Archive for the LP downloads Category

SUN RA, Cosmic Tones for Mental Therapy LP, 1961 (download)

Posted in Jazz, LP downloads, Sun Ra on January 23, 2012 by Listen Recovery

Cosmic Tones for Mental Therapy < (download LP)

Sun Ra and his Intergalactic Arkestra, 1961

Side A:

1. And Otherness – (5.10)
2. Thither and Yon – (4.01)
3. Adventure-Equation – (8.26)

Side B:

1. Moon Dance – (6.34)
2. Voice of Space – (7.42)

Cosmic Tones for Mental Therapy is an album by the American Jazz musician Sun Ra and his Myth Science Arkestra. Recorded in 1963 but not released until 1967 on Sun Ra’s own Saturn label, the record has become one of the most discussed of Ra’s New York recordings

Originally released in a sleeve with a Sun Ra doodle, the better known cover, designed by Richard Pedreguera, was in place by 1969.

The album has increasingly been discussed within the context of anticipating psychedelia or pointing towards the funk of George Clinton;

Clinton’s astral ritual seems as inspired by the Nation of Islam as it is by Sun Ra, and when asked about the Ra in 1979, Clinton said:
“This boy was definitely out to lunch – the same place I eat at.”

Posições LP – A Tribo, Modulo 1000, Equipe Mercado & Som Imaginario (download)

Posted in Brasil music, LP downloads, psycodelico south america on January 14, 2012 by Listen Recovery

V.A. / Posições LP (download)


1:Kyrie / TRIBO
2:Marina Belair / EQUIPE MERCADO
3:Curtissima / MODULO 1000


4:A Nova Estrela / SOM MAGINARIO
5:Ferrugem E Fuligem / MODULO 1000
6:Peba & Pobo / TRIBO

LP Bio (Groups / Artist)

One of the remarkable factors in Brazilian music during the early 70’s was the experimentalism. The lack and inversion of rules and as well as the freedom’s idealism echoed from Europe and the United States and entered in Brazil. Here we see this factor in bands that appeared between the end of the 60’s and the first years of the 70’s. Bands consolidated in Rio De Janeiro; influenced by the “carioca” way, some jazz sources and by the psychedelic rock.

In 1971 the Odeon launched a collective LP, “Posições“ (Positions), with four new bands. One Som Imaginario (Imaginary Sound) was not unknown (with one record from the last year); the others A Tribo (The Tribe) , Equipe Mercado (Market Team) and Modulo 1000 (Module 1000) were pretty new bands, and from this record didn’t get so far, as bands. As musicians many of the participants of the bands, mostly from A Tribo and Som Imaginario, became very famous, with long-term carriers.

A TRIBO (1971)

A Tribo was a band formed by beginning young musician’s : the Carioca singer Joyce, the violinist Nelson Angelo and the guitarist Toninho Horta from Minas Gerais , the bass player Novelli and the percussionist Naná Vasconcelos from Pernambuco. Nana and Nelson Angelo were playing in the Free Quarteto, a mix of Bossa Nova and Jazz quartet. In 1970, the two musicians joined the Luiz Eça and Sagrada Family band. There they met the singer Joyce.  Nana, Nelson and Joyce called Toninho Hortaand Novelli and formed the Tribe (A Tribo).  Together they made some compositions of they own and played covers from Milton Nascimento and Danilo Caymmi.  In 70 they were at the V International Festival of the Song with “Onoceonoekoto” (Nelson Angelo).  The same year they participated in the collective “Posições” and also recorded a Compact Disc.  The sound from A Tribo is very interesting.  It discloses the symbiosis of rising talents with the voice of Joyce, Novelli’s bass, the arrangements of Nelson Angelo, the guitar of Toninho Horta and the creativity and improvisation of Naná Vasconcelos, who after some months left the band for a solo career.  Nenê replaced him.  However the band did not last very much beyond 1972, but all the band’s participants had a very successful carreer after that.


EQUIPE MERCADO was a band created in Rio de Janeiro during 1970. The band had a very creative and illustrious singer, Diana, allied with the songwriter Stul (guitar, piano and voice); Leugruber (guitar), Ricardo Ginsburg (guitar), Carlos Graça (battery) and Ronaldo Periassu (percussion).  The band was influenced greatly by psychedelic rock, but it also abided by the Brazilian melodic lyricism.  Beyond the participation in the collective “Posições” the group released a compact with the music: “Campos de Arroz” and “Side b rock” in the same year.  The band ended the same year.  In 1972 Diana and Stul launched another compact disc, presenting themselves as a couple, but, unfortunately they didn’t record anything else.

