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 Friday (December, 2nd) it’s a walk down memory lane with most of the songs featured being from the early 90s and all songs were recorded in the UK.

Chantel Mapp: Sunday Morning Blue
FM Inc: Movin’ In The Right Direction (Live Mix)
James Taylor Quartet feat. Alison Limerick: Love Will Keep Us Together (Full Length Album Mix)
Act Of Faith: The Whole Thing
Alice Russell: High Up On The Hook (from My Favourite Letters)
Snowboy feat. Anna Ross: Girl Overboard
Watergates: Diamond Child
Gems For Jems: Time For Love
Jay Henry: I Wanna Be There
Terence Trent D’Arby: It’s Alright Ma, I’m Only Bleeding (from B.E.F. Vol II)
Alison David: Keep Shining Like A Star (from Believe)
The Vibe feat. Delroy Pinnock: No Man The Vibe
Raw Stylus: Believe In Me (Eric Kupper’s 12″ Groove)
Richard Anthony: Without Dreams
Mica Paris: I Should’ve Known Better
Driza Bone: Real Love (Up All Night Mix)
Vanessa Simon: Revelation
Melissa Bell: Reconsider
Think 2wice: Joy Is Free (Bump Mix)
Metropolis: Slow Down
Charlene Smith: Learned My Lesson (Classic Mix)
The Affair: The Way We Are (2B3 Mix)
M.F.O.S.: Where Is The Love (feat. Bob Batterbee)

I know I recommend every reviewed album wholeheartedly but every now and then there surfaces an album that I like at once. From start to finish. An album has to potential to be one of my albums of the year. Such a quality album is Amana Melomé’s debut album Indigo Red. So, I’m more than pleased that Amana gets into details in her jazz-not-jazz interview. Keep on reading if you wanna know how she met her musical alter ego Saverio “Sage” Principini, how she descibes her music and what she likes about LA…

Q: Please tell me a little bit about your childhood. Where were your born in Germany and where in Italy did you grow up? In retrospect, how influential was this time for you?

Amana Melomé: I was born in Munich, we left when I was only two years old, moved to the States for a few years, then to Italy when I was nine. Rome at first, thru middle school, then to Florence,Tuscany. My time in Italy, consequently, was VERY influential…those are important years when you start deciding who you are and what you want to be and not be. The fantastic passion for life and good food is and will always be a huge part of me. Also having the opportunity to travel around Europe got me into studying languages (I like to talk - ha!) and intrigued by other cultures and traditions.

Q: Both of your grandparents were active jazz musicians. What was it like to grow up in a musical family, and when did you know you wanted to become a musician yourself? How supportive was your family when you told them you wanted to become a musician?

Amana Melomé: I have always loved the fact that everyone in my immediate family is an artist. Everyone ranges from musicians, to photographers, to designers and more musicians…haha! My grandfather Jimmy Woode (who sadly, recently left us) was an amazing Bass player. He worked with literally the Who’s Who of jazz greats. I can’t begin to list them. He had stories for days, he was just an amazing man, and an inspiration. My grandmother was a Jazz vocalist and a dancer. She’d sing a lot around the house. Nana (my grandmother), my mom and I would have a ball harmonizing Christmas carols, but otherwise, during her life time I was quite shy with my voice and only let it loose in private…perhaps afraid that if they knew I had a nice voice, that there would be expectations of me that perhaps I couldn’t live up to. Instead, I am so thankful for the fact that my grandfather got to hear the demo of Indigo Red before he passed and he was so proud and amazed. That felt really good - to watch him stand up and dance around to my songs, to watch him take in all the little nuances of Jack and Jill with that pensive face with thousands of thoughts scrolling (we were so curious of what the Jazz maestro was going to think!)
My aunt Shawnn Monteiro is a fabulous Jazz vocalist, still touring. Needless to say everyone in my family has always been very supportive of my choices in the arts (which ranged from painting and sculpting, to dance, to acting, to singing now). I really surprised many with the singing and songwriting thing though! They had no idea what I was bringing to the table (I kinda kept it in a jar for a long time), so they were blown away once the jar was opened (smile). It’s only been about 3 years since I seriously took singing as a career into consideration. Feeling I had something valid to bring to the table, something to say and light to share - then meeting Saverio (Principini) my prducer (little over 2 years ago), kind of brought it all together. He was open to the creativity and not stuck on the mainstream crank out a pop hit mentality. My sweet sweet momma has come to every show thus far (actually she missed ONE and feels guilty about it). There is a lot of love and support. I am blessed.

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If you’re looking for a musically challenging and rewarding jazz album than make sure you get a copy of Robert Mitchell’s Panacea sophomore album Trust. You can, er, trust me with my recommendation (as always of course *grin*).
In the jazz-not-jazz interview Robert talks about his influences, how he met Deborah Jordan, how he hooked up with Norma Winstone for If These Walls Could Talk and he reveals his inspiration of the song Cotopaxi.

