(Upcoming Release) Black Friday RSD Release “Miles in Tokyo” Reissues Exclusive Japanese Live Album – A Deeper Dive

Get On Down reissue of 1969 album Miles in Tokyo reproduces the original Japanese LP artwork down the OBI strip.

Miles Davis fans are being treated with not one, but TWO exclusive releases for the 2019 Black Friday Record Store Day! The first one, a special release of outtakes from the Complete In A Silent Way Sessions, we covered HERE.

If that wasn’t enough, reissue label Get On Down is releasing a previously Japan-only album of Miles Davis in concert from 1964 with an early iteration of his “second great quintet.” It was released in the US on CD in 2005, but not on vinyl. Titled simply Miles in Tokyo, the album originally came out in 1969 on Sony/CBS and this release copies that release down to the gorgeous black and white cover art and the OBI strip (which is slightly modified to show the Get On Down catalog number and logo). The original pressing was a gatefold, I’m hoping the replicated that as well, but I have no indication one way or another. (Chris from Bull Moose hasn’t done his rundown yet. I’ll update this if he mentions it).

This recording follows the legendary February 12th, 1964 performance at the Philharmonic Hall at Lincoln Center in New York City. The performance was a benefit show to raise money to get black voters registered in the South. The band, made up of Herbie Hancock on piano, Ron Carter on double bass, Tony Williams on drums and George Coleman on tenor sax (who would be replaced by Sam Rivers for the overseas shows including Live in Tokyo) were not told until just before the show that they would be donating their salaries for the night and told that if they didn’t like it they could leave the band. Davis would credit the resulting tension for creating the fiery performance captured on two albums: My Funny Valentine and Four & More both released in 1965.

Sam Rivers joined Miles Davis’s quartet in April of 1964 replacing George Coleman according to the Sam Rivers sessionography. This database quotes Davis as saying he wanted to hire Wayne Shorter but Art Blakey had him tied up in the Jazz Messengers, so he hired Rivers at Tony Williams’s suggestion and took him on tour. Rivers would stay with the quintet through July 15th, which is the day after the Miles in Tokyo recording took place. Rivers would be replaced evenually with Wayne Shorter in September, which would establish the “second great quintet” which would stay in place until 1968 and recorded the albums E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro.

I think the reason for Rivers’s short stint in Davis’s band is two-fold. Clearly Rivers was Davis’s second choice, and also the general opinion is that Rivers’s style on the sax didn’t mesh well with Davis’s, and this is apparent according to critics on the Miles in Tokyo album. To me the recording is notable in its frenetic pacing of the songs. I think it picks up the energy from the Lincoln Center performance, which shares a lot of the same songs, including the sped up “So What.”

Here is the track listing for Miles in Tokyo:

A Side : “If I Were A Bell”, “My Funny Valentine”
B Side : “So What”, “Walkin”, “All Of You”

Helpfully, there is a YouTube video of the complete album:

(Upcoming Release) Miles Davis Gets Black Friday RSD Silent Way Outtakes LP – Early Minor – A Deeper Dive

Front cover of Early Minor: Rare Miles From the Complete In A Silent Way Sessions

The Black Friday Record Store Day list came out yesterday, and there are a few releases that I think are pretty interesting and I’ll do posts on each, starting with this Miles Davis release. Titled Early Minor: Rare Miles from the Complete In a Silent Way Sessions, it is a selection of outtakes from his brilliant 1969 album In A Silent Way. This release has three outtakes that were originally released in 2001 on the 3-CD The Complete In A Silent Way Sessions box set.

Anyone familiar with the Davis catalog are likely familiar with the fact that his later years releases didn’t often correspond to the idea of an album release. When you look at the sessionography information for Miles Davis, he seemed to hit the studio whenever it suited him (or maybe when he needed money) and recorded with little regard to the idea of an album release.

