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uk vibe search primary menu skip to content contact awards best jazz albums of 2017 best jazz albums of 2016 best jazz albums of 2015 best jazz albums of 2014 best jazz albums of 2013 profiles matsuli music john william coltrane coltrane on atlantic at 33anda3rd rpm keith jarrett at 70 gearbox records london alice babs interviews 2018 interviews colin curtis 2016 interviews cleveland watkiss pt.1 marvin “smitty” smith carmen lundy justin thurgur grégory privat angus bayley nduduzo makhathini sarathy korwar don-e tony rémy mark wade tamar osborn tony kofi junior giscombe pt.2 chris bowden camilla george junior giscombe pt.1 2015 interviews nat birchall steve williamson pt.3 enzo zirilli georgie b steve nichol jay phelps mark guiliana tomasz bura dee dee bridgewater steve williamson pt.2 moyses dos santos vagabond beaumont keni stevens tom mcclung the last poets austin howard joe davis steve salvari theo jackson brian auger pt.3 brian auger pt.2 brian auger pt.1 jean toussaint david lyttle nakisha esnard zhenya strigalev tori handsley van gelder/fleming timothy bloom rowland sutherland pt.2 rowland sutherland pt.1 andrew mccormack filomena campus nicola conte simon spillett on tubby hayes @ 80 shaun escoffery the british collective pt.2 the british collective pt.1 2014 interviews bobby avey miguel zenón noemi nuti steve williamson pt.1 robert mitchell pt.3 robert mitchell pt.2 heston robert mitchell pt.1 chantelle nandi elliott macauley melissa james pat thomas robert strauss jalal mansur nuriddin pt.3 jalal mansur nuriddin pt.2 lee fields fil straughan orphy robinson xantoné blacq nadjib le fleurier ellene masri lex cameron leon ware – love’s endless servant pt.3 gary bartz preview gregory porter leon ware – love’s endless servant pt.2 jalal mansur nuriddin pt.1 malik & the o.g’s leon ware – love’s endless servant pt.1 2013 interviews archie shepp 2013 paul jackson 2013 steve arrington 2013 don-e ntjam rosie 2013 omar 2013 2012 interviews lee fields 2012 rowland sutherland 2012 yuriy galkin 2012 smoove & turrell 2012 2011 interviews iness mezel 2011 russ dewbury 2011 etienne mbappe 2011 fil straughan 2011 vieux farka toure 2011 zara mcfarlane 2011 dub colossus 2011 tuomo 2011 kim gottlieb-walker 2011 river nelson 2011 anthony david 2011 james d-train williams 2011 eric roberson 2011 don-e the godfathers of groove 2011 2010 interviews matthew halsall 2010 fred wesley jr 2010 soulive 2010 matti roots 2010 talib kweli 2010 river nelson 2010 izzi dunn 2010 soweto kinch 2010 noel mckoy 2010 soil & pimp sessions bluey 2010 nailah 2010 chris hill & johnny wright 2010 2009 interviews bruce q dick jewell mark ‘snowboy’ cotgrove ian dewhirst paul bradshaw and jason jules joe bataan naturally 7 2008 interviews fred wesley jr 2008 excursions 2018 excursions sean gibb’s fervour @ riverside, stratford-upon-avon eddie henderson quartet @ eastside jazz club, birmingham conservatoire ben crosland quintet @ 1000 trades 2017 excursions mike westbrook uncommon orchestra at the blue orange theatre chris laurence quartet @ 1000 trades joshua redman old and new dreams quartet @ manchester jazz festival la mambanegra @ pavilion theatre, manchester fred thomas’ polyphonic jazz band @ the red lion uab julian argüelles @ cbso centre 2016 excursions nduduzo makhathini @ york marc copland and john abercrombie @ birmingham conservatoire miguel atwood-ferguson: suite for ma dukes @ barbican neil cowley trio @ the church of st john the evangelist roy harper @ symphony hall jazz re:fest 2016 sarathy korwar @ o2 institute naturally 7 @ ronnie scott’s theo travis double talk @ the red lion trinity laban jazz @ ronnie scott’s tony kofi’s sphinx trio @ vortex jazz bar sean khan @ ronnie scott’s tom harrison group @ pizza express jazz club 2015 excursions tom harrison quintet @ spice of life the revolution will be live @ st george’s hall, liverpool gilad hekselman trio @ silvershine jazz club andy sheppard @ the warwick arts centre the revolution will be live tom paxton @ the lowry cécile mclorin salvant / aaron diehl trio @ ronnie scott’s tg collective & mike fletcher trio @ kings place chris bowden’s tomorrow band @ the jam house kyle eastwood band @ ronnie scott’s pat martino trio @ ronnie scott’s cyrille aimée @ ronnie scott’s marius neset @ cbso centre ned doheny @ soup kitchen sarah weller band & azymuth @ ronnie scott’s gary crosby’s groundation @ jazz in the round freedom: the art of improvisation loft sessions cecilia stalin @ 606 sarah weller @ ronnie scott’s ravi coltrane @ ronnie scott’s on the corner records @ cafe 1001 sons of kemet @ hare & hounds mark guiliana quartet @ ronnie scott’s gilad atzmon & the orient house ensemble @ the crypt 2014 excursions robert mitchell’s ‘invocation’ @ q.e.h filomena campus & giorgio serci @ pizza express nat birchall @ jazz in the round tori handsley trio @ vortex fil straughan – live @ shaka zulu ami koita @ king’s place dele sosimi & the afrobeat orchestra – live @ jazz café hkb finn ensemble – jazzmo’thology @ club 414 personal life james lavelle’s meltdown 2014 meets ‘enlightenment’ (a re-envisioning of john coltrane’s ‘a love supreme’) lee fields – live @ xoyo, london jalal mansur nuriddin & the jazz warriors international juwon ogungbe & outerglobe presents progress ceremony – upstairs at the ritzy phronesis @ rncm manchester evelina de lain trio live @ gallery different robert cray band at bridgewater hall manchester ed motta – live @ union chapel gregory porter live at the stables michał urbaniak celebrates 2013 excursions dingwalls 2013 butterfly healing for maya don-e live @ jazz cafe, london omar @ jazz cafe, london kevin davy quartet @ the attic lady @ jazz cafe, london 2012 excursions lee fields & the expressions 2012 soul ii soul: 25 year anniversary the master drummers of africa brecon jazz makes a big noise in 2012 sacred music – sacred spaces the chapel, king’s college, london fil straughan – live at shaka zulu vieux farka touré, 14 february 2012, band on the wall, manchester 2011 excursions yaaba funk at the venue 4th nov 2011 the dustaphonics live at the blues kitchen 27/10/11 london mela 2011 the fantastics live the jazz cafe 03/09/11 candi staton dennis coffey impossible gentlemen, bridgewater hall, manchester 17 june 2011 trichotomy, tuesday 22 february 2011, band on the wall, manchester. creole choir of cuba drizabone soul family live @ the jazz cafe 3rd february 2011 venezuelan brass ensemble, bridgewater hall, manchester, 30 january 2011 cheikh lô 2010 excursions jocelyn brown & the allstars collective live @ london’s jazz cafe 10th dec 2010 kindred the family soul robert glasper trio 2010 john williams herbie hancock fred wesley ub40 avery sunshine & anthony david mystère des voix bulgares kenny wheeler paco peña soil & “pimp” sessions @ jazz cafe bilal eddie palmieri matthew halsall rakesh chaurassia sa dingding rokia traoré jerry dammers african soul rebels mariza 2009 excursions bassekou kouyate and nogoni ba tord gustavsen julie fowlis jorge pardo art of sound & alata joe bataan @ cargo naturally 7 @ the stables christy moore scribes ‘this is hip: the life of mark murphy’ by peter jones (equinox publishing ltd) simon spillett – the long shadow of the little giant: the life, work and legacy of tubby hayes garrison fewell – outside music, inside voices: dialogues on improvisation and the spirit of creative music. visual world tubby hayes ‘a man in a hurry’ dvd documentary (mono media) 5/5 soul clans and allniter venues of scotland the art of ian clark the art of matthew hart the art of david ellis the art of greg lamarche the art of stuart hammersley the art of mark wallace the art of shaun bloodworth the art of swifty the art of phlash archive revibe nelson mandela – why i am ready to die revibe: norman connors 1996 revibe: ronnie mcneir 1996 brasil na minha alma revibe: joyce 1996 revibe: sonali fernando 1996 revibe: archie shepp 1996 revibe: airto moreira 1995 revibe: elis regina 1995 revibe: gilles peterson 1995 revibe: janet lawson 1995 revibe: terry callier 1995 revibe: carmen lundy 1995 revibe: josé feliciano 1996 revibe: wayne shorter 1996 revibe: gary bartz 1995 revibe: jean toussaint 1995 the other side soul asylum uk vibe mixes from cassette tropico utopico poetry baked beans means music 1996 butterfly 2013 she can feel it 2013 permanent light 2013 sun jam, moon jelly 2013 black doll 2000 abstract words 1996 unseen crystal 1995 abstract no jazzman is an island late trane 1970 the fireman is dead 1967 them a call us pirates ditch the shitstem mr. soul – the movie the team donald palmer (aka jazz defeckta) glyn phillips mike gates michael j edwards erminia yardley steve williams tim stenhouse andy hazell mark wallace sammy goulbourne mark harrington bruce q brian goucher damian wilkes andy allen pete buckenham alan musson gibsy rhodes mix mix no. 16: vibe out south africa mix no. 15: vibe out finland mix no. 14: vibe out poland mix no. 13: vibe out argentina mix no.12: vibe out israel mix no.11: vibe out france mix no.10: sunshine people mix no.9: jazz-funk and jazz fusion mix no.8: vibrations, themes, textures and sounds mix no.7: 2016 year end delights mix no.6: mode for modal mix no.5: liquid fusion mix no.4: speak no evil mix no.3: good vibes mix no.2: thokoza! south african jazz past and present mix no.1: celebrating rudy van gelder search for: album reviews espen eriksen trio with andy sheppard ‘perfectly unhappy’ lp/cd (rune grammofon) 4/5 10th june 2018 ukvibe british saxophonist andy sheppard first teamed up with the norwegian based espen eriksen trio a couple of years back, touring korea and norway. and so one imagines a studio album must have been on the cards for some time now. those familiar with sheppard’s recent ecm recordings will be accustomed with the saxophonist’s more laid-back offerings of late, and this session certainly fits nicely into that mould. not that that’s a bad thing by any means, “perfectly unhappy” being a quite sumptuously exquisite album in many ways. espen eriksen’s trio has been touring and recording for ten years now, with eriksen on piano, andreas bye on drums and lars tormod jenset on bass, they combine with an assured cohesiveness that makes it all sound so easy. graceful and melodic, their music exemplifies that nordic jazz/folk thing that takes the listener on a wonderful journey across mountains and fjords and back again. the music on “perfectly unhappy” may not break any new boundaries, but it’s just so well written and performed that listening is made easy and rewarding. the addition to the trio of andy sheppard is reminiscent in style and mood to that of another recent piano trio plus sax recording, by another of my favourite piano trios, marcin wasilewski trio. the polish outfit’s ecm album “spark of life” features norwegian saxophonist joakim milder, and the results are very similar, with this listener taken away on a musical nordic breeze to a