JAZZ; NUJAZZ; BROKEN BEATS; SOUL; HIP HOP; FUNK; BRASILIAN RUNNINGS
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SANS FRONTIÈR |
WE REVIEW... Cassandra Wilson 'Loverely' (Blue Note)4/5
Throughout he career Cassandra Wilson has sought to explore new territory Mikey Ras Starr 'Fire and Rain' (Makasound)5/5
Little known outside reggae circles, yet highly regarded from within, Mikey Ras Starr made his name as bassist in the legendary Light of Saba band that included saxophonist Cedric 'Im Brooks among its ranks. Equally Starr was an occasional member of session band the Aggrovators. Perhaps, his main claim to fame, though, was as a participant on such reggae roots classic albums as 'Black Roots' for Sugar Minott and 'The Same Song' for Israel Vibration. However, it has taken until now for a rare album cut in 1979 'Fire and Rain' to resurface augmented by a series of tasty 45s from the period 1975-1984. This superb compilation delivers on both the quality and quantity fronts with over seventy minutes of outstanding roots reggae. Starr was clearly influenced by the Wailers collectively and individually and on the mide-tempo 'Some say this' reveals a Pete Tosh influence in his
vocal delivery. The driving 'Got to say love' with its lovely guitar riff has the feel of the Wailers circa 1973 while the title track could be off Bobby Hutcherson 'Head On' (Blue Note) 3/5
Bobby Hutcherson was one of the staple musicians of the Blue Note label during the 1960s and early to mid-1970s and played in a variety of genres from soul jazz, post-bop and modal to free and even Afro-Cuban jazz. This recording, dating from 1971, catches him unusually in an orchestral setting with a large brass ensemble and added percussion, but with a significantly freer improvisational feel. Pianist and arranger Todd Cochrane has a major imput into proceedings with only two of the seven pieces being composed by Hutcherson, and this explains the difference in sound to the more intimate surroundings of other Hutcherson albums. The vibist is best heard in the smaller ensemble pieces such as 'Clockwork of the Spirits' which is a mid-tempo Latin-influenced with solos from saxophonist and long-time collaborator Harold Land. Flute and vibraphone work wonderfully well together on the haunting 'Jonathan' which is ideal territory for Hutcherson. In general Hutcherson's sound is subsumed within the dense, layered music of the ensemble and consequently we hear him all too infrequently. Some of the tunes are overlong and two of these are added from another recording date. Tim Stenhouse Al Green 'Lay it down' (Blue Note) 4/5
This latest recording completes a trio of albums for Blue Note, but is by far the most accomplished to date with the strongest set of songs. While retaining a classic 1970 feel, what differentiates this album is the cohesiveness of the instrumentation. Green has enlisted the Dap Kings horn section in addition to members of Jill Scott's band and together they combine to provide an altogether fresher sound than on previous Green albums with stabbing brass and gospel-inflected hammond organ. Two hip hop producers from the Roots and Erykah Badu productions have been drafted in and clearly have an empathy for Green's voice and have wisely sought to keep this at the forefront of proceedings. Duets feature prominently here and those with Anthony Hamilton are inspired such as 'You've got the love I need' and the title track. Of the ballads on offer, 'Take your Time' with Corinne Bailey Rae is outstanding. A classic soul album that sounds like late night summer bliss. Tim Stenhouse
Various 'Bachata Roja. Acoustic Bachata from the Cabaret era' (Aso) 5/5
Before the smooth jazz-influenced harmonies of Juan-Luis Guerra and the slick productions of the 1990s took hold, Dominican merengue and its close musical neighbour bachata, had an altogether grittier sound and image. This superb compilation celebrates the rootsier side to bachata from the 1970s and 1980s when the music emanated from the classic 45s on jukebox players throughout the island. Stylistically bachata owes a good deal to Cuban genres such as the son and bolero, but also to Puerto Rican 'jibaro' or country music, and even Mexican ranchera. Key figures on the bachata scene are showcased here. They include Augusto Santos, one of the major innovators on guitar, and his songs 'Olvida ese hombre' and 'Si me la dan la cojo' will appeal to Latin fans in search of rootsier flavours. Blas Duran is regarded as one of the founding fathers of modern bachata and the classic theme of tragedy in love is present on 'Equivocada'. Tempos shift between faster megengues and slower listening tracks. Of the latter Felix Quintana's 'Ladrona' impresses as does Ramon Cordero's 'Amor del bueno'. Among the plethora of Latin compilations, this one stands out as an outstanding example since it rightly highlights a hitherto neglected period and previous compilations such as the Rough Guide to Bachata have barely touched the surface. Excellent liner notes placing the music in its historical context accompany this welcome addition to the music of the Dominican Republic. Tim Stenhouse
Various 'A Place called Jamaica' (Makasound) 4/5
Derrick Harriott, as well as being one of Jamaica's finest singers during the rock steady era and beyond, was also a talented producer and the songs contained herein testify to his ability to bring out the best in Jamaica's roots musicians. One of the album's unquestioned highlights is the devastating vocals of Junior Murvin on 'Rescue the children', a definitive roots song, which is on a par with Murvin's work with Lee Perry. One can only imagine what Harriott and Murvin might have achieved on a whole album's worth of material. Dennis Brown developed a highly distinctive and unusually mature voice early in his career and 'Lips of wine' from 1968 already hints at the successes to follow, and was years ahead of its time. In a similar vocal style to Brown and boasting a beautifully rootsy production, Roman and Dave duet on 'Changing times'. Horace Andy was always a big favourite. Little surprise, then, that he should feature on interpreting 'Lonely woman' which John Holt would later revisit to such great effect for Channel One. Of course Derrick Harriott continued to sing into the 1970s and his soulful style provides a highly creditable alternative to the Heptones version of the Temptations psychadelic classic transposed to a reggae setting, 'Message from a blackman'. Harriott is probably best remembered for 'The loser' and this is featured also. With DJ cuts from Scotty and Big Youth and roots singers Earl Sixteen with 'Malcolm X' and Winston McAnuff, this is by far the most comprehensive selection of Derrick Harriott productions to date and serves as in deal supplement to the previous compilation on Pressure Sounds. Tim Stenhouse
Sabrina Malheiros 'New Morning' (Far Out) 3/5
A good summer for upcoming Brazilian talent with this well balanced and soulful release from young singer Sabrina Malheiros. It certainly helps being the daughter of Azymuth bassist Alex Malheiros and enlisting some of the cream of Rio's session musicians, but Sabrina has her own path to follow, and succeeds in avoiding being a mere pastiche of her father's band sound. The album will clearly appeal to crossover soul and Latin music fans and the title track takes a leaf out of Carmen Lundy's jazzy delivery and with its simple catchy chant this could be a summer winner. Overall a retro early 1980s feel permeates proceedings and this is no better illustrated than on 'Sinfonia' with brass and strings that would be at home on an Earth, Wind and Fire album with lovely subtle keyboards from Jose Roberto Bertrami. In a more traditional Brazilian vein, 'Nova estacao' is an uptempo samba while 'Brisa mar' is a jazzy big band bossa number. The left field funk of 'Eira nem beim' with understated brass and gorgeous flute is arguably the album's highlight while 'Sem pressa' is the soulful style in which Malheiros sounds most comfortable. The single 'Connexao' is quite different from the rest of the album with a Latin house feel and an obvious attempt to follow in Bebel Gilberto territory. Sabrina Malheiros is talented enough to make her own musical avenue if this offering is anything to go by. Tim Stenhouse
Ipanemas 'Call of the Gods' (Far Out) 4/5
This is their fifth album overall and the fourth for London-based indie label Far Out and is probably the most accomplished and well rounded of the quartet thus far. Original member Wilson das Nevas seems rejuvinated by his recent participation in the collective Orquestra Imperial. In particular the vocals sound a good deal fresher and even younger. Tracks such as the afro-bossa 'Gana' stand out with Wilson playing bermibau while further evidence of the Afro-Brazilian musical heritage is present on 'Afro Immortais' with collective vocals influenced by candomble religion and beautiful use of flute and guitar. A retro 1960s feel is heard on 'Tema de neco' which is a mid-tempo piece accompanied by flugelhorn. Percussion is a key element on the album and combines wonderfully with guitar on a cut such as 'Doriva'. The use of strings on two songs is something one could have done without, but this is a minor gripe on what is in general a very listenable and
Kate Doubleday ‘Belonging –Where are you?’ Copper Records CRCD002
Great new CD from Kate with production from Joe Broughton and a fine collection of material which draws influences from nature (‘Wild Poppies, Eucalyptus, My Sweet Dandelion and Watch The Flowers- with some lovely kora from Daniel Wilkins) using it to invoke imagery of a wider view of life. My pick is probably ‘In Full View’ a loving view of a growing child. Graham Radley
Debashish Bhattacharya 'Calcutta Chronicles: Indian slide guitar odyssey'(World Music Network) 5/5
Slide guitar and Indian classical music may seem somewhat odd bedfellows, but in the expert hands of Debashish Bhattacharya this becomes truly innovative music and fusion in the very best sense of the word.
