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Sonorama: Putting the Past in the Future

Sonorama: Putting the Past in the Future

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It takes a collector to know what a collector wants. Ekkehart Fleischhammer who runs the German reissue label Sonorama has been in the record business since 2004, but he has spent far more time enjoying and searching for music. His own expertise and sense of quality is the foundation for Sonorama Records whose specialty is the forgotten gems of the past and the rare items on the collector's market. The catalog consists of true gems in many genres: hard bop, cool jazz, bossa nova, fusion, soul jazz and even a record with a harp. Not much music escapes Fleischhammer's attention and he has also compiled some stellar compilations of funk and German jazz: The Color of Funk Vol. 1 and 2 and Now's the Time Vol. 1 and 2.

All About Jazz: When did you become owner of a record label?

Ekkehart Fleischhammer: I started it in June 2004 as a reissue-label for jazz, funk and soul with a 7inch vinyl record incl. an unreleased track by the legendary Elsie Bianchi Trio from Switzerland plus a re-edit by Ben Human (Ben Addison) on the flipside. Then I established my partnership with worldwide distributor Groove Attack, presenting a release schedule for the coming years that they immediately became interested in. After some releases I was able to join the German association of independent record manufacturers with Sonorama Records in 2006. The idea behind it is to expose quality music and rare or previously unreleased international items from the area of jazz, funk and soul music of the 1950s-1980s without the "high-brow" perspective of the jazz police.

AAJ: Why did you choose the name Sonorama? Is there a story behind the name?

EF: It is an old expression, a mixture of "Sonus" and "Panorama," so to say a panorama of vintage sounds—as a kind of motto for the label work. Famous Mexican orchestra leader Juan Garcia Esquivel was supported by a so called "Sonorama Orchestra." Later I discovered that a long gone French television and radio magazine used the same name.

AAJ: As a collector of records, what do you look for? What makes a record collectable?

EF: It must always include good music and touch me in a spiritual sense. Even better if it is of historical importance regarding the available repertoire/ back catalogue of a genre and can be connected to other music and close a gap in certain fields of music that people or especially the record industry forgot about ... because of financial circumstances or greed. Good recordings are spontaneous artifacts from the past and that's why most of the good old jazz records were recorded in one take.

AAJ: How many people are involved with the label and what is your own role?

EF: Of course, there are many people involved, it may be with their work for the cover design, the mastering or with other kind of (sometimes idealistic) support. I am the only one responsible for the label as founder, researcher, licensor, compiler, product manager, writer of liner notes ... and buyer of toilet paper. After 80 releases up to date I have to say thanks and pay respect to many publishers, producers, musicians, other record labels and, and, and.... You know who you are and thanks for still letting me do this.

AAJ: Tell me about the packaging and design of your albums. Do you have a specific approach to the design of your albums and the inclusion of material like liner notes or photography?

EF: For 1:1 re-issues we always try to reproduce the original album cover and liner notes for vinyl LP and CD, while we develop our own designs and sleeve notes in case of compilations or albums including previously unreleased material. We use several sources for the licensing of original photos from the time the music was produced, incl. photos from German jazz archives, collectors' archives or directly from old jazz photographers. High quality cutting, analogue restoring and remastering has been done by specialists from Berlin and Cologne over the years. All our CD releases come in digipacks, mostly as fold out 6-page-digipack and sometimes including booklets. Design is very important to us, probably because we are collectors ourselves.

AAJ: You have many different genres on your label from many different countries. Is this a conscious choice or a coincidence? What would you say is your focus when choosing a record for release? What is the aesthetic criteria?

EF: The quality of music, the grading if it is a rarity and if there is an audience and the belief that people need to hear that. All music comes from the area of jazz, funk or soul. Some music occurs by coincidence from archives or old producers. I have been sifting through many publishers' archives in the past. And the fact is that the choice always depends on whether there is a possibility for licensing. Regarding the repertoire we recently reworked material with a strong eye on our European jazz roots. Only a few American artists e.g. Mark Murphy, Donald Byrd, Freddy Cole or Carlos Franzetti have been released on our label, while most of the releases have a European origin due to the near sources and personal contacts in Germany, France, Italy, Switzerland and Sweden.

AAJ: How do you find the records you release. For instance, what is the story behind your access to the archives of Barney Wilen?

