Was it really nine years ago when Jhelisa Anderson had released her second album Language Electric on Dorado back in 1997? Time really flies. In these nine years a lot has happened and the world has become a powder keg like never before with western societies on the verge of collapse ready to sacrifice fundamental rights to fight terrorism. And it looks like more and more countries are run by mad men who care more about big corporations than they care about the people who’ve voted for them.
Of course these nine years also brought many changes in Jhelisa’s life. Her former musical home Dorado Records somehow disappeared for a while from the scene, she recorded songs with amongst others Courtney Pine, Block 16 and a version of Goldie’s Inner City Life with [re:jazz] for the German Infracom! label, which will soon release her new album.
Jhelisa travelled the world and finally went back to her native country, the United States of America. In 2004 she went to New Orleans and soon began working on a new album which initially was titled Discovery of Amazing.
The included DVD documentary “One week with Jhelisa - Rediscovering America” (which has been reviewed here with some stills) gives you a good impression about Jhelisa’s time in New Orleans. But, alas, natural and man-made disaster occurred when Katrina destroyed most parts of New Orleans. (Jhelisa also wrote down her thoughts). Unlike many other people Jhelisa was fortunate enough to escape in time. Eventually she finished the album, which is now renamed A Primitive Guide To Being There, in Atlanta, where she now lives.
“I certainly look at our humanity as primitive,” Jhelisa says. “I look at my developing ways as “primitive”, but hopefully, I am growing into advancement in my struggle to “BE THERE”, to arrive at an ultimate strength of faith and hope and unpenetrable endurance of spirit. Much like evolution. From my perspective, “a primitive guide to being there” is to me like a global gumbo, ready for consumption, in all of its varying degrees.”
A musical gumbo with a meaning would sum up her new album in a nutshell. Jhelisa soaked up the music she heard in recent years whether it’s the blues and soul of New Orleans, the local music of South Africa or hints of Native American music and Asian influences. And one look at the song titles will assure you that Jhelisa’s still fighting for the right thing as she did with songs like That’s Bullshit Woody or Sell Me Away.
The album kicks off with the funky and fast stomping Freedom’s Land with Terence Higgins from the Dirty Dozen Brass Band on drums. Jhelisa ministers in a New Orleans church and you are invited to dance and share her motto Ain’t Gonna Let Nobody Turn Me Around.
Flute Band In Gauteng is inspired by Jhelisa’s visit of Johannesburg, South Africa. Gauteng is the native word for Johannesburg. Despite the title this has a distinctive UK electro soul flavour. Fans of Chaka Khan may look out for a cover version Chaka promised Jhelisa.
Culture Of Silence is Jhelisa’s statement about what’s wrong in the USA. “It angers me, it frightens me, it most of all puzzles me,” Jhelisa says, “I do not understand the nature of injustice, and how it can dominate, when there is always only a few in control of the many. A culture of silence, perhaps this is process of a dying star.”
Actually this phenomenon, that the masses are just silent about the injustices forced upon them by a few, isn’t limited to the USA. It’s something most western democracies are going through, like Germany or the UK.
The epic Journey Of Life In 9 Minutes is one of my favourite songs on this album. This musical tour de force with lots of Asian inspired percussion by Pandjit Danish is certainly a winner for everyone who’s open for musical experiments.
The beautiful soul song Love Is A State Of Mind is a welcome change and further proof of Jhelisa’s versatility, who delights us with a soulful ballad with classical patterns in the tradition of soul music’s halcyon days.
Walking On Air, a fast song with some pop appeal, features Terence Higgins again plus James Singleton on bass. I must admit that’s the song I will surely need more listenings to really get into it. Although I like the ethereal harp at the ending very much. “Walking On Air was such a different departure for me melodically, it was so simple I was afraid of it,” Jhelisa states, “of course I had to try to corrupt it the best way I could, put two moods together that are not supposed to go, I had to put suspense in happiness, plopped in the middle is the darker verse, the hesitant seductress contradicting the good and pure mood of love from the chorus, I felt new about love again and it felt so so good. When I wrote this song. I was suspicious of this much happiness, but I explored it anyway. Thanking another New Orleans native son Terence Higgins on the African Latin New Orleans rhythms, and New Orleans based James Singleton on acoustic bass. Our work was cut short by Katrina, but we managed to make this song live.”
Far I Have Come Far I Must Go is a pleasant mediative downtempo track with the title sung like a mantra. In some way it reminds me of Death Do Us Part from Sunny Sumter’s Freedom Sampler.
Another highlight is the album’s closer Survivin’ (I The Key Of Eflat). This slow and emotionally touching track was finished in Atlanta after Jhelisa’s escape from Katrina.
On the whole A Primitive Guide To Being There is a more than welcome inspiring return of Jhelisa and this album has truly been worth the wait. Let’s just hope that we don’t have to wait another nine years for the next album.