The proper In A Silent Way album is two tracks, both of which were recorded on the same day. The expanded group of Miles Davis on trumpet; Wayne Shorter on soprano sax; Joe Zawinul on organ; Chick Corea and Herbie Hancock, electric piano; John McLaughlin on guitar; Dave Holland on bass and Tony Williams on drums hit CBS’s 30th Street Studio in Studio B on February 18th, 1969. The sessionography at jazzdisco.org shows that the group recorded three takes of “In A Silent Way/It’s About That Time” and two takes of “Shh/Peaceful.”

The band returned to the studio two days later on February 20th and tracked the over 26-minute “The Ghetto Walk” and “Early Minor.” According to Wikipedia’s entry on In A Silent Way, which quotes Victor Svorinich’s essay on In A Silent Way, “The Ghetto Walk” was originally considered for In A Silent Way, but was ultimately dropped in favor of “In a Silent Way/It’s About That Time.”

Those two tracks plus “Splashdown” which was tracked on November 25th, 1968 are what make up the RSD release. These tracks are notable as being the three songs on the Complete In A Silent Way box set that were previously unreleased prior. I prefer this over including multiple takes of “In A Silent Way/It’s About That Time” and “Shh/Peaceful.”

According to Svorinich’s essay, Joe Zawinul brought his composition “Shh/Peaceful” to the sessions, and it had a couple of working titles before it was settled, one was “On The Corner” which was the working title for the album at one point, and also “Mornin’ Fast Train From Memphis To Harlem” which was also a working title for the record. The Wikipedia article is a bit confused about this as it says that Davis composed “Shh/Peaceful” and Zawinul composed “In A Silent Way.” The facts of this are probably tied to how Teo Macero edited the sessions into the final recordings. This is further supported by the fact that Zawinul blamed Macero for editing the recordings and crediting Davis as the sole composer.

No matter what the details were about how the sessions were used, history has shown that In A Silent Way has become one of the most important albums in Davis’s career and is credited as the first complete foray into what would be his electric period and would pave the way for Bitches Brew.

I created a YouTube playlist of the three songs as they were included in the boxset so you can listen for yourself.

(Upcoming Release) New Unheard Release: John Coltrane – Blue World – A deeper dive

Impluse!/Universal has dropped another surprise John Coltrane release! Just over a year ago they announced the Both Directions At Once release of sessions from 1963– the tapes of which came from Coltrane’s personal collection of demo reels.

Titled Blue World, the album (out September 27th) is made up of recordings Coltrane’s classic quartet with Jimmy Garrison, Elvin Jones and McCoy Tyner tracked on June 24, 1964 at Rudy Van Gelder’s studio in Englewood Cliffs, NJ. These songs were tracked for Quebecois film producer Gilles Groulx to be used for his film Le chat dans le sac (“The Cat In The Bag”). The songs were mostly new recordings of songs from Coltrane’s catalog plus a new song “Blue World” (which, according to an article by NPR, was itself a variation of a previously-recorded song the pop standard “Out Of This World” by Harold Arlen-Johnny Mercer). Revisiting previous works in the studio isn’t something Coltrane had done before, or from what I can tell, since. This gives us a unique way to view the development Coltrane and band were going through by comparing previous recordings to these reinterpretations.

The first thing I did when I heard about this release was to check my faithful jazz session database at jazzdisco.org and it was missing! This has since been remedied as the details of this release came to light. According to the interview with Barbara Ulrich (who played the lead also named Barbara in the film) for the liner notes (written by Jazz scholar Ashley Kahn) of the release quoted in the NPR.org article, Groulx was a fan of John Coltrane and it was through an acquaintance that he knew Jimmy Garrison which was likely the connection to Coltrane’s involvement in the film. Groulx attended the recording session on June 24th and was handed the 37-minute 1/4″ mono tape at the end of the session. Since it wasn’t an official release and these sessions weren’t part of an album recording, they didn’t make it to the database.

In the Rolling Stone article about the Blue World release, they quote Ulrich’s recollection of the session. Groulx hadn’t started filming, so Coltrane wasn’t working from the film itself. In the end, he only used 10 minutes of the 37-minute session.