land of serenity and peacefulness. the album’s opener, “above the horizon”, sets the tone perfectly for what is to come, with sheppard and eriksen taking turns to pick out the melody and go with the flow. on tunes such as “indian summer” and naked trees”, it is sheppard’s smokey, breathy, free-flowing sax that is more to the fore, whereas on “1974″ and “revisited” it is the beauty of eriksen and co that shine a guiding light for sheppard to follow. and when the foursome combine in perfect harmony, as on the closing track “home”, one simply has to sit back, admire, and enjoy. an album of simple delights then, and one i shall return to time and time again when i need a little bit of calm and serenity. here at uk vibe we don’t do things by halves, but if we did, i’d rate “perfectly unhappy” as a four and a half. mike gates share this: click to share on facebook (opens in new window) click to share on twitter (opens in new window) click to share on google+ (opens in new window) click to share on tumblr (opens in new window) click to share on pinterest (opens in new window) album reviews samba touré ‘wande’ lp/cd/digital (glitterbeat) 4/5 8th june 2018 ukvibe this is a great return both to form and to the very roots of malian blues, following on in the great tradition whilst building on that towering cannon of work and adding his own authentic signature. recorded in bamako, this return to a more acoustic and rustic sound has resulted in arguably samba touré’s most impressive and well-rounded album to date, this being the third album that follows on from his 2013 debut ‘albala’. simple melodies are laid down and then deftly worked over with multi-layered percussion comprising instrumentation such as the calabash, played by lassine kouyaté, and complemented in turn by sublime collective harmonies that are repeated over and over again until they reach the deepest levels of the inner subconscious. the title track is an absolute treat and is a gentle, relaxing number with a slow build up before calabash and finally the high-pitched sound of the sokou string instrument (likening it to a violin would be a great disservice, but nonetheless it is probably the nearest western equivalent, but in a west african context it blends in seamlessly with the other percussion instruments). it is important to recognise at this juncture that the multi-faceted nature of malian music means that it is invariably difficult to assemble musicians for recording sessions since they often perform at social gatherings such as weddings. little wonder, then, that these seasoned musicians who regularly perform live are able at will to convey myriad moods and on ‘hayame’ (be careful), it is the beautifully, slow-paced and pared down combination of guitar and calabash that wins the day. if the music is so expertly delivered that is seems like simplicity personified, then the social message behind the lyrics is at once direct and sincere and this is illustrated on the affirmative ‘irganda’ (it is our land), that leaves no room for ambiguity. there are shades of the early 1970s rolling stones, a group that has constantly paid due homage to the blues, in a piece such as, ‘yerfara’ (we are tired), with a bubbling rock-tinged guitar and a stunning talk drum accompaniment. touré sounds closest to his mentor on ‘hawah’, with a relaxed mid-tempo pace that proceeds to grow in intensity as the song unravels. a fitting way to end the album is with a heartfelt tribute to samba touré’s heart on ‘tribute to zoumana tereta’, complete with spoken dialogue. the music within comes across as a direct link between the heritage of one john lee hooker and the late, great ali farka touré. it would be difficult to pay a higher compliment to samba touré. tim stenhouse share this: click to share on facebook (opens in new window) click to share on twitter (opens in new window) click to share on google+ (opens in new window) click to share on tumblr (opens in new window) click to share on pinterest (opens in new window) album reviews binker and moses ‘alive in the east?’ lp/cd/dig (gearbox) 4/5 8th june 2018 ukvibe captured live during a june 2017 recording at the thriving total refreshment centre in north east london, this, the third duo album by saxophonist binker golding and drummer moses boyd adding to the growing catalogue of uk (but mainly london-based) jazz releases from this young community of players and artists. again, additional musicians are utilised including award-winning and legendary trumpeter byron wallen, supplementary drummer yussef dayes who is also one half of the now defunct yussef kamaal, uk veteran free jazz saxophonist evan parker and previous live collaborator and contributor to ‘journey to the mountain of forever’, harpist tori handsley. the set begins with ‘the birth of light’, which is essentially a drumming showcase by moses and quite unusual for the start of an lp release to contain such a drum focused track as its first. ‘how land learnt to be still’ includes auxiliary saxophone lines from evan parker as well as additional harp voiceings by tori handsley for one of the most textured and longest of the set at just over 8 minutes in length. definitely a personal favourite. the harp is also a prominent feature of third track ‘the river’s tale’, with its shuffle dominated rhythms which again feature evan parker and trumpeter byron wallen within the first half for possibly the most accessible piece of ‘alive in the east?’