Johnny Almond Music Machine

Johnny Almond Music Machine - Patent Pending - 1969 - Deram

The late Johnny Almond was a multi-talented musician who played clarinet, flute, saxophone, and keyboards for many artists mostly during the British blues rock scene of the '60s, playing with artists like The Rolling Stones, Eric Clapton, Alan Price, John Mayall, Zoot Money, and Chicken Shack, before partnering up with multi-instrumentalist Jon Mark in the English jazz/rock group, Mark-Almond Band who were active between 1970 and 1978 and released a few good albums. Johnny died on 18 November 2009 aged 63. "Patent Pending" is a lightweight but good jazz rock album of jazz, blues and funky Stax influenced tracks. See if you can find the Mark-Almond "Other Peoples Rooms" which has a great version of Michael Franks' "Vivaldi's Song". Mark-Almond's "To the Heart" is also a great album with vocals by Jon Mark, and features Billy Cobham on drums

TRACKS

1 Ensingle
2 Before Dawn
3 Voodoo Forest
4 Solar Level
5 To R.K. *
6 Reversed For Two Horns
7 Pequeno Nova
8 Tales Of Junior

All tracks composed by Johnny Almond except "Before Dawn" by Yusef Lateef. * Dedicated to the late jazz multi-instrumentalist, Roland Kirk


MUSICIANS

Johnny Almond - Tenor, Alto, & Baritone Saxes, Flute, Alto Flute, Organ, Vibes, Bass Clarinet, Mellotron
Jimmy Crawford - Electric Guitar
Steve Hammond - Acoustic & Electric Guitars
Roger Sutton - Bass Guitar, Claves
Johnny Wiggins - Piano, Organ
Alan White - Drums, Native Drum, Congas, Cowbell
Geoff Condon - Trumpet, Flugelhorn

Affinity

Affinity - Live Instrumentals 1969 - 2003 - Angel Air Records

A magnificent piece of archive scouring, Live Instrumentals 1969 was recorded during the month or so that Affinity vocalist Linda Hoyle spent recuperating from an operation on her vocal chords, leaving bandmates Mo Foster, Mike Jupp, Lynton Naiff, and Grant Serpell to fill their time with a month-long residency at Ronnie Scott's jazz club in London. Nine of the tracks here, including tumultuous jazz-rock versions of the Beatles' "A Day in the Life" (a staple of the like-minded Brian Auger's repertoire around the same time), and "Fever" were recorded there; four more were taken from a period-radio broadcast, and the disc wraps up with the instrumental rampage "On Green Dolphin Street," recorded by the University of Sussex Jazz Trio, from which the original Affinity ultimately arose. A great-sounding album, Live Instrumentals is further distinguished by a sleeve that hangs perfectly alongside the band's own debut album. © Dave Thompson © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/live-instrumentals-1969-r619635

...Nine live tracks recorded in January 1969 and at a time when long sideburns and frizzy hair was de rigueur ... and that was just the women! Some jazz standards expertly played and some less familiar, this is a real archive find. The music hasn't dated at all. There is some great Hammonding from Lynton Naiff and authoritative jazz rock chops from Mike Jopp. Bassist Mo Foster went on to work with Ray Fenwick in Fancy and Jeff Beck amongst others but this release captures a superb band and drips with cool soul jazz that is perhaps now best enjoyed with a good wine, and with the headphones on. Nice. - James Rutherford, Get ready to ROCK! (January 2003)

While Mo Foster and Grant Serpell kept the rhythm section nailed it allowed guitarist Mike Jopp and organist Lynton Naiff to play melody or go off at a tangent as they desired. Given how powerful their arrangements are it is probably of little surprise to see that Lynton later worked as an arranger for bands as diverse as Gene, Gay Dad and Page/Plant! Good sleeve notes and photos as well as powerful jazz make this an album that can easily be enjoyed. -
Feedback, (February 2003)

…everything's intelligently arranged and tastefully played… John Sturdy, Record Collector (March 2003)

They are polished and classy and the sound qualiy is very good. I found it surprisingly accessible…Any aficionado of the Hammond/guitar relationship should add this CD to their collection. - Alan Taylor, Pipeline (Spring 2003)

...Serves as a reminder that the band were damn good. - Modern Dance, Issue 43 (March 2003)

Affinity was an exceptionally talented UK jazz rock band signed by Vertigo Records in the early '70's. Amazingly, the band recorded only one official album in 1970. "Live Instrumentals 1969" is an extraordinary album of jazzy progressive psychedelic rock with fusion, blues and soul elements. The album is full of brilliant arrangements and complex tempo changes. It's hard to believe that these tracks date from 1965 to 1969. This is timeless music and VHR by A.O.O.F.C. [All tracks @ 320 Kbps: Album split into 2 rar files: Combined files' size = 168.4 Mb]. Listen to Affinity's s/t album and "If You Live" album, and Linda Hoyle's "Pieces Of Me" album

TRACKS / COMPOSERS

1 Jive Samba - N.Adderley 4:50
2 Dis Here - B.Timmons 5:48
3 Comin' Home Baby - B.Tucker, B.Dorough 3:48
4 Out Of The Storm - E.Thigpen 7:25
5 Fever - E.J.Cooley, J.Davenport 3:15
6 13 Death March - McFarland 5:42
7 All Blues - M.Davis 4:17
8 81- R.Carter 4:01
9 A Day In The Life - Lennon & McCartney 6:48
10 All Blues 4:25
11 81 4:36
12 Mercy, Mercy, Mercy - J.Zawinul 4:47
13 Jive Samba - N.Adderley 3:45
14 On Green Dolphin Street - B.Kaper, N.Washington 4:28

Tracks 1-9 recorded at Ronnie Scott's Club in January 1969: Tracks 10-13 were recorded at Maida Vale Studios, London, England in August 1968 for an FM radio broadcast: Track 14 was recorded by the University of Sussex Jazz Trio, (an early incarnation of Affinity) at The Refectory, Falmer House, University of Sussex, England on 27th February 1965 during the semi-finals of the 1965 Inter University Jazz Federation competition.

