HAR-YOU PERCUSSION GROUP [Latin/Jazz/Funk] ORO-5:

$

306

1967 ORO Records ORO-5 [dead wax reads ESPS-1067 A/B]
ULTRA RARE 
STEREO 
Latin/Jazz Afro/Cuban Jazz/Soul   PRIVATE JAZZ

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VINYL is VG- or better  there are some marks/scuffs that cause 'ticks', plays through. still enjoyable!
 COVER is VG-  surface/edge wear, sticker remnants moisture damage bottom
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When riots ravaged Harlem in 1964, the negative effects lasted well into the remainder of the   decade and beyond. What Roger Sanders -- aka Montego Joe -- did to heal the wounds through music    is evidenced on this recording of teenage musicians, supported through the auspices of the Harlem    Youth Opportunities Unlimited Act, the vehicle through which Har-You were born. Though not in    actuality a straight percussion ensemble, Har-You were a multi-instrument large ensemble heavily    based in Latin and Afro-Cuban rhythmic sounds, with a horn section, group vocals, or lead soloist up    front. The exciting music made by this organization stemmed from Joe's determination to make    good from a bad situation, and he and the group succeeded triumphantly. Though virtually none of    these players became prominent professionals, alto saxophonist Nelson Sanamiago stands out as he   leads the charge on the "Afro Blue"-styled "Oua-Train," while John Moody's solid bass work drives the    band in typical 6/8 time. The montuno style of repeat piano chords is employed frequently,    especially on the dance-oriented "Barrett's Bag," which is a great workout for the four horns, and    they really step it up during "Tico," a singing, joyous melody reminiscent of Tito Puente. The straight    descarga jam of "Santa Cruz" features a clave beat, montuno piano from Nick Kirksey, and the    atmospheric lead flute of Ray Allen. Percussion features abound in introductions and midsections,    but they are front and center on their theme "Har-You" and with chanting vocals in tribal fashion    during "Ngoma." The bandmembers also recognize their time and place with the all-funky "Feed Me    Good" in a tribute to cooks and chefs, while the Saturday night fun tune "Welcome to the Party" is a    good-time, simple, and direct song combining shouts and a Latin melody that is danceable and    infectious. The CD reissue features a lengthy explanation from Joe recorded in 2008, discussing why    the band was founded, the circumstances surrounding the recording in 1967, the tenor of the times,    and the impact of the band's performances in New York City -- and Joe also indicates that many of    the group members are no longer living. A credible effort from Montego Joe and his young    charges, Sounds of the Ghetto Youth stands not only as a fine musical effort, but as a testament to    perseverance and the value of making something out of virtually nothing.

ALLMUSIC GUIDE
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