwithdada[at]gmail[dot]com
Cheers
Stay tuned!
Radiodada


Γεια χαρά σε όλους και όλες!
Σημειώστε  το e-mail του blog σε περίπτωση που η σελίδα ξαναδιαγραφεί: contactwithdada[at]gmail[dot]com 
Σας φιλώ στο μόντεμ!
Radiodada

Saturday, August 13, 2011

11

Dada Is Back!


Το Radiodada Πέθανε! Ζήτω το Radiodada!

Γεια χαρά σε όλους και όλες

Φαντάζομαι ότι οι περισσότεροι από εσάς (λόγω διακοπών) δεν το πείρατε χαμπάρι αλλά στις 08 Αυγούστου που οι μύγες είχαν ήδη άρχισει να πέρνουν τα κιλάκια τους το radio-dada.blogspot.com μας τέλεψε...πάπαλα...γιοκ πως το λένε ρε παιδί μου.
Μου την πέσανε οι κυβερνοχωριάτες και η dada έγινε διαδικτυακό προηγούμενο...
Αυτό βέβαια διήρκεσε μόνο για μία-δυο μερούλες, μέχρι ωσότου δηλαδής της δώκω το φιλί της ζωής και να μαστε πάλι...! dadaisback.blogspot.com

Η αλήθεια είναι ότι μου πήρε κάμποσο χρόνο και κόπο για να επανέλθει το site στη μορφή που ήταν πριν, αλλά το βασικό είναι ότι εκτός από κάποια (αρκετά) comments, κάποια κειμενάκια και 3-4 αναρτήσεις (που θα αποκαταστήσω στο μέλλον) τα οποία χάθηκαν στον αιώνα τον άπαντα, κατά τα άλλα είμαστε μια χαρά.
Όλα στη θέση τους.
Γραντζουνιές...δηλαδή.

Επειδή όμως δεν είναι καθόλου απίθανο να μας φάει πάλι η μαρμάγκα, σημειώστε το mail του blog (contactwithdada@gmail.com) και σε περίπτωση που ξαναπέσει σκοτάδι μεσαιωνικό στείλτε μου μήνυμα για να σας ενημέρωσω για του που θα βρίσκεται η σελίδα.

Καλή συνέχεια σε όλους
Να περνάτε καλά
Σας φιλώ στο μόντεμ!
Radiodada

Υ.Γ.1 Παράκληση. Επειδή υπάρχει αρκετός κόσμος που παρακολουθούσε το blog και δυστυχώς δεν είχα καταφέρει (φυσικά) να κρατήσω επικοινωνία με όλους - όσοι από εσάς μπορείτε και έχετε την καλή διάθεση προωθήστε τη νέα διεύθυνση του blog και το email μου σε όποιον γνωστό ή φίλο σας μπορεί να το αναφορά.
Θενκς ιν αντβανς!

Υ.Γ.2 Παρεπιπτόντως (τελείως συμπτωματικά αλλά και ενημερωτικά) σαν σήμερις πριν από τρία χρονάκια η dada έκανε την πρώτη της ανάρτηση. Άντε και του χρόνου με ηχεία!

Tuesday, August 9, 2011

10

Afro Tropical Soundz Vol.1


















Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Soundway
Year Released: 2010
Album Covers: Included
Pass: radiodada
Links: Click Here -->
Extra Links (Part 1)-(Part 2)

Note From Dada!
Ώτα μου καλησπέρα και καλώς σας βρήκα.
Επέστρεψα πίσω στα καθιερωμένα για ένα μικρό διάλειμμα μετά το πρώτο φευγιό και πριν από το επόμενο…(άσε να κάνουμε διακοπές όσο προλαβαίνουμε, γιατί έτσι όπως πάνε τα πράγματα δεν αποκλείεται να είναι και οι τελευταίες…)
Λοιπόν για το υπόλοιπο χρονικό διάστημα που απομένει για να ολοκληρωθεί (τουλάχιστον) ημερολογιακά το καλοκαίρακι, θα προσπαθήσω να ειμαι όσο πιο πολύ γίνεται μέσα στο πνεύμα της εποχής, οπότε θα σας τρατάρω μερικούς δίσκους κατάλληλους για θερινές ακροάσεις. Ξεκινάω λοιπόν με μία συλλογή της Soundway η οποία επί της ουσίας είναι ένα "review" στις "tropical" εκδόσεις της εταιρείας. Πιο συγκεκριμένα η εν λόγω συλλογή απαρτίζεται από κομμάτια που βρίσκονται στα παρακάτω album της εταιρείας:

- Ghana Special, Modern Highlife, Afro-Sounds & Ghanaian Blues 1968-81
- Colombia! The Golden Years Of Discos Fuente
- Panama! (Vol.1) Latin, Funk And Calypso On The Isthmus 1965-75
- Tumbele! - Biguine, Afro & Latin Sounds From The French Caribbean, 1963-74
- The Kusum Beat (The Sweet Talks)
- Nigeria Rock Special - Psychedelic Afro-Rock & Fuzz Funk In 1970's Nigeria
- Panama! (Vol.2) Latin, Funk And Calypso On The Isthmus 1967-77
- Nigeria Special (Vol.1) - Modern Highlife, Afro Sounds & Nigerian Blues 1970-1976
- The Kings Of Benin Urban Groove 1972-80 (T.P. Orchestre Poly-Rythmo)

Καλή ακρόαση!
Να περνάτε καλά.
Καλές διακοπές σε όλους και σε όλες.
Σας φιλώ στο μόντεμ!
Radiodada
0

Dada is on vacation

6

Nigeria 70 Sweet Times - Afro-Funk, Highlife & Juju From 1970s Lagos


















Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Strut
Year Released: 2011
Album Covers: Included
Pass: radiodada
Links: Click Here -->
Rapidshare (Part 1)-(Part 2)-(Part 3)
Megaupload
(Part 1)-(Part 2)-(Part 3)
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Note From Dada!

Για τον φίλο Αντρέα που το ζήτησε.
N Joy!
1

Next Stop Soweto (Vol.3) - Giants, Ministers And Makers - Jazz In South Africa 1963-1978

















 

Rating: 7/10
Sound Quality: Lossless
Format: Flac
Record Label: Strut
Year Released: 2011
Album Covers: Included
Pass: radiodada
Links: Click Here -->
Rapidshare (Part 1)-(Part 2)-(Part 3)-(Part 4)
Megaupload (Part 1)-(Part 2)-(Part 3)-(Part 4)
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Note From Dada!
Γεια σας ώτα μου. Καλό καλοκαίρι και επισήμως πια μιας και σφύξανε οι ζέστες.

Αυτό είναι τρίτο και κατά τη γνώμη μου καλύτερο Volume αυτής της σειράς από την Strut Records, με μουσικές από την χώρα της Νοτίου Αφρικής και πιο συγκεκριμένα από μία περιοχή του Γιοχάνεσμπούργκ που ονομάζεται (...φυσικά!) Soweto - όπως άλλωστε είναι και ο τίτλος αυτής της σειράς. Ο λόγος που έχω μία ιδιαίτερη προτίμηση στο εν λόγω (διπλό περικαλώ!) album, δεν είναι ότι οι δύο προηγούμενες εκδόσεις υστερούν ποιοτικά όσο αφορά τις μουσικές επιλογές (κάθε άλλο - ιδιαίτερα το 2ο vol. περιέχει κομματάρες), αλλά κυρίως επειδή οι επιλογές του συγκεκριμένου volume διέπονται από μία "μουσική συνοχή" και από μία "ροη" σε σχέση με το πως κυλάνε το κομμάτια στους δίσκους - συστατικά τα οποία απουσιάζουν από τα δύο προηγούμενα δισκάκια.
Κι ενώ η βάση αυτού του album κατά κύριο λόγο είναι η jazz, σε κάποια κομμάτια του δίσκου το αφρικανικό στοιχείο βρίσκεται στο προσκήνιο (π.χ. το Ngena Mntan'am από τους The Ministers που μου θυμίζει αρκετά τον ήχο που είχε ο Masekela στο δίσκο του με τίτλο "Grrrrrrr") και σε άλλα απουσιάζει (σχεδόν) παντελώς (όπως για παράδειγμα στο εξαιρετικό (!!!) "Dedication" από τους "Mankuku Quartet").
Εκτός από τα προαναφερθέντα ρίξτε ένα αυτάκι παραπάνω στα: "Be There" (Skyf), "Emakhaya" (The Heshoo Beshoo Group) και "Pinese' Dance" (The Soul Giants). Ιδιαίτερα όμως σ' αυτό το διαμαντάκι του 1ου Cd που ακούει στο όνομα "Ou Kass" (Themba) - το οποίο αποτελεί κατ' εμέ ένα από τα καλύτερα θέματα της συλλογής.