MUSICIANS

Mike Jopp - Electric Guitar
Mo Foster - Bass Guitar
Nick Nicholas - Double Bass on Track 14
Lynton Naiff - Hammond M102 Organ, Piano
Grant Serpell-Rogers - Drums

SHORT BIO

Signed by Vertigo in 1970 on the crest of the jazz-rock wave, the short-lived Affinity released only one single and album before splitting. Comprised of young singer Linda Hoyle, bassist Mo Foster, guitarist Mike Jupp, keyboardist Lynton Naiff, and drummer Grant Serpell, a musical maturity was displayed, blending folk, jazz, soul, blues, and elements of contemporary psychedelia and progressive rock. Highly regarded by critics, who praised the young Hoyle's powerful vocals and Naiff's inherent organ skills, it looked as if the band were to have a healthy career. Derek Jewell of The Sunday Times wrote, "Naiff is already a virtuso, soul-style, and the whole group is probably the best new thing heard in the jazz-pop area this year." But although the seven-track album was well received, the band split soon after. To label their work under any one genre is a hard task, and the jazz-rock/blues-rock classification they are usually squeezed into is far from fitting. As with many other late-'60s progressive acts, Affinity was just getting their footing when they split. © Jon "Mojo" Mills © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/affinity-p381019/biography

MORE

Affinity had its origins in the mid-60s at the University Of Sussex when three science students - pianist Lynton Naiff, drummer Grant Serpell and double-bass player Nick Nicholas - formed the US Jazz Trio. One year later another science student, Mo Foster, who had originally played bass guitar in his school band, adapted to playing drums for the trio when Grant Serpell graduated. After University, and incorporating members gathered from other University bands, Lynton and Grant formed the pop-group "Ice" and achieved moderate commercial success. Sadly within a year they had disbanded. Still keen to pursue a career in music, Lynton and Grant invited Mo to revert to bass guitar in a proposed new jazz-influenced pop band. The guys held auditions for a guitarist and were delighted to find ex-Tridents guitarist Mike Jopp who had both jazz and blues chops. (More importantly he also had his own amplifier and a car!). They also held auditions for singers but finally realised that the only person for the job was Linda Hoyle, a qualified English teacher who they had earlier met through a friend at University. With a loan guaranteed by Mike Jopp's father the band bought some Impact amplifiers, a Hammond M102 organ, a Gibson EBO bass guitar, some microphones, and, eventually, a grey Ford Transit van. They spent the summer of 1968 "getting it together" - writing and rehearsing - in a rented bungalow on the edge of Brighton. The name "Affinity" was taken from the title of an Oscar Peterson LP. At the end of the 60's an exciting new hybrid music form, "Jazz/Rock", was evolving. Musicians such as Miles Davis, Brian Auger, Jimi Hendix, and bands such as Blood Sweat and Tears, Cream, Chicago, Lifetime and Colosseum were all experimenting with this blending of jazz improvisation with the power of rock rhythms. This liberating and exciting approach suited Affinity perfectly since it separated the band from other contemporary new outfits such as Yes, genesis, Led Zeppelin, Family and Humble Pie. Affinity's first-ever London gig took place on 5 October 1968 at the Revolution Club in Bruton Place, just off Berkeley Square. As a result of hearing a tape of a broadcast on BBC Radio Jazz Club the late Ronnie Scott agreed to manage them and to book them into his club where they played alongside countless world-class players including Elvin Jones, Gary Burton, Les McCann, Stan Getz and Charles Mingus. (They may not have been earning much at this point, but they did get to see these incredible artists for free - every night). Live work was plentiful: there was a thriving discotheque and club scene in London, the college circuit paid well, there were European and Scandinavian tours (which didn't pay well!), festivals, the occasional TV show (two sings were recorded for "Disco 2", the predecessor of "The Old Grey Whistle Test"), and even the occasional jingle session (Linda, Mike and Mo recorded an advert for Shredded Wheat - "There are two men in my life"...) Things were looking good. The band was able to buy the ultimate instrument, the 'split' Hammond B3 that had once belonged to Brian Auger. Affinity recorded a critically-acclaimed first album for the Vertigo label and DJ Anne Nightingale who proclaimed that Linda was "the girl most likely to succeed in 1970." Lynton and Mo started to write for a second album (see "Yes Man") and the band was lined up for a USA tour, but in January 1971 Linda announced she had decided to leave the business. It was a sad, but inevitable, decision: the band had worked hard for two and a half years and yet had little to show for it. The fun had gone. The remaining contracted gigs were honoured and the guys went their separate ways. Linda Hoyle recorded a solo album "Pieces Of me" co-written with Karl Jenkins, and backed by Soft Machine members Chris Spedding, John Marshall, Jeff Clyne and Karl. Linda renounced live performances and now teaches Art Therapy at the University of Western Ontario, Canada. She still sings and occasionally works with Juno nominee guitarist Oliver Whitehead. Lynton Naiff niched himself into the field of orchestral arrangement on pop records leading to various projects with artists such as Queen, Jimmy Page and Robert Plant. Mike Joop joined the Mike D'Abo Band together with Mo and Grant. This particular line-up recorded a couple of albums and toured America. Mike quit playing professionally in 1973, became a guitar-dealer, and, after many years as a specialist audio consultant for Sony and Fairlight, now has a successful career in broadcast television with his own company, Hyperactive Broadcast. He still plays and has a collection of interesting guitars. Mo Foster met ex-Manfred singer Mike D'Abo - an encounter which led to his career as a studio player. He has since recorded and toured with artists as varied as Jeff Beck, Phil Collins, Gil Evans, Gerry Rafferty, Joan Armatrading, Hank Marvin, Maggie Bell, Van Morrison and the London Symphony Orchestra. Mo has produced three solo albums, and his first book "17 Watts?", an anecdotal history of British rock guitar, is published by Sanctuary. Grant Serpell played with Geno Washington and then Mike D'Abo before becoming a founder member of SAILOR, a band which achieved recording success - "Girls Girls Girls" - in the mid 70's in most countries except the States. When SAILOR temporarily disbanded (for 11 years!) he pleased his mother by getting a "proper job" as a Chemistry teacher. The rebirth of SAILOR in 1989 surprisingly resulted in hits all over Europe, so for eight years he juggled two careers, eventually quitting teaching in 1997. [Taken from the 2002 reissue of "Affinity"]