EF: I found most of them in archives, in friends' collections, on record fairs/ flea markets or on the internet. The jazz and electronic music artist Bruno Spoerri from Zuerich (who was just illegally sampled by US-Rapper Jay-Z) arranged a discussion between Barney Wilen's son Patrick Wilen and me three years ago. Then I was invited to Spain for investigating Barney Wilen's musical heritage, where the unreleased acetates from Jazz In Camera by Donald Byrd and Barney Wilen (released as Sonorama-65) were presented to me. I also got access to over 60 tape reels with music recorded by Barney Wilen in Africa. With the support of Barney Wilen's son Patrick, Caroline De Bendern (Barney's wife back then) and producer Roskow Kretschmann from Berlin, we were proud to edit and compile the CD/ 2LP-Set: Barney Wilen: Moshi Too (Sonorama-72) from last year.

AAJ: Could you tell me about the process of releasing a record. How long does it typically take before a project is finished?

EF: You cannot define—some productions only need a few weeks while others need months or even years.

AAJ: Many artists on the label speak very warmly about the projects you have done. Could you elaborate on your relationship with the artists?

EF: I always tried to work with emotionally devoted artists and have the luck to know or have met some of them. I have a deep respect for the lifetime work of artists such as Greetje Kauffeld, Rolf Kühn, Mark Murphy, Freddy Cole or Bruno Spoerri and meeting them was a truly moving experience. Great artists are very modest!

AAJ: What is your take on the reissue business? Are there any specific labels that you admire and any pitfalls that you try to avoid?

EF: I do not want to criticize other labels here. There are many other reissue labels from all over the world. Of course some do excellent work and some don't. May the music fan decide.

AAJ: You encourage contact with customers on your website. What kind of response do you receive and do you have an idea of your target group?

EF: I get ideas for reissues as well as feedback from customers, journalists, musicians from the releases, people who write jazz books or catalogues, eye-witnesses. The target of the label is "putting the past in the future," to save culture in the form of lost quality music. The target group is open-minded lovers of good jazz music in general.

AAJ: If you have to single out some records, what projects are you most proud of? Any specific highlights?

EF: Attila Zoller—Jazz Soundtracks, Barney Wilen—Moshi Too, Donald Byrd and Barney Wilen—Jazz In Camera, Inge Brandenburg—It`s Alright With Me, Elsie Bianchi—Fly Me To The Moon, Freddy Cole—The Cole Nobody Knows, Greetje Kauffeld—Tender Meditation and Heaven's Open, Mombasa—African Rhythms and Blues Vol. 1 and 2, German Jazz Compilations Now's The Time Vol. 1 and 2.

AAJ: How important is it to you that there is a physical product? Could you imagine Sonorama as an all-digital label?

EF: No, although most of our releases can be streamed and downloaded from well-known service providers. Collecting digital files on your mobile or computer cannot replace the experience of a vinyl record or audio CD, the artwork, the cover, the photos or the liner notes. The reissue of a historic album is some kind of rebuilt or remodelled artwork of a cultural artifact that people are happy to own and display at home ... more than a compressed mixture of "1" and "0."

AAJ: How does it work with the distribution and how does your release schedule look? Any upcoming projects?

EF: Sonorama (www.sonorama.de) is getting distributed worldwide over Groove Attack distribution in Cologne (www.grooveattack.com). We are careful in announcing reissues early because a few titles (like Mario Rusca—Reaction) have been bootlegged shortly before our official release appeared. Present and upcoming projects for 2014 include rare or unreleased recordings by European jazz masters like Hans Koller, Albert Mangelsdorff or Rolf Kühn / Joachim Kühn.

Ekkehart Fleischhammer might be somewhat secretive about his future projects, but there is plenty to explore in the catalog already as the following list, which is only a small selection of the label's treasures, reveals.

Reginaldo Bessa
Amor En Bossa Nova

Connoisseurs of the Brazilian art of the bossa nova will find many gems in the catalog of Sonorama. One of them is the album Amor En Bossa Nova by Brazilian singer, songwriter and guitarist Reginaldo Bessa.

The story behind album is quite special. It was recorded in Argentina in 1963 in the big city of Buenos Aires and as Bessa himself recalls: "I was the first Brazilian to record a bossa nova album in a foreign country. The Musicians who recorded with me were all Argentina born. It was a hard task telling them about the whole thing. I was the composer, the singer and above all a teacher."

