Nice to see this thread pop up again...
The TT is undergoing some work, so these are all on CD:
Piero Umiliani -- Svezia, Inferno E Paradiso/Expanded Orig. Sndtrk. ['68] Translated as "Sweden, Heaven and Hell". (I don't why the latter two terms are transposed as compared with the Italian title, but then again I haven't seen the movie anyway.) Here's a synopsis from the liners: "The doucmentary tries to compare the two most evident aspects of current Swedish society: prosperity and the inner anxiety which ensues from it. Some of the areas touched on: sex education in schools, a funeral without signs of grief, a look around the lesbian club scene, a sex and drugs boat trip for the young, porn shops, nuclear bunkers, drunk driving, marriage among brother and sister, hardened drinkers, an old people's home, the suicide of a desperate young woman." What, nothing about Volvo vs. Saab? The music is catchy and ginchy, somewhat psychedelic loungy pop-jazz with a Brazilian/discotheque feel and prominent nonsense vocalese, featuring strong orchestra and band arrangements, and hot playing by Italian studio cats (including contributions from saxist Gato Barbieri). The best-known tune here is "Mah Na, Mah Na", which achieved TV immortality to my generation via its appropriation on Sesame Street.
Roland Kirk -- I Talk With The Spirits [Limelight/Verve, '64/'98] His all-flutes album: no sax, manzello or stritch, so no playing three instuments at once, although he does get off nice music-box and cuckoo-clock additions. With Horace Parlan piano, Bobby Moses vibes and Walter Perkins drums.
Ed Townsend -- Now! [Curtom/Sequel, '75/'00] Producer/songwriter best known for collaborating with Marvin Gaye on "Let's Get It On" and his 60's affiliation with Dee Dee Warwick (Dionne's vastly underappreciated earthier sister). Here he is out front on Curtis Mayfield's imprint, a little late in the game (and, alas, for his singing voice) but like Curtis still not succumbing to the disco siren song. Gets off to a fairly generic start on the first couple of numbers, including the sole item not self-penned, but by the midway point really kicks it into gear with some nice topical/introspective tunes featuring a solid-smooth funky soul sound not unlike period Gaye and Mayfield.
The TT is undergoing some work, so these are all on CD:
Piero Umiliani -- Svezia, Inferno E Paradiso/Expanded Orig. Sndtrk. ['68] Translated as "Sweden, Heaven and Hell". (I don't why the latter two terms are transposed as compared with the Italian title, but then again I haven't seen the movie anyway.) Here's a synopsis from the liners: "The doucmentary tries to compare the two most evident aspects of current Swedish society: prosperity and the inner anxiety which ensues from it. Some of the areas touched on: sex education in schools, a funeral without signs of grief, a look around the lesbian club scene, a sex and drugs boat trip for the young, porn shops, nuclear bunkers, drunk driving, marriage among brother and sister, hardened drinkers, an old people's home, the suicide of a desperate young woman." What, nothing about Volvo vs. Saab? The music is catchy and ginchy, somewhat psychedelic loungy pop-jazz with a Brazilian/discotheque feel and prominent nonsense vocalese, featuring strong orchestra and band arrangements, and hot playing by Italian studio cats (including contributions from saxist Gato Barbieri). The best-known tune here is "Mah Na, Mah Na", which achieved TV immortality to my generation via its appropriation on Sesame Street.
Roland Kirk -- I Talk With The Spirits [Limelight/Verve, '64/'98] His all-flutes album: no sax, manzello or stritch, so no playing three instuments at once, although he does get off nice music-box and cuckoo-clock additions. With Horace Parlan piano, Bobby Moses vibes and Walter Perkins drums.
Ed Townsend -- Now! [Curtom/Sequel, '75/'00] Producer/songwriter best known for collaborating with Marvin Gaye on "Let's Get It On" and his 60's affiliation with Dee Dee Warwick (Dionne's vastly underappreciated earthier sister). Here he is out front on Curtis Mayfield's imprint, a little late in the game (and, alas, for his singing voice) but like Curtis still not succumbing to the disco siren song. Gets off to a fairly generic start on the first couple of numbers, including the sole item not self-penned, but by the midway point really kicks it into gear with some nice topical/introspective tunes featuring a solid-smooth funky soul sound not unlike period Gaye and Mayfield.