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M-Base musician and founder member Steve Coleman is not necessarily everyone’s cup of tea, but his influence on other musicians, most notably singer Cassandra Wilson, is unquestionably profound. This latest project is at once inventive, exploratory and yet suprisingly conventional in parts. The album is based around temporal impressions (those of the Zodiac signs) and correspondingly the mood shifts according to the sign. Thus there is a regal, if uplifting, tempo on ‘Vernal equinox’ and a laid back feel on ‘Clouds’ while the freer ‘Attila 04’ takes this piece in an altogether different direction. Vocalist Jen Shyn recalls early period Cassandra Wilson throughout and even scats along with the horns on ‘Beba’ which has a lovely brass riff. The mainly sextet numbers are occasionally augmented by percussion.  A quasi-classical tone is adopted on ‘Flos Ut Rosa Floruit’ and rounding off proceedings is the epic fourteen minute ‘060706-2319 (Middle of Water)’ with wordless vocals from Shyn. This is a typically gritty recording in keeping with the M-Base tradition, but one that is readily accessible to neophytes wishing to discover the music of Steve Coleman.  Tim Stenhouse

One of the premier guitarists in French jazz, Christian Escoudé has made his reputation primarily as a player of modern jazz, though has been adaptable to a variety of styles. It comes as little surprise, then, that he should devote an entire album to the gypsy manouche style pioneered by Django Reinhardt. Moreover on this album he is surrounded by some of the top musicians in this field including one of the Reinhardt descendency in guitarist David. The repertoire is eclectic, but it is the Escoudé compositions that really impress with the title track an evocative piece featuring the use of clarinet and Latin tinges on the drums. Among the standards revisited, Duke Ellington’s ‘The mooche’ is atmospheric while the driving rendition of ‘Chicago’ adpots just the right tone. Perhaps the contemporary standard, ‘Made in France’, from the pen of Birelli Lagrène is most impressive of all and this must surely rate among the very best versions ever recorded. At a time when the French political establishment and French society more generally is debating the validity of gypsy communities on its soil, this album comes as a timely reminder of the cultural contribution that non-conformist citizens can make.  Tim Stenhouse

Here is a much anticipated re-issue of hard to find Columbia sides from Errol Garner’s classic period when we recorded the seminal ‘Concerts by the Sea’. Although the line up differs from the aforementioned album, it is no less enticing for bassist Al Hall and drummer Specs Powell worked over several sessions with Garner and consequently built up an intimate working relationship. The results are here for jazz piano aficionados to savour. Indeed Errol Garner seemed to have enjoyed the sessions immensely as evidenced by his groaning on the delightful ‘Girl of my dreams’. The original albums have been divided up and placed on separate CDs to respect the actual recording dates. Thus the album of the compilation title is mostly on CD1 with another three pieces on CD2. The listener will have no problem with this arrangement for the music progresses seamlessly. Of a whole host of treasures, the trio are in particularly fine form on ‘But not for me’ with a vaguely latinized vamp and on the ‘Full moon and empty’. A number of bonuses from earlier sessions with different musicians between 1950 and 1953 make up the second half of the second CD and of these, ‘How high the moon’ and ‘Robbin’s nest’ stand out. Excellent sleeve notes with the original comments as well as some choice Downbeat reviews. Although Errol Garner is fairly well served on CD, this truly is crème de la crème material and will sit proudly side by side with ‘Concerts by the sea’. Recommendation enough.  Tim Stenhouse

Shirati Jazz ‘The King of History. Classic 1970s Benga Beats from Kenya’ (Sterns) 4/5

