Good finding 
Top Class record @Stepdol
I think they used to be or still are in Mother Earth who where signed to Acid Jazz back in the 1990’s.
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Despite the name, it’s a UK group. Some tracks are very involving and innovative.
On ‘LOVEPLAYDANCE’, legendary Tokyo DJ and producer Toshio Matsuura charts a new direction. Casting musical cornerstones in a fresh light, the TOSHIO MATSUURA GROUP features Tom Skinner (drummer for Sons of Kemet and Owiny Sigoma Band amongst others) as its musical director, as well as some of the UK’s most exciting jazz-influenced musicians. Drawing on years of surveying and curating different corners of music, Matsuura deftly combines this talented pool of players into one singular, wide-ranging album.
A co-founder of Japan’s United Future Organisation (aka U.F.O.), this new record sees Matsuura reconnect with longstanding friend and collaborator Gilles Peterson. Releasing the album via Brownswood Recordings in the UK, it’s a continuation of a relationship which started as a bridge between London’s then-blossoming jazz scene and Tokyo’s new musical vanguard of the early ‘90s. This album continues that two-way dialogue between Japan and the UK.
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As stated on Bandcamp
This eponymous album, Bunn Debrett Quintet, owes much to London Transport’s 94 Night Bus. Drummer and percussionist Stephen Bunn (Bunny) and guitarist and keys player Jon deBrett first collaborated as founding members of 90’s Acid Jazz Records signed act Mother Earth. With further partnerships as remixers, producers and DJs the pair called it quits on the music industry sometime around the turn of the millennium. Then in 2019 they bumped into each other at the world famous 100 Club in London’s Oxford Street at a gig featuring a new incarnation of Mother Earth with Matt Deighton from the original line-up. The BDQ album came from the conversations that Stephen and Jon had that night. Indeed it was on the 94 Bus back to Acton (West London) the Bunny decided that he and Jon DeBrett should make music again. As little as a few weeks later they were back in the studio and here is the result. With spoken word vocals from Oakland’s poet extraordinaire Tenesha the Wordsmith (Peacocks and Other Savage Beasts) and a line-up (see full list below) that includes Tamar Osborn (Collocutor), Alan Barnes (The Tommy Chase Quartet), Roger Beaujolais (Vibraphonic), Matt Deighton and Neil Corcoran (both Mother Earth) this album will be considered a modern classic that bridges the Jazz scenes of the 80s and 90s to London’s innovative, contemporary movement of the present. BDQ is a double album pressed onto 180 gramme, deep groove, heavy vinyl, fully mastered at the Carvery.
Any Mother Earth albums you recommend Bob?
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The first track, Change is outstanding. This album’s a few years old now but I never get tired of it.
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I agree. I discovered it last night. The drumming is absolutely fabulous!!
I found the credits on Discogs, as they don’t appear on Bandcamp. My favourite track is love paper bag. Yussef Dayes is on drums. On other tracks it’s Tom Skinner.
There’s also Mansur Brown on guitar and Nubia Garcia on sax.
@Bobthebuilder can even buy the lp on Discogs.
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Don’t think I have seen this mentioned here; saw Laura Jurd perform her “Big, Friendly Album” at Kings place a couple of weeks ago. Her usual collaborators plus jazz tuba and Euphonium. Great stuff
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Titus Maz is out in 2022 with a new album titled “ Subject to change “ available on all main platforms.
Recorded in London and featuring international guests : Jason Garb ( Berklee JpFaundez ) , Andre Louis ( Jazz Refreshed ), Max Saidi, Will Jackson, Antonio Gallucci ( Vertical, Stellari ) ,the project goes in and out of fusion and contemporary jazz and takes some unexpected improv twists when played live.
Two of the eight tracks have been already selected by “Fresh finds jazz” and “All new jazz” Spotify editorial playlist and subsequently added to other playlists and currently receiving some radio airplay with good reviews.
The Titus Maz quartet project is already active and running in the London scene with live shows and jam sessions where most of the album tracks have been already showcased with a good turnout.
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sounds interesting, worth a Stream the next days
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Charlie Stacey - The Light Beyond Time (Night Dreamer)
Not heard this yet but previous Night Dreamer Direct To Disc sessions have been consistently excellent
From Bandcamp;
Keyboard player and pianist Charlie Stacey fuses jazz-piano virtuosity with dark synth textures and grooves on his first solo project - a direct-to-disc, one take recording for Night Dreamer Records.
One of the UK’s leading keys players, Charlie Stacey improvisational skills are unmatched. Known for his work with Yussef Dayes and fellow Tomorrow Warriors alumni such as Moses Boyd and The Ezra Collective. Stacey’s technical prowess and ability to jump between genres has quietly gained the young pianist a reputation as one of the most advanced players around.
Fronting a band for his debut recording under his own name, Stacey had to bring that knack for improvisation to the fore. Alongside his regular band of Oscar Ogden (drums), Tom Driessler (bass) and Jay Phelps (trumpet), Stacey was joined in the studio for the first time by vocalist Vula Malinga - who has performed with Basement Jaxx and Incognito - and Holland-based Senegalese percussionist Mamour Seck. Together, the group forged four sprawling jams from the white heat of the direct-to-disc recording process.