Καλή ακρόαση και σάλα με ηχεία!
Radiodada

Υ.Γ. Με τούτα και μ' εκείνα ξέχασα να αναφέρω ότι αυτή η φοβερή φωτογραφία (που θα κοσμεί το blog μέχρι να ξεκαλοκαιριάσουμε) με τις αντιθέτως διερχόμενες θαλάσσιες γιαγιάδες ανήκει στον χρήστη του Flickr με το ψευδόνυμο: greekadman's photostream
2

Next Stop Soweto (Vol.2) - Soultown, R&B, Funk & Psych Sounds From The Township 1969-1976


















Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Strut
Year Released: 2010
Album Covers: Included
Pass: radiodada
Links: Click Here -->
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Wozani Mahipi - The Mahotella Queens


The Heroes - Funky message
2

Next Stop Soweto (Vol.1) - Township Sounds From The Golden Age Of Mbaqanga


















Rating: 5.5/10 
Sound Quality: Lossless
Format: Flac
Record Label: Strut
Year Released: 2010
Album Covers: Included
Pass: radiodada
Links: Click Here -->
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1

Peace Orchestra - Peace Orchestra


















Rating: 6.5/10
Sound Quality: Lossless
Format: Flac
Record Label: G-Stone
Year Released: 1999
Album Covers: Included
Pass: radiodada
Links: Click Here -->
Rapidshare (Part 1), (Part 2)
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Note From Dada!
Ένα ακόμα εξαιρετικό δισκάκι σε ανάλογο ύφος και ήχο με τα δύο προηγούμενα των Tosca, καθώς όπως είχα προαναφέρει πίσω από το "σχήμα" των Peace Orchestra βρίσκεται ένας εκ των δύο του ντουέτου Kruder & Dorfmeister, o Peter Kruder.

Καλή ακρόαση!

Radiodada

About Peace Orchestra
Peace Orchestra is a musical solo project from Viennese trip-hop-dub producer Peter Kruder, best known as one half of Kruder & Dorfmeister.
Peace Orchestra is also the title of an album recorded by Kruder under the Peace Orchestra banner. The album's most well-known track is "Who Am I", which received a great deal of exposure through its use in the Wachowski Brothers' Animatrix project. It was also used in the movie Stay (2005).
An album of Peace Orchestra remixes by such artists as Gotan Project and Trüby Trio was released in 2002, entitled Reset.
1

No Hassle - Tosca


















Rating: 5/10
Sound Quality:Lossless
Format:Flac
Record Label: G-Stone
Year Released: 2009
Album Covers: Included
Pass: radiodada
Links: Click Here -->
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About Tosca
Tosca is an electronic music project of Richard Dorfmeister and Rupert Huber. It is Dorfmeister's second such project, the first being Kruder & Dorfmeister, started in 1994. Tosca's first album, Opera, was released in 1997 with G-Stone Recordings.
Richard Dorfmeister and Rupert Huber first met in school, and began experimenting with tape machines, Indian music, and poetry lyrics, under the name of Dehli. After school, Dorfmeister and Huber went their separate ways: Dorfmeister began producing and DJing with Peter Kruder, and Huber worked in the experimental music scene. In 1994, Dorfmeister and Huber released their first 12", entitled "Chocolate Elvis", on Kruder and Dorfmeister's G-Stone Recordings.
1

Suzuki - Tosca


















Rating: 6.5/10
Sound Quality: Lossless
Format: Flac
Record Label: G-Stone
Year Released: 2000
Album Covers: Included
Pass: radiodada
Links: Click Here -->
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Note From Dada!
Κατά καιρούς στο παρελθόν έχω ποστάρει διάφορα δισκάκια προερχόμενα από την δισκογραφική εταιρεία "G-Stone", και πιο συγκεκρινένα δίσκους του ντουέτου των Kruder & Dorfmeister (π.χ. εδώ) οι οποίοι άλλωστε είναι και οι εμπνευστές-ιδρυτές αυτής της δισκογραφικής.
Αυτοί όμως οι δύο τύποι/dj (εκ Αυστρίας) εκτός από το μεταξύ τους ντουέτο-group έχουν σχηματίσει και αλλά δύο σχήματα. Τους "Tosca" τους οποίους απαρτίζουν ο Richard Dorfmeister και ο Rupert Huber και τους "Peace Orchestra" σχήμα πίσω από το οποίο βρίσκεται επι της ουσίας ο Peter Kruder.
Σ' αυτους τους downtempo, ambient, electro και dub ήχους λέω να κινηθούμε για τις επόμενες δύο-τρεις αναρτήσεις και ξεκινάω με ένα από τα πιο αγαπημένα (και καλύτερα κατά τη γνώμη μου πάντα) δισκάκια των Tosca αλλά και της G-stone.
Πρόκειτα για τον δεύτερο δίσκο των "Tosca" με τίτλο "Suzuki".
Δίσκος που αν μπορεί κάποιος έστω και για λίγο να ξεχάσει τα όσα συμβαίνουν γύρω μας (ή ακόμα καλύτερα πάνω μας!) και να βρει λίγο χρόνο για μια καλοκαιρινή σιέστα - είναι ότι πρέπει.

