Flat Earth Society. Photo: Raymond de Vries

On entering the intimacy of one of London’s premier jazz venues, Vortex, it was clear to me that this was going to be a cosy gig. The place was packed out and the 15 members of Belgium’s Flat Earth Society squeezed onto the stage, filling a quarter of the room.

Opening with their equivalent of a hit single ‘Psychoscout’, and its signature descending vamp which is almost impossible to get out of one’s head, FES immediately impressed with its quirky big band sound.

The ensemble diligently delivered pieces from their 8 albums released since banding in Bruges in 1999 including ‘Cheer me, Perverts!’ (2009) (the title being an anagram of the band’s leader, composer and clarinetist Peter Vermeersch), ‘Psychoscout’ (2006), Isms (2004) and ‘The Armstrong Mutations’ (2002).

Self described as ‘wonky screwball jazz that wears its trousers proudly around its ankles’ barely touches on the FES experience. Best conveyed as a broken down carnival ride vaguely hinting at gypsy debauchery, with ‘Caravan’-esque phrygian soundscapes and brief moments of heavy metal jazz FES is reminiscent of Can, early Moondog and more lately John Zorn. Then everything stops like something is stuck that can’t get out followed by a burst of audacious release. FES’s sound plays very much as a soundtrack, to what I don’t know. But really this is no surprise as the group has collaborated on film, theatre and opera projects and with the likes of American composer Uri Caine and impresario Mike Patton (Faith No More, Fantômas and co-founder of Ipecac Records).

One of the most refreshing elements of this jazz gig was the sense of play and humour throughout the evening whether is was Vermeersch’s links or balloon squeakings, which brought on a bad case of the giggles, FES don’t take themselves too seriously despite every member clearly demonstrating their individual virtuosity and flare only produced by the best jazz musicians.

I won’t say too much more because this show was recorded and with be broadcast on BBC Radio 3 on 18 June 23.00 – 00.30. If somehow you miss that, do catch them live if you can. You won’t regret it, though you may have strange dreams.

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There’s the rather awesome prospect of Robert Plant’s new project, the Sensational Space Shifters – a heady brew of blues, gospel and psychedelia inspired by the roots music of Mississippi, Appalachia, Gambia, Bristol and the foothills of Wolverhampton. Longtime WOMAD face Justin Adams lines up on lead guitar.

Another Adams-associated act, the much-loved French collective Lo’Jo, will also joined the bill this July. As well as blowing out their own 30 candles this year, the collective return to treat all-comers with their hybrid of chanson, folk and Berber stylings.

Dizraeli and the Small Gods promise to be one of the weekend’s surprise discoveries, hitting the bullseye with their highly effective take on folk and hip-hop. The same sources are drawn upon by the USA-meets-Guinea collaboration between Joe Driscoll & Seckou Kouyate, a partnership aiming to reduce the spiritual distance between continents

Want Latin funk with a Texan postmark? Then give yourself over to Grupo Fantasma, the ‘funk orchestra’ who’ve often been the support band of choice for Prince. Fancy a singer-songwriter who blends ancient and modern, Indian traditions and Western rock and pop? Then lend your ears to Bangalore’s celebrated Raghu Dixit. And fancy ska from Tokyo City? Look no further than the does-what-it-says-on-the-tin Tokyo Ska Paradise Orchestra…

These Japanese ska fanatics have plenty of miles under their collective belts – as do several other seasoned performers taking to this year’s stage. The Buena Vista Social Club continue to cast sunshine on all those within earshot with their timeless melodies and unbreakable rhythms, while the sinewy blues of Malian songster Boubacar Traore never fail to enthrall and charm.

WOMAD welcomes back those perennial Russian favourites Terem Quartet whose balalaikas and accordions take us to St Petersburg and beyond. Further Eastern promise comes from the highly energetic Alaev Family. Although now resident in Israel, they unleash a torrent of Central Asian groove with songs from their native Tajikstan.

Closer to home, Bristol quartet Spiro return to Charlton Park with their mesmerising, almost mathematical tunes, proving to be the missing link between English folk and contemporary composer Steve Reich. More vocal-free sounds come courtesy of Celtic fusionists Peatbog Faeries who marry an electronic sensibility with the tried-and-tested instruments of their native Scotland – fiddles, whistles, pipes… And the pipes are also calling for Narasirato, the high-octane Solomon Islands troupe. We’ll wager that you’ve never seen panpipes played so energetically.

And finally, rounding off this opening artist announcement, is Norwegian singer-songwriter Ane Brun, most recently seen lending her striking vocal prowess to Peter Gabriel’s New Blood Orchestra and now stepping into her own limelight.

WOMAD Charlton Park – July 27-29 2012

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In the hot glove of a sticky East African night, the last act of the annual Sauti za Busara festival takes place. ‘Local’ outfit FM Academia – with over twenty members in the band – are rocking the open-air venue (an old walled fort in the centre of Zanzibar Town) with their unique ‘muziki da dansa’ rumba style, when, suddenly, on stage come literally dozens of the festival’s crew. The now over-crowded hugely enthusiastic stage dances out the last number of the 2012 event. Mark Stewart reports…

Yes, the ninth festival so far has been the biggest ever, and is clearly losing none of its joy.

The moment sums up this friendly festival. The support workers see themselves as integral to the festival – this is not just about the music, it’s about the vibe, the commitment, almost the mission.

And that commitment is vital, for there are rumblings of, if not disquiet, then at least concern, about just what the future of their festival should be.

Billed as ‘African Music Under African Skies’, Busara reflects the feelings and ambitions of its founder and artistic director, Yusuf Mahmoud. The English-raised music enthusiast travels the world as a dee-jay and promoter of African music. Speaking to journalists as the festival began, his desire is clearly as strong as it was ever – which is to give the continent’s music its proper showcase.

There’s little doubt he’s succeeded. The festival now is one of very few that the world-music magazine, Songlines, organises reader-trips for. The organisational side is now as good as anything in Europe.

Nightime audience at Sauti za Busara

Yet, its very success has hemmed in some of the choices.
There’s a desire to bring in a local audience, so pricing structures are lop-sided, and security more lax than it might be. To please locals, half the bands (there were over thirty acts in all across the four nights) are Tanzanian.

The international visitors though want more familiar fare, so fusion music – that which incorporates European rhythms – is also featured, using African acts which are often from thousands of miles away. The international visitors make up the bulk of ticket revenue.

And what of the purists? They demand from this festival the obscure, virtually unheard sounds of deep Africa. Mahmoud spoke proudly in this context of securing the Camirata Group, a little-known but skilful Sudanese outfit, but their traditional sound bemused the local audience and puzzled the internationals. It says much for the open-mindedness of this audience that they decided to cheer Camirata on nevertheless.

In many ways, the biggest hit of the four days, Nneka, summed up the contradictions. This Nigerian-raised singer is clearly being groomed for global super-stardom. Now based in Germany, and singing and speaking in English, Nneka really does deserve stardom – she has the passion of a Sinead O’Connor, and the stadium sassiness of a Bono.  A capacity crowd of 5000 jammed into the old fort’s space, and went wild. But… her music is not ‘African’, laced as it is with the sound of American-rock and guitar solos, and while purporting to speak for her generation, one wondered how much her eyes were on America.

In other words, is she really part of the Busara’s mission?

It’s a tough one for Mahmoud. He is disturbed by the imbalance of numbers: the proportion of European & American visitors is clearly rising to unwanted levels – despite the pricing structure that favours locals.

He spoke with sadness of the fact that the major donors, who provide fifty per cent of the funding, feature not one African organisation. The major sponsors in fact are all based in Scandinavia. The main sponsor, the Norwegian government, signed a major agreement in Tanzania just months before Busara 2012.

Sauti za Busara, as it looks ahead to its tenth version in 2013, is clearly at a crossroads. Mahmoud talks vaguely but firmly of moving it out of Zanzibar Town, where he says the size of the venue is restricting expansion. Finance is a big issue too; already the festival is down to four days from last year’s five.
Certainly, if he moved the festival, that would bring in more sponsorship, as he could concentrate on attracting more internationals, whom sponsorship would follow. What’s more, he could lose some of the ‘local’ bands which, frankly, were of poor musicianship, albeit popular.

And he could more easily satisfy the purists (among whom he counts himself).

Of course, the downside is obvious. Mahmoud has stressed in the past how much it should be a marriage of festival and locality, but by moving out of Zanzibar Town – to, say, an out-of-town football stadium – the intimate side of the festival could be lost.

One of the most marvellous moments in the festival was one of the fringe events, when a small band of visitors (yes, purists!) were led though the dark and mysterious back-lanes of the town to witness a Sufi group in action in their own rehearsal rooms. That kind of intimate occasion only works, surely, when town and festival are one.

And to see a hip-hop act like the South African Tumi singing of Africa’s troubles surely only works properly in a ‘town’ atmosphere.

But to end with my best moment. It’s 4pm on the Friday, and the unremitting sun is blazing down on the stage; it’s probably around 35 degrees there. The small audience, for this is the first act of the day, is huddled into what shade there is.  A diminutive figure appears on the platform, with just a guitarist for support. Hanitra, from Madagascar, had said she would take any spot in the billing under any conditions, just so she can say she appeared at Busara.

With a soulfulness that belies the situation, she sings with emotional moodiness in an Afro-Latin style. She is a revelation: no bottom-of-the bill artist at all.

The fact that she simply wanted to be here, under these conditions, says much; and, as Mahmoud thinks about the festival’s future, it will hearten him to know that he carries that kind of huge good-will with him.

By Mark Stewart

Links

Sauti za Busara 2012 Festival

Vice blogger

Norway signs climate change agreement with Tanzania, Oct 2011 

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Robert Glasper’s new jazz infused soul album, ‘Black Radio’, a slight detour from his jazz output (albeit with a strong hip hop influence), is mostly very good. Aside from some well-worn samples of his own work, this is a welcome return for the master musician.

Stand out tracks are a delectable cover of ‘Afro-Blue’, featuring Erykah Badu, and the title track featuring Mos Def (reminiscent of his classic ‘Universal Magnetic’ track). Listening to the album for the past three months, my initial impression was mixed. The bigger sounding aforementioned tracks balanced out some average (dare I say it radio friendly) material (e.g ‘Always Shine’ featuring Lupe Fiasco, ‘Letter to Hermione’ featuring Bilal etc). In actual fact, after many months of play, these tracks are well above average.

Radio friendly yes, but they have in common a laid-back vibe coupled with sensitive playing which gradually seeps into the consciousness. So the album demands time for the listener to be fully rewarded. This is most evident in ‘Consequence of Jealousy’ showcasing MeShell Ndegeocello’s whispered vocals, and Glasper’s floaty playing.

The quality of guests including Musiq Soulchild, Lalah Hathaway, Christie Michele and a remarkable guest spot from Stokley Williams, are first rate, adding to both the variety and depth of the album

If you’re new to Robert Glasper and with an ear for tougher, beat-led jazz, then you will probably love this. Seasoned Glasper fans will hear samples, interludes and snatches of classic tracks interwoven with new material. For example ‘Gonna Be Alright (FTB)’ is based upon ‘F.T.B’ from the ‘In My Element’ album, a great track no doubt to base a vocal version around (here featuring the excellent singing prowess of Ledisi) but a little well-worn for me. The hook from ‘Butterfly’ from the ‘Double Booked’ is also revisited on ‘Black Radio’ and there are other snatches of Glasper sounds heard before. These familiar refrains from previous tracks don’t quite work for me.