Ceu 'Ceu' (Six Degrees)4/5
Hailing from the megatropolis of Sao Paulo, Ceu debuted with this album in Brazil in autumn 2005, but it has taken over two years for the album to finally surface here after achieving chart world and even pop success in the States. The album showcases a variety of styles that oscillate between samba and soul, and even incorporates elements of electronica and Afro-Beat. A pared down feel permeates proceedings and Ceu has taken on classic jazz influences such as Billie Holliday and more contemporary singers with a jazzy bent such as Erykah Badu. Stand out songs include 'Rainha' with its jazzy bass and nice use of brass and percussion, the samba funk of 'Malemolenga' Delroy Williams 'I stand black' (Makasound) 4/5
Augustus Pablo as well as being a unique artist and proponent of the melodia (a keyboard instrument played through the mouth)in his own right, produced a select number of musicians on his own label and Delroy Williams belongs to among the very last among these. Key tracks include the anthemic 'Mountain Top' which was inspired by meditating in the open air of the Jamican hills. The melodia intro to 'Think twice' leads into a rockers tempo song with impassioned vocals and words of wisdom reflecting on one's actions while 'All the time' features a soft delivery from Williams over a classic Pablo groove. As to be expected the instrumentation is of the highest quality with background vocalists including Ricky Grant and Norris Reid. This is a most welcome addition to the classic roots back catalogue and one hopes that more quality releases of Pablo produced artists will follow, notably the vastly underrated Norris Reid. Tim Stenhouse Various 'The very best of Congolese rumba: Kinshasa-Abidjan sessions' 2CD(Marabai)4/5
Recent years have witnessed a return among Congolese exiles to the rootsier sound of the 1950s and 1960s with pared down instrumentation and minimal brass. As an introduction to the classic era of Congolese music, but with modern production quality, this comes highly recommended. Tim Stenhouse
Atongo Zimba ‘Barefoot In The Sand Hippo Records (available from HarmoniaMundi 02087099500
Atongo Zimba’s new studio album sees him give a stripped back Fra Fra acoustic reworking to some of his older songs, in a collaboration with guitarist and producer Niels Brouwer. There’s a peaceful fluidity to the mixture of his lovely voice with calabash and percussion. Excellent. Graham Radley Kalyanji:Ananji –The Bollywood Brothers’ Saregama CDNF138096-7
You’ll likely recognise samples from the brothers 60’s and 70’s Hindi soundtracks and cult exploitation movies with Black Eyed Peas (CD One kicks off with Asha Bosle with Aye Naujawan Sab Kuchh Yahan’ which formed the basis for ‘Don’t Phunk With My Heart’) and Danger Mouse two of the more ‘high profile users. This is music of it’s time but also way beyond its time, creatively mixing new instrumentation of the time like the claviolin to create a mix of funky, jazzed up psychedelia. Great collection. Graham Radley
Third solo release since his days as songwriter for Simentera. ‘Badyo’ but the first one to get an International release. On this he takes his Cape Verdean roots back to the arrival of the African slaves and the styles and influences they brought with them (he wears a chain around his neck instead of a tie on the cover image). It’s a grower this one with a subtle but telling rawness that soon involves you and brings you back for more, very good. Graham Radley Putumayo presents Latin Reggae Put 273-2
Those of you who might have seen the wonderful Amparanoia will get an idea where this collection is coming from. The CD starts with a great ska flavoured track from Spain’s Muchachito Bombo Infierno, indeed the Spanish influence is strong here with tracks from Macao, Radio Malanga , Black Gandhi and Go Lem System as well. Another fine Putumayo collection. Graham Radley The Rough Guide to Ultimate Musical Adventures RGNET906CD
Thirteen tracks that open up brilliantly with Cuban Cowboys (El Capitan) and closes equally brilliantly with Dengue Fever’s ‘We Were Gonna’ Along the way there are tracks from Ravi Bal & Daljit Mattu, Francis Beeby, Ozomatli, Wayne Gorbea, Rhany, Sami ali, Idan Raichel’s Project, Jolly Mukherjee & Sridevi, Tribali, Geraldo Pino & The Heart Breaks and Corey Harris with Ali Farka Toure – now that’s what you call a compilation CD ! Graham Radley Watcha Clan ‘Diaspora Hi-Fi’ Piranha CD-PIR2230
From the cultural melting pot of Marseille this release (their third) with songs in French, Arabic, Hebrew, Yiddish , English and Spanish is a vibrant mix of Arab, Balkan and Mediterranean influences that are further evolved through a mix of various dance beats from dub to electronic which includes amongst the samples Fanfare Ciocarlia and The Klezmatics. There’s a lot going on here so repeat listenings are required to get the full range and feel of things but the more you find the more you enjoy, I bet they are equally good live. Graham Radley Nels Andrews ‘Off Track Betting’ Reveal34
Second release for Nels recorded with a brilliant line up of musicians including producer Todd Sickafoose , Adam Levy (Norah Jones), Michael Jorgensen (Wilco) and Ben Perowsky instruments. This is by way of a musical journey for Nels as he incorporates a subtle range of diverse sounds into the core of his country folk songwriting, the result is excellent. Graham Radley
Brazilian music late night style with an unplugged approach and artists that include Orquestra Imperial, Mongol, Maria Bethania, Chico Buarque, Marcos Sacramento and Paulo Moura. The CD is released in association with Oxfam giving a voice to end poverty and defend human rights, let’s see the major record companies lend their weight to the campaign as well. Graham Radley
With the plethora of musical styles on offer in a country the size of Brazil, grouping artists together under the collective umbrella of 'acoustic' could have proven a hasardous enterprise. However, this well thought out compilation does a good job of bringing together classic singers of MPB alongside new stars of the future. Of the established musicians, poet and singer-songwriter Chico Buarque provides a laid back performance on 'Outros sonhos' while Maria Bethania reworks the classic 'Samba do bencao'. Beth Carvalho made an impression among samba singers in the 1970s and it is her rootsier side that is showcased on 'Luz negra'. The jazzier choro style is exemplified by clarinet maestro Paulo Moura on an old-style instrumental piece. New artists abound and among these the collective Orquesta Imperial harks back to the jazzy big band samba era of the 1950s on 'Sem compromisso' which features the singer-songwriting talents of Kassin and Moreno Veloso. A new name and predicted future star is Paula Santoro who is not dissimilar to Joyce in delivery and performs the infectous 'Nao e ceu' which is a winner. Other discoveries include Marcos Sacramento with choro influences on flute while Augusto Martins occupies similar territory to say an early Joao Bosco on 'Ott'euto'. All in all, then, a well researched compilation. Timing could be a little more generous and the omission of samba greats Paulinho da Viola and Martinho da Vila is surprising.
Etran Finatawa ‘Desert Crossroads’ Riverboat TUGCD 1048
From Wodaabe and Tuareg tribes but now based in Niger this follow up to ‘Introducing’ features several songs which deal with their desire to get back to the nomadic lifestyle of their roots. A raw edged recording style brings the desert blues to life in vivid fashion to create a moving and powerful medium for their message. Very good. Graham Radley The Mighty Diamonds Inna de Yard : MakaSound (available from HarmoniaMundi 02087099500
Makasound's Inna de Yard series is well suited to the The Mighty Diamonds with a stripped down collection of 10 of their best (although I was disappointed that "Pass the Kouchie" wasn’t covered) included are ‘Country Living, I Need A Roof, Have Mercy and When The Right Time Come. Very good. Graham Radley Putumayo presents Tango Around The World Put 271-2
Argentina quite rightly gets four of the eleven tracks (Melingo with Florencia Bonadeo, Federico Aubele, Jose Marmol y Tarija and Hugo Diaz) but to show the global spread of tango we also get tracks from Finland, Norway, Brazil, Serbia, Portugal, Greece and the very classy Ousmane Toure from Senegal, good stuff. Graham Radley Leleo ‘Maravilhas’ Acid Jazz AJXCD198
A star in Brazil since the days of Banda Bel and where he’s worked with a lot of big names like Gilberto Gil, Leleo is now resident in London where he’s been ripping it up with DJ sets as well as band sets (his band is same name as this CD). The CD however was recorded in Copacabana and brings Leleo’s acid samba style up to date, with the trademark Brazilian samba and bossa rhythms getting a base of beats, to get those feet stirring into dance floor action. Very good. Graham Radley Dick Gaughan ’Gaughan Live! at the Trades Club’ Greentrax CDTrax322
A venue and artist who are perfectly suited with Dick always closing his autumn tour of England and Wales with a date at this famous Hebden Bridge venue. Starting with Si Kahn’s ‘What You Do With What You’ve Got’ followed by Brian McNeil’s ‘No Gods’ there’s 13 tracks in all ending with Dick’s own ‘Both Sides The Tweed’. Inspiring. Graham Radley Lucky Dube –The Best Of -Gallo5051442-6404-2-7
Such a sad loss last year but here’s a timely reminder of how great he was. 17 tracks which give a popular flavour of his 22 studio albums and includes tracks like ‘Slave’ (the Slaves was the name of his brilliant live band) ‘Victims’ and my own favourite ‘Feel Irie’. Excellent. Graham Radley Anita Wardell ‘Kinda Blue’ Specific Jazz SPEC009
Follow up to the excellent ‘Noted’ this is another classy jazz release with every one of the ten tracks having blue(s) in the title but all having a different musical aspect. Her vocals flow easily and adventurously into and around the songs with an excellent band including Robin Aspland, Jeremy Brown, Steve Brown and Tristan Mailliot. Graham Radley
Brad Mehldau Trio 'Live' (Nonesuch) 2CD 4/5
The latest live offering from Brad Mehldau again from the legendary setting of the Village Vanguard sees him continue to mix contemporary pop tunes with reworkings of standards from the American songbook and beyond.
