Hideto Kanai Quintet - Concierto de Aranjuez

somebody (can't find the link now) sez:

A progressive, daring jazz date. The title track is an impressive answer to the earlier versions by Miles Davis and Jim Hall.

barabara sounds sez:

Damn right it is. Listen to Miles… and then to Hall... and then wrap your ears around Kanai and his quintet. They're not kind-of sort-of  "thereabouts": they're absolutely "there". The rest of the album is none too shabby either!

Tracks:

01 Concierto de Aranjuez

02 Tensions

03 For Charles

04 What Love

05 Congratulation

06 Rhapsody in Blue

Personnel:

Hideto Kanai bass

Toshihiko Inoue soprano sax; tenor sax

Mikinori Fujiwara alto, soprano & tenor sax, flute

Yoshito Osawa piano

Michael Reznikoff drums. 

Samurai Era — 15 lost grooves from the land of the rising sun

barabara sounds sez:

Another compilation, but this time highlighting the wealth of homegrown jazz talent that has emerged at this end of the planet. Despite the subtitle, few of the 15 tracks here are actually "lost" — and weren't even in 1999 when this album came out. In fact a number of them were/became club standards, not least Teruo Nakamura's TBM classic Umma Be Me (which is of course by Hubert Eaves, was recorded in NYC and features all US jazzmen apart from Nakamura himself, which hardly makes it "from the land of the rising sun").

And there lies both the weakness and strength of this collection: it's aimed at those discovering j-jazz through the clubs. Nothing wrong there at all. I just fast-forward/program out the overly-slick numbers by Zerosen and Imada — yes, and Hino-san too (sad to say) — to get to the core nuggets. From the chilled opening track by Isao Suzuki to Kawaguchi with Art Blakey to the percussive gems by Ponta Murakami and Shiraki's Stereo Drums, there's plenty to groove on here. 

Best of the lot? Most times round, my vote goes to Poo-Sun Kikuchi's La Moca Está Domingo, from Wishes/Kochi, his brilliant album on East Wind (Hino is in stellar form here, happily). But don't sleep on the curiosities: Masayoshi Takanaka's Star Wars Samba and Pecker's strangely named Dr. Dr. Humanity – yes that's for real: try googling it ;-)... Now there's one that really was lost from sight!

Masabumi Kikuchi Slash Trio – Slash 2゜

barabara sounds sez:
Not drowning, just waving. And plotting my next move.
9.28. Time for a new move. Just the one track for now…
Let's see what happens!

dusty sez:
Go for it!

Jazz Supreme – Modal Blue Sketches

barabara sounds sez:  

Jazz Supreme Numero Cinco, and it's yet another cracker – another belting line-up in the tried-and-true vein. It starts out like it means business with the one and only Dave Brubeck, moving on into Duke Pearson and then the wonderful Harold McNair. Then come the heavy hitters: Wayne Shorter, Leon Thomas and Mingus, via Ray Russell and Ahmad Jamal, before sealing the deal with Paul Horn, Dave Pike and Freddie's version of Little Sunflower.

By this stage in the series you could argue there is only one way to go, and compiler Toru Hashimoto is maybe playing it safe in some respects. But, bottom line, there are no no-nos! OK, the world can exist very readily without soft piano trio renderings of Boz Scaggs. But Louis van Dijk really is not a problem. And at least there's no Elliott Smith… 

So here we reach the end of the Jazz Supreme line. Yes, there were actually six in the series. But someone appears to have borrowed/lifted the sixth and final album from me. So, unless someone steps forward and kindly contributes the last one – this is the one we're missing – then that's it.

trax: 

01. Dave Brubeck – Unsquare dance

02. Duke Pearson – The fakir

03. Harold McNair – The hipster

04. Lee Konitz – FIve, four and three

05. Wayne Shorter – Mahjong

06. Dave Grusin – Inez 

07. Leon Thomas – The Creator has a master plan (Peace)  

08. Ray Rusell Quartet – Footprints 

09. Ahmad Jamal – MASH theme (Suicide is pointless) 

10. Charles Mingus – Better git it in your soul

11. The Paul Horn Quintet  – Abstraction

12. The Dave Pike Quartet – Why not

13. Freddie Hubbard – Little sunflower

14. Louis van Dijk Trio – We're all alone

Jazz Supreme - Spiritual Love Is Everywhere

barabara sounds sez:  

The fourth in the Jazz Supreme series, and it follows pretty closely the template of the previous volume, featuring a succession of heavy-hitting tracks (mostly) from that golden age of 70s spiritual jazz, spiced with a few tasty numbers from the early 60s, and even before that. It kicks off — obviously and appropriately — with Pharoah and barely lets up, with Mike Westbrook and Michael Garrick again added to the mix, closing with the wonderful Bill Evans' Peace Piece.