Tracklisting of A Primitive Guide To Being There: 1. Freedom’s Land/ 2. Flute Band In Gauteng/ 3. Culture Of Silence Part I/ 4. Culture Of Silence Part 2/ 5. Journey Of Life In 9 Minutes/ 6. Love Is A State Of Mind/ 7. Walking On Air/ 8. Far I Have Come, Far I Must Go/ 9. Survivin’ (In The Key Of Eflat) + DVD documentary “One week with Jhelisa - Rediscovering America” | released April 7th, 2006 by Infracom!

For more infos visit infracom.de.

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

In conjunction with radiopellenera jazz-not-jazz presents a weekly show with quality soul, jazz and house music. You can catch the show every Tuesday from 07:00-09:00 (UTC+1) and if you missed it it will be repeated on Friday 12:00-14:00 (UTC+1) and Sunday from 13:00-15:00 (UTC+1) . 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 today 28th:

Jazzhole: Winter’s Melting (from Circle Of The Sun)
Amp Fiddler: I Believe In You (from Waltz Of A Ghetto Fly)
Maiuko: Sweet Black Mama (from Different Wars)
Jhelisa: Journey Of Life In 9 Minutes (from A Primitive Guide To Being There)
Martha Redbone: Children Of Love (from Skintalk)
Tommy Sims: A New Jam (from Peace And Love)
Carleen Anderson: My Door Is Open (from Soul Providence)
Quantic feat. Spanky Wilson: Don’t Joke With A Hungry Man (from Stay On The Groove)
Mamayo: The Wheel (from The Game)
Postmodern Jazz: Darkness Into Light (from Love Not Truth)
Emma Hutchinson: Homeless In Hollywood (from Hummingbirds)
Maya Azucena: Like No Other (from Maya Who)
Stephen Simmonds: Judgement Day (from Spirit Tales)
Greenlaw Ave: These Streets (from Time And Energy)
Gwen Guthrie: Never Knew Love Like This (from Hot Times)
Alice Russell: Sweet Is The Air (from Under The Munka Moon)
Doug Carn: Naima (from Revelation)
Carl Hancock-Rux: Lamentations (from Apothecary Rux)
Sun Ra: Images (from Space Is The Place)
Andile Yenana: Dream Walker (from Who’s Got The Map)
Kenny Burrel: Nica’s Dream

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 global24music.com/rautemusik (look for Lounge there).

Here’s the playlist for Friday, 24th:

Lefties Soul Connection: Doin’ The Thing (from Stay On The Groove)
Sharon Jones & The DAP Kings: Stranded In Your Love (feat. Lee Fields)(from Naturally)
Daysahead: Take Your Time (from Turning Point)
Jazzhole: A Little Dress For Mary (from Circle Of The Sun)
Nick-e: I Say (from Mosaic)
Natural Selection: Sweet Intruder (from Come On Over)
Fertile Ground: New Born Grass (from Spiritual War)
The Rebirth: Mark Of His Ways (from This Journey In)
Five Point Plan: Damn (from Rare)
Postmodern Jazz feat. Roy Ayers: Love Not Truth (from Love Not Truth)
Marcus Strickland: Predator (from Brotherhood)
Bernadette Seacrest & Her Yes Men: Caravan (from Live)
Alice Coltrane: My Favorite Things (from World Galaxy)
Larry Epstein: From Then Till Now (from myTunes!)
Doug Carn: Acknowledgement (from Infant Eyes)
Caballero-Verde Quintet: Cool Down (from Past Due)
Grupo X: For A Life (from Food For Your Latin Soul)
Luis Mario Ochoa: To Brenda With Love (from Cimarrón)
Art Farmer Septet: Mau Mau
Cedar Walton: Latin America
Da Lata: Ronca Da Cuica (from KJM)

[note: For more info about Postmodern Jazz visit the website.]

Courtesy of Jon Freer (mosoul.co.uk) here are eight reviews of soon to be released albums (sorry no cover shots or tracklistings this time):

Marc Mac Presents Visioneers – Dirty Old Hip Hop (BBE)

Three and a half years after the first infuriatingly limited Visioneers 7″ surfaced on Omniverse, the full album finally appears on BBE. Thankfully, the wonderful tracks on those rare 7’s have been included on this musically moving long player. Emotion stirring guitars, anxious strings and lovely flutes appear on the sublime cover of “Runnin’”. A bright and breezy live bass, vibraphone twinkles and neat percussion do the encouraging on “The World Is Yours”. A fine non 7″ cut is “It’s Simple”, where romantic keys swoon over dreamful guitars and steady percussion. Steeped in a love of stirring jazz and paying respect to Hip Hop studio wizards, you could be forgiven for thinking Visioneers were a live entity. In reality, Visioneers is merely Marc and his mates in the studio, but if they chose to create their own live entity from this outfit, I think they’d give rather impressive performances.