George Benson

George Benson - I Got A Woman And Some Blues - 1984 - A&M

These tracks were supposedly recorded at Englewood Cliffs, New Jersey, on dates between April 30th, 1969 and September 3rd, 1969, and some of the tracks are possibly outtakes from GB's 1969 "Tell It Like It Is" album, which was also recorded at Englewood Cliffs between April 29th, 1969, and May 20th, 1969. George Benson's own "Bluesadelic" and "Durham's Turn" are good Blue Note style funky numbers, and most of the other tracks are in the Sam Cooke or Jackie Wilson style. George Benson's playing is fine in parts, and he covers good compositions by James Yester, Harry Nilsson, Ray Charles, Henry Nemo & Will Jason, Mack Vikery & Merile Kilgore, Billy Vera, and Norman Mapp. It is not strictly a jazz album, and it doesn't always highlight George Benson's exceptional jazz guitar skills. However, it's a good, if very short piecemeal album of nine funk jazz, pop, and R&B tracks. [All tracks are @ 320 Kbps]. For a better idea of GB's amazing jazz guitar skills, check out his "Beyond The Blue Horizon" album @ GEOBEN/BTBH

TRACKS / COMPOSERS

A1 I Got A Woman - Ray Charles & Renald Richard
A2 Out Of The Blue - Henry Nemo & Will Jason
A3 Bluesadelic - George Benson
A4 Durham's Turn - George Benson

B1 Good Morning, Blues - Billy Vera
B2 I Worry 'Bout You - Norman Mapp
B3 Without Her - Harry Nilsson
B4 She Went A Little Bit Farther - Mack Vikery & Merile Kilgore
B5 Goodbye, Columbus - James Yester

POSSIBLE LIST OF MUSICIANS

George Benson - Guitar, Vocals
Jerry Jemmott, Jim Fielder, Bob Bushnell - Bass
Leo Morris aka Idris Muhammad - Drums
Paul Alicea - Percussion
Johnny Pacheco, Angel Allende - Conga, Percussion
Rodgers Grant, Richard Tee - Piano
Lonnie Smith - Organ
Joe Henderson, Arthur Clarke - Saxophone
Hubert Laws, Jerome Richardson - Saxophone, Woodwind, Flute, Reeds
Joe Farrell - Saxophone, Woodwind, Reeds
Bobby Porcelli - Alto Sax, Sax, Flute
Sonny Fortune - Alto Sax
Lew Soloff - Trumpet
Jerry Dodgion - Flute
Marty Sheller (Arranger, Conductor)

BIO

George Benson is simply one of the greatest guitarists in jazz history, but he is also an amazingly versatile musician, and that frustrates to no end critics who would paint him into a narrow bop box. He can play in just about any style -- from swing to bop to R&B to pop -- with supreme taste, a beautiful rounded tone, terrific speed, a marvelous sense of logic in building solos, and, always, an unquenchable urge to swing. His inspirations may have been Charlie Christian and Wes Montgomery -- and he can do dead-on impressions of both -- but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format. Yet Benson can also sing in a lush soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway, and it is his voice that has proved to be more marketable to the public than his guitar. Benson is the guitar-playing equivalent of Nat King Cole -- a fantastic pianist whose smooth way with a pop vocal eventually eclipsed his instrumental prowess in the marketplace -- but unlike Cole, Benson has been granted enough time after his fling with the pop charts to reaffirm his jazz guitar credentials, which he still does at his concerts. Benson actually started out professionally as a singer, performing in nightclubs at eight, recording four sides for RCA's X label in 1954, forming a rock band at 17 while using a guitar that his stepfather made for him. Exposure to records by Christian, Montgomery, and Charlie Parker got him interested in jazz, and by 1962, the teenaged Benson was playing in Brother Jack McDuff's band. After forming his own group in 1965, Benson became another of talent scout John Hammond's major discoveries, recording two highly regarded albums of soul-jazz and hard bop for Columbia and turning up on several records by others, including Miles Davis' Miles in the Sky. He switched to Verve in 1967, and, shortly after the death of Montgomery in June 1968, producer Creed Taylor began recording Benson with larger ensembles on A&M (1968-1969) and big groups and all-star combos on CTI (1971-1976). While the A&M and CTI albums certainly earned their keep and made Benson a guitar star in the jazz world, the mass market didn't catch on until he began to emphasize vocals after signing with Warner Bros. in 1976. His first album for Warner Bros., Breezin', became a Top Ten hit on the strength of its sole vocal track, "This Masquerade," and this led to a string of hit albums in an R&B-flavored pop mode, culminating with the Quincy Jones-produced Give Me the Night. As the '80s wore on, though, Benson's albums became riddled with commercial formulas and inferior material, with his guitar almost entirely relegated to the background. Perhaps aware of the futility of chasing the charts (after all, "This Masquerade" was a lucky accident), Benson reversed his field late in the '80s to record a fine album of standards, Tenderly, and another with the Basie band, his guitar now featured more prominently. His pop-flavored work also improved noticeably in the '90s. Benson retains the ability to spring surprises on his fans and critics, like his dazzlingly idiomatic TV appearance and subsequent record date with Benny Goodman in 1975 in honor of John Hammond, and his awesome command of the moment at several Playboy Jazz Festivals in the 1980s. His latter-day recordings include the 1998 effort Standing Together, 2000's Absolute Benson, 2001's All Blues, and 2004's Irreplaceable. Three songs from 2006's Givin' It Up, recorded with Al Jarreau, were nominated for Grammy Awards in separate categories. Richard S. Ginell © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/george-benson-p6098/biography

Ashton, Gardner And Dyke

Ashton, Gardner And Dyke - Ashton, Gardner And Dyke -1969 - Polydor

Ashton, Gardner and Dyke were a good British jazz/blues rock band from the late sixties, early 1970s. They released a few dud singles before releasing the huge hit, "Resurrection Shuffle". This was a brilliant R&B/funky track with terrific horn playing. The song typecast them, and unfortunately the public expected more of the same. Sadly, everything they released after this was compared to this song, and so they fall into the "One Hit Wonder" league, a fate that has befallen many good bands. There was more to Ashton, Gardner and Dyke than "Resurrection Shuffle".This album has a blend of everything. There are some good blues rock and jazz touches, with shades of Procul Harum. There are some typical sixties psychedelic rock flavours, reminiscent of early Moby Grape, and some Cream type hard rock sounds. It's not a groundbreaking album, but is a good record, and it has it's moments. Another example of a band who could have gone further. If you can find it, try and listen to their 1971 release, "The Worst of Ashton Gardner & Dyke ."