Q: Please tell me something about your musical influences. What was the spark for you to pursue a career as musician?

Robert Mitchell: My influences consist of anyone who has a marked effect on me. Oscar Peterson, Cecil Taylor, Gerri Allen, Rachmaninov (both composing, and performing), Mcoy Tyner, Marilyn Crispell, Norma Winstone, Greg Osby, Steve Coleman, Gonzalo Rubalcaba, Vladimir Horovitz, Scarlatti, Handel, Anthony Braxton, Aka Moon, Mark and Mike Mondesir, Courtney Pine, Rzewski, Sorabji.Squarepusher, IG Culture, Autechre, Annette Peacock, Anita Baker, Chucho Valdez, Keith Tippet, Jason Rebello, Herbie H (esp. electric), Magik Malik, Arve Henriksen, Keith Jarret, Don Pullen, Bheki Mseleku, Cassandra Wilson, Betty Carter, Rachelle Ferrelle, Butch Morris, and too many others but also of course all the longer term bands I have been in - Quite Sane, Jlife, Keith Waithe, Ntoumos, Tomorrow’s Warriors etc.
My spark was a mixture of many fuels! My family was musical (father sang profesionally - and my first teacher - classical piano - is still going at 92 years of age!), I heard Oscar Peterson on the radio at a time when it suddenly made sense, discovering my fathers lyrics and thinking i could write a great song! Being involved in some bands before I left university really did come in usefull - esp. a mini tour in 1992 with Greg Osby. My eyes have been wide open - stunned with the effects music can have on people - ever since.

Q: Where do you see your progress as musician from your start to your days with Quite Sane, Tomorrow’s Warrior or J-Life to you Panacea project.

Robert Mitchell: Well - hopefully it is precisely that - a progression! Every group I have been in has revealed moments of joy, struggle and an enduring adherence to improve on all fronts. It is allied personally to a wish to completely be at one with my creativity and my instrument - and to be as singular as my fingerprints in that realisation! These same things will in turn influence the future projects soon to be represented in performance and on CD - duo with Cuban violinist Omar Puente, plus a solo piano suite - Equinox, and a couple of special things I wont go into yet !

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Courtesy of Jon Freer from mosoul.co.uk here are ten reviews of available and soon to be released 12″es (sorry no cover shots or tracklistings this time):

Ski – Heavenly (Yam Who Mix) / New Orleans Under Attack (BBE)

Swashbuckling neo soul doyens Yam Who are drafted in and send “Heavenly” higher, however, this record is also worth purchasing for the inclusion of the angerful “New Orleans Under Attack”. Hammering pots and pans type percussion, twinkling keys and a relaxed bass back ecstatic vocals on Yam Who’s retooling of “Heavenly”. “New Orleans Under Attack” sees wrathful chords, teary strings and spoken vocals, frustrated at the government’s slow response to a horrendous act of nature, combine on this captivating House odyssey.

The Beauty Room – Don’t You Know? (New Religion)

New Religion continues their Vanity Project series, where forgotten gems from yesteryear get a post-millennial update. Hefner’s version of “Don’t You Know?” gives the track a much-needed energetic refit, as sliced strings, coasting strings and messed up vocals slide over a warbling bass.

Unknown – Re-Edits Vol 2 (White)

These days, we seem to be awash with rehaulings of one type or another, and this mysterious twelve takes tracks by prime candidate James Brown and the lesser retouched David Bowie that bit further. Brown’s “Hot (I Need To Be Loved, Loved, Loved)” entices, courtesy of feel good keys, condensed brass and a funkin’ bass. Bowie’s “Golden Years” is give subtler treatment, as guitars go round in circles and the drums apply just enough pressure.

Unknown – Re-Edits Vol 3 (White)

American Gypsy and the wonderful Erykah Badu get stylishly rejigged on this 12″, which is a cut above the previous volume. Limping along beats, a flea bitten flute and well turned out guitars back those concerned vocals on the great reinvention of Badu’s “Bag Lady”. Dazzling strings and a furious bass guitar do the work on American Gypsy’s “Inside Out”.

Astrocats – Back 2 Tha Playground (Darkroom Dubs)

Silicone Soul don the Astrocats guise for this outing on their own Darkroom Dubs imprint, but their straight-laced original is blown out of the water by the theatrical Drama Society. A grey synth mist envelopes the Drama Soc’s mix, as zombie keys, a stumbling bass and jolting stabs attempt to find a route through the synthetic fog.

