Unfortunately many independent artists tend to sink into obscurity after the release of a good debut album. The reasons may be different…maybe the album hadn’t found many listeners or the artists pursue a career in another field. Actually Kendall and Kelvis Duffie, the Kloud 9 twins, did just the latter since the release of their debut album On Kloud 9 in 2002. Kelvis is now National Director of Radio Promotions for Verity Records and Kendall is A&R for Light Records. Fortunately that hadn’t stop them from making music as Kloud 9 and so we all can enjoy their new album Yearning 2 Love which again is released on Expansion Records in the UK.
What makes Kloud 9’s music so appealing are the tight and rich harmonies Kendall and Kelvis deliver. Surely this has something to do with them being twins and having had a lifetime of practice.
The new album is a little bit more upbeat than its predecessor with some irresistible grooves. Take the opening cut Special One for example, a great midtempo soul song, the catchy Gimme Gimme Gimme or the groovy I Like It.
Fans of Incognito will love the new collaboration of Kendall and Kelvis with this British band. So Many Reasons is a funky groover with a fine horn section and wouldn’t be out of place on one of Bluey’s albums. As bonus there’s also a house version of So Many Reasons by Copyright (Sam Holt and Gavin Face Mills), which adds new meaning to the song and is perfect for the dancefloor.
More highlights come with the delightful ballad Yearing To Love and Ready, Willing, Wanting. This song gives full props to Kelvis’ and Kendall’s singing with it’s reduced acoustic guitar/percussion setting.
Overall this is another very good album by Kloud 9 and let’s hope that they favour their career as musicians to their career as label’s executives so that we will hear more music from them in the future.

Tracklisting of Yearning 2 Love: 1. Special One/ 2. Crave/ 3. Happy/ 4. Gimme Gimme Gimme/ 5. A Step Away (feat. Tonia Hughes)/ 6. Can’t Be Love (feat. Mitchell Jones)/ 7. I Like It/ 8. Wanna Show You Love/ 9. So Many Reasons (feat. Incognito)/ 10. Yearning To Love (Interlude)/ 11. Yearning To Love/ 12. The Kind Of Man I Am/ 13. Don’t Take It Personal (feat. Michael Fair & Kirk Whalum)/ 14. Just Another Day/ 15. Ready, Willing, Wanting/ 16. So Many Reasons (Copyright Remix) | released 2005 Expansion Records

For more infos visit expansionrecords.com, kloud9.com.

[If you want to discuss Kloud 9’s music, you can leave your comment below and also use the forum]

Most of the music by the artists interviewed here I only know since the album release reviewed before. With Stuart Wade it’s actually a little bit different. I know his music since he first surfaced as member of Think Twice. Waiting For You was my first record from Think Twice back in 1994 as Maxi CD release on EMI UK. Two years later and the album was finally released on Internal Bass Records. As far as I remember it was available before as Japanese import on Toschiba/EMI only. 1996 also saw the release of Down To The Bone’s debut album From Manhattan To Staten and the rest is, like they say, history. Those of you who are not familiar with Stuart’s music, will be pleased to read that you can listen to two hours of his music next Friday, August 5th, on my weekly internet radio show.
Meanwhile I hope you’ll enjoy the jazz-not-jazz interview with Stuart Wade.

How confident are you with the reactions to the new album so far?

Stuart Wade: I’m very happy with the initial reactions, so far. Most people seem to think it is the best album since Manhattan To Staten. I am glad about that as I feel the same, as with this album, I feel I’ve turned a corner and am more focused in taking the music in the direction I want it to go. I tried not to think about what other people would want it to be and am just doing it for myself. As I am my worst critic, I trust myself to do as best a job as possible. Luckily, so far, Narada are happy to let me do that. I was setting myself up for this album, by doing ‘Cellar Funk’, which helped to steer me this way. I have to be careful not to do things too radically, all at once, I feel I am going on a musical journey and hopefully, those who really like my stuff and understand what DTTB is about will want to come with me. The most important thing is that I am able to enjoy it as much as I can , as that is then reflected in the music. Without trying to sound too pretentious.

Q: On the Internal Bass releases you did some “additional programming” but never appeared on the list of musicians. Why can’t Stuart Wade be heard on DTTB’s music as musician playing an instrument that’s rather unusual for a band?