Judging from the final result, Bessa was a very successful teacher. The melancholy-tinged Brazilian ballad, with the characteristic light touch, is embodied perfectly on a composition like "Solo" where the gentle rhythm marked by claves is complimented by woodwinds that blow like a gentle breeze, painting a picture of an abandoned lover walking along the beach in the warm sand while the sun sets over the horizon.

The bulk of the record consists of Bessa's distinctive compositions, but there is also room for other material, including two songs from the composer Dorival Caymmi, whose "Sabado En Copacabana" is pure perfection with its shuffling acoustic rhythm and singing flutes. Like the rest of the album, it is a song carried by a deep love of the bossa nova. It is also music that it is easy to fall in love with.

Freddy Cole
The Cole Nobody Knows

Like Reginaldo Bessa, pianist and singer Freddy Cole also sings of love and loss, but his music is not rooted in the bossa nova, but in the American genres of blues, soul and jazz. If the name rings a bell, it isn't a coincidence. Freddy Cole is the younger brother of the famous singer and pianist Nat "King" Cole, but hasn't been exposed to a wide audience. This fact is played upon in the humorously titled The Cole Nobody Knows. The privately pressed album came out in 1976 and has since become a bona fide classic in his discography.

The Cole Nobody Knows is a winner from start to finish. From the soulful plea of the opener "Correct Me If I'm Wrong" to the virtuosic medley of " I keep Going Back to Joe's" and "Waiter Ask the Man to Play the Blues," Cole shows himself as a superb and swinging storyteller whose sense of the dramaturgy of a song is nothing less than stunning. A case in point is his reading of Cole Porter's "Miss Otis Regrets," which starts with a pared down setting of guitar and voice and subtly adds electric piano, bass and drummer Paul Avery's brushes in the end.

Throughout the album, Cole switches between electric and acoustic piano and is equally funky and swinging. This is just as much soulful jazz as it is soul jazz. There are grooves, but also tunes. Timeless standards transformed into a personal expression where Cole's smoky voice places itself naturally in the center and croons with conviction, but there's nothing slick about it, and the singer underlines his street credibility with his rap on "He'll Have to Go."

With strong backing from drummer Avery, bassist Ed Edwards and guitarist Buddy Cooner, Cole has the right support to bring out the many nuances in his artistry. It all adds up to a strong musical statement from the Cole that everybody should know.

Greetje Kauffeld
Heaven's Open

Another high caliber artist on Sonorama that is worthy of more attention is the Dutch singer Greetje Kauffeld. In fact, Kauffeld and Cole have another thing in common. They have both done definitive readings of Cole Porter's "Miss Otis Regrets," but where Cole's version was minimalistic in its setting, Kauffeld has a sweeping string section behind her. Fortunately, her velvet voice doesn't drown in the lush orchestration. She has a capability to use space and silence as an extra instrument, always sounding unforced, but with a silently burning flame that makes the songs feel like lived stories.

The choice of rare material on the compilation Heaven's is Open is superb and shows how brave Kauffeld could be. Not many singers would record a title like "Dear Death," but like the eccentric crooner Scott Walker, Kauffeld knows how to handle the existential drama in a song without sounding pretentious. In the song, love becomes a matter of life and death. The loss of love is a sign of resignation as Kauffeld sings "Dear Death quietly enfold me. Live is for the living and my lover has died."

After the death of winter, the bleak perspective of "Dear Death" is congenially followed by two spring standards: "You Must Believe In Spring" and "Spring Is Here" that both use the season of spring as a metaphor for love, but still with a bittersweet tone.

Bittersweet is also the word to describe Kauffeld's masterful version of Barbra Streisand's signature song "The Way We Were" that begins and ends the album: The opening with vocals and the end with Kauffeld's ethereal wordless humming.

Ekkehart Fleischhammer has a large share in the album's success as a cohesive work of art. He has compiled the lost ballads in a way that forms a narrative cycle that highlights Kauffeld's strength as singer, interpreter and storyteller.

Don Paulin
Me and My Papagayo

Another singer on Sonorama is Don Paulin and his album Me and My Papagayo shows the stylistic variety on the label. There is very long way from the stylish string-ballads of Kauffeld to Paulin's eclectic mix of bossa nova, jazz, Latin beats and psychedelic pop music .

The album begins with a fanfare of mariachi trumpets on "Danza" and continues in an upbeat mood with a tongue in cheek homage to a fruit on "Ananas," complete with trumpets, a choir of women and a juicy piano groove.