Σας φιλώ στο μόντεμ!

Radiodada

About Tosca
Tosca is an electronic music project of Richard Dorfmeister and Rupert Huber. It is Dorfmeister's second such project, the first being Kruder & Dorfmeister, started in 1994. Tosca's first album, Opera, was released in 1997 with G-Stone Recordings.
Richard Dorfmeister and Rupert Huber first met in school, and began experimenting with tape machines, Indian music, and poetry lyrics, under the name of Dehli. After school, Dorfmeister and Huber went their separate ways: Dorfmeister began producing and DJing with Peter Kruder, and Huber worked in the experimental music scene. In 1994, Dorfmeister and Huber released their first 12", entitled "Chocolate Elvis", on Kruder and Dorfmeister's G-Stone Recordings.
1

400% Dynamite


















Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Soul Jazz Records
Year Released: 2000
Album Covers: Included
Pass: radiodada
Links: Click Here -->
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1

300% Dynamite


















Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Soul Jazz Records
Year Released: 1999
Album Covers: Included
Pass: radiodada
27

Cartagena! Curro Fuentes & The Big Band - Cumbia & Descarga Sound Of Colombia 1962-72



















Rating: 7/10
Sound Quality: Lossless 
Format: Flac
Record Label: Soundway
Year Released: 2010
Album Covers: Included
Pass: radiodada
Links: Click Here -->
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7

Aqui Los Bravos! The Best Of Michi Sarmiento Y Su Combo Bravo 1967-77


















Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Soundway
Year Released: 2011
Album Covers: Included
Pass: radiodada
Links: Click Here -->
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Μία από τις πιο πρόσφατες εκδόσεις της Soundway, που συνοψίζει τις "μουσικές περιπέτειες"  του Κολομβιανού σαξοφωνίστα Michi Sarmiento και του σχήματός του, τους επονομαζόμενους "Combo Bravo". Περισσότερες πληροφορίες για αυτόν τον μουσικό (που προσωπικά δεν γνώριζα - παρά μόνο ως όνομα/συμμετοχή σε μία προηγούμενη εξαιρετική έκδοση της Soundway υπό το τίτλο: Colombia! The Golden Age Of Discos Fuentes την οποία μπορείτε να βρείτε εδώ) θα βρείτε όπως είθειστε...στο ένθετο του δίσκου φυσικά. Ο ίδιος (πλέον 72 ετών) σε ένα απόσπασμα από τη συνέντευξη που έδωσε για την έκδοση αυτής της συλλογής αναφέρει χαρακτηριστικά τα κάτωθι για το παίξιμο της μπάντας:

"(The songs) were recorded live, we played it live and recorded it like that, the whole group at once...as if we were at a show, that's why you hear the force...I let them (descarga)...because if you have to read every note, sometimes you lose the passion. If not, they play freely, and feel better".


Καλή ακρόαση!
Radiodada
3

Delightfulee - Lee Morgan


















Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Blue Note
Year Released: 1966
Album Covers: Included
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About Lee Morgan
Lee Morgan, a leading (hard bop & modal jazz) trumpeter and composer, recorded prolifically from 1956 until a day before his death in February 1972. Originally interested in the vibraphone, he soon showed a growing enthusiasm for the trumpet; and on his 13th birthday his sister Ernestine gave him his first trumpet. His primary stylistic influence was Clifford Brown, who gave the teenager a few lessons before his untimely death in a 1956 car accident. Morgan joined the Dizzy Gillespie Big Band at 18, and remained a member for a year and a half, until economics forced Dizzy to disband the unit in 1958. He began recording for Blue Note Records in 1956, eventually recording 25 albums as a leader for the company, with more than 250 musicians. He also recorded on the Vee-Jay label.