. ‘how fire was made’ is a fiery uptempo jam with ostinato phrasing and additional freer saxophone elements combined with the loose but tight drumming of moses and yussef. at 1’19”, ‘how air learnt to move’ feels like a short transitional segment between compositions rather than a full-blown track or even an intro for the next track ‘children of the ultra blacks’, itself a somewhat continuum of ‘the valley of the ultra blacks’ from their previous album. this vigorous and dynamic piece is the funkiest of the album, although, this is by no means funk but it does possess a hip hop head nod quality. byron’s trumpet sets the agenda before the saxophones intertwine especially towards the final few minutes, with the harp providing the musical backbone whilst the percussive drum parts become more frantic over its duration. the final section establishes a cacophony of sonics that is almost trance-like. ‘mishkaku’s tale’ is a more retrained affair, if that’s the correct term, and i particularly enjoyed the harp embellishments after the midpoint which are almost guitar like, but binker and moses would definitely miss tori handsley if absent. other notable compositions include, dare i say it, the jazzy ‘beyond the edge’ and the atmospheric ‘the death of light’. for those who have enjoyed previous binker and moses releases then this is a no brainer – and this is my favourite of the three albums. the offerings of the ‘guests’ cannot be understated, especially the work of tori handsley, a previous uk vibe interviewee. i know tori has her own band which has included moses, but her improvisational work, phrasing and understanding of collaboration heavily contributes to the success of this recording. clocking in at around 45 minutes in length and containing ten tracks, ‘alive in the east?’ is at times unashamedly raw and energetic as anything you’ll hear this year. some of the playing is blisteringly frantic and at other times much more subdued and poignant – thus, very much akin to the experience of a live show. additionally, being part of the gearbox community, the vinyl based record label, studio complex and post production facility will do them no harm, as the current interest in vinyl culture has simultaneously supported the advance in new jazz recordings within the uk. the phrase ‘semi free jazz’ perfectly suits this project with binker and moses very much at the forefront of young jazz in london. mosh pit jazz anyone? damian wilkes share this: click to share on facebook (opens in new window) click to share on twitter (opens in new window) click to share on google+ (opens in new window) click to share on tumblr (opens in new window) click to share on pinterest (opens in new window) album reviews bob andy and marcia griffiths ‘young, gifted and black’ / ‘pied piper’ cd (doctor bird) 5/5 7th june 2018 ukvibe now properly remastered, with a digitally enhanced cover photo looking better than ever, this is quite simply one of the greatest ever reggae albums, with two singers at an early peak in their illustrious careers, and as a duo, operating in perfect harmony, within and outside of the recording studio. the title track and first single was a smash pop hit going all the way to number five in spring, 1970, and has lost non of its charm. an uplifting tune if ever there was one, it is an adaptation of the classic nina simone composition and ode to a positive black consciousness, which aretha franklin then made her own with a grittier and earthier soulful rendition. bob and marcia take it out slightly of this context (though still mighty soulful) and have enveloped it in a light, but nonetheless spicy jamaican jerk chicken sauce and the result is an all-time classic that has never dated and probably never will. in particular, the use of layered strings on the uk version made it far more accessible and embellishes the basic riddim. this expanded edition has the major bonus of enabling us to hear the rawer and harder sounding jamaican 45, devoid of any strings, with the bass far more prominent and, interestingly, here the vocals are more to the fore and that adds a different quality to the song, thus making it a sheer listening delight and one that is a refreshing alternative take on the immortal reggae song. the rest of the album is hardly less thrilling with some gorgeous covers of songs that were barely out of their original. in the case of ‘ain’t nothing but the real thing’, the influence of the marvin gaye and tammi terrell original is still discernible, but is now displayed over a chugging reggae rhythm section. on a lovely take on ‘united we stand’, the simple, yet highly effective chorus is the pretext for marcia griffiths to take the first lead, with bob andy in close pursuit. both were already fine lead vocalists, but the cherry on the cake here are the sublime collective harmonies. of note is that, along with ‘young, gifted and black’, bob and andy were marketed in the united states on motown and its earlier offshoot, tamla. at that particular time, there was no specific label which catered to the then emerging reggae sound. bob dylan was clearly an influence on reggae singers, especially given his consistent and unwavering stance on civil rights, with ‘it ain’t me baby’ being one of the earlier examples of his songwriting skills being transposed to the reggae idiom. a real favourite is the beautifully structured, mid-tempo groove of ‘peace in your mind’, with the rasping lead vocals of andy never more lovingly illustrated. ending