three conga drums on the M train

Jimmy Takeuchi — La Pioggia

from Drum Drum Drum (1968?)

Yesterday we heard Gigliola Cinquetti singing her San Remo entry ‘La Pioggia.’ Here’s an instrumental version, as performed by Japanese R&B/soul/surf drummer Jimmy Takeuchi and his group The Exciters.

Bernard Purdie — Song for Aretha

from Soul Is…Pretty Purdie (1972)

As far as tributes go, this one claims the heavyweight title: Bernard Purdie’s ode to Aretha Franklin, for whom he served as musical director from 1970-1975. He’s said that “backing her was like floating in seventh heaven.” His monologue on this track, too, is exploding with Aretha-love:

“There’s a woman.. who brings love and laughter, whenever she sings, to the people standing beneath her. Yes, she gives strength to the weak, whenever she speaks. And her name, her name, her name, is Aretha. Aretha. ARETHA! ARETHA! ARETHA! Cause she’s soul sister number one!”

This track is the most transcendent on the album—there are some other high points, like the breakbeat-fest ‘Heavy Soul Slinger,’ but many of the tunes remind me of checking-into-a-hotel music, not too far afield from the soulful jazz of Purdie’s contemporary, William S. Fischer.

But even if you’ve never heard of Purdie, you’ve probably heard his drumming. Other than Aretha, the acts he’s worked for read like a who’s who of modern music: James Brown, The Rolling Stones, Miles Davis, Dizzy Gillespie, Hall & Oates, Isaac Hayes, Cat Stevens. Beck also sampled this song on his 1996 track ‘Hotwax.’

If this song doesn’t have you shuffling for an Aretha album… nothing will.

Solomon Ilori and His Afro-Drum Ensemble — Ise Oluwa (God’s Work Is Indestructible)

from African High Life (1963)

Beautiful set of West African highlife and jazz from Nigerian troubadour Solomon Ilori, who moved to New York City in the late 1950s on a mission to popularize African music. In New York he collaborated with jazz artists like Art Blakey, appearing on his 1962 album The African Beat.

The next year Ilori released his own album for Blue Note, African High Life, which features some impressive drumming, including talking drum, and his stylings on the pennywhistle.

I love this laid-back tune the most. Almost foreshadows the spiritual jazz movement soon to appear at the hands (and mouths) of Alice Coltrane, Pharaoh Sanders and Archie Shepp. The guitar in this particular track reminds me of Alice Coltrane’s harp, washing over the beat, shimmering.

Forty years later, Blue Note repackaged this album with three long, unreleased tracks from a later Ilori session, which don’t sound like this at all—instead they’re heart-pumping, drum-heavy hard bop jams. Worth seeking those out too.

Ilori never released another solo album, but did go on to collaborate with Harry Belafonte, Miriam Makeba and Hugh Masekela. And I guess he did achieve his dream of popularizing West African genres, at least in the jazz realm.