“Gilles had a list of the music he wanted and later he told me when he gave the list to Coltrane, Coltrane said, ‘Okay, I can do this — I can’t do that, it’s not mine. OK I get it, I know what you want.’ Then they just started jamming and recorded for several hours. Then Rudy gave Gilles the tape and that was it. When he got back he was absolutely ecstatic. He knew exactly where he was going to use the music in the film.”

In Eric Fillon’s dissertation on the film in his paper “The Cinema of the Quiet Revolution: Quebec’s Second Wave of Fiction Films and the National Film Board of Canada, 1963-1967” he explains how Coltrane came to be part of the film:

Le chat dans le sac featured an original score by John Coltrane, an African American saxophonist whose music was often associated with Black Nationalism. The film’s jazz soundtrack was dans l’air du temps [current fashion]. It echoed Louis Malle’s Ascenseur pour l’échafaud (1958) and John Cassavetes’ Shadows (1959) which featured contributions by jazzmen Miles Davis and Charles Mingus. However, the music also serves to validate the language of decolonization which Claude deploys throughout the film. Groulx’s main protagonist reads Frantz Fanon’s Les damnés de la terre, Louis E. Lomax’s La révolte noire and Parti pris. Claude, a [Quebecois separationist revolutionary] , listens to jazz as he plans his revolt. …. Coltrane’s music legitimizes Claude’s quest for emancipation in ways that Barbara cannot.

The Cinema of the Quiet Revolution: Quebec‟s Second Wave of Fiction Films and the
National Film Board of Canada, 1963-1967 p 60

The Rolling Stone article says that the tape eventually made it to the National Film Board of Canada and that was how Impulse! came to get it early last year. The National Film Board of Canada was the organization that underwrote Le chat dans le sac originally. There is a funny story in the Fillon paper I quoted above about how the NFB was only interested in producing television content at the time that Gilles Groulx was working with them. Groulx agreed to shooting a TV show, and apparently gave them the Canadian theme of “snow” for this project. Instead he took the funds and shot Le chat dans le sac.

Here are the tracks on the album along with my notation of which album the original version is on. It’s interesting, if not notable, that “Naima” from Giant Steps and the two songs from Jazz (“Village Blues”, “Like Sonny”) were all recorded originally during the same sessions in 1959 and 1960. In many ways Jazz can be looked at as the outtakes from the Giant Steps sessions.

TRACKS
SIDE A
1 Naima (Take 1) (4:34) originally on Giant Steps (1959)
2 Village Blues (Take 2) (3:41) originally on Jazz (recorded 1959, released 1961)
3 Blue World (6:08)
4 Village Blues (Take 1) (3:51) Jazz (1961)
SIDE B
1 Village Blues (Take 3) (3:45) Jazz (1961)
2 Like Sonny (2:43) originally on Jazz (1961)
3 Traneing In (7:42) originally on John Coltrane with the Red Garland Trio (1958)
4 Naima (Take 2) (4:10) Giant Steps (1959)

The title track from Blue World

Blue World has been mastered from its original mono analog tape by Kevin Reeves at Universal Music Mastering in New York. The new 180g vinyl edition’s lacquers were cut by Ron McMaster at Capitol Studios.

(Upcoming Show) Lindsey Buckingham at The Englert in Iowa City Sunday, 9/2/2012

(Photo by Kevin Winter/Getty Images)

Lindsey Buckingham is having the time of his life.

At the time of his sixth solo album The Seeds We Sow in 2011, Lindsey Buckingham is able to frame his life as a musician and family man in the context of his journey thus far. He attributes his peace to two things. The first is his personal life, “To finally meet someone and to have the family thing happen, that’s been a real gift,” he says. The other is musical. “If there is a level of contentedness that I’ve arrived at, part of it is because I think in the last three or four years what I experienced during the solo albums and then what I experienced on the last Fleetwood Mac tour I felt like I had come to a point where there was so much foundation that I had built for myself making incremental steps forward as a musician and as an artist.”

