Yearly Archives: 2008

I can’t count how many dope singles have emerged from the Wah Wah 45s label. So when I heard about the latest installment of Underground Hits & Exclusive bits 3, I couldn’t wait to hear it. Right off the bat, I was rewarded with the seductive vocals of Stac on "Balls Bounce."  The tune starts out soft and warm and after several minutes goes into another gear bursting with energy. "Step Forward" by Jamie Finley is a pensive ballad driven song that’s equally enjoyable. Jamie’s voice is similar to Prince’s falsetto. Jamie’s forthcoming debut, also on Wah Wah 45s is going to be huge. Another anticipated project will be the "Middle Sessions." They contribute two tracks here“ "Used To Be" is a nice up tempo vocal track with strings. "Red Waters" closes the disc with a flurry of high energy jazz that could easily be embraced on any dance floor. It’s always a treat when an anticipated release exceeds your expectations. Treat yourself to one of the most satisfying compilations to arrive this year.

Reg Dancy

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This two disc set by Nostalgia 77ʼs Ben Lamdin is a great showcase of his talents as a producer, bandleader and DJ. Remixes & B-sides has a little bit of everything. Letʼs start with the soul funk compositions. Ben remakes Alice Russellʼs "Knee Deep" and creates an instrumental that is haunting and funky. Bonoboʼs "In Between The Lines" is a great selection with a combination of a funky horn section and the enchanting vocals of Bajka. Other stellar remixes include Elizabeth Shepardʼs "Reversed." The New Mastersounds, the Leeds UK based group, create the ultimate soul jazz record with help from Corrine Bailey Rae with "Your Love Is Mine". Disc two is an impressive collection of Avant Garde jazz. A great example of that is "Nativeland," a Horace Tapscott tune recorded live is a wonderful exploration of spiritual jazz. The twenty two minute. "Impossible Equation," a previously limited edition record that was only available on vinyl is a must have record for any avant garde jazz fan, is free jazz in it’s purest form. Nostalgia 77 is simply a great collection of music by Ben Lamdin. Just having one of these discs would be worth the price of purchase, but having these two discs together is a bonanza of great music that shouldnʼt be ignored. You could play this record for weeks and not grow tired due to the musical array of selections here. A very satisfying listen.

Reg Dancy

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The hype and hope surrounding Quiet Village’s long player has been building ever since their rare-as-hen’s-teeth singles started appearing on New York’s ultra hip Whatever We Want label about 3 years ago. Consisting of Joel Martin and Matt Edwards (better known as DJ and House music star Radio Slave), Quiet Village has garnered an enviable reputation for creating – for want of a less obvious description – surreal, dreamy, mid-tempo music that quite simply soothes the ears. As the title suggests, ‘Silent Movie’ is heavily indebted to the influence of film scores, but don’t be fooled into thinking this is just another ambient, chill-out, Balearic record to play in the background. This is much more than that, and when the Grace Jones-esque, tropical disco-dub of ‘Too High to Move’ is washing over you for the tenth time in a row, you’ll realise why. An excellent album.

Tom Breslin

Soulphiction, a.k.a. Stuttgart’s Michel Baumann, the man behind Philpot Records and one third of Manmadescience, is not a guy to be pigeonholed. Despite the tendency in his music to just chug along, lulling you into a groove-induced state of hypnosis, there are so many styles and influences crammed into his productions that he always has you on the hook, just as, say, Moodymann or Theo Parrish might. This whole album is one big tip of the hat to those dons of Detroit, with its scene-setting chords and jazzy, techno sound-scapes intertwining beautifully with twisted disco samples and Afro vocal snippets. Granted, this is not for everyone, but for many – myself included – this will be one of 2008’s real gems.

Tom Breslin

This is the second volume in what should, hopefully, become an established series and the focus this time is not on the pioneering producers of the ‘80s, but on the contemporary electronic music most directly influenced by those flag-planting disco forefathers. Selected once again by Running Back head honcho Gerd Janson, but left unmixed, the music comes from the cream of the Nu-disco crop in the form of Todd Terje, Prins Thomas, Maurice Fulton, Ray Mang et al. You know the score; 100 – 110 well placed beats per minute, dominated by firm bass-lines and awash with dreamy synths and weird effects. This is a great collection and the inclusion of Mark E’s ‘Fighter’ – an exclusive to this CD – is the worth the money alone.

Tom Breslin

Futuristic funk from the trio known as Milez Benjamin. Milez Benjamin consists of three members Gerd, Delgui and Colonel Red. They all came together in 2004 and started planting the seeds for this project and the results are very impressive. “Chop That Wood” is as funky as any record you’ll hear this year. Colonel Red leads the trio on the chorus and features some stellar bass playing. “Our House” keeps things moving in the same direction with the only difference is that it features some nice synth playing to add flavor to the track. “Soundcheckin’” is a little more broken than most of the tracks here but it’s funky and loose. All in all,  “Feel Glorious” makes it very hard for you not to have a good time. Each track is armed with catchy hooks and a thumping bass throughout. These guys sound like they had a lot of fun making this record. You’ll have fun watching your friends move to this at your next party.