And, just like last time around, there are also a couple of clunkers thrown in — or at least non-sequiturs. Compiler Toru Hashimoto must have had a serious infatuation with Elliott Smith (or perhaps the record company was leaning on him hard) but he (Smith) just doesn't belong in this company. And why Hashimoto picked just about the one throwaway track from Shepp's entire immense back catalog — personally I find Cal Massey's five-year-old daughter's warbling quite unlistenable — when there are so many other possibilities is hard to understand.

But even so, even so, even so… it's not a bad comp at all. And although jazz heads will know 'em all, it's still nice to hear your old favorites spliced in a new sequence. Spiritual Love IS everywhere, especially if you're taking it with you in your iPod…

trax: 

01. Pharoah Sanders – Love Is Everywhere
02. Mike Westbrook Concert Band – Love Song No.2

03. Elliott Smith – Waltz #2 (XO)

04. Michael White – The Blessing Song

05. Gary Bartz NTU Troop – I've Known Rivers

06. Stanley Clarke – Unexpected Days 

07. The Michael Garrick Trio – First Born  
08. Dorothy Ashby – Come Live With Me 

09. Ramsey Lewis – Les Fleur 

10. Archie Shepp – Quiet Dawn

11. Yusef Lateef – Brother John

12. Prince Lasha Quintet – Congo Call

13. Paul Gonsalves Quartet – Boom-Jackie-Boom-Chick

14. Bill Evans – Peace Piece

Jazz Supreme - Modal Waltz-A-Nova

barabara sounds sez:  

Album #3 in the Jazz Supreme series strikes a rather different balance of sounds. This time around there are none of the contemporary club jazz artists (unlike the first two albums). Instead we get a classic selection of tracks by the likes of Roy Haynes, McCoy Tyner, Oliver Nelson, Elvin Jones and — one of the standouts — Walt Dickerson.

Great to have some UK and European jazzers represented in the mix, too. If you like that Roland Kovac track, check out the full album here. There are also a couple of odd ones out: what Pedro Biker and Elliott Smith or their tracks are doing here is hard to fathom. But hey, it's really no problem: if (like me) you don't think they belong, then just program them out of your playlist... 

trax: 

01. James Clay – Pavanne
02. The Mike Westbrook Concert Band – Waltz (for Joanna) 

03. Oliver Nelson – Patterns

04. Walt Dickerson – Death and taxes

05. The Latin Jazz Quintet – Rip a dip 

06. Roy Haynes – Dorian  

07. McCoy Tyner – Three flowers  

08. Pedro Biker – Wives and lovers  

09. Elvin Jones – Half and half 

10. Mary Lou Williams – It ain't necessarily so

11. Michael Garrick Septet – Ursula

12. Yusef Lateef – Love theme from 'Spartacus' 

13. Roland Kovac Orchester – Blue dance

14. Wolfgang Dauner Quartet – Waltz for a young girl

15. Elliott Smith – Waltz #1

Jazz Supreme - Spiritual Waltz-A-Nova

barabara sounds sez:  

More supremely jazzy sounds from this great series. This was actually the very first of the excellent Jazz Supreme comps, and it sets the tone perfectly. A brilliant blend of classic and club, drawing from the back catalogs of Strata-East, Black Jazz, Tribe and interspersing them with righteous sounds from more recent times. 

