ukvibe

Eddie Palmieri and the Afro-Caribbean Jazz All Stars

RNCM, Manchester, 2 July 2010

Piano legend and Latin band leader extraordinaire, Eddie Palmieri, has been among the crème de la crème of Afro-Cuban musicians for the last forty years or so. The innovations that he pioneered in Latin music at the end of the 1960s and throughout the 1970s onwards, are akin to those of the key musicians in jazz and Palmieri came to be regarded as a leading musical godfather of what is now referred to as salsa. Hard-hitting songs such as ‘Justicia’, ‘Verdict on Judgement Street’ as well as the heartfelt tribute to ‘Puerto Rico’ have meant that Palmieri’s contribution to the genre has been well and truly gargantuan. The list of musicians who have played alongside him reads like the who’s who of Latin music and includes the Gonzalez brothers, bassist Andy and trumpeter/conguero Jerry, timbales legend Manny Oquendo and Cuban greats Israel ‘Cachao’ Lopez on the bass and Alfredo ‘Chocolate’ Armenteros on the trumpet, not forgetting a memorable duet album with timbalero Tito Puente which was the very last recording by the latter musical giant. It is not for nothing that Palmieri has earned the nickname of the ‘Son of Latin music’ and his bands have served a similar apprenticeship as those of Art Blakey and Miles Davis in the jazz world. Parallel to this, Eddie Palmieri has been keen to explore the relationship between Afro-Cuban music and jazz with a separate all-instrumental only line-up. During the 1990s this has become his preferred modus operandi and it was with a pared down six piece band that he took to the stage at the RNCM in front of an expectant audience.

Palmieri immediately embarked upon a solo intro before his rhythm section comprising timbales, congas and bass entered proceedings and settled into a gentle rumba with the leader vamping on piano to marvellous effect. Eddie Palmieri is now in his mid-seventies and if the driving piano chords of his early years are not quite as ferocious in their intensity as previously, it is simply that Eddie is infinitely wiser and able to incorporate a wider ranger of variations. On this evening he seemed more in jazz mode, taking on board the pianistic innovations of both Bill Evans and Thelonius Monk as well as Latin piano masters of the calibre of the great Peruchín. As the band demonstrated throughout the evening, this group effortlessly shifts gear from a sedate pace to a more frenetic one before returning to the former tempo. Among the distinguished musicians to have graced Palmieri’s band, current trumpeter Brian Lynch is one of the longest serving and fully deserving of a place with the likes of Chocolate. An apprenticeship first with Art Blakey’s Jazz Messengers and then with left-field salsero Angel Canales has served Lynch well and given him a broad musical perspective from which to develop. In tone he has the same intensity of sound as Lee Morgan and Kenny Dorham, both equally adept in bop and Latin idioms. Lynch is very ably abetted on the alto saxophone by young Cuban musician Yosvany Terry, an altoist inspired at times by the fiery tones of Jackie McLean, but whose laid back, soulful approach is all his own.

For non-aficionados of Afro-Cuban music, the archetypal rhythm section is a major departure from the usual rock format. Timbales player José Clausell has been a staple member of the band for well over a decade and was totally at ease taking an ear shattering solo, or blending to the overall sound by playing on the timbales rim in concertation with the other percussionist, conguero Vincente Rivera who was apt to verbally encourage the other musicians. Finishing off the rhythm section was young bassist Luque Curtis, whom eddie in turn would actively encourage to take a solo. The fluidity and surefire nature of the bassist’s playing recalled the young Eddie Gomez in Bill Evans’ trio.

Collectively the Afro-Caribbean Jazz All Stars impress above all on the mid-tempo numbers with catchy bass riffs, intricate percussive polyrhythms and the leader himself, in relaxed mood, evidenced by his tendency to groan when taking a piano solo. Among the classic pieces to choose from the seemingly bottomless repertoire, one piece, ‘17.1’ from the seminal album, ‘Superimposition’, received a classic treatment with the band going up several years in the process and the horn players maintaining the blistering pace and then outdoing one another in some fiery solo slots. One technique employed by the band is the use of the false start, before Eddie would announce, ‘And now for our next number!’, much to the receptive audience’s delight. Elsewhere a gentle solo interlude from Palmieri was a pretext to display his jazz-loving credentials and this helped to create a relaxed atmosphere, typified during the interval by timbales player Clausell happily chatting with members of the audience and seen taking photos with them. Two fifty minute sets provided a fitting climax to an evening that never once ventured into clichés and where the audience were left at the end wanting more. A standing ovation gave the band all the information they required as to how the audience felt about the evening’s performance.

