Living Jazz “Hot Butter & Soul” 1970 US Soul Jazz Funk,Fusion

Living Jazz “Hot Butter & Soul” 1970 US  excellent  Soul Jazz Funk,Fusion  recommended..!

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Covers of soul funk succes! Great version…~

Prolific RCA producer, Ethel Gabriel, created The Living Strings series of albums, which, from what I can gather, were easy-listening instrumental string versions of popular tunes. They must have had some success as they spawned other “Living” ventures, such as the Living Jazz one that today’s track is taken from. 
Reed man, Phil Bodner, was inspired by Isaac Hayes when he arranged and conducted the album, ‘Hot Butter & Soul’. Released in 1970, it features New York session musicians playing jazzed up interpretations of soul hits. This version of The Jackson Five’s ‘ABC’ certainly doesn’t surpass the original, but if, like me, you have a weak spot for horny instrumental versions of well known songs, this’ll hit it….~

A nice album covering soul / funk masterpieces funky! A drum break in the head and middle Jackson 5 “ABC” and “Games People Play”, I do not know whether the name is too long Isaac Hayes “Hyperbolicsyllabicses quadalymistic” Walk On By “and so on!…~

It is the 70th anniversary work of "Living Jazz” Hot Butter & Soul “. The 
There are other releases by Brass, Guitars, Marimbas, and Trio, as well as artists who are living · jazz (RCA Camden’s house band? As far as we can understand, the producer Essel Gabriel is a pioneer in American female music producer, probably producing all the records of the living series including this work. Arrange and command Phil Bodner 
Douc Sebrecen, Enoch · Wright etc in the group related to commands such as flute etc. 
It was the person who was doing. Only this two credits are credited in this work 
So, the participating musicians are unknown. Although it is its content, for convenience 
Although this work is categorized into easy listening, this is 
It is quite funky. Tracklist is almost composed of cover, A-1’s 
It is Dionne Warwick "Walk On By” by Bacharach & Hull David 
Although the beginning of the song is a bit embarrassed in the way of enka (lol), Common “Nuthin ‘to Do” 
It is a good cover sampled by Freddie Gibbs “It’s All Cognac”. 
A-2 appeared in the article of Mario Said “Sensational!”, Glenn Campbell 
· Number known for version. It is A-3 which Yaya will also expect in the upper, 
I am satisfied with the head drum break that does not disappoint the expectation. A-4 is MO 
TOWN sound classics, The Temptations “Get Ready” covers better. 
Turn over the record. B-1 is original 69 years by Joe South, Inner Ci 
Let’s hear rcle versions. B-2 is a Game tie? 
Carl Sigman of Rudy’s number, written by Charles Dawes, Tommy Edwards 
It is “Games People Play” and I think that it is a name performance that surpasses the original. 
Probably the only original number in this work, Arranger Bodner composer B-3 
It is, but this can not be missed again, “ABC” cover is also wonderful. 
However, I personally think that it is a musical piece that would not hurt to say whitebrow of this work. 
Is the last deed with Issac Hayes “Hyperbolicsyllabicsesquedalymistic” 
This is recorded Isaac’s album is “Hot Buttered Soul” ('69) 
, A - 1, A - 2, B - 4 of 4 song recordings are covered with this work. The jacket is also the head family 
For himself who wore sunglasses, this work is also Baldo and Father of Gurasan. Cone 
What is a rendering production? Does anyone know the relevance of these two works?…~

Personnel are; 
Arranged & Conducted By - Phil Bodner 
Produced By - Ethel Gabriel

Tracklist 
A1 Walk On By 3:00 
A2 By The Time I Get To Phoenix 3:28 
A3 ABC 4:37 
A4 Get Ready 4:01 
B1 Games People Play 3:25 
B2 It’s All In The Game 2:56 
B3 Sweet Buttercup 4:31 
B4 Hyperbolicsyllabicsequeldalymusic 4:53 

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Pacific Express "Black Fire" 1976 South Africa Jazz Funk,Latin, R&B, Soul, Pop Fusion

Pacific Express  "Black Fire"  1976 South Africa Jazz Funk,Latin, R&B, Soul, Pop Fusion

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Matsuli Music re-issue ‘Black Fire’, the 1976 debut album of legendary Cape Town jazz funk band Pacific Express. This album is hard evidence of that 1976 musical moment in which Pacific Express forged an entirely new South African sound and musical identity out of what was ‘Cape Town Jazz’, Latin, R&B, soul, pop and fusion…..~

