jazz
joe.muggs
Around the turn of the millennium, two producers – the Californian Otis Jackson Jr aka Madlib, and the late James Yancey aka J Dilla from Detroit – started a revolution in hip hop: knocking beat patterns off the musical grid, searching further and wider than before for obscure and psychedelic sample sources, and generally making things weird and wonky.This abstracted approach is only now really making its mark on the mainstream thanks to Kanye West and Kendrick Lamar, but it has also created a well-established underground known simply as “the beat scene”, where producers from LA to Saint Read more ...
peter.quinn
Compered by Jazzwise magazine’s gregarious editor-in-chief, Jon Newey, the winners of this year's Parliamentary Jazz Awards were announced last night in the Terrace Pavilion at the House of Commons.Now in their twelfth year, the Awards, organised by the All Party Parliamentary Jazz Appreciation Group (APPJAG) and sponsored by the music licensing company PPL, are one of the most important dates in the UK jazz calendar.In his opening speech, Newey cited both the ups and downs of the previous year, with the former including “more excellent young jazz musicians emerging and carving out spaces at Read more ...
Lisa-Marie Ferla
I find myself incredibly conflicted by a musician like Gregory Porter. Is my lack of response to his effortlessly soulful voice (the “liquid spirit”, perhaps, of the 2013 Grammy-award winning album of the same name) a symptom of some sort of emotional lack, or a product of the music itself being, objectively, pretty dull? Crossover appeal thanks to last year’s hit collaboration with UK dance duo Disclosure means cross-genre review assignments, so forgive me if I’ve simply missed the point, but for an album that boasts as many as eight jazz musicians and vocalists at times, Take Me to the Read more ...
peter.quinn
A diverse mix of musicians from the worlds of jazz, blues, soul and beyond were honoured at the third Jazz FM Awards on Tuesday night, which took place in the 1920s art-deco setting of London’s Bloomsbury Ballroom.Hosted by writer, actor and broadcaster Hardeep Singh Kohli, and produced by Serious, the ceremony featured performances from Kansas Smitty’s House Band, Liv Warfield, rising star singer/pianist Kandace Springs, and Hiatus Kaiyote. Guest presenters included Cerys Matthews, Nitin Sawhney, Soweto Kinch, plus Simon Bartholomew and Andrew Levy from the Brand New Heavies. Read more ...
Adam Sweeting
Catching the essence of the mercurial, secretive and notoriously abrasive Miles Davis on film might reasonably be described as a mission impossible, but Don Cheadle has put his heart and soul into it. He directed it and plays the title role, he co-wrote the screenplay with Steven Baigelman, and he put some of his own money into it. A jazz saxophonist since his youth, he took tips from Wynton Marsalis about playing the trumpet for the movie.The results are both better and worse than you might have expected. Cheadle succeeds remarkably well at embodying Davis in the different periods in his Read more ...
Kieron Tyler
Relentless is the word. The second studio album from post-punk jazzers Melt Yourself Down starts as it means to finish. It opens with a hard, pulsing bass guitar which sets the scene for “Dot to Dot”, a persistent chant suggesting Sufi adepts with a yen for Killing Joke. It ends, nine tracks later, with “Yazzan Dayra’s” melding of Nyabinghi percussion to the sound of an exotic market-stall barker and strident saxophone interjections. Over its 36 minutes, Last Evenings on Earth does not let up.The varied roots of the Melt Yourself Down sound are clear. They have collaborated with New York no Read more ...
peter.quinn
It seems fitting that the propulsive playing of drummer Anton Eger is the first sound you hear on this latest studio recording by the Scandinavian/British jazz trio, Phronesis. While there’s plenty of warm-hearted lyricism and vibrant harmonic writing on the group’s sixth CD (their fourth for Edition Records), what’s really striking about Parallax is the absolute primacy of rhythm.Whether it’s the unforeseen metric modulations of Eger’s brooding opener “67000MPH”, which serve unfailingly to catch the ear, the circling, highly charged rhythmic blocks of pianist Ivo Neame’s “OK Chorale”, or the Read more ...
Tim Cumming
The youthful old master of European jazz raps on the Doors of Perception for his latest album, Beauty & Truth, with his piano trio of drummer Eric Schafer and bassist Chris Jennings. Their subject for analysis is The Doors’ “The End” and “Riders on the Storm”, delivering distilled and deconstructed versions of the band’s music and the singer’s intent – both dark, apocalyptic Sixties tone poems of dread and release, and both led by Shafer’s superb drumming, with Jennings’s supple double bass tacking between that and Kühn’s finely fractured piano lines.Around them, he and ACT producer Siggi Read more ...
peter.quinn
Masterly improvising, outstanding compositions, a complete understanding between the musicians. On every count this was an exceptional set, as emotionally engaging as it was lovingly delivered.Working for three years in her late teens with the great Vinicius de Moraes and the singer-songwriter Toquinho, the Sao Paolo-born, New York-based pianist, vocalist and composer Eliane Elias grew up with bossa nova. So it seemed entirely appropriate that her trio, featuring Marc Johnson on bass and Mauricio Zottarelli on drums, kicked off their set with a sparkling arrangement of the Jobim/Moraes Read more ...
Kieron Tyler
“If we want to keep this free and democratic Europe of ours free and democratic, we must enlist ourselves, our skills and our commitment to liberty and justice. The problems we face are too great to simply say let the politicians do it. I say this as a President.” Making this declaration in his country’s capital on the opening morning of 2016’s Tallinn Music Week, Estonia’s President Toomas Hendrik Ilves stressed that the power for change is in all our hands and also confirmed the all-too prevalent view that the international political class is unlikely to address, let alone solve, the world’ Read more ...
Matthew Wright
Gregory Porter’s singing pedigree is impeccable. With a performing history in the American Church of God in Christ, where his mother was a minister, honed by several years before his breakthrough living in hipster-jazz heaven Brooklyn, and performing Off-Broadway, he’s in many ways the ultimate heritage act. He allies the gorgeous brassy timbres of 1970s R&B with a humane, secular spirituality that wears its heart on its sleeve, and recalls an era when jazz campaigned (more openly than it usually does now, at least) for social justice. All this is entwined in a voice that encompasses rage Read more ...
Kieron Tyler
Is greatness there from day one, does it evolve or suddenly strike? Do artists – in any discipline – develop in steps or arrive fully-formed? How does the quotidian become exceptional? With the new triple-CD set Highlife-Jazz and Afro-Soul (1963-1969), the man who would be dubbed the Black President has what amounts to 39 musical baby pictures made easily available for the first time. As to how this release answers any of these questions, it is a question of degree.First issued in Japan in 2005, Highlife-Jazz and Afro-Soul (1963-1969) was a pioneering collection of the bulk of Fela Kuti’s pre Read more ...