Rohey : A Million Things

The debut album by this three-year-old band, Rohey, is what you’d expect from Jill Scott or Adele if either said screw the charts and got with one of Oslo’s famed hard bop or jazz fusion bands for some experimental fun. Scandinavia has been quietly killing the jazz and soul game for years with artists like Tuomo, Kinny, Quadron, Bernhoft, Timo Lassy, Beady Belle, Stephen Simmonds, Marie Dahlstrøm, and Samson for President, to name but a few. This bright Norwegian band proudly keeps that Northern torch alive by following the blueprint of some of the best of those artists by creating a project firmly rooted in the atmospheric traditions of neo-soul, while also leaning fully forward with futuristic jazz and funk. The project is familiar in its cool lounge allusions, but also unexpected in its multiple improvisational twists and turns by an imaginative band of exemplary musicians with a collectively brave heart. Rohey’s A Million Things is just left-of-center enough to be considered daring in today’s cookie cutter musical landscape, but accessible to every person who swears they hate jazz but loves “edgy” artist-artist’s like Laura Mvula or Björk. 

Versatile, powerhouse alto, Rohey Taalah, is backed by a jazz-funk trio that feels like a synthy, big band orchestra in the way they fill every crevice with sound, thanks to the outsized gifts of Ivan Blomqvist on keyboards, Kristian B. Jacobsen on bass, and Henrik Lødøen on drums. Rohey’s musicians are every bit as important as their namesake frontwoman, with both musicians and singer given equal musical weight throughout the project in ways reminiscent of recent jazz hybrid projects by The Baylor Project and Ronald Bruner, Jr., where the singer is handled as a respected, but not privileged, instrument in the tapestry’s mammoth whole. As with those artists, the overall sound here is sophisticated and coolly classy even as the vanguard youngsters here try to push the envelope—and the listener’s ear—with songs as bold as their urgent messages about the environment, climate change, and various social ills on rebuking cuts like “Responsibilities,” “My Recipe,” and “Cellphones and Pavements.” Taalah’s righteous, advocating voice is big and brassy enough to match the mammoth walls of sound the band erects as shimmering, sometimes spiky backdrops as brash and audacious as they are nearly always beautiful. 

Not everything is colossal and ever evolving in kaleidoscopic ways on A Million Things. In it’s bittersweet lyric and restrained vocal, the twinkling hush of a lullaby, “Now That You Are Free” is just as emotionally impactful a locket portrait as the adventurous floor to ceiling canvasses occupying the album’s art space. The spare drums and keys of “Tell Me” keep it simple with a “less is more approach” on a questioning song that feels like a prayer to the Gods or perhaps the universal human family. The opening number, “I Found Me,” is also less overtly intricate, if only by comparison to the major tracks, and may be the closest the project can proclaim as a commercial soul single. And, really that’s only because of the cut’s traditional Fender Rhodes and drum and bass composition hewn more closely to the early paths of artists like D’Angelo and Erykah Badu, artists who made jazzy soul sophistication popular for mainstream audiences again, not because it’s any less musical than anything else making A Million Things one of the finest releases of 2017.

There is little fat on an album touting A Million Things and can sometimes feel like a million musical things happening in a cut. Like several previously mentioned jams, the syncopated vocals of the title track and punchy Afrobeat of “Can’t Get This” are showstoppers, as is the metaphoric “Is This All There Is?” in their demanding arrangements that can’t help but showoff the dexterity and talent of everyone involved at every level, from songwriting to musicianship. Nothing here is done half-hearted or feels less than sincere. Only the somewhat redundant lullaby of “My Dear” and the forced aggressiveness of the blessedly brief “I Wonder” feel like false notes, but on an album peopled by mini-maestro masterpieces we can take a superfluous cut or two just to remind us that this toddler act with the genius debut is still stunningly mortal after all. Highly Recommended. 

Saburo K, Saitama, Japan.

Ruba Shamshoum : Shamat

Though a graduate of Dublin's Newpark Music Centre in jazz performance, Ruba Shamshoum's delightful debut CD doesn't fall neatly into any particular category. What does these days? The Palestinian-born, Dublin-based singer infuses elements of jazz with her Middle Eastern roots on these nine originals, ably backed by some of the country's finest musicians, who straddle the fields of contemporary jazz, folk and improvised music. A little of all these strands percolate through the compositions. Shamshoum delivers most of the songs in Arabic, a language whose innate musicality seems tailor-made for the poetic sensibility of these songs of love, kinship and soul-searching. No Arabic vocal diva, Shamshoum stylishly sidesteps stereotypes and instead maps out a highly contemporary and personal course. 

