Boston Horns "A Thousand Souls" 2005 US Jazz Funk

Boston Horns  "A Thousand Souls" 2005 US Jazz Funk

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Tracklist
1 Pink Polyester 6:21
2 Dyno Mite 7:30
3 A Thousand Souls 4:37
4 Funk #49 5:01
5 40 S Tab 7:20
6 D-Train 7:16
7 Smokescreen 5:35
8 Couch Surfer 6:15
9 Sparks 6:55
10 Bring On The Funk 3:42

The Boston Horns are a grooving Jazz ~ Funk / Horn band led by Garret Savluk (Trumpet) and co-founder, Jeff Buckridge (Guitar). The bands mix of original jazz / funk and soul covers has kept them on the scene performing in clubs, festivals and private events all throughout New England and as far away as Tokyo,Japan. Over the course of 20 years, members of the Boston Horns have collaborated and / or toured with a wide range of artists including; Tower of Power, Extreme, Paquito D’Rivera, Johnny A., Shawn Mullins, Karl Denson, “Big” Sammie Williams,Greg Piccolo and Susan Tedeschi to name a few…~

Boston Horns
Studio Albums:
Shibuya Gumbo (2007)
A Thousand Souls (2005)
Youve Got to Find Your Own Groove (2004)
Boogie Stop Shuffle (2003)
East Coast Funk (2001)
It’s In Your Face (1999)

Live Albums:
2000, 2002 (With Melvin Sparks), 2003, 2004, 2006 

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Delaney & Bonnie with The Allman Brothers & King Curtis “A&R Recording Studios FM 1971″ recorded 1971 released 2015 US Country Rock,Blues Rock,Jazz,Soul,Gospel (Bootleg)

Delaney & Bonnie with The Allman Brothers & King Curtis “A&R Recording Studios FM 1971″ recorded 1971 released  2015 US Country Rock,Blues Rock,Jazz,Soul,Gospel (Bootleg)

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This (71 minutes) set is from 1971 and the sound is very decent considering the era and the conditions. There’s a few sonic glitches along the way but the music comes shining through nicely. The booklet has a very short essay on the concert and the music along with a couple of b&w photos of the band. Is this the best place to hear D&B? Probably not. But if their music is your thing, and if you can find this set at a decent price you should probably buy it. Be aware there’s some talk between songs that some fans may not like. But the comments mostly add to the atmosphere of the concert. The whole thing has a relaxed feel–like friends getting together to sing and play some old favorites. 

A few highlights. After some ads from concert sponsor Singer, the band begins an acoustic set with Robert Johnson’s "Come On In My Kitchen”, with Delaney & Bonnie (D&B) on vocals and Duane Allman on slide guitar for a nice easy version of this great tune. Basically the first half of this concert is acoustic based which is fine because the front porch style feel of the vocals along with some fine playing make this pretty cool if you’re a D&B fan. Similarly “Goin’ Down The Road Feeling Bad” is another great version of this well known song. There’s a jarring tape glitch for a couple of seconds but once you know it’s there you pass over it and listen to the tune. “Poor Elijah” is another fine performance with a down home gospel feel that ends seemingly because the players just felt like it. Sam Clayton played the conga drums along with Delaney on guitar/vocals, Bonnie on vocals and Allman on slide guitar on this acoustic set. 

After the acoustic song “The Ghetto” there’s a lengthy (6 minutes) announcement before the band comes back for the electric set. Hearing this long musical pause once is enough for atmospheric purposes–Delaney especially sounds very relaxed.. Members of this band (but not all) include D&B, members of Little Feat, Duane Allman on guitar, Gregg Allman on piano, and King Curtis on tenor sax. 

Beginning with “Livin’ On The Open Road” this is reminiscent of the D&B and Friends band albums. The band has tightened up some which helps the music. “Better Relations” is a nice up tempo performance with slide guitar and horn fills and some good vocals from D&B. “The Love Of My Man” slows things down a bit with Bonnie on lead vocals with some nice slide guitar fills from Allman along with another guitarist. Curtis’ tenor sax has some fills that help this tune’s soulfulness. After a short “chat” the band get into the blues with a lengthy (7 minutes) “12 Bar Blues (Don’t Want Me Around)”, with Delaney on lead vocal. King Curtis gets a good solo in that really adds to this tune with more horns in the background comping away. Duane Allman comes in for a solo with some laid back slide guitar sounding like you’d hope. At one point the band lays out letting Allman do his thing. This is one of the best performances here. 

