The Famous Castle Jazz Band Plays The Five Pennies (1959)

ARTIST`````The Famous Castle Jazz Band

ALBUM`````The Five Pennies

GENRE`````Jazz

YEAR````````1959

Stomp your feet!

The film version of cornetist Red Nichols' life was a Hollywood success, and one of the very few movies to resist the stereotypical image of jazz musicians as drunken, drug-addled losers. Here, the Famous Castle Jazz Band (who didn't play on the original soundtrack) reinterpret songs from that film in a delightful session that brings fire to the cornier production numbers written by Sylvia Fine and authenticity to standards like "That's A Plenty," "After You've Gone" (with a jaunty vocal from Monte Ballou), "Ja-Da," "My Blue Heaven," and the inevitable "When the Saints Go Marching In," given a rousing closing treatment here. Not the soundtrack, but in many ways a whole lot better.

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Babatunde Olatunji - Drums Of Passion (1959)

ARTIST`````Babatunde Olatunji
ALBUM`````Drums Of Passion

GENRE`````African, Worldbeat, Traditional

YEAR````````1959

Some info
Babatunde Olatunji was a virtuoso drummer who became a sensation in the '60s with his albums of traditional Nigerian drumming and chanting. If Olatunji debuted in today's environment, he would be subjected to much tougher scrutiny and evaluation regarding "authenticity" than he received in the '60s. His heralded albums, particularly Drums of Passion, weren't quite the innovative event some claimed. They were fine LPs, but also contained a heavy dose of show business and sanitized playing that would be duly noted today, particuarly in the specialist press. Still, his albums reportedly were very influential on John Coltrane. They were among the few international releases to not just make the charts, but remain on them for years.

The popularity of Drums Of Passion and More Drums Of Passion predated the '60s black nationalist movement and Afrocentricity of the '80s and '90s. They also had some impact in jazz circles, though they weren't as significant as the Afro-Latin revolution initiated by Mario Bauza, Machito and Chano Pozo.

Album Review from allmusic

Having come to the U.S. from his native Nigeria to study medicine, percussionist Babatunde Olatunji eventually became one of the first African music stars in the States. He also soon counted jazz heavyweights like John Coltrane ("Tunji") and Dizzy Gillespie among his admirers (Gillespie had, a decade earlier, also courted many Cuban music stars via his trailblazing Latin jazz recordings). And, in spite of it being viewed by some as a symbol of African chic, Drums of Passion is still a substantial record thanks to Olatunji's complex and raw drumming. Along with a cadre of backup singers and two other percussionists, Olatunji works through eight traditional drum and chorus cuts originally used to celebrate a variety of things in Nigeria: "Akiwowo" and "Shango" are chants to a train conductor and the God of Thunder, respectively, while "Baba Jinde" is a celebration of the dance of flirtation and "Odun De! Odun De!" serves as a New Year's greeting. The choruses do sound a bit overwrought and even too slick at times (partly due to the fact that most of the singers are not African), but thankfully the drumming is never less than engaging. The many curious world music fans who are likely to check this album out should also be sure to look into even better African drumming by native groups like the Drummers of Burundi and the percussion outfits featured on various field recordings.

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Obray Ramsey - Blue Ridge Banjo (1957)

ARTIST`````Obray Ramsey
ALBUM`````Blue Ridge Banjo
GENRE`````Folk

YEAR````````1957

Biography
Obray Ramsey is the banjo-picking cousin of old-time music instrumentalist Byard Ray, and the two worked regularly as a duo until they were "discovered" playing at an Asheville folk festival during the folk music revival of the '60s. From that point on, the two men's musical career took a strangely twisted path. Late-night television mongers who may have made it all the way through the strange psychedelic rock western Zachariah, may wonder who the two old-time musicians are that show up in one of this epic's many strange musical wonders, and the answer would be Ray and Ramsey.
Read the rest of the biography...