TRACKS / COMPOSERS

1. Rolling Home - Tony Ashton
2. Why Did You Go - Tony Ashton
3. The Falling Song - Gardner, Tony Ashton, Dyke, Liber
4. Young Man - Allison
5. Billy And His Piano Without - Tony Ashton
6. Maiden Voyage - Tony Ashton
7. New York Mining Disaster - Barry Gibb
8. Picture Sliding Down The Wall - Tony Ashton
9. Billy And His Piano With - Tony Ashton
10. Vaggsang - Tony Ashton
11. As It Was In The First Place - Tony Ashton
12. Maiden Voyage - Long Version - Tony Ashton [BONUS TRACK ON 1995 REPERTOIRE CD]
13. See The Sun In My Eyes - Melouny [BONUS TRACK ON 1995 REPERTOIRE CD]
14. Resurrection Shuffle - Tony Ashton [BONUS TRACK ON 1995 REPERTOIRE CD]
15. Can You Get It - Tony Ashton [BONUS TRACK ON 1995 REPERTOIRE CD]

BAND

Tony Ashton - Organ, Piano, Keyboards, Vocals
Kim Gardner - Bass
Roy Dyke - Drums
Mick Liber - Guitar

BIO (Wikipedia)

Ashton, Gardner and Dyke was a power rock trio, most popular in the early 1970s. Founding band member, Tony Ashton first met the drummer Roy Dyke, when playing with various Blackpool based groups. Ashton was invited to join the Liverpool beat group, The Remo Four as organist/vocalist, whilst Roy Dyke became the group's drummer, having joined them in 1963. Their best work came in 1966 when they released their album Smile!. Before their break-up in 1968, they backed George Harrison on his album Wonderwall Music. Ashton and Dyke then joined forces with the bass guitar playing Kim Gardner, who had previously played in minor British groups, The Birds and The Creation. The triad simply called themselves Ashton, Gardner and Dyke. Mick Liber formerly of Python Lee Jackson played lead guitar with the group. They released their first single "Maiden Voyage"/"See The Sun In My Eyes" on Polydor Records in 1969, but it flopped. However, their next single release on Capitol Records, made them household names. It was entitled "Resurrection Shuffle". They poached their brass section, Lyle Jenkins and Dave Caswell, from Birmingham band Galliard. It entered the UK singles chart on 16 January 1971, had a chart life of 14 weeks and peaked at Number 3, and reached number 40 in the US Charts. This one-off triumph ultimately garnered for them the tag of one-hit wonder. Equally unfortunately, their follow-up single "Can You Get It" lacked the general boisterous appeal of "Resurrection Shuflle", and failed to chart. Nevertheless, Ashton Gardner and Dyke persevered and recorded three albums. Their last recording together was a collaboration with Jon Lord on the soundtrack for a b-movie called "The Last Rebel", starring former gridiron star, Joe Namath. Ashton also appeared on Jon Lord's first solo album Gemini Suite in 1972. The trio finally split the same year. After their demise, Tony Ashton went on to play for Medicine Head, and was briefly in Family before teaming up again with Deep Purple’s Jon Lord in Ashton & Lord. Later still he appeared with Lord and Purple’s drummer Ian Paice as Paice, Ashton & Lord. Dyke and then Gardner joined Badger. Ashton died of cancer, on 28 May, 2001. Gardner also died of cancer in 2001, in Los Angeles on 24 October (also aged 55).

MORE ABOUT THE BAND

An esteemed, Jazz-Blues Rock power trio. Vocalist / keyboard player Tony Ashton, an ex-member of North West band THE EXECUTIVES born March 1st 1946 in Blackburn, and drummer Roy Dyke, a Liverpool native born February 13th 1945, had met with Liverpool Beat group THE REMO FOUR during 1963, releasing the 'Smile!' album in 1966. With the dissolution of this group the duo sessioned for GEORGE HARRISON on his 1968 album 'Wonderwall Music' and also backed P.P. ARNOLD on a UK tour. Ashton and Dyke forged a union with bass guitarist Kim Gardner, born January 27th 1946 in Dulwich, London and previously a member of Middlesex based THE BIRDS, flanking future ROLLING STONES man Ronnie Wood, and THE CREATION, in a brand new triumvirate taking the title ASHTON, GARDNER AND DYKE. They would be boosted to a quartet with the addition of the PYTHON LEE JACKSON credited lead guitarist Mick Liber. Polydor Records took the band on for a single 'Maiden Voyage' / 'See The Sun In My Eyes' in 1969. However, this effort failed to make an impression. ASHTON, GARDNER AND DYKE switched labels to Capitol. Their next outing, 'Resurrection Shuffle' featuring Lyle Jenkins and Dave Caswell, both from Birmingham act GALLIARD on brass, hit the UK charts in style, peaking at number 3 in January 1971. A major radio hit, 'Resurrection Shuffle' hung on for a 14 week tenure on the charts and hit no. 22 in Germany and no. 40 in the USA. Unfortunately a follow up, 'Can You Get It' / 'Delirium', did not chart. Despite this, ASHTON, GARDNER AND DYKE persevered issuing the 1971 album 'The Worst Of Ashton, Gardner And Dyke'. This set was highlighted by the song 'I'm Your Spiritual Breadman', featuring notable guests ERIC CLAPTON and GEORGE HARRISON. In addition, CHICKEN SHACK's Stan Webb played guitar on 'Let It Roll'. 'What A Bloody Long Day It's Been' arrived in 1972 but did not register on the charts. Their swansong came in the form of a collaboration with DEEP PURPLE keyboard player JON LORD with the soundtrack to a movie entitled 'The Last Rebel' starring erstwhile gridiron star Joe Namath. Ashton also involved himself with Lord's 1972 solo album 'Gemini Suite'.That same year ASHTON, GARDNER AND DYKE folded. Subsequently, Tony Ashton worked heavily with Jon Lord in ASHTON & LORD and PAICE ASHTON LORD as well as a tenure in CHICKEN SHACK. His skills have found him much in demand having appearances on the legendary GREEN BULLFROG sessions, solo albums for JON LORD and JOHN ENTWISTLE as well as TUCKY BUZZARD, THIRD WORLD WAR, WINGS and FAMILY. Gardner and Dyke founded BADGER with ex-YES keyboard player Tony Kaye. Dyke later joined the PAT TRAVERS band. Tony Ashton died of cancer on May 28th 2001. Kim Gardner also passed away due to cancer in Los Angeles on October 24th 2001. Credit/s: Garry Sharpe-Young Copyright: © 2001-2008 Musicdetector Websites

Ten Wheel Drive

Ten Wheel Drive - Construction #1 - 1969 - Polydor

A brilliant album of blues and jazz fusion. An almost forgotten late sixties clasic. Superb vocals by Genya Ravan. Album from original vinyl.