MODULO 1000 (1971)

MODULO 1000 was a quartet formed by Daniel (guitar and vocals, Luis Pablo (guitar), Eduardo(bass), Candinho (battery) in Rio De Janeiro in 69′.  Dispite its short duration it left a great influence for the progressive rock bands that were to follow.  Modulo 1000 mixed blues, rock and a touch of ballad.  The participation of the band in the “V International Festival of the Song” culminated with a compact launched by Odeon with: “Big Mamma” and “Isto Não Quer Dizer Nada”.  Still in 70′ they would participated in the collective “Posições”.  In 72′, they launched the only LP of the history of the band, the cult: “Não Fale Com as Paredes “ (“Do not speak with the Walls”).


In 1971 SOM IMAGINARIO debuted a new record, without the singer and pianist Zé Rodrix that followed to play with Sá and Guarabira.  As well as the previous record (commented in the Saudosas Bolachas/1970) it was directed by Zé Rodrix, in this new one was directed by the Frederiko.  The guitarist occupies this rank and so, the record is presents much more dense and radical that the first one; and the most anarchical possible. At this time, the record does not give many concessions commercial standards. The record opts to a sonorous radicalization.  Breaking for dissonance and hardcore.  The record has the preciosity of Wagner Tiso keyboard , Luiz Alves (bass), Robertinho Silva (battery), Frederiko (guitar) and Tavito (guitar).  From this record “Som Imaginario” (1971) Odeon Records used the song: “Nova Estrela” (Wagner Tiso/Frederyko) to place in the collective “Posições”.

LOS DESTELLOS – Clase Aparte, Odeon 1971 (download LP)

Posted in Los Destellos, LP downloads, Peru Cumbia on November 23, 2011 by Listen Recovery


Is the sixth album by the Peruvian tropical band directed by Enrique Delgado, publish by the Peruvian label Odeon/IEMPSA

Side A.
1.    Para Elena (Balada Cumbia)
2.    El Pacífico (Cumbia)
3.    La cocalera (Cumbia Guaracha)
4.    Chiquilla bonita (Bolero)
5.    La fatífica (Descarga)
6.    Los dulces 16 (Calipso)

Side B.
1.    El eléctrico (Cumbia)
2.    La ranita (Ritmo alegre)
3.    La Cumbia del Sol (Cumbia)
4.    Tu dónde estás (Balada)
5.    El marcianito (Cumbia)
6.    El Gran Boneton (Cumbia)

ENRIQUE DELGADO MOTES (Director Y Fundador de Los Destellos)

THE HEATH BROTHERS “Marchin’ On!” (download LP)

Posted in Jazz, jazz icons, LP downloads on September 26, 2011 by Listen Recovery

Albert Tootie Heath

Percy Heath

Stanley Cowell

Band Members:

Bass – Percy Heath
Drums – Albert Heath
Flute – Albert Heath
Piano, Kalimba – Stanley Cowell
Reeds [Maimoun] – Albert Heath
Saxophone, Flute – Jimmy Heath


1-Warm Valley
3-The Watergate Blues
5-Smilin’ Billy Suite Part I
6-Smilin’ Billy Suite Part II
7-Smilin’ Billy Suite Part III
8-Smilin’ Billy Suite Part IV

JAZZ CATS… go do your math and the research on the Heath Bros.

Renz De Madrugada

WILLIE COLON & HECTOR LAVOE – El Juicio LP, Fania Records 1972

Posted in Fania Records LP, Hector Lavoe, LP downloads, Willie Colon on September 21, 2011 by Listen Recovery


Band Members / Credits:
Willie Colon – Nose Flute
Hector Lavoe – Lead Vocal
Jose Mangual – Bongo
Santi Gonzalez – Bass
Louis Romero – Timbales
Joe Torres – Piano
Eric Matos – Trombone
Milton Cardona – Conga
Gene Golden – Percussion
Chorus: Justo Betancourt, Johnny Pacheco

