Cedric I’m Brooks "United Africa" 1978 Jamaica Reggae,Jazz Funk

 Cedric I’m Brooks "United Africa" 1978 Jamaica Reggae,Jazz Funk

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Classic roots / funk / jazz album from Cedric Im Brooks. Long out of print. “Satta-Masa-Ganna” & the killer “Silent Force”….~

Cedric I’m Brooks was a Jamaican saxophonist and flutist known for his solo recordings and a member of major jazz groups such as The Mystic Revelation of Rastafari, The Sound Dimensions, The Light of Saba, and The Skatalites. 
An artist whose fantastic technique and different, brought another air to jazz. “United Africa” track from the album that gets the same name is one of Brooks’ masterpieces. An odd musical quality. The harmony contained in this song where he mixes jazz with some Jamaican moods makes this single something unusual that deserves to be heard…..~

Though chiefly known as a virtuoso saxophonist, Brooks was also a talented arranger whose approach yielded some of the most complex and challenging works of the roots reggae era of the 1970s. He was also an intense spiritualist with an individual interpretation of Rastafari, another reggae magus who pursued ethereal connections in an effort to link spiritual devotion with musical expression. Meeting this quietly contemplative yet forceful man in person, it was easy to understand why he named his band the Mystics during a time when most other Jamaican groups were concentrating on love ballads and dance tunes.

Cedric Brooks was born in 1943 in the west Kingston slum of Denham Town, which borders onto the more famous Trench Town. He was raised in the same household as the noted trumpeter, Baba Brooks, and the dwelling was owned by a Salvation Army major, so both church music and secular songs were rehearsed at the space throughout his youth.

At the age of eight he was sent by to the Alpha Boy’s School, the infamous Catholic charitable home for wayward or abandoned youth, which had a strong element of musical instruction for selected students thanks to the resident jazz-mad nun and erstwhile sound system selector, Sister Mary Ignatius Davies. Brooks started on piano and clarinet at Alpha, benefiting from the tutelage of bandmasters Ruben Delgado and Charles Clarke, as well as the great Lennie Hibbert, who would later cut excellent vibraphone albums at Studio One. Training was rigorous at Alpha and young Cedric showed strong musical aptitude.

After Alpha, Brooks joined the Jamaica Military Band on clarinet. In 1961, while still a teenager, he travelled with the Jamaican Military Band to perform in distant Newfoundland in Canada, and by the time of the trip he’d already found his way into the Vagabonds, which swiftly became one of the most popular nightclub and hotel acts of the day. He switched to tenor saxophone while in this group, finally finding his way to the instrument on which he would truly excel, though at this point, he was still mostly playing popular foreign cover tunes in a live setting. Brooks cut a few debut recordings with the Vagabonds at this time, including the fast-paced instrumental single ‘Hula Twist,’ which he composed and led.

In 1964, after connecting with Canadian manager Roger Smith, the Vagabonds moved to London, but Brooks stayed behind to enjoy tenures in all of Jamaica’s leading live jazz acts. He was initially playing with Sonny Bradshaw’s big band, as well as Kes Chin and the Souvenirs, but then joined the Granville Williams Orchestra on baritone sax, rubbing shoulders in that group with fellow saxophonists Roland Alphonso and Tommy McCook, as well as guitarist Ernest Ranglin.

Brooks then spent a year in the house band at Montego Bay’s Club 35 with keyboardist Leslie Butler and guitarist Headley Jones, before briefly joining Cecil Lloyd’s group at the Playboy Club in Oracabessa, only to leave shortly thereafter for the Bahamas in Carlos Malcolm’s Afro-Jamaican Rhythms. Brooks subsequently backed Jamaican lounge music specialist Teddy Greaves at a hotel in Freeport, and played for a time at Peanuts Taylor’s club in Nassau, but soon tired of performing for tourists.

Thinking of Brooks’ mindset in the ‘60s, he can be considered a true pioneer of ‘world music’. In addition to jazz players from the black American avant-garde such as John Coltrane and Pharaoh Sanders, Brooks was highly inspired by an early compilation of Ethiopian music he encountered at this time, which opened his mind to the possibility of non-Western melodies, chord structures and time signatures.

