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Pop
and Contemporary Music |
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Fink
- Distance and Time
Ninja Tune Reviewed by JK
Although this is Fink’s third album one is inclined to think of
it as his second because the very first Fink outing was so different from
those that followed. Distance and Time is in the same vein as last year’s
Biscuits for Breakfast, a moody, dusky collection of songs that are dominated
by the voice and guitar of the songwriter himself. He is joined by drummer
Tim Thornton and bass player Guy Whittaker with whom he has spent a good
portion of the last year touring, and while this is music is not of the
‘tightly honed by years on the road’ variety they do seem
to gel in a very natural but precise fashion. The main change from the
last album seems to have been brought about by producer Andy Barlow who
has worked with Lamb among others, he brings some variety to the way the
sound is treated with subtle reverb that creates effects rather than attempts
to enhance reality.
Fink has said that “I was very conscious of not being a touchy-feely
photocopy of someone from the seventies” and despite the pared down
nature of his work there is no-one that comes to mind as having a similar
sound. His songs are often about lost loves and nostalgia for the past,
but manage to avoid being laments, producing instead a warm and rich atmosphere
that rewards close attention. |
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Ben
Reel Band - New Horizon
B.Reel Records BRBCDA005 Reviewed by AH
Ben Reel, a native of South Armagh, Ireland, is a superstar in waiting;
rarely have I heard an album so complete and fully realized. From the
brilliance of the playing and arrangments to the magnificence of Reel’s
voice - this is heaven all the way. Actually it’s his fourth album,
so God knows where he’s been hiding. With lyrics delving deeply
into the spiritual, inspiration is heavily gleaned from classic books
like Sogyal Rinpoche’s The Tibetan Book Of Living And Dying and
Deepak Chopra’s Synchrodestiny. However, it’s one thing being
a great wordsmith but it counts for nothing in music if you can’t
weave it into a strong melodic force. Fortunately Reel proves to be a
master of both on this really beautiful collection of rootsy, soulful
rock.
New Horizon is ‘all killer, no filler’, and if Reel can manage
to get more radio exposure then there’s no reason why songs like
‘Westcoast’, with its instantly memorable chorus, and the
message-laden ’All Souls Alive’ can’t light up the increasingly
stale and predictable mainstream airwaves for years to come.
Actually, every song here stands up handsomely to repeated plays, but
one - the lilting Irish ballad ‘When The Summer’s Gone’,
featuring the angelic humming of Julieanne Black - is definitely the most
haunting song I’ve heard in years and has ’future classic’
stamped all over it. Revelatory work.
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Alistair
Moock - Fortune Street
Corazong Records 255097 Reviewed by AH
Alistair Moock describes himself as a folk singer, but that doesn’t
really do him justice. When he takes occasional nods to Woody Guthrie
and Dylan with an historical approach to his lyrics then the label ‘folk
singer’ becomes appropriate, but the ‘country blues’
tag fits the bill just as easily. Fortune Street is Moock’s fifth
album and contains ten tunes - nine originals and one cover.
Producer Dave Goodrich’s favourite way of recording is first take
with minimal overdubs, so this album has a really earthy, live feel. Moock’s
wearisome vocal delivery adds plenty of rustic charm to proceedings and,
along with the understated but sympathetic backing lends Fortune Street
its lazy, warm-hearted glow.
Where Moock echoes Dylan the most is on ‘Cloudsplitter’, a
condensed version of the book of the same name. Delivered one-take and
solo, it tells the tale of controversial American abolitionist John Brown
and marks Moock out as a lyricist of some depth and dexterity. The country
blues/Americana/ folk road is one well traveled and littered with casualties.
Moock may be just another troubadour plying his trade but what makes Fortune
Street stand out from the pack is its authenticity. It could have been
recorded at any time in the last 50 years but it sounds fresh, vibrant
and right now, and that’s talent.