V/A – Soul Heaven Presents MAW (Soul Heaven)

This straightforward House compilation shows the tracks that are currently finding favour with this pair of Nu Yorican masters. Kenny’s disc ranges from huge lunged vocal cuts to tough instrumental House, whilst Louie has chosen mainly engaging vocal outings. Hot tracks from Dope’s set include Ruffneck’s wonderfully high-spirited “Baby You” and a revitalisingly keyed touch up of Trina Broussard’s ecstatic “Joy”. Louie serves up delights such as K-Dope’s attractive remix of “Holiday” from Roy Ayers and the tribal drumming frenzy of “Mafungo” from The Bayara Citizens. The final disc of this three CD set lets MAW pick out a few records that have influenced them, thus giving listeners a glimpse of Kenny and Louie’s past, as well as their present.

V/A – Shapes Compilation (Tru Thoughts)

Nu-Funk and Broke Jazz titans Tru Thoughts have joined up with Hip Hoppity sister imprint Zebra Traffic to release this ace comp, which features hot new material from both camps. Various musical persuasions are catered for on this swingin’ and hoppin’ CD, which has to be one of the best compilations Tru Thoughts have ever released. Quantic’s “An Announcement To Answer” gives letting off steam brass a starring role, as chunky beats and plugging away keys join in the fun. Diesler’s awesome refix of Nirobi & Barakas’ “Bungee Jump Against Racism” pits butt-moving brass against angular vocals and drums that weigh just the right amount. Diesler also gives us the impressively Housed “A Little Something”, where Laura Vane’s fear allaying vocals delight over impatient brass and keys that don’t put a foot wrong. There are only 1000 of these little beauties being pressed, so start searching now!

V/A – The Golden Singles (Sunburn)

San Fran’s Sunburn imprint release records with character. Whether it’s trippy psychedelic House, indieful guitar driven breakers or electrocuted sparklers, they’ve all got that distinctive tan. Lovesky’s “Come Back To Me” as revisited by Hakan Lidbo, sees honest guitars and sparkled synths meet under pleading vocals. Boozy & Swan’s “Champagne Beat Boogie” is a gloriously drunken night on the tiles, where jiving beats, bleepy keys and inebriated vocals provides the soundtrack. Understanding plucked notelets, lovely synths and smacked beats meet on Drunken Monkey’s “Gratification”. Embrace
the warmth…

Gym Class Heroes - The Papercut Chronicles (Fueled By Ramen)

Gym Class Heroes are sold as an indie-hip hop group, and this type of categorisation makes my blood run cold. However, I remembered that you should never judge a book by its cover or reject a record without first abandoning your preconceptions and giving it a proper listen. Thankfully, this earnestly vocalised album, which mixes walking pace spoken vocals with singing and faster paced verbals is really rather endearing. The youthful GCH can really play guitars too, placing appealing melodies under angst-ridden vocal lines. “Papercuts” charts the pain caused by torturous emotional attachments, with driven drums and engaging guitars backing wounded vocals. The trials and tribulations of looking for the right girl, yet not being able to find her, is the subject of the bloated bass driven “Make Out Club”. Falling down guitars and strict beats provide the backing on “Faces In The Halls”, which shows what can happen when bullying goes too far. An unexpected musical treat!

Eighteen 18 – Body Armour (Northbridge)

This raggedy album of Hip Hop from Eighteen 18 has multiple personalities, born from the mind of Doncaster based rapper Lexis and the beats of producer Adee. This LP is excruciating nasty, side splittingly funny and harrowingly introspective, all in the space of an hour. Alert keys hook up with vocals that are disturbing yet amusing, on “Ashtray Blues”. “Body Armour” desperately begs for a loved one to return, as dejected beats, earnest strings and a smeared flute back Lexis’ vocals. Brokenhearted vocals weave in and out of time on the slowly beaten “Ruth’s Song”. Bleak yet thought provoking.

DJ Olive – Heaps As, Live In Tasmania (The Agriculture)

Organic dub hop is the musical mainstay of this live CD from DJ Olive. There are supposedly sixteen separate tracks on this album, but they have all been enveloped by an intoxicating green haze and are all presented in a continuous mix. You can just about make out the swingin’ keyed groovement on the title track, “Heaps As”. A showy sax and giggle inducing whistling pop up on the section named “They Make Us All Want To Hate Each Other Don’t Do It”. Reggaetronic keys and teetering brass hook up a little later on “Snail Trails In My Arms”. A mind-expanding journey, best served late at night in a smoky room…

Machomovers – Bare, Deep & Long (Sonntag Music)

Unfortunately, the majority of tracks on this double album are the kind of vacuous plodding four/four tracks that give House music, specifically ‘Deep House’, a bad name. However, it’s not all doom and gloom, as the first CD, undoubtedly the pick of the two, contains a few tracks with an excitable sparkle. The highlight is an amusing remake of Sade’s “Smooth Operator”, where giggling vibraphone keys run amok. “Laidback Whistler” is also worth a mention, pitting quirky mouth music against a groovin’ bass and ‘correct’ beats. Coffee table House anyone?

