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

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. Instrumentalists are not forgotten on this compilation and the flute tradition is rooted in the son. One of its principal exponents is Fajardo and the tasty ‘Vamos a gozar’ sounds just as fresh as if it had been recorded yesterday. Pianist Alfredito Valdez and master trumpeter Felix Chappotin contibute with pieces also. This is a beautifully illustrated as well as selected compilation with extensive sleeve notes (English and French) and original album covers and artist photos that give a true flavour of the era. If the following releases are up to this standard, there are many musical treats yet to await us. Indispensable.

Tim Stenhouse

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. However, the piece de resistance is unquestionably, ‘Irakere’ and possibly one of his finest compositions. In sum a highly accessible, yet challenging album in the same breath. The second album dates from a decade later and the Irakere group influence is far more discernible down to individual group members participating in the recording. Of particular interest is the inclusion of a song by nueva trova singer Sylvio Rodriguez ‘Rabo de Nube’ given the instrumental treatment and interestingly to be found on the latest Charles Lloyd album also. Here it is given a solo piano treatment plus flute accompaniment from German Velazco. One wonders whether Lloyd has been exposed to this recording. Devoted to his daughter, the ballad ‘Claudia’ is another excellent composition while the best solo is reserved for the piano vamp and ensuing excursion on ‘Son para Leyanis’. With the current economic recession, it is heartening to know that independent labels are providing such excellent valuie for money. Extended bi-lingual notes from Cuban musicologist Maria elena Mendiola accompany the CD.

Tim Stenhouse

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. Accompanied by Grant Green on guitar and the under-recorded Baby Face Willette on hammond organ, the quartet cooks on the gospel influenced title track with Willette excelling. Green expands upon the standard ‘Foggy Day’ and Donaldson himself has his finest hour on the Charlie Parker tune ‘Cool Blues’ with driving support from organ and drums. An album that truly puts the soul into jazz. 

Tim Stenhouse

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. The line up of Freddie Hubbard, McCoy Tyner and Tony Williams speaks for itself. Key tracks include the driving pulse of ‘Angola’ with a delicious solo from Shorter and beautiful comping from Tyner. In contrast ‘Lady Day’ is a lovely ballad and a fitting tribute to Billie Holliday with the lyricism in Shorter’s playing and compostional prowess emphasized. The title track testifies to the intensity of the collective playing, but it is the melodic nature of the ensemble that impresses here and distinguishes this album from the freer form of say ‘The All Seeing Eye’. Shorter in his prime.

Tim Stenhouse

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. This long overdue re-issue (formerly only available in Japan)includes a reworked version of ‘Safari’ that Silver recorded on his first Blue Note album taken at a rapid tempo, while ‘Moon Rays’ is a hypnotic mid-tempo groover that features a fine solo from Jordan. The latinisms that would become so much a part of the Silver repertoire surface on ‘Pyramid’courtesy of polyrhythms from Louis Hayes. While this was not yet the fully developed Silver sound of the mid-1960s with the likes of Junior Cook and Blue Mitchell and catchy tunes that would cluminate in the hit ‘Song for my father’, the line up on ‘Further  Explorations’ is almost there and one wonders what would have happened had this set of musicians stayed together.

Tim Stenhouse

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. Paring down the very essence of the melody in a song and weaving it into an individual style is Mehldau’s forte and on the Oasis tune ‘Wonderwall’ the trio take the song in a whole new direction. Chico Buarque’s ‘O que sera’ improves on the already latinised tinge with a dramatic change of tempo part way through that is an album tour de force. A lengthy solo introduces the take on Coltrane’s ‘Countdown’ before Larry Grenadier on bass and Jeff Ballard on drums enter and Mehldau thereafter sets off on an exploratory romp. Of the other material, the self-composed ‘B-Flat Waltz’ harks back to Mehldau’s earliest recordings while blues-inflected playing on the standard ‘More than you know’ accompanies the sparse phrasing with the pianist at his most soulful. The intimacy of the session at the Vanguard comes across well, and as ever the recording.

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

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

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