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Bright
Eyes - Cassadaga
Saddle Creek Reviewed by PD
An impassioned sentimentalist who flirts with modernist imagery, nonsense
and bad habits, singer-songwriter Conor Oberst is a skilled craftsman
of stately mid-tempo American pop music with classic hooks and deep roots
in acoustic folk. Cassadaga establishes beyond doubt that Oberst, still
in his twenties, is the real deal.
His songs are grandly produced here with choirs, strings and sound effects,
and more than a touch of a psychedelic sensibility. Happily, the results
are fun rather than mere bombast. Just as good, Cassadaga is not all dressed
up to distract your attention from an absence of underlying substance.
The basic musical design and execution is solid as foundation stone. These
songs would probably sound just as good if the layers of additional production
were stripped away entirely.
The elaborate production also makes plain the importance of contributions
by the two other ‘official’ members of the group, guitarist
and sound engineer Mike Mogis and keyboardist Nate Walcott.
Mogis and Walcott may not seize the spotlight, but that is only because
they are musicians who serve first the songs that Oberst has brought them.
Together with the songsmith they have produced an album that continues
to please over many listens.
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Chris
Duarte Group - Blue Velocity
Provogue Records PRD72292 Reviewed by AH
Stevie Ray Vaughan became the guitarist every young pretender aspired
to, and his passing left a massive void in the blues world. Copyists remain
two a penny with some good, some adequate and some just plain ordinary,
but the one who comes closest to the spirit of Stevie Ray is another Texan,
the brilliant Chris Duarte.
Duarte came to the attention of the music industry at the South By Southwest
music festival in the early 90’s. Lots of labels courted him but
he settled on Silvertone, a company responsible for resurrecting the ailing
careers of two blues heavyweights, namely John Lee Hooker and Buddy Guy.
Duarte’s debut, Texas Sugar/Strat Magik
contained plenty of high octane blues and sold in excess of 100,000 copies,
an eye-popping achievement for a relatively unknown name in the business.
Duarte’s released numerous albums since, but it’s this one
that comes closest to matching the brilliance of his first. He might get
tired of the Stevie Ray comparisons but there are worse (much worse) fates
than that. Because his singing voice is similar that’s also going
to compound things, but he has enough about him to stand out as a prominent
artist in his own right.
At 79 minutes Blue Velocity is too long, but for the most part it treads
a riotously enjoyable path and is well deserving of your attention.
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Gandalf
Murphy And The Slambovian Circus Of Dreams - Flapjacks From The Sky
Slambovia Records Reviewed by AH
The oddly named Gandalf Murphy hail from New York and are led by the hugely
talented Joziah Longo. In the early 90’s, Joziah was the first American
artist invited to perform in China, effectively ending the decade long
ban on western music. The Circus, as they are affectionately known, formed
in 1998 and soon became a popular fixture on the east coast of America.
Their debut long player A Good Thief Tips His Hat cemented their reputation,
and this follow up has more than enough about it to spread the word internationally.
It takes a brave band to release a double studio album of 21 songs and
expect to carry it off, but Longo’s a songwriter of some substance
and it’s to his credit that there’s very little filler here.
He’s also fortunate to have a gifted set of musicians at his disposal,
players capable of handling the vast repertoire of styles that make up
this hugely entertaining album.
Longo’s voice (think Tom Petty colliding with Dylan and Lou Reed)
is flexible enough to cover all the bases, as is the guitar playing of
Sharkey McEwen who shines brightly throughout, particularly on the Floydsian
‘Talking To The Buddha’.
Diversity’s the name of the game here; everybody will find something
to tickle the taste buds, so take the plunge.
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Wilco
- Sky Blue Sky
Nonesuch Reviewed by PD
Sky Blue Sky may be the perfect Wilco album for those who didn’t
get the sonic experiments of the group’s last two studio albums,
a ghost is born and Yankee Hotel Foxtrot. This one is smack in the middle
of the road, but even traveling this conventional route, the group remains
at the head of the pack. Leader Jeff Tweedy is writing and singing as
well as ever. His songs here are more subtly crafted than usual but repay
repeated listening just as well as any on the group’s previous records.