Tim Stenhouse

Bilal – Live at Fabric, London 14th July 2010

With The Dood frustratingly unable to stay to experience one of the modern era’s true Soul/Jazz vocalist (last train ‘n’ all), it was left to background vocalist to the stars and also black music connoisseur Sarah Nelson to step in to the breach and review this his one-off London gig for UK Vibe.

Drummer: Steve Mickie, Bass: Tone Whitfield, Guitar: Mike Stevenson, Keyboards: Corey Bernhard – this band are ‘Air Tight!’ With both drummer and guitarist sharing backing vocals, it was a strong sound. This handsome slender man, Bilal, hits the stage ready! The crowd bellow as both men and women rush forward.

http://www.youtube.com/watch?v=uE883gLdObc

He kicked things off with ‘Free’ segueing into ‘Hey Hey.’ Bilal has an amazing vocal ability diving and soaring from mid to low to high vocal ranges within 0 – 5 seconds. As the strains of ‘Something to Hold On To’ waft in, the crowd start screaming! Now on a roll he moves onto ‘Reminisce’, ‘Cake and Eat It Too’, ‘Think It Over’. He is breezing through these tracks effortlessly! Boy does he put on a show!
Imagine Prince, Maxwell, JB, Bobby Womack and Hendrix without his guitar all on stage in one person! His vocal abilities are boundless – a mind blowing act to witness. I have seen nothing like it!

http://www.youtube.com/watch?v=_dtm7-X-TuQ

He has a soulful, Funk ‘n’ Rock infusion sound that just grabs you from start to finish. A rapid fire selection of classics ‘Now for Love,’ ‘Restart,’ ‘Since I’ve Been Lovin’ You,’ ‘U Matter,’ ‘White turns to Grey,’ ‘Sometimes,’ ‘Levels,’ carried the Bilal faithful and converts toward his final song ‘Soul Sista.’ At one stage he was laying on his back singing! He is all that and a bag of chips WITH THE DIP!!
He commands the crowd and has an awesome stage presence. He introduced the band members in true James Brown stylee, voice ‘n’ all! Funny! He engages the crowd, owning and oozing sex appeal! He is HOT property! The most amazing show ever! We love you Bilal! He is a Man on Fire!

http://www.youtube.com/watch?v=brouS9xfs2U

He performed a two hour set (12am to 2am) without gasping for air! This show was outstanding!! 20 out of 10! Yes I said it 20 out of 10!
Sarah Johanna Nelson

http://www.youtube.com/watch?v=TTKWkJt1QIw

Bilal: Essential Albums:
New album ‘Air Tight’s Revenge’ released 14th September 2010
‘Love for Sale’ – 2006
‘1st Born Second’ – 2001
Essential Myspace:  http://www.myspace.com/bilaloliver

Soil & “Pimp” Sessions – Live at Jazz Cafe 21st July 2010

The adjectives do not exist, even in the English language to begin to describe the Soil & “Pimp” Sessions live experience. Even this scribe was left awestruck – along with the baying masses- having witnessed the full force of “Death Jazz” first hand at London’s Jazz Cafe after hearing so much positive vibes.

Photo courtesy of Mickael Dubois

So it was that The Dood stood expectant with the Soil & “Pimp” Sessions devotees and the soon to be converts as Giles Peterson introduced yet another quality acquisition to his burgeoning Brownswood Label Roster:  ‘....For me I’ve seen this band probably about thirty times maybe more, could be forty times. And I’ve still come up here again tonight because I want to see them again, they’re that good. They are one of the greatest bands in the world today. Please give it up, from Tokyo Japan, Soil & “Pimp” Sessions!!!!

Photo courtesy of Mickael Dubois

With that the unmistakable strains of Ennio Morricone’s classic ‘Ecstasy of Gold’ (the Good, the Bad & the Ugly) gradually enveloped the venue. ‘Soil & “Pimp”!  Soil & “Pimp”!’ chanted the audience beckoning the group to come to the fore. After thirty seconds or so they sauntered to the stage and assumed their positions. Ecstasy of Gold was interrupted abruptly by front man and ‘agitator’ Shacho, dressed immaculately in black suit, black shirt and black hat, with a piece of bling around his neck ‘Ice T’ would’ve proud of – Pure Pimp! He grabbed the microphone and bellowed, ‘HERE WE GO!!!!!’