Shamshoum's voice is a thing of beauty, the seduction immediate from the first notes of "Randomness of Beauty Spots." Not just a pretty voice, much of her vocal appeal lies in the subtle shifts of weight in her phrasing and the flow of sounds that imbue the songs with their emotional ambiance. Her accompanists are significant partners in the process. Aleka Potinga's cello and Matthew Jacobson's hand percussion lend Arabic textures to this opening track, while Orlando Molina 's guitar and Barry Rycraft's deft double bass rhythms are more jazz oriented. Against this hybrid soundscape Shamshoum glides between gently undulating narrative, punchy rhythmic mantras and high-pitched wordless flight, culminating in a powerful finale. It's an impressive opener that stays with you. 

Brushes, bass and painterly guitar accompany Shamshoum's layered vocals on the caressing slower number "Hana," with Matthew Berrill's softly lilting clarinet coloring the spaces. Sparer still the arrangement on "Carousel of Love," with acoustic guitar the sole foil to Shamshoum, who flits between solo and harmonically layerd vocals. Lyrically, love provides the grist to Shamshoum's mill, her tales sometimes simple, as on the breezy, bass-driven "Lalya," or hauntingly poetic, notably on "La Yayl La Trooh," where her verse evokes the lyricism of the Arabic romantic poets: 

'white of jasmine and gardenias too/red of poppies and pomegranates/green, pure of cactus and fig/a paradise full of song/black/never once does the night last.' Or this from the sunny "Fuqaati," where cello, guitar and voice entwine over the gentle swing of brushes and bass: 'Across the mountains/across the sea/take me in your skies/let the wind sew your path.' 

There's poetry of a different kind on "Genesis of the Bubble," where Shashoum's spoken-word recital is backed by abstract, edgy collective improvisation from Potinga, Molina and Jacobson that's evocative, at least in mood, of the Grateful Dead's "Dark Star." Irresistible, the rhythmically cantering "Burkan," with pianist Jay Wilson adding another texture; Molina's sinuous electric guitar improvisation and Potinga's infectious cello motif are both memorable but its Shamshoum's powerful vocal that most captivates here. Intimacy is the key on "Ya Layl La Trooh," a slow-waltzing anthem given the small jazz ensemble treatment, with Berrill's clarinet dovetailing with Shamshoum's to gorgeous effect. 

With her beguiling debut—which should win some converts to the beauty of the Arabic language—Shamshoum blurs the lines between what might be considered radio-friendly fare, smouldering balladry and more progressive ventures. It's the accomplished work of an emerging talent—one that could go far.

Saburo K, Saitama, Japan.

Mountain Mocha Kilimanjaro “Uhuru Peak”

A mere few weeks old, 2010 is already shaping up to be a hell of a year for Mountain Mocha Kilimanjaro. To get primed for the release of their new “Uhuru Peak” sophomore full-length, the Saitama sextet started off January with a three-week live jaunt of Australian clubs and summer festivals. Familiar with large-scale events, the natty-looking group previously appeared in the Crystal Palace tent at Fuji Rock ’08.

While 2008’s eponymous debut strove to tear up dance floors, “Uhuru Peak” is all about playing it cool. Boasting a more predominately lounge vibe than its predecessor, tight, well-crafted grooves such as “Theme of Kilimanjaro” and “Super Jock Strut” are heavily accented with jazz in addition to the excellent 1970s throwback funk and soul that is the cornerstone of the band’s sound. Primarily performing instrumental tracks, Mountain Mocha Kilimanjaro show off their playful side by working in small vocal parts on “Sweet LAS Coke” and “Mr. Soul Machine Gun” from “guests” Diana Russ & the Chou-Creams and George Clikinton.

After 11 cocktail-sipping numbers, the guys cut loose on “(Ain’t Got Nobody) Just a Rambling Man.” The infectious notes turned out by guitarist Naokazu “Bobsan” Kobayashi and his wah-wah pedal mix wonderfully with the up-tempo organ, trumpet and tenor saxophone creating something that will have even the most chilled of cats eagerly searching the bar for a pretty lady friend to get down with.

Saburo K, Saitama, Japan.

Michel Camilo : Live In London

While he may be best known for fronting dynamic trios, piano titan Michel Camilo does just fine by himself. There's tremendous propulsion, clarity, and strength in play when Camilo takes to the bench, and there's truly no place better to hear that than in a solo setting. 

Camilo has explored this format on record before—first on Solo (Telarc, 2005), later on What's Up? (Okeh, 2013)—but those efforts spoke to his work in the studio. Live In London was captured on the stage, making it Camilo's first live solo record. In many respects, the distinction is unimportant. His dazzling technique, complete with Art Tatum-esque flourishes, classical allusions, and Latin jazz flair, rarely differs from album to album or place to place. And his directional compass typically points to the same realms. The real difference that's noticeable here is in how Camilo responds to the moment and, subsequently, how the music blooms. His pianistic proficiency on all three albums is incontestable—let's face it, the man's chops are out of this world—but the level of passion he projects on this one completely trumps what he brought to those aforementioned dates. 