Produced by: Willie Colon & Jerry Masucci
Recording Director: Johnny Pacheco
Arrangements by: Willie Colon
Original Album Illustration by: Aggie Whelan
Art Director: Izzy Sanabria
Engineer: Irving Greenbaum
Recorded at: Broadway Recording, NY



1) Ah Ah Oh No

2) Pirana

3) Seguire Sin Ti
4) Timbalero


1) Aguanile

2) Sonando Despierto

3) Si La Ves

4) Pan y Agua (Bread and Water)

ALFREDITO LINARES “Salsa De Verdad” LP, PERÙ SALSA (download LP)

Posted in Alfredo Linares Music, LP downloads, Peru Music Icon, salsa icon on August 28, 2011 by Listen Recovery

“Un genio de la música caribeña. Como integrante de su primera Sonora puedo decir que es un músico completo. En el nivel de los grandes, como Palmieri o Harlow”.      Pablo Villanueva ‘Melcochita’ , actor y sonero


Posted in Ethiopian Jazz, LP downloads, Mulatu Astatke on August 26, 2011 by Listen Recovery  <(download link)

Mulatu Astatke born 1943 surname sometimes spelled Astatqé on French-language releases, is an Ethiopian musician and arranger best known as the father of Ethio-jazz.

Born in the western Ethiopian city of Jimma, Mulatu was musically trained in London, New York City, and Boston where he combined his jazz and latin music interests with traditional Ethiopian music.

Astatke led his band while playing vibraphone and conga drums instruments that he introduced into Ethiopian popular music as well as other percussion instruments, keyboards and organ. His albums focus primarily on instrumental music and Astatke appears on all three known albums of instrumentals that were released during Ethiopia’s Golden ’70s.

Astatke’s family sent the young Mulatu to study engineering in Wales during the late 1950s. Instead, he earned a degree in music through studies at the Welsh Lindisfarne College and then Trinity College of Music in London. In the 1960s, Astatke moved to the United States, where he became the first African student to enroll at Boston’s prestigious Berklee College of Music, where he studied vibraphone and percussion.

While living in the US, Astatke became interested in Latin jazz and recorded his first two albums, Afro-Latin Soul, Volumes 1 & 2, in New York City in 1966.  The records prominently feature Astatke’s vibraphone, backed up by piano and conga drums playing Latin rhythms, and were entirely instrumental, with the exception of the song “I Faram Gami I Faram,” which was sung in Spanish. Though these records are almost indistinguishable from other Latin-jazz records of the period, some tracks foreshadow elements of Astatke’s later work, and he is credited as having established conga and bongo drums as common elements in Ethiopian popular music.

In the early 1970s, Astatke brought his new sound, which he called Ethio-jazz, back to his homeland while continuing to work in the US. He collaborated with many notable artists in both countries, arranging and playing on recordings by Mahmoud Ahmed, and appearing as a special guest with Duke Ellington and his band during a tour of Ethiopia in 1973.

During this time, Astatke recorded another album in New York, Mulatu of Ethiopia (1972). Meanwhile, the bulk of his recorded material was being released on Amha Eshèté’s eponymous Ethiopian label Amha Records in Addis Ababa, which released several Mulatu Astatke singles along with the 1974 album Yekatit Ethio-Jazz and six out of the 10 tracks on that year’s Ethiopian Modern Instrumentals Hits compilation. Astatke’s records appeared alongside releases by notable Ethiopian vocalists Mahmoud Ahmed, Tlahoun Gèssèssè, Alèmayèhu Eshèté, and others, all of whose music was influenced by the infusion of American jazz and Latin instrumentation that Astatke brought to Ethiopia.

By 1975, Amha Records had ceased production after the Derg military junta forced the label’s owner and many other Ethio-jazz luminaries to flee the country. Astatke stuck around long enough to play vibes for Hailu Mergia and the Walias Band’s 1977 album Tche Belew (which featured the original classic “Musicawi Silt”) before the Wallas also left Ethiopia to tour internationally.  But by the 1980s, Astatke’s music was largely forgotten outside of his homeland.

photo by Suncan Stone photography

Lalo Schifrin – 1969 Che! (download LP)

Posted in Lalo Schifrin, LP downloads on August 14, 2011 by Listen Recovery

Lalo Schifrin – 1969 CHE!  < (download link)


01 – che (orchestra version)
02 – la columna
03 – emboscada
04 – la ruta
05 – charangos
06 – fiesta numero dos
07 – recuerdos
08 – fiesta numero uno
09 – anita
10 – la barraca
11 – tiempo pasado
12 – che (solo guitar version)

