The Pazant Brothers & The Beaufort Express. Two of absolute best funk & jazz-funk albums ( Ed Bland , Perry Smith... )

The Pazant Bros.* & The Beaufort Express ‎– Loose And Juicy ( 1975 ) ( The Brothers Funk: Rare New York City Funk 1969-1975 ; include the album + singles )

A1	A Gritty Nitty Written-By – E. Bland*
A2	Back To Beaufort Written By – H. Gist, L. Williams, S. WestbrookWritten-By – A. Pazant*, E. Pazant*
A3	Loose And Juicy Written-By – E. Bland*
A4	Clabber Biscuits Written-By – E. Bland*
A5	Toe Jam Written-By – E. Bland*
B1	Work Song Written-By – N. Adderley*, O. Brown*
B2	Spooky Written-By – A. Thompson*, A. Pazant*, E. Pazant*, H. Jensen*, M. Terry*, P. Smith*, R. Chew*
B3	Skunk Juice Written-By – E. Bland*
B4	You've Got To Do Your Best Written By – H. Gist, L. Williams, S. WestbrookWritten-By – A. Pazant*, E. Pazant*
B5	New Orleans Written By – C. Hudson, R. Bedney, R. CarpenterWritten-By – A. Pazant*, E. Pazant*

Compañías, etc.

·         Phonographic Copyright (p) – Vanguard Recording Society, Inc.

·         Copyright (c) – Vanguard Recording Society, Inc.

Créditos

·         Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Flute – Ed Pazant*

·         Arranged By – The Beaufort Express (tracks: A2, B2, B4, B5), Ed Bland (tracks: A1, A3 to B1, B3)

·         Bass – Aaron Thompson (3)

·         Choir [Female Vocal] – "Cookie" Harries, Betty Barney, Frances Courtney

·         Design [Design, Back Credit] – Rafael Rovira

·         Design [Design, Front Credit] – Jules Halfant

·         Drums – Perry Smith

·         Engineer, Mixed By – John Kilgore

·         Guitar – Harry Jensen

·         Keyboards – Ray Chew

·         Mixed By – Jeff Zaraya

·         Percussion – Pablo Lundrum

·         Photography By – Frank Kolleogy

·         Producer – Ed Bland

·         Tenor Saxophone – Pete Yellin*

·         Trombone – Mike Terry (4)

·         Trumpet – Al Pazant*

Notas

℗ 1975 Vanguard Recording Society, Inc. © 1975 Vanguard Recording Society, Inc., 71 West 23rd Street, New York, N.Y. 10010
Printed in U.S.A.

Recorded in U.S.A.
A Dolby System Recording

Live At The Museum Of Modern Art, New York ( 2017 reedition,You look for it on the internet ) ( 100 % same musics ? )

 http://acerecords.co.uk/live-at-the-museum-of-modern-art-new-york

It's a New York summer's day circa 1971.The year makes no difference to the temperature. It's HOT! The sky when you can see it in between the towering skyscrapers is blue, heat rises from the tarmac, and even the most simple of tasks requires a supreme effort and a shower afterwards. But this isn't bothering you, you've slipped into a loose fitting white suit, your lapels and trouser legs more than a touch wider than they would have been a few years before. In your hand is an iced martini, and your companion is wearing the sort of flowing dress that Halston does so well. You've turned up at the prestigious "Concerts In The Garden" season at the Museum Of Modern Art, and are looking forward to a fine evening's entertainment to soothe your browe. Mistake! As soon as the Pazant Brothers take the stage there is no way its going to get anything here but hotter. The opening number P Soul is frenetic, and when it is followed by an extended take on the Martha and the Vandellas hit Dancing In The Street you know that the latin roots here are straight out of Spanish Harlem rather than Tijuana. The Pazant Brothers and their band were hot, sweaty and funky, and could cook and cut it like the best club funk band in the world. 

If you had been on the pulse you would have known this. Al and Ed Pazant had first come to prominence in Lionel Hampton's band, they then played with Pucho and his Latin Soul Brothers, being present and correct to record that band's definitive take on Gladys Knight and the Pips Got Myself A Good Man - virtually our theme song here at BGP. As the Pazant Brothers they recorded a bunch of stuff with producer Ed Bland that appeared as 45s for both as the Pazant Brothers for RCA and GWP, and as the Chilli Peppers for GWP, as well as backing Betty Barney for her GWP single. These showed a band that was mixing R&B, soul, latin and jazz influences to create a funk sound that was both unique and dynamic. 