Stuart Wade: I think you have to look at what DTTB is. It’s mainly a project/production than a full time band. I’m not a musician but really a self taught producer with a lot of ideas which I either relay through others or record on to a Dictaphone for later use. I started this project without knowing how it would turn out, but as I had loads of ideas and was determined to try to make a change, I had to see what would happen. I never really thought it would take off, especially in the US, where my main success has been. I call in session musicians, usually the same guys, as I have grown to trust them and we have established, what I think, is a good working relationship. I then play them my ‘hummed’ ideas or explain what I want to create, as the idea evolves and they include ideas of their won we may then end up co-writing.
When the project started to become more popular I had to look at putting together a live band. Shilts, lead sax player and band leader, helped me to do this. The live band is not made up of the same musicians that I work with in the studio. Mainly because I don’t have the budgets to fly a full UK band over to play most of the one off gigs we get in the US, where most of the live work is. We don’t do full tours but mainly festival gigs, which are at the weekends.

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Discerning listener of soul music will surely remember one of the best albums of 1997 on a major label. I’m talking about Too Much Woman on Virgin Records America, recorded by a certain Brigette McWilliams as her sophomore album to the 1994 debut Take Advantage of Me. Produced by Steve Harvey Too Much Woman was one of these albums you could play from start to finsih and over again without getting bored. But unfortunately Virgin dropped Brigette and it wasn’t until her marriage with film director Mark Romanek and her appearance in Starsky & Hutch in 2004 that we have heard from her again. A few months ago UK label Expansion Records released a three track EP aptly titled Three New Songs. And finally we get the follow up to Too Much Woman after eight years time of waiting.
Startlite Lounge is such a superb follow up that I almost would accept if Brigette vanishes into thin air for another eight years. Brigette worked with Steve Harvey again and the result is pure class, soul music with a strong Latin/Brazilian flavour.
The title track Starlite Lounge may be the closest contribution from Brigette to the neo soul genre. Sparse instrumentation that emphasizes Brigette georgeous vocal delivery. But yet there are also recognizable South American influences. And these influences take over on songs like the Bossa Nova inspired Much Too Much, My Oh My or Take Me. The latter (co-written by Brigette’s mother Paulette McWilliams by the way) also gets remixed with a driving beat as dance version.
With Brigette and Steve’s love for the Latin flavoured music it seems logical that the only cover version here is Jobim’s classical Brazilian tune Aqua De Beber (Water To Drink). And just like the rest of the album this is an outstanding tune.
Like its predecessor Starlite Lounge is an album you put into your CD player (or rip to your digital audio player these days) and you’ll find yourself listening to it over and over again. A very, very strong contestant for album of the year!

Tracklisting of Starlite Lounge: 1. Starlite Lounge/ 2. Much Too Much/ 3. Star/ 4. My Oh My/ 5. One Wish/ 6. Is It Love/ 7. Betcha/ 8. Somehow/ 9. What Would You Say/ 10. Take Me/ 11. Lonely Girl/ 12. Yes My Dear/ 13. Agua De Beber/ 14. Take Me (Remix) | released 2005 Expansion Records

For more infos visit expansionrecords.com, brigettemusic.com (which will hopefully have some content soon) and steveharveymusic.com.

[If you want to discuss Brigette’s music, you can leave your comment below and also use the forum]

[photo by Mark Keller]

Moon Ray by the Rob Thorsen Trio/Quartet is an instrumental jazz record that really impressed me recently because of the heartfelt communication between the musicians. Bass player Rob Thorsen took the time to answer a few questions for an interview with jazz-not-jazz and talks amongst others about his favourite instrument, his influences, and the jazz scene.

Q: You’ve tried a few instruments until you ended with the acoustic bass as your favourite instrument. Please tell me why you’ve chosen this particular instrument

Rob Thorsen: I grew up playing a wide variety of instruments- starting at age 6 I played baritone ukulele, classical guitar, flute, saxes, tuba, electric bass and ultimately upright bass at age 21. I appreciated the role of bass, creating a feel and all the rhythmic and harmonic nuances that go with it. When I first picked up an upright I loved the way you felt the sound as much as heard it - the mechanics of the instrument amazed me.

Q: Who has influenced you musically and where do you see your musical niche in the jazz scene?

Rob Thorsen: As far as the traditional bassists go I’m a huge fan of Oscar Pettiford, he had a very individiual approach and was one of the most melodic soloists I’ve heard, even to this day. Also Israel Crosby who played with Ahmad Jamal was amazing. There is obviously no escaping the influence of Ray Brown, Paul Chambers and a host of others from the 1950’s and 1960’s. Modern players I like are Christian McBride, Scott Colley, Larry Grenadier, Mark Dresser and others.
Niche-wise I’m definitely in the acoustic jazz circle although I enjoy utilizing a lot of different styles, the latest CD includes a chinese folk song, an Artie Shaw song done as a latin 7/4, several funk type grooves and more. It’s eclectic enough to keep it interesting to the listener but has a nice cohesiveness as well.