TRACKS

1 - Tightrope
2 - Lapidary
3 - Eye of the Needle
4 - Candy Man Blues
5 - Ain't Gonna Happen
6 - Polar Bear Rug
7 - House in Central Park
8 - I Am a Want Ad

Founding Members

Vocals, Harmonica, Tambourine: Genya Ravan
Guitar, Vocals, Banjo, Percussion: Aram Schefrin
Organ, Piano, Clarinet: Mike Zager
Various musicians on other instruments
Bass: Bill Takas, Bob Piazza, Blake Hines
Drums, Percussion: Leon Rix, Allen Herman, David Williams
Cello: Leon Rix
Flute: Jay Silva, Louis Hoff, Dave Leibman
Trumpet: Jay Silva, Richard Meisterman, Peter Hyde, Steve Satten, John Getchell, John Eckert, Dean Pratt, Danny Stiles, Frank Frint
Saxophone: Louis Hoff, Dave Leibman
Trombone: Dennis Parisi, Bill Watrous, Tom Malone
Flugelhorn: Jay Silva, Peter Hyde, Richard Meisterman, Steve Satten, John Gatchell, John Eckert
Woodwinds: Alan Gauvin

Last line-up

Vocals: Annie Sutton
Organ, Clarinet, Keyboards, Vibraphone: Michael Zager
Guitar, Vocals: Aram Schefrin
Piano, Keyboard: Don Grolnick
Trombone: Gerry Chamberlain
Drums, Percussion: Barry Lazarowitz
Bass, Violin: Harry Max
Trumpet, Flugelhorn, Horn: Dean Pratt
Woodwinds: Ed Xiques
Choir: Daryl Hall, John Oates, Tom Cosgrove, Joey Ward

REVIEWS

This exemplary recording by songwriters Aram Schefrin, Mike Zager and singer Genya Ravan was highly experimental in ways that Chicago, Big Brother & The Holding Company, Traffic and other of their contemporaries wanted to be. Imagine Ronnie Spector leaving The Ronettes to join Blood Sweat & Tears, and realize the sweet Goldie Zelkowitz from Goldie & The Gingerbreads did just that by reinventing herself here as the great Genya Ravan. The Ravan co-write Tightrope is five minutes and ten seconds of psychedelic blues/jass/funk. This is the sound Janis Joplin would refine for her Kozmic Blues experience, and while Janis Joplin and Kozmic Blues performed at Woodstock, Ten Wheel Drive were getting such a buzz they turned Woodstock down. History would, indeed, have been different had they played I Am A Want Ad at that event, but with Sid Bernstein as co-manager, and songs like Lapidary, the band had a lot going for it. Lapidary is a complete about face, Traffic's John Barleycorn with a female vocalist. Eye Of The Needle on the other hand, was an eight minute plus show stopper of horns and guitars that come in like some country's national anthem. With Genya's amazing wail at the end it becomes powerful stuff. Songwriter Louie Hoff got to arrange his Candy Man Blues, which puts Genya in a nightclub setting, the piano and flutes changing the mood dramatically. This is such an adventurous and remarkable record by such a talented crew, it is a shame they didn't record twenty or more platters. A Polydor executive made a statement that if they couldn't break Slade they weren't a real company. Polydor did, in fact, fail to launch that British supergroup in America, and one wonders if these recordings were made for another label, if oldies stations wouldn't be playing Ten Wheel Drive today. Ain't Gonna Happen is extraordinary music, a band on the prowl, and a singer that pounces every chance she gets with a voice that does all sorts of wild things. If Polar Bear Rug and House In Central Park were a bit too evolved for Top 40, their A & R man should have brought them a single. Ten Wheel Drive could, like Etta James, play to those who crave this wonderful fusion of jazz and blues with a rock edge. A Ten Wheel Drive reconstructing, bringing this music back onstage, is something that would make the world a better place. © Joe Viglione, All Music Guide
Genya Ravan's never received her due. Even if you haven't heard her music, you should recognize her place in music history. She led Goldie and the Gingerbreads, the first all-woman rock band to record for a major label (ATCO, an Atlantic subsidiary). After her own singing career faded, she became the first established female rock producer, working with the Dead Boys (including "Sonic Reducer"), Ronnie Spector on her comeback, and countless other New York City punk groups in the early '80s. Oh, yeah, and all these achievements were preceded by a childhood stint in a concentration camp during World War II.
Of course, we could brush off the accomplishments if the music wasn't any good, but Ravan left behind a string of records worth finding, if you can. Her solo albums certainly have their moments (including the feminist question mark, "I Won't Sleep on the Wet Spot No More"), but she's at her best when that powerful voice is backed by Ten Wheel Drive, as it was for three albums from 1969 to 1971. Though the band changed lineups for each album, primary arrangers Michael Zager and Aram Schefrin stayed in place to, well, steer the band. As skilled as those two were, Ravan needed to put her stamp on the act before it could be something, turning the pop-Broadway songs with overly collegiate lyrics into gutsy rock 'n' roll. If you are wondering if it's worth your time to scurry down a genre crevasse and search the used record shops or eBay for something that won't fit smoothly anywhere in your collection, trust me -- of course, you do.
On 1969's Construction #1, the band's first album, these three artists combined perfectly with their horn players and drummer to make a rare statement: a jazz-rock record with as much heart as technical precision, and as much dirt and sweat as brains and finesse. It's hard to imagine how this album that once reached the charts has managed to fall so far out of sight. With pop music currently fetishizing the past, you'd expect someone to dig up something this strong, but likely its hard-to-classify nature prohibits it from being influential.
The album opens with "Tightrope", arguably its strongest track. Bill Takas puts down a memorable bass line, and the horns punctuate the groove, echoing Ravan's vocals throughout the chorus. At the three-quarter mark, the band goes off into an absurd breakdown which makes you think at least eight of the ten wheels have fallen off, before Takas brings them back in line. Then Ravan starts wailing again.
Despite the dictionary-necessitating lyrics, smart arrangements and tight playing, nothing about this band surpasses Ravan's astonishing voice. Like many singers from the late '60s, she owes more to blues and R&B vocalists like Bessie Smith, Etta James, and Billie Holiday than to anyone in the rock scene. Early in her career, she would often cover Ray Charles, and his influence remains strong throughout her recordings. Ravan's strong and soulful -- in her memoir Lollipop Lounge she's specific about this description meaning "black"; people would often look at the stage and be shocked to see a white woman. She calls to mind a harder-luck Dusty Springfield, and its hard to find an article on her that doesn't mention Janis Joplin, but she's got a bigger voice than either of them.
When she uses her voice aggressively, it's the sound of the world coming unhinged. On the Cream-gone-dizzy "Eye of the Needle", you don't need to listen to the lyrics to understand what the song's about -- the music and the singers' deliveries give better expression to the obstruction and futility experienced by the singer than any literal interpretation of the words. At the same time, Ravan's repetition of "I can't make it" turns from a wail of despair into a battle cry as she screeches "I got to make it!" "Limited" here to background vocals, Ravan emotes frustration and anger as well as anyone. The high trumpet intro only suggests the strength that the vocals will bring once they begin. But the song isn't driven by just emotion; there's a great sax solo, and at one point Ravan and the uncredited male lead sing not quite together, building a tension between the two vocal lines that won't be resolved until the horns force their point. This kind of smart structure keeps the album both fun and interesting on repeat listens.
Admittedly, the album isn't perfect. The band doesn't harness its energy as well on its slower tracks, such as "Candy Man Blues", but even that number works in a nice buildup, turning the first half's background jazz into a hurt blues instrumental -- a nice piece of arranging by original songwriter Louie Hoff. When Ravan comes back in after the solo, she sounds fortified, as if the music has pushed her through a rough time.
The record closes with "I Am a Want Ad", in which Ravan brings the sex from within a horn section that rages out of control even as it stays tied to the grinding bass line. In between hand drums and a cutting trumpet solo, Ravan sings and screams, and I can't help but imagine her on the ground, Joe Cocker-style, the audience in a frenzy. It's hard to get a grip on what she's talking about -- the psychedelic abstraction in the lyrics veers from anticapitalist leanings to sultry come-ons -- but it doesn't matter in the least. When the needle skips to the inside of the vinyl, it feels like Ten Wheel Drive has ignited another explosion and is ready for more, even if you've been beaten down. © Justin Cober-Lake www.genyaravan.com/tenwheeldrive.html