Later on they would have singles on both the Priscilla and Vigor labels before releasing a very collectable album on Vanguard, which was also produced by Bland. However, if you were a patron of the Museum of Modern Art would you have had your finger on the pulse of obscure street funk 45s? You may have dug the Temps, or a bit of Isaac, but what would have prepared you for the invasion of your world by the Pazant Brothers? Well perhaps Ed Bland would have. It was Ed who was the co-ordinator of the summer "Concerts In The Garden" season, hence the Pazants' booking. The tapes of that concert lay around for 30 years until Al gave them to Ady Croadell and he passed them to me. 

The CD we now present includes sizzling live versions of most of the early singles and three vocal cuts from the fantastic Betty Barney, who continued to work with the Pazants right through the 1970s. This is live street funk at its height, something that was so rarely recorded that we are very lucky to have this fantastic archive piece. Just spare a thought for the poor art patrons who had there ears surprised by this.

by Dean Rudland

http://groovesharks.org/artist/The-Pazant-Brothers

The Pazant Brothers

Led by the world-renown musical tandem Edward and Alvin Pazant, the Pazant Brothers Orchestra is comprised of veterans who bring hundreds of years of combined experience to the stage, culled from playing with the likes of heavyweights such as Lionel Hampton, Dizzy Gillespie, Count Basie and Art Blakey. Ed and Al Pazant’s musical heritage runs long and deep. Growing up in the musically rich southern town of Beaufort, South Carolina, the brothers were immersed from a very young age. “Our grandparents played everything—drums, horns, piano--our father had a quartet and my mother played the most soulful ballads you could imagine,” Ed recounts. One of his earliest childhood memories is trying to stand on his tip-toes to “look over the top of the piano keys.” A few years older than Al, Ed first learned the piano, but was quickly drawn to the power of the horns. “See, every year the local Marine marching band would play for the parades, and all those shiny horns got me hooked.” By the age of ten he had mastered the clarinet, then moved onto sax, flute and oboe, along the way leading his own band, The Harlem Knights. Alvin likewise was stimulated by all of the musical activity around him, both within the family and out on the streets. “See, you’d hear brass bands, military bands, jazz groups, rock n’ roll outfits, blues singers everywhere.” Al remembers. But it was hearing Louis Armstrong on wax that really pushed him to make the trumpet his instrument of choice. “It was a done deal after that,” he says. The brothers would go onto study music at university. Ed became a “woodwind specialist” and got his lucky break when none other than Lionel Hampton took notice of Ed’s skills and hired him for his orchestra, a gig that would last fourteen years. “That was when the real education started. My first show for Hamp was with Billie Holiday in Central Park of all places.” Ed says. Al also joined the Hampton school of swing upon finishing college, reuniting with his brother. This was the beginning of many years of professional collaboration for the two siblings, who formed their own band, The Pazant Brothers in 1964. The band began playing at the legendary Small’s Paradise, and immediately became a hit around New York City, particularly Harlem, where there was a plethora of clubs and musicians. “Competition was always tight, so you had to be at the top of your game, constantly,” Al recalls. The Pazant brothers became known for their versatility and their ability to swing. In 1966, the duo was hired by Pucho and the Latin Soul Brothers to record Pucho’s debut on Prestige records. This relationship has carried through on a dozen classic albums and lasts until this very day. “The Pazants can do it all,” Pucho says, “the big band swing, the funk bag, the latin bag, you name it.” The list of notable artists that either one or both of the Pazants have recorded and/or performed with over the last forty years is a lengthy one, including Lionel Hampton, Frank Foster, Illinois Jacquet, Dizzy Gillespie, Pucho, Bernard Purdie, Sonny Phillips, Phil Upchurch, Kool & the Gang, James Brown, the Dells, the Manhattans, Country Joe & the Fish, the Doors, Roberta Flack, Melba Moore, Jo Thompson, Della Reese, Mighty Sparrow, Reuben Wilson, Melvin Sparks, Eddie Floyd, Eartha Kitt, Sun Ra, George Gee, the Boston Pops Symphony, the New Orleans Symphony and, of course, the Cotton Club All-stars, which the Pazant brothers have led since 1978. In addition, they have recorded under their own name since the late ‘60s, for labels such as Priscilla, De-Lite, Vanguard, Lexington, and Ace records, and have dazzled audiences across the world, from Spain to Japan, Italy to France, Nigeria to England. Moreover, they’ve played for three U.S. presidents, Gerald Ford, George Bush, Sr. and Bill Clinton. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.