Album & Show Review Page (2018) Sponsored By Jazz Views
3rd Mar: Wild Card – Life Stories
Critically acclaimed Clément Régert’s Wild Card have recorded in their new album the very same blend of tuneful numbers with a wide variety of hard-bop, Afro/Latin, New Orleans and raw funk grooves that made them so popular on the UK Jazz scene in the last few years.
This album is jam packed full of exciting new music from the cream of the crop.
The “organ trio” powerhouse of the group, French guitarist/band leader Clément Régert, organist Andrew Noble and drummer Sophie Alloway are stalwarts of the UK jazz scene.
They are joined for this occasion by a some fantastic guests & friends:
- Denys Baptiste (McCoy Tyner, Jazz Jamaica) on Tenor sax.
- Carl Hudson (Incognito, Jocelyn Brown) on keys.
- Adam Glasser (Sting, Hugh Masekhela) on Harmonica from South Africa.
- Mary Pearce (Chaka Khan, Courtney Pine) on vocals.
- Graeme Flowers (Manu Katche, Quincy Jones) on trumpet and Jim Knight (CeeLo Green, London Horns) on Alto Sax. They are both regulars of the Wild Card line ups.
- Alistair White (Incognito, Van Morrisson) on Trombone.
- Will Fry (The Lion king musical, Roy Ayers) on Percussion.
The album is recorded “live”. All the musicians were playing in the same room at the same time and most of the tunes on the album are from the first or second take. It is the closest thing to a live performance.
The album is overdub free ! (apart from a few shakers/percs on some of the tracks).
Website : www.wildcardmusic.com
Order your copy of “Life stories” HERE CD & Digital
9th Feb: We Out Here
A project from Brownswood Recordings celebrating London’s young jazz scene.
Artists: Maisha, Ezra Collective, Moses Boyd, Theon Cross, Nubya Garcia, Shabaka Hutchings, Triforce, Joe Armon-Jones, Kokoroko
Released 9th February 2018 on 2xLP, CD and digital.
A primer on London’s bright-burning young jazz scene, this new compilation brings together a collection of some of its sharpest talents. A set of nine newly-recorded tracks, We Out Here captures a moment where genre markers matter less than raw, focused energy. Surveying the album’s running order, it could easily serve as a name-checking exercise for some of London’s most-tipped and hardworking bands of the past couple of years. Recorded across three long, fruitful days in a North West London studio, the results speak for themselves: they’re a window into the wide-eyed future of London’s musical underground.
The album bottles up some of the vital ideas emanating from that burgeoning movement. A reflection of how London’s jazz-influenced music has reached outward into new spaces, the sound of the record draws from a wide pool. There’s plenty of crossover between each of the groups, too, speaking to the close-knit circles which make up the scene; shared line-ups reflect the mutual cooperation and DIY spirit which are second-nature.
Ubiquitous, much-lauded saxophonist Shabaka Hutchings is the project’s musical director. His own recent projects span from South Africa-connected, spiritually-minded jazz players Shabaka and the Ancestors to Sons of Kemet, who match diasporically-connected compositions with viscerally-direct live shows. His input ties together a deft, genre-agnostic sensibility that’s shared through all the players on the record.
Nodding to spiritual jazz influences, Maisha’s ‘Inside The Acorn’ is a wandering, explorative rumination, balancing delicate washes of piano and percussion with sharp interplay between flute and bass clarinet. Ezra Collective – whose drummer and bandleader Femi Koleoso has toured with Pharaohe Monch – run a tight, Afrobeat-tipped rhythm on ‘Pure Shade’, with the final third changing gear into a melodic, momentous closing stretch.
On Moses Boyd’s ‘The Balance’, the drummer – who co-produced Zara McFarlane’s recent, critically-lauded album, as well as touring with the likes of Sampha – builds a steadily-paced, atmospheric creation, loosening up the rhythm and intensity as it progresses. Theon Cross – who’s part of Hutchings’ Sons of Kemet – starts his track, ‘Brockley’, with the solo, distinctive low rumble of his tuba. Winding and mesmeric, it sees tuba and sax lines winding together in rhythmic and melodic parallels.
Showing a similarly controlled approach, Nubya Garcia’s ‘Once’ is taut and carefully-poised, her tenor sax guiding a carefully-built energy to an explosive conclusion. Shabaka Hutchings’ ‘Black Skin, Black Masks’ is typically difficult-to-define: with an off-kilter, shifting rhythmic backbone, repeated phrases – mirrored between clarinet and bass clarinet – shape the track with an alluring hue.
Triforce’s ‘Walls’ is a performance in two parts: starting with Mansur Brown’s languorous, lyrical guitar, the second half switches up to a low-slung, g-funk-tipped groove. Joe Armon-Jones, whose ludicrous chops on the piano have seen him touring with the likes of Ata Kak, showcases earworm-like, insistent motifs on ‘Go See’, balanced with a playful, improvisatory approach with room for ad-libbing and solos a-plenty. Finally, taking a softer tact than many of the other entries, Kokoroko – whose guitarist Oscar Jerome has been making waves with his solo material – spin a lyrical, steady-paced meditation on ‘Abusey Junction’, matching chanted vocals with gently-played guitar.