Among my favorites: Abdul Rahim Ibrahim (the former Doug Carn); Dee Dee Bridgewater; and Charles Greenlee (with Archie Shepp of course). And I'm sure I'm not the only person to discover the Pete Jolly Trio through this album. 

trax:
01. John Hicks – After the morning 
02. The Ted Vining Trio – Impressions
03. Dee Dee Bridgewater – Little B's poem
04. S.O.L.A.R. – Faith for my mind
05. Hipnosis – Black Forest stomp
06. Two Banks Of Four – One day
07. The Pete Jolly Trio – My favorite things
08. Abdul Rahim Ibrahim – Tropic sons
09. Haki R. Madhubuti And Nation – Children
10. Pharoah Sanders – Moments notice
11. Kindred Spirits Ensemble – Naima
12. Charles Greenlee – Steam
13. The Descendants Of Mike And Phoebe – Coltrane
14. Doug Hammond – Moves
15. Joe Bonner – Soft breezes

Jazz Supreme – Fender Rhodes Prayer

barabara sounds sez:  

Summer nights, balmy and subtropical. Some spiritual vibes to mellow out once the heat of the day is done... One of my alltime favorite comps, this is a tasty shuffling of classic 70s jazz and newer clubbier sounds – some better known, others a lot more obscure – put out some five years back as part of a series given the exceptionally cool title Jazz Supreme. Cue plenty of exclamation points from the ever-enthusiastic Dusty!

dusty sez: 

A sublime batch of Fender Rhodes grooves – all of them deeply spiritual numbers with a strong jazzy vibe – most from the 70s, but also including a few contemporary cuts as well! There's a totally righteous feel to the whole collection – one that goes even farther than the first volume this great Jazz Supreme series – and the mixture of electric keys with deeper spiritual leanings is completely sublime – a sound first forged in the 70s, and carried through by some current artists who share a very similar vibe! …[this] 18 song collection runs for nearly 80 minutes in all!

trax:

01. Build An Ark – Peace with every step / Equipoise
02. Mark De Clive-Lowe ft. Bembe Segue – Naima
03. Lonnie Liston Smith & The Cosmic Echoes – Golden dreams
04. Steve Kuhn – The meaning
05. Berardi Jazz Connection – F.D.P
06. Yesterdays New Quintet – Superwoman
07. Kindred Spirits Ensemble – Ja-Mil
08. Weldon Irvine – Feelin' mellow
09. Frank Owens – Freddie's dead
10. Larry Willis – Inner crisis
11. Dave Hubard – T.B.'s delight
12. Karin Krog – The meaning of love
13. moO – Moostic voyage
14. Joe McDuphrey Experience – Solar waves
15. INO hidefumi – Spartacus
16. Carmen Lundy – Afrasia
17. Build An Ark – The blessing song

The Pentagon

barabara sounds sez:  

Straightahead down-the-line jazziness from this not-quite-supergroup which came together to record in Japan back in 1976. Not the most challenging or progressive side ever issued by the East Wind label, but still well deserving of several listens. As before, this one has seen the light of day a couple of times before in the blogosphere — but there's never any harm is spreading the good stuff around some more. [And yes, it's nothing to do with the US military…]

dusty sez: 

Pretty soulful stuff – and a unique one-off group that features Cedar Walton, Clifford Jordan, Sam Jones, Billy Higgins, and Ray Mantilla – the first four of whom had played together often at the time, and who receive some nice added percussive support from Mantilla for the set! Tunes have a laidback grooving stye – mostly soulbop with some slight Latin touches…

scott (all music) yawno sez:

Originally released by the Japanese East Wind label and made available briefly domestically on an LP from the defunct Inner CIty label, this quartet outing features pianist Cedar Walton, the underrated tenor saxophonist Clifford Jordan, bassist Sam Jones, and drummer Billy Higgins; Ray Mantilla adds his congas to three of the six selections. The group performs fresh versions of five jazz standards (including "Manteca," Kenny Dorham's "Una Mas," and Lester Young's D.B. Blues") plus Jordan's "He Is a Hero." Superior to Walton's RCA recordings of this period and his upcoming output for Columbia, this obscure effort finds all of the musicians playing up to their usual level of creativity.

NØ NUKES JAZZ ORCHESTRA

barabara sounds sez:
Out today.
"…a jazz driven manifest powered by Fear, Despair, Anger and Hope."
Full details (in Japanese) here..

3.11- A year has passed since the tsunami hit Fukushima to cause an unexampled disaster. Meanwhile, for the whole year, a remarkable bassist/composer/arranger, Jyoji Sawada has kept asking himself, what can jazz do, what kind of music, melody, can a musician play in the face of this tragedy. Now he assembles top musicians in Japan to create a a sonic description of what has happened in Japan after the incident. NNJO is a musical statement for all who lives in the Post-Fukushima era, a jazz driven manifest powered by Fear, Despair, Anger and Hope.