Jamie Anderson – Short Stories (Fixia)

Jamie Anderson’s Fixia label begins with a bang in the shape of an engrossing no-nonsense four tracker. “Back Then” watches gleaming keys and appeased synths meet over a vile bass and straight forward percussive rhythmics. “Open Your Mind” is an impassioned acid-steeped number, whereas “Food For Thought” sees hell raising synths run amok. “More Or Less” finishes proceedings, as open-minded keys groove alongside hardnosed beats and an energetic bass.

C-Soul – Feel It (On The House)

Magnus Asberg and Jimmy Day bring forth the first outing on On The House, and unsurprisingly, it’s a powerful four tracker of dancefloor bothering House. “Feel It” glides playful keys and flying synths over pumped beats and a strong bass, whereas Lo-Motion’s revision places energetic keys over a sturdy bass. “Trippin’” is clean-cut acidy floater, whilst “I Want Your Love” is a desperate synth fuelled Houser, and unfortunately not a cover of a Chic record.

Blacksoul – I Got Soul (Deepfunk)

Bumpin’ Housers Deepfunk return with Blacksoul’s bad-tempered “I Got Soul”. On the original version, flippant vocals ride wind-whistling synths, heel dragging bass and bangin’ beats. Alex MC’s ‘Sprayfonk Remix’ is a smartly synthed reinvention, whilst a grouchy bass and weak keys meet on JT Donaldson’s remix.

Shitdisco – Disco Blood (Fierce Panda)

Instead of making below par disco as their name suggests, Shitdisco actually produce electrocutingly focused guitar and drum driven compositions. Jerky drums, guitar complications and rough edged vox meet on “Disco Blood”, which gets a demented overhaul from Clor. “I Know Kung Fu” places clashy-sing-shout-shrieking poncy vocals over knife stab drums and deadly guitar work, and the ‘Konx-om-pax Remix’ is a little crazier.

Undo – Believe Me (Sistema & Vicknoise Remix) (Factor City)

Undo ask the listeners to trust them, but it’s only really the Sistema & Vicknoise Remix that really convinces. Poking beats, a snarling bass and slavering synths do the work on this fine retouch.

Just in case you haven’t heard it so far. Courtney Pine has released a new album almost a month ago. It’s called Resistance and it features the fabulous Juliet Kelly on the song I Can’t Say Goodbye. If you want to know how Juliet met Courtney then read the jazz-not-jazz interview with Juliet from September.

In conjunction with radiopellenera jazz-not-jazz presents a weekly show with quality soul, jazz and house music. You can catch the show every Sunday from 13:00-15:00 UTC+2 and if you missed it it will be repeated on Tuesday (07:00-09:00 UTC+2) and Friday (12:00-14:00 UTC+2). For conversion to your local time zone have a look at the wikipedia or at radiopellenera’s schedule on live365.com.

Here’s the playlist for the show starting Sunday 27th, 2005.

Robert Mitchell’s Panacea: The Thief Of Dimensions (from Trust)
Doug Carn: Search For The New Land (from Spirit Of The New Land)
Alice Coltrane: Going Home (from Lord Of Lords)
Subterraneans: Night In Tunisia
Sunny Sumter: Death Do Us Part (from Freedom Sampler)
Naima Shamborguer: Jeannine (from A Blossom Sings)
Juliet Kelly: Secret (from Delicious Chemistry)
Monica Dillon: You Don’t Know What Love Is (from All I Have Is A Moment)
Cloud Nine: Shakamoshoomboom (from Millenium)
Santos feat. Victor Caldee Ay Mama (from Ibare River Crossing)
Felicidade A Brasil: Berimbau (from Felicidade A Brasil)
Mica Paris: Love Bizarre
Absolute: Introduce Me To Love
Joseph Anthony feat Be La Key Love It When It’s Like This
Martha Redbone: Atlas (from Skintalk)
Frank McComb: Do You Remember Love (from The Truth)
Val Watson: V-Boppers & Fingerpoppers Where U B (from Live At The Funk Lounge)
Jaguar Wright: Do Your Worst
LAL: Dancing The Same (from Warm Belly High Power)
Carl Hancock-Rux: Human This Morning (from Rux Revue)
Paradiso: Let Yourself Go (from Paradise || Paranoia)
Sounds Of Blackness: The Harder They Are The Bigger They Fall (E-Smoove Harder Anthem)

