Rumenic Acid

Everybody’s favorite source for the hard stuff is back in business, with ten more lethal doses of rare hard rock, heavy psych and proto-metal! Hard to believe we’re eight Trips in and we haven’t lost any steam since the get-go. As usual, we’re laying the heaviness on you in the most legit way possible. These obscure tracks have all been licensed, the bands have been paid, and the sources are all analog. The quality of tracks seems increase along with the number of Trips and this cohesive collection comes outta the gate with both guns blazing!

Arguably the most radical album of their career to date, Nell' Ora Blu stands out like a blood-soaked beacon in the sterile desert of rock 'n' roll in 2024. What this dazzling detour tells us about the future of Uncle Acid & The Deadbeats remains a mystery, but after such a rich and fruitful artistic indulgence, Starr's reputation as one of heavy music's most distinctive voices can only grow. An eccentric tour-de-force, Nell' Ora Blu is the band's magnum opus. You will have nightmares. Trust no one. Watch your back. Let the blood flow…

Willis "Gator" Jackson's initial reputation was made as a honking and screaming tenor saxophonist with Cootie Williams' late-'40s orchestra and on his own R&B-ish recordings. By 1959, Jackson had de-emphasized some of his more extroverted sounds (although they occasionally popped up) and had reemerged as a solid swinger influenced by Gene Ammons and (on ballads) Ben Webster. This CD reissue from 1998 brings back in full two of Jackson's 1959-60 LPs: Blue Gator and Cookin' Sherry. Some of the music (which often falls into the soul-jazz genre) is reminiscent of the funky groove music that would become popular in the late '60s. Jackson sounds fine and is joined throughout by guitarist Bill Jennings, organist Jack McDuff, one of three bassists, one of two drummers, and sometimes Buck Clarke on conga. The accessible music alternates between warm ballads and jump tunes.

Anyone who likes the B-3 Hammond organ soul-jazz style and doesn't mind a bit of pop-lounge spice occasionally stirred into the sauce should check out this compilation. It combines Pitts' first two LPs, Introducing the Fabulous Trudy Pitts and These Blues of Mine (both from 1967) on one CD. Introducing is a strong debut, divided between covers of pretty mainstream standards ("The Spanish Flea," "It Was a Very Good Year," "Matchmaker, Matchmaker") and gutsier straight soul-jazz, including four originals by Bill Carney, whose "Organology" is a highlight for its nervous, bopping edge. The languorous swells of the opening number "Steppin' in Minor" make you think you're in for a set of swank lounge-jazz, but the pace quickly picks up, and Pitts really catches fire on "Take Five," jamming a lot of notes into her improvisation without sounding self-indulgent…

Out of all the soul-jazz organ players, only one was so thoroughly funked out that he personally adopted the name of his favorite keyboard, the B-3: Johnny "Hammond" Smith. While not as important in the development of jazz styles as other keyboard players such as Jimmy Smith, "Hammond" displayed an earthy, swinging talent worth listening to. Legends of Acid Jazz: Johnny "Hammond" Smith compiles under a single cover two albums Smith recorded in 1969, Soul Talk and Black Feeling! (complete with the liner notes from both original issues). On Legends, Smith gets down in the heady company of, among others, tenor saxophonist Rusty Bryant, funky drummer Bernard Purdie and guitarist Wally Richardson; Richardson here pays tribute to his bandmates with his compositions "Purdie Dirty" and "Johnny Hammond Boogaloo"…

As is often the case in this CD reissue series, the music has little to do with acid jazz, but it does feature a few organists. Tenor saxophonist Gene Ammons is heard on music that formerly comprised two complete LPs from 1970-1971 (The Black Cat and As You Talk That Talk), plus a pair of titles from a 1962 date only previously out on a sampler. The Black Cat is an interesting if erratic set that finds Ammons (along with guitarist George Freeman, Harold Mabern on electric piano, bassist Ron Carter, and drummer Idris Muhammad) playing everything from the pop tune "Long Long Time" and George Harrison's "Something" (both of those tunes have unimaginative strings) to "Jug Eyes" and the boppish blues "Hi Ruth." As You Talk That Talk is a reunion with fellow tenor Sonny Stitt…