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patterns_in_time

@patterns_in_time

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You know you were good when Fela Kuti was so terrified of you he ran off to America with his band rather than perform in the same towns you dominated in West Africa at the time. Fela even credits Geraldo Pino with bringing the funk to Accra and Lagos and stated clearly that Pino's style had a huge influence on him and his live performances forced Fela to either quit or get his sh*t together and quick.
By the late sixties Pino had everything Fela was striving for: Money, equipment, flash cars, beautiful women, a killer band and enough rock solid musical material to back the reputation up 100 percent. Originally from Sierra Leon before heading to Ghana and Nigeria, Pino absorbed American J,B,'s style funk like a sponge. He then condensed and refined it's sound by tying it back into the original rhythms from whence it came in the homeland and engineered a deep thick blend that was both magnificent in it's authentic sophistication and awe inspiring in its visceral choke hold it had on dance floors.
While Pino is indeed formidable in his showmanship and titanic energy, his Sierra Leonian band the Heartbeats are without question one of the tightest units to ever destroy a dance floor in Western Africa or the world for that matter. These guys would go on to form the Freedom Family Band once they were out from under Pino's thumb and would record one legendary album of their own before calling it a day.
This copy of Pino's elusive first LP is far from pristine, but it plays remarkably well despite the use as it is pressed very loud and well. I have played it many many times despite just having received it from @peclebu.records sometime in the past couple of weeks. Thanks a million Pedro for a letting a Canadian make a low ball offer which you eventually accepted. You made a two decade old dream of mine come true.
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#GeraldoPino #theheartbeats #afrofunk #westafricanmusic #1972 by @patterns_in_time

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2 days ago

This is a special album on several fronts. For one it is a serious jazz album despite being released at the beginning of a decade not known as a jazz high water mark. Second, despite it being a private press affair it is recorded and pressed very well, capturing near perfectly the magic that was laid down in a single day on October 19, 1981. Third, the list of supporting musicians on this project are quite literally three of my alltime favourites: Kenny Barron, Buster Williams, and George Coleman. A finally fourth, the star of the show, drummer Terri Carrington was already a seasoned jazz veteran despite being only sixteen when this was recorded. Something of a musical prodigy, she first started on the sax at an early age but dusted off her grandfathers drums when her baby teeth started falling out and she literally lacked the chops to keep playing her horn.
Such a young drummer with a perfect ear for jazz caught the attention of players around D.C., Baltimore and Philly and the list of greats she had played with at the time of this recording reads like a who’s who on the scene at the time. As mentioned previously Terri is the star of the show but her sidemen are remarkable. In particular Buster Williams gets lots of room to stretch out, making this album a perfect vehicle to explore his robust, lyrical, playful style on the bass. Kenny Barron always sparkles on the keys and this outing is no different. George Coleman is along for the ride as well and more than holds his own, which is a good thing as two classic Sonny Rollins tracks are covered with aplomb by the band. Terri Carrington would not disappear into obscurity after this first release of hers. Instead she would continue the grow as an artist, attending the Berklee school of music on scholarship and continuing on to bag no less than 4 Grammy’s in the years to come. by @patterns_in_time

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3 days ago

Before jumping behind the wheel and heading down to the @craterycon Vinyl Convention in Toronto this weekend I have to get the Friday Drive radio show on air, which will happen live from 5 until 7 pm this evening at the CKCU station. You can catch it on the air at CKCU 93.1 fm or stream it live from the website, just google CKCU Friday Drive. Every show is archived as well and can be played on demand at any timed. This show is all about killer tunes from warm foreign climes. From Turkish and Lebanese psych to funky Rio and fuzzed out South Africa, we’ll be covering a lot of ground but drawing connections between music from the around the same time but not place. In Ottawa right now we are having an amazing tale end of summer with cloudless skies and perfect temps. This show is about soaking in that summer vibe and riding it’s high for as long as possible into the shorter days and colder nights. Always good weather for Cratery though and this weekend looks no different. See some of you cats this weekend!
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#FridayDrive #CKCUFM #Afrobrazilianmediterrean #931fm #TGIF by @patterns_in_time

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12 days ago

Dig This Way... you don’t have to tell me twice. Frank Kakrah was an enigmatic percussionist from Ghana who not only managed to play alongside K. Frimpong and the legendary Vis-A-Vis band but also released a slew of top tier albums under his own leadership. Burying his tracks under numerous pseudonyms and band iterations, his path was once tricky to follow but the internet seems to have cleared a lot of the scrub back and more light is now falling on the mans legacy. This was his first record from 1977 and it is a magical album. From the gentle flowing grooving highlife of the opening cut to the spawling funky side closers, everything speaks the the highest order of Ghanian musical tradition while De Frank also spins his own unique spell. The effect is hipnotic and chill. The musicians playing are not listed but the guitarist is a wizard and that the synth action is crunchy perfection. Salute to @magicislevinyl who sent me this copy very well graded, priced and packed. Relatively clean afro is a thing and this copy plays phenomenally well....I did some touch up on the cover and consider this a forever copy at this point. by @patterns_in_time