Withj his broad stylistic range, he manages to be the dominant personality,
without becoming monotonous.
Tweedy’s supporting musicians have never been stronger. Most notably,
we see the studio debut of guitarist Nels Cline, who began touring with
Wilco shortly after the release of ghost. Cline is such a fine player
that he has a huge impact even in a purely supporting role. When he does
get solo room he is superb – check out ‘Impossible Germany’
and ‘Side With the Seeds’.
Sonics are very good, although a bit lacking in ambience. Vinyl buyers
will be delighted with the 180g pressings, heavy gatefold jacket, and
Stan Ricker’s half-speed mastering. And it comes with a copy of
the CD too – a nice idea!
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Gillian
Glover - Red Handed
Maniac Squat Records MSL2007CD0004 Reviewed by AH
Gillian Glover is the daughter of Deep Purple’s Roger Glover, but
don’t expect ‘Smoke On The Water’ style hard rock to
come thumping out of your speakers. That’s not to say Red Handed
doesn’t rock - it does, albeit in a more restrained manner. Having
a famous father probably helped Glover to assemble such a red hot band.
On drums is ex-Spider, Woody Woodmansey, piano, organ and keyboards are
handled by Rod Melvin, guitars and harmonica come courtesy of Claus Bohling
and the string arrangements are lovingly crafted by Paul Buckmaster, the
man responsible for the strings on Nilsson’s ‘Without You’,
amongst others.
With such a vast array of talent at her disposal it would be criminal
if Glover’s songs couldn’t do them justice, so it’s
pleasing to report that this debut album more than holds its own.
Buckmaster’s glorious string arrangements on the touching ‘Red
Shoes’ are a joy to behold, and Bohling’s greasy slide playing
on the bluesy ‘Hot Knives’ provides real menace. Glover’s
versatility in the vocal department enables her to tackle rock and blues
with aplomb but the real accolades belong to the ballads, two of which
- ‘Go’ and ‘My Broken Skin’ - possess goosebump
inducing qualities. Red Handed is an incredibly mature and accomplished
work of which its creator can be justifiably proud. She’ll go far.
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Roxanne
Potvin - The Way It Feels
Ruf Records RUF1128 Reviewed by AH
Roxanne Potvin’s contribution to the recent collaboration with fellow
guitarists Sue Foley and Deborah Coleman marked her out as one to watch.
On that album (Timebomb) her talents as a vocalist and guitarist shone
like a beacon and this release, her second album but first for Ruf, will
just add to the buzz beginning to circulate around her. Based in Quebec,
Potvin is a bi-lingual unknown who, on the strength of her talents, has
managed to get top producer Colin Linden on board along with two real
heavyweights from the singer/songwriting fraternity, Bruce Cockburn and
John Hiatt.
It doesn’t take too many listens to The Way It Feels to understand
why she’s so highly rated. Aside from having a beautifully adaptive
voice, she’s one mean guitarist and a blossoming songwriter. Her
own songs are good enough to stand alongside a classic like ‘I Want
To (Do Everything For You)’ and not sound remotely out of place.
As she purrs and belts her way through the 12 songs, thoughts of Muscle
Shoals and New Orleans spring to mind, helped in no small part by her
ability to sing accordian drenched folk songs like ‘La Marveille’
In French. This is an incredibly accomplished work for one so young. She’s
not just another blues singer, she’s a star waiting to happen.