3.11- 巨大地震によって引き起こされた未曾有の事故から1年。ジャズはいま、何を語り、何を訴え、何を歌うことができるのか。鬼才コンポーザー/アレンジャー/ベーシスト沢田穣­治がリズム隊に芳垣安洋、岡部洋一、沢田のサウンドには必須のストリングス・クアルテットと管楽器隊としてサクソフォビア、そして、おおたか静流とアン・サリーなど当代き­っての辣腕を従え、ときにグロテスクに、ときに美しく綴るポスト・フクシマの音風景。ジャズに託された絶望と希望のマニフェスト。

Akira Ishikawa & His Count Buffalos - Get Up!

barabara sounds sez:  

Not the first time this has been seen in blogoville, but that's no reason to hold back. And not perhaps the ultimate Count Buffalos — my vote has to go to the magnificent Side 1 of Electrum (which you'll find hosted over at OIR). Or even Bakishinba (another of Bacoso's gems). But still most excellent and worthy of your time. Plus I seriously rate the album cover.

brief bio stuff: 

Akira Ishikawa was born in Yokosuka in 1934. He played with Akira Miyazawa's Modern All Stars; and later with Toshiyuki Miyama and his New Herd (in its early days), then left to form his own band The Gentures (try this on YouTube), which later gave birth to Count Buffalos. He was hugely influenced by African rhythms after visiting East Africa in the 1970. Hence the albums Uganda: Dawn of African Rock (more here) and then Bakishinba. 

Besides working as a session musician and also on TV (he takes the blame for this theme tune for an NHK kids show), he spent a lot of time working on projects to benefit African kids). In the 1990s he founded the music club Piga Piga in Ebisu, which hosted some of the best live African sounds in Tokyo. He later moved back to live in Kenya, which is where he died in 2002.

'Nuff said. Without further ado, time to Get it Up…

Marvin Peterson - Hannibal in Antibes & the Soulmasters in Concert

barabara sounds sez:

High time I posted some Hannibal. The finest littlest-known trumpet free-funkster ever. So, making up for lost time, here are two sides, both live — except the second (the first chronologicly) is from when Marvin Peterson hadn't yet adopted his alternate name. In Antibes is from 1977, recorded in the south of France and released on enja, and he's at his jazz peak. In Concert with the Soulmasters dates from '68, when he was still just 20 and playing jazz-funk around his home state of TX. Both in their own ways are exceptionally cool...  

dusty sez (on Antibes):

A classic live set from trumpeter Marvin Hannibal Peterson – done with two side-long tracks that really let the group stretch out in a very spiritual way! The performance was captured at the Antibes festival in 1977 – and Hannibal's leading a relatively stripped-down group – with George Adams on flute and tenor, Diedre Murray on cello, Steve Neil on bass, and Mkaya Ntshoko on drums. The mixture of cello and bass, without any piano, echoes some of Peterson's larger ensemble work – but the feel here is much more lively and improvised – a mixture of his freer energies and deeper concepts, which makes for one of his most dynamic records ever.

…and (on live with the Soulmasters):

Rare early work from Hannibal Marvin Peterson – doing it live at the Burning Bush in Denton, TX in November of 1968, around the time Petersonwas still a student at North Texas State University – an incredible formative live document of one of the great soul jazz players, in a more soul & early funk inspired groove than the more exploratory style to come! The set's credited to Marvin Peterson & The Soulmasters – aptly billed, we might add – and it's a mix of organ funk, a more slow cooking number or two, and a couple nods to James Brown style funk soul! Marvin, not yet billed as Hannibal, is on trumpet and he sings on his own "Five Foot Seven" and also contributes some vocals to the JB cover "I Can't Stand It". Tim Peterson is on sax and flute, penned the set opening "Groove For Otis" and co-wrote "Our Groove" with Peterson. The group also covers the Gershwin classic "Summertime" and other players include Mike Campell on alto sax, Clevend Gay on trombone, Eugene Carrier on organ and tamborine, Richard Thompson and Eugene Murray on bass and Emry Thomas on drums.