‘Why Do We Try’, featuring Stokely Williams, redresses this somewhat, with a melange of random hip hop, disordered jazz beats and a jazz/soul vocal. All new sounds to boot. The album ends with a cover of Nirvana’s ‘Smells Like Teen Spirit’ a live favourite. The track features Casey Benjamin on vocoder, depending on my mood, Benjamin’s vocoder effects are either annoying or infectious. I have heard the Experiment (Robert Glasper’s funk band featuring Benjamin) many times now and his vocals grate. Maybe time will change my mind again.

All in all this is a very good – verging on excellent – album, which bravely sees Glasper move from the jazz terrain to new pastures which works very well.

Here’s some hot underground from London Town that’s been hiding in my bag and it’s just what you need to raise Latin spirits in the bleak mid-winter.

I must admit that this came out late last year so you’ll probably be aware that the usual FLY Global Music favourites like DJ Ritu (A World in London), Russ Jones (Hackney Globe Trotting), Rita Ray (BBC/SOAS Radio) and others in the know already love these lot.

The four track EP is the debut release on Cal Jader’s Movimientos Records that they say introduces us to “a new and highly original Latin-London sound” and it’s hard to disagree with them.

The opening track ‘Flesh and Bone’ proves the point (and was London’s Metro’s ‘Single of the Week’) as it features MC Murur rapping  on the immigration issues of the (every)day (“how can money travel but people can’t – you can pay pal” is delivered with feeling) and the vocals of Congolese-Argentinean Juanita Euka. With an urgent funk fusion Afro-Cuban backing this is world music; London or otherwise.

‘Pretty Cliché’ throws in some ska and you can imagine that this is what Fania All-stars would be up to in 2012 if they formed in Hackney. And then ‘Caprichoso’ gets more into their Latin roots with a shake of Kid Creole and The Coconuts paprika (how cool is that?)

‘Ojos Que No Ven’ shows they can do mellow and sensitive in an acoustic setting but as Lubi Jovanovic has said, “Wara are young musical revolutionaries who simply ignore convention and bring together Latin funk, Cuban timba, underground hip hop, leftfield jazz, rumba, reggae and dubstep…”

So if you enjoy the sounds of musicians with backgrounds from all over the world; Cuba, Argentina, Venezuela, Chile, Ghana, Congo, Spain and the UK, Wara are a band for you.  Expect lots more this year from the label and live gigs.

Reviewed: Wara – Wara EP (Movimientos Records) Cat. No. Mov001 Release date: September 2011
Tracklisting:
1 Flesh And Bone (4:53)

2 Pretty Cliché (5:12)
3 Caprichoso (4:59)
4 Ojos Que No Ven (3:35)

Links:
www.movimientos.org.uk
soundcloud.com/movimientos

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Perhaps the surprise of the year this one as George Benson release an album that isn’t a ‘Best Of’ his own hits as he covers some pop and jazz classics and it’s worth more than a casual listen!

Not only that, but apart from slipping in ‘Tequila’ from the album into my Dingwalls tribute mix, George featured on today’s Johnnie Walker show on Radio 2 (see links below); did you know he did backing vocals on Stevie Wonder’s ‘Another Star’ off Songs in the Key of Life?

For those that know the work of George ‘Bad’ Benson, his early years on the CTI label were his obvious ‘boy’ period where he was the jazz guitarist.  By the 80′s, he was definitely a ‘ladies’ man with global success on the back of his monster Warner Brother album Give Me The Night.  It doesn’t seem that long ago I saw him on the sofa of a breakfast TV show talking about the 80s but this new album Guitar Man find him with a foot in both camps so to speak with new versions of pop standards ‘I Want To Hold Your Hand’ (as an aside, wasn’t that BBC4 film on George Harrison good?) and ‘My Cherie Amour’ together with John Coltrane‘s ‘Naima’!

This guy has been adding his distinctive style of axe playing to cover versions since the 60s (he was born in 1943) so he knows what he’s doing.  The 12 tracks start with a gentle solo of ‘Tenderly’ that’s very Sunday afternoon chill but not as cool as the gentle summers day of ‘My Cherie Amour’ with George on electric guitar, vocals and trademark scatting instantly making it my favourite version of this very popular tune.

‘Naima’ is such a classic Coltrane/sax song, the jazz trio plus guitar of this version is enjoyable and interesting but not sensational (unlike when Benson covered ‘White Rabbit’ for Creed Taylor in ’71)  but the hot spirit he does ’Tequila’ is the best (check it out on the Thinking about Another Afternoon at Dingwalls mixtape); think I’ll play that one again at Jazz Chronicles on Saturday as one of the ‘best of year’ tracks.  Or even ‘Fingerlero’ as it’s got a Benson “ba, ba, ba, la” bossa shuffle to it.

Then in contrast, ‘Don’t Know Why’ gets into the gentle solo style and there are a couple more in this laid back style; and ‘Danny Boy’?  It’s a shame as ‘Tequila’ is the way to go.

I saw George many years ago at the North Sea Jazz Festival and it was a little too much of a greatest hits so as Guitar Man is nothing like that, I feel that Mr. Benson is moving into a third age and there’s more to come for a man who is already a legend.

Reviewed: George Benson – Guitar Man (Concord Jazz) Cat. No. CJA-33296-01 Release date: 18th October 2011
Tracklisting:
1. Tenderly (2:02)
2. I Want To Hold Your Hand (5:10)
3. My Cherie Amour (4:08)
4. Naima (3:41)
5. Tequila (4:41)
6. Don’t Know Why  (2:45)
7. The Lady In My Life (4:30)
8. My One And Only Love (3:25)
9. Paper Moon (2:45)
10. Danny Boy (3:27)
11. Since I Fell For You (2:58)
12. Fingerlero (3:40)

Links:
georgebenson.com
BBC Radio 2 – Johnnie Walker’s Sounds Of The 70s Sunday 1500 – 1700 ”George Benson remembers the 1970s and Johnnie plays some classic Peel Sessions” Listen Again (for 7 days) at: www.bbc.co.uk
Jazz Chronicles with Simon S, Martin Gordon and Gerry Hectic every first Saturday of the month – next up: Saturday, 3rd December 2919 at 3:00pm @ Sixty Million Postcards, Bournemouth
www.myspace.com/60millionpostcards
Another Sunday Afternoon At Dingwalls with Zara McFarlane, Gilles Peterson and Patrick Forge Sunday 20 November 2011 at 12:30pm www.dingwalls.com
Jazz Chronicles Hectic Hour 1111 – Thinking about Another Afternoon at Dingwalls
Here’s November’s Jazz Chronicles Session where I was thinking about the forthcoming ‘Another Afternoon at Dingwalls’ party/reunion (with Gilles Peterson, Patrick Forge, Janine and Zara McFarlane live) with a retro-current day jazzy theme – as things worked out, I couldn’t make it today as really gutted as the first one I’ve missed since it’s comeback and wanted to see all the new/old faces like Emanative (isn’t Lions of Judah incredible?) and Zeljko; hopefully I’ll make next year and perhaps Paul ‘The Triptet’ Murphy might make an appearance???

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But there have been cracks in the force. The Ronnie Scott’s shows though very good, had the Experiment band over-using a vocoder; verging at times on the naff. The Trio band, who completed the Ronnie Scott’s residency, sometimes played the over-familiar or jammed rather than the unexpected or  full songs. Small criticisms in a sea of high praise for Glasper’s live shows, though the worries began with the Chris Dave solo show at Charlie Wright’s in 2009 (more jamming, less structure).

And so to the show. One word. Immense. The performance was a powerhouse of modern soul grooves, heavy hip hop rhythms all under a jazz umbrella.

Arriving at the venue – a two floor site with large exposed beams and air conditioning vents – we heard Eric Lau play a set for an hour and a half finishing just before 10pm. No easy task in front of a crowd eager to see the main act, but Lau, producer and – as his set testified – a very good DJ, was excellent.

Glasper and his Experiment band: Derrick Hodge, bass; Mark Colenburg , drums; and Casey Benjamin, keys/vocoder took to the stage at 10pm.

The band improvised through two hours of mainly new material (though tracks from the new album ‘Black Moon’ were barely touched upon), covers (Little Dragon’s ‘Twice’, an audience favourite) and some classic Glasper tunes (‘All Matter’).

Out went the familiar and in came the new. The cover of Nirvana’s  ‘Smells Like Teen Spirit’ was a full on rock version, mirroring Glasper’s wide taste in music. ‘ Dillalude’  was radically changed, with only the ‘Fall In Love’  homage remaining.

My over familiarity with the Glasper live experience, borne out of seeing Glasper seven times in four years (and I still curse myself for the three other shows I had to miss), should be put into context. I got the impression that the majority of the crowd, who were mainly in their late teens and early Twenties, would have been happy to hear the Dilla tribute knocked out a hundred times. But as a seasoned Glasper veteran it was pleasing to hear new material which grabbed you with such ferocity, hence my powerhouse comment earlier, that you were once again in awe of the master.

The signs from the first few seconds were good. The Experiment launched into a heavy funk version of ‘A Love Supreme’, cutting it in half and taking it into a celestial jazz space (akin to Gary Bartz’s early Seventies jazz albums).

The band were awesome. Derrick Hodge was impressive on bass, and Colenburg can lay to rest the Chris Dave comparisons, as he ably demonstrated he’s a brilliant drummer in his own right. Multi-instrumentalist Casey Benjamin handled keyboard and ‘effects’ duties well, although it was when he grabbed the saxophone that he really impressed. Again he was on vocoder duties; I would much prefer normal vocals, but I found the vocoder less intrusive than the Ronnie Scott shows.

Two things I would change. The venue’s exposed beams/vents led to some feedback and a tinny sound. It didn’t spoil the show but the sound could have been better. And I would love to hear ‘Black Moon’ (the Mos Def collaboration from the new album) and ‘Afro Blue’ (featuring Erykah Badu). That would have been the icing on the cake. Otherwise I’m still in awe….

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If their was ever a time for a 17-member “disco orchestra”, the bleak winter of 2011 was it so the timing of Escort’s debut album couldn’t be better – old and new all mixed together to accompany you to the dancefloor – it’s time to party!

Escort (or should that be ESCORT?) is the disco love child of Dan Balis and Eugene Cho fronted by Adeline Michèle. They first made their mark back as Escort in 2006 with the 12” of a double a-sided ‘Starlight’ and ‘All Through The Night’.  Both tracks make the album and whilst the the album kicks off with a the disco edit/mash up influences of that plunders the musical heritage of Michael Jackson and then a re-work Dillinger’s 1976 classic ‘Cocaine In My Brain’ as a knife, a fork, a bottle and a cork get straight to disco floor (a track given the holy Greg Wilson treatment last year).

What made Escort stand out is the clear musicianship with real feel for the glory days of the likes of Chic (talking of coke and disco, also check out today’s Outlook programme for the low down on the original ‘Le Freak’, see links below).