When it comes to Canada and black music there isn’t an endless list of artists that may come to your mind. Maybe it’s because there isn’t really market for soul, jazz or house there or maybe because musicians rather move to the USA like Ian Martin for example. Well, whatever the reason is, here’s a new artists from Canada that you should look out for. Nicole Pratt aka Nick-e was born and raised just east of Toronto and she’s been attracted to music at an early age and she soon started developing her talent as a vocalist. And with Mosaic she finally showcases her talent as singer, writer and producer on record. With six songs and roughly 30 minutes of music this is actually more an extented EP. But to judge from the quality of Mosaic, Nick-e is surely an artist you will remember.
For me Nick-e sound best in the warm organic music setting of It Feels Good, I Say and If You Were Here.
It Feels Good, an excellent slow soul song, shows that Nick-e has eagerly studied the book of 70s soul written by the likes of Roberta Flack, Stevie or Donny Hathaway. I Say with its subtle jazzy overtones is another winner that recalls soul music’s halcyon days. With the beautiful ballad If You Were Here Nick-e finally digs more into jazz territory.
Muse has a beautiful melody and features a captivating cello, but compared to the afore mentioned songs it could be improved by replacing the drum machine with a real drummer.
The introspective slow cut Turn Me Around will certainly please fans of electro downtempo songs. The message of the modern and aggressive Numb is supported by its electric guitars to good effect. Although, alas, Numb is the one song I can’t get into (but you all know my troubles with the modern sounds of today then). Nevertheless, Nick-e is to applaud for presenting different musical styles on her debut and exploring different directions. All in all Mosaic is an impressive and varied showcase from a talented artist.

Tracklisting of Mosaic: 1. Muse/ 2. It Feels Good/ 3. Numb/ 4. I Say/ 5. If You Were Here/ 6. Turn Me Around | released 2005 Smooth Groove Records

For more infos visit cdbaby.com and nickeonline.com.

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

The San Diego based Caballero-Verde Quintet were formed by Daniel Green (verde is of course Spanish for green) and Bill Caballero in February 2004. They both met already in June 2002, but like all good things, it took some time until they found the right musicians to accompany them on piano and trumpet. And what talented players they’ve what with Jeff “Sly” Simon (bass), Dylan Savage (drums) and Steve Haney (percussion).
With producing the album Past Due and writing six of the nine songs it looks like Daniel Green is the leader of the Quintet and he’s by the way busy with other projects like the 13-piece salsa band Trece de La Suerte.
“Of all the groups I play with, the Caballero-Verde Quintet has always been my favorite,” says Danny. “It’s a real treat for me to have such a great group of musicians play my compositions and arrangements, and I really feel that each one of them contributes a great deal to the material.”
And Danny really comes up with some splendid compostitions on the group’s debut album Past Due.
Take the energetic What Do You Call It for example, a percussion driven song that sums up what’s so great about Latin Jazz. Descarga #1 is another good example of a fast uplifting song that surely will see you moving your hips.
With Juan Melendez’s Karmenalia the Quintet gets more into improvisation and free jazz territory, the result is an instrumental tour de force and another fast paced winner. If you liked the Subaro double album by Speak In Tones last year than I’m sure you’ll like Karmenalia as well.
There’s also time for the quieter moments. The aptly titled Cool Down is a good example that Latin Jazz is not only about hard-hitting danceable grooves but also about ballads with beautiful melodies. The album’s title track Past Due slows down the tempo even more giving Danny and Bill a perfect vehicle to show their musical talent as pianist and trumpet player.
With nine exquisite songs on offer Past Due is a great instrumental album played by a tight band that every fan of Latin Jazz should own.

[edit: I’ve just come to know that Bill Caballero is no longer with the group and it’s simply named the Danny Green Quintet now.]

Tracklisting of Past Due: 1. What Do You Call It/ 2. Cool Down/ 3. Descarga #1/ 4. Drume Negrita/ 5. Obsesion/ 6. Karmenalia/ 7. Trouble On The Beach/ 8. The Nerve/ 9. Past Due | released 2006 by Daniel Green

For more infos visit dannygreen.net and cdbaby.com.

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

River Drum, the recent album by Francisco Mora Catlett, is a welcome change between the more traditional jazz and Latin jazz albums and with the Amazona Suite there’s an inspiring and moving piece of music that would be worth the price of the album alone.
In his jazz-not-jazz interview Francisco talks about the afore mentioned Amazona Suite, his work with Carl Craig’s Innerzone Orchestra and Outer Zone Band and much more.

Q: Your album River Drum has been released some months ago. How content are you with the responses it’s got so far?

Francisco Mora Catlett: This is an album with great significant meaning for me. It was on the shelf for sometime, and at one point it was almost lost (the celluloid in the “2′inch 24 tracks”, where it was originally recorded, decayed and it had to be baked, restored and transfer into a digital format). It is out now and has brought about the opportunity to manifest one of the most important works I have done in Detroit, with some it’s best musical talent. I am also very happy with the audience response; it should have been out a while ago.

Q: Please tell me how you’ve hooked up with Premier Cru Music who released River Drum.

Francisco Mora Catlett: George Katsiris the CEO of the label is an old student of mine from MSU. We have stated to work on his projects in NYC, when he heard the digital master he said it would be a crime to let it sit any longer so he took the initiative to master it and released. I thank him for that his courage and his musical sensitivity.