The album came out in 1969 and around the same time, Paulin came with a statement about his life as an artist: "My guitar and I have come a long way down the road together. We started out way back in Philadelphia where I was born, and since then we've sung and played our way from New York to San Francisco and from Montreal to Mexico City. We've been to Cuba and to Israel. Now we're in Europe and we're still on the move, 'cause there are a lot of places left to go and a lot of songs we haven't sung yet."

My and My Papagayo is a fitting portrait of a musician who is curious and likes to travel between many different genres, sounds and songs. Paulin is a true bohemian and original singer and songwriter. He has humor, but his music isn't a joke.

The J.J. Band
The J.J. Band

The self-titled album of the J.J. Band is nothing less than a soul-funk revelation. The eight piece band started out as the backing of soul duo Jess & James, but developed their own thing under the leadership of tenor saxophonist Ralph Benatar, trumpet player Douglas Lucas and guitarist and vocalist Francis Weyer.

In the liner notes, Ekkehart Fleischhammer describes their self-titled record in the following way: "The LP was produced in 1970 by Roland Kruger, brother of the famous composer and producer Jean Kruger, and solely pressed in small amounts by Polydor Records in Belgium and Canada. It is the integration of various musical styles, strong rhythms and a deep feeling that makes this vanished album worthwhile. Most of the album are originals, completed by some renditions of well known tunes in a modernized dress. That three of the songs are well known hits is obvious."

The three hits referred to in the notes are the Gamble & Huff song "Love In Them There Hills," The Bee Gees' "To Love Somebody" and The Beatles' "Norwegian Wood." These familiar songs all get a solid dose of soul J.J. style and who would have thought that "Norwegian Wood" could groove the way it does in the hands of the band, complete with clapping rhythms, honking saxophone and spiky guitar.

While the covers are a treat, the originals are just as good. Whether they touch on sunny acoustic pop with flutes on "Bip Bip" or a piano soul anthem with marching drums on "Now I've Found Out," The J.J. Band has their very own take on what it means to play funky music with soul.

Big Jullien
Riviera Sound No. 1

Another funky album on Sonorama is French trumpeter, composer and arranger Ivan Jullien's Riviera Sound No. 1. Jullien had done a lot of great of session work for singers like Charles Aznavour and Eddy Mitchell and got the chance to record as a leader with top-notch session musicians.

In the liner notes by Ekkehart Fleischhammer, Jullien recalls the experience of recording the album: "The album 'Riviera Sound No. 1' was produced in various steps at Barcley Studios. Some days the studio and the musicians were available at the same time for three or four hours and then we used to play and record."

The fruits of the sessions are twelve selections of tasty big band funk, with the occasional ballad thrown in for good measure. Whether tackling honking soul-funk in the key of Stax on "I Remember Otis," a deep organ groove with wailing brass on "An Oscar For Eddy" or a sophisticated theme with fuzz-bass on "Crescendo," the musicians play their hearts out and in the middle of it all Jullien himself shines. He is billed as "Big Jullien" on the cover of the album and there's a reason for this. It was the artistic director Léo Missir who got the idea for the session and gave him the name as Jullien says in the liner notes: "The name 'Big Jullien' was an idea of Léo Missir, who was deeply impressed by my music and used to call me the best trumpet player in France."

Those who are in doubt about this statement just need to listen to Riviera Sound No. 1. Here there's plenty of proof of Jullien's skills and his right to carry his title.

The European All Stars 1961
The European All Stars 1961

Big Jullien is the shining star on Riviera Sound No. 1, but there is an impressive amount of stars in the group The European All Stars 1961 whose self-titled album was recorded during a festival in Berlin. The meeting of the stars, who came from twelve different countries, and included names such as French pianist Martial Solal, Swedish alto saxophonist Arne Domnerus and Turkish trumpeter Mufay Falay, was arranged by the German critic and producer Joachim-Ernst Berendt and he certainly had a lucky hand in choosing musicians with the right chemistry.

The music simply swings from the start when Norwegian bassist Erik Amundsen introduces the riff on a smoking version of fellow bassist Charles Mingus' composition "Haitian Fightsong."