Those in attendance for this performance at The Queen Elizabeth Hall in June of 2015 were given a real treat, as Camilo clearly wasted no time getting down to business. "From Within," where rhapsodizing quickly gives way to fervent thoughts, kicks off the show, serving as a springboard into the pianist's world. Then Camilo provides a quick detour to another time and place on "The Frim Fram Sauce" before returning to his own oeuvre with a glowing and dazzling "A Place In Time." Two more originals follow, offering contrast in tempo and tone. "Island Beat," a dance-friendly Cuban treat with a montuno foundation, and "Sandra's Serenade," built on contemplative ground, couldn't be more different. Yet both speak directly to the artist's state of mind and artistic outlook. 

To wrap things up, Camilo gives the audience some crowd-pleasers with substance and power. "Manteca" is a tour de force, grooving over its insistent bass line, darting here and there, pouncing, sprinting, and even taking a brief trip to a Harlem rent party; and the album-ending medley—a sweat-inducing trip through "I Got Rhythm," "Caravan," and "Sing Sing Sing"—plays as vaudeville and pure virtuosity rolled into one entertaining package. Michel Camilo's been operating on this high a level for decades, but he consistently remains something to marvel at.

Saburo K, Saitama, Japan.

Shabaka And The Ancestors : Wisdom Of Elders

This recording is the culmination of the triangular experiences of tenor man Shabaka Hutchings and his personal destiny. Born in London, his family relocated back to their native Barbados, where Hutchings was raised in a musical environment until his teen years. Returning to London, he became a fixture on the free jazz scene, and while on holiday to South Africa, was drawn back to the primordial source of inspiration. Recorded over one day with no rehearsal, Wisdom Of Elders explores and expands upon traditional Nguni rhythms, while injecting blues, spiritual hymns, and Caribbean calypso. Accompanied by the best players from Capetown; this session transformed into a tribute to those who have played jazz in the townships, especially saxophonist Bheki Mseleku, a major influence on Hutchings, and an inspiration for this production. This is an intended throwback to the era when African jazz was played as a spiritual path to resistance and creative survival. 

The bass opens the blistering "Mzwandile," which is the tribal name bestowed on Hutchings, vocalist Siyabonga Mthembu then commences his incantations, allowing Hutchings to weave his horn into an intro for the rest of the band, accented by propelling percussion and spatial piano work from Nduduzo Mahathini. Having raised the temperature at the outset, "Joyous," has a soothing effect, featuring local legend Mandla Mlangeni on trumpet, who carries on an honored tradition of South African trumpeters. Altoist Mthunzi Myubu joins Hutchings on solos, as they rise up in one voice. 

"The Observer," is dedicated to a Barbadian calypsonian from Hutchings' youth, and is presented as a melancholy blues; vocal chanting invoking hope and redemption amidst the sadness. The township connection is evident on "The Sea," as the repetitive bass pattern and dual saxophones invoke the master Abdullah Ibrahim, and his extended forays into cerebral jazz. Strategically placed midway through the record, this is a soaring aural orison. 

There is a slight undercurrent of reggae syncopation in "Natty," as Hutchings reaches into his mixed bag of influences, yet remains anchored in the ritualistic concept initiated. The provoking drums and sax exchange in "Give Thanks," is centered around these two instruments exclusively, both taking turns on solos and maintaining the fiery tempo. They end as they commenced, with a bass intro on "Nguni," but this time the mood is tempered as the vocal chants slowly bring it up to a crescendo. This final track is in honor of the Swazi, Ndebele, Xhosa, Zulu, and Bantu people of southern Africa, whose history and lineage reach back to the dawn of time, and whose influence on jazz is monumental. 

Creating from an abiding space beyond the instruments, compositions, and arrangements, Shabaka Hutchings' African sojourn tuned him into a higher energy source, and he plays his music from that dimension. Of course, a lot of the credit goes to the accompanying musicians on this project, for they were his enthusiastic guides and accomplices on this spiritual endeavor. This is music of the utmost caliber, performed with an unrefined attitude, taking jazz back home.

Saburo K, Saitama, Japan.

Zara McFarlane : Arise

Zara McFarlane's If You Knew Her from 2014 promised much, being a wonderful, individual, mixture of jazz, reggae and soul that viewed the singer's Jamaican roots through the prism of her UK birth and London upbringing. It was an original blend that signaled the arrival of a major talent on the UK scene, setting a path that McFarlane has continued to purposefully stride down on this superb follow up. 