Horace Silver Quintet 'Further Explorations' (Blue Note) 4/5
Here we find an interesting and unusual line up in an early manifestation of the Silver band. Clifford Jordan joins the group for
this one session and works well with then band regular Art Farmer in his prime.
Wayne Shorter 'The Soothsayer' (Blue Note) 4/5
Wayne Shorter cut some of his finest solo albums for Blue Note in the mid-1960s with 'Speak No Evil' being a particular high point. However, this session from the same year was inexplicably shelved for fifteen years and with repeated listens is on a par with the other recordings.
Lou Donaldson 'Here 'Tis' (Blue Note) 4/5
Lou Donaldson made his reputation largely on the basis of soul jazz recordings such as this. While he would later enjoy commercial success with 'Alligator Boogaloo', this album from 1961 is a superior example of the organ jazz format with five extended pieces.
Chucho Valdes 'Jazz Bata' (Malanga) 4/5
Co-founding memeber of Cuban supergroup Irakere Chucho Valdes began his career as an aspiring Afro-Cuban jazz pianist and this excellent offering chronicles both one of his earliest albums as a leader in Cuba and a later offering from the early nineteen-eighties when his compositional talent and orchestral leadership was already well established. The earlier album dates from roughly 1972 and is an outstanding example of Afro-Cuban jazz with a modal influence in Valdes' playing inspired, perhaps, by McCoy Tyner. The percussive intro of 'Neurosis' leads on to freer improvisation mixed with blues inflections while 'Laureen' showcases the lyricism in his playing.
Various 'Pearls of Cuba' 2CD (Syllart) 5/5
Part of a four part series of double CDs devoted to the classic era in Cuban music, this edition focuses on the sonero (literally singer of 'son' which incorporates improvising on a theme)tradition and is as comprehensive a selection from the period covered, 1939-1957, as one could wish with remastering and sound quality near flawless considering the age of the recordings. Key labels such as the legendary Panart company of Havana have been judiciously selected and some of Cuba's seminal singers, groups and instrumentalists are on display. Arguably the greatest male sonero was Benny More and we have no less than five songs to showcase his talents, with 'Rumberos de ayer' typifying his prowess. Cheo Marquetti is less well known outside the island, but vastly gifted and sings the praises of the musical craft on the aptly titled 'Sonero' while the evergreen 'Oriente' is given an near-definitive rendition. Of the female vocalists, Celia Cruz before prolonged exile in Mexico a and the United States was lead vocalist with Sonora Matancera and is showcased while Celina Gonzalez continues to perform in Cuba well into her seventies. Here her classic 'Yo soy el punto cubano' is performed with husband Reutilo.
Think of One 'Camping Shaabi' (Crammed Discs)4/5
At a time when the linguistic divide in Belgium between the French-speaking Waloons and the Flemish-speaking populations has intensified, it is refreshing to know that a musical antidote exists which takes on board both traditions and is open to myriad external musical influences throughout the globe. They are the Antwerp based collective Think of One and this highly eclectic fusion of musical styles is quite simply a breath of fresh air on the musical landscape. Whereas previous albums have focused on Brazilian music and even that of the Arctic, this latest project is firmly rooted in the shaabi music of Morocco with diverse western influences thrown in to great effect. The opener, 'J'etais jetee' is an intriguing fusion of traditional shaabi with dance rhythms and this is typical of the album as a whole which even incorporates Jamican dub. Indeed the sheer eclecticism is exemplified further on 'Gnawa power' with a Led Zepplin style guitar suiprimposed over gnawa rhythms and chants. In contrast, 'Wereld ni' is a hypnotic piece with vocals in Flemish. The exotically designed gatefold sleeve truly reflects the music within. A brief DVD short sheds light on the raison d'etre of this new project. With a host of guest musicians, this must surely be one of the year's most original sounding world roots albums.Tim Stenhouse
Eek-a-Mouse 'Most Wanted. Greensleeves 1980-1984' (Greensleeves)4/5
For a five year period commencing in 1980 Eek-a-Mouse redefined and refined the art of DJing with his new
singjay format and released a salvo of commercially successful singles and albums, the most notable of
which for the latter was 'Wa-do-dem' in 1982. As part of the ongoing series of artist showcases,
Greensleeves have brought together on this compilation several of the extended 12" cuts that Eek-a-Mouse
recorded for Junjo Lawes and Linval Thompson. While Eek-a-Mouse had, from the late 1970s released
independent 45s that had been minor hits in Jamaica, it was the splendid 'Noah's Ark' that opened the doors
for success in the UK with a straight vocal delivery that was not unlike Horace Andy. Equally the highly
melodic 'Ganja smuggling' continued his popularity and from the same 'Wa-do-dem' album, but in extended form,
came 'Operation Eradication', a tribute to DJ friend Errol Scorcher who had passed away, and the title
track which became the singjay's biggest hit of all. While the singjay format may have seemed something of
a gimmick to some, his serious credentials as a social commentator were clear to all on songs such as
'Terrorist in the city' and he was capable of biting social satire on 'Anarexol' over a reworked Studio One
Tristan Palma 'Joker ' (Greensleeves) 3/5
Tristan Palmer was in many ways an archetypal artist of the early 1980s and a practitioner of the singjay
DJ style. He was best known for his work with Jah Thomas on the Jamaican Midnite Rock label and this
album is indeed produced by Thomas backed by the Roots Radics at Channel One. Palma scored minor reggae chart
success with the title track which featured a straight vocal delivery and similar rhythm to Black Uhuru's
'Who's coming to dinner?' and this song still works well. However, it is the bass heavy 'Two timer' with
classic dub echo that sounds freshest now with 'Ghetto King' a close second, and including the famous Channel
One piano. From the mid-1990s Tristan Palma would become involved in the famine relief single 'Land of
Africa' along with Gregory Isaacs and Mutabaruka and he continued projects into the 1990s with Dennis Brown
and Beenie Man. Four extra tracks are included with a 12" cut to 'Joker Smoker'. A worthy slice of Tristan
DJ Clash '3 The hard Way' (Greensleeves)3/5
One of the defining charcteristics of the early to mid 1980s was the use of younger DJs and the recording of their live club sessions. Indeed one of these, Little Harry, started DJing as early as the age of ten and worked with Junjo Lawes. Three of the key DJs, Billy Boyo, Little Harry and Nicodemus, are featured on this compilation which brings together two separate albums (minus five cuts from Toyan that are available on a separate CD showcasing his talents) that were among the first of the DJ clash albums where DJs would go head to head on either side of a vinyl album. Two distinct rhythm sections are deployed, the Hi-Times band for Little Harry and Billy Boyo while the Roots Radics provide the steady groove for Nicodemus. Of the various cuts on offer, 'Hail Nico Dread' impresses with its lovely piano intro while 'Harry on the Go' is melodic and 'Tubby's Daddy' is presumably a homage of sorts to the great dub wizard. A useful addition to any DJ collector or general reggae fan who wants to sample the atmosphere of the post-roots period.Tim Stenhouse
Various Artists - 'Spiritual Jazz. Esoteric Modal and Deep Jazz from the Underground 1968-1977' CD/2LP (Jazzman) 5/5
Back in the late 1960s and early 1970s, jazz music was recorded to the backdrop of major political and social upheavals and these are celebrated in this very well documented and presented esoteric selection of rare and truly obscure vinyl delights. In recent years independent labels such as Tribe out of Detroit, Black Jazz and Strata East have finally received their due and selected albums re-issued. However, the music showcased here is even less well known and often on one-off labels that individual artists released themselves for an extremely limited local audience at the time. The overall feel is one of an openness to musical influences within and beyond the United States, with a particular focus on Africa and the Middle East. Among the wonderful musical treasures on offer a few are worth pointing out including the intriguingly named Ohio Pentitentiary 511 Jazz Ensemble and a rendition of 'Psych City'. Long-time Sun Ra bassist Ronnie Boykins with the elongated and experimental 'The will come, is now' is another highlight while African flavours abound on Senegalese percussionist Mor Thiam's 'Ayo Ayo Nene' and Middle Eastern modes evident on Salah Ragab and the Cairo Jazz Band's 'Neveen'. Additional 45s from Leon Gardner and Lloyd Miller provide a more succinct sampling of the music on offer. The compilation is best viewed as a companion to the excellent ongoing Gilles Peterson jazz series. If the names are not familiar, do not be put off as this is a voyage of musical discovery well worth the extra effort. Tim Stenhouse
Gonzalo Rubalcaba 'Avatar' (Blue Note) 4/5