Belgian arranger and composer Francois Boland contributes with many of the arrangements on the record, but he also shows up as a composer on the lightly swinging "3+3" and "High Notes" where his countryman Sadi adds his chiming vibes on a composition that allow the horn section to engage in joyful interplay. In fact, joy is the keyword on this album. In the end, the record isn't about stars, but about musicians who simply enjoy playing together.

Walter Strerath
Trio Quartet Quintet

The concept behind the European All Stars 1961 was to bring some of the hottest names in European jazz to Berlin, but Germany already had a rich jazz environment and lots of talent. Pianist Walter Strerath is a case in point and on Trio Quartet Quintet from 1969, he shows his skills in three different constellations as the title implies.

The record has long been a collector's item that has fetched an enormous sum of money in the market, but the music itself is priceless and is fortunately made available again through a reissue on Sonorama.

Strerath is a master of modern jazz piano with harmonic sophistication and a rhythmical punch reminiscent of McCoy Tyner. Another clear influence in the group is pianist and composer Herbie Hancock, who is saluted with a melody whose origin trumpeter and composer Hans Thomas doesn't try hide. "Watermelon Girl" is a sympathetic take on Hancock's classic "Watermelon Man," but Thomas is capable of more than pleasant pastiche. In fact, with his six compositions on the album, he is the most prominent composer on the album and shows a stylistic variety ranging from the hard bop of the opener "New Gospel" to the bossa nova rhythms of "Little Ya-Ya" and the stylish balladry of "Rainy day." Simply put, Strerath's group is capable of going in all musical directions.

Klaus Treuheit



Another German jazz talent whose music has become highly collectable is the pianist Klaus Treuheit. His trio album Nardis with bassist Christian Lachotta and drummer Hans-Günther Brodman shows group interaction of the highest order and it is no wonder that the deep lyricism and swing of the group is in demand.

Treuheit has a wide knowledge of jazz tradition and his trio knows the vocabulary of standards and bop. As a composer, he brings in various influences. For instance, pianist Ben Sidran gets an homage on "Sidran," a tune whose harmonic delicacy is framed by a spicy hard bop blues, and Latin rhythms surface on "Herbstlied" and bring in a touch of sunshine.

As opposed to the sunshine of "Herbstlied," the composition "Winterlied" emphasizes the other side of the season, with a melancholy mood and dark and heavy minor chords, but the brooding ambiance is balanced by light melodic lines that sing in the darkness.

It is characteristic of the group that they sing together as a trio and swing with sensitivity. There's a constant variety in the playing of Brodman, and Lachotta carves exquisite motives on the bass. Nardis is a beautiful flower of an album.

Joy unlimited
Instrumental Impressions

While Walter Strerath and Klaus Treuheit can be placed within the hard bop genre, there are certain releases on Sonorama which are difficult to categorize. This is how Ekkehart Fleischhammer describes the music of the German band Joy Unlimited in the liner notes to the album Instrumental Impressions:

"Twelve excellent tracks of jazz-funk, psych rock and Latin music, with clever arrangements and perfect grooves. Frantic horns and flute lines, wah-wah guitars, psychedelic organ, Latin rhythms and jazzy saxophone or vibes develop a true kaleidoscope of varied retro sounds. The band plays music for an imaginary film of the counterculture, spiced with 'killer' breaks and electronic effects."

Listening to the album is indeed an exotic and joyful journey through various genres and moods. It was the Italian label Devega in Milan that released the album that was meant for license purposes only. However, this album of library funk intended for television and radio has justifiably become a much sought out object among collectors of funk music and rare groove.

In spite of its eclectic nature, Instrumental Impressions is very much a product of its time. It was recorded in 1972 and remains a charming and musically convincing souvenir from a decade where genres were starting to blur.

Barney Wilen
Moshi Too

Joy Unlimited travels between genres, but the French saxophonist Barney Wilen, who played with Miles Davis on the soundtrack for the movie Ascenseur Pour L'Echafaud (1959) didn't just travel between genres, he went on a real pilgrimage to Africa along with a team of artists, including his girlfriend, famous activist Caroline de Bendern, who would later become his wife.

In 1969 and 1970, they travelled through Morocco, Algeria, Niger, Mali, Burkina Faso, Senegal and Dakar. The plan was to make a movie, but it never materialized. Instead, a lot of music was recorded with local musicians, but never released. It remained in the vaults of Barney Wilen for many years, but was discovered by Ekkehart Fleischhammer and released in 2012 in cooperation with Wilen's son Patrick Wilen.

