About a month ago I praised the album Turning Point by the band daysahead, which impressed me with their unique sound. In their jazz-not-jazz interview Kim Leachman and Steve Wright from daysahead explain why they hardly use any keys on their debut album, how they’ve met, talk about the turning points in their lives and much more.
By the way, here’s your chance to download a video of Falling Flower (it’s a mov file so you should have Quicktime, Quicktime Alternative, vlc or jetAudio installed). The Soundstage site of tbsstoryline.com also offers videos of other music acts from Atlanta like Anthony David for example.

Q: Please tell me how you’ve met and how you’ve founded daysahead.

Steve Wright: Kim (Baton Rouge, LA) and I (Richmond, VA) were working as backup for Aezra Records recording artist, Crea. I was playing electric guitar and Kim was singing background vocals. Her voice caught my attention and stood out above the other vocalists. I approached her to demo a few songs I’d written. Well, our first session proved that she could write in addition to sing and we instantly knew that we had to start our own band. Kim and I immediately started writing for our debut album. I called on some musician friends and we started recording. We are fortunate to have worked with some great musicians on Turning Point including drummers James Barrett and Joe Lee, and bassists Myron Carroll, Jeff Smith, and Aaron Clay. The current band is Kim and myself with James Barrett (drummer from Baton Rouge, LA who played on 6 tunes on Turning Point) who is versatile with rock solid tempo, and Brandon Gilliard (bassist from Anderson, SC) who is extremely talented and a strong improviser with nice groovability. This rhythm section will make any band sound good!

Q: Is daysahead a duo with two regular additional musicians or do you consider yourself more as a band with four members?

Kim Leachman: Although Steve and I are the band leaders, we consider our musical talents equal to James and Brandon’s. We have a team mentality. daysahead performs as a duo with Steve and myself, a four piece with James and Brandon, and on occasion we’ll add background vocalists and a percussionist.

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

Here’s the playlist for tomorrow Friday, 17th:

JTQ: Killing Time (from Do Your Thing)
Tim Terry: I’m Ready (from Tim Terry Experience)
Tommy Sims: A New Jam (from Peace And Love)
Oneness Of JuJu: Space Jungle Funk (from Space Jungle Luv)
Noel McKoy: Love In The City (from Mind Is The Keeper)
Marlon Saunders: Keep Doin’ What Ya Do (from Enter My Mind)
Monica Dillon: We Make Do (from All I Have Is A Moment)
Victor Davies: Lady Luck (from Victor Davies)
SOB: The Lord Will Make A Way (from Africa To America - The Journey Of The Drum)
Jhelisa: Culture Of Silence Part I+II (from A Primitive Guide To Being There)
Mamayo: Born To Love (from The Game)
Sandra St. Victor: Move Me (from Gemini - Both Sides)
Julie Dexter: Faith (from Dexterity)
Brigette: One Wish (from Starlite Lounge)
Grupo X: X-Perience (from Food For Your Latin Soul)
Osunlade feat. Nadirah Shakoor: Tree Of Live
Ola Onabule: Savoir Faire (from In Emergency, Brake Silence)
Teena Marie: Since Day One (from Ivory)
Vanessa Simon: Soothe Me To My Soul (from Definitive Source)
The Watergates: Can U Deal With It (from The Scandal)
Stephen Simmonds: Alone (from Spirit Tales)
Wall Of Sound: Disappear (from Storybook)
Greenlaw Ave: Do You Feel The Same Way (from Time And Energy)

Courtesy of Jon Freer (mosoul.co.uk) here are 19 reviews of released and soon to be released 12″ singles (sorry no cover shots or tracklistings this time):

Electrons – Get Up EP (Genuine)

After a decade of re-writing Mcr’s clubbing rulebook with enthralling subterranean parties that have been soundtracked by unapologetically positive soul-kissed musica, it was about time The Unabombers translated the emotional rush of an Electric Chair visit onto vinyl. Justin’s been knocking out Only Child releases since the invigorating party was in its infancy and a number of official UB’s remixes and hush hush re-edits have surfaced over the years, but this is the first proper single from the duo. “Get Up” sums up the smiling face of the UBs endeavours, courtesy of some ripping ‘funk’ chords, temperature raising synths and huge beats that are appease open minded dancefloors. “Sunshine Love” is a gorgeous weather infatuated number, which represents the duo’s ability to connect with their listeners on a deeper musical level, as those dreamy keys soar over your head and the brass send electric shocks down your spine.

Jazztronik – Cannibal Rock EP (Especial Distribution)

Mr Samurai returns with a skilful assault on jazzier dancefloors. Head straight for “Cannibal Rock”, a monstrous flute episode, with wooden sounding percussion, beaming keys and beauty exclaiming vocals. “Dentro De Min” places Flora Purim’s flowery vocals over prying for answers chords, romance-filled keys and pots and pans percussion. “Beeping” is a slightly too respectful West London inspired broken stormer, where shape pulling bass and crazy Martian synths have all the fun, whilst Rob Gallagher guests on an outlaw tale entitled “South Of The Border”.