Kenyan music has fared poorly in terms of CD re-issues (indeed the music industry there had already collapsed by the 1980s) so it comes as a very pleasant surprise to receive a compilation of one of the premier bands of the 1970s, Shirati Jazz. The key figure in the band was D.O. Misiani and in fact he is arguably one of the leading figures in Kenyna music over the last forty years or so as a songwriter and band leader who wrote about a variety of topics that ranged from social and political issues to praise and love songs. Shirati Jazz went through various changes in both name and membership between 1969 and 1971, but became more settled by 1972 and from 1975 was known henceforth as the Orchestra D.O. 7 Shirati Jazz. This compilation covers a relatively short timespan between 1973 and 1979, yet even during this period there was evolution underway. Whereas the earlier recordings have a lighter feel with snare drum riffs, by 1976 there was a full drum kit on board, the saxophone had disappeared and the new benga sound was introduced to a wider public. Full length versions make this a superb value for money compilation at virtually eighty minutes and includes both original singles and album cuts. High energy music aptly describes the music within, pumping basslines and choppy guitar rhythms making for utterly compelling music.  No surprise, then, that the benga craze caught on in eastern Nigeria during the 1970s with a compilation of Shirati Jazz’s music surfacing there. As ever with Sterns releases excellent sleeve notes, this time courtesy of Doug Paterson, illuminate the reader on theband’s origins and development and beautifully reprinted original album covers and record labels give us a feel of the era that Shirati Jazz were an integral part of. Essential summer listening.  Tim Stenhouse

Multi-reedist Lloyd Miller is one of the least recognised figures in jazz, yet his explorations are mong the most interesting. After initially becoming interested in Dixieland jazz, he moved as a youngster to Iran in the 1950s where his father worked. This would be the start of a lifelong interest in music of the East and gradually Miller developed an expertise in all manner of local instruments in addition to various saxophones, flute and clarinet. All these elements came together in what is now regarded as a cult classic of an album, ‘Oriental Jazz’, which surfaced briefly in the mid-1960s, but only as an extremely limited edition. The album was re-issued and then deleted almost immediately a couple of years back. It is with great anticipation, then, that a new album has arrived backed by the Heliocentrics who did such a great job accompanying Mulatu Astatke and a couple of the tracks are re-workings from the aforementioned album. The CD does not disappoint. In fact it is very much in the vein of ‘Oriental Jazz’, taking a leaf out of various countries folk tradition and refocusing them within a jazz idiom. Think of Yusef Lateef and Alice Coltrane’s investigation of Indian and Eastern music more generally and you have a good idea of the music herein. Key tracks on a fine set include the eastern-flavoured modes of ‘Nava’, the Indian classical hues of ‘Pari ruu’ with its lovely melody and gorgeous flute playing from Miller, the left-field number that is ‘Spirit jazz’ and something of a departure from the rest with Afro-Cuban piano vamp, ‘Latin’, which still retains an eastern undercurrent and very subtle use of bongos. Overall a fine album and once that deserves to greatly enhance the reputation of this fascinating musician. With a tour expected in 2011, this should definitely be one one to look out for in the new year.  Tim Stenhouse

Federal Records was the brainchild of and founded by one Ken Khouri, a Jamaican of Cuban and Lebanese parentage. The label started in the early 1960s and continued to thrive well into the 1980s. This compilation chronicles the key recordings of the label over three decades and thus encompasses ska, rocksteady, early reggae and even early dancehall sounds. From the ska period the vastly underrated Eric ‘Monty’ Morris supplies ‘In the garden’. An anthology of his consistently top quality 45s is urgently required. Big band ska comes in the shape of the Granville Williams Orchestra and ‘Hi late’ (aka ‘Happy Brew’ while some of the seminal rocksteady groups are included of whom they do not come any bigger than the Paragons and the Techniques.  A real treasure trove of a song is the take on the then in vogue soul classic ‘Son of a preacher man’, given the early reggae treatment by the Gaylettes with a young Judy Mowett as lead vocalist. Moving into the early reggae era, Federal captured some of the best of the crop with Bob Andy and Marcia Griffiths recording extensively for the label. The former is featured no less than three times here with ‘Fire burining’ tipifying his sound at the time while the soon to be member of the I-Threes is in glorious form on ‘I don’t want to be lonely’. Elsewhere Ernie Smith impresses on the brass and bass heavy gem that is ‘Duppy gun man’ and Hopeton Lewis delivers the epic ‘Take it easy’. Federal entered the dancehall era with one foot still aimed at the past and thus Wayne Wade’s excellent reworking of ‘Lady’ has a lovers feel as well while at the same time as using the new dancehall sound in its instrumentation. With sleeve notes courtesy of Steve Barrow, the historical overview is both informative and incisive as you would expect from a reggae connoisseur. An excellent way to to delve into the back catalogue of the Federal Records label. Tim Stenhouse