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Ha ha ha…there weren’t any CDs in my mailbox for some time now and all of a sudden four CDs pop up. Is it Christmas already? *grin*
Three of them are from Expansion Records. While waiting for my reviews, that will be posted this weekend, you can find more information on the label’s website about the new releases by Brigette (Romanek/McWilliams), Kloud 9 and Gary ‘G’ Jenkins. And for infos about Ty Causey visit his cdbaby.com site.

Courtesy of Jon Freer from mosoul.co.uk here are three album reviews (sorry no cover shots or tracklistings this time):

V/A – The Original Soul Selection (Original Selection)

The soul instalment of Ian ‘Mastercuts’ Dewhurst’s ‘Original’ series focuses on traditional material rather than any of your nu-fangled nouveau soul or posturing silkily produced 90s and 00s so called R&B. Instead of relying on the vaults of production houses like Motown or Stax, Dewhurst has dug a little deeper, and on the whole, the results are positive. CD one of this collection of cuts from known souly figures and less familiar faces is dominated by relaxing grooves, spruced by a degree of positivity. Choice moments include Bobby Womack’s “Across 110th Street”, where resolute guitars and reliable brass back tales of life in the ‘hood, and the Jones Girls magically keyed “Nights Over Egypt”. The uplifting and more often than not afro-sized string arrangement touched CD two contains tracks such as Teddy Pendergrass’ downright greedy “The More I Get (The More I Want)” and the rift-healing “Spread Love” from Al Hudson & The Soul Partners. Steadfast soul-kissed nourishment!

V/A – Café Mambo 2005 Collection: Compiled & Mixed by Pete Gooding
(Defected)

Perhaps better known for his love of mind-numbing progressive House than slovenly grooves, this offering Pete Gooding is a true musical patchwork quilt. The first CD mixes party hop with twee sleepy numbers, ‘worldly’ wise lounging affairs and trippy tranced out downtempo cuts, whereas the inferior second CD contains more digitised numbers and relaxed percussive workouts. Aya’s “Looking For The Sun”, with its languid beats, guitar created rays of brightness and keyed wateryness is most certainly a high point on the first CD. This track is followed by a couple more outstanding cuts, which have been hammered by all and sundry. They are 4 Hero’s billowing keyed overhaul of Plantlife’s “When She Smiles She Lights The Sky” and Sebastian Tellier’s “La Riournelle”, a bleeding string and mellow keyed opus. Gooding’s functional mixing is adequate and there are some peaches on this 29 track compilation. However, Pete also supplies some distressing sleepathons, so the listener should be ready with their stereo remote, alongside that summer cocktail and a neatly rolled joint.

V/A – Nice+Smooth House Music: Breezy Beats & Sunny Breaks (Nice+Smooth)

The Nice+Smooth crew bring us a rather fine House offering, which scours their back and future catalogue for tasty dancefloor treats. Clean techy groovers with computerised percussion are pitted against more human sounding breaksy tracks on this comp where there are many musical highlights. Jordan Fields meets R-Diva for “Heaven”, a celestial bumpin’ houser, with praising vocals, open ended beats and an analogue bass that has a mind all of its own. Roy Davis Jr. offers us the similarly non-secular “Cherish”, whose strength lies in the use of some rather uplifting keys. Kinder Atom passes us another “Sangria” and the pleasant inhibition-losing alcohol type effects come courtesy of a pulsing bass, un-nerving keys and fluid organ touches. Summery

You might not recognize the name Steve Harvey at once if you’re not an avid reader of liner notes and interested in the songwriters and producers behind a tune. But if you have a closer look at records by Frank McComb, Donnie, Trina Broussard or Impromp2 than you’ll find Steve’s name all over.
Finally Steve Harvey found the time to answer a few questions for jazz-not-jazz about his influence in the renaissance of soul music and upcoming projects.

Q: You’ve worked with/wrote songs for an impressive number of artists. Especially in the nu/neo soul genre you’ve worked with what looks like a who’s who: Donnie, Frank McComb, Trina Broussard, Impromp2, Kindred, Brigette (McWillimas), Ledisi, N’Dambi etc. Are there still some artists you like to work with?