Dee Dee Bridgewater – Afro Blue

barabara sounds sez:
Dee Dee's first, she was just 23 and she sounds as beautiful as she looks. What a debut. And what a great band she had behind her too, led by the Bridgewater brothers and with Sir Roland too. But this show is all about Dee Dee, especially her take on the title track. Far too good to be OOP. Dusty doesn't disapprove...


dusty sez:
One of the greatest jazz vocal albums of all time – and one of the first true moments of genius from a young Dee Dee Bridgewater! The album's a Japanese only release (proof that they're always hipper to our jazz artists than we are!) – and it features Dee Dee singing material that's quite different than her later R&B-inflected sides from the late 70s – very soaring and spiritual work, delivered in a way that set a whole new standard for jazz at the time! Backing is by a small combo with brothers Ron and Cecil Bridgwater, plus Roland Hanna on acoustic and electric piano, George Mraz on bass, and Motohiko Hino on drums and percussion – but the star of the set is always Dee Dee, who sparkles beautifully on the album's classic versions of "Afro Blue" and "Little B's Poem" – both of which have been redone by many other singers over the years. Other great cuts include "People Make The World Go Round", "Love From The Sun", and "Love Vibrations".


stuff:
This album first came out on Trio, a brilliant Japanese label that delivered some great music, mostly jazz (Ornette, Mal, Gil Evans, Stanley Cowell and lots more) but also put out some unlikely stuff (T.Rex and the Dead Kennedys!). This rip is from the CD reissue on AMJ. The back cover posted below is from the album, from here.


For a great write-up giving some background to what Dee-Dee and Cecil and the crew recorded around the same time, check out Simon's post of the classic Strata-East joint, Billy Parker's Fourth World over at Never Enough Rhodes...

Nina Simone - Sings the Blues + ...

barabara sounds sez:  

Time for some Nina. I always have time for some Nina. Especially this one from 1967, her first on RCA and one of my all-time favorites (and I love that cover art). She sure does sing those blues: file this under 'R' for Real Real.

dusty groove sez:

Nina's not just singing the blues here – she's completely reinventing the sound of the format – by drawing on a long tradition of vocal expression, and infusing it with the hipper, more personally exploratory mode she forged in the 60s! The album's got a subtle brilliance that means it's sometimes overlooked next to her more forceful work of the time – but it's every bit essential Simone as some of her other key sides of the decade. The group is a small combo featuring Eric Gale, Bernard Purdie, Buddy Lucas, and Ernest Hayes... 

tracks:

Do I Move You?; Day and Night; In the Dark; Real Real; My Man's Gone Now; Backlash Blues; I Want a Little Sugar in My Bowl; Buck; Since I Fell for You; The House of the Rising Sun; Blues for Mama.

personnel:

Nina Simone piano, vocals; Rudy Stevenson guitar; Eric Gale guitar; Bernard Purdie drums; Bob Bushnell bass; Ernest Hayes organ; Buddy Lucas harmonica, tenor sax.

Ah hell, let's make it a double: At Town Hall was the concert that put her on the map and made her a star. It was quite a performance. Here's a nifty review:

cokemanchineglow sez:

Despite being pound-for-pound the best straight-up jazz release in Simone’s catalogue, At Town Hall is strangely underrated. Lists of her signature tunes—“I Loves You Porgy,” “My Baby Just Cares For Me,” etc. — neglect the top flight fare here, like the hard swinging “Exactly Like You” or the deep, rumbling burn of “The Other Woman.” Simone even enters the old folk song “Black Is The Color of My True Loves Hair” — here given a vocal performance of impossibly subtlety — into the standard jazz repertoire without getting too much notice. Nevertheless, these tracks have the tight backing and titanic emotional force of the best Nina Simone, if not the best of her era.

Recorded partially live and partially in the studio, At Town Hall does suffer from a bit of the patchiness of Simone’s early albums. It’s strange that both an instrumental and vocal version of “Summertime” are included (or, depending on how you look at it, that Simone’s take has an intro longer than the song itself), and “Return Home” is an unfocused Afro-Cuban interlude. Yet even amongst these distractions, “Wild is the Wind” and Billie Holiday’s “Fine and Mellow” serve up Simone’s soulful jazz with formidable gusto. Her piano is expansive and thrilling without being overwrought, and the rhythm section is pitch perfect throughout. On balance, At Town Hall is an album of underrated classics, filled with stunning performances and one of the finest voices in the history of jazz. It’s all heartbreak gorgeously rendered, and while the few upbeat moments offer some reprieve, Simone’s staggering ballads sing the glory of love imperfect and love lost. 

tracks:

Black is the Color of my True Love's Hair; Exactly Like You; The Other Woman; Under the Lowest; You Can have Him; Summertime (instrumental); Summertime (vocal); Cotton-eyed Joe; Return Home; Wild is the WInd; Fine and Mellow.