>>>continue

In conjunction with radiopellenera jazz-not-jazz presents a weekly show with quality soul, jazz and house music. You can catch the show every Tuesday from 07:00-09:00 (UTC+1) and if you missed it it will be repeated on Friday 12:00-14:00 (UTC+1) and Sunday from 13:00-15:00 (UTC+1) . 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 this Tuesday 21st:

Max Roach: Driva’ Man (from We Insist!)
Larry Epstein: Passeggiata (from myTunes!)
Jon Lucien: I Didn’t Know What Time It Was (from A Time For Love)
Mark Soskin: Walk Tall
Courtney Pine: Lady Day And John Coltrane (from Back In The Day)
Carmen Lundy: All Day All Night (live) (from Jazz And The New Songbook)
Maiuko: My Oh My (from Different Wars)
D-Influence: Good 4 We (from Good 4 We)
Mantronix: Well I Guess You (from The Incredible Soundmachine)
Amp Fiddler: Love & War (from Waltz Of A Ghetto Fly)
Grupo X: X-Perience (from Food For Your Latin Soul)
Snowboy: I’ve Got To Learn The Mambo (from New Beginnings)
Reel People feat. Vanessa Freeman: Tomorrow Never Comes (from For KJM)
Jody Watley: All Night Love Affair (from Affection)
Brigette McWilliams: Better Off Without You (from Too Much Woman)
Frank McComb: When You Call My Name (from The Truth)
Vesta Williams: Hunger (from Vesta 4 U)
Teena Marie: Parking Music (from Passion Play)
Asaph Womack: I Apoligize (from My Love My Life)
Lynden David Hall: There Goes My Sanity (from Medicine 4 My Pain)
Julie Dexter: Rain Song (from Conscious)

You may not know it, not only does everybody has a little soul like Carmel proclaimed in the late 80s but you also have a Latin soul which needs to be nurtured. And what could be a more luxurious meal for your Latin soul than Grupo X’s new album?
I first heard of Grupo-X via the Snowboy compiled sampler The True Jazz Dance Session back in 2000, which featured Grupo-X’s Brand New Love with Lisa Millett on vocals. And I was so in love with this song that I didn’t hesitate to get a copy of Grupo X’s debut album X-Posure. While at first I was a little bit disappointed that Lisa only sung on one song I soon discovered the beauty of the band’s own blend of Latin rhythms, jazz and soul. Finally, after a six years hiatus founder Jonny Enright is back with a new album and the good news is that Lisa is featured on six tracks and the new album features overall more songs with vocals on it this time around. The band members Jonny Enright (trombone, organ), Finn Peters (saxes, flute), Jimmy LeMessurier (drums, vocals, keys), Pete Eckford (congas, bongos, percussions), John Crawford (piano, wurlitzer), Simon Edwards (bass, organ), Carlos A. Peña (vocals, guiro, maracas) are supported this time by Trevor Mires (trombone), Olly Drew (guitars), Julie-Ann Gillett Smith (violin) and Janina Kopinska (viola).
With eleven original compositions Food For Your Latin Soul is a cornucopia of inspiring Latin jazz songs.
Like on Brand New Love Lisa excels beyond the pumping house grooves she may be more familiar for. Whether she adds her magic to the soulful opener Get Through To You, the infectious percussive driven This Must Be The Place or sings with nonchalance on You Qualify, it’s good to hear her in an organic music setting that suits her voice much more than computer generated house beats.
It’s really hard to decide which is the best tune of Food For Your Latin Soul to satisfy your appetite. Actually they are all great. And unlike some uninspired fast food (read disposable music) these tunes will keep you satisfied, happy and dancing for a long time. Take the catchy Que Suene La Banda with Carlos A. Peña on vocals or the fast Latin house hybrid (with the emphasize on Latin of course) X-Posure with its great piano intro and tight brass section, which surely will cause some damage on discerning dancefloors. With the right remixes this may easily be a cross-over hit. Even the funky instrumental Spare Ribs can be enjoyed without reservation by a vegetarian like me.
Don’t go for any less than the real thing to nourish your Latin Soul. And Grupo X’s new album Food For Your Latin Soul is the real thing and you won’t find a better soulful Latin jazz album this year.

Tracklisting of Food For Your Latin Soul: 1. Get Through To You/ 2. This Must Be The Place/ 3. Que Suene La Banda/ 4. Sunshine/ 5. Spare Ribs/ 6. X-Perience/ 7. You Qualify/ 8. J’s Joint/ 9. Let’s Get Connected/ 10. For A lIfe/ 11. Quijada, Cajon Y Cencerro | released 2006 Loft Recordings

For more infos visit grupo-x.com.