I’ve mentioned the DVD One Week With Jhelisa - Rediscovering America last week. In the meantime I had the pleasure to see this 52 minutes of footage and it’s highly recommendable for every Jhelisa fan. Markus Bader and Jan Hagenkötter filmed Jhelisa while she was in New Orleans in the spring of 2005 working on a new album. So there’s a lot of local colour, which is now unfortunately lost forever since the New Orleans shown here doesn’t exist anymore, to be soaked up on this DVD.
Jhelisa talks openly about her past. How she growed up in the USA in Jackson, Mississippi, and in Lousiville, Kentucky, with her parents, how she was bribed with candy by her father to start singing with her family, how she worked for Motown and Capitol Records in the 80s in LA (as a receptionist and telephone operator). And how she finally went to London and became the singer of Soul Family Sensation’s I Don’t Even Know If I Should Call You Baby on the One Little Indian imprint. The rest is like one says history when Jhelisa released Galactica Rush on Dorado and the hit Friendly Pressure. Jhelisa talks in detail about her records Galactica Rush, Language Electric and Galactica Moods and her work with Courtney Pine on Trying Times.
Generally Jhelisa seems to be very down to earth. For example getting acknowledgement from Chaka Khan meant so much more to her than any Grammy award. And Chaka also covered a song by Jhelisa, which unfortunately hasn’t been released yet, but Jhelisa has a CD of Chaka’s version of Death Of A Soul Diva.
Naturally Jhelisa talks about her new album and songs like Hunger In A World Of Plenty or Freedom’s Land. You can watch Jhelisa putting together the latter in a recording session. From what can be heard on this DVD her album Discovery Of Amazing will be one of the musical highlights 2006.
It’s interesting to find out how much traveling the world has changes Jhelisa’s view on the USA. She even talks about being some kind of brainwashed while she lived there.
One Week With Jhelisa is very interesting footage about a highly original artist which will certainly appeal to you even if you’re not a die-hard Jhelisa fan. I wish there would be more documentations like this about musicians who dare to be different and defy musical borders.
(below are a few stills from the DVD)

One Week With Jhelisa was released by Infracom November 1st, 2005.

For more infos visit infracom.de (the DVD is available online only) and read Jhelisa’s thought about the hurricane Katrina.

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 Friday (November, 25th) you can listen to a selection of music mostly reviewed on jazz-not-jazz over the years plus some favourites from yesteryear like Kipper Jones’ cover of the Isley Brothers’ Footstep In The Dark or the gospel inspired Soon I Will Be Done and I Feel Like Going On from the Five Heartbeat soundtrack.

Kipper Jones: Footsteps In The Dark (from Ordinary Story)
Sirius B. Project: Autumn Breeze (from Sirius B. Project)
Fay Victor: In The City (Sham Time) (from Darker Than Blue)
Joanna Pascale: Give Me The Simple Life (from When Lights Are Low)
JC Hopkins: One Never Knows (from Underneath A Brooklyn Moon)
James Love: Sack Full Of Dreams (from Invitations)
Ruth Brown: When I Fall In Love (live) (from Have A Good Time)
Frankie Knuckles: Soon I Will Be Done (from Beyond The Mix)
Eddie, Baby Doll & The LA Mass Choir: I Feel Like Going On (from The Five Heartbeats MPST)
Sandra St. Victor: Conversation With G (from Gemini Both Sides)
Robert Gordon: What’s A Man To Do (12″)
H2O Productions feat. Chinablac: Bae Be (from While U Wait)
Danny Madden: Get Off Into You (Love Controversy II) (from These Are The Facts Of Life)
Russell Taylor: Somewhere (from Soulstar Vol. II)
Rachelle Ferell: Individuality (Can I Be Me)
Ola Onabule: Alive Tonight (from In Emergency, Break Silence)
Ian Martin: Knockdown Side Done (from The Way)
Don-e & Omar: No Reason (from Try This)
Juju & The Space Rangers: Plastic (from African Rhythms 1970-1982)
Teena Marie: Don’t Look Back (from Wild And Peaceful)
Sunny Sumter: Freedom Oh Freedom (from Freedom Sampler)

Russell Taylor’s debut album, which will hopefully be with us in early 2006, will be named Somewhere In Between and it will feature songs that appeared on The Soulstar Vol. II. Russell’s currently in the studio to re-record some of the songs with a live band. Inbetween he luckily found some time to answer the questions of the notorious jazz-not-jazz interview about his recordings with the Basement Boys, his music and the struggle as an independent artist.

Q: I first heard of you on Fool For Love and the other collaborations you did with Teddy Douglas and Jay Steinhour for their Basement Boys Records imprint. Please tell me more about this part of your life.

Russell Taylor: Teddy heard me sing the first time at a mutual friend’s mother’s funeral in Baltimore, MD It was a very sad occasion, and I was asked to sing “Their eyes are on the Sparrow”. I can remember, it was cold and raining and such a horrible time, but I did what I had to do. Teddy said that he was impressed with my artistry especially considering the nature of the situation and he wanted to give me chance to see what I could do in the studio.