Another 2+ minutes “chat” and then the band ends things with a jam on “Only You Know & I Know” which stretches out for 18 minutes. This is one of those times you wish you were sitting in the audience. D&B blend their voices that’s reminiscent (if you’re a D&B fan) of past performances, and all the while the whole band (including some fine percussion work and a drum solo) works out behind them. Allman gets another chance to play some slide guitar here and there along with a nice organ solo–not Gregg Allman–who gets in a piano solo later on, and Curtis’ always great tenor sax blowing. Sitting in the audience must’ve been quite something listening to all the great musicians on this long, good time jam. 

Is this some long lost treasure? Well, maybe not. Is this the first place to hear D&B? No. Or the Allman brothers? No. But as a curiosity from that period when D&B were making some good records, and had a band made up of some of the best musicians of the era, this is worth adding to your D&B shelf to pull out once in a while. The loose, jammy, come-together feel is pretty cool. It’s an example of that whole period when musicians came together to play and have some fun playing some favorite tunes. Not essential, but at a good price–for deep D&B/Allman fans–there’s some nice moments…..by Stuart Jefferson…..~


There’s a whole lot to like, and a little not to like. Of the 71 minutes and 15 tracks, there are only 9 songs due to all the stage banter. The music, though, is phenomenal. The first half is all acoustic, which is a real treat. I’ve never heard Duane Allman play so much acoustic guitar, and his slide really shines, especially on “Poor Elijah” (a tribute to Robert Johnson). The electric section is even better. Greg Allman joins the full Delaney & Bonnie band on piano (they already had a Hammond organist), and King Curtis sits in spectacularly on sax. While the stage banter is, at times, interesting (Delaney’s hype for the upcoming Concert for Bangladesh), I wish they would have saved the room for more songs. The DJ promises an hour-plus electric set, but if they played that long, only 5 songs made the album. While some of the detail are a bit puzzling, it does not detract from the overall effect. It’s some of the best music I’ve purchased in quite some time….by… Misterian….~


- Bonnie Bramlett - vocals 
- Delaney Bramlett - guitar, vocals 
- Duane Allman - slide guitar 
- Greg Allman - piano, vocals 
- King Curtis - saxophone 
- Kenny Gradney - bass 
- Sam Clayton - congas 
- Joe Johansen - guitar 
- Chuck Morgan - drums 
- Daryl Leonard - trumpet 
- Larry Britt - trombone 
- Jerry Jummonville - saxophone 
- Gordon De Witty - piano, organ

Recorded at A & R Studios, New York City, NY, July 22, 1971 
for a live WPLJ FM Broadcast Duane Allman plays on tracks 2, 4, 6, 7, 9, 10, 11, 13 & 15. 

1. announcer 
2. Come On In My Kitchen 
3. chat 1 
4. Goin’ Down The Road Feeling Bad 
5. chat 2 
6. Poor Elijah 
7. The Ghetto 
8. announcer 
9. Livin’ On The Open Road 
10. Better Relations (= Alone Together) 
11. The Love Of My Man 
12. chat 3 
13. 12 Bar Blues (Don’t Want Me Around) 
14. chat 4 
15. Only You Know & I Know Jam 

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Dom Salvador E Abolição "Som, Sangue E Raça"1971 Brazil Latin Funk,Latin Jazz,Samba Jazz,Samba Soul,MPB

Dom Salvador E Abolição  "Som, Sangue E Raça"1971 Brazil Latin Funk,Latin Jazz,Samba Jazz,Samba Soul,MPB 

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Peter King “Miliki Sound”1975 Nigeria Afrobeat,Afro Jazz Funk.

Peter King   “Miliki Sound”  1975  excellent Nigeria Afrobeat,Afro Jazz Funk..recommended…!