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

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

Peven Everett – Stuck (Soul Heaven)

Soul master Peven Everett has never been afraid to dabble in Housey waters, with his most famous vocal outing being on Roy Davis Jr’s magnificent UK Garage forging “Gabrielle” release. “Stuck” isn’t in the same league as that genre splitting track, but it is an infectious soul slanted House jam, which has received a deserved battering on cd-r over the last few months. Phil Asher supplies a slightly tougher reinterpretation, with bubbling keys, smooth guitars and snappy drums. Danny Krivit extends the track impressively, as light fingered guitar work and soft centered meet under Peven’s stressed vocals.

Niko – Womb (Atic)

It’s been a while since Niko’s last release on Grand Central surfaced and after severing ties with that Manchester institution, her music pops up on the fledgling Atic imprint. Atic is the musical baby of Andy ‘Aim’ Turner and the highlight of the label’s introductory EP is Niko’s gorgeous “Womb” track. Her new life embracing vocal display really shines on this offering, backed by slouchy hop percussion and shimmering instrumentation.

V/A – Traffic 3: #1/4 (Combination)

Combination strive to do things differently musically and here they’ve decided to make the format of their releases stand out too, by offering the third instalment from the Traffic series in four 10″ instalments. “Autorock” from Matt Flores is a mind-messing synth driven escapade, whilst Glagla’s “Nightlife” is home to wide-eyed keys and pleasant synths. Ada’s “Sternhagel” is an endearing little cut, where gorgeous keys and politely nagging synths rule.

Darkmountaingroup – Lose Control (Buzzin Fly)

Aimed squarely at the feet and the posterior, this wicked bassline driven dancefloor assault is the work of Alex S of Romadaal fame, and a couple of his Portugese mates. Bleepy surface keys, robotised synths and never giving up beats team up alongside the downright evil bass on “Lose Control”. The main elements of the track are also available separately, for those wishing to create maximum club mayhem.

The Similou – All This Love (DNM/Back Yard)

This is without doubt the popiest effort yet from a Nordic duo, who have swapped frozen House planes and rural Broken Soul pastures for the gleaming Electro-Pop lights of the city. “All This Love” is a catchy number, which features innocent keys and a perfect bass groove alongside typically Scandinavian lovelorn vocals. Zoo Brazil’s remix is a gutsy synth stabbed overhaul, whilst The Drill’s remix applies a little too much eyeliner.

Hösh / The Youngsters – Split 12″ (F…U!)

Two of F Comm’s most famous acts team up here on this all-star Techno mission. Hösh gives us “Savage/Hyneman Theorem”, where a muscular bass carries along nervous keys and running beats. Searing keys and an abrasive bass do the damage on The Youngsters’ “How To Kill The Idiot”.

Paul Nazca – Verdue (F…U!)

Heavy Techno is name of the game here, with Scandium Records boss Paul Nazca offering a couple of pummelling assaults on his F…U! debut. “Verdure” takes winding synths, pretty keys and a pushy bass on an exhilarating voyage. Fuzzy synths and distressing keys take centre stage on “Total Midi”.

Tosca – Souvenirs EP (G-Stone)

Lindstrom and Prins Thomas’ reinterpretation of “Zueri” really stands out from the rest on this 12″, which features three remixes plucked from a CD load of Tosca retouches. Guitars that sound like they’ve just regained conscious after a long sleep take the spotlight on Lindstrom and P-T’s fine overhaul. DSL’s lazing guitar addled remix of “Rondo Acapricio” and Stereotyp’s ugly bassed touch up of “Pyjama” also feature on this record.

The Spirals – Permission To Fly (Darkroom Dubs)

With more aliases than a team of master criminals, Julian Sanza and Fernando Pulichino enter the Darkroom for a spacey House party. “The Cowboy” marries cosmadelic synths with sparkling keys and mind corroding acid. Elated stabbing synths press the hypnotic “Bomba” into shape.

Immortal Technique feat. Chuck D & KRS 1 – Bin Laden (RMX) (Viper)

With a little help from a few legendary lyric deliverers, Immortal Technique vents his anger against foolish presidential decisions. The remix of “Bin Laden” brings in Chuck D and KRS 1 to add their support, as vocals from IT and the pair of Hip Hop heavyweights ride dejected keys and heavy beats. The original has a lighter feel and features a delivery from Mos Def alongside live drum hits, animated keys and IT’s irate words. Mumia Abu Jamal hits out against unnecessary violence on the gloomy key driven “The War Vs US All”.

Trevor Loveys – Digitial Watch / Leg Warmer (Front Room)

Loveys fattens out the grooves for maximum hip shaking appeal on this two tracker for Jesse Rose and Chris Belsey’s Front Room imprint. “Digital Watch” supplies amusing synth slides and firework keys alongside portly beats and reliable bass noises. The synths lose it on “Leg Warmer”, as shocked keys and a muttering bass try to hold the record together.