Q: While the songs you did with the Basement Boys are house you’re album Soulstar Vol. II is a classic soul album. Was this a consequential evolution for you to come up with a soul record? And where do you see the difference between writing/recording a house song and a soul song?

Russell Taylor: Well, I have always been a Soul/R&B artist in my mind and the Basement Boys have been known for their stirring soul and gospel tracks in the house music arena. It was not too much of a stretch to work with them. Additionally, all the tracks that I had written with them (most of them unreleased) were written with a Soul sensibility, and we just adjusted them to fit with the 125+ bpm. I don’t believe there is a difference between writing in the two genres. I believe if the energy and the sentiment is there, then you can’t go wrong. A good record is a good record, especially if it has the power to make you feel something.

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

V/A – Explosive Hi-Fidelity Sounds: Mixed by Jerome Sydenham (BBE)

Recorded live at Club Neighbourhood in London, this CD captures the hypnotic nature of Sydenham’s full figured House selection. Charged technified offerings work alongside empowering vocal structures on this highly entertaining mix, which has been liberally sprinkled with tracks from Sydenham’s own Ibadan imprint. Glen Lewis feat. Mjojo and Bongani’s “Life Everlasting” earnestly pays homage to God, over holding keys, emotion heightening strings and trustworthy drums. Pete Heller’s ‘Filtered Edit’ of Ferrer & Sydenham Inc’s “Sandcastles” tweaks those poised synths, composed keys and hailing strings rather pleasantly. Sturdy keys and grandiose strings sit behind Byron’s convincing vocals on Ten City’s “Devotion”, which has been given another coat of paint by NY re-edit master Danny Krivit. I wish I’d caught this set live…

V/A – Soultec Selected Vol 1: Mixed by Martin Brodin (Deeplay Soultec)

Great Techno and ballsy House is the focus of this smoothly segued mix from Deeplay leader Martin Brodin. Mainly looking at the techier side of things, Brodin has picked out some beauties. An-2’s “Nu Boogie” sets provocative guitars on a bed of hitting beats and a frostily staring bass. Those love giving strings, far-reaching bass hits and frothed syntheticism still do the damage on Metro Area’s mind-bending “Miura”. Coarse keys and a muddy bass make Aril Brikha’s “Groove La Chord” stand out. Ideal for those who life’s techier pleasures.

V/A – Freshly Composted (Compost)

It doesn’t seem that long since Compost reached their first century of releases, but here they are at 200, with a CD which is a reminder of recent output and a sneaky peak at what’s to come. There’s an awful lot to choose from on this compilation, and despite the fact that this green fingered label are known for quirky nu-jazz above everything else, this CD has a heavy dose of lopsided House, sharp electrocuting tracks and chilled fair. Alex Attias’ Mustang guised “10,000 Leagues Deeper”, as retooled by Laurent ‘Laboratoire’ Garnier, is a snarling bass rumbler, complete with bewitching keys, evocative vocals and scorched strings. Maurice Fulton plies Beanfield and guest vocalist Ernesto with drink and drugs, as “Close To You” becomes a wonderfully befuddled key groover. Stupefying guitars and spilled percussion are dwarfed by an immense bass on Felix Laband’s “Whistling In Tongues”. This is a stylish roundup, which features some pretty tasty cuts and shows how the imprint has developed since reaching their first century of releases.

Rebel Clique – Unique Connection (Ample Soul)

The portly Fat Jon hooked up with Amleset Solomon to bring this album of eloquently vocalised aching neo soul and true hop. Some of the cuts area a little weak in the vocal department, but when Jon and Amleset get it right, the results are magnificent. “More Than U Know” floats syrupy vocals over an expandable bass and flutes that smell of roses. “Calling” is a heartbreaking track, where sensitive guitars and feet dragging beats sit beside the plea making vocals. Glinting keys, grounded percussion and lovely vocals appear through the “Looking Glass”. Nu hop soul from the heart.

V/A – Nicci Cheeks Presents Hip Hop Love Jazz (Kwerk)

Fiddly jazz backings and romanctic entanglement focused lyrics dominate this fine comp, which is slightly marked by the appearance of a few frankly ludicrous skits. “Hip Hop Love Jazz” is an ideal valentines day present for a bboy with a soft side. The pain of being knocked back by an object of desire in the focus of The Procussions’ persistently guitarred “Miss Januray”. Pedestrian beats and downcast keys form the backdrop to Wordworth’s candid vocals on “It Ain’t You”. “Nutshell” sees Kim Hill’s devout vocals rides pacifying keys and clapped electroi beats. A sweet musical offering.

Anthony B – My Hope (Minor7Flat5)

Anthony B’s conscious vocals are met by 21st century rootsy musical backings on this album for the Minor7Flat5 imprint. “Global Awareness” vents frustration against pointless conflicts, over soft percussive rhythmics and patient keys. A sugar coated sax does all the work on the admiration filled “Girl Look Fine”. A well looked after bass, rootsy brass and straight thinking beats meet on “Crown I”. A modern rootsy offering with some special moments.