Since emerging as a teenage prodigy in his native Cuba during the 1980s, Gonzalo Rubalcaba has, once settled in the United States, released a series of critically acclaimed albums in a variety of formats including solo, trio, quartet and quintet. One of his best, 'Supernova' from 2001 comprised an all-Cuban rhythm section and a wonderful reworking of the old chestnut 'El Manisero'. For his latest offering, 'Avatar' Rubalcaba again teams up with a Cuban compatriot in composer and saxophonist Yosvany Terry, but this time with a contemporary American feel and little or no Cuban influence. If anything this harks back to the abstract sounds of Steve Coleman's M-Base collective from the mid-1980s. Thus a groove-oriented feel pervades proceedings with use of electronic keyboards. The quintet are at their best on the more reflective pieces such as 'Preludo Corto no. 2' and Horace Silver's 'Peace'. However, contemporary post-bop listeners will find much to enjoy in the more uptempo numbers. Not necessarily the ideal surroundings in which to showcase Rubalcaba's pianistic virtuosity, but an accomplished set nonetheless and one that cements his already excellent reputation. Tim Stenhouse
Lionel Loueke 'Karibu' (Blue Note)3/5
Benin born guitarist Lionel Loueke made a name for himself on the concert circuit and was spotted by none other than Herbie Hancock who championed his talents and passed on the good word to trumpeter Terence Blanchard who in turn used Loueke's services. Subsequently Loueke has released a trio of well received albums on the independent label Obliquesound, gaining a reputation in France, before moving to Blue Note for this big label debut. In recent years African artists and jazz have enjoyed a fruitful relationship with Richard Bona and the Kora Jazz Trio being just two of the more successful ventures and Dee Dee Bridgewater returning the compliment in the opposite direction. For 'Karibu' Loueke plays in a tight trio and, with the exception of three standards, pens all the other compositions. What immediately strikes is the degree of improvisation and abstraction to many of the pieces and their freshness, notably the radical reworking of the standard 'Skylark' which is one of the album's highlights. On a couple of numbers Loueke enlists the support of Hancock and Wayne Shorter. It is the latter who contributes a gorgeous soprano sax solo to Coltrane's 'Naima' which features lovely percussion. Loueke's playing has a melodic folksy feel in parts and with scat vocals a la George Benson, he may in time gain popularity outside jazz circles. Perhaps, his own compositions could veer less towards the abstract and stress both the African and Brazilian influences which he was exposed to as a youth, but there is no questioning the promise of talent on offer, nor the rapport between Loueke and the other musicians. The duet with Hancock on 'Seven teens' is worth the admission price alone. A very promising future beckons for Loueke. Tim Stenhouse
Carmen Lundy 'Come home' (Afrasia) 4/5
Carmen Lundy returns with a new studio album featuring her regular quintet and guest collaborators of the calibre of Geri Allen on piano, Steve Turre on trombone and, interestingly, jazz harpist Lori Andrews. Some of the songs that were premiered to such great effect on the previous live recording are showcased to the full here. Classic Lundy territory is entered on the lilting waltz, 'Lost in San Rafael' with its use of latin percussion and melodic guitar and Carmen scatting. The soulful groove of 'Comin' home' is ostensibly a tribute to her family roots in Miami and may attract radio interest from the r'n'b stations with Carmen's call and response vocals ably assisted by Geri Allen. Lundy has sometimes been compared in the depth and tone of delivery to Sarah Vaughan and on 'Heart of Gold' there may well be a case for placing her in this lineage. In a distinctly modal mood is the quartet number, 'Walking Code' that features some Mc Tyner-esque licks on piano. The most intimate moment on the album is reseved for a duet between Carmen and pianist Allen on 'Something happened today'. All but one composition, the standard' Nature Boy' are new songs from Carmen and the recording, like the band itself (and one might add the cover with Carmen's own artwork), is imbued with freshness and cohesion. Another winner. Tim Stenhouse
Various 'Droppin' Science. Greatest samples from the Blue Note Lab' (Blue Note) 3/5
It was Blue Note albums from the late 1960 and early to mid 1970s that inspired a generation of hip hop musicians and break beat DJs and the original cuts are celebrated in this collection. The music ranges from classic organ-led soul jazz to latin and big band sounds. Tribe Called Quest were one rap group that regularly called upon jazzy beats from the past and one of the most memorable is Jack McDuff's 'Oblighetto' with its subtle use of keyboards and nice ensemble playing featuring Bobby Bland's musical director Joe Dukes on the drums. It is the terrific bass intro and use of vibes that strikes one upon hearing Ronnie Foster's 'Mystic Brew', while the production on Donald Byrd's 'Think Twice' could only come from the talented Mizell Brothers, and features the gorgeous reed wirk of one Gary Bartz. Again emphasizing the drums, but this time to the accompaniment of a big band, vocalist Joe Williams delivers, perhaps, his finest moment on 'Get out of my life woman' aided by the Thad Jones and Mel Lewis Big Band. In a moodier vain is the late period Grant Green track, 'Down here on the ground' with drumming courtesy of Idris Muhammad. Jeremy Steig displays his virtuosity on the flute on the Roland Kirk inspired piece 'Howling for Judy'. Rounding off matters is the David Axelrod produced 'The Edge' which reputedly showcase the vocals of actor David Mc Callum (of 'Man from Uncle' fame), though there are no vocals as such to hear on this instrumental cut. While some of the tracks have featured on previous compilations, this is nonetheless a useful entry point to jazz for those who have dipped into 1970s jazz fusion, but are somewhat reluctant to delve any further. Tim Stenhouse
Horace Silver 'Live at Newport '58' (Blue Note) 4/5
We may have become somewhat blase about jazz festivals these days, but back in the mid-late 1950s the Newport Jazz festival played a pioneering and pivotal role in cementing live outdoor jazz concerts under the creative and commercial genius of promoter George Wein. Precious few recordings of the concerts have surfaced, but Blue Note archivist and general all-round champion and defender of the jazz faith Michael Cuscuna has unearthed from the Columbia records vaults the session contained herein. This is the classic late 1950s Horace Silver formation comprising long-standing saxophonist Junior Cook, bassist Gene Taylor and drummer Louis Hayes, with the fascinating addition of the seldom heard on record Louis Smith on trumpet. Soulful and downright funky are two adjectives that could describe the atmosphere on this recording and an extended version of what could be Horace's signature tune, 'Senor Blues' is unquestionably an album highlight. Silver would continue to be exposed to and influenced by latin rhythms, most notably on 'Song for my father' and 'The Cape Verdean Blues' in the mid-1960s. In a funkier vain is 'Tippin' originally a 45 b-side, while the theme tune to the groups live performances, 'Cool Eyes' receives an extended treatment here. Surprisingly Silver would only record again live once more in 1961 with 'Doin' the Thing', a live session at the Village Vanguard. By that time Louis Smith's short tenure with the band had ended and Blue Mitchell would form part of the classic 1960s band. The recording quality on 'Live at Newport' is in general excellent with Horace's characteristic Bud Powell influenced licks to the fore. A welcome addition to the Horace Silver discography. Tim Stenhouse
Les Amazones de Guinee 'Wamatu' (Sterns) 4/5
Guinean big band Les Amazones are an intriguing ensemble on at least two accounts: they are an all-women collective in a culture where male instrumentalists predominate; band members are also The Amazones de Guinee were formed in the early 1960s and up to 1982 had recorded two albums as well as participating in the groundbreaking FESTAC music festival in Lagos in 1977. However, for twenty-five years the band had laid low on the recording front until now. The passing of time has seen the death of one original member and the retirement of another with these being replaced by new members. Can they play like before? Happily the answer is an unequivocally affirmative one with the band travelling from the Guinean capital of Conakry to Bamako in Mali to record where Ali Farka Toure once played. As a whole the songs are well structured lasting no more than four to five minutes. Nonetheless the classic Guinean big band sound remains in evidence, perhaps best illustrated on 'Reine Nyepou' with its incessant guitar riffs, lovely use of horns and high pitched vocals. Melodic and hypnotic could be one way to describe 'Kaira' which features the interesting use of percussion and guitar in unison. In a heavily percussive vain, not dissimilar to Jamican nyabinghi drumming, comes 'Ndaren' with impassioned call and response vocals and collective chanting while 'Be Ni Son' features an impressive guitar solo. The title track is a joyous piece with the lead vocalist recalling almost a female equivalent of Salif Keita and excellent use of jazz-influenced horns. All in all a triumphant return and one looks forward to hearing them live too. Tim Stenhouse
Toumani Diabate 'The Mande Variations' (World Circuit) 4/5