‘A Sailboat In the Moonlight’ is getting my Coati Mundi all ready for a hot horns in the mix (this one being originally a tune from the 1930s) whilst ‘Makeover’ and ‘Love In Indigo’ have some strong old skool charm themselves. Much of the style can surely be put down to the real musicians (like a big version of Kelly Polar with the vibrancy of Kid Creole and his Coconuts) and it’s impossible not to get wrapped up in a feel good dancing vibe.

The album ends on a manic percussive Indo-disco monster of ‘Karawane’ which is a big favourite at the moment in the FLY offices but you could make a case for all the tracks here, no fillers at all.

This album is steeped in New York club culture whilst means its appeal is worldwide and as the production cost must have been quite a revelation compared to today’s ‘PC in a bedroom’ approach, all the more reason to support such retro-originality.

Note: Tirk’s sub-label Nang Records have released The Main Stem’s Electric Circus album so my dear friends at Phonica (missing you all) will have a very good week for sure this week.

Reviewed: Escort – Escort (Tirk Records) Cat. No. TIRK072 Release date: 14th November 2011
Tracklisting:
1. Caméleon Chameleon
2. Cocaine Blues
3. Makeover
4. A Sailboat In The Moonlight
5. Why Oh Why
6. Starlight
7. A Bright New Life
8. All Through The Night
9. Love In Indigo
10. All That She Is
11. Karawane

Links:
www.weareescort.com
www.tirk.co.uk
BBC Worldservice – Outlook 14.11.2011 – Nile Rodgers – Listen
Again at http://www.bbc.co.uk

With remixes of ‘She Fish’ and ‘Right On Up (For Love)’, the Main Stem are big at Lip Service so it’s no surprise that after the Contortion Danse 12″ of a couple of months ago we get an album that finds thier Electric Church is having a post disco nu-house soft rock revival!

The Main Stem (aka Benny Upsetter, Rob J and Tim Silver) have a list of influences that include Arthur Russell,  Sir Billy Wright, Can, The Isley Brothers, Brothers Johnson, Ian Dury and the Blockheads, Francois K, Bob Moog, Bob Hoskins, Bob Carolgees, Cerrone, Steve Bull, Larry Levan, Danny Krivit,  Adidas, Nuphonic, Manchester, Monkey, Stevie Wonder, Hunter S.Thompson to name just a few and after a 10 year jestation period,  Electric Church is the distilled danceable 13-track form.

On first listen, there’s a two way split going on; the tracks that feature the voice of The Main Stem, Mr. James Flanagan vs. the instrumentals.

Flanagan’s contributions verge on the rock end like when DJ Shadow called up Stateless’ Chris James for The Outsider album.   Smatterings of chuggy Clash-esque guitars and disco snyths on ‘Contortion Danse’ could be stem cell experiments from the bizarre Rod Stewart/Rolling Stones disco-rock period (but done better than either of those monoliths’ efforts) whilst the best track for me lyrically is ‘Get Redeemed’.

The instrumentals can cover anything from K’d up dub version of ‘Yes, Sacrifice’ of ’Kountry Klubb’ with Afro-chant house or the synthed out horn boogie reggae of ‘Cafe Margarit’ (on this one, you can almost hear Arthur Russell nodding approval from up above).

For funky moves there’s some heavy bass bomb of ‘Missing Casket’ (that could have been mixed into the post-Prince-ish ‘Big Bullets’), the 70s inspired space synth’n'percussion heavy ’Pleasure Island’ (oh er, Barry) or for some rockabilly batucada try ‘Bomma Jack-it’ and another instrumental reggae hybrid oddity ’Blues Arp’.

Whilst the tracks are quite diverse, this is an album that would appeal to most open minds and it has already gained support of some of our favourite electric desciples of the DJ booth such as Todd Terje, Prins Thomas, Bill Brewster, Red Rack’Em, Gerd Jansen, Horse Meat Disco, Mudd and the Mungolian Jetset.

We’ve always had a soft spot for Chicken Lips and thier work on the dance floor so when the Credit Crunch was starting, I couln’t be the only one to be surprised at the news they were going to set up the Lip Service label a couple of years.  And as they were one of the labels hit by the recent riot warehouse fire (as in Save our favourite labels) there’s even more reason to get down to the Electric Church for a quick service and support this release and redeem yourself.

Hectic Mix nominations: Cafe Margarit, Kountry Klubb, Pleasure Island, Blues Arp (at least).

Reviewed: The Main Stem – Electric Church (Lip Service) Cat. No. LPS013 Release date: 14th November 2011
1 Electric Church (2:18)
2 Cafe Margarit (7:25)
3 Yes, Sacrifice! (5:50)
4 Kountry Klubb (5:06)
5 Contortion Danse (6:18)
6 Pleasure Island (6:17)
7 Bomma Jack-it  (4:12)
8 Electric Fan (2:33)
9 Blues Arp (4:31)
10 Get Redeemed (3:44)
11 Missing Casket (3:52)
12 Big Bullets (5:40)
13 Stone Cold Freak (3:48)

Links:
www.lipservicerecords.com
www.myspace.com/themainstem

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For those of you in the Bay Area, you’ll know that the will know all about the Yerba Buena Discos team, if only from their huge 20th release by Homero Espinosa featuring Allegra Bandy – and now they are back with some equally fine soulful deep house to enjoy!

This is an impressive follow up to the summer groove of ‘In The Sunshine’ that saw the inspired pairing of the the label’s Homero Espinosa and vocalist Allegra Bandy back in the spring. To keep us going through the last stages of this Indian summer now the nights are closing in, here’s their latest good time deep house soul groover, ‘Then You Smiled’.

You don’t need me to tell you how good the original mix as we’ve got a soundcloud link below for your listening pleasure and you can hear that killer vocal and bassline for yourselves.

It’s hard to know what to do on the remix when the original track is so good but label co-star Allen Craig’s comes a close second with his up-tempo effort. The combination of San Francisco’s David Harness and Chris Lum as HarLum Muziq (did you see what they did there?) take the remix to an odd Fleetwood Mac-esque rumour period – perhaps it’s the Californian buttery vocals (which could be a good thing?) but be warned if you’re listening on the earphones whilst riding your bike as it sounds like a dog was barking which is a little disconcerting.

The next time I’m on Delectabeats, it’d be tough not to play the original but Chillin’ Music’s Rob Slac puts in a shift that would give Andy Garvey and his percussive sidekick Cass the proverbial vinyl hots – one for Nang Records to investigate this side of the pond?

Espinosa finishes off the set himself with his dub version but if I were him, I wouldn’t let Ms. Bandy too far out of my sight as she makes us smile alot!

Reviewed: Homero Espinosa ft. Allegra Bandy – Then You Smiled (Yerba Buena Discos) Cat. No. YBD024 Release date; 14th November 2011
Tracklisting: Then You Smiled (7:58)
http://api.soundcloud.com/tracks/24743533
 2. Then You Smiled (HarLum Muziq Remix) (7:58)
3. Then You Smiled (Allen Craig Remix) (7:47)
4. Then You Smiled (Rob Slac Remix) (8:02)
5. Then You Smiled (Dub) (6:16)

Links:
www.homeroespinosa.com
www.ybdsf.com
davidharness.com
www.chillin-music.com
Delectabeats with Andy Garvey and guest Gerry Hectic ‘live’ on Afrodisiac 2nd October 2011 at http://www.ustream.tv/recorded/17647979

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Described by Miles Davis as “one of the most important musicians on the planet” and nicknamed the ‘Sorcerer’, he is as likely to produce a piece for kitchen utensils as improvised solos on keyboard or flute – or leading his long established, infectiously swinging Brazilian band in partnership with the all star British band formed back in the 90s to play his exhilarating big band music.

‘Hermeto Pascoal is one of the great originals of Brazilian music. The best way to appreciate him is as a complete individual, making music of breathtaking quality and quantity.’ The Guardian

Brazilian Band

• Hermeto Pascoal: keyboard, accordion, teapot, bass flute, his skeleton, cup of water…
• Aline Morena: voice, ten strings guitar and body percussion
• Itiberê Zwarg: electric bass and percussion
• André Marques: piano, flute and percussion
• Vinícius Dorin: saxes, flutes and percussion
• Fabio Pascoal: percussion and stage direction
• Marcio Bahia: drum kit and percussion

British Band

Trumpets

• Tom Rees Roberts
• Noel Langley
• Henry Lowther
• Kevin Robinson
• Chris Batchelor

Trombones

• Pete Beachill
• Fayyaz Virji
• Richard Henry
• Richard Wigley
• Sarah Williams

Saxophones

• Phil Todd
• Peter King
• Julian Siegel
• Chris Biscoe

Rhythm

• Mark Mondesir drums
• Mike Mondesir bass
• Stuart Hall guitar

Conductor

• Jovino Santos

Check it out live

• Artist: Hermeto Pascoal & Hamilton de Holanda
• Tour: London Jazz Festival
• Date: Sunday, November 20th 2011
• Time: 7:30pm
• City: Hermeto Pascoal & Hamilton de Holanda in London
• Venue: Barbican
• Address: Silk Street, EC2Y 8DS
• Venue phone: 020 7638 4141
• Country: UK
• Admission: £15 – 30
• Age restrictions: All Ages
• Add to Google Calendar | Download iCal

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The Specials and 2 Tone founder Jerry Dammers’ funk and dub influenced arrangements of his selections from cosmic jazz, reggae, exotica and library music, have formed backdrops for some of the country’s finest jazz improvisers, in his highly acclaimed orchestra.

Orchestra favourites, new selections paying homage to a variety of futurist musical dreamers, adaptations of Dammers’ own songs, and a small amount of original material, are now moving the orchestra beyond its “Sun Ra Tribute band” starting point. Alternative musical styles, not always associated with jazz (from rock to jungle or dubstep) are also somewhere in the mix.

Winners of Gilles Peterson Worldwide Awards 2011, “John Peel” Award (For Musical Adventurousness)

‘Dammers’ arrangements brilliantly join the dots… making the inaccessible accessible… a genuinely joyful sound.’ The Guardian *****

Check it out live

• Artist: Jerry Dammers’ Spatial A.K.A Orchestra
• Tour: London Jazz Festival
• Date: Friday, November 18th 2011
• Time: 7:30pm
• City: Jerry Dammers’ Spatial A.K.A Orchestra in London
• Venue: Barbican
• Address: Silk Street, EC2Y 8DS
• Venue phone: 020 7638 4141
• Country: UK
• Admission: £15 – 25
• Notes: Featuring: Jason Yarde, Denys Baptiste, Larry Stabbins, Nathaniel Facey, Shabaka Hutchings, Terry Edwards (saxes), Finn Peters (flute), Robin Hopcraft (trumpet), Harry Brown (trombone), Anthony Joseph (vocals), Francine Luce (vocals), Alcyona Mick (piano), Roger Beaujolais (vibes), Larry Bartley (double bass), Patrick Illingworth (drums), Crispin “Spry” Robinson (percussion), Steve Gibson (percussion), Ollie Bayley (electric bass), Patrick Hatchett, Guy Clarke (guitars), Jerry Dammers (keyboards).
• Add to Google Calendar | Download iCal

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Ana Moura entranced a huge crowd in her debut performance at this summer’s Womad festival. Here is what The Guardian wrote: “… a memorable (Womad) festival debut for the young Portuguese fado star Ana Moura, whose cool, no-nonsense style lacked the theatricality of Mariza but showed an intensity and quiet emotion that should make her a major global star. While The Independent reported that: “… this year Ana Moura stopped the Saturday afternoon grazers and shoppers in their tracks. Sixtysomething regulars and teenage first-timers alike whooped her magical set.” The Independent

Ana Moura is a stunning, young fado singer whose fans include the Rolling Stones and Prince. Her latest studio album “Leva – Me Aos Fados” was TOP OF THE WORLD in Songlines Magazine as well as earning 4 star reviews in the Evening Standard, Jungle Drums, R2 (Rock ‘n’ Reel) and The Daily Telegraph, who added: “She’s a class act, with a voice of clarity which is to the fore on this excellent disc…”

Ana has also recently released “Coliseu”, which was recorded live at two of Portugal’s legendary venues: Coliseu do Porto and Lisbon’s Coliseu dos Recreios, to excellent reviews.