A major artistic and personal turning point came with his move to Philadelphia in 1968, where he enrolled at the esteemed Combs College of Music. Meeting saxophonist Sonny Rollins, avant-garde vocalist Leon Thomas, and perhaps most importantly, members of Sun Ra’s outer-worldly Arkestra, expanded Brooks’ musical and philosophical horizons, and he subsequently sought to draw the two spheres together to express an unorthodox spiritual philosophy which drew from an awareness of a denigrated African heritage.

When Brooks returned to Jamaica in 1970, his head was bald and he wore a prominent beard, visible trappings of his Philadelphian transformation. He began recording at Studio One, making an instant impact in the chilling horn fanfare that frames Burning Spear’s landmark single, ‘Door Peep’. Teaming with trumpeter David Madden as Im & David (the ‘Im’ referencing his adoption of the Rastafari faith in an abbreviated form of Halie Selassie’s ‘Imperial Majesty’ appellation), Brooks recorded a handful of intense instrumentals at Studio One, with ‘Money Maker’ causing the greatest impact, followed by the popular ‘Candid Eye’ and other more challenging creations..
Determined to start an Afrocentric group that would explore Jamaica’s rich musical traditions more overtly, Brooks then formed the Mystics with Madden and a handful of other players that were not particularly known at the time, including Lloyd ‘Gitsy’ Willis (who passed through the Upsetters, and who would later play with Sly and Robbie, among others), the upright bassist and poet Joe Rugglus, plus drummer Danny Mowatt and a singer called Chuku, aiming to push the boundaries of reggae by incorporating elements of free-form jazz.

In April 1971 the group gave a collaborative performance with Count Ossie’s Rastafarian drum troupe, and the end result was a fusion of the two entities, known as the Mystic Revelation of Rastafari (though Madden and several other members then broke away to form Zap Pow, displeased by the move towards non-standard forms of spirituality). Hugely influential in Jamaica and the broader Caribbean, the Mystic Revelation of Rastafari toured Guyana, Trinidad, Canada and the USA in 1972, and later performed during the official state visits of African leaders to Jamaica, including Mozambique’s Samora Machel. Their debut album, the incredibly raw three-LP set, Grounation, was unlike anything that had preceded it, being a wild, no-holds-barred expression of Rastafari consciousness and free jazz, inspired by the African motherland. Brooks played a prominent role in the creation of the album, and in nearly all of their subsequent releases.

In 1973, Brooks began running musical workshops at the University of the West Indies’ Mona campus, and soon formed a new group called the Divine Light, which was closely connected to the Ethiopian Orthodox Church and modelled somewhat on Sun Ra’s Arkestra, with Fela Kuti and Hugh Masakela among the other prominent musical influences. In addition to their grounding at the Ethiopian Orthodox Church on Maxfield Avenue, the group performed regularly at the uptown Turntable club, as well as at Brooks’ home, and their debut album, From Mento to Reggae to Third World Music, explored the evolution of the island’s traditional folk forms as they moved into ska, rocksteady and reggae, serving as a recorded parallel to the popular lectures Brooks gave in this era at the Institute of Jamaica in downtown Kingston.

The group was renamed Light of Saba in 1974, using an alternate appellation for Ethiopia, and the self-titled album that was soon issued took the form of a complex stew of instrumental reggae jazz with African rhythmic underpinnings. The following year the group toured Cuba at the request of Fidel Castro, and Brooks was prominently featured on the Mystic Revelation of Rastafari’s wonderful second album, Tales of Mozambique, being responsible as well for its musical arrangements.

