Basic Soul

When the trio known as Khruangbin burst out the gate with “Con Todo El Mundo” in 2018, there was a collective praise. Their stylistic formula of psychedelic funk and vocal harmonies became an instant hit. Their sophomore lp “Mordechai” picks up where their debut left off. The opening track “First Class” is symbolic of their sound. An atmospheric tune filled with tight melodic guitar grooves and a thumping bass. “Time” has a touch of a boogie groove. The guitars are scaled back a bit but the groove is infectious nonetheless. “Connaissais de Face” has a slow burning tempo that serves as a canvas for a whispering vocal dialogue between two people. If you loved the first record then you can rush out and grab this one. There’s little doubt these grooves will get their hooks in you. You won’t resist.

At first glance at “Symphonie Pacifique”, the new release from pianist Greg Foat is the bright and colorful art work. One listen and these thematic compositions appear to mirror the cover art as well. There are more upbeat compositions here than previous releases yet still maintain his usual brillance. Evidence is immediate with the title track, a joyful tune filled with exuberant lush soundscapes. “Yonaguni” is another highlight due to the two cellists on board and the choral vocals. Foat’s joyful melodiic flourishes takes the tune to greater heights. On “Island Life” he shifts the tempo down a bit and creates a cinematic gem filled with lavish harmonic textures. “Lament for Lamont” is a melancholy tribute to composer Duncan Lamont. The rhythm section of bassist Phil Achille and drummer Moses Boyd make for a first rate ensemble. Foat is proving to be a gifted composer as every track is a joyful listen. He continues to expand his musical vision and incorporate new elements.  Simply a tremendous record that you shouldn’t miss.

Flautist and Saxophonist Chip Wickham explores the celestial realms of the universe with his latest release “Blue To Red”. Wickham’s spiritual path through Indian and Middle Eastern culture has been paved by legends like Alice Coltrane and Yusef Lateef. In addition his recent collaborations with Matthew Halsall has also molded his musical journey. The disc kicks off the ethereal title track, augmented by the heavenly harp of Gondwana Orchestra’s Amanda Whiting. “Route One” features Dan Goldman’s dazzling Rhodes melodies, which are an effective foil for Wickham’s flute phrasings and Whiting’s harp. Goldman’s blissful keys sets the tone on the tranquil “Cosmos”. The rhythm section of drummer Jon Scott, bassist Simon Houghton, Whitng and Goldman are splendid throughout. Wickham’s flute rises to the occasion and provides the listener on a glorious ride through six engaging compositions. This is another spiritual jazz triumph that you shouldn’t miss.

Roos Jonker & Dean Tippet are a singer songwriter team from Amsterdam. They’ve been collaborating as a duo since 2009. Their warm and compelling vocals caught the attention of Benny Sings, eventually becoming members of his group “We’ll Make it Right”. Now the duo present their deeply melodic release on Sonar Kollektiv. On the Bossa flavored “The One” they blend folk and minimal pop over a sweet guitar rhythm. “Script” is a swaying lullaby that finds their vocals floating over a soft piano melody. Jonker is featured on “Dean”, a blissful jazz pop arrangement with wah wah guitar rhythms laced with subtle piano and harp. Jonker and Tippet’s vocals are hypnotic separately. Together they’re simply mesmerizing. Without raising their vocals beyond a whisper they create ten alluring compositions that linger long after the song is over. This is a sheer delight that will certainly stroke your heartstrings.

With each new full length recording Ross McHenry is demonstrating that he’s a premier bass player and composer on the rise. “Nothing Remains Unchanged” is McHenry’s fourth album for First Word Records. He’s joined once again by Pianist Matthew Sheens but Eric Harland replaces Myele Manzanza on drums and premier tenor saxophonist Ben Wendel sits in for the first time. Together they make a formidable quartet and the music certainly reflects that. “Complicated Us” starts us off with a warm harmonic interaction between Wendel and Sheens that sustains throughout. Harland’s gentle brushes and subtle cymbals intensifies as the track nears it’s end. “Woods” is tailor made for Sheens glorious piano melodies and Wendel’s swirling horn flourishes. Over the course of ten minutes “This I Give To You” begins as a gentle ballad that builds into an exhilarating crescendo. You won’t find fault with any track here. McHenry hits the mark with another superb recording that’s adventurous and engaging. He’s becoming one of the most prolific musicians on the scene today.

“Jazz Is Dead” is the brainchild of Adrian Younge and Ali Shaheed Muhammad. Their previous release was the self titled “Midnight Hour” from 2018 and this release follows the same formula. That is an organic collection of jazz funk session recordings backed by their own rhythm section. Fronting these sessions are a number of legendary musicians certain to elevate any recording. “Hey Lover” is mid-tempo jazz funk with a hypnotic drum snare beat that features the signature voice of Roy Ayers. “Apocaliptico” is psychedelic jazz rock from Asymuth that’s reminiscent of their late seventies catalog. “Nao Sala Da Praca” is filled with warm samba rhythms enhanced by the vocals of Brazilian icon Marcos Valle. With notable appearances from Gary Bartz, Doug Carn and Joao Donato, rest assured these compositions live up to the hype. Where “The Midnight Hour” featured twenty tracks this release has just eight but in this case less is certainly more. Clearly the time spent digging through the crates and tapes of seventies hidden gems has paid off. A terrific collection of authentic soul, jazz and Brazilian compositions that you shouldn’t miss.