The Barbican will be Ana’s second London show after last year’s magical event at Union Chapel. Catch her at the Barbican for what promises to be the beginning of a new era for fado.

Support is from Brazil’s Lucas Santtana, equal parts Tom Zé and Thom Yorke, he is one of the most interesting songwriter-producers from the ‘new generation’ of South American musicians. His performance with his group celebrates the release of his album Sem Nostalgia by UK label Mais Um Disco

Live at the Barbican on 31st October + Belfast Festival at Queens on 29th October
31st October
Barbican Centre
Silk St
City of London,
EC2Y 8DS
Doors: 19.30
Tickets: £15 – 22
www.barbican.org.uk/ 020 7638 4141
+
29th October
Elmwood Hall
Belfast
Box Office: 028 90 97 11 97/www.belfastfestival.com

Check it out live

• Artist: Ana Moura + Lucas Santtana
• Date: Monday, October 31st 2011
• Time: 7:30pm
• City: Ana Moura + Lucas Santtana in London
• Venue: Barbican
• Address: Silk Street, EC2Y 8DS
• Venue phone: 020 7638 4141
• Country: UK
• Add to Google Calendar | Download iCal

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Raashan Ahmad is known for his intimate performance style where he bares all and let’s the audience in on a journey into hip hop, soul, and universal truths that transgress language, culture, and nationality.

International tastemaker Gilles Peterson proclaimed For What You’ve Lost’s “Pain on Black” as one of his top ten songs of the year in 2010 and invited Raashan to perform at his World Wide Awards 2011 in London. Add to that a performance on Live Radio Nova’s Nuit Zébrée and an interview and spotlight on France 24 that reached over 20 million viewers—it is clear that Raashan Ahmad has hit his stride.

Downstairs at Momo

25 Heddon Street

London W1B 4BH

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On Friday 11th and 12th November, pianist Darius plus bothers Chris and Dan Brubeck pay homage to their father, Dave Brubeck and give his superlative body of iconic jazz classics a 21st century twist in Brubecks play Brubeck. American piano great Joey Calderazzo, best known as the lynchpin of the Branford Marsalis quartet, joins the dots between swing, bop and classical themes on Sunday 13th. The club is also delighted to welcome classical influenced piano star Billy Childs on Monday 14th with his six-piece chamber project featuring impressionistic drummer Brian Blade (a key member of Wayne Shorter’s quartet).

The epitome of cool, Italian soul-jazz singer Mario Biondi, marks his massively sold-out club debut with an irresistible slice of 60’s style rat-pack cool on Tuesday 15th, while the Yellowjackets, originators of cool acoustic – meets-blazing fusion, celebrate 30 years in the business with an all- star line up from Wednesday 16th to Friday 18th November.
On Saturday 19th, the Laurence Cottle Big Band pay tribute to the late great Weather Report bassist Jaco Pastorious, performing tunes from his big band repertoire on what would have been his 60th birthday. Finally on Sunday 20th, one of the most precociously talented vocalists of the new generation, Alexander Stewart brings a contemporary twist to swinging jazz standards at the Sunday Lunch session, while UK guitar hero Tony Remy leads the brilliant Ronnie Scott’s Blues explosion as the world famous jazz club sees out the festival with a bang.

The world’s greatest festivals are also known for their great after hours hang, and as usual, Ronnie Scott’s Late Late Show, will be the place to go once the musicians have taken their final bows. The charismatic compere, Michael Mwenso, hosts this fun late night session featuring the cream of London’s up and coming jazz talent, with guest turns from visiting festival stars.

Friday 11th November – Sunday 20th November
Ronnie Scott’s, 47 Frith St, London, W1D 4HT
Box office: 020 7439 0747

Full listings, prices and opening times:-

Monday 14th November – Thursday 17th November
11pm-3am / £10 or free to MU/Club members and ticket holders.

THE LATE LATE SHOW (in London Jazz Festival brochure as Ronnie Scott’s Jazz Jam)
Anchored by the charismatic compere, vocalist and occasional trombonist , Michael Mwenso, the Late Late Show recreates the glamour of the legendary jazz joints of 1950’s New York’s 52nd Street. Following the main act, the host introduces some of the capital’s finest young jazzers, plus regular guest turns from visiting stars.

Wednesday 9th November – Saturday 12h November
Doors 6.00pm & 10.30pm (two shows Saturday only): £25.00 – £48.50

BRUBECKS PLAY BRUBECK
Featuring Darius, Chris and Dan Brubeck with special guest Dave O’Higgins.
The Brubeck family is unique in the world of music. Seldom has an entire family been as prolific and talented. Four of Dave Brubeck’s five children are professional musicians, each with their own direction, coming together at special times. Darius, the eldest Brubeck son, is a jazz pianist, composer, educator and band-leader. Chris is a multi-instrumentalist and award-winning composer and superlative bassist, Dan, is a renowned, Grammy-nominated percussionist, acclaimed for his exciting drum solos who has been featured with musicians as diverse as Gerry Mulligan and The Band. For these very special shows they are joined by UK saxophonist Dave O’Higgins for a unique Brubecks play Brubeck show in which they’ll explore the repertoire of their father Dave Brubeck – one of jazz’s most iconic composers.

+ Support: The Ronnie Scott’s All Stars
Sunday 13th November
Doors 6.30pm: £15.00 – £28.50

JOEY CALDERAZZO TRIO
Muscular US pianist, best known for his work with Branford Marsalis, but a fine band leader in his own right. A powerful, resourceful soloist who can leap through any stylistic hoop from classical influenced ballads to powerful modal jazz. Calderazzo appears here with an ace rhythm section featuring ex-pat UK bass star (now based in NYC), Orlando Le Fleming and drummer Donald Edwards.

Sunday 136h November
12 noon – 4pm: £12.00 – £15.00

SUNDAY JAZZ LUNCH: The Sounds of New Orleans with TJ Johnson & His Band
Relaxed family friendly lunchtime session featuring top quality entertainment and Sunday lunch available to order. This week with New Orleans style singer/pianist who has absorbed the musical gumbo and mardi-gras of the Crescent City. Featuring tunes from his new album, Jazz ‘n’ Blues, a heady mix of Jazz, Blues and Swing. Expect material from Ray Charles to Dr John and beyond.
Monday 14th November
Doors 6.00pm / £20.00 – £40.00

BILLY CHILDS SEXTET FEATURING BRIAN BLADE
Superlative classical influenced pianist and composer who moves effortlessly between gentle neo-bop and fusion with a gentle majesty to his music. Here playing impressionistic chamber jazz and contemporary jazz with a top class band featuring UK saxophonist Tim Garland, harpist Carol Robbins, guitarist Larry Koonse, bassist Hamilton Price and acclaimed drummer Brian Blade – best known for his work with Wayne Shorter.

+ Support: The Ronnie Scott’s All Stars

Tuesday 15th November
Doors 6.00pm / £25.00 – £42.50

MARIO BIONDI
Classy Italian soul-jazz singer influenced by Lou Rawls, Isaac Hayes and Mark Murphy. Championed by legendary DJ Norman Jay he has a cult following here in the UK, and is a huge star in his Native Italy. He appears with his top class band featuring Claudio Filippini, piano, Lorenzo Tucci, drums, Tommaso Scannapieco, bass /double bass, Luca Florian, percussions, Daniele Scannapieco, saxophone, Giovanni Amato, trumpet and Beppe di Benedetto, trombone.

+ Support: The Ronnie Scott’s All Stars

Wednesday 16th November – Friday 18th November
Doors 6.00pm & 10.30pm (two shows Friday only) / £25.00 – £40.00

YELLOW JACKETS 30th ANNIVERSARY TOUR
Superb, classy jazz-fusion band, combining a sophisticated rhythmic approach with top notch arrangements and brilliant solos. Always hugely enjoyable, this tour finds them celebrating 30 years at the very top of their game. With Russell Ferante on piano and keys, bassist Jimmy Haslip, drummer William Kennedy and top-notch saxophonist Bob Mintzer.

+ Support: CAST: Coryell, Auger, Sample Trio
Featuring the offspring of some of jazz’s most famous names, all of whom are great players in their own right: American singer-songwriter and guitarist Julian Coryell (son of famous guitarist Larry), drummer Karma Auger (son of Brit-jazz organ hero Brian) and bassist Niklas Sample (son of key board legend Joe Sample).

Saturday 19th November
Doors 6.00pm & 10.30pm (two shows) / £20.00 – £42.50

THE LAURENCE COTTLE BIG BAND: A Portrait Of Jaco
Brilliant Welsh bassist Laurence Cottle leads his UK big band in a storming tribute to the great bass player Jaco Pastorius. Pastorius who would have celebrated his 60th birthday this year was one of the most innovative bass players of all time. A key member of Weather Report, Pastorius also led the acclaimed ‘Word Of Mouth’ big band and tonight’s concert will feature new arrangements of Pastorius tunes as well as recreating some of his own arrangements for the first time since his untimely death. Featuring the cream of UK jazz talent with Gareth Lockrane on flute, saxophonist Nigel Hitchcock, Alex Garnett, Sammy Mayne, Claire McInerney and Julian Siegel, trumpeters Noel Langley, Pat White, Sid Gauld and Martin Shaw, trombonists Barnaby Dickinson, Ade Halliwell, Alistair White and Neil Sidwell, percussionist Miles Bould, powerhouse drummer Gary Husband and Cottle on bass.

+ Support: The Ronnie Scott’s All Stars

Sunday 20th November
Doors 6.30pm / £15.00 – £28.50

THE RONNIE SCOTT’S BLUES EXPLOSION
Co-Led by Pianist/Vocalist Paddy Milner and explosive funk, blues and jazz guitarist Tony Remy (Incognito, Annie Lennox and Craig David), the electrifying Blues Explosion specialises in blues music from Chicago to the Delta, West Coast and British. Expect blues classics from Eric Clapton, BB King, Freddie King, Buddy Guy, Muddy Waters, Albert King, Peter Green, Howlin’ Wolf, Robert Cray amongst others.

Sunday 206h November
12 noon – 4pm / £12.00 – £15.00

SUNDAY JAZZ LUNCH: Alexander Stewart and the Alex Webb Trio
See Sunday 13th. This week with classy Mark Murphy influenced UK jazz singer Stewart,. Appearing here with
A fine band led by pianist, arranger, composer Webb and featuring bassist Gary Crosby, tenor saxophonist Frank Griffiths, trumpeter Dave Runkel, trombonist Winston Rollins and fiery altoist Nathaniel Facey.

