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Jall and All That Jose Feliciano: A Bag Full of Soul RCA Victor Stereo LSP 3503 Folk-rock singer -guitarist José Feli- ciano combines a rock-blues style with a flashy guitar technique in a collection that is strong in terms of sheer noise and energy, but is rather deficient in and all that variety. Whether Feliciano is singing JAll about love, work, or war, he manages to enunciate the words with clarity, Bertram Stanleigh but everything comes out sounding pretty much the same as everything else. The collection includes Bob Dylan's Masters of War, Jimmy Rushing's Go- ing to Chicago Blues, and the Beatles' Help! It is all wrapped up in a brash, might be more material to come from in The Asch Recordings, Volume 1 Blues, Gospel, juke -box -stereo sound that is tubby and Jazz, 1939-1947. this recording session? the bass, noisy on both sides, and empty Asch Mono AA1/2 in the center. Jazz All -Stars: A two -disc collection of material Franz Jackson and the Original culled from 78's issued on the old Asch Good Old Days. and Disc labels. Samuel Charters, who Pinnacle Stereo PLP109S Albert Ayler: Spirits Rejoice. selected the material and contributed ESP Stereo 1020 to cover Here's a group of lively traditional the booklet notes, has managed performed by a stylish band a great deal of ground on the 23 sides standards "You never heard such sounds in your of real old timers. The collection in- is the new slogan of ESP records, that have been brought together on these Maple Leaf Rag, After life," include Lead - cludes Snag It, and it's an apt one. ESP is a label that new platters. The artists Hours, Asleep in the Deep, Lassus Trom- new belly, Champion Jack Dupree, Josh specializes in the far out, and this bone, and Under the Double Eagle, as the Ayler brothers is pretty White, Lonnie Johnson, Brownie Mc- items. The release by Gospel Keys, well as a few less familiar far ahead of the mainstream. But for all Ghee, Sonny Terry, The consists of Franz Jackson, clar- Sister Ernestine Washington with the group of their highly adventurous experi- Spanier, inet, Bob Shoffner, trumpet, John ments, the strained sounds that result Bunk Johnson Band, Muggsy Thomas, trombone, Bill Oldham, tuba, Pee Wee Russell, Omer Simeon, James from pushing their instruments beyond Lawrence Dixon, banjo, Richard Curry, natural limits, and the frenzied P. Johnson, Joe Sullivan, Sidney Bechet, Claxton, piano. On their Art Tatum, Coleman Hawkins, Stuff drums, and Roselle intensity that the Aylers impart to their three numbers, Rostelle Reese, Arthur performances, their work makes for Smith, and Mary Lou Wiliams. And the and Herndon take over the performances range from excellent to Reese, James easy and enjoyable listening. At the trumpet, trombone, and drum assign- core, these compositions are rooted in superlative. It's fine to have all of this is real foot tapping, happy back again, particularly on these ments. This melodic material that is interesting and music New Orleans jazz, recorded in clean, although they have new transfers that offer a substantial real easy to follow, and, A spacious stereo, and it's played by renounced the concept of strict time, improvement over the old surfaces. solid performers. second volume of reissues is announced they maintain a rhythm envelope that in the booklet for volume 1. It will be ties everything together in a unified devoted to folk and country releases, an manner. In addition to Albert Ayler, The Three Sounds: Today's Sounds. Don Ayler, trumpet, the area where Asch was an important pio- Limelight Stereo LS 86037 tenor, and several additional quintet consists of Charles Tyler, alto, neer. Let's hope that and Henry volumes are in preparation. Kalil Madi on drums is the new in- Sonny Murray, drums, Grimes or Gary Peacock, bass. Call gredient on the latest offering from this is a addi- Attilla Zoller Quartet: The Horizon Beyond. more Cobbs' harpsichord charming lively trio. His manner is a bit The disc's major com- Emarcy Stereo SRE 66013 than that of former member tion to Angels. reserved position is its title tune, Spirits Rejoice, Bill Dowdy, but it must be reported that in a man- Attilla Zoller, guitar, Don Friedman, he fits neatly into the group, and his a hymnlike melody presented and Daniel ner that brings back memories of the piano, Bruce Phillips, bass, brushwork is not only a subtle delight, bands and Humair, drums, add up to a very serious but it has been recorded with particular old New Orleans marching quartet of questing, deeply introspective Andrew evokes a mood of childhood nostalgia. success. Gene Harris, piano, and in Judson Hall by experimenters. This is highly intellectual Simpkins, bass, are up to their usual The recording, made with deep emotional David Hancock, is bright, resonant, and experimentation exhuberant standard, and the live re- This is a involvement, but with no commitment to cording, made in Chicago's London has excellent separation. style. Strict rhythm record that is likely to remain a classic a single performance House, has a bright, fresh, well-balanced garde has and precision unison phrases alternate sound. when most of today's avant with free improvisation as these young become old hat. musicians build their highly personal manner of expression. The brilliant re- The Fugs First Album cording, crisp transients, and exception- ESP Mono 1018 ally fine stereo separation make this The Marimba from Oaxaca, Mexico. FW 8865 release a worthwhile sonic experience. The Fugs Folkways Mono ESP Mono 1028 A fascinating document that offers Louis Bellson: Thunderbird. of Impulse Mono A9107 Down on the lower east side of Man- two fine groups playing old melodies hattan, where the most beat of the this south-eastern Mexican state. Two This album serves to document the country's younger generation congre- different instruments and sets of per- exceptional rapport achieved by drum- gates, one folk-rock group dominates the formers are heard. A large instrument, mer Bellson and the band with which scene. They are the Fugs, and their about 12 feet in length, is played by nine he played at the Thunderbird in Los message is one of protest. In most cases musicians, and a 5 foot model is played con- impart ideas with more fervor by a trio. The recordings, made in Vegas sometime in 1963. The group they their were sisting of Carl Fontana, trombone, Harry than style and taste. But they have a Oaxaca by Lillian Mendelssohn, deal to say, and they manage to produced under somewhat primitive Edison, trumpet, Arnold Teich, piano, great band was Jim Cook, bass, Jim Mulidore, baritone, project their message with a degree of conditions. The three man leaves the rest of the f olk- taped in a hut in the outskirts of Ed Scarazzo, tenor, and Sam Most, alto, impact that and was so pleased with its achievements rockers far behind. In addition to re- Oaxaca, and the sounds of chickens that they recorded these performances leasing a new album that includes the children may be heard in the back- is Fugs' big hit, Kill for Peace, ESP has ground. The larger group was recorded at their own expense. What emerges on the local some highly polished. keen -edged musi- reissued the group's earlier platter that both in a garage and fast, set by leader was previously out on Broadside. There Alameda. All of the performances are cianship. The pace is of superior musi- Bellson in top form, and it reaches its have been a couple of personnel changes lively, clearly the work second waxings, but cians, and the music itself is delightful. ultimate in an exciting version of Elling- between the first and lE ton's Cottontail. Is it possible that there the sound has the same rough vigor. 92 AUDIO AUGUST, 1966 .
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