Pacific Express come roaring back from 1976 South Africa with the reissue of their debut Black Fire. They created a fiery, pioneering sound which cooked together a potent stew of Latin, R&B, soul, pop, rock and jazz. The blend was irresistibly funky with a militant swing; the mood was defiantly upbeat and optimistic in the face of the troubles of the time. Remastered LP on Matsuli….~

This album is hard evidence of that 1976 musical moment in which Pacific Express forged an entirely new South African sound and musical identity out of what was ‘Cape Town Jazz’, Latin, R&B, soul, pop and fusion. 
From the political heat of 1976 come the militant, upbeat and irresistible funk tracks Black Fire and Brother - where singer Zayn Adam calls out for hope and optimism in spite of present difficulties. The pace moves down a gear for heart-felt ballads and Latin-tinged jazz instrumentals. Group leader Chris Schilder, after his deep jazz beginnings with Winston Mankunku Ngozi and the cream of Cape Town’s jazz crop had already spent some time with seminal black fusion group The Drive in the early seventies. Black Fire lays down a fusion of jazz funk and soul that was later picked up on and developed by Spirits Rejoice and others. 

Black Fire presents the core repertoire that made Pacific Express the resident band sensation they became at the Sherwood Lounge in Manenberg, Cape Town in the mid-seventies. The ‘coloured’ township of Manenberg – about 20km away from Cape Town’s city centre, and cut off from the black settlements of Gugulethu and Nyanga by a railway track – had been officially established in 1966, based on the apartheid regime’s belief that what they defined as different “racial groups” could not live harmoniously together. Residents had been forcibly removed from and ‘relocated’ from the various suburbs now being allocated to ‘white’ people. Manenberg and surrounds were “quite a rough place” reflects Chris Schilder (now Ebhrahim Kalil Shihab). “But the Sherwood Lounge was located close to the highway, so people could come in without getting mixed up in whatever was a happening on the streets. And once we opened – people flocked.” 

Matsuli Music is proud to add the debut album of this Cape Town ‘supergroup’ among our growing catalogue of high-quality re-issues of classic South African afro-jazz on vinyl. New liner notes from acclaimed jazz historian Gwen Ansel claim this album as the first successful confluence of multiple styles delivering a uniquely South African but also globally accessible new musical expression. …~

Credits 
Arranged By [Horns] – Robbie Jansen 
Bass Guitar, Vocals – Paul Abrahams 
Drums – Jack Momple 
Guitar, Vocals – Issy Ariefdien 
Lead Vocals, Percussion – Zany Adams* 
Tenor Saxophone, Flute – Basil Mannenberg Coetzee* 
Trumpet, Alto Saxophone, Flute, Lead Vocals – Robbie Jansen (tracks: A1, A2, A4, B2, B3)

Tracklist 
A1 Brother 5:00 
A2 Feelings (Deep In Your Heart) 5:15 
A3 Sky Ride II 5:40 
A4 Heaven (I’ve Found In You) 5:10 
B1 Black Fire 3:35 
B2 You’re Everything 3:30 
B3 Love Your Baby Right 4:10 
B4 Wind Song 5:35 

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Darryl Way's Wolf "Saturation Point" 1973 + Night Music 1974 (formed from the ashes of Curved Air by Darryl, with Ian Mosley on drums-Marillion, John Etheridge on guitar-Soft Machine & Dek Messacar on bass -Caravan) UK Jazz Rock Fusion

Darryl Way's Wolf "Saturation Point"  1973 + Night Music 1974  (formed from the ashes of Curved Air by Darryl, with Ian Mosley on drums-Marillion, John Etheridge on guitar-Soft Machine & Dek Messacar on bass -Caravan) UK Jazz Rock Fusion 

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Darryl Way's Wolf ‎"Saturation Point"1973

The band's second album, released a few scant months after their debut, found Darryl Way and co. still edging away from the Curved Air ideal, without doing anything to truly alienate that band's loyal followers. Indeed, there were moments throughout Wolf's career when they sounded more like the original Air than that band's current incarnation ever could. Of course it's the mad violin that best confirms the similarities, but one can only dream of how dramatic this band could have been had they only reached a wider audience. Listening to Saturation Point is like walking a tightrope, a taut, nerve-bending ride that takes you from the eccentric peaks of "The Ache" and "Two Sisters" (combined, one of the greatest album overtures of the year), to the boleric attack of "Toy Symphony," a cut that raises the specters of Caravan and ELP, even as it shakes off comparisons with anything else. This was indeed the peak of Wolf's musical career, an album that snagged all the high points from its predecessor, then mashed them with the experience that the live show brought into reach....by... by Dave Thompson....~