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With pop prince Jason Derulo and the nation’s sweetheart Alesha Dixon as the evening’s dynamic hosts, the 16th MOBO Awards in association with Lebara Mobile at the SECC in Glasgow, was televised live on BBC3 with highlights to follow this Friday on BBC1 at 11:45pm.

Jessie J had a markedly triumphant evening, firstly due to her daredevil stage performance (without a leg cast for one of her first performances since her accident back in June) followed by a sweep of winning 4 of her 5 nominated categories for Best UK Act, Best Album, Best Newcomer and Best Song. Tinie Tempah was the debonair man of the hour, fighting off fierce competition for the Best Hip Hop/Grime category, while Adele also came up trumps winning Best R&B/ Soul Act and Rihanna pipped the likes of Beyoncé and Bruno Mars to the post by grabbing the Best International Act Award. All winners were voted for by fans via mobo.com and media partners.

The Awards Show itself, the second time the MOBO Awards have come to the vibrant Scottish city of Glasgow, was met by fever-pitched excitement and once again raised the bar with stunning production effects and milestone performances. Power duets were the order of the evening with Professor Green and Emeli Sandé performing together as did Dubstep/Grime girls Katy B and Ms Dynamite. To cap it all, Dappy and Tinchy Stryder wowed the audience with their elaborate stage performance of hit single ‘Spaceship’, for which they picked up the Best Video award.

London rapper Wretch 32, gorgeous Glaswegian Yasmin, co-host Jason Derulo and US teen sensation Alexis Jordan also gave equally electrifying performances. Joining the top-level talent performing on the night was Dionne Bromfield, the Goddaughter of the late Amy Winehouse, who belted out a thoroughly moving rendition of Amy’s ‘Love Is A Losing Game’, in a fitting tribute including a video montage of the late MOBO Award winning singer.

Seminal R&B group Boyz II Men took to the stage to pick up the well-deserved Outstanding Contribution to Music Award and then went on to bring the house down with a medley of hits from their multi-platinum selling albums. The award was presented by JLS, who flew in to Glasgow by private jet especially to present to Boyz II Men, who they cite as musical inspirations. Making a strong comeback, Jessie J delivered a fierce performance, with the theme being shedding her former self.

Guest presenters on the night included Chipmunk, Olympic medallist Philipps Idowu, Fazer of N-Dubz and ex-Sugababe Keisha Buchanan.

The BeMOBO Award, is one that honours the hard work and special contribution made by an individual or organisation that orchestrates significant changes via grass roots, educational or community initiatives. This year saw Youth Music, a charity initiative encouraging development through music win the coveted award, with celebrity ambassador Myleene Klass on hand to present the award on the night, and was accepted by thrice MOBO Nominated duo Rizzle Kicks, who themselves went through the Youth Music programme.

Kanya King, CEO and Founder of MOBO: “The excitement and atmosphere of our second year here in Glasgow has shown the love that the whole country has for MOBO. We felt so welcome the first time we came here, we didn’t think it could be topped. This year has been a phenomenal success and we can’t wait to return in 2013. It’s been a great event that has welcomed some exciting new award winners to the MOBO roll of honour including the global superstar Adele, the UK’s hot talent Tinchy Stryder and of course the fantastic Jessie J walking away with four awards.”

Russell Atkinson, Managing Director Lebara Mobile: “Congratulations to all the winners and nominees this evening. It has been an exceptional evening showcasing outstanding talent and we are extremely proud to sponsor this exciting event. A special congratulations to Jessie J for winning an amazing four awards including the Best Newcomer Act in association with Lebara Mobile.”

• BEST NEWCOMER in association with Lebara Mobile – voted for by Facebook- JESSIE J
• BEST HIP HOP / GRIME ACT – TINIE TEMPAH
• BEST VIDEO- TINCHY STRYDER AND DAPPY – SPACESHIP
• BEST INTERNATIONAL ACT- RIHANNA
• BEST SONG in association with PRS for Music- JESSIE J – DO IT LIKE A DUDE
• BEST ALBUM- JESSIE J – WHO YOU ARE
• BEST REGGAE- ALBOROSIE
• BEST JAZZ ACT- KAIROS 4TET
• BEST AFRICAN ACT- WIZKID
• BEST GOSPEL ACT- TRIPLE O
• BEST R&B / SOUL ACT- ADELE
• OUTSANDING CONTRIBUTION TO MUSIC- BOYZ II MEN
• BEMOBO AWARD – YOUTH MUSIC

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Chucho knocked out two sets of flawless, thrilling jazz drawing deep on contemporary Cuban music and its African roots. At times, you could have been at a Santeria religious occasion at other times it was more like the studied cool of a New York jazz club.

Chucho just seems to get better with age, a fact underscored by his recent Grammy for Latin Jazz. The fact that he has shit-hot percussionists around him doesn’t do any harm either though and a bit of vocal magic, ‘Besame Chucho’ touched the right nerve for the more romantically-inclined.

Look out for his other gigs and check out Floridita in Wardour Street for Latin vibes this autumn.

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At five tracks ’5ive’, the second in a set of releases from the West London-based Jazz Re:freshed promoters/label, is woefully short but it is a timely reminder of the sheer talent of Mr Kaidi Tatham.

Born in Birmingham, but musically schooled – in part – in West London, Tatham or Kaidi Kat as he is also known, perfectly reflects the West London musical environment. The area, roughly its domain stretches from Hammersmith up to Wembley and further out to suburban Hounslow, has a melange of immigrants from the Caribbean and Indian sub-continent who, coupled with the indigenous population, all share a love of soul and jazz, giving West London a strong musical history.

Like a graffiti artist looking for the right wall to paint on, Tatham has often struggled to find the right musical canvas to exhibit his talent. His previous album, ‘In Search of Hope’ was only released in Japan and was gone within a month. It seems that the Jazz Re:freshed label is the right ‘gallery.’ I will use the word genius sparingly, but Kaidi’s inspired live performances (especially at his home from home at the Jazz Re:freshed night), are the stuff of legend, which send a crowd into raptures, with Kaidi delighting on the piano, keyboards, drums and flute, and it is live where he comes close to genius.

The Jazz Re:freshed label is run by Adam Rock and Top Rock (plain Adam and Justin to their parents) who run a jazz night of the same name, every Thursday at the intimate Mau Mau bar in London’s Portobello Road (the funkier end of the street rather than the posher end). The night is a veritable delight of unknown, emerging and, occasionally, big name artists performing (respectively Ruby and the Vines, United Vibration and Azymuth have all played here). The music is always good, the crowd relaxed, the sound spot on and the owners super friendly (however busy or fraught they are, they always, without fail, come over for a chat). This level of detail follows into the label’s recorded output – nicely designed sleeves, well engineered and produced tracks; a reasonable five pounds for each release though limited to five hundred copies, so be quick).

The Eighties ‘boogie’ sound and its late Nineties rework as ‘broken beat’ were respectively prevalent and born in West London. Kaidi is a master at both, the album’s opener ‘To My Surprise’ combines a hazy Eighties soul feel, with modern twisted beats. It’s the sort of song you could have easily heard on Radio London in 1985, as well as on a London pirate station in 2011. ‘Organic Juggernaut’ gives a better sense of Kaidi’s wide repertoire – he’s a trained jazz pianist – with its intro basking in Brazilian melodies. There are hints of Patrice Rushen, George Duke and Bugz in the Attic,  in the mix. ‘For All Love in Time’ on an initial listen is the weakest track on the album. Lite jazz funk melodies sound slightly odd after the funky beats of the previous two tracks but there is a little twist in the tail, as some sweet keyboard refrains kick in, which is the Kaidi trademark sound, with the ‘flicking’ beat also a stock mark of the West London sound. On subsequent listens the track’s lighter introduction makes sense.

‘Dyno’, which cruises along at two minutes twenty five seconds, is of Latin persuasion, while the final track ‘Don’t Hide Your Love’ is a skilful execution of the previously mentioned Eighties soul sound (complete with squelchy Scritti Politti-type synths), again with a funky modern twist.

How good is Kaidi Tatham? Good enough for me to come out of retirement to write this review. This EP goes someway to cement this reputation.

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We’ve been dreaming of a new album by Sabrina Malheiros on Far Out Recordings and here it is and it’s very wide awake!

This is the third solo album by Ms. Malheiros (daughter of Azymuth’s Alex Malheiros) just in case you didn’t know) but what are we dreaming about?

Well, the opening track is a gentle introduction but it’s not long before we’re into a groovy mood with ‘Lirio De Venus’ on a deep synth throb bossa beat with Sabrina’s echoed vocals spreading love.  And hang on, we can’t dance the ‘Bobeira ‘ in our sleep as it’s a very quick step Latin shuffle that would even got Joe Davis, Patrick Forge and Gilles Peterson themselves on the Dingwalls dance floor (BTW, there’s another Dingwalls On Sunday ‘reunion’ this year in November so it’ll give Joe a chance to buy me that pint he owes me from last year – that said, I think we all owe him a pint for the Dreaming release alone).

‘Fragil’ is dreamy chill jazz dance with lashings of flute, percussion, and acoustic guitar; summer maybe coming to an end but this is this is Brazilian summer extension that’ll make your feet smile.

And ‘Candeia’ is just as good with a contemporary 60s feel and then ‘Opará’ is yet another highlight.  The hip-hop/R&B vibe to ’Paranóia’ may not be exactly new in the cross genre pollination of the past 20 years but I this was the one I was going to play at Smokin’ Aces on Sunday (well, that was the plan as it was going to be big with BBE’s Ty and Futuristic Music’s Rise on the bill but due to unforeseen events, it got cancelled – gutted!)

And not only that, if I was the trending type, I’d say ‘Can’t Hide Love’ (Earth Wind & Fire cover) and ‘Primieria’ are ideal Sunday Session material – now I defy anyone not to join in with the ahh ahhhs; classic. And talking of classic, ‘Tem Dendê’ is very much old skool mix of Joyce, Astrid, Flora et al.

Whilst there’s a fair bit of Daniel Maunick about this album, the one that’ll keep you awake with Incognito heritage is ‘Segrado’ and there’s nothing wrong with that at all.

The only negative for me is the cover photograph as it make me think of a computer generated corpse which is the total opposite to the musical content as it’s on fire and exciting (the recent cover of Far Out’s album by Sean Khan, Slow Burner would have been better for this album in MHO).

If you read the review in this morning’s Metro you might think that this album is merely a ‘continuation bet’ from her previous albums Equilibria from 2005, Vibrasons the following year and then 2008′s New Morning (plus the even better Deluxe Edition) and they’d be nothing wrong with that as all are excellent but this CD is definitely a progression in confidence and sound.

Like I say, don’t be put off by the cover and ‘Dreaming’ is the best Brazilian album of the year – so far[out]!