BIO ( Wikipedia )

Ten Wheel Drive were an American Jazz/Rock Fusion band from 1968 to 1974. In 1968, after the final disbandment of the all-female rock band Goldie & The Gingerbreads, Genya Ravan was looking for a new band. The same applied for Michael Zager and Aram Schefrin, two musicians and songwriters from New Jersey.
Acquainted by their managers, the three musicians who would become the nucleus of the new band had initially some hard work to do. Their origins and artistic backgrounds were very different, and, at first the music was not after Genya Ravan’s fancy. Also, she alone had some noteworthy experience in the music business.
More musicians had to be found for the rhythm and brass sections. Only people who were able to read sheet music were contracted. The one exemption from this rule was Genya Ravan.
In 1969 the band started to perform regularly and attract positive notice, and comparisons were drawn between Genya Ravan and Janis Joplin.
At the same time, the Polydor record label was forming an American division. Its new President, Jerry Schoenbaum, closed a deal with Ten Wheel Drive, and together with producer Walter Raim the band released its first album, Construction #1.
The first big concert appearance of Ten Wheel Drive was (arguably) in 1969 at the Fillmore East in New York City. Apart from the band's intense musical presence, Genya Ravan caused some excitement when she took off her transparent vest and continued the performance half naked with painted breasts and shoulders.
In the summer of the same year, Ten Wheel Drive appeared at the Atlanta Pop Festival. On this occasion Genya Ravan and Janis Joplin, who previously had often been compared, met in person for the second time. They had met initially at Steve Paul's club The Scene when Janis sat in with the band.
In 1970, Ten Wheel Drive released their second album, Brief Replies, with producer Guy Draper. Many of the brass musicians had also been replaced, meanwhile.
1971 saw Ten Wheel Drive performing at Carnegie Hall a rock opera of sorts based on the Battle of the Little Big Horn and the history of the Native North American peoples. The American Symphony Orchestra and a choir participated in the project, which had been meticulously prepared with a lot of time spent for the investigation work. But notwithstanding the provable quality of the material produced, Polydor decided against the recording of the event and was later blamed for bad judgement.
Also in 1971, the band's third album Peculiar Friends appeared, for the first time produced by Aram Schefrin and Michael Zager themselves. Genya Ravan’s decision to leave the band and start her solo career at this time, was presumably influenced by the record company’s attitude towards the Carnegie Hall concert. She was replaced by Annie Sutton of The Rascals. But even after this, Aram Schefrin and Michael Zager contributed to Genya Ravan’s first solo album.
Ten Wheel Drive left Polydor and in 1974 their fourth and last album, Ten Wheel Drive, was released by Capitol Records. It includes music which had earlier been composed by Genya Ravan and Aram Schefrin. With this record the already loose cooperation between the band musicians ended.