The following year saw the issue of The Light of Saba’s In Reggae, another superb set, and although less grand in structure, Brooks’ 1977 Studio One solo album, Im Flash Forward, was also excellent, highlighting the emotive power of the melodies he blew over classic Studio One rhythms; One Essence was another tremendous set to surface that same year.
Like many of his peers, Brooks also moonlighted as a session player for much of his career, which is why he was present on classic roots reggae albums such as the Abyssinnians’ Arise, Ernest Ranglin’s Ranglin Roots, Beres Hammond’s Soul Reggae, Junior Delgado’s Taste of the Young Heart, Culture’s Cumbolo, Rico Rodriguez’s That Man Is Forward, and Rita Marley’s Who Feels It Knows It. But Brooks did more than simply play on records like these. He took a far more active role at such sessions, greatly influencing the overall result.

By the time Light of Saba’s Sabebe album was released in 1979, Brooks had formed United Africa, a huge conglomerate of over 30 members, their sole album a masterpiece of Afrocentric big band reggae jazz. Brooks also appeared prominently on another MRR album, the mysterious One Truth, which may have been cut significantly earlier. Following his subsequent relocation to New York, his musical output inevitably slowed, though this is partly because he spent long periods in Ethiopia, studying spiritual matters and becoming acquainted with the music and culture of the country.

Brooks recorded with Carlos Malcolm in Los Angeles in 1998, and also collaborated with the California-based Rhythm Doctors on a 2004 single, ‘Mad Dog’. A new album surfaced early in the new millennium too, A No Nut’n, which had some inspired melodies from Brooks, but the musical backing was largely lacklustre. Following the death of Roland Alphonso, Brooks also became a longstanding member of the reformed Skatalites, and toured widely with them before being hospitalised himself in 2010, suffering from diabetes, hypertension, and eventually pneumonia, which ultimately led to his death in May 2013.

Here are a baker’s dozen of Cedric Brooks’ most outstanding moments, each an example of the impact he brought to bear through his unusual playing style and incomparable arranging skills…..BY DAVID KATZ….~

Credits 
Alto Saxophone – Gerrard Salmon 
Bass – Boris Gardiner 
Bass Drum – Desmond Jones 
Bass Drum, Percussion – Lloyd Barnes 
Bass Drum, Voice – Aston Russell 
Bass, Voice – Tony Allen (3) 
Clarinet – Maxine Mitchell 
Drum [Funde], Percussion, Voice – Gilbert Golding 
Drum [Funde], Voice – Austin Ricketts 
Drum [Repeater] – Joel Crawville 
Drums [Traps] – Calvin McKenzie, Nelson Miller 
Guitar – Ernest Ranglin, Lennox Gordon 
Organ – Leslie Butler 
Percussion – Alvin Haughton, Beres Hammond 
Piano – Harold Butler 
Soprano Saxophone – Dean Frasier* 
Tenor Saxophone, Drum [Repeater] – Cedric ‘Im’ Brooks* 
Trombone – Al Ahmad, Calvin Cameron*, Joe McCormak* 
Trumpet – Arnold Brakenridge*, David Madden, Jackie Willacy, Vivian Hall 
Voice – Cedric Brooks*, Joan Francis, Marcia Bailey, Paulette Chambers, Sandra Brooks

Tracklist 
A1 Satta Masa Ganna 7:10 
A2 United Africa 5:05 
A3 African Medley 4:40 
B1 Silent Force 6:21 
B2 River Jordan 2:13 
B3 Praises 4:27 
B4 Elehreh 3:27

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Dick Khoza “Chapita” 1976 South Africa Afro Jazz.Jazz Funk Fusion, Classic

Dick Khoza “Chapita”  1976 South Africa  ultra rare Afro Jazz.Jazz Funk Fusion Classic..recommended..! 

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“Legendary long lost South African Afrojazz classic from the vaults of Rashid Vally’s As-shams (Sun) record label. Remastered from the original master tapes and reissued for the first time since 1976. Features detailed research, extensive liner notes and unseen photographs. Available in a deluxe limited edition of 500 handnumbered 180g vinyl LPs. First in a series of classic original South African jazz LPs to be reissued by Matsuli Music.”….~

HELLO CHAPITA, HOW ARE YOU YOU? 

