Stimulating sounds: "Afro Temple" by Sabu Martinez

Year released: 1973
Personnel: Sabu Martinez (bongos, congas, bukoba, talking drums, tympani, gong, all other sound and percussion effects), Johnny Martinez, Per Arne Almeflo, Bo Oster Svensson, Conny Lunstrom (congas), Stephen Moller, Ali Lundbohm (drums), Peter Perlowsky (extra percussion), Bernt Rosengren (tenor sax, piccolo flute), Christer Boustedt (alto sax, flute), Red Mitchell (bass), Margarita Martinez, Christina Martinez (vocals)

One of the all-time rare groove classics, this was Sabu's last proper album as a leader. And what a send-off, an intoxicating mix of pulsating rhythms and hippy-dippy psychedelic flourishes. Here's the review, from allmusic.com.

The final release of conga master Sabu Martinez is an out-in-the-psychedelic-ozone masterpiece. Featuring a politicized Martinez reciting poetry, his own manically exotic percussion ensemble, and a slew of reeds, woodwinds, and brass, this is a heady brew of poetry expressing Latino and indigenous pride, political indictments against the white man, and killer Afro-Cuban jazz. Think of Archie Shepp's "Attica Blues" or Abbey Lincoln's and Max Roach's "Freedom Now Suite" done by Chano Pozo and you get the idea.

The layers and layers of congas and djembe drums, the wailing saxophones à la Coltrane and Pharaoh Sanders and swirling flutes played as if they were Eric Dolphy or Prince Lasha hypnotically elocuting Martinez's poetic recitations--after he's finished speaking. The title track is the best example of this, though it is a cut without poetry at the top.

There's a mesmerizing rhythm that creates a kind of speech between the drums. The saxophones-- and I have no ideas who is playing them because this company in Italy that issued this provides no credits--act as singers punching into the stratosphere with the cry of birds. Next, in "All Camels Hump," to a frenetic polyrhythmic orchestra of drums--some heavily reverbed-- a pair of flutes play blues licks back and forth until they are drowned out by electronically distorted percussion.

From the camels we move to the "Hotel Alyssa-Souisse, Tunisia." Here a drum kit and a choir of congas go to work as a saxophonist plays alternating lines from R&B records and Sonny Rollins solos! It's a mind-bending experience to think that someone heard music like this in his head and then went out and made it. This record is essential for any fan of Latin jazz, Vanguard jazz, Cuban music, or just plain sound. This guy went out riding the crest of a creative wave of pure genius.

Stimulating sounds: "Burned Sugar: The 1973 Swedish Radio Recordings" by Sabu Martinez

Year recorded: 1973
Personnel: Sabu Martinez (congas, bongos, talking drums, gong, vocals); Bernt Rosengren (saxophone, flute), Wlodek Gulgowski (electric piano, keyboards); Mr. X (bass), Stephan Moller (drums)

Jazzy, funky grooves from the deepest depths of outer space--or the deepest archives of the Swedish National Radio, where the tapes comprising this session were accidentally discovered. The biography of this funky man comes from allmusic, while the short review comes from those almighty purveyors of all things wonderful, dustygroove.

Louis "Sabu" Martinez was one of the most prolific conga players in the history of Afro-Cuban music. In addition to his own albums, Martinez recorded with such influential jazz musicians as Dizzy Gillespie, Horace Silver, Buddy DeFranco, J.J. Johnson, Louis Bellson, Art Farmer and Art Blake and jazz vocalists including Tony Bennett and Sammy Davis Jr. Emigrating to Sweden in 1967, he continued to apply his highly melodic rhythms to a lengthy list of recordings by top-notch Swedish performers.

A native of New York's Spanish Harlem, Martinez spent his childhood beating rhythms on tin cans on 111th Street. By the age of 11, he was performing every third night on 125th Street for 25 cents a night. He was still in his early teens when he began playing with Latin bands including those led by Marcelino Guerra and Catalino Rolon. In 1944, he spent an extended period living in Puerto Rico.

After serving a year in the military, at the age of 17, Martinez resumed his musical career as a member of mambo originator Joe Loco's trio. Within a few months, his playing attracted the attention of jazz musicians. In 1946, he began a long association with drummer Art Blakey.

Martinez and Blakey continued to periodically work together until 1959. In addition to leading the rhythm section on Blakey's groundbreaking album "Orgy in Rhythm" in 1954, he was featured on the Jazz Messengers albums "Cu-Bop" and "Messages" in 1957. Martinez continued to be a much-in-demand session player. In addition to playing traditional Latin music with the Lecuono Cuban Boys, he collaborated with Charlie Parker and Max Roach during a 13-week stint at the New York club the Three Deuces.

In April, 1949, he performed with swing clarinetist Benny Goodman. The high point of Martinez's career came in 1948 when he joined Dizzy Gillespie's band, following the murder of influential conga player Chano Pozo. During the nine months that he performed with the group, he played on five albums: "Dizzy," "Dizzier and Dizzier," "16 Rare Performances," "When Be-Bop Met the Big Band" and "Diz." In return, Gillespie nicknamed Martinez "Sabu" when he noticed a resemblance to popular Indian actor Sabu, the "Elephant Boy."

Despite his fame, Martinez struggled with heroin addiction. In the mid-'50s, he briefly left music to run a strip joint in Baltimore. Although he overcame his addiction in 1956, it took several years for him to become "psychologically free" from the grasp of the drug. Forming his own quintet, Martinez recorded three memorable albums: the Afro-Cuban masterpiece "Palo Congo" in 1957, and two, "Safari" and "Sorcery" in 1958, that have been described as "the wildest exotica records ever."

In 1960, Martinez collaborated with Louie Ramirez to record the history-making Latin jazz album "Jazz Espagnole." Four years later, he relocated temporarily to Puerto Rico, where he performed with several bands including the Johnny Conquet Orchestra and met his future wife, Agneta.

In 1967, they were married and moved to Agneta's homeland in Sweden. Martinez remained there for the rest of his life. Shortly after moving to Sweden, Martinez took a gig with Lill Lindfor's Musical Revue. This began a long involvement with Swedish musicians. In addition to sharing his knowledge of music and the conga as a teacher, he performed and recorded with such artists as Cornelius Vreeswick, Merit Hemmingson, Radiojazzgruppen, Björbobandet, the Eero Koisvistoinen Music Society, the Peter Herbolzheimer Rhythm Combination and Brass, Gugge Hedrenius' Big Band and Ivan Oscarsson. While in Sweden, he occasionally collaborated with American musicians including Kenny Clarke, Art Farmer and George Russell.

In 1973, he formed his own band, New Burnt Sugar, and released a book of conga exercises. His final recording sessions came while working on Debbie Cameron and Richard Boone's album "Brief Encounter" in 1978. Martinez died on January 13, 1979, of a gastric ulcer.

Review: Amazing lost funk from Sabu Martinez--rare work recorded in Sweden in the early 70s, and some of his heaviest work ever--as great, if not better than, his legendary "Afro Temple" album! The tunes are all long and very jamming--fierce Latin funk numbers that feature Sabu on a range of percussion instruments--alongside lots of electric piano, plus sax and flute from Swedish jazzman Bernt Rosengren--who's pretty great too! In addition to congas, Sabu also handles talking drums, gong, and bongos – plus a range of other percussion effects too – all heard to great form on the 17 minute jammer "Burned Sugar", plus the cuts "Bernt" and "Mambollo"