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The
Bad Plus - Prog
Do The Math/ Emarcy 172 68326 Reviewed by DD
The Bad Plus occupy their own space, somewhere between indie rock, postmodern
jazz and pop. They have forged a sound that’s not easy to categorise
and that’s no bad thing. This album contains an almost straight
and rather delightful rendering of Bacharach’s ‘This Guys
In Love With You’, and an even more compelling version of Tears
for Fears ‘Everybody Wants to Rule the World’, set amongst
a rich mix of delicate reflective pieces, Anderson’s ‘The
World is the Same’ for example, at least in it’s opening stages
since this morphs into something altogether tougher and more challenging,
and a fine version of Bowie’s ‘Life on Mars’, along
with hard driving much heavier material such as ‘Physical Cities’.
Other pieces at first feel more directly jazzy, such as the superb piano
on ‘Giant’ although this piece has faint hints of ambient
music in the mix that pulls it way from any easy categorisation. The album
is stuffed with strong pieces and the whole experience makes for a really
satisfying listen. It’s packed with subtleties and surprises which
I know will pay real dividends in repeated listening. This is a very fine
album by any standard and for me has already sparked an interest in the
earlier albums from this excellent band.
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Grayson
Capps - Stavin’ Chain
Ruf Records RUF1131 Reviewed by AH
If my memory serves me well, this record came out a fair few years ago
on the Vertigo label under the moniker of Stavin’ Chain. Back then
it was hailed as something of a minor classic, but as so often happens
it was overlooked and disappeared into the ether. What with Capps’
re-emergence as a solo artist, those good folks at Ruf have decided to
reissue it under his name. Quite what John Lawrence, the other half of
Stavin’ Chain, thinks about being relegated to the role of sideman
Lord only knows, but nevertheless this is an album that deserves to find
its way into the collections of anyone loving swampy, blues-drenched roots
rock. The rich musical heritage that is New Orleans pervades every inch
of this fabulous record. From the sing-along swing of opener ‘Poison’,
a track Capps resurrected on his last studio album, to the downright dirty
slide guitars on ‘Monkey Business’ and the heavy drawl of
the vocals throughout, the whole thing positively reeks of the deep south.
You can almost taste the humidity, smell the local dishes and hear the
crickets and the creaking of the rocking chairs on the back porch, such
is its authenticity.
New Orleans has suffered horrendously in recent times, so how fitting
this should re-emerge to remind us of its undying influence on the world
of music.
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Jesse
Malin - Glitter In The Gutter
One Little Indian TPLP748CD Reviewed by AH
For his latest record Jesse Malin stepped outside of the comfort zone
of his home city of New York and relocated temporarily to Los Angeles.
He found it a lonely town but realized living out of a suitcase brought
a much sharper edge to his songwriting. As an ex- punk there’s always
going to be a certain amount of youthful energy in his songs, but there’s
much more to Malin than guitars that go up to 11. Like one of his heroes,
Bruce Springsteen, Jesse’s a storyteller who understands and connects
with the working men and women of America. He’s a street poet with
a keen eye and ear for detail which he puts to good use in his powerful
tales of hope and desolation.
As has been the case with the last two solo albums, his close friend Ryan
Adams provides additional guitar and vocals, this time to three of the
tracks. On one of those numbers, ‘Broken Radio’, Springsteen
adds his considerable presence to proceedings for what turns out to be
an album highlight.
The song has more than a hint of Springsteen’s visionary style and
could easily be one of his own compositions. Glitter In The Gutter completes
a trilogy of fine releases for Malin. Adams had better pull his socks
up fast.
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Kenny
Wayne Shepherd - 10 Days Out - Blues From The Backroads.
Reprise Records 49294-1 Reviewed by RSF
While Kenny Wayne Shepherd may not yet be a household name to everyone
familiar with blues music, he’s made considerable headway in the
last decade. There is also an associated CD/DVD combination that was initially
released which, through the documentary contained on the DVD, easily demonstrates
Shepherd’s talents, but more importantly, chronicles this trip which
begins in New Orleans, Shreveport, Memphis, North Carolina and St. Louis
ending in Salina, Kansas. The importance of this album is heightened by
the fact that several of the artists recorded for this document are no
longer with us. This musical journey took place in June of 2004. What
you’re paying your money to hear is Jerry “Boogie” McCain,
Cootie Stark, Neal Pattman, Buddy Flett, B.B. King, Gatemouth Brown, Bryan
Lee, John Dee Holeman, Etta Baker, Henry Townsend, Honeyboy Edwards, Hubert
Sumlin, Henry Gray, Calvin Jones, Pinetop Perkins and Wild Child Butler.
