Briefly, the arrangement becomes understated and the urgent vocal enters as the arrangement to this ten minute epic rebuilds and reveals its secrets. This includes a breathtaking saxophone solo which is accompanied by the Fender Rhodes and drums. Soon, the baton passes to the trombone before bandleader Doug Carn unleashes a fleet-fingered solo. His fingers dart across the keyboard and along with Jean Carn whose vocal heads in the direction of spiritual jazz he plays a leading role in the sound and success of this jazz opus.
Her vocal is a mixture of power and passion and soars above the arrangement before being replaced by the soprano saxophone and then bass clarinet take centrestage. Meanwhile, the tight talented and versatile band match them every step of the way.
This includes washes of Hammond organ and drummer Alphonse Mouzon who unleashes drums rolls and pounds the hi-hat. A less is more approach is taken and this allow the vocal to shine.
Very different is Trance Dance which is best described as avant-garde jazz which also features elements of African music, fusion and even elements of free jazz, funk and soul-jazz. Soon the tempo is rising and Doug Carn and his band allow the opportunity to stretch their legs and showcase their considerable talents as genres melt into one.
Meanwhile, Doug Carn interjects hopefully and stabs at the piano as the bass clarinet soars above the arrangement. They prove a potent combination before the saxophone replaces the clarinet and goes toe-to-toe with the jangling piano which Doug Carn then pounds, jabs stabs and adds flamboyant flourishes as he takes centrestage.
Soon, Jean Carn rejoins and adds an impassioned plea on this twelve minute opus that is the centrepiece of the album. The piano led New Moon closes Spirit Of The New Land and joins forces with drums and bursts of quivering horns as the arrangement cascades and sometimes seems to race along. In doing so, it provides the perfect showcase for Doug Carn and his band who save one of their best performances for last.
However, neither album sold tens of thousands of copies but both were successful for a small independent label. That was what Black Jazz Records was. It was also a label that had a vision. They had created an album that was an alternative to what Gene Russell and Dick Schory referred to as old school jazz. Spirit Of The New Land was a very different and new type of jazz album and featured everything from avant-garde, free jazz, funk, jazz-funk, fusion, soul, soul-jazz and spiritual jazz.
Layla (English Version) - Habibi* - Layla (Vinyl) genres were combined by Doug Carn and Jean Carn who unleashed her five octave vocal on Spirit Of The New Land which at the time was their finest hour and set the bar high for future albums. Posted by Jillem on Saturday, October 02, This latest 45 is another stunner with plenty of raw screams, wails and grunts all adding extra life and vitality to the already trilling guitars and bustling drum rhythms.
Add in heavy percussion and you have a real heavy Afro psych-funk tune. The flip is more deep and soulful, and just as good for different reasons. The group is Orchestre Poly-Rythmo de Cotonou Dahomey, and we get to listen to two different tracks that hit hard in their own way.
Heavy drums and a carefully picked guitar are paired with screams and straight up jams throughout. The original, released in was described as soul. While tehre might have been some elements of soul thrown in, this one in fact hits that funky psych rhythms that we all can get ourselves into.
No corners were cut, these tracks come to you in the best shape they can and continue to be a hot seven from start to finish. Originally released in Righteous spiritual jazz done with such a sophisticated execution that this album separates itself from anything else of its kind.
A moving, beautiful listen that sounds ever more contemporary. Further, his complex harmonic charts made his sextet sound like an orchestra, establishing him as an arranger. This set also marked the recording debuts of drummer Michael Carvin and bassist Henry Franklin who would issue The Skipper for Black Jazz the following year. The album opens with a brief read of John Coltrane's "Welcome" as brass, reeds, winds, modal and Rhodes piano, bass, and drums all enter on a crescendo before Jean wordlessly soars above them.
Hutcherson's "Little B's Poem" commences as a swinging, soul-jazz groover, led by Carn's whimsical Hammond organ and swinging hard bop drums. Jean nearly scats the lyric before the horns surround her in a waterfall of cadences, underscoring her souled-out delivery.
Shorter's title cut is a long spectral ballad. Electric piano and cymbals whisper in the vamp before Jean deliberately and artfully articulates the melody through Carn's life-affirming lyrics; the band hovers and floats like a jazz chamber group behind her, providing her freedom to improvise.
Carn's "Moon Child" offers humor as the piano playfully apes Traffic's vamp to "Low Spark of High Heeled Boys" in the intro before the horns enter in procession. Franklin walks them along the gradually unfolding modal groove while Carvin fills and rolls around them all. Harper's tenor break channels Coltrane, Shorter, and Sonny Rollins.
Franklin's furious bassline, Harper's roiling sax, and Carvin's skittering, break-laden kit work push Carn toward modal exploration with expansive chord voicings punctuated by speedy single-note runs. Carn never sacrifices the swinging, songlike structure while underscording the complexity in Tyner's harmonic inquiry. The "Acknowledgement" section of Coltrane's "A Love Supreme" is rendered with elegance and spiritual soul in Jean's delivery.
The familiar bass and piano theme buoys her. The horns gather force and cascade under and around her as Carn lays down fat, open-ended chords for the rhythm section to play off. His lyrics are full of optimism and spirituality. Horace Silver's "Peace" closes. Carn's chart showcases an elegant interplay between bass and Rhodes piano as Jean expresses the lyric with nuanced resolve and resonance while the trombone emerges as a second voice.
