After their initial solo album without Herbie Hancock the Headhunters did two more albums with him on 1975's Man-Child and 1976's Secrets. Both of these records found the band and Herbie branching out into a more arranged,cinematic and gradually more melodically pop type approach to their funk. The jazz element still remained. Gradually different members would splinter of. And on this album,recorded a year after Herbie's last release it would be the final time the Headhunters would record together until the mid 1990's. Featuring the same lineup as before,only minus Baba Duru and plus side members Paul Poyten and Derrick Youman,they made this at a time when music all over the spectrum was different. Their was a very dance oriented musical ethic in the air. The disco scene was part of it. But it had a strong impact even on jazz funk as well.
Yep, after listening to and writing the article about "After 5 Crash", I just had to get Toshiki Kadomatsu's（角松敏生）4th album, "After 5 Clash" from April 1984. I mean, just on the cover alone with that red pump and the inviting nightscape, I would have been sorely tempted (I didn't even see Kadomatsu in the lower-right corner there) to get it, but "After 5 Crash" was the tipping point for me. Just going through the album today (all of the tracks were written and composed by Kadomatsu), I had this impression. Some months ago in another article, I mentioned that Quincy Jones' classic "The Dude" was the Michael Jackson album that Michael Jackson didn't do. Well, after listening to "After 5 Crash", I could say something similar.
Toshiki Kadomatsu (角松敏生 Kadomatsu Toshiki) (born 12 August 1960) is a Japanese rock/R&B singer-songwriter, musician, and producer. He has released many studio albums, as well as several instrumental and live albums. He studied Philosophy at Nihon University. He has been active since at least 1981 and is still active, having released his most recent album in March 2012. In 1987 he released the hit instrumental album "SEA IS A LADY" which charted at #4.
Delegation was formed in the United Kingdom in 1975 by Ricky Bailey, Len Coley and Roddy Harris.In 1979, Delegation released Eau De Vie, on the Ariola label and had international hits with "Heartache #9", "You And I" and the "Put A Little Love On Me". By 1980, Coley and Harris were replaced by Ray Patterson and Bruce Dunbar, and group continued on with lesser success.
Predictable is not an adjective associated with the recordings of pianist Steve Kuhn. He is joined by bassist Steve Swallow and drummer Pete La Roca for this exciting studio session from the mid-1960s, both of whom he had worked with under Art Farmer, as well as on La Roca's smashing debut as a leader, Basra. With the exception of "Ida Lupino" and "Never Let Me Go," the music will likely be unfamiliar to most jazz fans, but adventurous souls are in for a treat. Kuhn's originals include the furious modal work "Bits and Pieces," which sounds as if it represents the center of a storm, as well as "Today I Am a Man," which suggests a well-known composition from the heyday of the bop era. "Why Did I Choose You" is played with a soft bossa nova accent, while Sergio Mihanovich's "Three Waves" is intense, with overlapping changes of rhythm. "Never Let Me Go," a favorite of singers, is understated and subtle, only hinting briefly at the melody.
The music on this "M-Base" recording, despite the difference in instrumentation, does not sound radically different than Ornette Coleman's harmelodic music of the 1980s. Altoist Steve Coleman is the lead voice throughout most of his originals and his solo style (often relying heavily on whole-tone runs and unexpected interval jumps) is intriguing, but it would be surprising if his rhythm section did not get bored playing the funky (although eccentric) rhythms after awhile.
24bit K2 digitally remastered Japanese limited edition special issue of the album classic in a deluxe, miniaturized LP sleeve replica of the original vinyl album artwork. A sweet session of 70s electric jazz – recorded as a unique live all-star outing by a group of Arista's best jazz players at the time! The second of two volumes of an excellent live show featured Steve Khan (g) and The Brecker Brothers.
Good reviews can kill a band, particularly if they arrive before they've ever released a record. That essentially happened to Symposium, who was labeled the "best live band in Britain" by the weeklies at the tail end of Britpop – the handful of days before OK Computer and Urban Hymns replaced Parklife and (What's the Story) Morning Glory? as the template for modern British pop.
Some stellar stuff in there, and other bits that are a bit more on the forgettable side of things. Even though Young's output was starting to be a bit inconsistent, he was still very much trailblazing and this CD is nonetheless an important document; This was to be his last complete album session before his untimely passing at age 38, and it shows the maverick organ player charting a course for the funkier and electrified side of things. This CD was only made available in Japan, as a part of the "Legends Of Cosmic Jazz Funk" paper sleeve series.
Kazumi Watanabe has for the past 40 years been one of the top guitarists in fusion, a rock-oriented player whose furious power does not mask a creative imagination. Watanabe studied guitar at Tokyo's Yamaha Music School and he was a recording artist while still a teenager. In 1979, he formed the group Kylyn and, in 1983, he put together the Mobo band. Several of his recordings have been made available by Gramavision and they show that he ranks up with Al DiMeola (when he is electrified) and Scott Henderson among the pacesetters in the idiom.