the cd as a whole is that jamaican version of the title track that showcases the two vocalists in their prime. making up a marvellous coupling is the follow up album, ‘pied piper’, that while not scaling the dizzy heights of its predecessor, still has plenty to offer. once again, the album title track served as the introduction to the album as a whole and was another pop chart success, albeit just outside the top ten. vying for the most compelling song and delivery on this follow up album are ‘but i do’ and the catchy harmonies of ‘you are mine’. previous re-issues have tended to offer compilations of the pair along with individual songs. this new and definitive re-issue provides us with the complete package and therefore is a clear first choice selection. extremely well annotated notes by harry hacks set a benchmark that only the pioneering blood and fire label of the 1990’s set in the uk, with a plethora of references for the devotee to follow up on, various european pressings of 45s, promotional photos. both singers would go on to enjoy illustrious careers in their own right, but this pairing of albums captures them in their youthful glory and, as such, remains a timeless classic that every new generation can discover with relish. tim stenhouse share this: click to share on facebook (opens in new window) click to share on twitter (opens in new window) click to share on google+ (opens in new window) click to share on tumblr (opens in new window) click to share on pinterest (opens in new window) album reviews harry j all stars ‘liquidator: expanded edition’ cd (doctor bird) 4/5 7th june 2018 ukvibe if you have never heard the oh so distinctive opening riff to ‘liquidator’, you are, in all probability, not an inhabitant of planet earth. adopted by 1970’s football fans and early skinhead reggae fans alike (sometimes indistinguishable, it should be stated), this is one of the most well-loved of all early reggae instrumentals and a founding pillar stone of the reggae collector, in 45 and lp formats with a classic front and back cover to match. this brand new edition wins hands down because it has the major attraction of twelve bonus tracks. harry j was in fact producer harry johnson and the conglomerate of studio musicians that made up the all stars were something of a mystery, even though they regularly performed with singers on the jamaican imprint of the harry j label. this was reggae music with a happy and open-hearted face and that meant covering some of the popular tunes of the day. one such interpretation was stevie wonder’s ‘my cherie amour’, which is a stomping cover tune and an ideal vehicle for the all stars to impress. taking a more uptempo rhythm than on the original beatles version, a chugging take on lennon and mccartney’s ‘don’t let me down’ (aka ‘operamatic’) really works in a reggae idiom, while the faithful cover of the anglo-french ode to love, ‘je t’aime, moi non plus’, would be so loved by serge gainsbourg that he returned the compliment, recording a whole album of roots reggae in kingston, with sly and robbie, and a host of others. of the excellent bonus offerings, an instrumental take on the evergreen, ‘young gifted and black’ stands out. expert notes from renowned gospel/blues and soul writer tony rounce who regularly contributes to the ace reissue series, provides some insightful historical context, and the all stars certainly deserve their place alongside the likes of other all-star formations under the tutelage of prince buster, coxsone dodd and alvin g.g. ranglin, to name but three prime examples. tim stenhouse share this: click to share on facebook (opens in new window) click to share on twitter (opens in new window) click to share on google+ (opens in new window) click to share on tumblr (opens in new window) click to share on pinterest (opens in new window) album reviews dave and ansel collins ‘double barrel: expanded edition’ cd (doctor bird) 4/5 7th june 2018 ukvibe fifty years of the trojan reggae label this year and this album is one of the most successful of all that were released, and in the early 1970s the weekly new releases on the label was truly prolific. interestingly, the 1971 original title track, with its unique vocal gymnastics and catchy riff, was initially released as a 45 and rocketed to the very top of the uk pop charts at a time when reggae could do no wrong and trojan were the premier label on which to record and receive widespread media attention. the duo of dave barker and ansell collins were the de facto simon and garfunkel of reggae insofar as you could barely think of one without the other. how do you follow up such an instant classic? was the question posed, but in, ‘monkey spanner’, they had yet another quirky tune to attract the masses and that 45 again sold well to a wider audience. produced by winston riley of techniques fame and his own self-titled record label in jamaica. nothing quite tops either of the aforementioned, but as a whole the album stands up to repeated listens with duet operating together on ‘i the third (aka karaté)’, which repeated the formula and was somewhat less successful chart-wise, but another fun tune nonetheless, while individually ansell collins impresses on both ‘secret weapon’ and ‘ten to one’, while dave barker takes over lead vocal duties on ‘that girl (aka groovy situation)’. of the plethora of bonus cuts, an alternative version of ‘double barrel’, and some rarer 45’s that surfaced on the independent labels