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Essential reissue ! Timeless album melting afro funk gems like ‘Jo Jolo’ and 'Ijo olomo’ and high standard Nigerian Highlife. Recorded 1975 in the UK and featuring Dudu pukwana on saxophone. This is the Tackle reissue (not the one by Mr Bongo)…..~

Originally released in 1975 via Sonny Robertsʼ Orbitone label, Miliki Sound is an album by Peter King, Nigeriaʼs most talented multi-instrumentalist, highlighting his unique blend of Afrobeat, Highlife, jazz and funk. As King remarked in later life Miliki Sound was his attempt to escape being tied down following a string of albums for the label by delving into his own Afrojazz fusion. Making little impact in his homeland, the album was particularly well received in America and Europe, increasing Kingʼs popularity. 

As with his other releases from the same period, Miliki Sound was entirely composed, written and arranged by King. Upbeat and funky the albumʼs six tracks feature plenty of impressive displays of Kingʼs saxophone skills, the instrument for which he was perhaps best known, alongside a talent for arrangement that plays the funk of the groove against the accompanying instruments and Nigerian chants. You only need to listen to Jo Jolo, Ijo Olomo or Gyinmi Komo to see why Kingʼs Afrojazz approach, a blend of modern jazz with highlife as the basis, has proven so popular and continues to endure for over three decades. 
Miliki Sound is part of a series of Peter King reissues on Mr. Bongoʼ s Classic African Recordings series. 
The LP features fully reproduced original artwork. Produced on heavyweight, old-style packaging, the same as the original LP with original label art. Also available on CD…..~

Some necessary disambiguation: this particular Peter King is the stellar Nigerian multi-instrumentalist, who plays much more than the saxophone. And Miliki Sound is the second album by him to be reissued as part of Mr Bongo’s laudable “Classic African Recordings” project. The first one, Shango, can be found reviewed here. 
Recorded a year after Shango, in 1975, Miliki Sound represents the beginning of a dazzlingly prolific period for King — he’d record another eight albums in the next three years. And if they’re all as good as this you should set aside a section of your record shelf to accommodate them. 
Originally released on Sonny Roberts Orbitone label, Miliki Sound is a hybrid of Afro-Jazz, High Life and African root music. It was produced by Roberts and features Eddie Tantan on trumpet, Dudu Pukwana on alto sax and Mfon Idem on tenor sax. Peter King himself also features on tenor, not to mention singing, playing the flute (as beautifully displayed on Jo Jolo), soprano sax, piano, percussion, and more. 
Indeed, on Boleya Koya King even proves adroit on the violin. This number has a flavour of Cajun dance music as well as township jive and even a hint of James ‘Blood’ Ulmer. It is shuffling and insistent, beguiling and captivating. Having demonstrated his ability on strings at the beginning of this tune Pete King comes weaving in again on tenor saxophone at the end, shining against the solid, unified backdrop provided by Tantan, Pukwana and Idem. 
Compared to Shango there is a more of an emphasis here on catchy, danceable tunes. The playful joyous lightness of Iya La Jole, for instance, carries us into the musical territory which would eventually sell millions of records when explored by Paul Simon. On the other hand, on Elelzy King’s violin once again conjures up a premonition of James Ulmer — specifically the Ulmer album Odyssey which featured the fiddling prowess of James Burnham. 
The record as a whole is a tightly packed box of musical tricks and treats, packing in many a surprise. Memorably described on the liner notes as a ‘Sweet Afro Casserole’ the music on offer is wide ranging but always presents a direct emotional appeal. 
The mood throughout this album is perhaps lighter than on the formidable Shango, so if you’re intrigued by Peter King this might be the ideal entry point to his recordings. You don’t necessarily have to chose between the two albums, though, as Mr Bongo is offering a bundle of the two on vinyl at a very advantageous price. 
As with the other Classic African Recording LPs, Miliki Sound is offered on lightweight but high quality vinyl and the sound is excellent: noise-free, deep and dynamic. 
The record is a faithful replica of the original, right down to attractive yellow and silver Orbitone label. There is one area where it might have been a good idea to be a bit less faithful and more practical, though. The sleeve has absolutely no printing on the spine, presumably to maintain fidelity to the 1975 release. So if this record gets misfiled, good luck ever finding it again. 
Perhaps the solution is simply never to take it off your turntable….by Andrew Cartmel….~

