One of the reasons Buddy took up the guitar is because the first time he ever saw an electric one was as a 13 year old watching Lightnin Slim play in a little grocery store in Lettsworth Louisiana.
10 Likes
Always find this a great Sunday morning listen, perhaps it’s the classical touches?
Emerson Lake & Palmer.
18 Likes
Not listened to this one very often - now wondering why? - Lovely
Enrico Rava (t) (flug)
Stefano Bollani (p)
Rosario Bonaccorso (b)
Roberto Gasso (d)
3 Likes
As much as this is a nice album, can’t help feeling that reworking a 2020 album a year later is a bit of a rip off for those that purchased the original, for those that stream the music not so much of an issue.
1 Like
I totally agree with you. Couldn’t help thinking the same - it’s a remake while it plays. I do like this version. 
Yes i do too, happy I did not buy the original.
Eric Clapton - From The Cradle, the blues!
24 Likes
I put Goat Girl as my album of the year but listening to this from Little Simz I’m not sure that this shouldn’t have been my choice- absolutely brilliant. I see 6Music have made it their album of the year. Album produced by Inflo who is a member of SAULT so have moved onto Untitled (Black Is) which is also a top album
2 Likes
Nate Morgan - Retribution Reparation (Pure Pleasure/Nimbus West)
Really enjoying my first listen to this the third of three Nimbus West titles I bought this week as an entree.
As with the other two, superb pressing and Ray Staff mastering
From Pure Pleasure;
"Pianist Nate Morgan (1964-2013) was a central figure on the Los Angeles jazz undergound. A core member of the circle around the legendary bandleader, pianist and community organiser Horace Tapscott, Morgan had been part of Tapscott’s U.G.M.A.A. (Union Of God’s Musicians and Artists Ascension) since he was just a teenager, and was a key member of the Pan Afrikan People’s Arkestra, known as ‘The Ark’. Through the 1980s and 1990s he kept the PAPA flame alive, organising the Ark’s sprawling songbook, running legendary jam sessions, and keeping LA’s deep jazz roots well watered. By the early 2000s he was bringing hard won knowledge to a new generation as part of the Build The Ark collective. He was a musician’s musician, at the beating heart of the radical, community-minded Los Angeles jazz network that Tapscott and his associates had first put together in the early 1960s.
Retribution, Reparation was the second of the two LPs Morgan recorded for Tom Albach’s storied Nimbus West imprint. His first, Journey Into Nigritia had been a declaration of arrival laced with energies drawn from Cecil Taylor and Coltrane. One year later, with nods to Herbie Hancock (‘One Finger Snap’) and Ellington (‘Come Sunday’), Retribution, Reparation was a confident statement of purpose.
Politically charged with pan-Africanist and Black nationalist sentiments inspired by Marcus Garvey, and titled with uncompromising directness, the album focusses the sound world of the Ark into a surging, restless masterpiece of spiritualised modal jazz. With Danny Cortez on trumpet and Ark stalwart Jesse Sharps on saxophones the frontline is explosive (this set is also one of the few places the extraordinary Sharps can be heard in a small group setting), while Fritz Wise and Ark regular Joel Ector hold down the rhythm section. Morgan’s forceful, Tyner-like chords and virtuosic solos and bind the music together. From the poised drama of the opening dedication to Tapscott’s U.G.M.A.A. (‘U.G.M.A.A.GER’) to the propulsive militancy of the title track, Retribution, Reparation spreads the word: ‘Advance to Victory, Let Nigritia Be Free!’"
2 Likes
Ry Cooder - Chicken Skin Music, I always find this album joyous, quite fitting as the sun comes out over snowy N. Yorks, a beautiful scene.
18 Likes
