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.
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.
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.
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.
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.
Rock Candy Funk Party delivers a lavish soundscape that incorporates a plethora of genres, from dance and electronica, to rock funk and jazz and everything in between. The band is gearing up to release their brand new album The Groove Cubed this fall following their last studio album released back in 2015, Groove Is King.
The Groove Cubed which is set for release on October 20, 2017, was recorded at Tal Bergman Studios in Los Angeles, California. With this new album, the band continues to push the musical envelop and seamlessly blend various genres together. Standout track and first single “Don’t Even Try It” shakes things up by adding the boundless energy and soulful vocals of Vintage Trouble’s Ty Taylor. The classic cover of James Brown’s “I Got the Feelin’” is brought to life with Australian singer Mahalia Barnes. Adding these two powerhouse singers is a first for RCFP, who normally stick to grooving instrumentals. According to Bergman, “It will take the listener on journey that explore the use of different styles of music from different eras and hopefully break some rules!!” The Groove Cubed has the “mark of real pros,” with top-notch improvisation and musical chemistry. The band went into the studio without any songs or ideas came out victorious with a new record.
This album is an all-around fun and exciting record that shatters genre defining stigmas and takes elements from the past as well as from contemporary music. Each song starts with “a riff, groove, or feel” and morphs into a stellar funk gem. Bergman says that the main goal for The Groove Cubed was “as always to say something different. This band is a perfect vehicle to make music in unorthodox ways that crosses different genres.” The band’s motto and perfect concept for this new album is that “there are no rules, just expect the unexpected.”
RCFP is a collection of top-notch groove loving musicians aimed at bringing the world fresh and funky vibes. Their collective credits include Billy Idol, Bruce Springsteen, Rod Stewart, Joe Zawinul, Hugh Masekela, Prince, Ruth Brown, Chaka Khan, Simple Minds, Tito Puente, Conan O’Brien, Sheila E. and many more.
The band formed around 2009 when drummer Tal Bergman and guitarist Ron DeJesus combined their love of funk music and released Groove Vol. 1 to share it with the world. After Tal began recording and performing with blues-rock titian Joe Bonamassa, Bergman invited him to join the fun. By 2011, Bonamassa had officially joined the band and the groove has been growing stronger ever since.
RCFP isn’t your run-of-the-mill funk jam band. They are highly reputable, respected, and experienced professional musicians who share a love of experimenting with various musical concepts. Individually, the members add their own expertise and styles to the mix. Tal Bergman’s versatile drum style has allowed him to play every style from rock and R&B to Jazz and Funk. Guitarist Ron DeJesus has always been inspired by funk music and has been continuing to preserve the legacy of funk greats like James Brown and Sly Stone. Bassist Mike Merritt brings the swinging jazz side of things to the table and is currently a member of TV Host Conan O’Brien’s Basic Cable Band. Finally, keyboard wizard Renato Neto brings a Brazilian flavor that adds a fantastic rhythmic element.
Duke Ellington's exquisite "In A Sentimental Mood," the first track on their memorable team-up album for Impulse! is here given a luscious treatment with the subtle addition of strings. "Invitation," the Coltrane version of which was found on Standard Coltrane a 1962 Prestige release but actually recorded in 1958. Like that version it's given a slow ballad treatment with Atzmon on sultry tenor augmented by the string quartet.
Atzmon's lone composition is the modal "Minor Thing" very much in keeping with Coltrane's mid to late period sound but with the addition of some yodel-like trills from the tenor, the effect of which is slightly reminiscent of Leon Thomas's distinctive vocals. The longest track on the album, there's a short ensemble section inserted at around the 3:55 mark which interrupts the flow but doesn't affect the overall appreciation of the number which is, as implied from the record's title, very effective in conjuring up the spirit of Trane. There's also a very satisfying coda too.
"Soul Eyes" recorded by Coltrane on his eponymous 1962 album, is here given a sumptuous string quartet backing countered by Atzmon's rich tenor. With Atzmon now on soprano, the relatively thin version of "Blue Train" (but only when compared with its relatively brass-heavy progenitor on Coltrane's Blue Note classic) is nonetheless atmospherically charged and sensitively appealing. On Coltrane's unforgettable ballad "Naima" the strings work well to produce an elegant interpretation.
A lyrical version of "Giant Steps," played as a quartet, starts out slowly but gradually picks up the pace with the piano and bass transforming the whole piece into a more sprightly version. The Loesser / McHugh standard "Say It (Over And Over Again)" appeared on the Impulse! 1963 release Ballads and it's here that both the string quartet and Atzmon's saxophone meld together most appealingly. As a respectful and often imaginative paean to the late, great saxophonist, who died 50 years ago this year, this album works very well indeed.
