Prelude & Deodato 2
Themes from The Exorcist, The French Connection, The Sting and other great films & Flashpoint
Hiroshima & Odori
Released in 1969, the Joe Harriott-Amancio D'Silva Quartet's Hum Dono album represents a startling blend of Indian, Caribbean and Western influences and in the 21st century sounds as fresh and as contemporary as it did the day it was recorded. Harriott is regarded as a pioneer of the free-jazz movement of the 1960s, with a string of classic albums to his name; D'Silva was among the most adventurous jazz guitarists of his generation, having recorded in a variety of styles and with such albums as Integration,Cosmic Eye and Konkan Dance to his credit. On Hum Dono,the two leaders are accompanied by a stellar line-up comprising Ian Carr (flugelhorn), Bryan Spring (drums), Dave Green (bass) and the inimitable Norma Winstone (vocals). Together, these remarkable musicians create inspired, forward-looking jazz throughout the album's six titles, leaving us in no doubt as to why Hum Dono is so highly regarded.
Cut direct from analogue stereo tapes by renowned mastering engineer Noel Summerville and pressed on 180g virgin vinyl, Hum Dono has never sounded better.
The original LP SCX 6354 (1969) STEREO
Stephano's Dance (D'Silva)**
Spring Low, Sweet Harriott (Spring; Harriott)***
Ballad for Goa (D'Silva)*
Hum Dono (D'Silva)
Recorded at Lansdowne Studios, Holland Park, London
Joe Harriott (alto sax)
Amancio D'Silva (guitar)
Dave Green (bass)
Bryan Spring (drums)
* add Norma Winstone (vocal)
** add Norma Winstone (vocal) & Ian Carr (flugelhorn)
*** Joe Harriott (alto sax) & Bryan Spring (drums)
the handsomely packaged CD
Steeped in mythical status due to the limited run of the original vinyl pressing, and the high esteem in which it is held by any musicians and listeners lucky enough to have heard it, Hum Dono does not disappoint, and is unquestionably one of the greatest of British jazz albums, a crystallisation of the immense cultural riches of a post-colonial UK.
For the coda of Ballad for Goa alone, where D'Silva assumes a mandolin's grace and [Norma] Winstone a flute's delicacy with heart-melting poignancy, this album is worth buying. The rub is that the whole repertoire, above all the title track, is blessed with the same beauty.
(Five stars out of five stars)
Kevin Le Gendre, Jazzwise magazine, March 2015
It's something of a perplexing mystery as to why the album Hum Dono, deemed a lost classic by this country's jazz cognoscenti, has never been reissued before; original vinyl copies only 2,000 were pressed up by Columbia have exchanged hands for as much as 1,000. What's supremely ironic is that this so-called Holy Grail of British jazz was recorded by a quartet co-led by two musicians who weren't indigenous to Old Blighty: Jamaica-born alto saxophonist Joe Harriott and Bombay guitarist Amancio D'Silva. Both men relocated to England (Harriott in the '50s and Silva in the '60s) and, in 1969, joined forces to create what is undoubtedly a masterpiece of cross-cultural fusion. Silva provides all but one of the set's six compositions, but Harriott's contribution, with his darting, arabesque-like sax lines, is an important component in helping to weave disparate musical elements together. Ethereal vocals by Norma Winstone add to the album's sonic allure, especially on the hauntingly brilliant coda, Jaipur.
Charles Waring, Record Collector magazine, March 2015
Coveted by collectors, this stunning gem of a collaboration represents the last recording by the great alto-saxophonist and freeform jazz pioneer Harriott, who left his native Jamaica for Britain in the 1950s. Like Harriott, guitarist Amancio D'Silva wasn't British by birth but relocated to London in the '60s, where he began fusing Indian music with jazz to create a unique sound that seamlessly melded both styles
Norma Winstone's astral vocals and Ian Carr's flugelhorn imbues the set's standout cut, Jaipur, with a luminous, haunting quality.
Charles Waring, MOJO magazine, March 2015
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