Photo courtesy of Mickael Dubois

We were off and the band let off their opening salvo, a thunderous version of ‘Hollow’ from their 2008 ‘Planet Pimp’ project. With the crowd already bouncing off the walls, the six piece outfit segued straight into the first of five tracks from their current release ‘6’ – ‘Papa’s Got A Brand New Pig Bag.’ An evocative cover of the Art Blakey & Bobby Watson composition and DJ favourite, ‘Wheel Within A Wheel’ gave Tabu Zombie and Motoharu on horns an opportunity get their freak on, egged on by the Jazz Cafe massive. Somehow the two of them manage to give the impression and fullness in sound of a much larger six piece brass section – Amazing!

Keeping the up-tempo mood was the instant anthem, ‘Quartz Chronometer’ the second track of the night from their ‘6’ CD. The ‘agitator’ got to agitating his people by chanting ‘Soil’ repetitively while orchestrating the crowd to do likewise as they pogo jumped in front of him, fists raised high pumping the air. The quiet genius that is Josei got to flex his fingers during a brief solo on keyboards. However, it was on the following track the nursery melody sounding but complex and infectious ‘Sahara Mint’ that Josei as well as Akita (bass) and Midorin (drums) aka J.A.M got to represent proper. Josei laid down the gauntlet, twinkling the life out of the ebony and ivories, handing the virtual baton over to the animal that is Midorin. He distressed the skins and I mean spanked them proper! The crowd went mental. All the while it was left to the anker that is Akita Golding to keep the tempo on the double bass. No surprise then that this tight trio already have a couple of albums in the can in their own right. Spell-binding!

Photo courtesy of Mickael Dubois

Shacho, Tabu Zombie and Motoharu rejoined their cohorts on stage keeping the momentum by reeling off three high octane tunes in succession – ‘Fuller Love’, the funked up ‘Mirror Boy’ from the new ‘6’ set and ‘Fantastic Planet’ from their ‘Planet Pimp’ collection.  The whole time Shacho was playing to and interacting with the audience.  This captivating set was brought to a close by two more soon to be classics from their ‘6’ outing, ‘Pop Korn’ and the madcap ‘Satsuriku Theme’.  Trust me this tune is off the hook! Shacho bringing the psychedelic feel with his hand held synthesiser, chanting in Japanese and screaming ‘Soil!’ repeatedly via a mega phone! Akita mashing the double bass strings with a drum stick and Tabu Zombie and Moto prancing around the stage. At one point Moto was balancing one foot on Midorin’s drum kit whilst playing his saxophone – Awesome entertainment!

Photo courtesy of Mickael Dubois

So it was they exited up the stairs – job done! No sir! This crowd weren’t leaving anytime soon chanting Soil & “Pimp” incessantly until eventually their Japanese ‘Death Jazz’ heroes where assembled back on stage for one last hurrah. And so it was with the toe tapping, head nodding feel good vibes of ‘Summer Goddess’ from the mini album of the same name that Soil & “Pimp” Sessions sent home their entranced followers, musically sated.

Photo courtesy of Mickael Dubois

There’s a popular saying in Japanese: ‘Hageshii Jazz’ which means ‘to tear down old Jazz and rebuild it.’ Well having witnessed up close and personal the Phenomenon that is Soil & “Pimp” Sessions, The Dood can confidently report that these guys have not only torn down any old school Jazz stereo types, but completely reformulated it and taken it to the next level, whilst staying tethered to their Jazz roots. Soil & “Pimp” Sessions – we salute you!

Photo courtesy of Mickael Dubois

Do make sure that wherever you are on planet Earth or should that be ‘Planet Pimp’ that you get to experience Soil & “Pimp” Sessions LIVE! The excellent CD’s and You Tube clips still only scratch the surface of the unconfined joy and energy they bring to every live ‘SESSION.’

Michael ‘The Dood’ Edwards

Soil & “Pimp” Sessions are:  Shacho (‘agitator’), Tabu Zombie (trumpet), Motoharu (Sax), Josei (keyboards), Akita Goldman (double bass) and Midorin (bass)
• Essential Albums: 2009 – “6”
• 2008 – “Planet Pimp”
• 2007 – “Pimpoint”
• 2006 – “Pimp of the Year”
• 2005 – “Pimp Master”
• 2004 – “Pimpin’”

• Essential Myspace:  http://www.myspace.com/soilpimpuk

A little addition from the editor when Soil & Pimp landed in Birmingham the night before the Jazz cafe gig.