Reg Dancy

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Generally, I’m not a big fan of remakes, especially an entire album. So initially I was skeptical of the “A Tribute To Prince” project. I have to say that I was pleasantly surprised when I sat down to listen to it. What’s refreshing about this collection are the alternative takes each artist brings to the table. D’Angelo comes out of hiding to deliver  a lively version of “She’s always In My Hair”. Blue States  takes “Alphabet Street” and turns it into an atmospheric trip hop offering that is very satisfying. Osunlade’s rendition of “Crazy You” is also tastefully done. It may be the only track here that might bear some similarities the original. Broadway Project puts a cinematic spin on “The Ballad Of Dorothy Parker” and, as a result, creates a song that aims for the depths of your soul. Kudos to the musicians involved in this project. This is how remakes are supposed to be done. It’s a beautiful thing when artists tear a song apart and recreate it all over again. This is wonderful work that deserves to be heard.

Reg Dancy

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Upon listening to James Pants debut, I felt as though I stepped into a time machine. When I stepped out, it was 1980 and boogie music was filling the airwaves. Indeed, “Welcome” has a bit of a retro feel to it with the heavy use of synths and percussions. Somehow, he manages to make it sound fresh and current. “Ka$h Feat. Deon Davis” is a mid-tempo electronic soulful track that has an irresistible groove. “We’re Through” is a classic 80’s boogie tune that reminds you of all the jams you loved dancing to in the clubs back in the day. This disc has more to offer however. “Good Things” is a funky hip-hop track that demands to be turned up and is woefully too short. James is really on to something here. He has managed to tap into a multitude of musical styles from boogie to punk and hip-hop and has molded them into a fun and entertaining debut. Kudos to Stones Throw for recognizing his talents.

Reg Dancy

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Sonar Kollektiv really know how to celebrate because here’s another way to celebrate 10 years in business: yes, it continues into 2008. They got 15 label artists and friends, led by Volker Meitz, to create the Sonar Kollektiv Orchester. This was another good excuse to go through the back catalogue and produce some cracking new versions of the anthems we all know and love, so giving them a new breath of life. Tracks that got me hooked on the first few plays were the covers of Meitz’s "Africa", Thief’s "Atlantic" and of course the five Jazzanova tracks. Volker has done himself proud, but, with such good material, he was never going to fail. Whilst you’re waiting for the official release, do check out this wonderful video of their live session at the Tabe Club Festival: http://www.dailymotion.com/video/x3jtw8_tabe-club-festival-sk-orchester-200_music

Simon Harrison

Jack Splash, the man who blessed us with “The Return Of Jack Splash” in 2004 is back. Like is debut, “Time Traveler” provides plenty of soulful eighties styled funk that made Jack so enjoyable to listen to. The title track is certainly one of the highlights, thanks to the soulful horns, the laidback groove and the sunny upbeat vibe it projects. “Your Love” is another rhythmic track that is taylor made for Jack’s appealing vocals, again capturing that warm happy feeling that he receives from his girl. Except for a couple of misfires like “Take It Off” and “U Mess It Up, So We Took It Back”, Jack maintains a tight funky groove throughout. Even wrapping up the disc with the ballad “Fool For U”, which sounds very much like the Isley Brothers “Don’t Say Goodnight”. Nonetheless, it shows that Jack is equally skilled at massaging a ballad as he is bringing the funk. Jack Splash provides us with an entertaining disc full of lighthearted funky grooves, much like his debut. If you enjoyed the first disc, you will certainly enjoy this one.

Reg Dancy

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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

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

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

Two albums to their credit, Connie Price & The Keystones have established themselves as masters of the funk. While their first record was an instrumental offering, this release showcases a list of some of the most hardest working mc’s in the game today. Percee P starts the disc off the powerful “International Hustler”. This track has everything, a thumping bass, funky horns and an inspired Percee P. It makes you wonder, "Why did it take this man so long to get a deal?"
“Masters At Work” features Ohmega Watts spitting over a soul drenched track complete with the wah-wah guitar and strings. Aloe Blacc fits perfectly on “Tell Me Something”, the only vocal track featured here. Connie Price is bringing the funk that takes you back to the Stax era. If you like your hip-hop dipped in hot buttered soul then you can’t pass on this.

Reg Dancy

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"Who is Clutchy Hopkins?" Everyone seems to be asking that question. With this disc,  “Walking Backwards”, he shows that he is a talented producer with smooth beats to lure you into his spaced out world. The disc starts off with “Sounds Of The Ghost”, a dark mid-tempo instrumental that is drenched in funk with sketches of jazz layered underneath. “Love A Woman” is the only track with vocals, courtesy of Darondo. Darondo’s voice is similar to Al Green and is perfect for the sonic landscape of Clutchy’s beats. Combining elements of jazz and funk reminiscent of Madlib, Clutchy Hopkins provides us a snapshot of his skills. It won’t be long before he becomes a household name.

Reg Dancy

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