This is an important document chronicling a dying breed of American blues
musicians. There’s an additional and very real pleasure to have
the opportunity, in addition to the musicians listed above, to hear the
living members of the Muddy Waters Band as well as the living members
of the Howlin’ Wolf Band, perform with some of those artists. If
you love the Blues, I think I’ve said enough.
Supplier: www.warnerbrothersmusic.com |
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Joe
Bonamassa - Sloe Gin
Provogue Records PRD7218 Reviewed by AH
Available in this months magazine |
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Roger
Chapman - One More Time For Peace
Mystic Records MYSCD200 Reviewed by AH
Bonamassa’s pairing with producer Kevin Shirley on last year’s
breathtaking You And Me was an inspired move. Shirley had his own vision
of how he wanted a Bonamassa album to sound and together they conjured
a enormous vitality and depth. You And Me had an amazing sound and rocked
harder than anything the guitarist had done before. It encouraged Bonamassa
to stretch out and pull on all his vast influences, and it definitely
won him a new army of adoring fans. Unsurprising, then, to find the pair
working together on Sloe Gin, Bonamassa’s seventh album.
It maintains the same heavy blues vibe on the rockier numbers but there
is also a leaning towards the reflective side. The cover of Bad Company’s
‘Seagull’ remains pretty close to the original and suits Joe
well, as does his terrific take on John Martyn’s ‘Jelly Roll’,
but of course what the fans really want to hear are plenty of those searing
electric runs that made his name. Enter the title track. Clocking in at
over eight minutes it swoops and soars all over the place and is sure
to become a highlight of Bonamassa’s live shows.
With Stevie Ray’s passing the blues was looking for a new hero,
and now it’s got one. I see nothing to stand in the way of world
domination.
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Prefab
Sprout - Steve McQueen
Kitchenware / SonyBMG KWCD3-25 Reviewed by RC
Roger Chapman wanted this album to sound “hand made”. So,
he assembled a fabulous array of musicians and simply let them loose in
the studio with very little rehearsal and precious little guidance. What
materialized from those sessions is a record brimming with vitality, spontaneity
and that all important but hard-to- achieve commodity…feel.
Considering how long Chapman’s been plying his trade, his voice
is in damn good shape. That gravel throated roar with the distinctive
warble that put him on the map with Family and Streetwalkers is put to
rollicking good use on One More Time For Peace, a collection of self-penned
tunes as good as anything in Chapman’s vast body of work. The title
track is a country-tinged paean to what this beautiful world needs most
right now, but seems incapable of finding. It’s a cracking start
but by no means the best track on the album. In fact, so strong is the
songwriting and performances it’s hard to pick an outright winner,
but if push comes to shove the rousing ‘Hell Of A Lullaby’
possibly crosses the line in first place. Chapman remains a valid force
in music, and this is one record that definitely needs to be heard.
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Rosie
Thomas - These Friends Of Mine
Sing-A-Long Records 5 037703 063624 Reviewed by AH
Here is a re-master that – for once – has not stoked the ire
of ultra-dedicated ‘fans’ (and that’s being polite),
unleashing hell on the online forums. Prefab Sprout’s second album
is so revered that anything less than perfection would be seen as a crime
against art. Fortunately the combined talent of songwriter Paddy McAloon
and Thomas Dolby have produced one of the best re-issues for some time.
The original album had the distinctive ‘glassy’ sound of mid-80s
chart friendly pop, with rolled-off bass and the hard midrange typical
of the time. The re-master brings the album much closer to the Quincy
Jones and Steely Dan productions that Prefab Sprout endeavoured to match.