He was a featured sideman on several early Hank Mobley records, as well as on John Coltrane's Blue Train (1957) on which, he played a trumpet with an angled bell (given to him by Gillespie) and delivered one of his most celebrated solos on the title track.

Joining Art Blakey's Jazz Messengers in 1958 further developed his talent as a soloist and composer. He toured with Blakey for a few years, and was featured on numerous albums by the Messengers, including Moanin', which is one of the band's best-known recordings. When Benny Golson left the Jazz Messengers, Morgan persuaded Blakey to hire Wayne Shorter, a young tenor saxophonist, to fill the chair. This version of the Jazz Messengers, including pianist Bobby Timmons and bassist Jymie Merritt, would record the classic The Freedom Rider album. The drug problems of Morgan and Timmons forced them to leave the band in 1961, and the trumpeter returned to Philadelphia, his hometown. According to Tom Perchard, a Morgan biographer, it was Blakey who introduced the trumpeter to heroin, an addictive drug that impeded his career trajectory.

On returning to New York in 1963, he recorded The Sidewinder (December 1963), which became his greatest commercial success. The title track cracked the pop charts in 1964, and served as the background theme for Chrysler television commercials during the World Series. The tune was used without Morgan's or Blue Note's consent, and intercession by the label's lawyers led to the commercial being withdrawn. Due to the crossover success of "The Sidewinder" in a rapidly changing pop music market, Blue Note owners encouraged other of its artists to emulate the tune's "boogaloo" beat. Morgan himself repeated the formula several times with compositions such as "Cornbread" (from the eponymous album Cornbread) and "Yes I Can, No You Can't" on The Gigolo. According to drummer Billy Hart, Morgan said he had recorded "The Sidewinder" as filler for the album, and was bemused that it had turned into his biggest hit. He felt that his playing was much more advanced on Grachan Moncur III's essentially avant-garde Evolution album, recorded a month earlier, on November 21,1963.

After this commercial success, Morgan continued to record prolifically, producing such works as Search for the New Land (1964), which reached the top 20 of the R&B charts. He also briefly rejoined the Jazz Messengers after his successor, Freddie Hubbard, joined another group.

As the 60's progressed, he recorded some twenty additional albums as a leader, and continued to record as a sideman on the albums of other artists, including Wayne Shorter's Night Dreamer; Stanley Turrentine's Mr. Natural; Freddie Hubbard's The Night of the Cookers; Hank Mobley's Dippin', A Caddy for Daddy, A Slice of the Top, Straight No Filter; Jackie McLean's Jackknife and Consequence; Joe Henderson's Mode for Joe; McCoy Tyner's Tender Moments; Lonnie Smith's Think and Turning Point; Elvin Jones' The Prime Element; Jack Wilson's Easterly Winds; Reuben Wilson's Love Bug; Larry Young's Mother Ship; Lee Morgan and Clifford Jordan Live in Baltimore 1968; Andrew Hill's Grass Roots; as well as on several albums with Art Blakey and the Jazz Messengers.

He became more politically involved in the last two years of his life, becoming one of the leaders of the Jazz and People's Movement; the group demonstrated during the taping of talk and variety shows during 1970-71 to protest the lack of jazz artists as guest performers and members of the programs' bands.

His working band during those last years featured reedmen Billy Harper or Bennie Maupin; pianist Harold Mabern, bassist Jymie Merritt and drummers Mickey Roker or Freddie Waits. Maupin, Mabern, Merritt and Roker are featured on the well-regarded 3-disc, Live at the Lighthouse, recorded during a two-week engagement at the Hermosa Beach club, California, in July 1970.

That Lee Morgan would be murdered in the early hours of February 19, 1972, at Slugs', a jazz club in New York City's East Village where his band was performing, was as improbable as it was tragic. Following an altercation between sets, Morgan's live-in girlfriend (Helen More), shot him in the heart, killing him instantly.He was 33 years old.
1

Legends Of Acid Jazz - Don Patterson & Sonny Stitt


















Rating: 5/10
Sound Quality:Lossless
Format:Flac
Record Label: Prestige
Year Released: 1998
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Και κάτι απ' τα "χρωστούμενα" της σειράς "Legends Of Acid Jazz".

