• Download Robin Kenyatta Gypsy Man Rare

Robin Kenyatta
Though an often fierce and spirited alto saxophonist, Robin Kenyatta enjoyed a rather uneven career, particularly in terms of recordings. His best material was in the hard bop and free vein, where his solos were both intense and imaginative. Other times he played more contemporary material that was over-produced and rather unmemorable. Kenyatta played with Bill Dixon in the mid-’60s, and was featured during a series of New York concerts Dixon co-sponsored called “The October Revolution in Jazz.” He recorded with the Jazz Composer’s Orchestra, Roswell Rudd, Sonny Stitt, Dixon, Archie Shepp, and Barry Miles in the mid- and late ’60s, before heading his own bands. Kenyatta recorded with Alan Silva and Andrew Hill in the ’70s. During the late ’70s, he flirted with instrumental pop; in the ’80s and ’90s he tried to find a comfortable middle ground between fusion, instrumental pop, and his hard bop and free music roots. Kenyatta recorded for Vortex/Atlantic, ECM, ITM and Jazz Dance. (Ron Wynn, AMG)

Download Robin Kenyatta Gypsy Man Rare

Gypsy Man is an album by saxophonist Robin Kenyatta released on the Atlantic label in 1973 amazon try prime cds go. Robin kenyatta - gypsy man - Gypsy Man - Robin Kenyatta Songs, Reviews, Credits. Gypsy Man is. (CD NEW) Label: Wounded Bird Format: Release Date: 23 Sep 2008 No download online at saavn. Find album reviews, stream songs, credits and award information for Gypsy Man - Robin Kenyatta on AllMusic - 1972 - In 1972, two years after the release of Robin. All About Jazz. Home » Musicians. Return to the Robin Kenyatta page. Advertise For Pros. Robin Kenyatta Recordings. Help us complete the Robin Kenyatta discography. Learn how here. Buy Encourage The People. Pirouet 1976. Pirouet 1975. Buy Terra Nova. Pirouet 1973. Buy Gypsy Man. Pirouet 1973. Buy Last Tango In Paris.

In 1972, two years after the release of Robin Kenyatta's seminal Girl from Martinique outing for ECM, he signed to Atlantic and released another seminal bit of classy jazz-funk. Gypsy Man, produced by Michael Cuscuna, has a who's-who lineup of players who would be synonymous with the newly emerging subgenre of jazz: drummer Billy Cobham (still a member of the Mahavishnu Orchestra at the time), percussionist Ralph MacDonald, session drummer Rick Marotta, guitarists Keith Loving and David Spinozza, pianist Larry Willis on Fender Rhodes, bassist Stanley Clarke (who released his own classic debut Children of Forever the same year and played on two of Norman Connors now legendary dates from the period, Dance of Magic and Dark of Light), and more. The music here is polished, but complex and deeply emotive. The opener is a very compelling reading of Gato Barbieri's title theme to 'Last Tango in Paris,' complete with sighed backing vocals, 'Shaft'-style choppy wah-wah guitars, strings, and Kenyatta blowing a slightly edgy alto saxophone with great breaks by Cobham. The Latin percussion in 'Another Freight Train' sets its knotty vamp off nicely, as Kenyatta goes right into the melody doing his best King Curtis. It's a Kenyatta tune that melds meat-and-potatoes blowing, fusion-style riffs, and heavy funk. Clarke's fat, in-your-face bassline and the electric six-string's power chords in 'Werewolf' prefigure Kenyatta's killer flute break that's worthy of Rahsaan Roland Kirk. By contrast, 'Reflective Silence,' with its Afro-Cuban percussion and Kenyatta's soprano playing, offers a view of the emerging spiritual jazz from the Strata East label. The layers of percussion are Kenyatta's only accompaniment on the cut. Despite the contemporary bent of these first four tracks, Kenyatta tosses listeners a curve ball with his beautifully sweet reading of Stevie Wonder's 'Seems So Long,' and a drenched-in-Southern soul take on Otis Redding's 'I've Got Dreams to Remember' that closes the set. Ultra music power pv making download. On the way are a pair of fine originals in the Northern soul-flavored funk of the title track (with vocals by Kenyatta and Lalomie Washburn), and the South African jazz-tinged 'Melodie Chinoise,' no doubt influenced by the township jazz that was making its way to European and American shores in the music of Abdullah Ibrahim (then known as Dollar Brand), and Hugh Masekela's less pop-oriented affairs, and even the bands of Chris McGregor, Johnny Dyani, and Dudu Pakwana. In sum, of Kenyatta's Atlantic-era recordings, Gypsy Man stands out mightily as one of the great jazz-funk outings of the '70s; it is an all but forgotten jazz classic.