Packaged with the re-mastered album is a second disc of guitar/vocal arrangements,
a valid reinterpretation of the original album. The basic tone of McAloon’s
voice has changed remarkably little over the years, though he is now able
to convey more emotional weight. ‘Goodbye Lucille #1’ is heady
stuff in its new incarnation, while ‘Desire As’ and ‘Faron
Young’ are bathed in a Mediterranean glow (what would a Prefab Sprout
review be without some old fashioned pretentious guff?). The new recordings
distil the ‘accessible complexity’ of Prefab Sprout’s
music and mock the fate that denied them chart success, especially in
the homeland of Mr McQueen himself. Is it too much to hope that the other
Prefab albums will be re-issued with the same imagination and care? |
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Jazz
Music |
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Knut
Rossler & Johannes Vogt with Miroslav Vitous - Between the Times
Act 9463-2 Reviewed by DD
17th Century jazz anyone? Please don’t run for the door since against
all odds Rossler (saxophone and flute), and Vogt (lute and synthesizer),
have carved something very special here. Helped by powerful (and well-recorded)
double bass from Miroslav Vitous, the ex-Weather Report founder member
and Miles Davis sideman, along with percussion
from Main Neumeier, this set really works. Based loosely on lute music
written in mid seventeenth century Paris, the original tunes are used
as the starting point for improvisation with the reworking extending the
mood or creating a contrast with the original tune. For me this works
really well, the power in Vitous’ playing gives a solid and earthy
foundation for the delicacy of the lute and alto flute and soprano sax.
Neumeier’s contributions are subtle and add texture and interest
throughout and the whole thing makes for a different and really satisfying
musical experience. All the numbers here are strong, but a particular
standout and great sampler track that will rapidly get you hooked, is
‘Dialogue’. In the central section the soprano sax floats
high above the open-tuned lute, weaving intricate melodies underpinned
by a subtle wash of synth along with brushed percussion and the whole
is bound together by a stunning solo from Vitous.
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Danielsson,
Dell, Landgren - Salzau Music on the Water
ACT 9445-2 Reviewed by DD
Recorded live alongside the dawn chorus on a pier and platform extending
into the palace pond at Salzau, Germany, this CD really does provide the
proverbial breath of fresh air. The trio comprises bassist Lars Danielsson,
Christopher Dell on vibes, and on trombone and vocals Nils Landgren.
The venue – perhaps best described as an open-framed shed on a pier,
with a mass of assorted cutlery and metal rods hanging from steel wires
suspended between the roof beams – is nothing if not unusual. The
trio make full use of this throughout the performance, either through
the fact that the elements and any movement will provide a gentle tinkling
backdrop to the music or through more direct engagement. The CD opens
with the sound of birdsong and restrained percussive sounds from the web
of suspended cutlery, as the musicians gently introduce themselves. Swans
on the pond add their voices to the mix as this seamless 11-part set gets
underway. The music slowly builds throughout and the whole piece is very
much about conveying a real sense of the environment the music was recorded
in. The birdsong is present throughout and at times you can hear a gentle
breeze blowing. The whole fits together perfectly to create a calm and
genuinely soothing experience without once resorting to the mind-numbing
mush on so many ‘relaxation’ CDs.
Supplier: www.actmusic.com
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The Phil
Woods Quintet - American Songbook 2
Kind of Blue KOB10022 Reviewed by DD
Following hot on the heels of the award winning 2006 release American
Songbook, Phil Woods gets together again with the same line-up: pianist
Bill Charlap, trumpeter Brian Lynch, double bassist Steve Gilmore and
drummer Bill Goodwin, to work through another set of American standards.