Certainly, the last few years have been very productive for Buckingham, starting with an out-of-the-blue solo album in 2006, a derailed follow up that morphed into a new studio album for a re-ignited Fleetwood Mac, a re-imagining of the derailed follow up in 2008, a live album and then The Seeds We Sow in 2011.

The Seeds We Sow represents Buckingham taking full control over his career handling all of the recording, production and also releasing himself. The album is a very up-close-and-personal perspective of Buckingham at times sounding like a really well-produced home demo, which I suppose it really is.

I consider Lindsey Buckingham to be a personal musical hero. His distinct sound and contribution to the canon of rock music with his solo work as well as his years in Fleetwood Mac have impacted me at a level that might be chromosomal. I started listening to music on my own around the time of Rumours and his music has been with me ever since. I have been fortunate to see him with the Mighty Mac three times in my life but never solo, so the news that he will be performing at the wonderful Englert Theatre in Iowa City on Labor Day Weekend is exciting news! He will be performing at 8PM on Sunday, September 2rd.

The presale for the show started on Tuesday for Friends of the Englert, and general sale for the show starts on Friday,  June 22nd at 1PM. Tickets are $55 for Tier One Tickets and $45 for Tier Two.

Click Here for more information about Lindsey Buckingham at The Englert in Iowa City, including how to order tickets.

Click Here to find out about how you can be a Friend of the Englert and get in on great pre-sale deals and other perks.

 

(Upcoming Release) Umphrey’s McGee Launches Death by Stereo – Cover Art, move to ATO Records

Very soon on the heels of their self-released 2 LP and digital-only release of 2010 Hall of Fame that I reported on previously, Umphrey’s McGee announced their new studio album! To be titled Death By Stereo, it will be released on September 13th.

Death By Stereo marks the first release by the band since their move to ATO Records— home of Dawes, My Morning Jacket and Drive-By Truckers. While no explicit reason is given for the move from long-time home SCIFidelity, it is my opinion that this move will probably give the band some resources not available to them on SCIFidelity as far as distribution and promotion, if not visibility.

The press-release which came out earlier this week, says that Death By Stereo is a “lethal musical gumbo” which pretty well describes the genre-crunching band. The tracks mentioned in the article include “Wellwishers” which was originally going to be part of a digital EP series and was freely downloadable as an mp3 in exchange for an e-mail address via TopSpin (who was also the method for selling Hall of Fame) and also downloadable via umlive (my article here). Also mentioned are “Conduit” and “Booth Love” which both have been performed in concert (links to archive.org). “Conduit” was also included in the Summer 2011 free sampler provided by the band. Two tracks we haven’t formally heard as of this writing are “Miami Virtue” described as a psychedelic blend of Pink Floyd and Phoenix, and “Black Keys-style blues” track “Domino Theory.”

With the amazing pre-sale madness surrounding Mantis with its massive amount of free downloads, I’m sure we’ll get something just as cool with this release. Since they are on ATO, I’m hoping that the vinyl release will be 2 LP’s of 45 RPM 180g vinyl, just like Dawes has done for their two LPs. The band is already soliciting opinions about whether to include a CD or just download codes, so they are maintaining their practice of keeping their finger on the pulse of the fans.

Stay tuned for more details as they arrive!

Unplugged Musings has an article with some speculation on additional songs that could make Death By Stereo with video clips.

Upcoming Show: Umphrey’s McGee in Iowa City on 3/10/10 at IMU Ballroom

Umphrey's McGee Live at The Capitol Theatre 7-16-09
A little bit of New Year’s Umphrey’s McGee news is bestowed upon us as they announced new March 2010 tour dates which include stops in Madison, Iowa City and a three-night run in Minneapolis!

As Umphrey’s McGee is ostensibly a Chicago-based band you might imagine that they have played these cities frequently over the years and as such they have built a very strong fanbase in each of these towns. This is also bolstered due to the strong college populations in each of these towns. The Minneapolis multi-night run seems to be a recurring theme, and when I saw my first show last January it was at the beginning of a three night run as well. A lot of the great people I talked to at the show were going to hit all three nights as part of a package that also included a meet-and-greet with the band and a limited edition poster of the shows.