of the day such as big shot, one should take note equally of a cover of a norman whitfield motown song, ‘it’s summer’, and certainly reggae music during this period shared a close affiliation with the emerging soul sounds in the united states, with other memorable covers following in hot pursuit. the striking and terrific front cover graphics with a double-barreled smoking gun still never fails to impress and that can also be said for the musical content within, the usual high standard of accompanying photos and 45 label graphics and the single in particular was a major hit in other european countries at the time. a must have item in any serious reggae devotees collection and a fine continuation of the series, rediscovering the historically significant albums of the era. tim stenhouse share this: click to share on facebook (opens in new window) click to share on twitter (opens in new window) click to share on google+ (opens in new window) click to share on tumblr (opens in new window) click to share on pinterest (opens in new window) album reviews roy roberts ‘back in love’ cd/dig (rock house) 5/5 7th june 2018 ukvibe i have been waiting nearly four months for this album to surface, having heard the subtle flowing title track on the soul discovery show, and having popped its head up in the blues critic store i was in there pretty sharpish placing my order. any new album by this giant of the blues is to be applauded from the roof tops, along with the likes of johnny rawls etc. he is one of the last purveyors of the old sound, essentially blues you can dance to but with enough soul to keep the likes of me happy. as usual the sound is lush, immense and full of surprises, roy of course is a consummate, and very well-respected, guitarist in his own right, but on this album he also plays one of my favourites, a hammond b3, piano and strings. he is also credited for writing nine of the ten songs presented. eric collands also lends a hand with piano, strings and the hammond b3, scott adair takes care of the excellent sax solos, we have scott adair and rusty smith to thank for the horns on the remake of “let it be me” and “we still together”. there is another lovely voice on here too, take a huge bow sherry norris. the dominant force on here is the subtle percussion, which drives the whole album without it getting to up in your face, everything else just feeds off that and roy’s timing is impeccable. over the years roy’s voice has been likened to bb king, ray charles, tyrone davis and brook benton. we can trace roy back to the early 60s, where he started out providing backing for such luminaries as eddie floyd, solomon burke and otis reading. he released his first 45 on nina simone’s stroud label in 1967, and been on one hell of a ride ever since. he created his own label and released a stack of 45s, before albums began surfacing, never copying or trying to imitate anyone, just being himself. he was part of the group, electric express, when they had a million seller with “real thing”, which got picked up by atlantic records, and at the height of the disco craze he headed off to nashville with the country music scene accepting him with open arms. he plied his trade as a guitarist within this genre for ten years touring with ob clinton, and whilst all this was happening he was still releasing blues influenced 45s, acknowledging the impetus to get back into the blues being robert cray. in the early 90s, whilst sitting in his studio, he heard a track from them and he thought to himself that is my sound. the result, five albums in five years appeared which simply showcased what a master bluesman he was. for me personally the 2001 “burning love” set is the one that gets regular plays, his interpretation of pickett’s “i’m in love” is a truly sublime moment in time, if you have that set or any album from those five then the good news is that the voice is there, never straining, effortlessly conveying his mood and the feeling of that particular moment. so to the music presented on here, only one track doesn’t do it for me, “let it be me” should have been cut from the final ten. betty everett and jerry butler can never be beaten no matter how good you are, it’s from a certain time and belongs in that era, it’s a tune that conjures up all manner of memories for me so it wouldn’t matter who recorded it. however, the rest of the nine tracks are simply wonderful to these ears, top track for me is the strolling “should have been over”, which has been on repeat play so often my neighbours are humming along to it, with tinkling piano, an injection of saxophone and that restraining, almost soft, drumming. another track of serious note is the melancholy head nodded “she didn’t know”, with more piano and some nice guitar runs too, as it seeps into your head and gets you humming away. for more of the same, try “you’re my lady”. when you listen to roy roberts albums you can’t help thinking this is what inspired the james hunter six, whilst the jhs are definitely a 60s sounding band there are some very strong resemblances to roy’s music. i mentioned sherry norris earlier, who surfaces on the rolling mid tempo duet “we still together”, with its fabulous horn injections. if like me you have stretched the boundaries of your soul music to have accepted the other genres of black music, then this really is an album for you, if you have never dipped your feet in the ocean that is the blues then look no further, it’s a sad fact but