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18 days ago

Brazilians have such a facility for fusion that it makes you wonder why we even bother trying to classify what they created. While this album is very much in the jazz lane, it languidly swerves all over the place while remaining firmly south american in flavour. A Haiku artists know, the moment you try and capture and idea or muse with words, the emotional essence that you are trying to convey slips around your box. Or maybe you are using a sieve in water and only grabbing what is big enough to catch, no matter you get me. This is a beautiful live jazz album from 1982 that was recorded in Sao Paulo, but sounds like its from74.
There is a brother sister combo in the form of pianist Lilu Aguiar and her brother well known saxophonist Nestico Aguiar. Lilu is integral to the sound as her warm fender Rhodes is front and centre throughout, which is appropriate as she composes three of the six tunes. The bass player Pete Cesar is featured prominently on the back cover and his playing is fluid, and dynamic while managing to lock into moents of modal bliss. Throughout you can hear the audience encouraging the musicians on. What a night it would have been to have caught these guys live. Despite the indie release and the live setting the recording is surprisingly good and captures a moment in time when the stars alligned and an energy was bottled and preserved against all odds. by @patterns_in_time

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24 days ago

Deadstock like this from Nigeria is the stuff dreams are made of. This is not a rare record, the Black Children Sledge Funk Group had a hit with this first album of theirs. But try to find a clean copy... Nigerians really really loved this record. We as collectors forget that vinyl was disposable back in the day. Records were bought and played hard on questionable gear by zooted teenagers. Plus this was party music and thats what happened when the needle dropped. Throw in the fact that preserving a possession beyond it’s immediate use is a luxury afforded only the wealthiest and most established in society adds a whole other perspective to how rare clean afro is.
Anyways, I had a well loved copy of this album for a long time but never played it a lot as I pictured my needle shrinking in real time while travelling the grooves. So when this NOS copy popped up last year I grabbed it and have been playing it at 11 ever since. The first of three albums by this outfit from Lagos, it’s a crunchy psych funk affair that runs with the same crowd as Ofege, the Apostles and BLO. If you see a good copy do not hesitate, this is one loud record whose studio mastering and pressing easily does the phenomenal music proud.
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#blackchildrensledgefunkgroup #afrofunk #nigerianfunk #afropsych #nowplaying by @patterns_in_time

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19 days ago

Relatively clean afro has to be the hardest most frustrating thing to collect on the planet. There are so many incredible records from Africa, and a lot of them have been re-issued. But the problem is.... they are next to never made from the masters and as a result they don’t play the way the originals do. Sooo if you’re into afro more often than not you are chasing og presses that aren’t destroyed, because even a record that has some clicks will have a way more dynamic sound than a repop as long as the grooves are clean.
I go through buying cycles having a string of good luck and then some bad, which shuts down the urge for authentic afro for a long minute . I had been holding off for years as BLO really blew up with this record and it got played to death in Nigeria. Its not exactly rare, but a clean player is very hard to find in my experience so I had to be patient. This was the album where BLO’s sound shifted towards phat basslines and funky backbeats. Yet their leader Berkeley Jones was a guitar slingin’ god so his heavy psychedelic fuzzed out guitar licks are all over this thing, which is of course the icing on the cake. The three core members fleshed the band out with conga player Friday Pozo and Joni Haastrup of Mono Mono fame on organ, which adds another heady layer. (Segun Bucknor takes Haastrups place on one tune). I probably bought my first record by this group over 20 years ago, it was from Johnny at Good Records in NY by way of Frank, sometimes you can’t rush a good thing.
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#BLO #afrofunk #nigerianmusic #nowplaying #afropsych by @patterns_in_time

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19 days ago

Man, this one only ever pokes its fin up above the water once inna while before plunging back down into the deep funky waters that it considers home. For me at least for years this was one of those mythical leviathans only whispered about on comps with tight shakes of the head and incredulous shrugs. Why does a Nigerian record that opens with a semi good reggae number cause such angst? Because the meat on the bone is not one or two but three afro funk bombs that if played loud enough with detonate every hip for miles around. And then Jay U signs off with a Sabbath tinged psych rock number as the closing cut leaving the listening eviscerated yet cleansed. I don’t know if Jay U was the sax player or the guitarist, there is next to no information about the events or band surrounding this session from 1977. Whoever plays those instruments on this album are a huge reason for it’s addictiveness: they play with a scorched earth approach that twins urgency and dexterity into an unstoppable force. The record has that addictive deep dish NEMI sound although Odion Iruoje did not have anything to do with it it seems. Instead it was birthed at Godiac Studios under the tight supervision of Goddy Oku, a man who pumped out a lot of Nigerian gospel records and disco boogie joints.
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#JayUExperienece #NEMI #1977 #goddyoku #afrofunk by @patterns_in_time