It’s almost ironic that Peter King, one of Nigeria’s best musicians, is better known in Europe and America than in his home country. Peter King’s is widely regarded as one of Nigeria’s most talented musicians. His name is synonymous with his Miliki Sound, a captivating fusion of African musical genres and influences. Miliki Sound was also the title of Peter King’s 1975 debut album, which was recently released by the Brighton based Mr. Bongo Records. This was the first of seven albums Peter King recorded between 1975 and 2002. However, there’s much more to Peter King’s career than seven albums. Here is a man who invented a musical genre, founded his own musical school, studied at London’s prestigious Trinity College of Music and performed in the middle of a war zone. Then there was Peter’s time as a member of the African Messengers who doubled as a backing band for Diana Ross, The Four Tops and The Temptations. Action packed describes Peter King’s long career, which I’ll tell you about. After that, I’ll tell you about his 1975 debut album Miliki Sound. 

Born in 1938 in the Enugu region of Nigeria. Growing up, he moved between Lagos, Port Harcourt and Lokoja. Then in 1957, aged just nineteen, Peter moved to Ibadan and joined the Roy Chicago Band. Initially, he was playing double bass andalto saxophone. After this he joined other bands in Ibadan and later, Lagos. Soon, he was playing double bass, drums and alto saxophone. When the time came to spread his wings musically, he headed to London. 

1960 saw Peter moved to London to study music. He played saxophone, flute, piano, drums, double bass and violin when ge studied at various colleges. This included the Central School of Music, the Guild Hall in 1961 and Trinity College of Music in 1963. Graduating in 1966, Peter formed his first band in London, the African Messengers. 

Following his graduation Peter met trumpeter Mike Falana and drummer Boyo Martins. Together, they became the African Messengers. They were they prolific group. Not only were they a prolific live act, but released numerous singles. Their best known single is Highlife Piccadilly. When they were neither playing live nor recording, they were the backing group for many Motown artists. Among them were Diana Ross, The Four Tops and The Temptations. Not content with playing in one group whilst in London, Peter King formed the Blues Builders. Like the African Messengers, The Blues Builders were a prolific live band, playing all over Europe and north Africa. However, when Peter returned home in 1969, he formed another group. 

On his return home to Nigeria, Peter’s formed another group, Voice of Africa. At one point, they even played in the middle of a war zone during the Nigerian Civil War. Voice of Africa were short-lived. When Peter returned to London in 1971, it was with Shango, his latest band. They toured Britain, Europe and America, further reinforcing Peter’s reputation as a musician. 

By 1971, critics were comparing Peter to some musical legends. His playing style was compared to John Coltrane, Gene Ammons and Sonny Rollins. Key to this was his ability to improvise and his tonality. Like Trane, Peter is the consummate professional. Even when he kicks loose, his playing is copybook. No wonder. Peter King was into his third decade as a professional musician. One thing he hadn’t done, was record a solo album. He would rectify this in 1975. Indeed, for the next couple of years, Lagos studios were home to Peter King. His first album was Miliki Sound, which I’ll tell you about. 

For Mikki Sounds, Peter King wrote and arranged six songs. He played tenor and alto saxophone, flute, piano, violin, percussion and sang. Accompanying him were trumpeter Eddie Tantan, alto saxophonist Dudu Pukwana and tenor saxophonist Mfon Idem. Sonny Roberts produced Miliki Sound which I’ll now tell you about. 

Opening Miliki Sound is Jo Jolo, a track that will be recognizable to anyone with a passing interest in Afrobeat. It’s an explosion of joyous music. The rhythm section create a pulsating, pounding beat, while percussion, piano and stabs of growling horns accompany Peter’s impassioned, pleading vocal. As the vocal drops out, the bank lock into the tightest of grooves. Then taking centre-stage is Peter and his trusty saxophone. He unleashes a frenzied, frantic solo. When it drops out, as if spent and exhausted, percussion, flute and his vocal pick up the baton. Each play their part in what is, an infectiously catchy Afro-beat classic. 