Actually the most interesting reason to check out this group is their line-up . Everyone of them will pop-up elsewhere - Etheridge in Soft Machine , Mosley in Marillion , Messakar in Caravan . This sort-of-supergroup-to-be does not get much credit with me , however. Not that the music is bad , far from it , it has some cool-hard-AOR-melodic prog that will certainly appeal 70's completist - to which I almost qualify but in knowledge only because there is no way I will rebuy those album - maybe one day I will do a compilation of those three albums on a CDR ( a friend has them on Cd ). As you might guess WOLF is Darryl Way's group and it sure does sound like it as his violin and kb are all-over the place. He was also a big influence into early Curved Air with Monkman as the other writer - he left after three or four albums and Curved Air was never the same after. This first album has only two or three tracks that are sung and there is sufficient space for the apt musicians for some great interplay but to me the problem is not enough creative songwriting. The last two tracks on side 2 are my faves..... by Sean Trane ...~

WOW! When a progressive rock band has violin and guitars in his music, usually they are not played at the same time. In fact, they are simultaneously played here, and this really contributes to give Wolf a very personal trademark. This not very well known prog band gives us here a wonderful album, full of impressive violin, electric + acoustic guitars and dynamic & punchy bass! No one else than Ian Mosley himself(Marillion)plays the drums here: they are very well played and quite complex. Everything is very well synchronized, like Gentle Giant. It sounds a bit like Curved air, Caravan, Happy the man, Gentle Giant and Frank Zappa, but this album has really its own sound, and this makes the band very interesting. The record is mainly instrumental, and the keyboards are surprisingly rare, simple and discreet: they mainly consist in electric piano. This record is heavier and more symphonic and straightforward than "Canis Lupus": there are some very seriously loaded parts, very progressive, and the violin is more omnipresent.... by greenback ....~

What a stellar line-up of excellent musicians, led by the crafty virtuosity of Darryl Way of Curved Air legend, with future Soft Machine guitarist John Etheridge , future Caravan and The Strawbs bassist Dek Messecar and future Trace and Marillion drumster Ian Mosley. So what do we get? Some blazing string driven things with very few keyboards, the six string electric in battle with (at time against) the four string chin job! "The Ache" is a fiery instrumental opener that showcases Etheridge's rather tectonic playing as well as Way's capacity to parallel the emotional zeal with seeming ease. "Two-Sisters" leaves the station as a pleasantly sung Brit Rock piece, until the two soloists (the two brothers?) conspire to shred the arrangement to pieces, the little terrorists! Way in particular has a sizzling outro. "Slow Rag" is Etheridge's turn to show off his skills, weaving a leisurely guitar tapestry, in unison with Way's ultra-romantic glide, an ornate acoustic foray that has a definite Mediterranean feel, almost mandolin-ish , building up into a paroxysm of emotion and then gently ebbing, the violin's elegance leading the er. way. Mosley thrashes nicely on this fine piece. "Market Overture" supplies some electric piano musings, with supersonic jazzy electric guitar picking and a kindergarten violin sortie that builds inexorably, percussive adornments and booming bass taking this to an impromptu end. "Game of X" is at first straight ahead rock and roll, a two- fisted power boogie with scorching violin and some oddball hard scat singing but the shifting moods take this into a different expanse of improvisational violin screeching at the raucous guitar ramblings. Almost punkish at times, this definitely shows that the Wolf has big fangs. It becomes quite obvious that overproduced and lush symphonics are not what this rock predator is about. "Saturation Point" is a slow moving exploration that gives again both stringers the opportunity to forage above the bed of electric keyboards and seek out new sounds to play with, seemingly effortlessly. The classical tendencies here a quite remote as jazz or rock seem to be the prey of the day. Etheridge in particular has an electric guitar style that is enormously impressive, fluid yet raw, very animated as opposed to run of the mill. The bass rolls along nicely and keeps things nice and tidy. The fantastic finale is "Toy Symphony" (the definite highpoint here), which does revert to some intense violin classicisms but are quickly kidnapped by some weighty fuzz bass and cliff-hanger drumming, again flinging the arrangement into rockier geographies. Darryl Way displays his complete mastery over this tremendous instrument by choosing to eschew gratuitous note splashing and wringing out feeling and emotion from his trusted weapon. The final few minutes are a frenzy of exhilarating interplay that will leave you breathless. Just like being chased by a hungry wolf. Definitely worthy of your prog zoo, I mean.. collection. 4 canines...by tszirmay ....~


Credits 
Bass – Dek Messecar 
Drums – Ian Mosley 
Engineer – Derek Varnals 
Guitar – John Etheridge 
Keyboards – Darryl Way 
Producer – Sean Davies 
Violin – Darryl Way 
Vocals – Dek Messecar