All of Carn's Black Jazz titles are influential, but Infant Eyes arrived at a special cultural juncture. It balanced accessibility with adventure and established both the label and the Carns as co-creators of a brand new, specifically Afro-centric approach to creative jazz.
He found a home at the Black Jazz label, where African-Americans called the shots and, of course, racial tension was nonexistent. Who was this year-old whose first album, Infant Eyes, sold very well away from the machinations of the music industry? Following his muse to Los Angeles, he worked in an organ trio and studied with organ and piano player Larry Young, who had co-founded the seminal jazz-rock band Tony Williams' Lifetime and recorded an excellent mids hard-bop record titled Unity, among other things.
Carn assumes several roles well: organ and piano player, arranger and lyricist. His wife at the time, Jean, is just as impressive singing. First track 'Welcome' -- a Coltrane piece found on the early s collection The Gentle Sound of John Coltrane -- has Jean's operatic voice and a swirl of instruments conjuring a state of awe in just over a minute.
Next, Jean displays a world of conviction singing the joyous lyrics about a newborn that Doug penned for vibraphonist Bobby Hutcherson's 'Little B's Poem' originally an instrumental on Hutcherson's Components album. Jean opens still another vista of wonder singing the new lyrics of the melodic Wayne Shorter ballad 'Infant Eyes.
It was the first of twenty albums by a label that was very different from other new indie jazz labels that were being founded across the America. This included Layla (English Version) - Habibi* - Layla (Vinyl) that featured political and spiritually influenced music. Between and the label released twenty albums that included everything from spiritual jazz and soul-jazz to Layla (English Version) - Habibi* - Layla (Vinyl) jazz and funk.
Eclectic described the music that the label released. That described the albums that Black Jazz Records released during That was still to come.
Doug Carn who was just twenty-three when he signed to Black Jazz Records. Not long after this, he began work on his debut album Infant Eyes. Doug Carn put together a band and spent the best part of a year practising and then when he signed to Black Jazz Records recorded the album. The rhythm section featured drummer Michael Carvin, bassist Henry Franklin Layla (English Version) - Habibi* - Layla (Vinyl) bandleader Doug Carn who switched between electric piano, organ and piano.
Meanwhile his wife Jean added her unmistakable vocals. George Harper played tenor saxophone and flute and was joined in he front line by trombonist Al Hall Jr and Bob Frazier who played trumpet and flugelhorn. This talented and versatile band worked their way through the seven tracks which became Infant Eyes. The session was engineered and produced by label owner Gene Russell and the album was scheduled for later in When Infant Eyes was released inDoug Carn still regarded the album as a demo.
Despite that, it was well received by critics and hailed as a groundbreaking album. It was a similar case with the other two albums Doug Carn released for the label. That was no surprise given the quality of the three albums he released. The first was Infant Eyes. Initially the arrangement is intense and almost frenetic before the band lock into a groove. By then, the scat disappears as unleashes an impassioned vocal. On Moon Child Doug Carn switches to piano, and his playing is moody and melancholy.
Meanwhile, the horns add an atmospheric backdrop during this eight minute epic which is an emotional roller coaster. Horns are to the fore as the organ sweeps and swirls and join with the cymbals in playing a crucial role in the sound and success of the track. However, six years later Doug Carn added lyrics and his wife Jean takes charge of the vocal.
Doug Carn added new lyrics full of social comment which are delivered by Jean. She plays a leading role in the success of breathtaking, powerful and poignant take on a familiar track from the Layla (English Version) - Habibi* - Layla (Vinyl), great jazz pianist.
Despite that, it was the most successful album that Black Jazz Records released that year. Infant Eyes was very different to old school jazz and was new type of jazz album. It featured everything from avant-garde and Layla (English Version) - Habibi* - Layla (Vinyl) elements of free jazz, funk, fusion, soul, soul-jazz and spiritual jazz. These genres were combined by Doug Carn and Jean Carn who unleashed her five octave vocal on Infant Eyes which introduced the pair to the record buying public across America.
This was just the first chapter in the Doug and Jean Carn story. Infant Eyes was the first of four critically acclaimed albums that Doug Carn released between and These albums are now regarded as cult classics, and amongst the best that Black Jazz Records released during the five years it was in business. And nothing elsewhere in the infinite universe like them either. Peter will ask, you know: "Have you dug 'Faces in the Jazzmatazz'?
And which person are you in "Flibbity-Jib'? But the thing he is probably best loved for is a series of albums released in the late Fifties on Dot Records called Word Jazz. The four albums, recorded between andhave been anthologized several times over the course of their history including a vinyl collection on Blue Thumb and a CD on Rhinobut they have never before been made available on CD in their entirety.
In all, 27 tracks make their CD debut. Needless to say, Ken has also written some notes, and has provided some rare photos for the set. The Charlie Parker Dial MastersThe Judy Garland Decca MastersThe Machito Columbia Masters —the titles assume a certain form: the imperious definite article, the name of the artist, the recording company, and, at the end, that masterful word, masters.
But he did not define his era, and it did not define him. He is a performing artist of indeterminate medium, all but unknown to the general public and not well-known among musicians either. Most of his career has been in television and radio, where he lent his dark, agile bassvoice to numberless commercials. His album Colors was originally a series of radio spots for the Fuller Paint Company.
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