Tickets for the shows will pre-sale on January 5th with general sale on January 9th. As part of the announcement of the March tour dates, they also announced that they will be giving away tickets for shows through their Facebook fanpage. A week before any of the shows they will give away a ticket at random to a fan who has responded to the Facebook event for that show as “attending” and they will be able to bring a friend who must also have responded as “attending” or “maybe.” This is cool for them to do, but if you are a big enough fan you likely didn’t wait until the last week before the show to get tickets, so I don’t know how that works in reality unless you can get someone to buy the ticket you paid for. Maybe I’m missing something– feel free to explain.

The dates (from umphreys.com)

Wed, Mar 10th, 2010
Iowa Memorial Union Ballroom

125 North Madison Street – University of Iowa, Iowa City, Iowa
– show: 8:00 pm
– tickets will go on sale via pre-sale through Umphrey’s Ticketing on January 5, 2010; general on sale will be January 9

Thu, Mar 11th, 2010
Orpheum Theatre

216 State Street, Madison, Wisconsin 53703-2215
608.255.8755
– tickets will go on sale via pre-sale through Umphrey’s Ticketing on January 5, 2010; general on sale will be January 9

Fri, Mar 12th, 2010
First Avenue

701 1st Avenue North , Minneapolis, Minnesota
612.332.1775
– tickets will go on sale via pre-sale through Umphrey’s Ticketing on January 5, 2010; general on sale will be January 9

Sat, Mar 13th, 2010
First Avenue

701 1st Avenue North , Minneapolis, Minnesota
612.332.1775
– tickets will go on sale via pre-sale through Umphrey’s Ticketing on January 5, 2010; general on sale will be January 9

Sun, Mar 14th, 2010
First Avenue

701 1st Avenue North , Minneapolis, Minnesota
612.332.1775
– tickets will go on sale via pre-sale through Umphrey’s Ticketing on January 5, 2010; general on sale will be January 9

Free Download : The Horse’s Ha Unreleased Track and Tour


No sooner did I finish my review of the new Horse’s Ha album Of The Cathmawr Yards, then they announce a free unreleased track from the album! The song is a cover of a “Slow Moons Rose”  originally by Slapp Happy. Slapp Happy was an English-German experimental rock group that existed from 1972 -1975. “Slow Moons Rose” is from Slapp Happy’s self-titled 1974 debut on Virgin Records. Slapp Happy is notable as having Peter Blegvad as a member.

Click Here to download “Slow Moons Rose” (192 Kbps mp3)

The Horse’s Ha MySpace page has a Strobe Sessions performance where The Janet Bean Trio is performing “Slow Moons Rose” and the excellent Freakwater song “Cloak of Frogs” from May of 2008.

Here is Janet Bean, James Elkington and Fred LongbegHolm performing as The Janet Bean Trio:

As if that wasn’t enough, The Horse’s Ha have announced “the first of several mini-tours this summer” per their PR. That sounds cool if we can get some more midwest dates!
Fri. July 3 — Chicago, IL @ Schuba’s w/ Castanets – Record Release Show
Mon. July 27 — Pittsburgh, PA @ Thunderbird Cafe
Tue. July 28 — Arlington, VA @ IOTA
Wed. July 29 — Philadelphia, PA @ Johnny Brenda’s w/ Illinois, The Builder and The Butcher
Thu. July 30 — Brooklyn, NY @ Bruar Falls w/ Hospitality
Fri. July 31 — Brooklyn, NY @ The Bell House w/ The Mekons
Sat. Aug. 1 — New York, NY @ Mercury Lounge w/ The Mekons
Sun. Aug. 2 — Cleveland, OH @ Beachland Tavern
Sat. Sep. 19 — Champaign, IL @ Pygmalion Festival

Click Here to Download “Asleep In A Waterfall” from Of The Cathmawr Yards
Click Here to Download “The Piss Choir” from Of The Cathmawr Yards

Click Here to read my review of Of The Cathmawr Yards.