About Sonny Stitt
Edward "Sonny" Stitt (b. February 2, 1924, Boston, Massachusetts – d. July 22, 1982, Washington, D.C.) was an American jazz saxophonist of the bebop/hard bop idiom. He was also one of the most well-documented saxophonists of his generation, recording over 100 albums in his lifetime. He was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern in tribute to his relentless touring and his devotion to jazz. He is considered the greatest disciple of Charlie Parker. Although his playing was at first heavily inspired by Charlie Parker and Lester Young, Stitt eventually developed his own style, one which influenced John Coltrane. Stitt was especially effective with blues and with ballad pieces such as "Skylark".

Stitt was born in Boston, Massachusetts and grew up in Saginaw, Michigan. Stitt had a musical background; his father was a college music professor, his brother was a classically trained pianist, and his mother was a piano teacher.

In 1943, Stitt first met Charlie Parker, and as he often later recalled, the two men found that their styles had an extraordinary similarity that was partly coincidental and not merely due to Stitt's emulation. Stitt's improvisations were more melodic/less dissonant than those of Parker (Parker considered melodic improvisations to be self-indulgent whereas Stitt did not. Stitt's earliest recordings were made in 1945 with Stan Getz and Dizzy Gillespie. He had also experienced playing in some swing bands, though he mainly played in bop bands. Stitt featured in Tiny Bradshaw's big band in the early forties. Stitt replaced Charlie Parker in Dizzy Gillespie's band in 1945.

Stitt played alto saxophone in Billy Eckstine's big band alongside future bop pioneers Dexter Gordon and Gene Ammons from 1945 until 1956, when he started to play tenor saxophone more frequently, in order to avoid being referred to as a Charlie Parker emulator. Later on, he notably played with Gene Ammons and Bud Powell. Stitt spent time in a Lexington prison between 1948–49 for selling narcotics.

Stitt, when playing tenor saxophone, seemed to break free from some of the criticism that he was imitating Charlie Parker's style, although it appears in the instance with Ammons above that the availability of the larger instrument was a factor. Indeed, Stitt began to develop a far more distinctive sound on tenor. He played with other bop musicians Bud Powell and Eddie "Lockjaw" Davis, a fellow tenor with a distinctly tough tone in comparison to Stitt, in the 1950s and recorded a number of sides for Prestige Records label as well as albums for Argo, Verve and Roost. Stitt experimented with Afro-Cuban jazz in the late 1950s, and the results can be heard on his recordings for Roost and Verve, on which he teamed up with Thad Jones and Chick Corea for Latin versions of such standards as "Autumn Leaves."

Stitt joined Miles Davis briefly in 1960, and recordings with Davis' quintet can be found only in live settings on the tour of 1960. Concerts in Manchester and Paris are available commercially and also a number of concerts (which include sets by the earlier quintet with John Coltrane) on the record Live at Stockholm (Dragon), all of which featured Wynton Kelly, Jimmy Cobb and Paul Chambers. However, Miles fired Stitt due to the excessive drinking habit he had developed, and replaced him with fellow tenor saxophonist Hank Mobley. Stitt, later in the 1960s, paid homage to one of his main influences, Charlie Parker, on the album Stitt Plays Bird, which features Jim Hall on guitar and at Newport in 1964 with other bebop players including J.J. Johnson.

He recorded a number of memorable records with his friend and fellow saxophonist Gene Ammons, interrupted by Ammons' own imprisonment for narcotics possession. The records recorded by these two saxophonists are regarded by many as some of both Ammons and Stitt's best work, thus the Ammons/Stitt partnership went down in posterity as one of the best duelling partnerships in jazz, alongside Zoot Sims and Al Cohn, and Johnny Griffin with Eddie "Lockjaw" Davis. Stitt would venture into soul jazz, and he recorded with fellow tenor saxophonist Booker Ervin in 1964 on the Soul People album. Stitt also recorded with Duke Ellington alumnus Paul Gonsalves in 1963 for Impulse! on the Salt And Pepper album in 1963. Around that time he also appeared regularly at Ronnie Scott's in London, a live 1964 encounter with Ronnie Scott, The Night Has A Thousand Eyes, eventually surfaced, and another in 1966 with resident guitarist Ernest Ranglin and British tenor saxophonist Dick Morrissey.

In the 1970s, Stitt slowed his recording output slightly, and in 1972, he produced another classic, Tune Up, which was and still is regarded by many jazz critics, such as Scott Yanow, as his definitive record. Indeed, his fiery and ebullient soloing was quite reminiscent of his earlier playing. Stitt was one of the first jazz musicians to experiment with an electric saxophone (the instrument was called a Varitone), as heard on the album Just The Way It Was - Live At The Left Bank, recorded in 1971 and released in 2000.