Josie Mel – Rasta Still De ‘Bout (Minor7Flat5)

Josie Mel is another conscious Reggae artist who speaks from the heart, and his honest vocals are matched by sweet musical backings with a dubby tinge. The instant standout is “All Over Your Face”, where mournful horns and a slow moving bass back pained vocals. R’n'B type stepping beats and a flowing bass link up under vocals that chart the life-changing influence of Mel’s Rastafarian faith on “Hail H.I.M.”. “He Lives” is another buoyant offering, where scrunched guitars, praising vocals and a lifting bass meet. Great stuff.

Jan Jelinek – Kosmicher Pitch (~scape)

Influenced by cosmically inclined Krautrock and ‘Wild Pitch’ angled House records, “Kosmicher Pitch” is an intriguing slice of layered electronica. Ranging from barren sound constructions to heart touching moments, it takes effort to understand and appreciate this album. “Lemminge und Lurchen Inc.” takes its strength from a stern faced bass and ghostly keys. The guitars do a lot of looking around on “Lithiummelodiel”, as a bass drifts under unflinching beats. Guitar led confusion and dazed keys meet on “Western Mimikry”. Fascinating in places, and a little on the dull side in others!

What I really love about British Jazz musicians is that they usually have a different approach to their music compared to their (US) American counterparts. The British version of Jazz sounds more open to various influences and is often highly original. Take Courtney Pine or Juliet Kelly for example. Or Robert Mitchell and his Panacea Project. You might know Robert as a member of the bands Quite Sane, Tomorrow’s Warrior and J-Life (here alongside Julie Dexter) or from his first Panacea album Voyager released in 2001 on Dune Records.
Like its predecessor Trust is an album that demands your attention and time but rewards you with some great and inspiring music that expands the borders of jazz music. Look at the name of the songs and it’s obvious that this isn’t another run of the mill album.
Again Robert Mitchell (piano, rhodes, wurlitzer, composer, arranger etc.) has teamed up with Richard Spaven (drums), Barak Schmoll (saxophones), Volker Sträter (percussion) and Tom Mason (bass, replacing Nico Gomez) to form Panacea. Eska Mtungwazi who sang on Voyager only appears as guest vocalist on Breath On The Mirror this time. Instead, Robert has found Deborah Jordan, who debuted on Silhouette Brown’s album earlier this year, as musical alter ego to breathe life into his lyrics on most songs.
The dark and introspective If These Walls Could Talk features British veteran jazz singer Norma Winstone while Eugene Skeef talks about nomadic existence on the epic Shukran, by the way a dedication to Bheki Mseleku. The downtempo title song, Trust, is maybe the most traditional jazz song this album has to offer. Songs like The Thief Of Dimensions with its minimoog solo and organic instrumentation will certainly appeal to soul music fans while The Brink with its fusion of broken beats, jazz and weird key solos will also find its fans amongst nu jazz/broken beat lovers.
The album’s closer Ocean (In A Small Hand) is an interesting experiment with Robert creating a slow chill out athmosphere on piano with some wind effects and Gurdeep Stephens adding scatting overdubs of doh doh doooohs and even some gurgling sounds. Sounds odd on paper but this comes along as a fine lullaby.
Like mentioned above, this album may not appeal to everyone but it will take the open minded and persistent listener into beautifully arranged unheard soundscape. Highly recommendable if you want to discover something completely different.

Tracklisting of Trust: 1. The Brink/ 2. Cotopaxi/ 3. Breath On The Mirror/ 4. If These Walls Could Speak/ 5. The Thief Of Dimensions/ 6. Shukran/ 7. Trust/ 8. A Heart (Full Of You)/ 9. Ocean (In A Small Hand). | released 2005 F-Ire

For more infos visit robertmitchellmusic.com and f-ire.com.

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

The recently reviewed When The Sun Comes Out by Amy Banks offered a fine selection of standards and cover versions plus one original song. Ruined For the Rest is actually the only song Amy has written so far as she tells in the jazz-not-jazz interview. If you want to know what Betty Carter has to do with this and why Amy is doing fine right in the middle of Amish farm country then keep on reading:

Q: Both your parents were music education majors at Eastern Illinois University. How influential were they for your musical education and how supportive were they when you’ve told them you wanted to pursue a singing career?

Amy Banks: My parents are the sole reason I attached to music. When we were little, they would sing little songs to my brother and me before we went to sleep at night. I had piano lessons by age eight and learned to play the French Horn because of their urging. Ironically, I wouldn’t call them particularly fond of my vocal performance career. I’m clear they would have preferred I be a music teacher, rather than the unpredictable circumstances that sometimes dictate the security of a stage performer. In fact, I’m certain my Dad still doesn’t understand the fact I’m actually an accomplished singing professional.