One of the undisputed masters of the kora, an instrument that in terms of sound is somewhere between an Irish harp and a luth, Toumani Diabate returns with his first solo album in twenty years. His debut 'Kaira' from 1987 was a key album in Modern kora playing and the latest venture, 'The Mande Variations' does not disappoint. Diabate was interviewed after giving a concert in Seville in January and indicated that while many people have an approximate idea of what the kora looks like, few are aware of its spiritual dimension. It is this last aspect of the instrument that is emphasized time and time again throughout the new album and is unquestionably one of its major strengths. Long, lingering cuts predominate and Diabate, by playing solo, frees himself up to improvise with far greater freedom than on his collective recording with the Symmetric Orchestra. This is an instrument that is played by instinct and none of the music is actually written down. One track, 'Elyne Road' is inspired by a UB 40 interpretation of the Jamaican ska classic 'Kingston Town'. When transposed to the kora there is an entirely different feel and the song is devoted to the parents of engineer Nick Gold. Diabate has collaborated with various musicians from other fields such as nuevo flamenco group Ketama, Taj Mahal and Ali Farka Toure to whom he devotes one piece. These influences have impacted upon his music and on the track 'El Nabiyouna' Diabate explores flamenco, Indian and even Mauritanian themes without distorting or disrespecting the other styles. According to Toumani Diabate the kora has a mystical quality and everything has a meaning when played on the instrument. It is refreshing to listen to such spiritually uplifting music at a time when we are so preoccupied by mercantile greed. This album is the perfect antidote. Tim Stenhouse
Joe Higgs 'Life of Contradiction' (Pressure Sounds LP/CD + additional 7" not on LP) 5/5
A select number of reggae albums go beyond the stylistic constraints of the time and acquire timeless status. Two prime examples are Bunny Wailer's 'Blackheart man' and I Man Levi's 'Man a Warrior'. Joe
Higgs' 'Life of Contradiction' deservedly belongs to this category. Initially recorded in 1972 at Island studios under Chris Blackwell, the album was surprisingly shelved (possibly to focus on promoting
the Wailers internationally)and only surfaced three years later on the independent Micron label. Joe Higgs began his career as a singer, duetting in the 1960s before releasing critically acclaimed 45s throughout the 1970s, and for a brief spell being part of the early manifestation of the Wailers at Island prior to the arrival of the I-Threes. Higgs' voice has a gospel quality not unlike Toots Hibbert of the Maytals and this is no better illustrated than on the truly anthemic 'Come on home'. Almost as good is 'Got to make a way' while the deep sense of social consciousness that prevades Joe Higgs' work is felt on 'Hard times don't bother me'. In fact there are no filler tracks whatsoever on this album and the band is so tight that it recalls the feel of the Wailers 'Burnin' album. Jazzy inflections are added by the presence of US jazz guitarist Eric Gale, but these are never intrusive, or indeed deflect from the heavy instrumental accompaniment. In general the album has a timeless quality which probably led to it being out of kilter at the time with the prevailing musical fashions. The CD adds two sides of a sought after 45 which can be purchased separately on vinyl. One of the all time great reggae albums.Tim Stenhouse
Pat Metheny Trio 'Day Trip' (Nonesuch) 5/5
There have always been several strings to Pat Metheny's musical bowand essentially he has pursued a two-pronged approach: the expansive,layered textures of the Pat Metheny group; the intimacy and improvisational explorations of the solo, duet and trio settings. The latest endeavour falls into the latter category, placing emphasis upon his virtuoso technique, and is one of the finest trio outings so far and every bit as impressive as the late 1980s album with Roy Haynes and Dave Holland, and the superlative trio 99-00 recording. The mere fact that Metheny returns repeatedly to this format is an indication of his passion for the guitar trio and he assembles a new line up that is a worthy successor to the illustruous predecessors with Christian Mc Bride on bass and relative Pat Metheny group newcomer Antonio Sanchez on drums. In some respects this album harks back to the trio recordings of Wes Montgomery (whom Metheny is in the direct lineage of) while sounding thoroughly modern at the same time and this is, perhaps, the album's greatest achievement. Recorded in a single day, 'Day trip' has a freshness and vitality that is memorable and because of the speed of its recording a looser feel which enables Metheny to explore his innermost thoughts on the guitar. A classic Metheny composition is found in 'When we were free', an edgy bass-dirven groove which features Metheny shifting effortlessly from acoustic to synth guitar part way, yet retaining a melodic quality throughout. In a more laid back vain is the quasi-bossa beat, 'Snova'. Here Metheny squeezes every last drop of melody from the song, gloriously speeding up towards the end and engaging in fascinating interplay with Sanchez. Trio recordings have often served as a vehicle for Metheny to showcase the romanticism in his playing and 'At last you're here' fits the bill perfectly. Metheny demonstrates his concern for social issues on his tribute to the victims of Katrina on the folk-inspired lament, 'Is this America? (Katrina 2005)', playing acoustic guitar once more and aided by some lovely bass work from Mc Bride. This is, then, a recording that re-affirms Metheny's standing as one of the pre-eminent guitarists of his generation and one who, unlike his contemporaries, is less preoccupied with incorporating rock elements, and far more grounded in the mainstream of jazz than one might imagine. In this respect he is the natural successor to not only Montgomery, but also Charlie Christian and Barney Kessel. A majestic success.Tim Stenhouse
Various 'Nigeria Special. Modern Highlife, Afro-Sounds and Nigerian Blues 1970-1976'
The music of Nigeria has gained wider acceptance in the past decade due in part to the extensive re-issue programme of Fela Kuti albums, but also increasingly due to enterprising independent labels such as Soundways that have spent a good deal of time and effort chronicling the lesser known, but no less deserving artists of this fascinating and muscially diverse nation. This current compilation has been some five years in the making and the loving attention to details shows from the outer cover graphics through to the lavish and extremely well documented inner sleeve notes. Most important of all, though, it shines through in the music that covers a whole gamut of styles. Previous various artist compilations including 'Afro-Baby' on Soundways and the superb 'Nigeria 70' selection on the sadly defunct (but about to be revamped via Germany)Strut label gave an indication of
the talent on offer in a country as vast as Nigeria in terms of land mass and population size, but even this did not provide the same breadth of genres as exists on 'Nigeria Special'. Among the unbelievably rare to
find 45s we find a multitude of funk, jazz and rock influences. With so many tracks to hear, a few key artists nonetheless emerge. Mono Mono typify the fusion of sounds that took place during the period
with a subtle mix of Afro-beat and rock. The infectous tune 'Ema Kowa Iasa He Wa' is one of the compliations highlights and more needs to be heard of this group. Sir Victor Uwalfo achieved his first gold disc in 1965
and was influenced by US soul, but mixed this with traditional highlife. His song 'Osalobua Rekpama' was part of a three LP series devoted to a modern reworking of the folksong rhythms of the Ekassa style. Kaki King ‘….until we felt red’ Velour 0602517442290
An amazing guitarist who Dave Grohl has rightly been championing, her voice is lighter and by nature takes the tracks in a different direction but there’s a diversity going on that’s refreshing and honest. Also includes full length CD of her debut ‘Everybody Loves You’.Graham Radley Setsubun Bean Unit - Accidental Records (AC27CD)
How to classify ? it’s a folked up jazz, fired by dubby brass meets electro type thingy really. Formed by three members of Bellowhead, plus Japanese musicians and the Bon dancers, it’s a wildly different sound that’s often challenging but if we wanted safe we can find enough cans of mediocrity on the shelves can’t we ? Terrific. Graham Radley DJ Delores ‘1 Real’ Zirguiboom/Crammed Discs Zir31
Third album and he just keeps getting better. Brazil provides the source with the mix bringing in a varied selection of dance friendly influences . Behind this infectious dance music though DJ Delores addresses issues like capitalism (Proletariado) and idealism (Cala Cala) as well as on a lighter note looking at relationship. Regulars joining him include Maestro Forró, Gabriel Melo, Fernando Catatau, vocalists Isaar and Maciel Salu, and guest appearances by Silvério Pessoa and by Marion. Excellent Graham Radley Ensemble Dastan & Salar Aghili ‘The Endless Ocean ‘Network 495120
Formed in Iran in 1991 by Hamid Motebassam this CD has lyrics from the poems of Attar, Rumi, Hafiz and Sayeh beautifully sung by Salar Aghili. This is classical Persian music that’s spiritual, sensitive and enveloping in it’s warmth and beauty. Superb.Graham Radley
Alemayehu Eshete - Ethiopiques Vol. 22 (Buda Musique) 4/5
Part of the ongoing series under the tutelage of French musicologist and Ethiopian aficionado Francis Falcetto, Volume 22 arrives with vocalist Alemayehu Eshete already having contrubuted a CD's worth of material on Volume 9, and on various compilations including volume 3. This latest offering focusses on a short period between 1972 and 1974 and in particular on some of the 45s that were issued by him at the time. What immediate strikes the ear is the proficiency of the jazzy instrumental accompaniment which is reminiscent of the great keyboardist Mulatu Astatqe, himself the focus attention on volume 4. In general the lengthy tracks afford Eshete the opportunity to stretch out and improvise at will and the singer is clearly in his prime here. As ever with the series, the whole comes impeccably packaged with extensive bi-lingual sleeve notes, translations of song titles and lyrics, and beautiful original sleeve covers. Weighing in at just over seventy minutes, this is a highly recommended slice of authentic 1970s Ethiopian music and if you have not already become addicted to the country's musical heritage, this is an ideal place to start.Tim Stenhouse Reel People – Seven Ways To Wonder [Papa 2008]