Stitt, joining the Giants of Jazz (which also featured Art Blakey, Dizzy Gillespie, Thelonious Monk and bassist Al McKibbon) on some albums for the Mercury Records label, and recording sessions for Cobblestone and other labels. His last recordings were made in Japan. In 1982, Stitt suffered a heart attack, and he died on July 22.

About Don Patterson
Don Patterson (July 22, 1936, Columbus, Ohio - February 10, 1988, Philadelphia, Pennsylvania) was an American jazz organist.
Patterson played piano from childhood and was heavily influenced by Erroll Garner in his youth. In 1956, he switched to organ after hearing Jimmy Smith play the instrument. In the early 1960s, he began playing regularly with Sonny Stitt, and he began releasing material as a leader on Prestige Records from 1964 (with Pat Martino and Billy James as sidemen). His most commercially successful album was 1964's Holiday Soul, which reached #85 on the Billboard 200 in 1967.[1] Patterson's troubles with drug addiction hobbled his career in the 1970s, during which he occasionally recorded for Muse Records and lived in Gary, Indiana.[2] In the 1980s he moved to Philadelphia and made a small comeback, but his health deteriorated over the course of the decade, and he died there in 1988.
9

Sofrito - Tropical Discotheque


















Rating: 6.5/10
Sound Quality: Lossless
Format: Flac
Record Label: Strut
Year Released: 2011
Album Covers: Included
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Note From Dada!
Μπορεί ο καιρός να μην το έχει αποφασίσει ακόμα αν θα καλοκαιριάσει ή όχι, αλλά αργά ή γρήγορα αυτή η εξαιρετική και αρκετά πρόσφατη συλλογή της Strut (που το περιεχόμενό της ειναι ακριβώς ότι περιγράφει ο τίτλος της) νομίζω ότι μπορεί εύκολα να σας "κολλήσει " στο repeat.
Highly recommended!

Σας φιλώ στο μόντεμ!
Radiodada
6

Samba Do Mar - Dusko Goykovich



















Rating: 7/10
Sound Quality: Lossless
Format: Flac
Record Label: Enja
Year Released: 2003
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Μερικοί μουσικοί όσο κι αν μεγαλώνουν ηλικιακά έχουν να πουν ακόμα πολύ αξιόλογα και "φρεσκά" πράγματα. Αυτή η πιο samba/bossa και γενικότερα πιο "latin" περίοδος του Goykovich, αποδεικνύει ότι αυτός ο φοβερός τρομπετίστας έχει να καταθέσει νέα πράγματα, όχι μόνο από την άποψη του παιξιματός του, αλλά και από την άποψη της σύνθεσης. Το "Samba Do Mar" κατά ένα τρόπο σηματοδότησε τη "νέα περίοδο" στην ήδη μεγάλη μουσική πορεία του Βόσνιου αυτού μουσικού. Κι ενώ οι διασκευές/προσεγγίσεις του σε κλασικά κομμάτια (όπως για παράδειγμα στο "Insensatez" του Jobim) είναι τουλάχιστον αξιοπρεπείς, προσωπικά τα κομμάτια που ξεχωρίζω από αυτόν τον δίσκο είναι οι συνθέσεις του ίδιου του Goykovich στα εξαιρετικά "Samba Do Mar" & "Quo Vadis".
Εξαιρετικός βέβαια είναι και επόμενος δίσκος του (στο ίδιο ύφος) που κυκλοφόρησε τρία χρόνια αργότερα το 2006 με τίτλο "Samba Tzigane" (τον οποίον βρίσκετε εδώ) κι επειδή πραγματικά δεν κατάφερα ποτέ μου να ξεχωρίσω ποιον τελικά γουστάρω περισσότερο από τους δύο - τους προτείνω λοιπόν και τους δύο ανεπιφύλακτα - ιδιαίτερα αυτές τις ανοιξιάτικες ηλιόλουστες μέρες.