Lost for over 30 years, the five tracks that comprise Chapita are a fleeting glimpse of the mid-70s mood of downtown Johannesburg, filtered through the artistic vision of troubadour, arranger, composer and impresario Dick Khoza. 
Chapita happened in 1976 because Khoza was able to convince Rashid Vally to sponsor a recording session. That’s the short story. But looking back at how Khoza “followed” the music around South Africa, it becomes clearthatthis one-off album’s greatness is the sum of all those purposeful and chance connections that happened over more than 20 years. This re-mastered recording is testimony to the endurance of Khoza’s musical vision and to Rashid Vally’s seminal role in the history of recorded jazz in South Africa. 
Khoza was born in Malawi but grew up and lived most of his life in South Africa. In Khoza’s day the work available to Africans was almost exclusively on the gold mines. Conditions were harsh and rules required that foreigners be sent home once contracts were completed. But Khoza was in South Africa for the music - work was something that happened to make music possible. The enterprising and streetwise Khoza moved from city to city, always finding a way to stay in South Africa and follow his passion for jazz. 

WD 46 MENDI ROAD (Xhosa) 
We travelled and went to Cape Town (iKapa) 
We travelled and went to Port Elizabeth, (iBhayi) 
We travelled and went to East London (iMohti) 
It’s nice in Cape Town, Port Elizabeth, East London 

In the 1950s Khoza joined future South African jazz greats Tete Mbambisa, Dudu Pukwana, Johnny Dyani, Nick Moyake and Aubrey Simani in an East London jazz group that was to become the Four Yanks. Later, while living in Cape Town, he played drums for Christopher “Columbus” Ngcukana. Legend has it that Khoza was responsible for introducing the young trumpeter Mongezi Feza to his former band mate, Dyani. Feza and Dyani, together with Louis Moholo, Dudu Pukwana and Chris McGregor, were later to become the internationally celebrated South African jazz group The Blue Notes. Khoza also toured with a show called Variety, together with singers Nosisi Rolulu and Abigail Kubeka. 

In the early 1960s Khoza played with Lucky Malakana’s Broadway Brothers. With the encouragement of Robert Matuba, he took up the drums full-time. At the Cold Castle National Festival in 1962, Khoza appeared with Eric Nomvete’s Big Five. In 1964 he toured South Africa alongside Joe Balelka Daku in a band called The Sounds. He then formed Vuka (Wake Up) with Claude Ngcukana on piano. 

By the early 1970s, Khoza had landed a regular day job at the Natal Command military base in Durban. Despite apartheid restrictions on night-time movement, Khoza snuck out at night to play with Alfred Nokwe and his Ndaba’s Swingsters Jazz Band in Cato Manor. He was also active in a Durban jazz group with Pat Matshikiza, Simon “Baba” Mokoena, and Victor Gaba. At the Durban YMCA he helped younger musicians with regular jazz workshops. Khoza then joined forces with the young guitarist turned bass player Sipho Gumede in the Jazz Revellers. But the big city was calling. 

Once in Johannesburg, Gumede and father-figure Khoza were drawn to Dorkay House, the Bantu Men’s Social Centre, the Pelican Club, and Kohinoor Records - popular musician’s meeting places and music hubs of the day. Lucky Michaels, who ran the Pelican in Orlando East in Soweto, employed Khoza as stage manager and leader of the house band. With Khoza at the helm, evenings at the Pelican often opened and closed with a rendition of the track Chapita. Well-known musicians would drop by for a session, informal jam, or to perform as part of the Sunday night cabaret. As a music laboratory, the Pelican played a significant part in the development of a number of seminal 70s bands, including Roots, Spirits Rejoice, Sakhile and Stimela. Khoza gained a reputation as a talent scout as well as a mentor (and strict taskmaster) to up-and-coming musicians. 

Aside from his regular duties at the Pelican, Khoza played with leading jazzmen, including Winston Mankunku Ngozi, Cups Nkanuka, Duku Makasi, Temba Ngwenya and Roger Khoza. In January 1976, Tete Mbambisa called on Khoza for a session at Gallo Studios funded by Rashid Vally. This resulted in the highly regarded Tete’s Big Sound album on Vally’s As-shams (the Sun) label. 