Maxine Braham – If…(Blackbeard Remixes) (BKO)

Moving from nearly horizontal neo soul to walking pace broken ragga hop, Blackbeard gives Maxine Braham a couple of impressive touch ups. The vocal version slides her lovestuck in between smiling synths and a bass that applies pressure in all the right spots. Grinning synths, tightly gripping string and a steppin’ along bass show their unrequited affection on the Dub.

Reel People feat. Angela Johnson – In The Sun (Defected)

One of the People’s newest cuts gets a single outing and an awesome refix from spiritual House master Osunlade. Frustration led beats, a still hurting bass and keys with a sense of hope collide on his priestlinesses’ tough yet still emotive ‘Yoruba Soul Dub’. There’s a lighter ‘Yoruba Soul Remix’, where placating keys and touching guitars dwell and an ass kicking synthilating retouch from Spen’s Muthafunkaz, but check Osunlade’s dub for maximum gratification.

Incognito – Show Me Love (Yam Who Remix) (Dome)

Here, the swashbuckling nu-soulers give fellow Londoners and celebrated acied jazzers Incognito a surprisingly uptempo relick. Broken House kit percussion sets the pace, with flying brass and eccentric chords dancing alongside some desireful vocals.

Gnarls Barkley – Crazy (Downtown)

The work of vocalist Cee-Lo and much admired knob twiddler Danger Mouse, this catchy little number has caused a fuss in underground circles for a while and is set to blow up after a serious amount of overground airplay. It’s difficult not to be drawn in by the breezy Motown-esque harmonies, barely visible guitars and sanity questioning vocals of “Crazy”. The other track to make the single release is the loopy “Go Go Gadget Gospel”, where frantic beats dance under praisin’ vox, loveable brass and silly whistlin’.

Palm Skin Productions – Year Of The Muppet EP (Freerange)

Palm Skin save the best for last on this release for Jimpster’s Freerange imprint. Easy to love keys link up with fear allaying guitars behind airy vocals on the spellbinding final track, entitled “Love Will Go”.

Masa Collective – Love Is Everywhere (Especial)

Saxaholic Masa Nakamura and friends revisit Pharaoh Sanders’ “Love Is Everywhere” in a heart-warming style. KJM give it an energetic Housey overhaul, with huge percussive thwacks, hoarse saxonics and loved up keys.

Tunng – Woodcat (Full Time Hobby)

Folktronic stars Tunng might really piss off purists with their love of electronic gloop, but they make some damn fine digitised folksie tunes. “Woodcat” is a tale of losing one’s love to nature, backed by river running guitars and a barely visible bass. The ‘edit’ sees electronified jolts encase the washing guitars and hurting vocals.

Spank Rock – Sweet Talk (Big Dada)

The risqué butt slapper returns with another coarse tale. The original is a bit on the lean side, however, Kalbata’s nauseating synth driven retake and the funny ass saxed ‘XXChange Re-Edit’ should get the juices flowing. “Primetime” is a bonus smack on the jaw from pushy beats and strung out keys.

Aim – Northwest (Atic)

After an introductory four tracker featuring Niko’s outstanding “Womb”, the Atic wheels are set into motion properly with this two track single from Aim. Tabla edged beats and a velvety bass back grinning keys on “Northwest”. Western guitars, natural strings and percussion have a fantastical shoot out whilst “Walking Home Through The Park”

Shur-I-Kan Vs Milton Jackson – Special Powers EP (Freerange)

Only a month after their last outing, Shur & Milton return to Freerange for another fat House attack. The best cut on this EP is Jackson’s second remix of “I Want It”, where key chords rise over dark bass suggestions and hard hittin’ beats. The title track is an exceedingly heavy multicolour synth driven House workout, that’s not quite on a par with “I Want it”.

V/A – Colours Series: Red 03 Sampler (Freerange)

Freerange don’t know how to apply the brakes, but that isn’t a huge problem as they release some wonderful tunes. This EP starts with Troydon’s sprawling sax covered “Close Your Eyes”, before moving on to Shur-I-Kan’s oddly synthed and downwardly spiralling chorded “Everytime”. At peace vocal doodles, empowering chords and glum synths meet on King Kooba’s fine “Kin Ki Utsuri”, as magical synths do the tricks on Kirk DeGiorgio’s “Armchair Thriller”.

0898dave – Ballad Of Henry (Heart & Soul)

Phone line smooth talker 0898dave gets the once over from Homelife and ACR. Likeable synth ramblings get the better of all else on Homelife’s revision of “Ballad Of Henry”, whilst ACR’s mix of “Plug On” is a lean guitar covered bass groover. As expected, the chiming glockenspiel is king on “Glockrock”.

Anonymous Twist – Royal Flush (Do Right!)

Over the years, many rappers have enthralled and bored us with their truthful and fictionalised tales of selling and using recreational drugs. Twist is different from the draw and coke sellers, as he’s actually a legit pharmacist and could rap about dispensing aspirins and flu medicine, but chooses against it. Instead he raps about playing cards over blinding guitars on “Royal Flush” and carries on about cash on the accordion touched “Dollars In Fist”.