(Analog Africa) CD/2LP 4/5

The fruit of a long labour of love to chronicle the music of Ghana and Togo which has largely escaped re-issuing on the CD format, this excellent compilation fills in some of the gaps by highlighting cult groups from the 1970s. Heavyweight highlife does not get much better than the epic nine minutes and fifty-four seconds of Ebo Taylor and the Sweet Beans ‘Odofo nyi Akyiri’. Indeed if Studio 54 in New York had heard this in the late 1970s, highlife might have become a worldwide phenomenon. Watch out for a soon to be released compilation of Taylor’s work. Elsewhere Upper International impress with lovely use of organ and guitar riffs galore on ‘Dankasa’. The influence of Miles Davis’ unique trumpet sound is discernible on the Afro-Beat pumping groove that is ‘Me yec own den’ from K. Frimpong, an artist who has featured on other Ghanaian compilations and who is richly deserving of a CD devoted solely to him. Afro-funk comes from the little known Appaya Show Band and the percussion heavy ‘Mumande’ while eery keyboards and more Afro-Beat flavours can be heard from Orchestra Abass on ‘Awola bo fee ewe’. All in all a fine example of the plethora of quality music that West Africa was producing during the 1970s and which western ears are only just beginning to discover.  Tim Stenhouse

A definite retrun to form here from Senegalese world roots superstar Youssou N’Dour. The singer has wisely avoided the pitfall of simply rehashing old classic reggae tunes and instead has used the best of Kingston’s session musicians with a clear Senegalese input in terms of the lyrics. The result is a successful fusion that respects both traditions, yet comes up with something that sounds both fresh and new. Helping matters considerably are the arrangements of Tyrone Downie. Steppers rhythms and beautiful female vocals propel ‘Bobolene’, an immediate favourite on the album while the English language tribute on ‘Marley’ with DJing vocals from Mutabaruka could prove to be an unexpected hit with reggae devotees. The catchy song is a fine appetiser for the rest of the set. N’Dour sings in Wolof on the horn-driven ‘Medina’ and again on the melodic ‘Joker’. A former N’Dour favourite ‘Survie’ is revisited in a reggae context, and at a quicker tempo than the original, and this works well. Among the musicians on board, the Zap Pow brass section and master percussionists Sticky Thomson and Bongo Herman provide a decidely roosty flavour to proceedings. This is an album that will appeal to world roots and reggae fans alike.  Tim Stenhouse

Now something of a veteran among contemporary reggae singers having recorded for around twenty years, Luciano delivers one of his best ever albums and one that in retrospect my come to be regarded as a mid-period masterpiece. Flawless rhythms courtesy of reggae’s crown princes, Sly and Robbie, biting social lyrics and those honey-toned vocals that place Luciano as a logical successor to Dennis Brown (though never a replacement for Dennis was truly unique) all add up to one magnificent set, even if some of the final tracks could have been dispensed with and indeed it would be difficult for any singer to maintain the high standard throughout sixty minutes. Even then, the rest is so good, you are already likely to be in reggae heaven!  Maximum Sound’s Frenchie takes care of production duties and does a truly marvellous job of retaining a rootsy flavour. Among a plethora of fabulous songs, a few nonetheless stand out. Using the ‘Folly ranking’ riddim of the Johnny Osbourne classic, Luciano weaves his own magic on ‘Footstool’ which has a lovely dub feel. Roots numbers of the highest order include the melodic ‘I will follow’ with beautiful harmonies from the background vocalists and of course the finest rhythm section in the business. Luciano provides trenchant social commentary on the current finanical crisis and for who is to blame on ‘In this recession’ while ‘Murder and thief’ is an obvious contender for a single. Retro flavours from Duke Reid’s production are to be found on ‘Moving on’ which takes the original Supersonics instrumentation and Luciano certainly does not sound out of place here. Finally another infectous rhythm comes in the form of ‘Be aware’, a former single from 2009. All in all a terrific modern roots album and one the will live long on the ear.  Tim Stenhouse