Given the quality of the players involved and of that first release, it’s
no surprise that this is an equally strong and enjoyable set. Packed with
great solos, good arrangements (four from Brian Lynch, the rest by Woods),
and the foundation of the core material, those great songs, what’s
not to like? Standouts include a fine muted trumpet solo in ‘Careless’,
Wood’s fluid intro to ‘Last Night When We Were Young’,
the ensemble playing on Arlen & Mercers ‘Come Rain or Come Shine’,
‘Yesterday’s for both
Wood’s and Gilmore’s solos, and the sprightly treatment of
that much loved warhorse ‘Night and Day’. Like the first set
much of the enjoyment here comes from the knowledge that you’re
in expert hands, a bunch of fine musicians who have earned their chops,
none more so than their 75year-old leader, confidently delivering a skilful
and never complacent working through of much loved standards.
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Charles
Mingus Sextet with Eric Dolphy - Cornell 1964
Blue Note Reviewed by PD
In 2005 Blue Note pulled off the most notable archival jazz release of
recent years. Thelonious Monk with John Coltrane at Carnegie Hall, formerly
unknown, stands as the best available record of the work that Monk and
Coltrane did together. Cornell 1964 is an equally obscure archival recording
of another great collaboration, that between bassist/composer Charles
Mingus and multi-instrumentalist Eric Dolphy. It is a more than worthy
sequel.
Cornell 1964 captures a complete concert by one of Mingus’ greatest
groups, a sextet he built over two months at New York’s Five Spot
in early 1964. Mingus took the group on a famous European tour later that
year, but the California university concert documented here took place
in March of 1964, when the group was still freshly minted. The band’s
music combined a deep respect for tradition with a determination to explore
the future. While Ellington, Waller and Tatum are among the composers
whose work is represented here, the group set no boundaries and did not
hesitate to see how far they could take the music.
The result is an extensive set of superior modern jazz, including versions
of Mingus cornerstones ‘Orange Was the Colour of Her Dress’,
‘Fables of Faubus’ and ‘So Long Eric’ that will
stand with any in the catalogue. A 17-minute version of Ellington’s
‘Take the ‘A’ Train’ is a splendid tribute to
swing. Two light encores, ‘When Irish Eyes Are Smiling’ and
‘Jitterbug Waltz’, are a delight. The individual performances
by Dolphy and Mingus in particular are superb. Dolphy is often ecstatic
here, especially on ‘Fables of Faubus’, while Mingus is positively
flying throughout the set.
Although there have been many recordings of this group, legitimate and
otherwise, Cornell 1964 is certainly a match for any of them: It may well
be the best. This album also has the advantage of being one of the few
recordings of the group with trumpeter Johnny Coles, who was ill for much
of the subsequent European tour. The recording itself is also generally
very good, with a nice live ambience. It captures Mingus’ playing
especially well. For some reason ‘Meditations’ suffers and
does not sound as good as the rest of the set – the track also blighted
by occasional dropouts and phasing - but don’t let that stop you
from getting this wonderful release.
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Mina
Agossi - Who Wants Love?
Candid CCD 79855 Reviewed by DD
The French-Beninese singer Mina Agossi has carved her own unique style.
Performing without the aid of harmonic backing she works typically with
just drums and bass, although the results are infinitely more subtle and
rewarding than that simple combination might imply. Her two previous albums
Zaboum and Well You Needn’t have proved very successful but here
she’s captured in her natural environment and at her very best,
live on stage. Recorded over two nights in New York she’s accompanied
by Eric Jacot on bass and Ichiro Onoe on drums along with Daoud David
Williams on percussion and Rob Henke on trumpet. If you’re new to
her, it’ll probably take a while to adapt to her approach; familiar
songs can be deconstructed, sometimes starting with a spoken version before
slowly picking up pace and taking flight. Her masterly version of ‘The
Very Thought of You’ is a great example. Or, she can create her
own unique version of unlikely material, witness the band’s stunning
take of Hendrix’ ‘Spanish Castle Magic’. The set is
also packed with her own songs, but takes in a delightful version of the
Gershwins ‘Slap That Bass’, and a slinky take of Ellington’s
‘Do Nothing ‘til You Hear From Me’.