In September 1976, in the aftermath of the June 16 Soweto uprisings, Khoza took the Pelican Club house band into the studio to lay down the five tracks that comprise the Chapita album. The band included members of the Afro Pedlars (Mac Mathunjwa, Themba Mokoena and Ndoda Mathunjwa), together with Aubrey “Khaya” Mahlangu, Ezra Ngcukana and others. The Pedlars later rose to fame as the backing band for South Africa’s greatest soul singer, Mpharanyana. 

On the title track, in which Edgar Dikgole sings Khoza’s stoic evocation of an encounter between two migrants in the city, the tension between a rooted African past and a precarious urban present is laid bare. The urban migrant “must” assure all at home that he is “doing alright”, no matter how fragile and lonely he may feel. His most immediate of home comforts might well be that he is wearing his all-purpose blanket - as Khoza insisted on for the cover image of this album - a deep cultural connection, but also a cheap and practical means of protection from the Highveld cold. 

Dick Khoza never returned to Malawi but retired in the early 1980s to Mdantsane, East London. From time to time he played with his musical soulmate Tete Mbambisa before passing on in the late 1980s. With this timely re-issue of Chapita - more than 30 years after its original release -the afro jazz sounds of Dick Khoza and the Pelican house band live on
CHAPITA (Chiyanja) 
Hello Chapita, how are you? 
Me, I’m alright, I just came here. 
How is my mother Chapita? 
Me, I’ll be coming home soon………..~

Rashid Vally grew up in downtown Johannesburg. The Champion Buildings, where he was born in 1939, still stand on Market Street today. Vally attended the Central Indian High School - a private school set up by the Transvaal Indian Congress to combat the impact of racial zoning of the city under the Group Areas Act. After completing school, Vally joined his father’s cafe and grocery business on Kort Street. Opened in 1956, the Azad Cafe was directly beneath the famous Kapitans’ Cafeterias where Nelson Mandela regularly ate while practising as a lawyer. 

As a sideline Rashid Vally’s father sold Indian film music. He often allowed Qawali singers like Suliman Patel to practise in the grocery store, the bags of sugar and flour acting as soundproofing. Valley senior started recording Patel, singers from the SS Karanja and others at the Trutone recording studio in Johannesburg. He released the results as five-packs of 78s and later as 45s. 
It was around this time that the long-playing (LP) vinyl format was introduced and the young Rashid Vally fell in love with Louis Jordan’s Somebody Up There Digs Me LP. When he wasn’t delivering grocery orders by bicycle, he was working in the store and playing the latest jazz LPs. Anyone in the vacinity of the shop would hear the latest from Hank Mobley, Elvin Jones and others. It wasn’t long before Rashid Vally opened a wholesale account with a US music dealer and started to sell imported jazz records. The Kort Street cafe was renamed Kohinoor, meaning mountain of light. In 1982, a second Kohinoor store opened on Market Street. 

Not long after starting the music sideline in the early 1960s, Rashid Vally formed his first label -Soultown - and started recording South African dance and soul bands, such as El Rica’s and the High Notes. The idea of recording jazz only came to fruition in the late 60s after spending numerous Sunday afternoons at Dorkay House jazz sessions and getting to know musicians such as Gideon Nxumalo, Lionel Pillay and Early Mabuza. The first jazz LP on Soultown was a recording of Gideon Nxumalo, entitled Early Mart. 

In 1970 Dollar Brand (later Abdullah Ibrahim) visited Rashid Vally to discuss a business partnership. With the commercial side handled by Vally, Ibrahim set about recording a number of albums. Dollar Brand +2 (Peace) and Dollar Brand+3 (with Kippie Moeketsi) were recorded and issued on the Soultown label in 1971. Underground In Africa was recorded in 1974 with a new group of rock and soul musicians and was issued on the Mandla imprint. 

