A1		Sincerely	3:49
A2		We Belong Together	3:45
A3		Just Because	3:21
A4		The Ties That Bind	3:21
A5		Lonesome Road	3:06

B1		Watch The Moon	4:53
B2		Sweet Memories	3:31
B3		Mr. And Mrs. Untrue	5:20
B4		Honey	4:12

Arranged By – Peter King, Sonny Roberts
Backing Vocals – The Marvels
Drums - Peter Martin
Keyboards, Bass, Percussion – Lindel Lewis
Other [Musician] – A. Allen
Tenor Saxophone, Soprano Saxophone, Flute – Peter King

Peter King Adeyoyin Osubu (born 1938), known as Peter King, is a Nigerian musician who played several instruments, but was best known as an alto saxophonist playing a combination of Afrobeat and Jazz. Peter King is perhaps better known in Europe and America than in Nigeria for his "Miliki Sound" on the record A Soulful Peter King, where he played popular classics such as "Sincerely", "We Belong Together" and "Just Because".

Peter King was born in 1938 in Enugu in the Southeastern region of Nigeria and grew up in Lokoja, Lagos and Port Harcourt. In 1957 he joined the Roy Chicago band in Ibadan, playing the maracas and then the conga drum. He moved to other bands in Ibadan and then Lagos, playing the double bass, drums and then the alto sax. In 1961 he went to London where he studied at various schools of music, including the Trinity College of Music.

While in London, Peter King joined with drummer Bayo Martins and trumpeter Mike Falana to form the African Messengers group. The group performed at festivals and clubs, and served as backup band for acts like The Four Tops, The Temptations and Diana Ross. The African Messengers recorded many 45rpm records. "Highlife Piccadilly", a fusion of Highlife and Jazz was a hit. Peter King formed another band The Blues Builders with which he toured Europe and Northern Africa.

Peter King returned to Nigeria in 1969, and with his group The Voice of Africa performed on the war front during the Nigerian Civil War. Returning to London in 1971 he toured Europe, America and Japan with his group Shango. He assembled and arranged a big band to back the singing group Boney M on their first live concert tour across Europe in 1977. He recorded nine studio albums between 1975 and 1978, and wrote music for several plays and television shows. In 1979 King returned to Nigeria and formed the P.K band. He composed music for soap operas and recorded three further albums. In the early 1980s Peter King and his P.K. Band played on the NTA and at the National Museum, Lagos for three years.

Peter King plays in the Sonny Rollins-Gene Ammons-John Coltrane tradition. He has a unique tone, flawless articulation and a fresh turn of mind in improvisations, and is the leading tenor saxophone voice to have come from the Nigerian highlife and afrobeat traditions. Talking of his hit "Highlife Piccadilly", Peter King said "Our philosophy was to play modern jazz with highlife as the basis … Afrojazz is my musical direction and a mission". Peter King combined afrobeat with a funk style similar to James Brown. His album Shango was acclaimed by critics. Opening with a simple flute melody, tambourines enter followed by complex duets between horns and looping guitar riffs. ---last.fm

download (mp3 @320 kbs):

yandex mediafire ulozto solidfiles global.files

back

1.    Shango [5:39]
2.    Prisoner of Law [5:40]
3.    Mr Lonely Wolf [6:55]
4.    Freedom Dance [4:10]
5.    Go Go's Feast [7:47]
6.    Mystery Tour [6:19]
7.    Now I'm A Man [3:39]
8.    Watusi [4:39]

Musicians:
Peter King – flute, tenor saxophone
Mike Falana – trumpet
Humphrey Okoh – alto saxophone
Arthur Simon – guitar
David E. Williams – bass
Paul Edoh – congas
James Menin - drums

Composer and multi-instrumentalist is a seminal yet under-recognized artist on the Nigerian music scene of the 1970s. Though he recorded nine albums in Africa, the U.S., and U.K., Shango is the only one currently available. Recorded in 1974, Peter King's Shango is a mixture of hard African rhythms, James Brown-styled funk, jazzed-up horn arrangements, and political messages. From the standpoint of the Lagos scene, the album is a classic of the period rivaling virtually anything that Fela or Tony Allen were putting across at the time. With King blowing deep-groove soul and out jazz saxophone solos above the chants, the music becomes a boiling pot of hip-shaking sexiness and rage. King being a formally trained musician outside of Nigeria (one of the schools he attended was the Berklee College of Music), his conception of harmony is revolutionary as he strides blues, R&B, soul, post-bop jazz, whole-tone variations, and counterpoint to edgily shift the focus of each tune on the set -- note the sweet soul blowing on "Prisoner of Law" that becomes a big band extrapolation of seven shades in the key of C. The title track choogles along, burning underneath with a series of percussive contrapuntal moves that accent a bassline already fragmenting under the power of the groove, and "Freedom Dance" takes the Brown ethic of overdriven funked-up brass aesthetics into territory that reflects both Eastern repetitive chanting and the gospel shout and roll of Ray Charles. There isn't a weak second here, not a maudlin note. Everything here is so deeply blue it's the brightest black you've ever heard. ---Thom Jurek, Rovi

download (mp3 @192 kbs):

uploaded yandex 4shared mega gett mediafire solidfiles zalivalka cloudmailru

back