Basic Soul

“Universal Beings E&F Sides” presents fourteen new tracks from the critcally acclaimed 2018 release from drummer Makaya McCraven. One of the reasons these sessions were so special was the collaboration of emerging UK musicians playing alongside US musicians from the Chicago based label International Anthem. The roster resembles an all star lineup with Saxophonist Shabaka Hutchings, bassist Tomeka Reid, guitarist Jeff Parker, harpist Brandee Younger and others. “E&F” is a mixture of live recordings and studio sessions arranged by McCraven. “Half Steppin” is a searing tune highlighted by Soweto Kinch’s alto sax rhythms and Kamaal Williams on keys. In addition McCraven’s infectious broken beats make this track enjoyable either on the dance floor or any other setting. “Kings and Queens” features the dynamic interplay between McCraven and Hutchings while Junius Paul’s funky double bass takes the track to greater heights. “Universal Beings E&F Sides” showcases a community of like minded musicians creating genre bending music with strands of hip-hop, jazz and much more. Their talents are in the capable hands of McCraven who weaves it all together into a marvelous artistic gem.

DJ Kensei is a legendary DJ who’s career spans back to the eighties. He’s best known for his hip-hop mixtapes during the nineties as well as his abstract project Indopepsychics. he selected some tracks from sauce81’s album “S8100″ and officially re-edited them for this 12” as “S8100 – Nervous Breaks & Galaaactique Beatstrumentals” Selected & Re-Edited by DJ Kensei”. DJ Kensei puts his stamp on these tunes and transforms them into an a stimulating collection of hip-hop, funk and house grooves. The disc kicks off the brooding hip-hop grooves of “Departure”. “Moonlight” follows up with the same tempo, this time with Sauce81’s swaying falsetto vocal harmonies. “Escape” is a body shaking boogie tune. “5D” is instrumental funk with warped synths. There’s plenty of grooves to make you move here and is definitely worth checking out. Kensi takes a pile of tunes and turns them into gold.

Singer songwriter Ego Ella May has a way of making you feel you’re in the middle of a conversation with her. You don’t care what’s it about as long as you’re along for the ride. That’s to say her languid vocals and superb songwriting make for a potent combination. Off the heals of her deeply satisfying 2019 release “So Far”, she’s back with “No Honey For Wounds”. The eleven track release features an array of talented producers but make no mistake who’s the star here. “Song For Bobby” finds her lamenting about a relationship that has come to an end. “Girls Don’t Always Sing About Boys” showcases May’s ease in gliding the listener through personal as well as social topics and sounding equally enjoyable along way. Both tracks feature an infectious bottom heavy groove topped off with warm chords courtesy of UK producer Eun. “Science” produced by Alfa Mist kicks off with a gorgeous melody followed by spacey synths creating the illusion that you’ve momentarily transported to the galaxy. This tremendous body of work instantly ranks as one of the best releases of the year. Ms May is on the fast track to star status.

You know you’re onto something when you release two lps with little fanfare and yet they become instant underground hits. That’s what happened to the group known as Sault. Producer Dean “Inflo” Wynton Josiah and songstress Cleo Sol have made quite the impression not only with their first two lps “5” and “7” but separate careers as well. Inflo has produced for Michael Kiwanuka and Little Simz. Sol has recently released her solo album, which is also produced by Inflo. While the first two lps had a soulful dance appeal, their third lp “Untitled (Black Is)” is stripped down unabashed soul at its best. The theme of the disc is Black pride and whether it’s poignant interludes from Sol or the powerful compositions throughout the message shines loud and clear. “Hard Life” has an unrelenting drum snare beat that finds Sol singing about the struggle to be heard and that a change is coming. “Bow” is percolating with afrobeat rhythms and the additional vocals of Michael Kiwanuka. “Miracles” is classic emotive 70s soul at it’s purest form. With Sol’s seductive vocals supported by enchanting backup vocals, you’ve been lured into the belly of the recording and your only wish is that it doesn’t end. Inflo’s prodcution and arrangements are flawless. Each track flows to the next one and by the time you’ve reached the end you know you just got off an amazing ride. In a year filled with outstanding recordings, “Untitled (Black IS)” is without a doubt one of the best albums of the year. Given all that’s happening around the world it couldn’t have arrived at a better time.

“Stand Up For Love”, the fifth album from The Haggis Horns finds them getting back to basics. Which is stripped down hard driving funk and soul. “Don’t Give A Damn” features John McCallum’s vocals in top form soaring over the gritty funk groove. They slow the tempo a bit on “Suzi Traffic” and “Give It Up” thereby giving you a moment to catch your breath before they kick back into high gear. The title track demonstrates they can rock a reggae groove as well as they can bring the funk. This release is a reunion os sorts with several original members on board for this session. They’re cooking on all cylinders and deliver another crowd pleasing lp.

Saxophonist Muriel Grossmann has been releasing quality recordings since the early 2000s. Her blend of spiritual jazz compositions evokes images from the recordings of Coltrane’s special quartet and Pharoah Sanders to modern day premier musicians Nat Birchall and Matthew Halsall respectively. “Elevation” combines some of her work from her 2016 album “Natural Time” and her 2017 album “Momentum”. Grossman’s regular band is in top form as each member pushes the other. The title track finds them launching into action. Guitarist Radomir Milojkovic rhythmic explorations are clean and light yet the result is quite powerful. “Rising” picks up where the opener leaves off. Drummer Uros Stamenkovic’s propulsive playing keeps everyone on their toes. Bassist Gina Schwarz playing is melodic and delicate. Front and center is Grossmann who’s spirited soloing is hypnotic. She pulls you in and commands your attention from start to finish. In summary this is a recording you can lose yourself in and emerge deeply satisfied. The compositions are first rate and engaging. It’s hard to imagine why Grossman isn’t more well known. Let’s hope this release goes a long way to rectify that.