Steve Harvey: Sure, there is an enormous amount of talent out there, I am trying to link up with, Rahsaan Patterson, Anthony Hamilton, Leela James, Bilal, Amel Larrieux, and see if we can work together on my band project. Hopefully we’ll manage to connect with some of them. I also would like to work with Rachelle Ferrell, Chaka Khan and Lalah Hathaway some day.

Q: Regarding the list of artists mentioned in the first question you were/are very influential for bringing soul back to life in recent years. What do you think of your contribution and in which direction would you like to see soul music evolving?

Steve Harvey: I was lucky to come up in an era where the art of music reached a high point. Whatever genre of music you were into whether rock jazz soul blues funk. The music created in the 70’s set the bar extremely high and was the foundation for everything I bring to the table in this era. At this point in my career I am following my instincts allowing myself to create and utilize the gifts I have been given without being effected too much by whats going on in the mainstream. Hopefully I can contribute something back to the music that has enriched my life.

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In conjunction with radio42.com and rautemusik.fm jazz-not-jazz presents two hours of simply great music every Friday 19:00-21:00 UTC+1 (you don’t have to convert it for Germany…that’s Friday 13:00-15:00 in NYC, Friday 10:00-12:00 in San Francisco and Saturday 04:00-06:00 in Sydney). The links of the audio stream can be found on radio42.com or rautemusik.fm (look for #Musik.Lounge there).

This time it’s all about cover versions and I’ve finally found the time to write a few notes to each song on the playlist. Don’t hestitate to let me know what you think of these cover versions in the comments.

Dianne Reeves: Both Sides Now (from Quiet After The Storm - Blue Note/Capitol)

I must admit that I’ve never ever heard the original version by Joni Mitchell but for me Dianne does a very good and convincing version with George Duke on piano.

Ruth Brown: Always On My Mind (from Have A Good Time - Fantasy Records)

Forget the Elvis version of this tune and also the more than mediocre dance version by the Pet Shop Boys. Ruth Brown’s version of the Willie Nelson hit Always On My Mind beats them all. Recorded live at the Cinegrill, Hollywood Roosevelt Hotel in 1988 this version has it all: soul, blues and a heartfelt performance by Ruth, who really has seen and heard it all in her long career spanning over 55 years. Her records for Atlantic Records were so successful that some call Atlantic the house that Ruth build.

Milira: Rocket Love (from Back Again!!! - Motown)

Milira had released two albums on Motown. Milira in 1989 and Back Again!!! in 1992. On the latter appears her version of Stevie Wonder’s Rocket Love, which appeared on his 1980 album Hotter Than July). Produced by Lemel Humes (who also had a few hits in the late 80s/early 90s as writer/producer) this version was actually the one that introduced me to this song. And Milira’s version still sounds a little blusier too me.

Intro: Ribbon In The Sky (from Intro - Atlantic)

This is again a Stevie Wonder song and again this was the first version of this song I’ve heard back in 1993. Stevie’s version was featured on his Original Musiquarium album from 1982. Intro had a minor hit with Love Thang and even got the chance to release a second album on Atlantic. Unfortunately the uptempo stuff sounds a little bit dated but Intro’s ballads like Ribbon In The Sky still sounds good.

BeBe Winans: Jesus Children Of America (ft. Stevie Wonder & Marvin L. Winans) (from Love & Freedom - Atlantic)

Is this really a cover version when Stevie is featured on it? Actually this version sticks closely to the original from the Innervisions album from 1973. Nevertheless it’s a great update of classic Stevie Wonder tune.

Abbey Lincoln & Archie Shepp: Golden Lady (from Painted Lady - ITM Records)

I’m sure you’ve guessed it…another Stevie Wonder cover…another song from the Innervisions album (I guess I will do a Stevie Wonder cover versions show in the future…since he has written such great tunes and many artists have actually recorded some very good versions of his songs). This time we get a jazz version with Abbey on vocals and Archie on saxophone. There’s also a fine version of Golden Lady by Frank McComb but actually I prefer this cover since it gives the song a new direction and meaning. And its epic 9 and a half minutes only adds to its appeal.

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Marlon Saunder’s A Groove So Deep - The Live Sessions has just been released and it’s available on his revamped website or on cdbaby.com.
Fans of Jazzhole will be delighted to hear that Marlon’s still part of this group and that a new Jazzhole album will be released in the near future. And before things get really busy for Marlon, he found the time to answer a few questions for jazz-not-jazz about his new album, jazz music, cover versions, favourite musicians and more.