More info on this LP
From the back cover of Obray Ramsey’s 1957 LP Blue Ridge Banjo, notes by Kenneth S. Goldstein:

In recent years, we have heard all to often about the ‘dying’ of folkculture in the Southern mountains. Many of the collectors who ventured into this area to record the songlore of the region in the 1930s and ’40s, shed sorry tears for the passing of a beautiful and rich tradition, each proclaiming his own collection to be the “last leaves” of this once-proud heritage. So, fewer and fewer adventuresome souls have involved themselves in recording the still-living tradition of the area. Those who have, however, have been amply rewarded by finding that, even though mountain lifehas been completely revolutionized in the past few decades, tradition dies hard, and numerous singers may still be heard and recorded. To be sure, there are new sounds and new songs, but this material is, in many ways, as vibrant and vital as it was in the days of Cecil Sharp’s pioneering collecting forays.Obray Ramsey, whose sprightly banjo songs and instrumentals make up this LP, is living proof that this tradition still exists. And there are many more young, middle-aged and old folksingers like him, who have retained the best songs of their hardy mountain ancestors, perhaps changing some of them to suit their own artistic and performing abilities, but still retaining the best elements of old-style singing and playing.Ramsey was born on the banks of the three Laurels at the edge of the Smokey Mountains in western North Carolina. His father’s people came from the highlands of Scotland, and his mother’s ancestors were Cherokee Indians.Most of his songs were learned from his mother and grandmother, both fine singers with extensive repertoires. For most of his life he has sung his songs unaccompanied, though he had learned to play the guitar when still a young boy. After he married and settled down as a successful farmer near Marshall, North Carolina, he met Bascom Lamar Lunsford, folksinger, collector, and organizer of the Mountain Dance and Folk Festival held annually in Asheville, North Carolina. Lunsford recognized his fine singing talents and encouraged him to take up the 5-string banjo, which he believed would be perfectly suited to Obray’s style of singing. To show his faith in this belief, Lunsford gave Ramsey his first banjo in 1953. Now, Obray Ramsey is one of the finest banjo-pickers in the Southern Mountains. His style is a perfect compromise between old picking styles and currently popular modern styles.

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Chaino - Jungle Echoes (1959)

MINIMALIST EXOTICA
ARTIST`````Chaino
ALBUM`````Jungle Echoes
GENRE`````Exotica, Tribal, Afrobeat, Kitsch
YEAR````````1959

SHORT BIO:

The self-styled "percussion genius of Africa," exotica-era enigma Chaino was actually born Leon Johnson in Philadelphia in 1927; raised primarily in Chicago, the details of his early life are largely a mystery, although at some point he learned to play the bongos and began touring the so-called "chitlin" circuit of black nightclubs. During the mid-1950s he surfaced in Los Angeles, and with producer Kirby Allan entered the famed Gold Star studio to record a series of otherworldly jungle exotica LPs; the first, the 1958 Verve label release Jungle Mating Rhythms, featured not only a lurid fusion of African rhythms, primal chants and lusty moaning-and-groaning but also liner notes claiming "Chaino is the only survivor of a lost race of people from the wilds of the jungle in a remote part of central Africa where few white men have ever been...(he) could play seven or more drums at the same time, with such a blur of speed that you can hardly see his hands." In the months which followed, Chaino issued three more albums -- Jungle Echoes, Night of the Spectre and Africana -- each for a different label; on occasion, he also worked as a session musician, and even appeared in pair of feature films, Nighttide and The Devil's Hand. A notoriously difficult and eccentric figure, however, in time he and Allan parted ways, and Chaino's activities over the decades to follow remain unknown; with the resurgence of interest in exotica during the mid-1990s, his brother George Johnson discovered the percussionist's whereabouts and briefly brought him back home to Chicago. Chaino nevertheless resumed his nomadic ways soon after; following surgery to remove a brain tumor, he suffered a fatal heart attack on July 8, 1999.

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Mediafire is givin me a headache with it's upload problems so if there is something wrong with the .zip file please let me know and I'll re-upload it somewhere else.

YMA SUMAC - VOICE OF XTABAY (1950)

THE MOST EXOTIC AND ORIGINAL VOICE EVER. THE FIRST AND THE BEST ALBUM BY A WOMAN-WONDER-DEMON-FREAK. MASTERPIECE COMPOSITIONS BY LES BAXTER.
ARTIST`````````````YMA SUMAC
ALBUM`````````````VOICE OF XTABAY
GENRE`````````````EXOTICA/VOCAL
YEAR```````````````1950

MY VIEW:
Shit. She can sing in offbeat, scream like an animal and be beautiful. What more do you want? I bet she cooks good...

SHORT BIOGRAPHY:
A singer with an amazing four-octave range, Yma Sumac was said to have been a descendant of Inca kings, an Incan princess that was one of the Golden Virgins. Her offbeat stylings became a phenomenon of early-'50s pop music. While her album covers took advantage of her strange costumes and voluptuous figure, rumors abounded that she was, in actuality, a housewife named Amy Camus. It mattered little because there has been no one like her before or since in the annals of popular music.

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