Reviewed: Sabrina Malheiros – Dreaming (Far Out Recordings) Cat. No. FARO 161CD Release date: 19th September 2010
Tracklisting:
1. Bobeira [Digital Dreamin' Intro] (2:30)
2. Lirio De Venus (4:14)
3. Bobeira (5:46)
4. Fragil (4:41)
5. Candeia (4:16)
6. Opará (4:33)
7. Lirio De Venus [Interlude](1:32)
8. Paranóia (3:38)
9. Segredo (5:42)
10. Can’t Hide Love (4:17)
11. Primeira (5:13)
12. Tem Dendê (4:10)
13. Bobeira (Digital Dreamin’ Outro) (2:32)

Links:
sabrinamalheiros.com
faroutrecordings.com

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The Kid is back! Older, wiser but just as cool as he ever was even if he’s lost his Clark Gable pencil moustache!

OK so it’s not just Ayanna Witter-Johnson and Robert Mitchell over the 4 days (there’s actually 100 performances by many different acts) but they were the highlight of the opening day at this high spec venue near Kings Cross.

Thursday night was a very good opener to this indoor festival that won’t suffer the weather variations that revellers will find this weekend at Rob da Bank’s Bestival on the Isle of Wight or Alex James’ food fest Harvest (with Gilles Peterson forsaking Arsenal’s home fixture with Swansea to appear at this one)this weekend) however good they are.

Kings Place Festival is a ambitious event with classical, folk, jazz, art and food events over the 3 days but the curators have gone that step further to encourage you to sample as much as you can as it’s on £4.50 for each 45 minute show (that’s if you book on line but there’s other tariff available and even some free shows).

Ayanna Witter-Johnson was booked up for 3 shows on Thursday, one with Gwynth Herbet, another with Boo Hewerdine and the highlight, a special performance with our favourite, Robert Mitchell).  I last saw Robert at the Forge in Camden Town when The Cusp had just been released and the St. Pancras Room at Kings Place is a similar sized venue but it was a shame that there was no proper stage as it was hard to see if you were seated at the back (Ed. get there early and sit at the front like Gordon Wedderburn).

Anyway, the vocalist/cellist Ayanna is a big talent, think of a jazzy Jill Scott with spiritual Erika Badu leanings and a bit more.  She won a talent night at the Harlem Apollo and other crtedits include working with British icons Nitin Sawhney, Courtenay Pine, Soul II Soul and 4hero’s Marc Mac (there’s an EP called Truthfully produced by Mac that’s a bit special and review coming soon).

On the EP there’s a version of The Police’s ‘Roxanne’ which she did on the first show with Ms. Herbett which was sold out when I turned up but on the positive side, Spitz had organised a free event in the foyer with Cecilia Stalin (she of Waltz For Koop fame) and Emilia Martensson singer a vartied of Swedish folk, children and jazz tunes accompanied by a Danish piano player.

Check out the web site as there’s loads going on and Sunday see’s Robert doing the ‘triptych’ of shows with a solo performance, one with Omar Puente (following on from Bridges album) and a special Panacea gig with Debra Jordan and guest saxophonist Iain Bellamy.

I’ve got an appointment with a star of cinema and TV on Sunday (more on that to follow) so unfortunately I can’t get to Kings Place but it’s sure to be excellent and unlike the welly booted folks that joined me on the South West Trains on their way to Bestival on Thursday, there’ll be no mud in the house; hope someday to see Robert in Hall One which looks amazing.

Links:
http://www.kingsplace.co.uk/festival
http://alexjamespresentsharvest.com/
http://twitter.com/gorburn

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The new album is called Ghost People and Gilles Peterson had a phone interview this week with the man himself (the Dutchman now living in Washington DC, see links below).   The single came out last month and it looks like these arn’t the only tracks on the album that’ll be raving about on the album which takes a more dance than his 2009 debut Great Lengths.

With the transfer to Flying Lotus’ Brainfeeder label this is going to be one of the albums of the year along with the incredible Thundercat album, The Golden Age Of Apocalypse also on Brainfeeder. Even if there’s been no bad release on this label (see Samiyam, Teebs, Daedelus, TOKiMONSTA, Matthewdavid, Ras G, Austin Peralta, The Gaslamp Killer and more) it just goes to show how healthy music is at the moment. Go check it all out!

Reviewed: Martyn – Masks/Viper (Brainfeeder)Cat. No: BF024 Release date: 1st Aug 2011
Tracklisting:
A. Masks (4:57)
B1. Viper (Ghost People Edit)(2:39)
B2. Viper (London’s Arches Edit)(6:13)

Links:
deviationmusic.net/blog on the 23rd July for our quarterly Saturday night session.Bringing with us some of our favourite artists right now, we’ve invited our good friend MARTYN who will be spinning fresh cuts from his new Brainfeeder album, alongside one of Balitmore’s most celebrated house DJs and legendary producers – KARIZMA. We also have dubstep and garage pioneer ARTWORK who will be doing a very special House & Disco set, as well as JAM CITY who has been providing some of our favourite dancefloor cuts on the Nightslugs label. Also in Room 1 holding the fort all night will be Deviation resident BENJI B and host MC JUDAH.We have an equally exciting line up in Room Two with Yo-Yo main man Seb Chew, Standard Place’s Jon Rust and Moxie spinning all night long.
DEVIATION @ CABLE WITH SPECIAL GUESTS
ROOM 1: MARTYN, KARIZMA, ARTWORK, JAM CITY, BENJI B & MC JUDAH ROOM 2: SEB CHEW, JON RUST, MOXIE – SATURDAY 23RD JULY 2011 CABLE, 33 Bermondsey Street Tunnel, London SE1 2EG 10PM-6AM £10 Limited Advance / £12 Advance Tickets & Students OTD / £15 OTD
myspace.com/deviationsessions
Gilles Peterson – BBC Radio 1 07.09.11 Art Department in session & Martyn on the phone! Listen again at www.bbc.co.uk

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Fatoumata Diawara by Youri Lenquette

I can’t think of a single female musician in Mali with a sound like yours and certainly not a female guitar player and singer. What made you decide to take up the guitar?
The decision came one day before a show.  My guitar player cancelled and I didn’t have anyone to replace him at such short notice. Another musician told me to just play myself, so I did. Since then I play every day.

You must have had strong positive and negative responses to your musical path. From family, friends, when you play in Mali and the expatriate community in France. Can you tell us more about that?
I’ve only had positive responses to my music from my family, friends and other people. In particular I get a very positive response from Africans, not just from Mali. I have of course had negative experiences in other aspects of my music but I have learned to transform these negative experiences into positive ones.

Before we got to know you as a musician, you had a successful career as an actor. What made you switch to music? Have you carried anything over from acting into the music you make?
I decided to switch from acting to music after touring with Dee Dee Bridgewater. When she was on stage something magic happened, it was like a transformation. She forgot all of her troubles. I had many conversations with both Dee Dee and  Oumou about becoming a musician and I decided that I wanted to share what I have with the world. It’s a lot to do with sharing.

You’ve played some huge gigs already. I remember seeing you looking out at a packed Royal Albert Hall alone on stage and thought how brave you were. What has the last year been like for you, with all the touring and promotion?
It was a very important experience for me. It helped me a lot. I like to challenge myself. I think it’s important to do this. I wasn’t nervous before but when I got onstage I was surprised to see so many people. It made me laugh. I like to surprise myself. 

It’s been good to talk to all of the journalists over the past year. It’s great because many of them have listened to my songs and have got in touch with them in different ways, so they all have different questions.

It’s a great debut album. What are you saying with your music, what makes it personal and unique to you?
Thank you! I am saying all sorts of different things with my music. All of the subject matter comes from my own experience, from the difficult times I have had in the past. I never create anything – I just try to be in touch with myself.

Also on another level is it unique to me because I write and sing in Bambara, the language from my village and the language of my grandparents. What makes it unique to me even more is that I use the language in my own personal way, unlike anyone else.

How did you get picked up by World Circuit? Your label is better known for working with older, classic bands and less for breaking new artists.
I was a backing singer for Oumou. We were recording with Herbie Hancock on the imagine project and Nick Gold was there. Oumou told nick about me. It surprised him and me how well it worked. I think it’s important that World Circuit is interesting to young people.

Tell us more about your connection with Oumou Sangaré
I met her through Cheikh Tidane Seck. He invited me to do backing vocals on Seya. I was 8 months with Oumou. I learned a lot. We were both aware that it was just for experience and that I wasn’t going to stay with her for the long term. It was an important education for me and Oumou taught me a lot and gave me a lot of encouragement. She was surprised that I was able to listen to her because my generation sometimes think they know everything. We are in touch a lot. I love her, she is my second mother.

Lastly, what would you say to a young Malian girl who wanted to be a musician like you?
I think my life has become an example to lots of people in Mali. I would say to her ‘it is possible, just do it, don’t sit and wait’. I would encourage her to develop her own opinion about her life think about what she wants to do.

Fatou’s debut album Fatou is out on 19 September 2011 and her next UK gig is at the Jazz Café on 13 October

More info here: http://www.worldcircuit.co.uk
Find Fatoumata on Facebook http://on.fb.me/mNO27q
New EP out now: http://bit.ly/jEV9ki

Check it out live

• Artist: Fatoumata Diawara
• Date: Thursday, October 13th 2011
• Time: 8:30pm
• City: Fatoumata Diawara in London
• Venue: Jazz Cafe
• Address: Jazz Cafe, 5 Parkway, Camden Town
• Venue phone: 0207 485 6834
• Country: UK
• Add to Google Calendar | Download iCal

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Bomba Estereo by Eric Van Nieuwland

WOMEX 11 is taking place from Wednesday, 26 to Sunday, 30 October in Copenhagen,
Denmark. If you are involved in the music business, there’s a raft of stuff during the day but for all music fans, you can turn up in the evening for a range of exciting concerts each night.

This year, the start of WOMEX will be marked by a special Hungarian
Opening Concert on Wednesday, 26 October, featuring three Hungarian
bands exploring varied traditions and highlighting a number of versatile
soloists:
http://www.womex.com/lnk/opening 

With over 750 proposals from around the globe, the WOMEX Showcase Jury
spent countless hours selecting the finest three dozen acts to play at
WOMEX 11, with exciting results:
http://www.womex.com/lnk/showcases

Helping you to remain ahead of the game, the WOMEX 11 Conference is
also taking shape with the first topics and speakers now confirmed:
http://www.womex.com/lnk/conference

This year’s very promising IMZ Film Screenings programme includes 12
music documentaries produced in 8 different countries. If you
are a filmmaker, TV/film programmer or festival organiser – this is your
platform for world music in audio-visual media:
http://www.womex.com/lnk/filmmarket

The recipient of the WOMEX 11 Professional Excellence Award this year
is Francis Falceto, originator and curator of the Ethiopiques series
of CDs and the music of Ethiopia’s greatest champion. Last but not least,
WOMEX has announced that the winner of the WOMEX 11 Artist Award
is Hugh Masekela, the trumpet prodigy, fiery denouncer of Apartheid and
Afro-jazz pioneer from South Africa. He will perform on Sunday morning,
30 October 2011, during the WOMEX Awards Ceremony accompanied by a WOMEX
Networking Breakfast, both open to WOMEX delegates only:
http://www.womex.com/lnk/awards

For all this and more, register for WOMEX 11 at the competitive Guide
Rate and ensure that your contact details are included in the WOMEX
Guide. The Guide Rate deadline, for booking and payment, is Friday,
2 September 2011:
http://www.womex.com/lnk/register

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We’ve been inundated with old and new disco of late but you can’t pass up on this 3  CD set that’s been “compiled with love” as its a fiting tribute to Loleatta Holloway and must have: The Definitive Salsoul Mixes!