Q: Please tell me how you came up with the idea to A Groove So Deep.

Marlon Saunders: I was traveling on the road with my band and my keyboard player Joe Scott and I were talking about creating music and growing as musicians and he said “Ya know we should be recording our rehearsal because there is a lot of great moments that happen in rehearsals that need to be documented.” After reflecting on this I thought it would be great not only to document it for me and the rest of the band but it would be a great way to share the music with my fans.

Q: Why did you want to record a live session album with new and old material instead of a simple studio album?

Marlon Saunders: I just felt that the music that I had been playing with my band Mood control from Enter My Mind had grown and found a new space, and I as an artist had begun to understand the music a lot more and I felt very happy and excited about this. I too also loved the idea of recording something live, organic, raw, just like back in the day. On the road we tend to listen to a lot of music from back in the day. I feel it helps us when we take the stage to hear how they were putting it down. It is all so human, so real. Also I feel like you really get to hear the band play on A Groove so Deep. I mean these musicians are incredible and you hear their talent on this recording. You get to hear us in our true element.

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Will Wheaton, who’ve impressed us with his timeless, quality soul album Old School Soul talks to jazz-not-jazz about his music, his new album, his live shows, and the music industry.

Q: You’ve gone independent quite early with your Platinum Bass Records label. Please tell me more about the motivation to start your own imprint and also what you’ve felt that your contract with MCA never yielded an album.

Will Wheaton: I felt I had to do this in this way to make sure that this time the music actually reached the people. The times prior - which were numerous - there was always some political obstacle. It was never the music. The MCA deal didn’t yield anything because of politics. That deal was a product of the show that I did with Dick Clark. Even after he sent a letter to the MCA stating that he would do everything in his power to make the record a success. That didn’t help…

Q: How content are you with PBR so far. Where do you see the advantages of your own label and where the limitations?

Will Wheaton: The advantages are control and freedom. The obvious disadvantage is limited is capital.

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The 10″ format still has the nimbus of being something special of all the records formats available. This 10″ from Nublu Records is no exception to that rule. Nublu is a music lounge/bar in NYC’s East Village established in 2002 by Illhan Ersahin. To take it to the next stage Illhan celebrates the launch of Nublu Records with this 10″ sampler that gives a taste of what to expect from his label.
Let’s Finish What We Started by Kudu features the vocal duties of Sylvia Gordon and is an uptempo electro track reminiscent of 80s electro-funk bands like Cabaret Voltaire, early Human League or Heaven 17. A full length album will follow on October 25th, 2005.
Hard Livin’ by Love Trio In Dub feat. U-Roy is an interesting fusion between North African/Maghreb sounds and Jamaican Dub with U-Roy on vocals and Illhan Ersahin himself on saxophone. Hard Livin’ is lifted from an album that will be released October 4th, 2005.
Forro In The Dark Feat. Seu Jorge with Suor De Pele Fina is my favourite tune on this 10″. This is a great uptempo modern-Brazil meets World Music song. Suor De Pele Fina will also be released on a 12″ on September 13th, 2005.
Our Theory deliver the fourth track named Nu, which sounds very, er, modern. Actually that’s the one track here that looses me between it’s way too fast beats and staccato rhythm. But if you’re into speedy and furious electro-tech-jazz than this is the tune for you. An album by Our Theory is scheduled for a release on October 4th, 2005.
All in all an interesting and musical diverse offering by the new founded label Nublu Records.

Tracklisting of Nublu Records 10″ Sampler: Kudu: Let’s Finish What We Started/ Love Trio In Dub Feat. U-Roy: Hard Livin’/ Forro In The Dark Feat. Seu Jorge: Suor De Pele Fina/ Our Theory: Nu | released 2005 by Giant Step / Nublu Records

(for more infos visit giantstep.net, nublu.net and kudu2u.com)

Courtesy of Jon Freer from mosoul.co.uk here are six reviews of just released and upcoming house 12″es (sorry no cover shots or tracklistings this time):

Blackbeard – Holding On (Uptown Safari)

After spending a couple of years releasing cheeky bootlegs and legitimate rehauls of other people’s records, the chisel-jawed swashbucklers famed for their foot dragging soul-soaked revisions finally get round to putting out their own compositions. “Holding On” as re-edited musical maestro Phil Asher is a strutting dancefloor banger, with swiping beats, darting brass and unsettling vocals. “Do What You Want” talks of the street, over juddering keys, nervous strings and an ever so woozy bass. “To Be Free” is an unapologetic number, where tasty jazz guitar flexings are joined by raw piano keys and rough-assed drums.