Rashid Vally funded further sessions for Abdullah Ibrahim and his new band in Cape Town. These sessions yielded the anthemic Mannenberg. brahim coined the name As-shams (the Sun) for the record label on which Mannenberg was released. The As-shams logo was designed by Rashid Vally’s brother-in-law, Abdul Kader AIL The LP sold at least 5 000 copies in the first month of release, purely by word of mouth. It was then licensed to Gallo -and sold more than 40 000 copies in less than a year. 

Following the success of Mannenberg and further recordings by Ibrahim, Rashid Vally extended the As-shams catalogue by funding numerous recording sessions for jazz musicians keen to be given free rein in the studio. These records were heavily promoted through Kohinoor, which, by then, had become a legendary hangout for jazz lovers. It was also one of the few spaces in the city where people of different races could mix comfortably. 

It is no exaggeration to state that Kohinoor and As-shams were beacons of light in a dark time. Today, the albums issued on the As-shams label are highly prized by collectors, archivists and lovers of South African jazz for the freedom of spirit they capture and embody. The impact on South African jazz of the As-shams label and Rashid Vally in making it all possible cannot be underestimated…….~

If you are looking for some deep deep funky jazz than look no further than South African Dick Khoza and his stunning ‘Chapita’ album. Originally recorded in 1976 just after the Soweto uprisings, the album reflects the mood at the time and was incredibly hard to find being a very limited pressing. Happily it`s now available thanks to the tiny-but-wonderful label Matsuli Music.The title track runs on a laidback funky groove with horns a-plenty and bumbling bass while the title is chanted in the best funky-seventies tradition. It`s engrossing and mesmerising â once in your brain it`s there for good.Track two, 'Zumbwe’ (Baby Tiger) is more up-tempo with banked brass, much loved by Fela over in Nigeria, and just grooves along, likewise 'African Jive’ (Moto) which speeds things up with again those wonderful banked horns and almost highlife guitar chattering along. 'Lilongwe’ slows things down and wouldn`t be out of place on any self respecting 70`s soul-funk album with some great brass playing, while 'WD 46 Mendi Road’ is a lovely almost-two-step song with a sweet finger-snapping backbeat.I gotta admit I`d never heard of Dick Khoza, but thanks to Matsuli Music I have now, and boy am I glad I have as it`s a really great album irrespective where or when it was recorded….by…..MICHAEL DE KONINGH…~

Born in Malawi but spending most of his life in South Africa, Dick Khoza lived under the curse of apartheid but remained in the country due to his love of jazz. The 50s and 60s found him playing alongside greats such as Dudu Pukwana, while the 70s saw him in Johannesburg, having linked up with financier, producer and studio owner Rashid Vally. 
The result of their union was 1976’s Chapita, an album that gives a big nod to the era’s jazz-funk crossover, but retains its South African roots. African Jive (Moto) is an excellent instrumental showcase for the brass section, while the title track recounts the tale of an encounter between two migrants in the city. Lilongwe drops the heavy funk at a much more relaxed pace, once again giving prominence to the horns, with a bumping bassline and chattering rhythm guitar making it a dancefloor smash. 
All praise must go to the tiny Matsuli Music imprint (Matsuli. blogspot.com) for resurrecting this fine album, which is available in lovely vinyl, less lovely MP3 and fine enough CD…..Record Collector….~

Cheesy jazz-funk/fusion nonsense with little to no African vibes anywhere. Sounds like something the Brecker brothers had a hand in, considering most of this thing has their specific brand of slick white boy fusion playing. The guitar playing in particular couldn’t be more dated by this point. I would’ve believed this was made in L.A. way, way before I’d have guessed it was actually from Africa. For what it’s worth, this was recorded in Johannesburg in the same studio that Duncan Mackay used for Chimera, so it’s hardly some straight-from-the-source Afro jazz or anything. If you’re looking for Afro jazz with some lo-fi grit or authenticity, this WILL disappoint you. “Funkier than everything you heard from Africa” my aching ass….by….thrasher2809 ….~