Upcoming Show: Duncan Sheik at CSPS – Cedar Rapids, IA 3-3-09

Next Tuesday night in Cedar Rapids– March 3rd– at CSPS Duncan Sheik will be performing with his nine-member touring entourage. Sheik, whose single “Barely Breathing” was arguably the soundtrack of 1997, is touring in support of his latest release Whisper House, which was released on January 27th.

Whisper House started as a collaborative project to provide the music and lyrics for a musical with Keith Powell and Kyle Jarrow. After hearing the demos for the work, Sheik and his manager decided that this would be his next album. Whisper House is Sheik’s first actual solo album since 2006’s White Limousine.

2006 also saw the release of the soundtrack/score to the Tony-winning musical “Spring Awakening” in which Duncan provided the music to the lyrics by Steven Sater. It was this work that transformed how Duncan writes music, and certainly inspired this album, which will be the basis for a future production.

Whisper House is the story of ghosts of musicians who drowned while performing a Halloween Party in 1912 who are inhabiting a New England lighthouse during World War II and observe the living inhabitants of the lighthouse.

Duncan and his band will be stopping in Cedar Rapids on a tour run of similarly-sized venues across the US wrapping up on March 15th, in New York. The his set will span his eleven-year career including his musical and score work. Opening the show will be Lauren Pritchard who was an original member of the Broadway cast for Spring Awakening and is touring in support of her new album on Sony/BMG, which should be out soon, and will also be joining Duncan’s set performing songs from Spring Awakening.

The Tuesday-night show starts at 8PM and tickets are $28 in advance and $32 the day of the show. I’ll be there shooting pictures for an upcoming review.

Click Here for the Legion Arts page on the Duncan Sheik show and buy tickets.

Click Here for Duncan Sheik’s official website.

Click Here for Lauren Pritchard’s MySpace Page

B-Sides in the Bins #42 – Curumin Interview

Curumin

When presented with the opportunity to interview Curumin, I knew that it would be an education for me. I haven’t really been following the resurgence of Braziliana that has been taking place over the last few years.

It was on a trip to Brazil where Chief Xcel of the mighty Blackalicious hears Curumin’s 2005 album Achados e Perdidos and signs him to Quannum. Curumin’s latest album Japan Pop Show (Quannum, 2008) is a testament to his passion for collecting vinyl. As you might expect someone who is a music collector would bring that passion and influence to his own record and certainly a closer look at his record collection reveals the source inspiration for this great record. Curumin sat down with me following the intimate but electric show at CSPS in Cedar Rapids on January 26th.

Me: Can you tell us a bit about your record collection?

Curumin: I am a music lover, and as a music lover I am a vinyl collector, too. I focus my collection more in Brazilian stuff. I have some Jamaican stuff, too. I have some American Soul/Funk Music– but it is more Brazilian stuff. I live in downtown São Paulo and the best place to buy vinyl is there because most of the stores are there. I used to go to a shop a lot called Discos Sete— that means “Disco Seven”– it’s a really good shop the owner is a guy named Carlinhos and he knows everything about Brazilian music. He is the guy who really taught me were is the best records, who is the best artists– what they made, which records have a good song– or funky song, soul or samba good track. A very, very good store.

There are a few in São Paulo– another good store called Gordo’s Place…

“gordo?” like “fat?”

Yeah, like “fat”– exactly. Another great vinyl store– there is some hip hop there, yeah– there’s soul, there’s a lot of funk. There is, too, Brazilian music. All of that in downtown São Paulo.

On the inside cover of Japan Pop Show you have some made up cover art?

Yeah, actually, this is an idea– my brother (Christiano N.A.) did the cover art. He was trying to get this seven-inch or vinyl feeling.

So, how come there’s no vinyl pressing of this album?

