Been a fan of BLB for the last couple of years due to their regular appearances on JazzFM, which is my station of choice in the car, and sometimes when working on the computer. I must say they have always caught my attention, with their cool blend of styles which was evident on 2020’s Blue Note Re:imagined with the excellent track Montara.
I will take a listen to the complete new offering, despite the inclusion of some rap (not keen either) - probably included to widen their audience… Moonchild recently have done the same to their recent release Starfruit and for me it is a very unwelcome intrusion on their normally super cool sound.
I find their previous release Little Ghost much better, and a big favourite here in the last few years.
From Jazz Revelation :
« From the get-go, you realise that What Kinda Music is a deviation from Misch’s previous style. Drawing on the vigour of live performance and jams, the record isn’t overproduced and helps to paint an encompassing musical atmosphere. The title-track immediately immerses us with psychedelic vibes, powered by deep thundering synths, Misch’s high howling vocals, lush swooping strings and Dayes’ punchy punctuated drums. ‘Festival’ encapsulates the free, swirling spirit of these summer gatherings. As painful as it is casting our minds on these beautiful settings in the time of Corona, the nostalgia of this bliss is intoxicating. This wistful dreamscape continues through the cool West Coast hip-hop vibes of ‘Nightrider’, where we see superb musicianship as we hear Dayes and Tom Driessler’s bass rhythmically dance, Misch’s vocal harmonies burst through in the chorus while Freddie Gibbs’ free-flowing verse flawlessly matches the scene. Rounding off the first half, we see brilliant sonic shapes with ‘Tidal Wave’ through the juxtaposition of Dayes’ dramatic drumming and Misch’s silky vocals, whilst the mighty Aretha Franklin’s vocals are channelled for ‘The Real’ to create the summery jazz-hop feel.
The second, funkier, half of the album beings with ‘Lift Off’, a masterclass of musical prowess. The song teems with energy and vibrance, styled by a stunning conversation between Rocco Palladino’s pulsating bass and Misch’s replying guitar, whilst Dayes’ inspired drumming glues the two together. ‘I Did It For You’ and ‘Last 100’ are characteristic of that “classic Tom Misch” sound - bright and airy. ‘Kyiv’ sees the musicians really stretch their legs, showcasing class instrumental passages from both players and helping to reinforce that Dayes is one of the best fu…drummers on the scene. The trance-like ‘Julie Mangos’ builds you to the final song ‘Storm Before The Calm’, which is the perfect outro to the album with the staunch beat of Dayes’ drumming allowing Kaidi Akinnibi’s powerful sax playing to let loose and riff us out.
Atmospheric and immersive, What Kinda Music exhibits the collaborative force of the contemporary music scene. It’s emotive and contemplative approach is enchanting, and it shows how Tom Misch and Yussef Dayes, who come from different musical settings, are able to bring out the best of each other. Spanning styles and sounds, both musicians stretch each other in different ways to create an impressive and profound work.«
Coming to prominence in 2016 as one half of jazz duo producer and pianist [Kamaal Williams spearheaded the London-based revival of the genre with his dancefloor-focused take on jazz. Yet with only one record released before the pair’s split in 2017, Williams has since struggled to establish his solo sound without the powerhouse drumming of his former partner Yussef Dayes.
![Kamaal Williams: Wu Hen album
Williams’ solo debut, 2018’s [The Return]), was laden with funk and west coast references, calling upon the sun-dappled soul of Roy Ayers as much as London broken beat in its jittering 11 tracks. It was a promising, if tentative, first offering, one that lacked the confidence to establish itself beyond the incisive legacy of Yussef Kamaal’s album . Wu Hen, Williams’ second full-length, continues in this vein as a pleasing, if unremarkable, listen.
Williams’ strength lies in his production and the foregrounding of his band members, as in the infectious four-to-the-floor funk of Mr Wu, or on the slow build of tracks Toulouse and Pigalle. Here, saxophonist Quinn Mason solos with a burning intensity as the band attacks with a straight-ahead swing. It is a brave and interesting departure from the remainder of the record, which includes the lacklustre balladry of Hold On and the underused talent of strings arranger Miguel Atwood-Ferguson on pensive opener Street Dreams.
Taking on the driving force of 1950s jazz could hold the key to Williams’ independent development – one which would rely on him honing his keyboard skills to convince as a bandleader, rather than just a producer. Until then, Wu Hen plays as yet another approximation of a now-ended and once immensely creative partnership.