Here we go then as Harmless take a Disco Discharge sling shot and launch a compilation series called Mixology that concentrates on iconic dance labels starting with none other than Salsoul on a triple CD package – could this be heaven?

Whilst we’ve enjoyed recent Disco re-issue compilations and nu-disco releases, there can be no question that the 31 tracks selected by Ian Dewhirst (all bow and give thanks) are classics in a purist sense.

This ‘definitive’ here represents an incredible selection of artists, DJ/remixers, label execs and people that danced and bought the records on the Salsoul label. And if that doesn’t sound good enough, have an earful of the credits on the including Shep Pettibone, Walter Gibbons, Frankie Knuckles, Tom Moulton and the man of the moment Larry Levan.

Well, when I say moment, DJ Larry Levan is all over the airways/Internet with the tributes to Paradise Garage which, happily coincided with the launch of Salsoul in 1975. Of course, that wasn’t the only club as there was also The Loft, The Gallery, Sanctuary and Galaxy 21 being some of the better known in New York.

As we’ve seen from Walter Gibbon’s Jungle Music, he was the first to remix tracks into 10 minute plus percussive dance heavy tracks that are still with us today. And the first to get such a treatment and a 12” release was Double Exposure’s ‘Ten Percent’ that’s including on CD1 along with other classic club tracks like Joe Bataan’s version of ‘The Bottle’ (originally made famous by Gil Scott Heron (RIP) and Brian Jackson), the house band (who also happened to be PIR’s M.F.S.B.) with ‘You’re Just The Right Size’ (a track that Dewhirst says blew him away when he first heard it in a club in Leeds in the 70s and in contrast, revolted a Student as a recent gig I played whilst I stayed Mr. Diplomacy me at all times of course) and ‘Nice N’ Easy’ plus others.

In truth, most folks would be happy with the content of just the first CD on its own but as a 3CD it just gets better. Not only that, the second CD is a bit of a tribute to Loleatta Holloway who died earlier this year (with Norman Jay promising a ‘Good Times’ 30th Anniversary Carnival tribute) and here are the tracks she’s best known for, the true classics, ‘Getaway’, ‘Hit & Run’ and ‘Runaway’.

There’s other Holloway tracks featured on the other discs and my current favourite is  ‘All Abut the Paper’ is like a funky rap reply to Millie Jackson with some trash talk but some beautiful strings and hard horn.

And when you’re as high on love as when you’ve got a burnin’ ‘Love Sensation’ as Loleatta Holloway gets done with a Tom Moulton remix, you can only have one choice…as you’re such a hot sensation. Right on time (didn’t Louie Vega play this a Ministry of  Sound last year?)

And for all you ladies called ‘Janis’, you have an anthem. I must admit I can only think of Janis Battersby in my knowledge/poplar culture but this Janis “can’t be so kind to love”. Very much in the post Northern Soul meets Modern Room era but none the less fantastic for that – I’m feelin’ like a wolf in the hills already.

Whilst all this was going on in the US, this period also covered the time of Jazz Funk and Soul All-Dayers in the UK and one hybrid you would have definitely heard everywhere was Candido’s ‘Jingo’.  Today it sounds just as good as ‘the’ club dance record of all time (well, if not of all time, extremely high up there in the top 10) as it’s been a tune for me since hearing it at the Mecca in Tottenham High Road (big in the news last week) being my equivalent of Dewhirst’s moment in Leeds).

And not only were there all these brilliant songs, remixes, performers, producers and more, it was a great opportunity to revisit classics such as ‘Ain’t No Mountain High Enough’ by the faboyant Inner Life with Larry Levan on a 12” remix.  Normally, you can’t get much higher than that but as you get to the end of this extravagance, the Salsoul guys were getting a bit clever and with The Salsoul Orchestra supergroup with a super production of ‘Take Some Time Out For Love’.

And if you’re thinking that all this is ancient history, guess where the samples came from for Black Box’s ‘Ride On Time’ or Spiller’s ‘Groovejet’?

That said, by 1984 Salsoul had released over 400 records and with the ‘Disco Sucks’ era raining havoc through the record industry, Salsoul at least didn’t close down.  They effectively went into hibernation for over 20 years dealing with licencing and re-issue deals. In January this year, the Verve Music Group bought out the family business and it was Ian Dewhirst at Harmless that foresaw that this event was a last chance to get in before closing orders to tell the history of the label in 31 tracks and he’s done a fantastic job.

On a personal note, one word of warning, I’ve had this CD literally on me for about a month and it’s looking a little battered and that’s not how to treat a this compilation – Salsoul’s history deserves respect, love and dancing. And there’s a fantastic booklet with great photos and geeky info; and if you’re still not convinced, this is an essential 2011 purchase.

Reviewed: V/A – Mixology: The Definitive Salsoul Mixes (Harmless) Cat. No. HURTXCD110 Release date: 25th July 2011
Tracklisting:
1-01 Bataan – The Bottle (La Botella)(Original Album Mix) (3:29)
1-02 The Salsoul Orchestra – You’re Just The Right Size (Original Album Mix) (4:40)
1-03 Moment Of Truth – Lovin’ You Is Killin’ Me (Original Tom Moulton 12″ Mix) (6:24)
1-04 Double Exposure – Everyman (Original Album Mix) (7:19)
1-05 The Salsoul Orchestra – Nice N’ Nasty (Original Walter Gibbons 12″ Mix)(5:21)
1-06 Double Exposure – Ten Percent (Original Walter Gibbons 12″ Mix)(9:41)
1-07 Silvetti – Spring Rain (Original Tom Moulton 12″ Mix) (5:52)
1-08 Double Exposure – My Love Is Free (Original Tom Moulton 12″ Mix) (9:40)
1-09 Loleatta Holloway – Dreamin’ (Original Album Mix) (6:18)
1-10 Eddie Holman – This Will Be A Night To Remember (Original Tom Moulton 12″ Mix)(5:47)
1-11 Carol Williams – Love Is You (Original 12″ Mix) (5:06)
2-01 First Choice – Doctor Love (Original Tom Moulton 12″ Mix) (7:35)
2-02 The Salsoul Orchestra – Getaway (Original 12″ Mix) (4:17)
2-03 Loleatta Holloway – Hit & Run (Original Walter Gibbons 12″ Mix)(10:59)
2-04 The Salsoul Orchestra Ft Loleatta Holloway – Runaway (Original Album Mix)(4:44)
2-05 Ripple – The Beat Goes On & On (Original Jim Burgess 12″ Mix)(6:55)
2-06 Love Committee – Just As Long As I Got You (Original Walter Gibbons 12″ Mix) (8:35)
2-07 Gaz – Sing Sing (Original Richie Rivera 12″ Mix) (7:16)
2-08 Instant Funk – I Got My Mind Made Up (Original Larry Levan 12″ Mix)(9:46)
2-09 Skyy – First Time Around (Original Randy Muller / Solomon Roberts Jr 12″ Mix)(6:40)
2-10 Instant Funk – Crying (Original Larry Levan 12″ Mix) (8:58)
3-01 Candido – Jingo (Original David Rodriguez 12” Mix) (9:51)
3-02 Candido – Dancin’ & Prancin’ (Original David Rodriguez 12” Mix) (6:53)
3-03 Loleatta Holloway – All About The Paper (Original Bobby DJ Guttadero Album Mix)(6:13)
3-04 Skip Mahoney – Janice (Don’t Be So Blind To Love) (Original Bobby DJ Guttadero Album Mix)(6:59)
3-05 Loleatta Holloway – Love Sensation (Original Tom Moulton 12″ Mix)(6:34)
3-06 Inner Life – Ain’t No Mountain High Enough (Original Larry Levan 12″ Mix) (10:26)
3-07 Logg – I Know You Will (Original Larry Levan 12″ Mix) (6:44)
3-08 The Salsoul Orchestra – Take Some Time Out For Love (Original 12″ Mix) (6:22)
3-09 First Choice – Let No Man Put Asunder (Original Frankie Knuckles 12″ Mix) (7:35)
3-10 Leroy Burgess – Heartbreaker (Original Shep Pettibone 12″ Mix)(6:12)

Links:
harmlessrecordings.co.uk

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Amira Kheir

We spoke to Amira Kheir about life, origins, destinations and love. Her debut album View from Somewhere is a stunning set infused with many influences but anchored in the sounds and identity of her parents’ homeland Sudan.

“I was born in Italy and grew up primarily between there and Sudan. Growing up in this way (between the two countries) deeply affected me and shaped much of who I am and how I see the world. I feel very connected to my two homes but as a result of identifying with the idea of home as more than just a single place it has imbued me with a sense of belonging to all the world and of feeling connected to people everywhere.

Boundaries are the edges of established knowledge and that’s why creating in boundaries is infinitely interesting and exciting – it challenges the establishment

“I moved to London when I was 18 and still today it is a city that continues to surprise and delight me. London is the perfect place for anyone interested in the merging nature of things – whether it be music, people or culture. When I first moved to London I was studying at SOAS and that was one of the most beautiful experiences of my life. It compelled me to stay and pursue my dream of making music.

“When I was growing up music was always playing in my house. My parents always played Sudanese music – being far from their country it was their way remembering and being reunited with Sudan, through the music. So Sudanese music was a big feature of my life growing up – and I could really see how it affected my parents and brought them back home. Sudanese music can be very nostalgic and very emotional – just like Sudanese people! And so the music can express everything, even what society doesn’t allow depending on shifting ideologies or changing culture. That is why music is so important in Sudanese society.

“In addition, my father had an old record player from his days as a student in the 60s in America and I used to love playing the records of his time – Sam Cooke, Bob Dylan, Miriam Makeba. That stuff really jumped at me and spoke volumes about the struggles and life of the era of my parents which I was (and still am) very interested in. So I grew up with a rather disparate cocktail of musical influences!

“Like most people away from home, I am happy and feel warmed when meeting people from my country because there is something very intimate and primordial that we share with each other, even if we’ve never met. I am not nationalistic or patriotic in any way, but home for me is simply the extension of my family and so I am happy to meet others who have that same reference point. Especially now that I am living here in London and performing a lot I find great joy when Sudanese people are in the audience and are receptive to the music. It’s a beautiful way for us to connect.”

Perhaps the most fruitful, if challenging, place to create art is on the boundaries between things.
“I couldn’t agree more! Boundaries are the edges of established knowledge and that’s why creating in boundaries is infinitely interesting and exciting – it challenges the establishment. As boundaries keep changing so do normative perceptions and so art has the unique ability to continue to question, no matter what the status quo of the moment. I think to be an artist is not about what you do but about your approach is to life.

Our growth as people is what defines us and our art is a natural consequence of that

“It’s about documenting the beauty of life – whether it’s pain, suffering, love, joy or emancipation – it’s all beauty and being an artist means seeing life through that prism and expressing that through your craft. It is an ability we each have inside and that’s why I think all human beings are artists, whether we then act upon it and pursue a “career” in something creative or artistic is almost immaterial.