Newcleus – Destination Earth (1999) (Deeplay Soultec)

When the original version of this record was conceived in the mid 80s, 1999 was a long way away. Now 1999 is only a memory and Deeplay give “Destination Earth” a new Techy lease of life, with powerful updates from Dibaba, Martin Brodin and Dream 2 Science. Dibaba’s ‘Starry Dynamo Remix’ is a menacing revision, with shrill synth shrieks, contorted key dalliances and a grating bass. A pushy synth arrangement, pleased keys and violent beats meet on the ‘Martin Brodin vs Candy Station Soultec Dub’. Soothing synths try to calm filtrated beats and a buoyant bass on the ‘Dream 2 Science Remix’.

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 global24music.com/rautemusik (look for Lounge there).

Here’s the playlist for Friday, 17th:

Daysahead: Courting A Fantasy (from Turning Point)
D-Influence: Funny How Things Change (from Good 4 We)
Amana Melomé: Encantada (from Indigo Red)
Natural Selection: Now You’re Gone (from Come On Over)
Gil Scott-Heron & Brian Jackson: Song For Bobby Smith (from Winter In America)
Curtis Mayfield: Short Eyes/ Freak, Freak, Free, Free, Free (from Short Eyes)
Abbey Lincoln & Archie Shepp: Caged Bird (from Painted Lady)
Teena Marie: I’m Gonna Have My Cake (And Eat It Too)(from Wild And Peaceful)
Naima Shamborguer: When October Goes (from From My Heart To Yours)
Carmen Lundy: Old Friend (from Self Portrait)
McCoy Tyner: Survival Blues (from Extensions)
Marcus Strickland: Saouse (from Brotherhood)
Caballero-Verde Quintet: The Nerve (from Past Due)
Francisco Mora Catlett: El Noro (from River Drum)
Grupo X: Que Suene La Banda (from Food For Your Latin Soul)
Art Blakey with Sabu Martinez: Sakeena
Jazz On The Latin Side Allstars: Descarga Cachao (from Jazz On The Latin Side Vol.I)

Obviously I was a little bit late with discovering Marcus Strickland and his Brotherhood album, which was originally released in 2003. But that shouldn’t bother you from getting a copy, because it’s one of the best albums from a young jazz musician and his quartet I’ve heard in recent years. The good news is that Marcus will release a new album, Twi-Life, in a few months. May 2006 to be exact and it’ll be a double CD as he told in his jazz-not-jazz interview amongst other things. Just read it for yourself:

Q: Please tell me something about yourself, your musical development and who has influenced you.

Marcus Strickland: I am currently at a moment in my life that is teaching me a valuable lesson about decisions. My sound, my style & approach, my goals as an artist are all much more clear now - meaning it has become easier for me to make decisions. Like my decision to start my own record label Strick Muzik, with which I will release my next recording “Twi-Life”. I have realized that in the midst of an ever-evolving music industry it is up to the artist to ensure that their own path is clear. This is a quality that I find in all of those who inspire me: Lester Young, Charlie Parker, Miles Davis, John Coltrane, Wayne Shorter, Sonny Rollins, Branford Marsalis, Steve Coleman and the list goes on. Their influence on me is inclusive of, yet far more vast than, music. I have learned from them that the transition from musician to artist is based on life experience and decisions - most of which are not the easy way out.

Q: You play both the tenor and soprano saxophone. Which of these two is you favourite?

Marcus Strickland: The tenor and soprano saxophones are BOTH my absolute favorite instruments, …with drums next on the list. I choose between the tenor and soprano based on the range, but most importantly the overall mood of the song. Sometimes the song will call for a dark smooth sound, which is the sound I get from soprano. When I want to hear the melody played with a more musclar robust sound I choose the tenor.

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Lynden David Hall had been suffering from the rare cancer Hodgkin’s Lymphoma and died on Tuesday.
Lynden David’s debut album Medicine 4 My Pain was so good that it almost made you believe in the potential power and strength of a major label like EMI again (although his records were released on their subsidiary Cooltempo). Most of us will certainly be familiar with his tunes Sexy Cinderella, Do I Qualify or Crescent Moon. Cooltempo released a second album The Other Side three years later in 2000. His third and last album In Between Jobs was released last year on Random Records. Lyden David also sang on the cover version of Gil-Scott Heron’s Lady Day And John Coltrane, which appeared on Courtney Pine’s album Back In The Day.

Larry Epstein may not have the typical resumé for a jazz musician. In fact he’s still playing professional as a bassist with the San Franciso Symphony Orchestra. Nevertheless, or maybe just because of his mutual love for classical and jazz music he has recently released his very strong debut album myTunes! full of original compositions.
In his jazz-not-jazz interview he talks about the bass players in his family, his influences, the difference between jazz and classical music and what’s missing on most commercially released music these days.

Q: Playing both classical music in an orchestra and jazz music isn’t actually something I would normally assume. Please tell me who or what has made you a jazz music fan? And what was the sparkle that made you want to play in a jazz setting too?

Larry Epstein: Of all the instruments that comprise a symphony orchestra, perhaps it is the double bass that can also be found in the most wide variety of other musical settings. Be it jazz, country western, klezmer or rock ‘n roll (w/ electric bass), the bass is an integral part of the music.
By my late teenage years, I was playing professionally in both symphony orchestras and various dance bands. Then, as now, most of my jazz playing came from sitting in on friends’ gigs and playing jam sessions. I’ve always loved the feeling of being able to lay down some time and find a groove with the piano and drums. Jazz is such a wonderful art form that expresses both structure and freedom.