Blood Sweat & Tears

Blood Sweat & Tears - Blood Sweat & Tears - 1969 - Columbia

The self titled Blood, Sweat & Tears, their second album, hit No. 1 stateside, sold three million copies, and won the Grammy for Album of the Year. Three singles went to the top of the charts: Clayton-Thomas’s “Spinning Wheel,” “And When I Die,” written by band friend Laura Nyro, and the album’s first 45, “You’ve Made Me So Very Happy,” a song written and recorded by Motown vocalist Brenda Holloway and reconceived by Kooper before he departed. This is probably the groups best album, as it set an artistic and commercial standard that the band was unable to equal again. An amazing mix of rock, jazz, folk, blues, and classical pieces. A brilliant album

TRACKS

1. Variations On A Theme By Erik Satie (2:30)
(1st and 2nd Movements, Adapted from "Trois Gymnopedies")
2. Smiling Phases (5:10)
3. Sometimes In Winter (3:08)
4. More and More (3:04)
5. And When I Die (4:05)
6. God Bless The Child (5:56)
7. Spinning Wheel (4:07)
8. You've Made Me So Very Happy (4:19)
9. Blues-Part II (11:45)
10. Variations On A Theme By Erik Satie (1:37)
(1st Movement, Adapted from "Trois Gymnopedies")

MUSICIANS ON THIS ALBUM

-David Clayton-Thomas/ Vocals (Except "Sometimes in Winter")
-Steve Katz/ Guitar, Hamonica, Vocals (Lead on "Sometimes in Winter")
-Bobby Colomby/ Drums, Percussion, Vocals
-Jim Fielder/ Bass
-Fred Lipsius/ Alto Saxaphone, Piano
-Lew Soloff/ Trumpet, Fluegelhorn
-Chuck Winfield/ Trumpet, Fluegelhorn
-Jerry Hyman/ Trombone
-Dick Halligan/ Organ, Piano, Flute, Trombone, Vocals

BS&T Soul Chorus:
- Dick Halligan, Bobby Colomby

-Alan Rubin/ Trumpet on "Spinning Wheel"
-Lucy Angle/ Footsteps

GROUP MEMBERS

Al Kooper, Joe Henderson, Steve Khan, Fred Lipsius, Tom "Bones" Malone, Ron McClure, Lew Soloff, Mike Stern, Larry Willis, Randy Bernsen, David Clayton-Thomas, Jerry Lacroix, Don Alias, Bobby Doyle, Dave Bargeron, Randy Brecker, Forrest Buchtel, Bruce Cassidy, Bobby Colomby, Vern Dorge, Bob Economou, Jim Fielder, Joe Giorgianni, Dick Halligan, Jerry Hyman, Steve Katz, Tony Klatka, Roy McCurdy, Lou Marini, David Piltch, Earl Seymour, Neil Stubenhaus, Bill Tillman, Danny Trifan, George Wadenius, Jerry Weiss, Chuck Winfield, Chris Albert, Jerry Fisher

REVIEW

The difference between Blood, Sweat & Tears and the group's preceding long-player, Child Is Father to the Man, is the difference between a monumental seller and a record that was "merely" a huge critical success. Arguably, the Blood, Sweat & Tears that made this self-titled second album -- consisting of five of the eight original members and four newcomers, including singer David Clayton-Thomas -- was really a different group from the one that made Child Is Father to the Man, which was done largely under the direction of singer/songwriter/keyboard player/arranger Al Kooper. They had certain similarities to the original: the musical mixture of classical, jazz, and rock elements was still apparent, and the interplay between the horns and the keyboards was still occurring, even if those instruments were being played by different people. Kooper was even still present as an arranger on two tracks, notably the initial hit "You've Made Me So Very Happy." But the second BS&T, under the aegis of producer James William Guercio, was a less adventurous unit, and, as fronted by Clayton-Thomas, a far more commercial one. Not only did the album contain three songs that neared the top of the charts as singles -- "Happy," "Spinning Wheel," and "And When I Die" -- but the whole album, including an arrangement of "God Bless the Child" and the radical rewrite of Traffic's "Smiling Phases," was wonderfully accessible. It was a repertoire to build a career on, and Blood, Sweat & Tears did exactly that, although they never came close to equaling this album. © William Ruhlmann & Bruce Eder, All Music Guide