albums like this don’t stand a chance, no synths, no computer enhanced nonsense, no gimmicks and very few radio jocks who would even acknowledge its existence. cd only at the minute and very doubtful vinyl will ever appear. brian goucher share this: click to share on facebook (opens in new window) click to share on twitter (opens in new window) click to share on google+ (opens in new window) click to share on tumblr (opens in new window) click to share on pinterest (opens in new window) album reviews idris ackamoor ☥ the pyramids ‘an angel fell’ cd/lp/dig (strut) 4/5 6th june 2018 ukvibe for those unaware, the pyramids were founded back in 1972 in ohio when afro-centrism as a concept was at its zenith. the search for african roots and making musical connections is very much the raison d’être of idris ackamoor ☥ the pyramids. taught in part by the late exponent of avant-garde jazz piano, cecil taylor, the band actually formed in paris and three independent releases surfaced between 1973 and 1976, with live performances becoming their trademark. subsequently, the band moved to san francisco and disbanded there in 1977. a thirty-five year gap then ensued before 2012 when the group reunited in response to an increasing demand for their vinyl output. in 2016 the german label disko 3 released a new album by the band, in a more free form idiom, and then they signed to strut where the critically acclaimed, ‘we all be africans’, came out in 2016. the new album will once again appeal to a wider audience beyond the traditional confines of jazz and devotees of dub reggae in particular will find much in common in the music contained within. overarching the work of the pyramids is a lifelong attraction to both the music and philosophy of sun ra, and thus the homage paid to him on ‘land of ra’ should come as little surprise. it is a bubbling percussive number with dub effect on congas and drums, and collective vocal chants. one of this writer’s favourite numbers is the gentle paced ‘papyrus’, which features a lovely melodic bass line and tenor saxophone and guitar in tandem, a feature throughout the album as a whole. on ‘tinoge’, the bass line is straight out of marvin’s ‘inner city blues’, while an impassioned tenor solo is accompanied by violin and the delicate guitar work of david molina. if any other source of inspiration might be present for the band, then it would surely be the saxophone and socio-political outlook of archie shepp, and the leader himself has clearly been influenced in both respects by shepp. overall, the use of dub effects works beautifully within the context of politically aware left-field jazz and the biggest complement that one can pay idris ackamoor ☥ the pyramids is that sun ra himself would surely have approved this band and their afro-centric direction. a prime contender for the year’s best album front cover and very 1970’s in outlook. tim stenhouse share this: click to share on facebook (opens in new window) click to share on twitter (opens in new window) click to share on google+ (opens in new window) click to share on tumblr (opens in new window) click to share on pinterest (opens in new window) album reviews various ‘african scream contest 2 – benin 1963​-​1980’ 2lp/cd/dig (analog africa) 4/5 6th june 2018 ukvibe if the first volume of music from the little known benin republic whetted the appetite, then the second installment does not disappoint, and certainly equals the former with some outstanding individual performances as well as an excursion into afro-funk and other related cross-boundary sub-genres. a key number that has immediately been picked up radio is ignace de souza & the melody aces’ ‘asaw fofor’, and it is a classic of african music and, one of the few on a major label, decca. moreover, it is one of the earliest examples, dating from 1963. virtually all the labels off which the vinyl was originally released are home-grown and the very names speak volumes about the independent-minded initiatives of the local record industry that has now sadly long disappeared: disques tropiques; disacafric; disc-orient. there was a genuine pride in the post-independent francophone africa. connections with other parts of the african diaspora, notably in latin america, are evident on ‘dja, dja, dja’, which is an afro-latin delight by stanislas tohon. laying down a heavy percussive groove is the admirably titled, picoby band d’abomey, who offer up ‘mé adomina’. lengthy and hypnotic riffs abound on, ‘paulina’, which is a 1975 song from black santiago, while if it is some authentic afro-disco that you are in search of, then the orchestre poly-rythmo de cotonou deliver big time on ‘moulon devia’; which dates from 1980. accompanying the cd release is a luxurious forty-four page booklet that sheds more light on the individual names and the beninese music industry more generally. it is an ideal time to be investigating some of the so-called lesser names of african music with a brand new series already started on bbc4 and hosted by the excellent and ever enthusiastic londoner-african musician and dj/writer, rita ray. the music of benin deserves to be heard beyond the physical limits of benin and samy ben redjeb is to be congratulated for unearthing such a varied selection of music that compares most favourably with anything else from that great continent during the same period. terrific graphics on the front cover too. tim stenhouse share this: click to share on facebook (opens in new window) click