(Laughs) Yeah, yeah. We’ll probably try it some day, you know but it’s very specific people that buy vinyl and we don’t have a lot of money to [promote it].– so it’s hard for us, you know. But, my dream is to record in a good studio, in an old way, in an old style and make [a vinyl release].

So, where did you record Japan Pop Show? Did you use ProTools?

Yeah, we produced a lot in computers, and sequencers– you know modern production– with a lot of edits and ProTools and stuff like that. But we play [instruments] on it, too.

Are you buying records on the road?

Yeah, this is a problem (laughs). We already have a lot of stuff to carry on, and you know in airports it’s always hard with baggage.

Are you concerned about the records getting stolen? I remember when DJ Shadow and Cut Chemist were doing the Brainfreeze tour and Cut Chemist got his vinyl stolen.

Yeah, It’s a famous story in Brazil about DJ’s like Cut Chemist and Madlib going to Brazil and São Paulo and buying four boxes of LP’s– but they found a way to ship back to the US. But, we are always carrying on and taking care of [the records] because bringing on the airplane is hard and they don’t care too much about what you’re carrying on.

Speaking of Cut Chemist, he used a Brazilian singer on his album The Audience Is Listening— Astrud Gilberto, right? On “The Garden”

The song is “Canto De Ossanha” from a very famous album– that version that he uses is not from the original album. The original album called Os Afro Samba from Baden Powell and Vinicius de Moraes. I don’t know where he got his version. But it’s really good, right?

[Upon research, it appears that the version Cut Chemist is using is from Astrud Gilberto‘s 1966 Verve album Look to the Rainbow arranged by Gil Evans. Although, to get around sample clearance, Cut Chemist brought in some studio musicians to create new music. -ed]

What is one of the great finds you’ve had digging through crates?

Hmmm, well I found an album once that now is very rare to find– [in the past I found it] and said “I will not buy today,” but when it started to get rare I had to get it! There’s a lot of people looking for it– an album from Erasmo Carlos called Sonhos e Memorias and it’s a great Psych-Folk-Funk-Rock album from the 70’s and it’s a really, really good album. I think this is my precious one.

[The album was released in 1972 on Polydor, and goes for over $90 at different places on the Internet. –ed]

If someone wanted to get into some of the music you are listening to, where would they start?

I like a lot of the 60’s and 70’s– there were some guys in Brazil who started to bring that soul and funk feeling into their music. They used to play samba– so you can find that on Jorge Ben and Tim Maia— they were some of the first to try to make that mix of funk, soul and samba. [As far as current acts go] you can find something in Academia da Berlinda that plays more cumbia, salsa and merengue. You can find a singer called CéU who has a great sound and is a great friend– well there is a lot of great music– I could stay here talking all night about this!

[Notably, Lucas Martins who is the co-producer for Japan Pop Show and part of Curumin’s touring band as well as DJ Marco who does turntables on Japan Pop Show are part of CéU’s band. -ed]

Do you think you have a good home at Quannum?

Yeah, yeah for sure. They started as a hip-hop label, but now they are getting into more different stuff. I’m really honored to be there because I admire a lot all of the artists there– it’s a good family and great friends so I’m really happy to be there.

What are your plans after this tour?

We are in the middle of the tour and there are four or five shows left, then we’ll be back in February.

I’m not sure what I’m doing later this year. I have lots of work to do– I work with other projects with other acts in Brazil that are all releasing new stuff this year, so I will be focusing on those projects. But, I don’t know, I want to start something new this year, too– I don’t know if we’ll have the time, but I guess we make the time, right?

How was the Daytrotter session?

Oh, wow, it was great, it was great! The studio is amazing, right? Have you been there?

No, but I’d love to some time! It’s so close to Cedar Rapids. I dig all the stuff they release.

The studio is amazing. They have only vintage equipment and it sounds good.

So you had to bring your electric cavaquinho I assume– did you have to bring your MPC’s, too?

Yes, we did four songs. It was really great.

OK, well thanks for taking the time to talk to me today, I know you guys want to get to dinner. Have a safe drive to Minneapolis and a good rest of your tour.