V/A – Credit To The Edit Sampler Two (Tirk)

Greg Wilson keeps up the re-edit pressure with another dose of cut-up, cut back and respliced mixes taken from the forthcoming CD only comp of the same name. Mr. Bloe gives us “Groovin’ With Mr. Bloe”, where a soaring harmonica and law laying down keys get down with Sir Bloe. There’s an awful lot of echo work on Greg’s version of “I Feel For You”, as Chaka Khan’s realisation making vocals go back and forward over a grooving sax and marching beats. The sinister bass on Yello’s fine “Lost Again” will disorientate even those with a good head for directions!

Thievery Corporation – Revolution Solution (Remixes) (White)

Hot on the heels of the legal release, comes a pair of illegitimate overhauls from NY, released on a mysterious 7″ white label. “Revolution Solution Vs Marmalade” is the A Side track, where non-secular organ keys, unflinching heavy drums and weird synths take control. The superior “Revolution Solution Vs Serge Gainsbourg” on the flip side sees dancing guitars and in line percussion support the pondering vocals.

Leo Mendez Group – Lasal (Swag Remix) (Love Monk)

The Leo Mendez Group get a much needed kick up the posterior from Sheffield House gods Swag. Acknowledged as miracle working groove reconstructors, Brown and Duckenfield don’t disappoint with the surgery they’ve peformed on the Leo Mendez Group. Stunted beats, coarse synths, a sleazy bass and fluctuating keys hook up on the Steel City duo’s fine reinterpretation.

Deepswing & Redsoul spotlight Donna Washington – Celebrate (Generate Music)

Gospelly tuned vocalist Donna Washington is back to give more praise with the spirit-lifting “Celebrate”. The original places a frothing bass and snazzy keys under the large-lunged Ms. Washington’s positive vocals. Airex’s ‘Classic Piano Mix’ is a slightly more refined version, with pounding beats, dreaming keys and rejoicing flutes. Redsoul’s ‘Cellar Dub’ filters the edges of the beats, before friendly keys and a madcap organ take over the party.

DJ Love – All The Way (Air)

Holding out a candle for both B Boy posturing Hip Hop and powering nu-skool breakbeat, DJ Love’s tunes occupy a niche that lies midway between both. “All The Way” sees athletic beats battle it out with mischievous synths and an intimidating bass. “Underground Funk (Original 1999 Mix)” lets a stealthy bass do its thing alongside measured breaks.

A few weeks ago I praised Koren Washington and her debut release The Experiment. Since she doesn’t have a website yet, the infos about her were very limited…until now because she talks about herself and her music in an interview with jazz-not-jazz. And if you haven’t heard the sound snippets of Fish Out Of Water on her cdbaby site you can hear it this Friday on the jazz-not-jazz radio show in it’s full length glory. By the way one of my favourite songs on The Experiment and as Koren reveals another proof that one woman’s pain transformed into music can be another man’s pleasure.

Q: Please tell me something about yourself. Where you’re coming from musically and who or what had influenced you to pursue a career as musician?

Koren Washington: I’m a native of Denver, CO - USA; a Pisces; student of yoga; love to travel. My sole motivation as a musician is to honor my truth. To me that means expressing my true emotion and conveying honesty in my lyrics. This is essential, because I spent a great deal of time hiding what I really felt. I also want my music to be a unique reflection of my influences - which are r&b/hip-hop, jazz, and British rock. While other artists inspire me, I honestly believe that my actual pursuit of doing this is in the blood. Both of my parents are musical and were in various groups when they were younger, and my paternal grandmother was a gospel singer. As it often happens though, their dreams were dashed once the routine of adult responsibilities set in. So those seeds of desire were passed on to me, I believe. Music is what I always wanted to do. Ever since I can remember, music has been my companion. Singing, in particular, is sacred to me somehow. You are the instrument. When I got sick as a child, the way I knew that I was well again was that I could sing again.

I always dabbled in performing - plays, talent shows, weddings, guest spots in bands, but I thought that it would be much more pragmatic to take the secure and respectable route. So I focused on academics and went to college with the intention of becoming a doctor. Medicine wasn’t for me, but I stayed on the safe path for a bit. The reality, though, is that the urge for an artist to express only grows stronger the more it is ignored - and you will go mad if that part of you isn’t honored. Well, the urge nearly took me over, so I finally got to the place where I had to acknowledge that I am a singer/songwriter, as much as I am female and black. So it was that inner thing that forced me to actually pursue this as a career.