Boleya Koya sees the tempo drop slights. Just drums, percussion, flute and bursts of gnarled horns join forces. Soon, Peter and his band are creating another sensual groove. This is thanks to the rhythm section who provide the arrangement’s heartbeat. Peter’s vocal is heartfelt, emotive and sincere. Add to that jazz-tinged guitars, grizzled, bluesy horns and funkiest of rhythm section, and it’s a potent combination. Here elements of jazz, blues, soul, funk and Afro-beat are combined. They’re responsible to this invitation to dance, one that you neither resist nor help submitting to. 

Iya La Jole opens with a mesmeric and uplifting combination of percussion and stabs of blazing horns. Propelling the arrangement along is the rhythm section. Meanwhile, Peter’s vocal plays a crucial part in a track that’s best described as a carnival-esque slice of musical sunshine. 

Dramatic and urgent bursts of horns open Ijo Olomo. It’s as if their raison d’aitre is to grab your attention. Having done this, the joyous celebratory sound of previous tracks returns. Percussion and the rhythm section provide an irresistible rhythm, while the horns bray and blaze. Peter’s playing is peerless and flawless. Like his vocal, he plays with passion and a sense of urgency. This seems to spur his band on. They rise to his level, playing with the same energy, urgency and enthusiasm. 

A mass of violins, horns, percussion and the rhythm section open Elelzy. It’s an impressive wall of sound. Here, Peter plays violin which sounds slightly shrill, percussion and saxophone. Incredibly, he’s just as proficient on each instrument. As if that’s not impressive enough, he delivers the vocal. Unlike other tracks, it’s much more tender, and is also heartfelt and sincere. Then Peter’s saxophone takes centre-stage. He unleashes another flawless solo. When it’s finished, you realize just why Peter King was held in such high regard as a saxophonist by his contemporaries and peers. 

Closing Miliki Sound is Gvinmi Komo. Straight away, you realize that something special is unfolding. There’s a much more understated sound. Gone are the blazing horns. Instead, the rhythm section and percussion accompany Peter’s vocal. A pounding bass drives the rhythm section along. As it provides the track’s heartbeat an alto-saxophone makes brief appearance. Later, the horns braying bid a farewell to Miliki Sound. That seems fitting, given how important a role they’ve played in the album. Having said that, they’re used much more sparingly. This proves just as effective, as Peter’s vocal cajoles and encourages the band to close the album on a high. They don’t let him down. 

For anyone yet to discover Peter King’s music, there’s no better place to start than Miliki Sound. It’s easily his most accessible album. Not only that, but it’s truly irresistible album filled with delicious rhythms. Although only six songs and thirty minutes long, it’s an almost flawless album. From the opening bars of Miliki Sound right through to the closing notes of Gvinmi Komo, it’s a joyous, uplifting and irresistible musical experience. I’d describe Miliki Sound as a call to dance, one you can’t help but submit to. It’s almost mocking you, daring you to submit to its glorious rhythms. There’s more to Miliki Sound than some delicious rhythms. Much more. 

Intricate, multilayered and complex, Miliki Sound is filled with numerous subtleties, surprises and nuances. Musical genres and influences are thrown into the musical melting pot by Peter King and producer Sonny Roberts. This included everything from Afro-Beat, soul, funk, jazz and blues. Add to this Afro-Jazz, high life and wild life. It’s a glorious and unique fusion of styles and influences. Miliki Sound also proved to be a hugely influential album. So influential, that it gave birth to a new musical genre, Miliki Sound. This is a fitting tribute to the quality of music on Miliki Sound, Peter King’s debut album. Having earlier described Miliki Sound not just as an infectiously catchy, irresistible album, I’d add to that innovative, imaginative and influential. Standout Tracks: Miliki Sound, Boleya Koya, Elelzy and Gvinmi Komo….Derek music blog…..~

Credits 
Alto Saxophone – Dudu Pukwana 
Arranged By, Written By, Tenor Saxophone, Soprano Saxophone, Flute, Piano, Violin, Percussion, Vocals – Peter King 
Graphics – Alef (2) 
Liner Notes – T-Bone Wilson 
Painting – Hasida Arts 
Producer – Sonny Roberts 
Tenor Saxophone – Mfon Idem 
Trumpet – Eddie Tantan*

Tracklist 
A1 Jo Jolo
A2 Boleya Koya
A3 Iya La Jole
B1 Ijo Olomo
B2 Elelzy
B3 Gyinmi Komo 

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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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