Καλή ακρόαση!
Radiodada

About Dusko Goykovich
Duško Gojković (also spelled as Dusko Goykovich, born October 14, 1931, Jajce, Yugoslavia, now Bosnia and Herzegovina), Serbian jazz trumpeter and composer.He studied in Belgrade Music Academy from 1948 to 1953. He played trumpet in a number of jazz Dixieland bands and, though only 18 years of age, joined Big Band of Radio Belgrade. After five years spent there he grew into a seasoned musician and decided to continue his career in West Germany.In 1956 he recorded his first LP as a member of Frankfurt All Stars band. Next four years he spent as a member of Kurt Edelhagen’s orchestra as a first trumpet. In these years he played with legends such as Chet Baker or Stan Getz. In 1958 he performed at Newport Jazz Festival and drew much attention on both sides of the Ocean.

In 1961 he was offered a scholarship for the studies of composing and arranging in Berklee. He took the offer and finished the studies.After the studies he was invited by Canadian band leader Maynard Ferguson to join his band. Gojković performed as a second trumpet until the break of the band in 1964. His work with Ferguson boosted his reputation as an excellent big band musician and an outstanding soloist. Next he returned back to Europe, formed his sextet and in 1964 recorded his first album Swinging Macedonia, with music he originally composed inspired by the music of Balkans. The album is generally considered to be the cornerstone of Balkan Jazz. In the years to follow he played with Miles Davis, Dizzy Gillespie, Gerry Mulligan, Sonny Rollins, Duke Jordan, Slide Hampton etc. In 1966 he continued his career in The Kenny Clarke-Francy Boland Big Band. In 1968 he settled in Munich and formed his own big band with artists such asRolf Ericsson and Frank St Peter that lasted until 1976. In 1986 he managed to form another orchestra with which he performs to this day. His much awaited comeback came with the 1993 Soul Connection album that won him a broad acclaim. This was followed with album Bebop City. In 1996 he recorded the Soul Collection album again but this time with his own big band. Another great album came in 1997 – Balkan Blue, a double CD: first one a quintet with Italian sax player Gianni Basso while the second one features orchestra of the North German Radio (NDR) accompanied by the jazz rhythm section and Gojković as a soloist. His next album was In My Dreams (2001) recorded with his quartet.

In 2003 Gojković opened a new chapter in his career with his album Samba do Mar, in which he composes for the first time inspired by Latin music. In 2004 he performed on the 200th anniversary of modern Serbian statehood, the opportunity he used to gather in Belgrade international All Star Big Bend with whom he recorded A Handful of Soul CD. His last album Samba Tzigane came out in 2006. Gojković celebrated his 75th birthday with a grand concert in Belgrade. During his career Gojković built his own style recognizable for the preciseness, brilliance of his technique and warm sound in playing as well as melodic tunes in composing.
8

Afro-Beat Airways West African Shock Waves Ghana & Togo 1972-1978



















Rating: 7.5/10
Sound Quality: Lossless
Format: Flac
Record Label: Analog Africa
Year Released: 2010
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Note From Dada!
Μία από τις καλύτερες afro-beat συλλογές που κυκλοφορούν και (κατά τη γνώμη μου) ίσως η καλύτερη της Analog Africa.
Highly recommended.

Σας φιλώ στο μόντεμ!
Radiodada
4

Nigeria Special (Vol.2) - Modern Highlife, Afro Sounds & Nigerian Blues 1970-6


















Rating: 5.5/10 
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Record Label: Soundway
Year Released: 2010
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3

Hedzoleh Soundz - Hedzoleh


















Rating: 6.5/10
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Record Label: Soundway
Year Released: 2010 (Reissue)
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About Hedzoleh Soundz
"Hedzoleh ("freedom") Soundz was formed in Accra, Ghana in the late 1960's. Leader Stanley Kwesi Todd assembled a monster ensemble of musicians from the Ghana Arts Council, intending to form a new Afro-Rock group that would be more traditional & African in sound, and hopefully surpass Osibisa in popularity (alas it was not to be). Their original songs were based upon traditional Akan & Ewe music, and employed dark, organic sounding African-made drums instead of modern western congas/drum-kit."
3

The Kusum Beat - The Sweet Talks


















Rating: 6/10
Sound Quality: Lossless
Format: Flac
Record Label: Soundway
Year Released: 1974 (Original), 2010 (Reissue)
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Note From Dada!
Και μιας και βρισκόμαστε στην Γκάνα - ένα ακόμα δισκάκι προερχόμενο από εκεί. Πρόκειται για επανέκδοση (ένα ακόμα της Soundway) του δίσκου των "The Sweet Talks" με τίτλο "The Kusum Beat" που ηχογραφήθηκε το 1974.

N Joy!
Radiodada