Q: Both your father and grandfahter are professional bassists. So I guess your parents were very content that you picked the bass too and became a professinal bassist too, weren’t they?

Larry Epstein: My father, at the age of 85, is STILL a professional bassist, playing with a symphony orchestra in Florida. Yes, he’s very proud of the way my career has gone. When we were both in Miami, we played together in the symphony orchestra there, and we both were very busy working the commercial music scene in the Miami Beach hotels. My grandfather, who came over from Russia and became a successful bassist in the New York society bands of the 1920’s, lived long enough to hear me play and realize that I’d be carrying on the family tradition of a life in music.

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daysahead is a band that has truly developed their own sound that sets them apart from the rest of the new/neo/nu soul movement. What may sound odd at first is that they hardly use any keys on their debut album Turning Point. Instead they rely on the strength of guitar (acoustic and electric), bass and drums and of course on the impressive voice of Kim Leachman. And it’s this combination of musical instruments and daysahead’s own blend of soul, funk and rock that is a welcome breath of fresh air in today’s music scene. All songs were written by Kim Leachman and Steve Wright, who also plays the guitars. The two other members of daysahead are Myron Carroll (bass) and James Berrett (drums).
The album starts with the powerful, lively You Move Me, which like most of the songs explores the never ending mystery of human relationships. Things get a little smoother with Love Is Love while Falling Flower has a healthy rock element thrown into the song.
For me Daysahead sounds best when it comes to downtempo like For The Love with a nice Isley like electric guitar solo or Good Ole’ Days, my favourite song, with its beautiful melody and Kim’s personal lyrics taking a trip down memory lane (by the way the only song here with some keys).
It’s In Your Hands finally sees daysahead with some socially conscious lyrics (”How high is the cost of war/ Who are we dying for/ Yearning to learn to live in peace/ Can’t we learn to just dance“) sung by Kim over a swinging uptempo groove.
Another highlight is the soulful Take Your Time. The song’s message not to rush anything must be made for me (and my desire to take my time with the records reviewed here is also the reason why it sometimes takes a few days until a new review is posted).
Courting A Fantasy is another winner with Kim being accompanied by Steve on acoustic guitar only.
And if you’re looking for a song that sums up what daysahead is all about than listen to the nine and a half minute of Don’t Fall Too Fast (Directions) which successfully makes the transition from soul to rock. Maybe that’s what The Family Stand would sound today if they were still with Sandra St. Victor and if Moon In Scorpio would’ve been a successful album saleswise.
Altogether Turning Point is a very good debut album from a band with a distinctive sound that’s left field from the soul mainstream in a refreshing way.

Tracklisting of Turning Point: 1. You Move Me/ 2. Love Is Love/ 3. Falling Flower/ 4. For The Love/ 5. Good Ole’ Days/ 6. It’s In Your Hands/ 7. Days Ahead/ 8. Take Your Time/ 9. Don’t Fall Too Fast/ 10. Courting A Fantasy | released 2005 Nightingale60 Publishing, Stephen Wright

For more infos visit cdbaby.com and daysaheadmusic.com.

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

In conjunction with radiopellenera jazz-not-jazz presents a weekly show with quality soul, jazz and house music. You can catch the show every Tuesday from 07:00-09:00 (UTC+1) and if you missed it it will be repeated on Friday 12:00-14:00 (UTC+1) and Sunday from 13:00-15:00 (UTC+1) . 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 Tuesday 14th:

Carmen Lundy: Long Journey Home (live) (from Jazz And The New Songbook)
Andile Yenana: Flat No. 22 (from Who’s Got The Map?)
Lois Deloatch: Equinx/All Blues (from Closure)
Larry Epstein: Rat Race (from myTunes!)
Marcus Strickland: Amen (from Brotherhood)
Down To The Bone: Latin Sagebrush (from Spread Love Like Wildfire)
Pedro Giraudo: Primer Intento (from Desconsuelo)
Grupo X: Let’s Get Connected (from Food For Your Latin Soul)
Caballero Verde Quintet: Drume Negrita (from Past Due)
Alice Coltrane: The Ankh Of Amen-Ra (from Universal Consciousnes)
Naima Shamborguer: Smile (from From My Heart To Yours)
Maiuko: Grandma Lisa (from Different Wars)
Dee Robinson’s Black Pearls: Sing A Prayer (from The Voyage)
Nick-e: It Feels Good (from Mosaic)
Julie Dexter: I See Colors (from Conscious)
Ingar Brown: Far Away (from Words And Beats)
Daysahead: Good Ole Days (from Turning Point)
Emma Hutchinson: Were We Never In Love (from Hummingbirds)
Alison David: 1 Last Look (from Believe)
Toni Tony Toné: Still A Man (from House Of Music)
Natural Selection: Meant To Be (from Come On Over)