Mutiny Mutiny On The Mamaship/Funk Plus The One will be Expanded for the First Time Ever. Includes 8 Bonus Tracks in a Deluxe 2 CD Edition. Both albums produced by Jerome Brailey. Re-Mastered from the Original Master Tapes by Sean Brennan, at Battery Studio s, New York. Mutiny On The Mamaship is the debut album by former Parliament-Funkadelic drummer Jerome Brailey and his band Mutiny. The album was released by Columbia Records in 1979. The album was released a year after Brailey left P-Funk due to a financial dispute.
Last summer we enjoyed the first fruits of a UK soul "supergoup" – The British Collective; a team that consisted of star vocalists Don E, Junior Giscombe, Leee John, Noel McKoy and Omar. Now as we enter a new year, another UK "supergroup" arrives to treat us to some fine music. The Brit Funk Association is made up of former members of Beggar and Co, Hi Tension, Central Line and Light of the World and though the various members have known each other for a long, long time it was in the autumn of 2016 that they decided to get together…
Raphael Wressnig was 28 at the time of this recording but is already considered one of Europe's top jazz organists. On this CD, Wressnig plays the usual assortment of blues and soul-jazz grooves but also stretches his instrument by playing some music that borders on the avant-garde, some funk, a second-line New Orleans parade rhythm groove, a soulful country ballad, and even hints of hip-hop. Two songs are performed solely by Wressnig's Organic Trio, a unit that had been together for six years by 2008, featuring the fine guitarist Georg Jantscher and drummer Lukas Knofler. Three numbers add either tenor saxophonist Craig Handy or Christian Bachner, two others have the team of trumpeter Eric Bloom and tenorman Sax Gordon, and the remaining two find percussionist Luis Ribeiro making the group a quartet.
Australia is not the first place you think of as a crate-digger's paradise. But these 20 slices from the country's early-Seventies season in commercial R&B and pop-jazz fusion are a lively lesson in the ingenious adaption of imported trends over an extreme distance. This is overwhelmingly white funk: "Back on the Street Again," an Etta James cover by Billy Thorpe and the Aztecs, and the ID's "Feel Awlright" are examples of hot shots from Australia's Sixties-beat and heavy-rock scenes finding their dance-floor feet; a track by the progressive-rock band Tamam Shud comes from the soundtrack to a 1971 surfing documentary. But it is all robust fun with intriguing sampling prospects.