Our friends at Ubiquity Records have dug deep again into lost crates and unearthed this extremely rare Afro Soul/Jazz record that we've been giving many spins lately. Due out soon, the record reminds us of a mixture of the Afro-Latin Blues Quintet + 1 and Martin Denny at his best.
Jack Millman, aka Johnny Kitchen, had a hand in many interesting, obscure and highly collectible records from the 1960s and 1970s. Producing, composing, recording, editing, releasing, licensing – you name it, Millman did it. The records he touched had an eclectic range from psychedelic rock to Latin jazz, and several include editing techniques that can only be described as an early incarnation of sampling in music. The Victims of Chance, Blues Train, The Crazy People, The Trio of Tyme, The Pros, The Tarots, Jeremiah, and even (Frank Zappa protege) Larry "Wild Man" Fisher were some of the acts connected to Millman. Based in Los Angeles he was called-upon by multiple people to make tax shelter records, and provided musical content for the Condor, Mira, Mirawood and Crestview labels amongst many others.
After seeing them play at the Living Room (which later became the Comedy Store) on Sunset Boulevard, Millman became manager of the Afro Latin Blues Quintet +1, and signed them to Randy Woods (creator/owner of the Mira, Mirwood, Crestview, Surrey labels) in the late 1960s.
Having released several albums this band would later become the Afro Soultet. The liner notes to their Afrodesia album state "This is Afrodesia! A Musical collage of many peoples. . .it comes from Africa and from Arabia, from the South Seas and from Asia." Living up to the promise of those notes Afrodesia mixes Latin Jazz, with straight jazz, worldly percussion, surf, rock, funk, oddball sound effects, a touch of lounge, and some hints of tropicalia. Millman produced and released the Afrodesia album on his own Banyon label sometime between 1968-1971 (no release date is listed on the record, and Millman cannot recall a more exact date.)
Somewhere between 500 and 1000 LPs were pressed on Banyon. The album was licensed non-exclusively to Betty Chiappetta (of Vee-Jay fame) for a period of time, but it is possible that the record only saw release as a test pressing during the license, and that no official release was made commercially available. After their short stint as the Afro Soultet, the band morphed one more time into The Afro Latin Soultet releasing records with pianist Phil Moore III at the helm.
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