Orchestra / Ensemble:

Bass – Bill Plummer, Humberto Cane
Bells [Inca] – Ken Watson
Charango – Al Hendrickson
Composed By, Conductor – Lalo Schifrin
Drums [Bolivian] – Larry Bunker
Engineer – John Neal
Executive Producer – Roy Silver
Flute [Bolivian] – Bud Shank, Justin Gordon, Ronny Lang, Sheridan Stokes, Ted Nash, Tom Scott
Flute [Wooden] – Jose Lazano
Guitar [First] – Tommy Tedesco
Guitar [Second] – Bob Baine
Guitar [Three String] – Lalo Ruiz
Harp – Catherine Gotthofer, Dorothy Remsen
Percussion – Armando Peraza, Chino Valdez, Francisco Aguabella, Jose Mangual, Julio Collazo, Mongo Santamaria, Orlando Lopez, Orlando Bertran
Piano – George Del Barrio
Producer – Don Shain
Strings – Baja California Chamber Orchestra
Tipple – Dennis Budimir
Voice – Kaskara

JOE ARROYO “EL CAMPEON” LP 1982, Fuentes Records

Posted in Colombia Music, LP downloads on July 28, 2011 by Listen Recovery

JOE ARROYO “El Campeon” LP  < (download link)

Álvaro José Arroyo González (Cartagena de Indias, November 1, 1955 – Barranquilla, July 26, 2011), better known as Joe Arroyo, was a Colombian singer and composer, considered one of the greatest performers of Caribbean music of their country.

SATWA by LULA CORTES & LAILSON ft. Robertinho Do Recife. (download LP) words by Bernardo Rondeau

Posted in Brasil music, LP downloads on March 30, 2011 by Listen Recovery

SATWA by Lula Cortes & Lailson < (LP download)

Written, recorded and released just as Brazil’s military dictatorship reached the climax of its long black arc, the one and only album by Satwa is a divinely subtle protest. Now issued for the first time in America through the venerable Time-Lag Records in Maine and the stewardship of freeform fixture Erika Elder, Satwa, often cited as Brazil’s first independent record, is a mellow starburst of acoustic jangle.

Formed after the return of Lula Côrtes and Lailson from their respective foreign excursions – the former a beardo home after the requisite Moroccan sojourn, the latter a young long-hair back from the States – Satwa lasted only a year, perhaps due to their differing stripes. Lailson was from the verdant former Dutch colony of Pernanbuco, while Côrtes hailed from the wild badlands of Paraiba. But for 11 days in January 1973 the pair jammed cross-legged and produced the folk trance gems that adorn this self-titled debut.

At a time when censors caused newspapers to run cake recipes on their front pages in place of rejected news stories, Lailson only lets the occasional throat drone slip through his lips. Largely void of voice and word, the songs – Côrtes plucking steely leads from his sitar while Lailson’s 12-string thrums crystalline chords – are loose and lovely. The sole interference in these glistening arabesques is the hoary electric fretwork of one Robertinho on “Blues do Cachorro Muito Louco,” the most explicitly fried track. Otherwise, Côrtes and Lailson are left to experiment in musty silence. Seemingly taped live, each track is a dry documentation of the duo’s gently rambling improvisations. Far from the recombinant psychedelia of tropicalismo that reigned over the pre-hippie underground in Brazil’s bustling metropolises five years earlier, Satwa play bed peace bards. In double-mono, or fake stereo, Satwa is raw, untreated mentalism translated into pure songflow. At times exhausted and dusty – “Atom” – or archaically splendorous – “Valse Dos Cogumelos” – the duo’s spiraling scrolls etched in rustic timbres unfurl gracefully.

Côrtes, now a graying painter, would go on to record the more explicitly weird Paêbirú (also recently reissued) with Zé Ramalho. A concept album about extraterrestrials in Paraiba’s arid backwoods, it had long been anointed a masterpiece of the era.  After dabbling in rock outfits, Lailson broke into the mainstream as a newspaper cartoonist, a job he has kept to this day.  Neither were or will probably ever be Satwa again, but during those few days and from now on, Satwa is a quiet triumph.

By Bernardo Rondeau

• Lula Cortes pass articles on Listen Recovery