Could only find one Track on Amazon Music, but this one is damn great Good vibes after finishing work and starting in my weekend
Itâs only just released, Iâm streaming on Tidal, maybe Amazon Music will have it soon.
I think you might find the full album on YouTube
Check out the group Maisha
Their debut There Is A Place is very good, sadly not the vinyl though which is poor SQ and not great pressing
Their collaboration with Gary Bartz as part of the excellent Nightdreamer Sessions cut Direct To Disc on vinyl topped many best of year Jazz lists a couple of years back and deservedly so imo
(Forgive the poor quality images screnshotted on my old phone from Tidal)
Meanwhile I found the whole album, some tracks are thrilling, some are a Bit boring for me, now I have âThere is a Placeâ from Maisha on
I am just streaming with Flac Quality with an optical cable via TV to my DAC in my CD Player
Only have Maishaâs first, good stuff. My LP is OK though, pressing-wise.
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 2020âs 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.
I liked it very much too. Have also the live version.
Tom Mish, Yussef Dayes and others.
From Jazz Revelation :
« From the get-go, you realise that What Kinda Music is a deviation from Mischâs previous style. Drawing on the vigour of live performance and jams, the record isnât overproduced and helps to paint an encompassing musical atmosphere. The title-track immediately immerses us with psychedelic vibes, powered by deep thundering synths, Mischâs high howling vocals, lush swooping strings and Dayesâ punchy punctuated drums. âFestivalâ 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 âNightriderâ, where we see superb musicianship as we hear Dayes and Tom Driesslerâs bass rhythmically dance, Mischâs vocal harmonies burst through in the chorus while Freddie Gibbsâ free-flowing verse flawlessly matches the scene. Rounding off the first half, we see brilliant sonic shapes with âTidal Waveâ through the juxtaposition of Dayesâ dramatic drumming and Mischâs silky vocals, whilst the mighty Aretha Franklinâs vocals are channelled for âThe Realâ to create the summery jazz-hop feel.
The second, funkier, half of the album beings with âLift Offâ, a masterclass of musical prowess. The song teems with energy and vibrance, styled by a stunning conversation between Rocco Palladinoâs pulsating bass and Mischâs replying guitar, whilst Dayesâ inspired drumming glues the two together. âI Did It For Youâ and âLast 100â are characteristic of that âclassic Tom Mischâ sound - bright and airy. âKyivâ 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 fuâŠdrummers on the scene. The trance-like âJulie Mangosâ builds you to the final song âStorm Before The Calmâ, which is the perfect outro to the album with the staunch beat of Dayesâ drumming allowing Kaidi Akinnibiâs 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. Itâs 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 pairâs 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
Williamsâ solo debut, 2018âs [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 Kamaalâs album . Wu Hen, Williamsâ second full-length, continues in this vein as a pleasing, if unremarkable, listen.
Williamsâ 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 Williamsâ independent development â 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 todayâs 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 âoh not again!â
There is a problem I think with some of these ânew UK Jazzâ 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 Kemetâs 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)
Iâve 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, Iâm 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.
âFeeding The Machineâ is their first studio album in five years, due for release on February 25th on all formats.
Recorded at Peter Gabrielâs 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, âfeed the machineâ.
You should try the Gary Bartz session
I have the first press of There Is A Place with the gatefold sleeve, not a great pressing and compressed sound. Itâs 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 itâs a reference to their Journey To The Mountain Of Forever album one half of which includes Evan Parker
When Binker Golding and Moses Boydâs 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 Ronsonâs Zelig studio direct to a 1960âs Studer C37 1/4â tape machine at Gearboxâs studio - no edits, drop-ins or mixing down.
So, travel with us from the ârealm of the nowâ to âthe realm of the infiniteâ 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!
Me neither!
Good album though
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!
âinto ambient, minimalism and experimental electronic territoriesââŠ
These words in modern jazz usually fill me with apprehension ( and near-boredom in the case of Promises by Floating Points)âŠbut, Iâll give it a listen!
I didnt get that description really, its not how I hear it anyway.
I am actually listening to Wuhen by Kamaal Williams, I like these fresh electronic elements paired with great musicality
Big Rick and Hold on are fabulous
Câest vrai