Thanks, Michael!

Links for Deeper Digging:

Click Here to visit Curumin’s MySpace Page

Click Here to see a YouTube clip about Disco Sete Record Shop from the “Brazil in Time” documentary.

Click Here to see a YouTube clip about Gordo & Celio’s Record Shop from the “Brazil in Time documentary.

Click Here to visit the MySpace page for Academia da Berlinda

Click Here to visit the MySpace page for CéU.

Click Here for more information about Erasmo Carlos’s Sonhos e Memorias LP.

B-Sides in the Bins #40 – Trips to Half-Price Books December 13th & 28th 2008

BLUNT 4232 - Wayne Shorter - Adam's Apple 140g Pressing

I guess it’s fitting that the last In the Bins for 2008 would be “40” as this was my 40th year on this planet. Admidst the Christmas craziness, I managed to hit Half-Price Books a couple of times in December. One trip I dumped off a bunch of vinyl, CD’s and books to get some funny money (which I promptly spent there -‘natch). I made the second trip to take advantage of their post-holidays 20% off everything sale.

Born to Run – 30th Anniversary Edition – Bruce Springsteen (CD, 2 DVD, Columbia 82796 94175 2, 2005) ($15.00) This is the very nicely-done longbox boxset with the 2005 remaster of Born to Run done by the infamous Bob Ludwig. Somehow I managed to not pick this up during the closing of Sam Goody in Cedar Rapids. They had a number of copies of this I recall. Along with the remaster– which is packaged in a mini reproduction of the original gatefold sleeve– there are two DVD’s. The first DVD is “Wings for Wheels: The Making of Born to Rum”– a documentary about the making of Born to Run which is really informative. Bruce hanging out in the studio listening to the original session tapes for Born to Run and we hear some parts that weren’t used in the eventual release. The second DVD is a ful-length (2 hour!) concert of Bruce and E Street at the Hammersmith Odeon in London from 1975. This concert is mentioned in the the documentary. I guess that this show is on the heels of the release of Born to Run and Springsteen was pissed about some fliers that were all over the venue that said “London is finally ready for Bruce Springsteen” so before the show he tore them all down. It wasn’t until he started digging through his vaults years later that he realized that this show was worthy for release even though in his mind it wasn’t a good one. A very good concert capturing the emerging power that was E Street back then.

Adam’s Apple – Wayne Shorter (LP, Blue Note BLUNT 4232, 1966) ($7.98) From what I can tell, this is a new record. There were multiple copies of these “140 gram” LP’s in the Jazz section at HPB. There were only three titles, and out of them, I picked this one without having heard it before. I recognized Wayne Shorter as the sideman for Davis as well as Art Blakey and this record has Herbie Hancock on it as well, so I figured it was a safe bet. The LP and sleeve are direct reproductions of the original release, but it comes with a nice clear envelope-style outer sleeve. The inner sleeve is a vellum-type paper which should keep the record in good shape for years to come. I can’t find any information about this pressing– what date it was released or who did the mastering. The album is part of Wayne Shorter’s run of solo albums on Blue Note while working in Miles Davis’s “Second Great Quintet” from ’64 to ’68 along with Hancock. Effectively Shorter replaced John Coltrane in the band after Davis convinced him to leave Art Blakey’s Jazz Messengers in 1964. From 1964 to 1970 Shorter recorded nine albums for Blue Note.  Generally Shorter’s 1965 release Speak No Evil is regarded as his best work, but Adam’s Apple is regarded highly as well. Adam’s Apple follows an insane  four releases in 1965 wrapping up with the free-jazz workout The All-Seeing Eye. Adam’s Apple is considered a return to form of sorts with carefully structured melodies. I also downloaded the 256Kbps mp3’s from Amazon which were based on the “Rudy Van Gelder Edition” series and included a bonus track “The Collector” which was written by Hancock. A great album which fits nicely with my Davis, Coltrane and Blakey releases from this period.



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