Multi-national piano trio Phronesis are the latest in a succession of excellent trios to come onto the jazz scene. Danish Double-bassist and leader Jasper Hoiby, something of a Niel Henning Orsted Pederson for the twnety-first century, is the founder of the band and fittingly this recording captures them live in Denmark. Their live credentials are impressive to say the least with performances at the prestigious Banlieues Blues in the suburbs of Paris and gigs at both Ronnie Scott’s and the Brecon Jazz festival during this August. Along with drummer Mark Guilian and pianist Ivo Neame, this trio already has a cohesive sound and are at once exploratory and melodic. The lengthy piece affords the trio plenty of space in which to improvise. They impress on the lyrical ‘Eight hours’ which is by far the shortest piece on the album at five and a half minutes and perhaps one caveat for any studio recordings is that they should radically shorten some of the numbers herein. This being said, the eleven minute ‘Blues inspiration’ is a lovely composition that the trio dissect in intimate detail. A piano trio to watch out for and one already being heralded in some quarters to be the next EST. That is an awful lot to live up to, but the future looks decidely rosey for them.  Tim Stenhouse

This is a tribute to the more off-beat side to Brazilian music and as such takes in folk, jazz, psychadelic and even the odd rock influence. There are some familiar names here, but a number of unreleased, or reworked classics are included to keep the aficionado on his or her toes. Folksy Brazilica from José Mauro impresses on ‘Apocalipse’ while rootsy flavours are also the order fo the day from Piri with a decidely oddball start on ‘Reza brava’ where the majority of the piece features wordless vocals and both lovely flute and guitar accompaniment. CD 1 focuses primarily on the recent or more distant Far Out catalogue and among these Joyce’s ‘Todo bonita’ as part of the mid-1970s trio stands out as does Azymuth with their seminal ‘Caça a raposa’. The second CD has a good deal more unreleased material including the odd remix. A nice instrumental version of ‘Verdade anterior’ courtesy of Mauricio Maestro and Nana Vasconcelos is stand out track as is the Victor Assis band number with ‘Ao amigo quartin’. Afro-Cuban influences are relatively rare for Brazilian music and thus it is a pleasant surprise to hear them on the atmospheric ‘Son Cubano amparo’ by Rubens Bassini y los Latinos. The compilation as whole makes an ideal accompaniment to the late summer when it finally returns! Tim Stenhouse

Detroit guitarist Kenny Burrell has one of the most impressive portfolios in jazz and has recorded for over fifty years. His legendary live recording at the Five Spot on Blue Note goes way back to the mid-1950s and another recording from the Village Vanguard that came out a few years later on Chess’ jazz imprint Cadet was almost as impressive. Fast forward almost fifty years to September 2008 and a live performance at Dizzy’s Club in New York. Surrounding Burrell this time as some of the young turks of the jazz scene with Tivon Pennicott on tenor saxophone and flute and Clayton Cameron on drums. More experienced help comes from Benny Green on piano and Peter Washington on bass. Comparing live albums from a fifty year gap, one cannot help but hear that Kenny Burrell is still the most souful jazz guitarist in the business and has just got better with time. A classic repertoire includes a mid-tempo Latin take on ‘Tin Tin Deo’ with nice tenor playing from Pennicott, a lovely rendition of the Blue Note classic penned by Joe Henderson ‘Blue bossa’ and a faithful revisiting of ‘Bag’s groove’. In a more lyrical vein, yet never overly sentimental, is a cover of Ellington’s ‘In a sentimental mood’. The recording quality provides a beautiful clear sound and lends a certain intimacy to proceedings. Kenny Burrell simply has that ability to play pretty and this is why he has been one of the most in-demand session players in jazz history, recording with many of the all-time greats. Tim Stenhouse