It is a little inconsistent, but with the backdrop of today’s blue sky n sunshine I can see this being a nice summer in my roots garden chill out album.
Its really only one track early on that has the rap that had me thinking “oh not again!”
There is a problem I think with some of these “new UK Jazz” artists insofar as they record some great debut albums with diverse and original influences then seem to not know where to go after and fall back into uninspiring rap/hip hop styles.
A couple of really good artists that imo have released disappointing over hyped second albums have been Nubya Garcia and Theon Cross.
Sons Of Kemet’s last album, Black To The Future, massively hyped was crap imo, I always recommend checking their first two albums on the Naim label
Another new release and first listen today is Binker and Moses- Feed The Machine (Tidal)
I’ve always enjoyed Binker Golding and Moses Boyd Soprano/TenorSaxopohone and Drums duo since first hearing Dem Ones and this certainly doesnt dissapoint.
The loops and electronica doesnt intrude and does add a nice wigged out dimension to Binkers sometimes looped and echoed Sax improvisations and Moses rock solid drumming.
Free, Cosmic but still very accessible, I’m loving it!
After some years spent roaming the Valley of the Ultrablacks and exploring the Mountain of Forever, (where they narrowly avoided the lethal traps of The Voice of Besbunu), Binker and Moses are back with a new offering.
‘Feeding The Machine’ is their first studio album in five years, due for release on February 25th on all formats.
Recorded at Peter Gabriel’s Real World Studios by legendary, GRAMMY-winning producer Hugh Padgham, the new record features honorary third member Max Luthert on tape loops and electronics, moving their sound into an entirely new dimension that crosses into ambient, minimalism and experimental electronic territories.
With the use of modular synths and sampling, traditional melody and song structures are left behind as the musicians are pushed creatively to respond and in turn, ‘feed the machine’.
I have the first press of There Is A Place with the gatefold sleeve, not a great pressing and compressed sound. It’s been re issued without the gatefold and maybe a new master, is this the one you have?
In case anyone wondering what that esoteric burbling about Ultrabakcks and Mountains Of Forevor is all about it’s a reference to their Journey To The Mountain Of Forever album one half of which includes Evan Parker
When Binker Golding and Moses Boyd’s debut album Dem Ones was released in Summer of 2015 it kickstarted a sensational year for the young saxophone and drums duo, who won a string of awards including 2015 MOBO Awards: Best Jazz Act, Jazz FM Awards 2016: UK Jazz Act of the Year and Breakthrough Act of the Year and the 2106 Parliamentary Jazz Awards: Jazz Newcomer of the Year.
Their new record Journey to the Mountain of Forever is a story album on two discs: the first features the duo on their own while for the second they are joined by saxophonist Evan Parker, trumpeter Byron Wallen, harpist Tori Handsley tabla player Sarathy Korwar and drummer Yussef Dayes. The sessions took place on 21-22 July 2016, and were recorded completely live from Mark Ronson’s Zelig studio direct to a 1960’s Studer C37 1/4” tape machine at Gearbox’s studio - no edits, drop-ins or mixing down.
So, travel with us from the “realm of the now” to “the realm of the infinite” meeting along the way Shamans, the great Besbunu, the Ultra Blacks & various other tribes, monsters & characters whilst immersing yourself in their strange rituals, potions, music & a world which has no end. But, beware of the Jahvmonishi plant!
Now enjoying a first listen to Ashley Henry - Beautiful Vinyl Hunter as recommended by @krautnaimie
Really good, thought it was new new I see its 2019. Missed this one and havent heard Ashley as leader since the 5Ive album for Jazz Re:Freshed
More Rap creeping in though!
“into ambient, minimalism and experimental electronic territories”…
These words in modern jazz usually fill me with apprehension ( and near-boredom in the case of Promises by Floating Points)…but, I’ll give it a listen!
A Masterpiece is more Herbie Hancock Headhunters or Man Child, or George Duke I love the blues she heard me cry….
Those 70’s jazz funk albums inspired a lot the actual London Jazz Refresh scene.
I would like to hear more of a ‘cutting edge’ and a bit less of the smooth, but I’m aware I’ve only heard some of the bands and musicians in the current scene…onward!
A lot of the stuff coming out of the “London scene” is inspired by the musical heritage of the Windrush Generation and the UK Reggae, Dub, Dubstep, Grime etc that grew in the UK from the music of the commonwealth islands, fused with a contemporary Jazz influence nurtured by the likes of Tomorrows Warriors.