BIO

Blood, Sweat & Tears was/is a Jazz-Rock band formed in New York in 1967, and one of the early examples of the genre that would be known as "Brass Rock" and sharing their hierarchy of the genre with CHICAGO TRANSIT AUTHORITY (later CHICAGO), both being prime examples along with their UK competitor IF.
The original incarnation of the band was lead by AL KOOPER (for just one album), JIM FIELDER (of Zappa's Mothers Of Invention fame), FRED LIPSIUS, JERRY WEISS, STEVE KATZ, DICK HALLIGAN, BOBBY COLOMBY, COREY GARRISON and RANDY BRECKER. Both AL KOOPER and STEVE KATZ had already worked together on The Blues Project, and Al Kooper got out of the band due to his desire to add horns and the frustration caused by the denial fromthe rest of his former band mates, only taking Steve with him.
They started by playing gigs at the Cafe Au Go Go, all of which were well received by the audience due to the innovating sound of brass with rock, jazz and psychedelia. The band at that moment was just integrated by Kooper, Katz, Colomby and Fielder; they were playing some of Al's first songs. Then the nucleus remained after thoughts of going separate ways, while bringing to the personnel trumpeters Randy Brecker and Jerry Weiss, saxophonist Fred Lipsius and trombonist Dick Halligan. The difference between BS & T and many R&B bands/artists lied in the use of the brass arrangements: whilst in R&B the brass simply served as decoration, BS & T used the brass with complex arrangements and solo spots.
They recorded their debut album by 1968 called "Child Is Father To The Man", which was proven a success. However, Colomby and Katz disliked Al Kooper's vocal style and they asked him to concentrate more on the organ. Kooper, disliking the way they were trying to dominate the band, quitted to become a record producer. Randy Brecker also departed to work with Horace Silver along with his brother Michael, and eventually they both co-formed the band Dreams. Kooper's last gig with BS & T was at the Garrick Theatre, in New York.
Colomby and Katz carried on with the support of Columbia Records. Jerry Weiss also left sometime later to form the band Ambergris. JERRY HYMAN, CHUCK WINFIELD and LOU SOLOFF were then called to the lineup to fill the blanks, and Dick Halligan was placed on organ. After some tryouts with Stephen Stills and Laura Nyro, Canadian DAVID CLAYTON-THOMAS was suggested by folk singer Judy Collins to her friends Colomby and Katz, and after seeing him perform they decided to recruit him. The new 9-piece recorded the self-title album "Blood, Sweat & Tears", produced by James William Guercio, and consisted mostly of covers like Brenda Holloways' "You've Made Me So Very Happy" and Laura Nyro's "And When I Die"; but without losing some progressive flavour with their own "Blues-Part II" and the variations of the Eric Satie piece "Trois Gymnopédies". Still, the album was a big commercial success and won a grammy as "Album Of The Year" and "Best Performance By a Male Vocalist". They also played at various Jazz and Rock festivals and performed at the first day of the Woodstock festival (it is interesting to know that their set couldn't be filmed entirely because of contractual reasons).
The group was asked by the U.S State Department to do a tour on East Europe, by means of giving a bit of American flavour to the youth in that part of the world. The results were disastrous, and the audience at the Romanian concert were repressed by police officers. The benefit proposed to the band was to grant Clayton-Thomas a green card.
The second album was recorded and released on June of 1970, called "Blood, Sweat and Tears 3"; as it was a very anticipated release, the album rose to the top of the U.S charts very quickly. Again, the album would be a collection of covers, like Carole King's "Hi-De-Ho", Steve Winwood's "40,000 Headmen" (the same Winwood of Traffic's fame) and Joe Cocker's "Somethin' Coming On". It received mixed reviews however, presumably influenced by the Eastern Europe incident. On November of that year they also had the chance to play with a symphonic ensemble in New Orleans.
In January 1971 they began recording they fourth album in San Francisco, called "Blood, Sweat and Tears 4". For the album Jerry Hyman was replaced by DAVE GARBERON and DON HECKMAN was called to co-produce. This time they had more compositions of their own, including Halligan/Clayton-Thomas' "Redemption" (with guest MICHAEL SMITH on congas) Halligan's "Lisa, Listen To Me" and Clayton-Thomas' "Go Down Gamblin'"; they also recorded a version of Al Kooper's "John The Baptist (Holy John)". They also became the first rock band to play in Las Vegas, at the expense of some of their fans disdain (their rockier fans).
The last concert with David and Fred Lipsius was on Dec. 27, 1971 in Anaheim, California. Due to discrepancies in the members' musical ambitions, they split up. Sax legend JOE HENDERSON (who didn't stay long enough to participate in studio sessions) was asked to fill Fred Lipsius' spot and after a while Joe was replaced by LOU MARINI. Dick Halligan was replaced by LARRY WILLIS and GEORG WADENIUS filled the guitar spot. Their album "New Blood" marked a change in sound, venturing on more jazzy grounds; an example of this is the cover of Herbie Hancock's "Maiden Voyage". The single "So Long Dixie" was also released and reached #44 in the charts. Guitarist STEFAN GROSSMAN (who played with Steve Katz on Even Dozen Jug Band) featured as guest in the european part of the New Blood tour
The next album, "No Sweat" (1973), was recorded without Dick Halligan (who was replaced by LARRY WILLIS); Steve Katz retired from active playing at the same time to work as a producer. Chuck Winfield also left, and was replaced by Tom Malone. This resulted in the album being recorded with a nine-piece band. Two track off the album were released as singles: "Roller Coaster" and "Save The Ship". After some touring there were even more personnel changes; this turn is for Jim Fielder, Lew Soloff, Lou Marin and Tom Malone (RON MCCLURE, BILL TILLMAN, TONY KLATKA and JERRY LACROIX came in); Jerry LaCroix, former member of the Edgar Winter Group, also sings, but Jerry Fisher still has the lead vocal position.
In July 1974 "Mirror Image" was released, the third album from the post-Clayton-Thomas period. "Tell Me That I'm Wrong" was released as a single. Jerry LaCroix did not feel comfortable within the band, and the style was admittedly not of his likings; so his vocal duties were filled by one LUTHER KENT, who sang together with JERRY FISHER. Bobby Colomby and band manager Fred Heller were also planning the return of Clayton-Thomas to the band. Eventually Luther Kent, Jerry Fisher and Clayton-Thomas sang together on a show. After all that, Jerry and Luther left.
With Clayton-Thomas' return, the band produced two more albums for Columbia Records: "New City" and "More Than Ever". Then the last original member of the band, Bobby Colomby, left the band in 1976; due to this album's lack of commercial success, Columbia drops the band and later it's signed for ABC Records. In November they record "Brand New Day", and that was the Swan Song for that version of BS&T, after saxophonist GREGORY HERBERT (who joined them on the 1978 Europe tour) died of a cocaine overdose.
David Clayton-Thomas formed a band in 1980 consisting of Canadian musicians. It was initially called "Canada", but after management pressures he changed the name to Blood, Sweat & Tears to have a worldwide recognition.They signed to Avenue Records subsidiary label LAX [MCA Records], and with producer and arranger JERRY GOLDSTEIN they recorded the album Nuclear Blues, with a more jazz-funk sound. The band disbanded again after an Australian tour.
David decided to pursue his solo career again, touring with a new band. There were complications as in some shows his band was booked as "Blood, Sweat & Tears" and David Clayton didn't have legal rights for the name. So he negotiated with Bobby Colomby for the license of the band's name. For the next years he would be booked as "Blood, Sweat & Tears (featuring David Clayton-Thomas)". He was allowed to tour with that name, but Colomby said it wouldn't apply for recordings.
In 1994 Al Kooper got together with members of the original band and played gigs under the name "Child Is Father To The Man" (since the rights to the original name were reserved to Colomby). The shows were released on a double CD called "Soul Of A Man: Al Kooper Live" and included the performances of "Your Days Are Numbered" and "I Can't Quit Her". That same year, David Clayton recorded an album with his Blood, Sweat & Tears horn section at that time and Hungarian drummer and compose Leslie Mandoki, called "People" (which also featured figures like IAN ANDERSON, AL DI MEOLA and MICHAEL BRECKER). Three years later they recorded and released "People In Room No. 8" and in 2002 David recorded tracks for the third Mandoki album called "Soulmates".
In 2004 David-Clayton announced that he would again pursue a solo career (without the Blood, Sweat & Tears name); that the band is no more and that he wishes to take a break from the road to engage in creative projects. © Jesus ‘Chus’ Brea © Prog Archives, All rights reserved