Charlie Mariano - Reflections

barabara sounds sez:

Charlie Mariano laying down some very righteous lines in modal mode with his Finnish cohorts. This has to be one of my favorites from his later albums. It kicks in right from the start of Glenford Crescent and doesn't let go. Bonus points because it features the great Sabu (well, on 5 of the tracks anyway). Dusty rates it plenty too...

dusty groove sez:

A great set of fusion tunes – recorded by American Charlie Mariano, in the company of a very hip Finnish ensemble! This 1973 gem features some of Charlie's best work of the decade – freewheeling but never too out and with none of the rock flourishes that sometimes mar his other work at the time. The group is all-great too – with… Sabu Martinez on congas and percussion! Tracks have a tight jazzy bounce – with some choppy funky moments, and other nice modal grooving ones – and titles include "Spanish Dance No 2", Brother Muthalah", "Blue in Green" and "Rambling".

personnel:

Charlie Mariano - alto & soprano sax, nagaswaram; Eero Koivistonen - tenor & soprano sax; Jukka Tolonen - electric guitar; Olli Ahvenlahti - piano, electric piano; Esko Linnavalli - piano; Pentti Hietanen - piano; Pekka Sarmanto - acoustic bass; Heikki Virtanen - electric bass; Esko Rossnell - drums; Reino Laine - drums; Sabu Martinez - congas, percussion

tracks: 

Glenford Crescent; Naima; Brother Muthaiah; Spanish Dance No. 2; Blue In Green; Thiruvarankulam; Chile; Rambling.  

trivia:

Recorded in Helsinki, March 1974.

Ever wondered what a nagaswaram is and what it looks like? Check this out here...

And if you've ever wondered what they listen to all the way up there in the far north of Europe... head on over to Hoochiecoochieman's blog and check out some of his amazing mixes. Lots of great j-jazz there too!

Yosuke Yamashita Trio - Sakura

barabara sounds sez:

The sakura has been and gone in Tokyo for this year. But the blossom is only just starting to illuminate the areas further north. There are many reasons for people in those areas to party and celebrate the return of another spring. But it will be many years, decades for sure and maybe more, before anyone has hanami parties under these trees inside the nuclear no-go zone. And a long long wait until any of us can really breathe easy.

Meanwhile, here's Yosuke Yamashita and his trio from 1990 with the funkiest version you're likely to hear of that hoary old traditional Japanese ditty. The other tracks are equally fine, with Yamashita in much more lyrical mode than he was earlier in his career. He really has a great understanding with his two longtime sidemen.

personnel:

Yosuke Yamashita piano; Cecil McBee acoustic bass; Pheeroan akLaff drums.

tracks:

Sakura; Yurikago; Haiku; Amefuri; Ano Machi; Dobarada; Tanabata; Sunayama; Tsuki No Sabuku; Usagi No Dance; Nenkorori

Maulawi

dusted mag sez:

…an absolute original that flies in the same circles as some of the greatest jazz and soul records of the early '70s. Maulawi Nururdin's Maulawi covers a staggering landscape, and does a virtual Sherman's March across the territories of funk, blues, post-Palladium latin jazz, samba, and his own unique take on the outtasphere; burning it all down with punishing resolve, and reviving it all in his own image. Maulawi, Nururdin's solo album that died a commercial death shortly after its 1974 release, reveals a palette of compositional depth and sonic intelligence that Nururdin would have had a tough time topping had he recorded again. The product of an era rife with social and political tension, this work highlights a street-hot assembly of musicians as they document their composer/bandleader's detailed, colloquial vision.

barabara sounds sez:

Spiritual but gritty, hip, compelling and percussive, Maulawi is (as Dusted points out) something like a cross between Miles (Evil Live era) and Curtis at his Chi-town funkiest. Intrigued? You should be. If you've never heard this lost-classic one-of-a-grooving-kind album — originally on the Strata label but reissued on Universal Sound — then you're in for a major treat. Enjoy it while you can. 

tracks:

Street rap; Root In 7/4 plus; Eltition; Naima; Sphynx rabbit.