If you are only just coming down from the happy heights their ‘Second Guess’ album elevated you to, then rest assure this new offering is going to catapult you back there. Reel People have collaborated with the likes of Omar, Vanessa Freeman, Imaani, Tony Momrelle, Joy Rose and Dyanna Fearon to keep you in the happy zone on this release. An early summer sounding soul album, due to hit the shops the back end of February, is destined for acceptance across the board from the soul jazz that is ‘Ordinary Man’ through the Neo Soul that is ‘Anything You Want’ to the jumpy ‘It will Be’ and ‘High’ that the broken soul lovers will adore – no album fillers here folks, just pure quality! This is Britain at its best, an album stamped with longevity and oozing passion, inhaling the best possible soulful oxygen and exhaling a progressive masterpiece with the album’s anthem tracks ‘Outta Love’ and ‘Upside’ destined for greatness at Southport while ‘Love Is Where You Are’ and ‘Amazing’ hitting every Modern Soul dance floor throughout the North. Don’t let this slip you by, make the space on your shelf now and insert a card that says “Insert Reel Music Here” - '[Seven Ways To Wonder’… Just what ears were put on your head for. Shuya Okino – United Legends replayed by Sleep Walker [Geneon 2008]
Modal. Jazz. Unbelievable. Sleep Walker are brought on board to remake the ‘United Legends’ album from this time last year and for all but a few notable vocals by way of Carleen Anderson, Clara Hill, Navasha Days, Yukimi Nagano and Josh Milan you would think this was a brand new Sleep Walker release. Full on jazz encased by the now expected perfect packaging only the Japanese seem to provide us. Just good music. Oh, I nearly forgot… CD 2 is instrumentals… now that’s cleaver. Steve Williams Kissey Asplund – Fuss ‘N’ Fight EP [R2 2008]
Mixed feelings on this one. For those of you who enjoyed Kissey’s “Caos” on her previous 7” will wonder what she’s doing here with heavyweight bass-lines and sultry Badu-like vocals but it works for me unlike the aforementioned which fell considerably short of the mark. It was only on my seventh play did I decide to crank the volume up and oh my god does the bass carry these tracks. ‘Hit Me with Medication’ shines on the EP but nothing does anything different or new. It fits in with a lot of what has been released over the last twelve months but I am afraid there are no contenders on this EP – let’s hope the album ‘Plethora’ proves me wrong. Sweden’s Kissey can be best enjoyed visually on YouTube, or better still, in the flesh at Kidkanevil Leeds on Friday 8th February or Cargo London on 9th February. Steve Williams José James – The Dreamer [Brownswood 2008]
If I said this album was played at home every single day over the festive holidays would it help you to understand how unbelievable this jazz album is? Mr. James has got something usually only associated with greats of the seventies. His voice is clear, emotional and distinct, at times Gil Scott Heron flashes before you.. Then Terry Callier… – what a voice, a true artist in all aspects. Give ye old YouTube a scan a check out him side-by-side with The Soil & Pimp Sessions with an amazing rendition of Freestyle Fellowship's ‘Park Bench People’, of which his studio version on the album stands tall and proud. Brooklyn runnings like none before it – the challenge is on, you best all get practising. The 4orce – Mind the Gap Anthems vol.2 [BBE 2008]
BBE and the UK’s Producer and MC Steve Ellington join forces to give us this live offering from someone better known for remixing joints by Common, LL Cool J, and Buster Rhymes. On this British Hip Hop monster we are treated to a very soulful set of thirteen tracks helped along the way by Pete Cherry, Tim Baxter and Phoebe One and the most samples.. You will be racking your memory banks listening! Particular favourite here is ‘Precise Precision’ for its soulfulness. Those looking for something harder should head straight to ‘Magnificent’. Top marks for this release – quality hip hop CAN come without explicit lyrics. Steve Williams VA - Neu Jazz [Sonar Kollektiv 2008]
Congratulations to all at the SK camp for giving us many years of good music, it looks like this 2008 release will show the way for the New Year. Steve Williams Aaron Jerome – Time to Rearrange [BBE 2008]
As 2007 fades away BBE’s continued fight to release blinding music grows strong and from what we can see of 2008, they may take control. Jazz by way of Aaron Jerome is the script and everyone’s singing from the same page. His refreshing interpretation of Terry Callier’s ‘Dancing Girl’ is done brilliantly and so too ‘Reel Time’ featuring Voice (reminiscent of Dana Bryant) and the rather beautiful ‘Marrakesh’ - marvellous. As for the dance floors, the jazz dance title track would give anything a run for its money while ‘Late Night Mission’ is destined for every broken beat club worldwide. This deserves a great big Kenny Everett giant foam hand pat on the back. Steve Williams Raheem DeVaughn - Love Behind the Melody [Jive 2008]
Other than the well placed use of Floetry on 'Marathon' there is but one worthy track, that of the two-stepper 'Love Drug'. The rest? Well let’s say it is in a field where players are plentiful and skill sparse. Let’s hope Jive can produce something for the Premier League later in the year. VA – Strange Breaks & Mr Thing Compiled by Mr Thing [BBE 2008]
Straight off the back of the label’s ‘Strange Games’ compilation comes this onslaught of funky cuts from artists like Chain Reaction, Steve Smith and The Honey Dippers. Just when you thought the vaults and collections of some of the world’s best record collectors and labels must be nearing exhaustion arrives on the scene another, somewhat superior, gem. If you are feeling the many comps on this tip then this will not disappoint, and for those who otherwise steer clear, Mr Thing includes ‘Boogie Man’ by The Crystal Mansion… the dog’s nuts of folk funk!! Don’t hesitate; get your dry roasted funk here. Steve Williams AL Kent presents The Million Dollar Orchestra [BBE 2008]
When did you imagine disco died? Wrong! Because it happens sometime after 2008 and The Million Dollar Orchestra are here to prove just that. Creative, refreshing, gutsy disco blinders from start to finish. If you are bored with the way some of the genres have been heading then pick this album up and stimulate the parts of the brain usually left for alcohol and wickedness. Best of 2008? – Here we come and you had better step aside! Steve Williams Yiorgos Kaloudis 'Truth' (DNA Lab) 4/5
Here we have a cross-boundary cutting trio that played under the name of the Chosen Few at this year's Manchester Jazz Festival and were one of the revelations when they gave a spellbinding performance within the sacred surroundings of St. Ann's church during the summer. This has the feel and the ethos of an ECM recording, and the comparison is mirrored also in the impressive austere photos of the inner and outer jacket sleeve. Cellist Yiorgos Kaloudis is an Athens-based musician who, in addition to being a composer and founding member of the trio, is also well known within his native country as a film soundtrack composer and performer. This certainly comes across in 'Truth' which in parts evokes a larger scale musical canvas, and all compositions on the album were written by Kaloudis. What is fascinating about 'Truth' as a whole is the intimacy of the setting and line up, yet the expansive nature of the sound produced. One of the album's undoubted highlights is the haunting and plaintive lament 'Parthenia' which refers to a street name in Los Angeles. This is a very spiritual piece on which Kaloudis doubles up on various instruments and uses a technique known as 'live loop recording' whereby layers of music can be added on, but in a live context. The multiplicity of influences to be found on the album is exemplified further on 'Balo sokak' which is actually the name of a small street in Istanbul. Here an unusual Middle Eastern intrument the kanun (whose exact provenance is the subject of conjecture)which is played like a zither, but sounds somewhere between a Celtic harp and a Japanese koto albeit a much sharper, more piercing sound. Ruth Hill contributes a solo here on kanun with sensitive accompaniment from bass and cello. Overall there is a timeless quality to the music as if suspended in a time capsule with little or no knowledge of what is happening externally. This is quite simply a highly impressive debut from a trio with a highly original sound that encompasses classical, jazz and other world roots music and interiorises the various components with aplomb, yet still manages to sound utterly coherent and distinctive. Tim Stenhouse Various 'Wish you best Christmas ever' (Trikont) 3/5