Q: The music on The Experiment is quite diverse ranging from house, soul, jazz to urban/R&B. Where do you see your musical niche and what was your motivation to record The Experiment the way you did?

Koren Washington: The diversity of genres was intentional. My comfort zone vocally is jazz and r&b and yet many styles of music inform me as an artist, so I don’t want to hover solely in one area, even though it’s all related. The record was really Tymm’s challenge to me to play outside of the box and experiment with new stuff, hence the title. As the concept became more comfortable to me, I wanted it to be a musical ride. Generally speaking, as far as a niche is concerned, if I had to give my approach a label, I’d call it “left of center soul”.

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The odd thing about Down To The Bone, which seperates them from most bands, is that their mastermind Stuart Wade actually can’t be heard on DTTB’s songs like in playing an instruments that you hear. Although he’s featured on background vocals on two tracks this time. But Stuart’s input mustn’t be neglected either since he (co-)writes DTTB’s songs and is responsible for the overall production and arrangements. Spread Love Like Wildfire is their sixth album and the second for Narada Jazz. Those who listen to music for ages (like myself) will certainly know DTTB since their first album From Manhattan To Staten in 1996 on the UK label Internal Bass Records. Two other albums for Internal Bass followed and in 2002 DTTB appeared on GRP/Verve with Crazy Vibes And Things. Two years later they were with Narada and released Cellar Funk.
In these times and ages of one hit wonders DTTB may already be called a veteran band that has build up a solid fanbase over the years. And on their new album their sound is fresher, funkier and more vigorous than ever.
This time the emphasis is on the horn section with the M.J.R. Horns [Mike Kearsey (trombone), Jon Scott (trumpet) and Richard Wargent (sax)] dominating the music. By the way, Richard Wargent was also part of another Internal Bass group, The NFL Horns Project. His musical partner from the NFL Horns Project, Richard Sadler, can be heard on Spread Love Like Wildfire on bass and percussion.
“A lot of my influences come from the Jazz/Funk , Jazz/Fusion era of the 60’s and 70’s and I hope I have been able to show this , once again , on this album. Hopefully people will also hear my love of some of the ‘Blaxploitation’ soundtracks of that era and ,of course, the Brazilian/samba influences , that I love so much.” says Stuart Wade.
The first two songs already show that Stuart has accomplished his mission. Just listen to the album’s opener Memphis Groove with guest musician Jeremy Steig on flute. This is a damn funky tune and a great tribute to Herbie Mann’s Memphis Two-Step and Memphis Underground.
Mystic Samba combines the best of both worlds with adding a Brazilian touch to a funky groove.
While DTTB’s music is basically instrumental, Stuart began inviting guest vocalists since the Crazy Vibes And Things album (My One And All with Hil St. Soul and The Flow with Flora Purim on the Cellar Funk album). This time N’Dambi joins DTTB for Angel Baby, a mesmerizing song that shows new dimensions of N’Dambi and DTTB.
Grace Ackroyd is another featured vocalist here. Although she just sings lalala, bahbahbah and doodoodoo on Wildfire Woman (it sounds sillier written down than it sounds in the song) it’s just that (and of course Jeremy Steig on flute again plus Neil Cowley on Hammond B3 organ) what makes this song perfect for any old blaxploitation soundtrack.
There are much more songs, that’ll see you shaking your hips or whatever parts of your body you like to shake while dancing at home, like Gotta Get Back To You with its fine Rhodes solo by Neil Cowley or the driving Latin Sagebrush.
The good thing about Spread Love Like Wildfire is its sheer musicality and overall quality and the fact that DTTB’s music has indeed evolved into a edgier sound. The bad thing is the covershot. All previous covers looked great and you might even wanted to put a larger version on your wall but this time it looks rather meaningless like something I would expect gracing a cheap compilation of the hottest dance tracks ever. I guess the old proverb not to judge a record by its cover couldn’t be truer.

Tracklisting of Spread Love Like Wildfire: 1. Memphis Groove/ 2. Mystic Samba/ 3. Tiburon/ 4. Angel Baby/ 5. Pure Funk/ 6. Hammerhead/ 7. Wildfire Woman/ 8. Gotta Get Back To You/ 9. Lightning Rod/ 10. London Life/ 11. Latin Sagebrush | released 2005 Narada Jazz

For more infos visit downtothebone.com and narada.com.