Singer-songwriter Francis Lemarque will be known to few on this side of the Channel, but his contribution to French chanson is considerable and he has supplied some of its greatest exponents with among their most memorable songs. Into the bargain he is himself a very competent singer. This compilation, part of an ongoing series devoted to the greats of French chanson, finally does justice to the artist with over fifty songs showcasing Lemarque’s compositional and performing craft. Yves Montand, when performing his legendary ‘One man show’ invariably began with a song that he made his own, yet this was in fact another Lemarque composition, ‘A Paris’, and it is refreshing to hear another version, namely the original by its writer. Many of the songs featured tell everyday tales of life for ordinary Parisians and ‘Rue de Lappe’ actually refers to the very street where Lemarque and his family first settled. Like many other musicians of the period (Montand, Aznovour and later even Gainsbourg), they invariably came from immigrant backgrounds and in Lemarque’s case his parents originated from Lithuania and Poland. During World War II Lemarque frequented some of the literary giants at the café Flore such as Jacques Prévert, Joseph Kosma (a devastating writing duo) and the literary genius that was Jean-Paul Sartre and clearly the influence rubbed off with a spate of beautifully crafted songs. Banal events were thus elevated to an art for, Listen to ‘Cornet de frites’ (literally a cornet you put your French fries into) and the delectable ‘Bal, petit bal’. Lemarque ceased touring in 1980 and thereafter devoted himself along with Georges Coulong to creating a musical fresco of Parisian song entitled, ‘Paris populi 1789-1968’. Though he died in 2002, Lemarque’s music will undoubtedly live on and this anthology of his work bears testimony to the creative talents within.  Tim Stenhouse

In recent years Belgian singer Jacques Brel has undergone a major retrospective and has been cited by many an Engligh-speaking singer as a major influence. This compilation focuses on his early years up to the initial breakthrough he made when moving to France. For connoisseurs of his music the CD has the major bonus of including some of the earliest versions (and in some cases the originals) of his most famous compositions. These are all the more worthy of attention since previously they were on extremely hard to find 10” EPs. Now they are handily assembled into one package. Brel famously came to prominence in 1961 after performing as the second act at the Olympia theatre in Paris to the then teenage idol Johnny Hallyday. On the early sides he sometimes sings unaccompanied by anything other than his guitar and we hear a different, more sensitive side to his music on songs such as ‘Sur la pluie’ and ‘Il pleut des carreaux’. As from 1955 his writing became more intense and it is argued that this was due in no small to his relationship with his then lover Suzanne Gabriello. By the first LP, the voice was clearly recognisable, yet the unique style had not yet been fully realised. Nevertheless the strongs were becoming stronger and his style was maturing as evidenced on ‘S’il te faut’ and particularly on the jazzy ‘Qu’avons-nous fait bonnes gens?’ Brel was clearly listening to other singers of the era and Montand’s influence can be heard on a song such as ‘Les pieds dans le ruisseau’. By 1956 a bona fide classic had been written and this was ‘Quand on n’a que l’amour’, though taken at a different tempo from the more famous version and with a guitar accompaniment. Even with an orchestra on this first version, the sound is decidedly pared down in tone. Subsequently he would refine it and transform the song into an all-time favourite of his repertoire. Three years later and the compositions were in full flow with the epic ‘Ne me quittes pas’ and ‘La valse à mille temps’ being heard for the first time and other songs of the calibre of ‘Au printemps’ and the haunting ‘Je ne suis pas’ are truly underrated pearls. While not at his absolute creative peak here, this compilation is an indispensable document for those who wish to delve deeper into his genius. Tim Stenhouse

This is the follow up to the much lauded ‘Life, death, love and freedom’ and produced by Americana/alt.country maestro T-Bone Burnett (he of ‘Oh brother where art thou? fame), this is an authentic slice of Americana that encompasses blues, folk and gospel with other musicians of the calibre of guitarist Marc Ribot to provide dissonant accompanying sounds. Recorded at various locations in the deep south and on vintage analog equipment, it has a deliberate retro feel. Mellencamp excels in the pared down format with just vocals and guitar on the lyrical ‘Love at first sight’ and ‘Clumsy of world’. Both have a gospel tinge running through them and this is no accident for the tunes were written by the African Baptist church of Savana. Old-time flavours are on hand with fiddle to boot on ‘Right behind me’. Though clearly influenced in part by Dylan, John Mellencamp possesses a raucous, throaty delivery and this suits this style of music to perfection. Add in some rockabilly and even Johnny Cash infused songs and you are on to a winner. Mellencamp has opened concerts for both Bob Dylan and Willie Nelson and on this evidence his wide-ranging repertoire will attract a sizeable audience of its own.  Tim Stenhouse