Tracklist 
A1 The Ache
A2 Two Sisters
A3 Slow Rag
A4 Market Overture
B1 Game Of X
B2 Saturation Point
B3 Toy Symphony 

Darryl Way's Wolf  "Night Music" 1974 

On their debut album Canis Lupus, Darryl Way's Wolf included both instrumentals and vocal numbers, with bassist Dek Messecar taking on the latter duties. The album garnered critical acclaim, and in its wake the quartet embarked on a successful British tour. On-stage, however, Messecar found it difficult to combine vocals with his intricate bass playing, thus the band's sophomore set, Saturation Point, was comprised almost exclusively of instrumentals. It was a grand album, but also failed to chart, and Way became convinced that the lack of frontman was holding them back from success. Former If vocalist John Hodkinson was recruited to amend this flaw, and the new-look Wolf began work on Night Music, their third and final album. Hodkinson's arrival wasn't the only change evident on this set, many of tracks have a more abstract feel compared to their earlier work, with the album in general far "proggier" than its predecessors. This was partially due to the prominence of Darryl Way's synthesizer, particularly on "Anteros" and "We're Watching You," where it counterpoints John Etheridge's lovely guitar solo. Only on "Steal the World" does Way's violin play an important role. The set is more improvisational as well, but counter-intuitively less genre-bending, although the hints of British Beat that are tucked neatly into "Black September" and the funk that powers parts of "The Envoy" are strong reminders of Way's more eclectic past. Mostly, the album straddles rock and jazz, and although it too is a highly accessible set, only the final number, "Comrade of the Nine," could be described as catchy. Unfortunately, once again Way failed to break into the British charts, and when he was invited to return to his former band, Curved Air, he accepted the invitation, and his Wolf would roam free no more....by Jo-Ann Greene ...

Wolf was the band which Curved Air's violin/occasional keyboard player Darryl Way formed during '73/'74, whilst Eddie Jobson filled his shoes in that band. Assembling a selection of highly skilled musicians ; Ian Mosley (drums, and to this day, drumming for MARILLION), Dek Messecar (bass/vocals* - *1st two albums only) who later joined CARAVAN for the 'Better by Far' and 'The Album' releases, and John Etheridge (guitar), who later joined SOFT MACHINE for their albums 'Softs' and 'Alive and Well in Paris'. Employing a full-time vocalist, Colin Hodkinson, for this release (and he has a very good voice), enabled Dek more freedom for his, often stunning Bass playing, and this shows on the fantastic opening track, 'The Envoy'. Etheridge's guitaring is firmly in the jazz mould, and can remind one of an embryonic Holdsworth in style. This album, 'Night Music', is quite a gem, fairly consistent throughout, and fans of the abovementioned bands should most certainly enjoy all of Wolf's output. I wouldn't consider their music 'fusion', but it has hints of Canterbury and is a great example of U.K. progressive jazz-rock.... by Tom Ozric ....~

The scarcest of the three Wolf albums, Night Music is finally remastered and reissued along with its litter mates. For those who did not follow the sometimes tortured path of rock-bands-with-violins (re: High Tide, Curved Air, et al.) Wolf was one of those niche bands, appealing to the minority that thought adding an electric violin to a rock format was more than a great idea, and further appealing to the even smaller minority that preferred instrumental work to "songs". And that difference, between the instrumental and vocal, is the compromise which erodes the impact of Night Music. 

Following two albums that offered flashes of intensity and some fine instrumental stretches, blistering violin work and well-conceived interaction among instruments with a minimum of marginal singing and frankly silly lyrics, the pressures of commerce seemingly dictated a need for more familiar forms. Always a mistake since the word "familiar" already contains the implication that there's already plenty of whatever that is available. 
by Kerry Leimer 

Way was to bring ex-If vocalist John Hodkinson into the line-up for Night Music. Wolf's most accessible and commercial release benefited from his rich, individual vocal while greater use of keyboards changed the band dynamics to something more focussed. Ironically, this is where Way bowed out, rejoining his former band, and Wolf disbanded. ..by Peter Muir...~

Credits 
Bass Guitar – Dek Messecar 
Design [Graphics] – Colin Elgie 
Drums – Ian Mosley 
Engineer – Derek Varnals 
Guitar – John Etheridge 
Producer – Shaun Davies* 
Violin, Keyboards – Darryl Way 
Vocals – John Hodkinson

Tracklist 
1 The Envoy 6:34 
2 Black September 4:53 
3 Flat 2/55 6:59 
4 Anteros 4:33 
5 We're Watching 5:14 
6 Steal The World 4:22 
7 Comerade Of The Nine 2:44 

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