The recording is excellent and rewards replaying at an appropriately realistic
volume.
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Opsvik
& Jennings - Commuter Anthems
Rune Grammofon Reviewed by JK
While the name of this duo and the record label might suggest that Opsvik
& Jennings are part of the Norwegian invasion the pair are actually
based in New York, having been there for nine years, playing with a variety
of bands as well as his own Overseas project. He started out as a drummer
but includes bass, piano, theremin and ‘software’ among an
arsenal of instruments that even extends to vocals. Aaron Jennings from
Tulsa is described as a ‘guitar and software enthusiast’ but
also runs to concertina, banjo and lap steel on this outing.
Despite this plethora, the tracks are minimal before building to anthemic
finales in the last few bars. At times this album sounds like Bertolt
Brecht without the lyrics, it scrapes and tinkles along with odd rasps
and clonks here and there in seemingly incoherent but never uncomfortable
form. It’s pretty ambient when played quietly and quite intriguing
and multi-layered when enjoyed at proper levels. I didn’t try listening
to this whilst commuting (it’s not that far to the spare room) but
would imagine that it would provide a nice escape from the 7.15 to Waterloo.
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John
Coltrane - The Best of the Atlantic Years
Rhino 8122 799789 2 Reviewed by DD
Trying to distil the mighty Coltrane’s output for Atlantic to a
single CD is a near impossible challenge. For me the best is collated
in the huge Heavyweight Champion LP and CD sets but since those cover
just about everything he produced for the label I suppose that’s
cheating. Corners undoubtedly had to be cut to squeeze a reasonably representative
selection onto this CD, the most obvious tactic being to feature the single
version of the classic ‘My Favorite Things’ that clocks in
at a mere 2.45 minutes against the 13.41 minutes of the full take. This
is a shame but the shorter edit at least gives enough of a taster to persuade
novices to buy the complete version. It was his period with Atlantic that
saw Coltrane move to superstar status and realise some of his greatest
work, ahead of his eventual move to the Impulse label and ultimately the
heights of A Love Supreme.
This CD packs in many of his finest numbers: ‘Giant Steps’,
‘Cousin Mary’, ‘Naima’, ‘Equinox’,
and of course the truncated ‘My Favourite Things’.
The sound quality is more full bodied and punchy than my original CD’s
and whilst a double CD would have done an even better job, this is a judiciously
chosen introduction and will provide newcomers with a decent introduction
to this great musician’s work.
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Nils
Landgren Funk Unit - Licence to Funk
ACT 9455-2 Reviewed by DD
Here’s a recording that does just what it says on the label. From
the opening chords of ‘House Party’ the pace is established
for a fun-filled set, a celebration of funk as a collective experience.
Landgren’s trombone drives ‘Freak-U’ as do the lush
gospel influenced vocal harmonies. The jazz influence is evident throughout
the set but never unduly dominates or allows the groove to be over-intellectualised.
Ray Parker Junior guests throughout on guitar and vocals, joined by Magnum
Coltrane Price on bass, Ida Sand on keyboards, Magnus Lindgren on sax
& flute, and Wolfgang Haffner on drums, all bound together by Landgren’s
trombone. All musicians contribute to the vocals too.
Standouts in addition to the frenetic opener and ‘Freak-U’
include an excellent version of the Ashford/ Simpson classic ‘Stuff
Like That’, a very Crusader like ‘Slowfoot’ featuring
some great horn solos, and a relaxed and very cool ’24 Hours’
with vocals from Landgren. The musicians are clearly having a ball laying
down these tracks. Relax, forget the fact it comes from a studio in Stockholm
and I swear you will too. As Landgren himself says, this is “An
album to move my old Swedish body to the beat”. Well he’s
moved this old Welsh one too.
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