Q: You’ve performed in numerous musicals and for the American Music Theater in Lancaster. How helpful has this training (singing on a daily basis the same songs for a long time) been for you?

Amy Banks: The experience is truly incredible. I’m not the same singer I was when I arrived at the theater four years ago. The biggest benefit, however, has been working with people more experienced than me. My best teachers are those who set an example on the stage. And performing a specific show on the theater stage for a house of 1600 is a different animal than singing jazz standards of my choosing for an intimate crowd. Precision and control are paramount, and those skills roll-over on the jazz stage.

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Infracom has recently released the DVD One Week With Jhelisa - Rediscovering America to proceed Jhelisa’s third solo album Discovery Of Amazing.
The DVD contains material film director Markus Bader and Infracom label manager Jan Hagenkötter shot while visiting Jhelisa in New Orleans in spring 2005 in New Orleans as she worked on her forthcoming album “Discovery of Amazing”.
So far the DVD is only available online on the label’s website for a reasonable price of six Euros.

In conjunction with radiopellenera jazz-not-jazz presents a weekly show with quality soul, jazz and house music. You can catch the show every Sunday from 13:00-15:00 UTC+2 and if you missed it it will be repeated on Tuesday (07:00-09:00 UTC+2) and Friday (12:00-14:00 UTC+2). For conversion to your local time zone have a look at the wikipedia or at radiopellenera’s schedule on live365.com.

Like with the recent show on radio42 there’s no special theme this time…just enjoy two hours of simply good music!

Terry Callier: Love Theme From Spartacus (from Timepeace)
Nnenna Freelon: What Am I Here For (from Shaking Free)
Doug Carn: Infant Eyes (from Infant Eyes)
Oneness Of Juju: West Wind (from Oneness Of Juju 1970-1982)
Alice Coltrane: Ptah, The El Daoud (from Ptah, The El Daoud)
Deodato: Prelude To The Afternoon Of A Faun (from Prelude)
Build An Ark: The Stars Are Singing Too (Door Of The Cosmos)(Sunny in LA Mix)(from The Myth Lives On - Sun Ra Dedication)
Gil Scott-Heron: Wiggy (Alternate Take)(from Free Will)
Fertile Ground: Black Is (from Black Is)
The Rebirth: Revolving Door (from This Journey In)
Alice Russell: I’m Just Here (from My Favourite Letters)
F.B.I.: Free Prison (from F.B.I.)
Speak In Tones: Umkathi (from Subaro)
Abbey Lincoln: People In Me (from People In Me)
Nuwamba: Savior (from Above The Water)
Sound Insight: Reflections (from Closer Than Close…And Friends)
Tia Imani Hanna: Brazil The First Time (from The Book Of Tia Chapter One
Carmen Lundy: (I Dream In Living Color)(from This Is Carmen Lundy)

Courtesy of Jon Freer from mosoul.co.uk here are ten reviews of available and to be released 12″ singles (sorry no cover shots or tracklistings this time):

Atjazz feat. Ernesto – Put It On (Osunlade RMXS) (Mantis Recordings)

The first fruits of Martin ‘Atjazz’ Iverson’s new work is this fine single with vocals from emotional Birmingham based singer Ernesto, which has been revisited elegantly by spiritual House genius Osunlade. The ‘Club Mix’ places clear thinking percussion and worried synths under Ernesto’s anguished vocals. The ‘Yoruba Suite’ is a lengthier touch up, where unsettled keys, pushy synths and deeply upset keys strive to learn the truth.

NoTenshun – Amarante (Phil Asher Mix) (Chillifunk)

Phlash has really come up with the goods here, stripping down a highlight from NoTeshun’s recent LP and sprinkling it with his magical Restless Soul dust. Playful guitars and beats that have a certain spring to their step come together perfectly on Phil’s ace renovation of “Amarante”.

Sleepwalker – River Of Love / Eclipse (Especial)

Exhilarating jazz angled vocalist Bémbé Ségué returns to Especial in order to add her uplifting tones to an originally speechless cut from modern jazzers Sleepwalker. Bémbé’s exclaiming vocals coat saintly keys, a heavenward gazing sax and sprinting drums on “River Of Love”. An optimistic sax, keys of joy and pacey cymbadelic percussion block out the sun on “Eclipse”.

Kraak & Smaak – One Of These Days (Balearic Soul Mix) (Jalpeno)

Despite their two-pronged name, Kraak & Smaak are actually a Dutch breaks loving trio. This release from the group comes with a handful of mixes, and the Balearic Soul mix wins hands down. Persuasive beats, ever so good keys and unapologetic vocals combine on the hot interpretation from Balearic Soul.