to share on twitter (opens in new window) click to share on google+ (opens in new window) click to share on tumblr (opens in new window) click to share on pinterest (opens in new window) album reviews esbjörn svensson trio ‘live in london’ 2cd (act) 5/5 5th june 2018 ukvibe it is some ten years since the est trio leader and founder member, esbjörn svensson, was tragically killed on a lake near stockholm. this live recording captures the trio at their stunning peak on a may 2005 concert that took place at the barbican. just under two hours of the band’s most loved numbers and what distinguished this trio from more traditional piano jazz trios was their ability to effortlessly interweave elements of rock, classical and jazz into a distinctive and fully cohesive whole that one would immediately recognise as their own. furthermore, the band broke new ground in being one of the few european jazz formations that succeeded in gaining a foothold in the notoriously crowded and competitive american market. in live performance, the trio would diverge from studio recordings, often one number naturally seguing into another, and the music as a whole had an organic quality that could only have resulted from the amount of time the band rehearsed together and knew each other’s musical strengths and needs intimately. thus on the lovely, ‘tide of trepidation’, the main theme is identifiable from the outset, but towards the end svensson takes the music in a different direction, setting off on a solo escapade. another distinguishing feature was the quirky titles that immediately attracted the listener’s attention, such as, ‘when god created the coffeebreak’ (something scandinavians are particularly partial to), or the seemingly impossible to fathom, ‘eighty-eight days in my veins’. est were a band not devoid of humour, but equally capable of lengthy and dense interpretations of their work, as evidenced on a marathon-esque seventeen minute reading of, ‘behind the yashmak’, or a fifteen minute take on, ‘the unstable table and the infamous fable’. this writer, however, was most impressed by the delicate balladry work of the trio and in this respect, one of the unquestionable concert high points is the dazzling piano in operation on, ‘viaticum’. excellent sound quality and a highly charged evening in front of an audience that clearly lapped up the band’s contribution and work. groups of the quality and artistry est only come up every so often and that is all the more reason to celebrate their music here. tim stenhouse share this: click to share on facebook (opens in new window) click to share on twitter (opens in new window) click to share on google+ (opens in new window) click to share on tumblr (opens in new window) click to share on pinterest (opens in new window) posts navigation 1 2 … 229 next → astral travelling since 1993 uk vibe records present chris bowden: we recommend: album of the month: album reviews espen eriksen trio with andy sheppard ‘perfectly unhappy’ lp/cd (rune grammofon) 4/5 10th june 2018 samba touré ‘wande’ lp/cd/digital (glitterbeat) 4/5 8th june 2018 binker and moses ‘alive in the east?’ lp/cd/dig (gearbox) 4/5 8th june 2018 bob andy and marcia griffiths ‘young, gifted and black’ / ‘pied piper’ cd (doctor bird) 5/5 7th june 2018 harry j all stars ‘liquidator: expanded edition’ cd (doctor bird) 4/5 7th june 2018 dave and ansel collins ‘double barrel: expanded edition’ cd (doctor bird) 4/5 7th june 2018 roy roberts ‘back in love’ cd/dig (rock house) 5/5 7th june 2018 idris ackamoor ☥ the pyramids ‘an angel fell’ cd/lp/dig (strut) 4/5 6th june 2018 various ‘african scream contest 2 – benin 1963​-​1980’ 2lp/cd/dig (analog africa) 4/5 6th june 2018 esbjörn svensson trio ‘live in london’ 2cd (act) 5/5 5th june 2018 sir charles jones ‘the masterpiece’ (southern king entertainment) 4/5 5th june 2018 bill frisell ‘music is’ 2lp/cd/dig (okeh/music on vinyl) 4/5 4th june 2018 carmen mcrae ‘sings lover man and other billie holiday classics’ lp (pure pleasure) 5/5 3rd june 2018 van morrison and joey defrancesco ‘you’re driving me crazy’ lp/cd/dig (sony) 5/5 2nd june 2018 léo ferré ‘mai ’68’ 3cd (barclay/universal france) 5/5 1st june 2018 luciano ‘in the name of love’ (mountain peak) 4/5 30th may 2018 sly and robbie meet nils petter molvær feat. eivind aarset and vladislav delay ‘nordub’ (okeh) 2/5 30th may 2018 hugh masekela ’66-’76’ 3cd (wrasse/chisa) 4/5 29th may 2018 kekko fornarelli ‘abaton’ lp/cd/dig (eskape) 4/5 28th may 2018 uk vibe on the decks 28th may 2018 archive june 2018 (15) may 2018 (38) april 2018 (35) march 2018 (41) february 2018 (24) january 2018 (24) december 2017 (64) november 2017 (47) october 2017 (51) september 2017 (30) august 2017 (29) july 2017 (32) june 2017 (30) may 2017 (29) april 2017 (38) march 2017 (22) february 2017 (23) january 2017 (12) december 2016 (60) november 2016 (34) october 2016 (32) september 2016 (30) august 2016 (34) july 2016 (38) june 2016 (30) may 2016 (20) april 2016 (23) march 2016 (27) february 2016 (32) january 2016 (14) december 2015 (50) november 2015 (33) october 2015 (34) september 2015 (31) august 2015 (33) july 2015 (35) june 2015 (33) may 2015 (33) april 2015 (37) march 2015 (26) february 2015 (21) january 2015 (20) december 2014 (31) november 2014 (27) october 2014 (28) september 2014 (24) august 2014 (5) july 2014 (22) june 2014 (30) may 2014 (24) april 2014 (17) march 2014 (31) february 2014 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