[If you want to discuss Down To The Bone’s music, you can leave your comment below and also use the forum]

In conjunction with radio42.com and rautemusik.fm jazz-not-jazz presents two hours of simply great music every Friday 19:00-21:00 UTC+1 (you don’t have to convert it for Germany…that’s Friday 13:00-15:00 in NYC, Friday 10:00-12:00 in San Francisco and Saturday 04:00-06:00 in Sydney). The links of the audio stream can be found on radio42.com or rautemusik.fm (look for #Musik.Lounge there).
Again I’ve featured music that has been reviewed previously on jazz-not-jazz except for two songs.
Beyond The Haze by Root Source is the only song I have from this band…unfortunately I must say, because it’s so damn good. Anyone who knows more about Root Source please leave a comment. The Doug Hammond track appears on a Black Jazz Best Of called Message from The Tribe on Soul Jazz Records. The Tribe’s What We Need which I’ve played some time ago was featured on this compilation as well.

Various(One More): Bossa Nova Ova
Sunny Sumter: Nick Of Time
Tia Imani Hanna: Timeless
Changamiré: The Bag
Koren Washington: Fish Out Of Water
Shaun Escoffery: Long Way Home (remix)
Marlon Saunders: Coolin’ (live)
Ronee Martin: Get Real
Monique Debose: Walk Away
Steve Butler & Ron Haynes: Change
The Liegeman: Water
Val Watson: Flower
Anthony David: Cheating Man
Tyme: Mad Day (Jazz Version)
Root Source: Beyond The Haze
Doug Hammond: Moves
Alison Crockett: Like Rain
The Quantic Soul Orchestra: Feeling Good
Alice Coltrane: A Love Supreme
Speak In Tones: Bahia By Night

Courtesy of Jon Freer from mosoul.co.uk here are three reviews of just released and upcoming Various Artists compilations (sorry no cover shots or tracklistings this time):

V/A – The Original House Selection (The Original Selection)

Put together Ian ‘Mastercuts’ Dewhurst, ‘The Original Selection’ is a collection of classy well-known and obscure House tracks from yesteryear. With Dewhurst at the helm, there’s no need to doubt the quality of the music on show, however, generally, the rejigs of Disco numbers on disc one aren’t quite of the same standard as the classic House material. Highlights of the first CD include Mr. Fingers’ life-enriching synth addled “Can You Feel It” and of the discoid material, Mousse T & Boris Dlugosch’s desirable guitar bassed refix of First Choice’s “The Player” is the finest. Disc two is the deeper of the pair, with celebrated breath-catching cuts appearing alongside a tribute to Todd Terry, (the Brooklyn sample don weighs in with six tracks), and a few slightly bland cuts. Ace deep numbers include the arresting “Your Love” from Franke Knuckles, and Todd’s prime offering is Black Riot’s “A Day in The Life”, where pseudo-rave synths and warmth filling keys are battered by thumped percussion and squealing whistles. Masterful.

V/A – Africa Remix (Milan)

This is not a compilation of remixes of tracks from the beleaguered continent, but in fact a top quality CD accompaniment to a contemporary afrocentric art exhibition of the same name. The tracks come from a variety of African artists and represent the diversity of the landmass, showcasing those who make traditionally inspired and cutting-edge music. Tatouages presents us with “Silence, on rêve”, where summery guitars are joined by a chorus of melodious vocals. On the Remix of Oumou Sangare’s “Djarolen”, a graceful stringed instrument is draped over mournful sounding vocals and headnodding hopped beats. There is a tangible brightness to the guitar and drums on Manecas Coasta’s “Paraiso di Gumbe”, despite the fact that the vocals deal with a difficult subject matter; the death of Costa’s sister. Perhaps Geldof should have listened to these voices, before planning the musical travesty that was Live 8, where primarily aged white musicians patted each other on the back for putting on such a ‘worthy’ series of concerts.

V/A – DJ Sneak: House of Om (Om)

Bumpin’ groovesome House is the flavour of this Mix CD from Carlos Sosa, once king of abusively filtered and cut up diskoid House grooves. Sneak has somewhat refined his sound over the years, and this comp represents what housey flavours are currently pushing his buttons. Lawnchair Generals “The Truth” as remixed by DJ Sneak himself is an energetic cut, with nervous keys, floor-gazing synths and an athletic bassline. No Assembly Firm bring us “Acid Attack”, where a pressurized bass and rough beats fight the obstacles in their path. Mike’s Garage mix of “This Belongs To You” by the Inland Knights loops up a dejected sounding sax over rolling synths, shocked strings and opn point beats. Butt shakin’ stuff…