The final result Moshi Too is more than an important historical document or an aural travelogue, it is, in fact, the organic equivalent of Miles Davis' Bitches Brew. It is an enchanting meeting between spiritual jazz, psychedelic rock and field recordings of African folklore. The centerpieces on the album are two epic compositions: the quietly meditative and hypnotic "Serenade for Africa" with ethereal electronic flourishes and mourning saxophone and the slowly building tribal trance jazz-funk jam "Black Locomotive."

Moshi Too is a truly unique document, but isn't the only pearl in Wilen's archive. Sonorama has also released the excellent Jazz in Camera (Sonorama, 2012) that documents Wilen's recordings with trumpeter Donald Byrd for a soundtrack to a French movie that was never released.

Third Eye

Barney Wilen needed to travel to Africa to get inspiration and play with new sidemen. The Dutch fusion group Third Eye was so lucky that it didn't have to travel to get inspiration.It came in the shape of Jamaican born saxophonist Wilton 'Bogey' Gaynair who lifted the group's music to new heights on Connexion (1971). In the liner notes, Ekkehart Fleischhammer has this to say about the album:

"'Connexion' mainly contains original material by Wilton Gaynair and stands out as a landmark in the fields of European progressive jazz from the 1970s. The LP includes the excellent Latin/Brazil fusion track "Ogetnom," made famous by French DJ Cam on a long deleted Jazz Fusion Compilation from 1994. The band pursues a considered and planned format in jazz with four extended album tracks that combine creative voices in both the writing and performing areas. Their music is inventive, intriguing , imaginative and well played.

As always, it is hard not to agree with the assessment of Ekkehart Fleischhammer. His impeccable taste is the thing that makes virtually every release on Sonorama a winner. He is in the very special situation that he is on both sides of the table. He is the owner of a record company, but he is also a collector himself. But he isn't a collector in the sense that he needs to have everything. As he says: "It is not necessary to own all records by a beloved artist, but at least his good ones and all good records from a certain genre one is interested in."

It is all about careful selection and dedication. Each release in the catalog of Sonorama represents a hidden jewel that waits to be found. Ekkehart Fleischhammer knows lasting quality when he hears it and when it comes to music it is hard to think of a label that does a better job of preserving the past and putting it in the future.

Tracks and Personnel

Amor En Bossa Nova

Tracks: Samba dissonante; Solo; En Los Tiempos De La Abuela; El Samba Que No Hic; Hice Un Samba; Llora Tu Tristeza; Ya Fuiste A Bahia?; Sabado En Copacabana; Cancion De Cuna Para Un Amor; Me Gustas Muchisimo; El Amor Hace Llorar; Cancion Del Amor Solo.

Personnel: Reginaldo Bessa with Miki Lerman and Ensemble.

The Cole Nobody Knows

Tracks: Correct Me If I`m Wrong; Moving On—Place In The Sun; Wild Is Love; A Man Shouldn`t Be Lonely; Brother Where Are You; Miss Otis Regrets; Live For Life; He`ll Have To Go; Medley: I Keep Going back To Joe`s/Waiter Ask The Man To Play The Blues.

Personnel: Freddy Cole: piano, electric piano, vocals; Ed Edwards: bass; Paul Avery: drums; Buddy Cooner: guitar.

Heaven's Open

Tracks: The Way We Were; Miss Otis Regrets; Dear Death; You Must Believe In Spring; Spring Is Here; Andorinha; Vincent; Polka Dots & Moonbeams; The Way You Look Tonight; I Can`t Give You Anything But Love; The Way We Were—Wordless.

Personnel: Greetje Kauffeld: vocals. Arranged & conducted by Rob Pronk, Jerry van Rooyen, Addy Flor, Rogier van Otterloo, Dolf van der Linden and Bert Paige.

Me and My Papagayo

Tracks: Danza; Ananas; Constant Rain; Inca Uyu; Titicaca; Mellow Yellow; Papagayo; Blue Bossa; Duerme Negrito; Suddenly; Charangito; Sugar Cane; On The Road Again; In My Fantasy.

Personnel: Don Paulin: vocals, guitar; Siegfried Schwab: guitar; Ingfried Hoffmann: piano, cembalo, arrangements; Charly Antolini: drums & percussion plus unknown brass & string ensemble.