Everything about this collection has been thought through -from the opening invocation of creativity "Pride" to the sleeve notes from Lloyd Bradley (author of the excellent and highly recommended history of Jamaican music When Reggae Was King). Even the aural link back to the previous record provided by Binker Golding's explosive solo at the end of "Pride," that echoes the impact of his solo work on the last album's "Police and Thieves" cover, has been carefully sequenced to draw the listener in. The cover shows McFarlane standing unsmiling and resolute in red beret stood in front of exotic foliage on what looks like a London suburban street, possibly about to go to the front line on our behalf to defend musical freedom. The picture appears to echo many of the themes of the record -Caribbean culture viewed from a London upbringing, the beret indicating either a struggle or maybe just that McFarlane has a fondness for the preferred head gear of the jazz hipster of days past. 

Tracks like "Fussin' and Fightin'" are such perfect summations of the Jamaican styles of the late 1960s to early 1970s that you will be scurrying for the sleeve notes to try and place this obscure reggae classic that has somehow eluded you. McFarlane's vocal is superb, balancing the downbeat plea for steadfast strength in the face of the suffering that the world throws our way, against her own background vocal harmonies. The piano solo from Peter Edwards in the final section pushes the track into a nod towards dub which features some great percussion work from Moses Boyd. 

There are two fine covers on this collection -the first "Peace Begins Within" is, like "Angie La-La" on the last album, a Nora Dean track here given an Acid Jazz/Talkin' Loud twist, while the second is a soulful reading of the Congos' rootsy "Fisherman." Both are given soulful readings keeping the 'sound of surprise' that comes from jazz and improvisation, but adding the emotional depth that comes from allowing the music you love to come out irrespective of genre. The original compositions on the rest of the collection are, however, at least as good. Take "Allies or Enemies" where McFarlane's intriguing lyric about the slow collapse of a relationship emerges over another example of her harmonising with herself, minimal percussion and acoustic guitar. "Freedom Chain" too has a great fluid bass line from Max Luthert, over which Peter Edwards adds Clavinet as the tune hits an impressionistic, dubby, final section. "Silhouette" features a spellbinding, stately and controlled, bass clarinet solo from Shabaka Hutchings that stretches for nearly 4 minutes of its 5 minute 24 second length before McFarlane joins in with only around 90 seconds to go. It's an exercise in atmosphere doing what the material needs, not complicating things with unnecessary layering. 

The benchmark record for jazz/soul fusions has long been Jhelisa's Galactica Rush from 1994, but this is one of few subsequent albums in this genre that is capable of comparison with that classic in terms of the quality of the material and the strength of the playing and production. If there is a minor criticism it is that on some tracks there is a feeling that the musical ideas might have gone even further had a fade not been put on the music. Best example is on "Peace Begins Within" where, like many old soul classics, you suspect the studio tapes would have been incredible if allowed to continue for another 2 or 3 minutes. But these are just quibbles, Zara McFarlane has made another magnificent record that has surpassed even her breakthrough If You Knew Her and deserves to be the talk of the town -highly recommended.

Saburo K, Saitama, Japan.

Cory Weeds : EWF in a retro mood !

When last heard from, Canadian Cory Weeds was wielding a mean neo-swing tenor saxophone with the superb Jeff Hamilton trio on the albums Dreamsville and This Happy Madness. On Let's Groove: The Music of Earth, Wind & Fire, Weeds moves from tenor to alto (with no loss of merit) alongside tenor and fellow Canadian Steve Kaldestad, Hammond B3 maestro Mike LeDonne, guitarist Dave Sikula, drummer Jason Tiemann and (on four tracks) percussionist Liam MacDonald. 

This is the third Weeds / LeDonne collaboration, the first two having surveyed the music of boppers Hank Mobley and Jackie McLean. Make no mistake, this latest alliance espouses a funky R&B groove, in keeping with EW&F's temperament, but one that seems to suit the ensemble well. If there's a weakness in that blueprint it is that much of the music, as far as rhythm and tempo are concerned, is complementary; that is to say, the variations are as a rule so spare as to be immaterial. There is one ballad ("Imagination") and an Afro-jazz burner ("Kalimba") that veer somewhat away from the requisite design, but they are the exception. 

The end result does show that almost any form of music, R&B included, lends itself under the proper circumstances to an agreeable jazz rendition. The hallmarks in this case include accomplished and versatile musicians who give the music its due, embracing the spirit of the original themes while giving them a jazzier spin that serves to enhance their immanent charm. Weeds and Kaldestad comprise an impressive front line, while LeDonne and his comrades provide a taut and unbending rhythmic backdrop. 

Those who are familiar with EW&F may recognize some (or all) of the tunes on offer, most of which are under the sway of LeDonne's forceful Hammond organ (which obviates the need for bass or piano) and enfold cogent solos by Weeds, Kaldestad, Sikula and Tiemann, as well as by LeDonne himself. For those who savor rhythm that is spiced with blues, this is a generally pleasurable session that should set your toes to tapping as you groove along with Weeds and his open-hearted quintet / sextet.

Saburo K, Saitama, Japan.