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24 days ago

It has been a long minute since I pulled this one out and I’m glad I left it alone for a while. This Sunday morning I’m listening to Varech with fresh ears and loving every single moment of it. Texier is a monumental French bass player/ multi instrumentalist who cut his teeth on the world music jazz scene playing with Don Cherry and Jef Gilson in the seventies amongst others like Dexter Gordon and Donald Byrd. Henri Texier creates a masterpiece with this album that is at once stripped to the bones and expansive in scope. While he pulls from traditional African and far eastern sources his primary focus seems to be middle eastern/ Andalusian to my ears.
This is a one man band affair through and through, Texier layering percussion and bass down then dropping some flute or oud licks over top and tying it all together with some cool low key scatting. The effect is constantly engaging and quite often remarkably funky despite the acoustic nature of the set. Any comparison or categorization is tough to make with this one, like I said in the last post about Syncro Jazz/ Haiku this music demands that you check your ego and just let the experience wash over you.
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#HenriTexier #Varech #productionsarabella #1977 #cosmicjazz by @patterns_in_time

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24 days ago

Another day, another lead guitar lp in the form of this Wilbert Longmire indie release from Cincinnati circa 1975. It’s not all brimstone and fire but there is a phenomenal jazz funk cut in the B-side opener, ‘Sagg’. Ohio native Bill Mason plays the keys on this date, making one of his very few recording appearances, which is a shame. Longmire returns the favour on Bill Mason’s only self released album Gettin’ Off on Eastbound from 1972, so it’s safe to say they were playing music together around Ohio during this period. While the rest of the tracks are lighter than the money cut, I really dig them as the musicianship is first class and never does it feel like background music.Although it is sometimes ambient it still casts a shadow. Actually after the day I just had the A-side is the perfect stabilizer when matched with staring at the cover.
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#WilbertLongmire #BillMason #Ohiojazz #1975 #privatepress by @patterns_in_time

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21 days ago

This is another sweet jam I hadn’t played in a dogs age. I’m a huge fan of his other lp on Black Jazz so that seems to be the one I reach for more often than not as it’s got a smoked out blunted vibe that floors me every single time. This one is more straight ahead post bop with one money cut in the form of Aunt Lovey which opens the B-side. (Seems to be the side where all the heavy action is on this record). I really like jazz guitarists that manage to level up their emotional quotient to the height of their technical dexterity and I have to say Calvin Keys sits right at the top of his class in that regard. The rest of the band on this date is simply off the hook as well, most notably to me being fellow Black Jazz alumni bassist Henry Franklin. Just as questing, expressive and musically fluent as Keys, Franklin is simply preachin’ from beginning to end.
Proceed With Caution Indeed, check out the rest of the band: Ndugu Chancler on drums, Oscar Brashear on trumpet, Kirk Lightsey on Keys, and Charles Owens on horns. Each and every one of these cats is a no fuss no muss take no prisoners jazz hound. I’m closing the B-side on this one now and I can’t believe it’s been so long since I’ve given it a spin. This track Rennaissance is one for the ages. Started the day off with Henry Texier’s Varesh while psyching myself up to go visit my dad in the hospital. Then mission now accomplished I am decompressing with Calvin Keys playing loud and the sun parting the clouds. Dementia's a bitch. Freggin’ life is complicated, Proceed With Caution indeed. by @patterns_in_time

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23 days ago

The best street corner find of the summer goes to this slow burnin’ slash of California sunshine that has been on constant late night repeat these past couple of months. This album by Watson had been on my radar for a quite a while but for whatever reason it sure doesn’t show up around these parts very often. The are only a few artists that capture the mood Watson bottles and delivers nonstop on this date. Little Beaver was the Miami dog that could bark up a skirt in just the same way, and the recently deceased fellow Floridian Latimore could also do the same. Interestingly this album also makes me think of Shuggie Otis as well, what with the slinky delivery, slick controlled guitar chops and way behind the eight ball vocal delivery. Every track is an unhurried hustle appealing to the whims of the fairer sex. Everything is laid down seemingly without a care, yet it also seems nothing is left to be accounted for. Self assured with an undercurrent of weathered bluesy world weariness this album is a near perfect vibe I’m so glad to have finallly spinning on the deck.
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#johnnyguitarwatson #westcoastsoul #1973 #fantasyrecords #maxayn by @patterns_in_time

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22 days ago