The concept of a Christmas album is in some cases a somewhat worn one with the same songs re-hashed in varying formats and the lingering question of whether the songs would pass the test outside of the festive period. Notable exceptions have been James Brown's soulful take on yule tide and Jimmy Smith's hammond organ reworkings of the classics. However, what we have here is a far less obvious selection than per usual with a highly eclectic, and in places, ironic take on the Christmas theme that encompasses classic r'n'b, blues, soul, country and folk-rock. Uplifting piano-led rhythm and blues work extremely well with festive themes and this is no better illustrated than on the superlative 'Trim your tree' by Jimmy Butler with honking sax a la Illinois Jacquet. Another wailing winner is to be found from Ruff Ruffin and 'Xmas baby' accompanied by nice B.B. King style guitar. Doo wop with its gorgeous harmonies is equally a complimentary bed fellow to festive cheer and two cuts here are showcased with the Enchanters 'Mambo Santa Mambo' and its minor Latin theme, and the Debonaires 'Christmas time' both highly enjoyable cuts. Boogie woogie with jazz inflections are in evidence on The Christmas Jug Band's 'That's his red wagon' with the vocalist sounding very much like a Mose Allison clone. Humour and irony are to be found on Nancy White's 'It's so chic to be pregnant at Christmas' and we can all empathise with the hastle involved in the pre-Christmas build up. Perhaps, somewhat less convincing is Peter Bandit's folk-inspired 'Santa's in the unemployment line' and 'I'm gonna lasso Santa Claus' by a very young sounding Brenda Lee which could be seen to be taking a few liberties with the Christmas theme, but then that is precisely the point. The loneliness and isolation felt by some during this period is exemplified by Little Esther Phillips on 'Far way Christmas blues' while a more upbeat message is contained within Louis Prima's swing jazz approach on 'Shake hands with Snta Claus'. It would have helped if the German text had been translated into English and there are no recording dates indicated. An intriguing addition, then, to the Christmas musical repertoire. Tim Stenhouse Various 'Doom and Gloom. Early songs of Angst and Disaster 1927-1945' (Trikont) 5/5
Do not be put off by the overwhelmingly pessimistic message of the title. This is in fact a fine example of early blues and rootsy country beautifully assembled together under the loose heading of natural disasters and, far from being depressing, is a positively uplifting experience. The music flows perfectly from one track to another and some of the all-time greats are featured within featuring Charlie Patton and Blind Willie Johnson among a host of others. Trumpeter Terence Blanchard has recently chronicled the effect of hurricane Katrina on his native New Orleans, but on Kansas Joe and Memphis Minnie's 'When the levees broke' we can hear history almost repeating itself several decades previously. The feeling of isolation and utter helplessness is skilfully portrayed. One wonders whether the title of Spike Lee's documentary of last year was inspired by this song. The depiction of water entering a musician's home is further illustrated on Big Bill Bronzy's 'Southern flood blues' with Bob Dylan being among Bill's legion of fans. In a more general sense Bessie Smith delivers a delicious take on 'Back water blues' with the great James P. Johnson on piano. Road accidents are another theme that a nation faces repeatedly over time and these are recorded on such songs as 'The Lumberton wreck' and especially the Crazy Tennesseans' 'Wreck on the highway'. The plight of the downtrodden is the subject of an early acoustic Chicago blues recording from Joe Williams in his heartfelt plea that 'Providence help the poor'. On a larger scale war has been the cause of a great deal of suffering and the Carter family cover this from the perspective of one individual in the tale of 'The dying soldier'. At the very end of this compilation's time-scale the atom bomb falling on Japan is the subject of Karl and Harty's 'When the atomb bomb fell' which has no triumphalism attached to it. Given the age of the majority of these tracks, they have surprisingly well mastered onto CD with good clear quality sound. As per usual with Trikont close attention to detail is paramount and the well illustrated liner notes contain profiles of individual artists and period photos. A superlative illustration of early Americana and one of Trikont's best compilations thus far. Tim Stenhouse The Nostalgia 77 Octet – Weapons Of Jazz Destruction (Tru Thoughts)
Life Force – Fearless Warriors (Sonorama) German CD/LP
EST 'Live in Hamburg' 2CD (ACT) 5/5
One of the major trends to have emerged in the last few years is the renaissance of the jazz trio and equally importantly the the repositioning of the format for a new audience, and not necessarily one immediately into jazz. EST have, over a series of critically acclaimed albums, torn down some of the previous barriers associated with jazz thanks to their indie rock attitude and use of catchy melodies, and in so doing have provided a highly accessible, yet nonetheless challenging introduction to the jazz vernacular. With this latest live album, EST arguably stand comparison with just about any trio in the globe, and have certainly come up with their best live recording thus far. They are a fascinating phenomenon in being on the surface just another jazz piano trio, yet using traditional instrumentation in a wholly new way (often with repetitive drone effects on bass and piano)and attracting attention with their choice of quirky song titles. This two-hour programme focuses both on extended versions of the last EST album, 'Tuesday Wondreland' (Six cuts in all)plus some of their most loved pieces. The bluesy intro on 'Definition of a dog' with interesting wah-wah effects on bass, leads into a lengthy eighteen minutes plus piece that has a gospel feel and delightful improvisation from all trio members. This song alone confirms what many of us long supsected: EST belong in the pantheon of jazz musicians. Another groove-laden tune is 'The Rube Thing' which in its chorus has almost an Eddie Harris/Les McCann feel to it. Bass and percussion work well in tandem here. Perhaps an indication of the added maturity of the trio is to be found in the exploitation of ballads. On 'The goldhearted river' the influence of Bill Evans is felt, while 'Where we used to live' is a lyrical piece played beautifully be Esbjorn Svensson. A highly melodic composition,'Eight hundred streets by feet' receives a sensitive accompaniment from the rhythm section with the melody itself simply stated. A fitting finale is provided on 'Dolores on a shoestand'. There is an effortless and logical flow to the lengthy number (though at seventeen and a half minutes only the second longest piece!)with lengthy improvisations on the catchy riff that reach a crescendo half way in, and ends with a blues-inflected groove that has the audience actively participating. Various - ' Luaka Bop. The Sound of Sound' (Cooperative Music)4/5
Featuring Shuggie Otis, Moreno + 2, Domenico +2, Kassin + 2, Eddie, Os Mutantes, Jim White and Los de Abajo, plus exclusive unreleased tracks from the Godfather of Brazilian soul Tim Maia (Que Beleza and Bom Senso) this is Luaka Bop doing what they do so well, mixing it up and making it special. Great. Graham Radley Initially set up by David Byrne, Luaka Bop aimed to highlight upcoming new and established, yet unrecognised talent in the field of world music with emphasis upon Latin America. This latest compilation continues in a similar vein with no less than six cuts devoted to Brazil whith other lesser known artists from Mexico and the United States. One of the album's revelations is the acoustic sound of north-eastern Brazilian state Pernambuco via singer Eddie's 'Pode me chamar' illustrating just how diverse the country's music styles are. From Rio the duo of Kassin and Moreno Veloso have recently come up trumps with the splendid Orquestra Imperial big band project, but are probably equally well known for their pared-down individual albums, and prime examples are found here along with another collaborator Domenico. Veloso contributes a senstive ballad, 'Deusa do amor' with his trademark delicate vocals that father Caetano would be proud of while Kassin in contrast supplies an uptempo acoustic offering that has a Congolese rumba feel to it on 'Agua'. The more funk based Dominico offers a more contemporary sound on 'Felizes ficaremos na estrada' with spoken intro vocals. Soul and funk have been key influences on the Rio music scene and arguably its finest local practitioner for over twenty-five years has been vocalist Tim Maia. From a forthcoming compilation of his music due on Luaka Bop in 2008 we have two delicious slices of soul Rio-style. The influence of the Isley Brothers is felt on guitar throughout with subtle horn riffs on 'Que beleza' while the mid-tempo groover 'Bom senso' features classic strings. A retrospective of his work outside Brazil is long overdue. Seminal tropicalista group Os Mutantes carefully crafted rock and samba influences into their music during the late 1960s and early 1970s, and in recent years have enjoyed a revival of interest. A track form their live 2006 album at the Barbican, 'A minha menina' bears testimony to their cult status. The eclecticism of Luaka Bop is, perhaps, best represented by a group such as Los de Abajo. Hailing from Mexico City, they are a collective with a wide range of styles and not afraid to mix the traditional with modern. On 'El Loco' with its rootsy rhythm section, mariachi-style trumpets and beat box scratches, we truly have an insight into the cosmopolitan groove of Mexico City in the twenty-first century. Last, but by no means least two lesser known American artists. Shuggie Otis fused soul and psychadelic sounds effortlessly and his brilliant reworking of the Brothers Johnson classic 'Strawberry Letter 23' is the icing on the cake of a highly recommended album from him. Jim White fits somewhere between alt.country and contemporary folk and two songs from his brace of albums on the label indicate a highly individual style that avoids the mainstream. A refeshing dip, then, into the recent back and future catalogue of the Luaka Bop label.Tim Stenhouse Various - 'New York City Salsa 2' (V2) 5/5
We should be grateful for one of the musical coups of the new century when EMusica secured the rights to the entire Fania back catalogue. First came a double CD of classic sounds. Now the follow up to this excellent introduction to the legendary Fania label and its various subsidiaries has arrived, 'NYC Salsa 2', this time focussing on some of the rarer yet choiciest cuts of the musical empire as selected by salsa aficionado DJ Lubi Jovanovic. As one of the two founding members of Fania Johnny Pacheco is fully deserving of inclusion and in his early career recorded some fabulous Latin jazz and Cuban-inspired conjunto albums in the early-mid 1970s. However, he is best remembered as the producer and collaborator entrusted with reviving Celia Cruz's career and transforming her into the queen of salsa. The track 'Tres Dias de Carnival'