Fantastic driving, funky as you like jazz from the fertile mid 70’s South African scene given the reissue treatment. Recorded around the aftermath of the Soweto uprisings yet seemingly devoid of anger or indignation. This is music to dance to and to enjoy wit a smile on the face. Khoza’s drums drive along these five cuts. The music is very reminiscent of American jazz-funk of the era but adds an African twist both vocally and with a more African drum sound. A real standout record from the African jazz scene and a fine choice or a timely reissue….by…bruklover….~

Terrific afro funk album from South Africa. It’s funkier than everything you heard from Africa. “Chapita”, hypnotic medium tempo groove, “African Jive” uptempo afro strom, and “Lilongwe” have massive breaks and a damn funky sound. Terribly rare !…by….isabelbc ….~

Acclaimed Malawi-born jazz drummer Dick Khoza was a regular and in-demand session-man at the many jazz venues in Johannesburg in the early seventies. These included the Pelican in Soweto where he played in the band the Jazz Revellers with bassist Sipho Gumede. He released an afro-jazz fusion album called “Chapita” in 1976. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply……~

Credits 
DICK KHOZA - African drums 
BETHUEL MAPHMULO - bass guitar 
THEMBA MEHLOMAKULU - trumpet 
MAC MATHUNJWA - electric piano 
THEMBA MOKOENA - lead guitar 
AUBREY SIMANI - tenor sax 
EZRA NGCUKANE - tenor & soprano sax 
WILLIE NETTIE - trombone 
NEGRO MATHUNJWA - drums 
AUBREY MAHLANGU - tenor sax 
JOE ZIKHALI - rhythm guitar 
EDGAR DIRGOLE - vocal

Tracklist 
A1 Chapita 9:47 
A2 Zumbwe (Baby Tiger) 7:09 
B1 African Jive (Moto) 6:25 
B2 Lilongwe 7:28 
B3 Wd 46 Mendi Road 3:48 

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Ken Munson "Super Flute" 1973 US Soul Jazz Funk

Ken Munson  "Super Flute" 1973 US excellent Soul Jazz Funk…recommended,,,!

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Super flute may sound a little cheesy album title and it reminds me of those cheap Italian, German or British cover albums that were released by the dozens in the 1970s. But as you know, one should never judge the record by it’s title - or cover. Ken Munson plays his flute like the greats Herbie Mann or Moe Koffman, but instead of jazziness, he does it more soulful way. The title track “Super flute” is a great uptempo funky track with breaks and all. And there’s more groovers as well. Uptempo flute funk tracks “Scramble” and “Papa was a rolling stone” with midtempo “Rocks in my bed”, “Back stabbers” and “Ode to Billy Joe” are enough for a reason to buy this one. Although little is known of Kenneth “Ken” Munson, I must admit that Super flute is really a magnificent album. It always gets you to a good mood no matter what…..~

Fans of Bobbi Humphrey’s Mizell Brothers-produced LPs for Blue Note, as well as Harold Alexander’s dates for Flying Dutchman, should add to their wants’ lists Ken Munson’s Super Flute. Munson isn’t quite in the same league as Humphrey or Alexander, mind you, but his flute playing is effortlessly funky, and listeners with a preference for the first half of the soul-jazz equation will find much to savor. Munson keeps the music feather-light and upbeat, drawing most of his material from the contemporary pop charts – familiar melodies like “I Can See Clearly Now,” “Back Stabbers,” and “Papa Was a Rolling Stone” glisten and glide, buoyed by sweetly soulful arrangements and flute breaks that soar and twist like lightning bugs at dawn….. by Jason Ankeny….allmusic…~

Credits: 
Kenneth ‘Ken’ Munson: flute 
Robert Banks: arranger

Tracklist 
A1 Super Flute 2:35 
A2 I Can See Clearly Now 2:44 
A3 Brandy (You’re A Fine Girl) 3:25 
A4 Rocks In My Bed 3:56 
A5 Scramble 3:00 
B1 Night Train 3:15 
B2 Back Stabbers 1:57 
B3 Papa Was A Rolling Stone 2:52 
B4 Ode To Billy Joe 3:45 
B5 Me And Mrs. Jones 2:57

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