Matthias ‘Matty’ Heilbronn feat. Inaya Day – I Made It (suSU)

Inaya Day may be best known for voicing glossy House cuts, where vocals are often cleaned to the point of masking talent, but this women has a voice to die for, as this outing with Matthias shows. Inaya’s relieved vocals soar over big drums and complicated synth work on Matty’s ‘II Deep Mix’ and she comes on all diva–like on the ‘Acid Thunder Mix’, which harks back to the tougher NY House sound of clubs like the Sound Factory. The ‘Soulflower Dub’ lets raising keys and a moody bass groove away, whilst the seriously uplifting ‘Sensible House Dub’ makes room for some synthiliated madness and a super confident key display.

Shaheer Williams feat. Stephanie Cooke – Show Me (Fanatix RMXS)(Soul Groove)

The wondrous Stephanie Cooke has reached the end of her tether and is in no mood to be messed about. Unfortunately, those Fanatix kids do exactly that, dashing the hope created by sweet synths with some rough bass work and rotund beats. Their Dub pushes the synths out over knocking beats, so it’s down to Shaheer’s ‘keyapella’ to create an understanding backdrop for Stephanie’s complaints.

Bossa Futura – Sol Y Luna (Further Out)

Further Out will certainly be one of those labels to watch in 2006 for the neo jazz and Brazilian appreciating set. “Sol Y Luna” watches the sun melt beautiful vocals into the keys, as a magical trumpet dances under the light of the moon. “Inside Your Head” is meditative outing, where contemplative guitars and upward staring strings do most of the thinking.

Roger – Kids And Thieves (Mate)

A.N.I.M.A.L. give Roger a devastating kick in the teeth, turning a Pet Shop Boys influenced tale of angst entitled “Kids And Thieves” into something a whole lot nastier. Shouty vocals, snackin’ beats and violent bass guitar work are responsible for the irreparable damage to the features. Gritty guitar work colours the Sigils mix and Sly Wink’s version takes some detached synths along for the ride, but neither reach the heights of A.N.I.M.A.L’s version.

The New Shapes – Waiting For A God (Pop Records)

Workman like yet satisfying live and on record, The New Shapes have made more familiar yet pleasing musical models on this release. “Waiting For A God” sits aggrieved vocals over reliable guitars and simple beats. The excitement of novel experiences is the subject of the similarly direct “New Queen”.

The Young Knives – The Decision (Transgressive)

Vociferous in an ever so theatrical type of way, The Young Knives’ vocals don’t sit comfortably on their musical compositions. “The Decision” places nonsensical vocals over nagging guitars and masked drums. Odd…

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 there’s no special topic for the show, just two hours of good music from jazz to soul to classic rhythm & blues to funk to house. Enjoy!

Joanna Pascale: Stardust (from When Lights Are Low)
Amy Banks: Poetry Man (from When The Sun Comes Out)
Dee Dee Daniels: Honeysuckle Rose (from Feels So Good!)
Teri Thornton: Knee Deep In The Blues (from I’ll Be Easy To Find)
Joe Sample & Lalah Hathaway: When The World Turns Blue (from The Song Lives On)
Teena Marie: Main Squeeze (feat. Lenny Kravitz)(from Passion Play)
Giorge Pettus: Don’t Put Me Off ‘Till Tomorrow (remix)(from This Is Your Night)
Closer Than Close: So Much Feeling (from Closer Than Close…And Friends)
Ola Onabule: Wonderful Feeling (from Ambitions For Deeper Breadth)
JTQ feat. Alison Limerick: Love Will Keep Us Together (Full Length Album Mix)
Donell Rush: Symphony (BNH Remix)
F-Mob: T’s Joint (from Once In A Blue Moon)
Quantic feat. Spanky Wilson: Don’t Joke With A Hungry Man (from Stay On The Groove)
The Temptations: It’s A Lonely World Without Your Love (from Gettin’ Ready)
Ruth Brown: 5-10-15 Hours (from Miss Rhythm - Greatest Hits And More)
Sharon Jones & The Dapkings: What If We All Stopped Paying Taxes? (from Stay On The Groove)
Bird & The Midnight Falcons: Baby Stop Running Around (from The Five Heartbeats MPST)
The Time: Jungle Love (from Ice Cream Castle)
Ten City: For You (from Foundation)
Loni Clark: Love’s Got Me On A Trip So High (Mood II Swing Mix)
Bah Samba: Let The Drums Speak (Phil Asher’s Restless Soul Mix)
The Fatback Band feat. Bah Samba: Spanish Hustle (Bah Samba’s Americana Latina Mix)