is an irresistable slice of mid-1970s salsa. Keyboard maestro Larry Harlow, although not a native Hispanic, grew up in the New York barrios and developed a passion for Cuban music. His own albums reflected the rootsier side of Afro-Cuban music with suites devoted to the historical development of the genre, a salsa opera inspired by the Who's 'Tommy' retitled 'Hommy', and a series of hard hitting salsa albums that often included the compositions of the great Cuban composer and tres player Arsenio Rodriguez. Here one of his early 1970s albums is showcased with fellow Fania All Stars member Ismael Miranda taking up vocal duties on 'Se casa la rumba'. It is a matter of debate whether Puerto Rico's finest sonero (salsa singer)was Ismael Rivera or Hector Lavoe. Both were legends and it is the former who is on display here, paired with percussion legend Cortijo on the uptempo 'Fuerz'e cara'. A similar vocal and percussionist pairing, Azuquita and Kako, produced a highly acclaimed album 'Union Dynamica' and from this 'La Fiera' is a no holds barred cut that features orchestral brass and thunderous percussion. Family group the Lebron Brothers have something of a cult following in the hispanic world, especially within Columbia. Their distinctive pared-down, percussion heavy sound has graced countless albums and from the early 1970s after their brief boogaloo phase comes the sultry 'Tengo testigo'. The album also showcases a number of artists who, outside salsa specialists, will prove to be major discoveries. Cuban pianist and producer Javier Vasquez was a staple of the Salsoul label as a producer, but in his own right recorded a gorgeous 'tipico' (traditional style) album for Alegre from 1974 complete with sleazy cover. From this 'Don Anastacio' is steaming hot salsa dura. Monguito Santamaria, as the son of Cuban percussion legend Mongo, did not receive due recognition and was largely regarded a short-lived latin-soul artist. Yet on his few albums there were always examples of classic 'son' (one of the key roots of traditional Cuban music along with rumba) and 'Nosotros' is a song in praise of the sonero. Latin jazz and salsa have often fused to great effect and while trumpeter Cabrerita only recorded two albums for Alegre, they were both outstanding. The track featured here, 'El Remolon' would not be out of place on a Tito Puente album. Big band horns and beautiful vocals emerge on 'Arenque' by Alfredo Vargas y su Orquestra. Factor in the early Cheo Feliciano, the great duet of Richie Ray and Bobby Cruz and the master percussionist Johnny Colon with a vastly underrated cut from the Fania All Stars concluding matters, and this is one salsa collection you would not want to be without. Indispensable and an ideal way to delve deeper into the music's historic figures. Tim Stenhouse Black Roots 'In session' (Makasound) 4/5
Bristol-based group Black Roots have been a somewhat neglected roots band in the UK and were largely overshadowed by the likes of Aswad and Misty in Roots at the time. This is a pity because they were a group that played with a great deal of integrity and no little talent, and it has taken Paris label Makasound to recognise this with a previous compilation 'Frontline' that re-issued their first two albums and enabled a wider audience to enjoy their music. The major part of this album comprises two separate sessions from 1982 and 1986 recorded for legendary DJ John Peel who loved his reggae and clearly liked the band sufficiently to invite them back for a second session. Heavy bass laden grooves abound on 'Tribal war' (not the Little Roy song)with harmonies reminiscent of the Mighty Diamonds. What distinguishes Black Roots is the laid back groove of the rhythms which are highly melodic and this is exemplified on 'Survival' with its subtle use of keyboards. Likewise 'Confusion' and 'Move on', which are Wailers influenced, feature lovely percussion while the more uptempo 'Opportunity' has a nice bouncy rhythm for dancers. Strong lead vocals feature on 'What a dem a do' which is a classic roots song. In addition to the two sessions, the CD also includes bonus 12" cuts of some of the aforementioned songs featured. These are now sought after items and were excellent value often including three songs in extended form. A timely reminder, then, that UK roots can stand up on its own and compare favourably with its Jamaican counterparts. Tim Stenhouse Tiken Jah Fakoly 'L'Africain' (Wrasse) 4/5
African reggae has received relatively little press save for the late Lucky Dube in South Africa. However, over the past five years or more Ivory Coast's Tiken Jah Fakoly has built up a receptive audience throughout francophone Africa with hit albums such as 'Mangercratie' and on his last an open critique of one George W. Bush on 'Tonton d'America'. This latest album is by far the best all-round offering thus far, with beautifully crafted musicianship, and political and social messages of a kind reggae has not heard expressed so coherently since the days of Bob Marley. Tiken Jah Fakoly is a reflective artist who is acutely aware of the larger picture and it is to be hoped that he will escape the confines of the 'world roots' category to become part of the reggae mainstream. Both the quality of the musicians and the message laden content deserve no less. Tim Stenhouse Souad Massi - ' Acoustic. The Best of Souad Massi' (Wrasse) 4/5
The title of this new album from Souad Massi is misleading in that it is actually a live recording from earlier this year in the Parisian suburbs, but does nonetheless contain several of her best known songs and is in any case an excellent introduction to her work. Algerian born Massi spent her formative years in the Bab-el-Oued suburb of Algiers and was strongly influenced by the country and folk soundtracks of American cowboy films. This is reflected in her overall sound which has a decidely US folk bent to it, albeit embellished with traditional Algerian instrumentation and the occasional foray into flamenco. After experimenting with hard rock and flamenco as part of earlier bands, she finally decided to go professional and in so doing endangered her life during the civil war of the 1990s in Algeria when political Islamists frowned upon musicians. After exiling herself to Paris in 2000, Massi first came to prominence as part of the 'Women of Algeria' concert in Paris and made her debut album 'Raoui' in 2001. Two further critically acclaimed albums followed and this body of material comprises the songs on this latest live recording. Whereas the previous album 'Honeysuckle' expanded the instrumentation and personnel to include West African as well as North African percussion and added a string quartet, the musicians on this live album are limited to a bare minimum of four including Massi on guitar. However, the traditional luth and darbouka are still in evidence. The opening song 'Denya wezman' ('That's life')begins with a lengthy instrumental introduction before Massi takes centre stage with a plaintive, yet sensitive voice that is surprisingly emotive. Simple, yet haunting melodies abound such as on 'Hayati' ('My life')with gorgeous harmonies and nice interplay between musicians. Massi has sometimes been compared to an Algerian equivalent of Tracy Chapman and this is most apparent on 'Bladi'('My country')which is a rousing, uptempo number with folksy accompaniment. The sheer beauty of Massi's voice is laid bare on the solo effort 'Raoui'('Storyteller')where she sings and plays guitar. Indeed her music does not hit you immediately, but gradually builds in intensity as exemplified on the lovely ballad 'Dar Dgedi' ('My grandfather's house')with the use of the luth to accompany Massi's voice. Despite the intimate surroundings of the theatre concert venue, the audience is not in the least intrusive and the overall sound quality is excellent. Terence Blanchard 'A tale of God's will' (A Requiem for Katrina)(Blue Note) 4/5
Terence Blanchard has led a parallel career of jazz trumpeter and film-score composer, collaborating notably on several of the Spike Lee films with his jazzy orchestrations. For this latest project the two aspects come together for an album that conveys in musical form the before and after effects of hurricane Katrina and its devastating impact on Blanchard's home city of New Orleans. Indeed some pieces contained within have already been heard on the soundtrack to Lee's excellent documentary on Katrina, the epic four-hour 'When the levees broke'. Blanchard is not the first musician to have attempted to portray water and Debussy's 'La Mer' and Handel's 'Water Music' immediately spring to mind within classical music. The immediate question to be asked is does the music stand up on its own away from the confines of the documentary? The answer is a resounding affirmative. Various - 'Nueva Vision' (Sonar Kollektiv) 4/5
In recent years the vaults of Egrem studios in Havana have been opened for re-issuing projects and this latest collection, part of the ongoing series of jazz-influenced albums compiled by DJ Jazzanova, provides an excellent overview of Cuban music during the 1970s that encompasses fusion, Afro-Cuban jazz, songo and more left-field sounds. Pianists are very much to the fore here and little wonder when they are of the calibre of Chucho Valdes and Emiliano Salvador. Similarly Cuba has a proud tradition of vocalists, but the names of Bobby Carcasses and Perdo Luis Ferrer may be unknown to non-specialists. Carcasses collaborated closely with Emiliano Salvador and is a scat vocalist in the lineage of John Hendricks. He conjures up some vocal gymnastics on what presumably is a tribute to Salvador on 'Emiliano primero'. Ferr |
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