The J.J. band

Tracks: Love In Them There Hills; Cousins Jack; Now I`ve Found You; Leaving You; Norwegian Wood; a) Intro b) We`ve Been So Happy c) Into A World; Bip Bip; Nicky`s At The P.C.; To Love Somebody.

Personnel: Garcia Morales: drums, lead vocal; Douglas Lucas: trumpet; Ralph Benatar: tenor sax, flute; Stanley Willis : alto & tenor sax, flute; Jean-Claude "Titine" Clement: baritone sax; Francis Weyer: guitar, vocals; Yvan "Ket" De Souter: bass, vocals; Marcel "Toto" Poznantek: percussion, trombone, vocals.

Riviera Sound No. 1

Tracks: An Oscar For Eddy; Wake The Monster; Edith; Crescendo; The Big Team; Pace; I Remember Otis; Talk; The Looser; Sonoro; Time Square; Opening.

Personnel: I.Jullien: trumpet; E. Louiss: organ; M. Vander: piano; M. Colombier: piano; A. Arpino: drums; P.-A. Dahan: drums; F. Dariscuren: bass; R. Jimenes: guitar; P. Vullaz: guitar; Oliver; guitar; R. Guerin: trumpet; M. Thomas: trumpet; J. Baissat: trumpet; C. Guizien: trombone; R. Katarzynsky: trombone; J. Nourredine: saxophone; P. Gossez: saxophone; R. Garcia: saxophone; G. Grenn: saxophone.

The European All Stars 1961

Tracks: Haitian` Fightsong; Gone With The Wind; Hittin` The Blues; Blue Monk; Avertissez-Moi; Am I Blue; That Old Devil Love; 3 + 3; High Notes.

Personnel: Hans Koller: tenor saxophone; Arne Domnerus: alto saxophone; Ronnie Ross: baritone saxophone; Albert Mangelsdorff: trombone; Dusko Goykovich: trumpet; Mufay Falay: trumpet; Tete Montoliu: piano; Martial Solal: piano; Franco Cerri: guitar; Sadi: vibraphone; Erik Amundsen: bass; William Schiöpffe: drums; Monica Zetterlund: vocals.

Trio Quartet Quintet

Tracks: New Gospel; Waltz for Ellen; The Unknown; Dance of Rosa; Speed-Up; Watermelon Girl; Little Ya-Ya; Rainy Day; ¾ in Minor.

Personnel: Walter Strerath: piano; Hans Thomas: trumpet, flugelhorn; Manfred Lindner: alto and soprano saxophone; Andreas Scheel: bass; Gerd Putz: drums.


Tracks: Sidran; So In Love; Winterlied; How My Heart Sings; Blues Blue; Herbstlaub; Lydia's Lament; Every Time We Say Goodbye.

Personnel: Klaus Treuheit: piano; Christian Lachotta: bass; Hans-Günther Brodman: drums.

Instrumental Impressions

Tracks: Breeding Ground; Jigsaw Man; Soul Gravy; Homunkulus; santa Pueblo; Jamara; Silverstone; Blue Box; Parabolica; Leguna Seca; Herbie; Spectrum.

Personnel: Roland Heck: organ, fender rhodes, piano, vibes, marimba, percussion; Gerd Köthe: flute, saxophone; Hans W. Herkenne: drums, percussion; Albin Metz: fender bass, trumpet; Dieter Kindl: fender bass, guitar, percussion; Klaus Nagel: flute, guitar, woodwind, percussion; Hans Lingenfelder: guitar.

Moshi Too

Tracks: Moshi Too; Fullys In The Bush; Fête A Tam I; Zombizar Reloaded; Bumba Ciagalo; Serenade For Africa; Disturbance; Barka De Sala; Fête A Tam II; Leave Before The Gospel; Two Twenty-Three; Wah Wah; Kira Burundi; Black Locomotive.

Personnel: Barney Wilen and unknown musicians.


Tracks: Maroon Dance; The Healer; Landings; Ogetnom.

Personnel: Wilton Gaynair: tenor and soprano saxophone, percussion; Gerd Dudek: tenor saxophone, flute; Ali Haurand: acoustic bass: Frank Köllges: drums, percussion; Rob van den Broeck: Fender piano, Arp-Odyssey synthesizer; Steve Boston: congas.

Photo Credit

Courtesy of Ekkehart Fleischhammer

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One is the Other



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Jazz article: Edition Records: A Guide To The First Fifteen Years
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