This really is a breath of fresh of air from a virtually unknown musician. Nathaniel Ratlieff is a Missuori-born, but now Chicago based singer-songwriter who quite simply has a very personalised sound. In fact if one had to compare him to anyone, it might be a male equivalent of say Madeleine Peyroux minus the jazz content and instead increasing the folk-blues content. His influences include Muddy Waters, Van Morrison and the Beatles. Minimal accompaniment lends to an intimate feel to proceedings with only the occasional fiddle, added vocal and drum to remind one this is actually a recording form the twnety-first century. The melodic opener ‘Once in a great while’ impresses as does ‘Whimper and wail’ with its subtle use of guitar and harmonica, and two track vocals. The rockier hues of ‘Boil and fight’ are immediately offset by the gentler sounding ‘When we could’. Here is an album that is likely to go down as one of the most accomplished debuts by a new artist in the Americana genre.  Tim Stenhouse

Former bassist and singer with legendary roots group the Gladiators returns with a solo album that immediately takes the listener back to the nineteen-seventies. Recently interviewed on the ace roots reggae show ‘Boulibai Vibrations’ on French national radio (No less than Burning Spear was the next guest!), Clinton fondly recalled the classic songs he cut along with Albert Griffiths and the rest of the band and this new album is in some ways a retrospective of his career thus far, albeit with a new set of songs. Social commentary predominates from the very beginning with the opener ‘Life is a journey’ a superb slice of roots era reggae. This vision continues with ‘What a world’, but becomes more optimistic on the uplifting cut ‘Better days’. In contrasdt the title track harks back to the early dancefloor period and is similar in name to the Eek-a-Mouse tune. Reggaefied-ska might be one way to describe the number ‘Focus’ which as with the rest of songs on offer features the sweetest of harmonies and the tightest of playing. A truly excellent new roots album that will have you reaching for those old Gladiators albums in your collection.  Tim Stenhouse

Paris-based label Makasound had made a virtue out of resurrecting the careers of roots stars as well as promoting those of some of the newer generation. This CD celebrates the former and captures them in live and acoustic format from the prestigious Bourges festival in April 2009 (but with various instrumentation) and is a treat from start to finish. Some of these have already been made available on individal artist albums, but this neatly enables the casual listener to both hear and view to enjoy the choice selection. Of particular interest to reggae fans is the presence of Kiddus I, a somewhat mythical figure who cut precious few singles, but those that surfaced were of the highest calibre. Here Kiddus I delivers the excellent ‘No salvation unit’ while the DVD adds ‘Graduation in Zion’. Undoubtedly one of the highlights is viewing Linval Thompson, almost better known as a producer than as a singer in his own right. Two songs are featured, ‘Gimme back’ and ‘Jah guiding star’ and both impress. In general the All Stars, with Winston McAnuff and Cedric Myton lending their weight, alternate vocal duties with Earl ‘Chinna’ Smith on bass, guitar and vocals and various percussionists, thus giving the session a nyabinghi flavour throughout. The DVD features all of the CD numbers plus an extra three cuts. A fascinating concert overall and one seldom seen on this side of the Channel.  Tim Stenhouse

About to start an extensive tour of the UK that commences in September and goes on until mid-February 2011, Panacea are a group that are intent on conquering the nation with their interesting brand of fusion sounds that are as much a part of the alternative rock tradition as they are of jazz. They are in fact the brainchild of pianist and keyboardist Robert Mitchell whose own influences take in Bill Evans and Andrew Hill. However, in the group context the musical influences stretch much wider and take on board jazz fusion, Prefab Sprout and even the uncategorisable Prince. Thus the band covers diverse musical territory ably aide by the singing talent of Deborah Jordan who reputedly has been influenced by Norma Winston, but who on this evidence sounds much closer to Blossom Dearie in tone. The title track is a jazz fusion ditty with fender rhodes and a slight Latin tinge. On ‘Fortunately so’ the band cook up a fusion storm with nice soloing on piano while Jordan’s voice is heard to best effect on ‘Miss Inamorato’. A promising debut for the ever expanding portfolio on Edition and their live performances should more than deliver.  Tim Stenhouse