As an agile and highly adaptive performer and composer, Stacey allowed the new line-up to shape the sound in unexpected ways. What began as a Herbie Hancock-era Headhunters instrumental tip erred instead towards old school jazz scat in places, ethereal RnB and Kamasi Washington-esque lyrical space-ballads in others.
From the soulful acid jazz sound that Malinga brings to opening track ‘Music is Healing’, to the Afro-Cuban twist on Stacey’s signature ‘Charlie’s Tune’, there is a spontaneity to the recordings that give them a collective urgency true to the essence of the jazz tradition. “The chance to record in the way that Charlie Parker, John Coltrane and many of my heroes recorded was really appealing,” says Stacey.
Drawing on the sounds of classic jazz-funk keyboard players like Chick Corea and George Duke, ‘Rivers of Gondor’ pays tribute to what Stacey calls “the imaginative world of JRR Tolkien”, with all its dark and wistful folk-inspired turns. A staple of Stacey’s live sets, it is joined on the B-Side by ‘Mamour’s Tune’, which was written and recorded on the day and foregrounds the astonishing rhythmic and melodic character of Marmour Seck’s playing.
As Stacey explains: “The fact we only spent one-and-a-half days recording actually made it more fun, as it meant we played in a more intense, focused way.”
In fact, as a touring live musician, Stacey relished the opportunity to record with the same levels of jeopardy. “I liked the idea of the spontaneity of creating something with one opportunity only to get it right,” he explains. “I also liked the idea of non-judgement that leaving stuff intact lends itself to. Whatever we played on the day is what we ended up using and therefore is neither right nor wrong, it just is.”
Stacey is the not the first young UK jazz musician to take on the direct-to-disc recording process at Night Dreamer, and joins the likes of Emma-Jean Thackray, Sarathy Korwar and Maisha, who have all cut equally exploratory records for the label.
A riot of collaborative improvisation and acrobatic syncopation, Stacey’s Night Dreamer Session captures a singular coming together of musicians from across the jazz world, performing at the peak of their creative powers. see less
credits
releases November 22, 2022
Recorded direct-to-disc at Artone Studios for Night Dreamer
Written & Produced by Charlie Stacey
Charlie Stacey: Piano, Rhodes, Synth
Vula Malinga: Vocals
Trumpet: Jay Phelps
Bass: Tom Driessler
Percussion: Mamour Seck
Drums: Oscar Ogden
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Added that album on my Bandcamp wishlist. Don’t know yet if I will like, but seems promising.
Recorded live at The Jazz Café, Camden – the spiritual home of Tomorrow’s Warriors – across three I AM WARRIOR gigs between 2019-2021, the album features recording of specially commissioned work by some of our award-winning alumni, including Zara McFarlane, Cherise Adams-Burnett, Camilla George, Cassie Kinoshi, Denys Baptiste, Nathaniel Facey, Sheila Maurice-Grey, Soweto Kinch, Mark Kavuma, Rosie Turton, Mark Crown, Shirley Tetteh, Ben Burrell, Binker Golding, Peter Edwards and Femi Koleoso.
The project saw established musicians composing for and performing with the next generation of young jazz talent, creating collaborations that cross over generations of musicians and capture the essence of the Warriors ethos ‘Each One, Teach One’.
I AM WARRIOR is The Sound of Tomorrow’s Warriors LIVE.
Not only is this a fantastic collection of music, capturing the ’lightning in the bottle moment’ of the live performances, but it is also a great way to support us. All the proceeds from the sale of this collectors’ item, limited-edition vinyl pressing will be reinvested back into the work of Tomorrow’s Warriors Trust (Charity No 1153613).
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Another forthcoming that looks interesting…
Tom Skinner - Voices Of Bishara
Tom Skinner - Drums
Kareem Dayes - Cello
Tom Herbert - Acoustic Bass
Nubya Garcia - Tenor Sax, Flute
Shabaka Hutchings - Tenor Sax, Bass Clarinet
Read all about it on Bandcamp
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looks interesting.
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It’s available now. Maybe you will like. I was not enough involved listening to it, but these are jazz refreshed artists playing live.
I have not listened to it yet though sometimes live Jazz can be vastly different and not as enjoyable as the studio records.
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Strongly disagree, live Jazz recorded in a club setting is often better than a studio recording.
Classic Village Vanguard Performances like Bill Evans, John Coltrane, Charlie Parker, Dizzy, Davis at The Royal Roost, a plethora of others and for the purpose of this thread…
Binker And Moses - Alive In The East? (Gearbox)
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Man, jazz warriors ain’t kidding… taking on a life of its own…
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So you strongly disagree with me for saying something happens sometimes by saying the opposite is true often. Personally I’d say that we actually agree slightly less than we don’t but then I’m a glass half full type of person.
Thinking about it again I said that live Jazz is sometimes not as enjoyable as a studio recording which means not often which you actually agree with by saying it often is, so it seems we actually agree isn’t that great.