“With respect to my album it has been such a discovery to create music in this place, which exists in between places. This place, which once was just imagination now exists and is validated by that which is created in it. And that’s the beauty of music – it allows us to give life to things that cannot be marred by definition or order.”

Can you tell us more about the journey to find your own voice both in the music you create and the lyrics you write?
“That journey is never ending! I have so much to learn and every day that passes I am different from the day before because of everything I experience and as a result my voice and my music grow. Our growth as people is what defines us and our art is a natural consequence of that.”

You have set up your own Record Label. Why did you choose to go down that route and what is the role of Sterns Music in the release?
“The music industry has changed so much since the days of labels owning and directing everything. Today artists are able to have so much more control of the ‘means of production’ of their music. It’s a great thing. Setting up my own label (Contro Cultura Music) meant that I had to do everything myself, and so the challenges were much bigger but the rewards are also much bigger. I have been very lucky to collaborate with Sterns as they are fantastic guys with so many years of experience and are really in it for the love of the music. Their role is to supply my album to shops all around the world.”

Visit Amira’s website for more info, sounds and video clips

Buy the album View from Somewhere (Amazon UK) or from Sterns Music or download from iTunes

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Free, family-friendly and universally loved, the 02 London Mela is produced by Ealing Council and supported by the Mayor of London and London Borough of Hounslow, with BBC Asian Network programming the main stage for the 6th successive year. Featuring a huge variety of artists from around the world as well as a plethora of homegrown acts, the 02 London Mela truly has something for everyone.

The Main Stage is programmed by BBC Asian Network and hosted by a selection of the station’s DJs including Tommy Sandhu, Sonia Deol, Noreen Khan and Murtz. Highlights of the bill include the number 1 British-Asian music star of all time, Jay Sean, who’ll be treating the crowd to exclusives from his forthcoming album Freesse Time as well as all his biggest tunes such as Hit The Lights, Down, 2012 (It Ain’t The End) and early classics Dance With You, Eyes On You and Stolen. Welcome home Jay Sean, and Mumzy Stranger, winner of ‘Best Urban Act’ at the UK AMA (Asian Music Awards) 2011, who will appear with collaborators including fellow East Londoner Junai Kaiden. Canada’s Indian/Pakistani fusion act Josh will make their London Mela debut on the Main Stage performing a greatest hits set and tracks from their new album Beyond Kismat, along with the Canadian Crown Prince of Bhangra, Jazzy B, who will be giving us a sneak preview of his new album, while breakthrough star Ash King will be performing his hits from some of Bollywood’s biggest film soundtracks. The Main Stage line up also includes Hunterz, Surinder Rattan feat. Joga, Roach Killa & Metz & Trix, Garry Sandhu, and Shahid Kapoor & Sonam Kapoor, with more acts yet to be announced…

BBC Introducing will once again be hosting a stage at the 02 London Mela, supporting unsigned, undiscovered and under-the-radar artists. BBC Asian Network’s Bobby Friction will play host to the best emerging Asian talent, from The Truth to Foji as well as Preeya Khalidas featuring special guest appearances.

As in previous years, the 02 London Mela breaks with convention to present a broad and eclectic programme. Back for 2011, will be the ‘In Conversation’ an intimate setting where the audience will see stars and politicians in conversation with celebrity interviewers. There is also a new stage ‘Indy Indie’ programmed by Global Local & Continental Drifts which features music from the left-field of the South Asian Diaspora from Desi Rock to Indo-electronica.

The Outdoor arts programme includes ‘Jannat’ a three-year Cultural Olympiad project by London, Bradford and Liverpool melas, which creatively reflects on climate change and takes its inspiration from the islands of Fuji, Trinidad and Mauritius. There will also be shows from from Nutkhut and a number of other top UK outdoor arts companies.

The Community Stage will invite people to show off their skills in ‘Mela’s Got Talent’ and showcase Asian dance groups from across London and the UK – all hosted by renowned Choreographer and Dance Entertainer Jay Kumar.

The Kid’s Area is programmed by Emergency Exit Arts providing activities and entertainment for the younger festival goers. A delightful, interactive space where visitors can experience the magic of stories, dance and creative play, and a giant funfair. All this plus food, crafts and cultural stalls.

In the Classical Zone – supported by the British Heart Foundation and Compered by Ashanti Omkar– there will be performances celebrating Asian communities’ heritage, This year’s Classical stage plays tribute to two famous poets of the sub-continent, Nobel prize winner Rabindranath Tagore and Nobel nominee and Lenin Peace Prize winner, Faiz Ahmad Faiz. Both of whom have left a lasting imprint on the minds of Classical arts lovers, Tagore’s 150th birth anniversary and Faiz Ahmed Faiz’s 100th are celebrated with aplomb, with Sufi and Bengali music and dance, performed in a way that all audiences can enjoy and connect. The stage incorporates the rare South Indian instrument, the Veena, via BBC 3′s World Routes protégé.

One of the biggest attractions of the Mela is the BBC Asian Network Mix Tent, hosted by Nihal. DJs featured include BBC Asian Network’s very own DJ Kayper, Sonny Ji, Dipps Bhamrah, Kan-D-Man & Limelight. Get ready to be mesmerised by an eclectic mix of Bhangra, Funky, Hip-Hop, Desi Beats, Bollywood, Drum ‘n’ Bass and pretty much anything you can think of, played by a selection of the BBC Asian Network’s DJ talent – plus special guests including PMG (Pure Music Generals) and Donae’o.

Venue: Gunnersbury Park, Ealing, London W3
Date: Sunday 4 September 2011
Time: 1pm – 8.30p

Entry: FREE – ALL WELCOME
Nearest Tube: Acton Town
Information: www.londonmela.org

Check it out live

• Artist: 02 London Mela
• Date: Sunday, September 4th 2011
• Time: 1:00pm
• City: 02 London Mela in London
• Venue: Gunnersbury Park
• Address: Ealing
• Country: UK
• Admission: Free
• Age restrictions: All Ages
• Notes: 1pm – 8.30p, FREE – ALL WELCOME Nearest Tube: Acton Town
• Add to Google Calendar | Download iCal

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Nang are at it again with the debut from The Heels Of Love and there’s no hint of an Achilles anywhere.

Hot on the heels of Sare Havlicek), the duo of Luca Saponaro (he of Krautrock-disco hybrids The Love Supreme) and Michele Tessadri (aka Fratelli Riviera) get together on a 12 track flight of fancy into the synthed up exploration of dancefloor boogie with a 70s/80s heritage.

If you got on the single from last year, the in your face ‘Chain Gang’ with vocals by by Max Essa (he of Bear Funk who we are to thank for Clap Rules’ Golden Hands) you’ll spot that the rest of the album is in the similar ball park.

As good (and catchy) as ‘Chain Gang’ is, this album is more spaced out disco instrumental starting with the opener ‘Cosmos’ to the semi-prog of ‘First Steps’ and the Moroder-Tomita synth-up-bongo of ‘Quiet Please’ that’s anything but quiet (probably my favourite of the while album).

And then there’s strong competition for ‘best’ track. Like when Geoff Warren turned up on Golden Hands, there’s a dreamy flute solo on ‘Old Stuff’ and a dirge of a jam of ‘Blue Gitanes’ that’s almost dubby

With Hard Ton on vocals on ‘Groove It Up’ (that’s a bit ‘Ring A Bell’ in places) and Dark Esquire (nice) featuring on vocals on ‘The Beat’ (yet another potential single), this is no slouch of an album.

The set finishes strongly with some more groovers like the dirty synth funk of ‘Getting Down’ (more cowbells), the manic ‘Grind Disco’ that could be a Italo 70s film main theme (say Randall & Hopkirk on speed) ending up with ‘Flight 707’ on the runway of synth love.

If you’re into deep funky disco (old and nu) this album is worth tracking down.

Reviewed: The Heels Of Love – The Heels Of Love (Nang Records) Cat. No. NANG056 Release date: 27th June 2011
Tracklisting:
1. Cosmo (3:44)
2. Slow (6:14)
3. First Steps (4:59)
4. Chain Gang (5:38)
5. Quiet Please (5:42)
6. Old Stuff (3:26)
7. Groove It Up (4:52)
8. Blue Gitanes (3:52)
9. Getting Down (5:56)
10. Grind Disco (6:18)
11. The Beat (5:15)
12. Flight 707 (5:58)

Links:
nangrecords.com

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OK, Clap Rules is perhaps not the greatest name for a band ever but as they come from Italy, we’ll overlook any golden balls up with their debut album release, Golden Hands.

So it was only yesterday that I was mentioning Max Essa’s super leftfield dance label Bear Funk (in the review of Nang Record’s latest album by Sare Havlicek) and it’s about time I got my golden finger out to give him some love with an album that came out last month on his label by “experimentalists in dance music” Fabrizio Mamarella, Andrea Gabriele and Max Leggieri (aka Clap Rules).

Well, what rules in our house is funky disco recorded with vintage equipment and recording techniques and these guys are on the case.  After previous EPs on smaller labels, they’ve got the remix attention of DFA’s Michoacan, New York’s In Flagranti and France’s own electronic musical hero, Etienne de Crecy.

In truth, this album is a bit of a slow slung grower.  Even on first listen, ‘Pericoloso’ (as sung in English ‘Dangerous’) is the first sign that there’s something above the ordinary here; and I love the deep synth interlude of the title track.

The opener ‘Silver Mountains’ is low down funk with some blue-eyed soul vocals that sort of wash over your Balearics before you return back to is (again and again) and then you think it’s not long enough.

And to then get proper deep in an electro-vibraphone way, ‘Oh Uibè’ is synth-funked up my alley I can’t believe I didn’t get this out earlier, especially as there’s a Star Wars vocoder excursion. As Gilles Peterson recently said, “has electronic music made as much sense?”  Well, not since Herbie Hancock’s ‘Rockit’, but that’s another story.

That said, there’s phazer lazer warps and 3PO 4/4 head down boogie on ‘Azzardo’ which is a prime time tune in anyone’s book and in total contrast, ‘Aroa Tre’ that dips into a bit a dreamy Tangerine Dream territory!.

And on the subject of jazz, Geoff Warren (he of Southern Freeez and Graham Collier’s Hoarded Dreams?)gets to feature on a couple of tracks, the bangin’ avant-cool-synth-funk of ‘Approccio’ (sort of a Prince and Kraftwerk love child?) and on flute and alto sax on the funky vocodered go-go ‘Get Excited’.

Like I say, a bit of a slow start but by the time you get to ‘Approccio’ (the stand out track) you’ll have no regrets getting this album (and apparently they can do it live!)

By the end, you’ll believe Clap Rules – Fantasmi I’d say!

Reviewed: Clap Rules – Golden Hands (Bear Funk) Cat. NO. BFKCD019 Release date: 4^th July 2011 Artwork by Andrea Di Cesare
Tracklisting:
1. SilverMountains(5:42)
2. Get Excited (4:17)
3. Fantasmi (5:23)
4. Pericoloso (5:40)
5. Golden Hands (1:31)
6. Oh Uibè (5:19)
7. Azzardo (6:37)
8. Aroa Tre (2:32)
9. Approccio (6:16)
10. Ecoteca (1:23)

Links:
caprules.com
bearfunk.net

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