Keith – Back Then (Lucky Number)

We live in sadly blinkered times when embracing various types of music is not seen as the norm. Keith are wayward indie kids with open ears, who still seem to be causing a furore because they’re happy to name check the likes of Luke Vibert and Jazztronik alongside Little Barrie and Tom Vek. They still make an ear appeasing guitar based sound, shown by the charming “Back There”, where Oli’s melancholic vocals are surrounded by gravely bass work and positive guitars. We could have done without Keith’s moody chorded version of “La Ritournelle” though; they should know never to mess with such a beautiful original.

Ben Burns – The Answer (Stompa Phunk)

Not for the easily scared, here Stompa Phunk boss David Parr corrupts Ben Burns’ “The Answer” in a delightful manner. Cut up electronified beats, tied up synths and a frighteningly addictive bassline work wonders on Parr’s deadly remix.

Sistema – Parque de Atracciones EP (Factor City)

Toughened Techny nastiness is on show at Sistema’s amusement park. Ever so trippy keys, grating synths and tough beats have all the fun on “Tio Vivo”. Industrial strength synths, firing beats and illogical vocals meet on the well-named “Darkness”.

Mattafix – To & Fro (Chicken Lips RMX) (Buddhist Punk)

Mattafix always sound like they’re trying a little too hard to make urbany fashioned pop and here Chicken Lips mistreat them in the best possible way. Skip the needle to the second half of the Lips vivid disco remix of “To & Fro”, where only the title vocal hook pervades and is soon lost under a chorus of kaleidoscope keys and mind losing synths.

Grupo X’s second album Food For Your Latin Soul is a must-have soulful Latin jazz album. Period. And when temperatures will (hopefully) rise soon in Europe it will sound even better. If things work out, there will also be a vinyl EP with remixes by Rich Medina and Bobbito Garcia to be released this summer as Jonny Enright, head of Grupo X, mentions in his jazz-not-jazz interview. Read on to learn more about the group’s name, their influences, how they teamed up with Lisa Millett and much more.

Q: It’s been almost six years since Grupo X released their debut album. What happened in the six years and why did it take you so long to come up with a second album?

Jonny Enright: The last few years seem like a blur, with one thing and another. When X-Posure came out were really working hard as a band, touring and promoting the album and EPs. In the summer of 2001 we started recording the follow up album at a studio in Hoxton, North London, and things were going really well; in fact we just about finished five tunes. Then I became a father for the first time and, not surprisingly, the project stopped for a while. After a while we got back into recording, but it was a bit more of slow process, due to lack of money and time and the guys in the band being busy with other projects.
Anyway, to cut a long story short, at the end of 2003, brimming with ideas, Jimmy and myself had a writing session up in Yorkshire, where my family now lives. We got most of the remaining tunes done and booked ’60s analogue-based Toe Rag studio in East London to record the band. It was like stepping back in time. Even the ‘phone was from the ’60s (and I don’t think the toilets had been cleaned since the ’60s). Aside from the conditions, we had a few really good sessions with engineer Ed Deegan and I think we really captured the live sound of the band.
By the end of 2004, Simon Edwards (our bass player) had taken the project by the scruff of its neck and remixed the tunes in his studio and given the tunes a veneer and punch that had been a bit lacking. We felt we just needed a couple more songs to get the album right, so we went into Ed’s studio (Gizzard) in East London and finished off the recording, apart from a few overdubs, which we did at mine and Simon’s as well as some flute at Finn’s.
So that’s the story. Although it’s been a long, drawn-out process at times, we’re really pleased with the final result. And we promise to be quicker with the next one!

Q: Please tell me something about the group’s history. How you’ve met the group members, how you came to be called Grupo X and what’s your motivation and the musical vision you share.

Jonny Enright: Grupo X came out of Jimmy Le Messurier’s successful UK 11-piece salsa band La Clave, formed in the mid ’80s. I joined the band in 1991, whilst still at music college. We were really busy, playing three or four times a week in the UK and making regular trips around Europe. We used to get asked to do weddings and parties from time to time, so Jimmy started a cut-down version of the band called Hijos De La Clave (Sons of La Clave). We got together a good repertoire of classic salsa; tunes by Eddie Palmieri, Ray Barretto (RIP), Mon Rivera and the gigs went down well. Jimmy had his hands full with La Clave, so I offered to run the band.
We got asked to do a gig in Richmond Town Hall (this was in 1996). The booking agent didn’t like the name we had (she was a bit fussy) and asked me to find another, so I said “Grupo X.” It was a bit tongue-in-cheek; the idea was that we were this new mysterious band, when in fact we were all from La Clave. So that’s how we became Grupo X.
After we’d done a few gigs as Grupo X, I started to take the band a bit more seriously and began writing for it. We’d been playing together for so long (in one shape or form) that we had a really good natural groove and understanding. We were all into the same kind of music, Latin and non-Latin and we were really good mates. Not a bad basis to start from!
By about 1998 we were starting to get club gigs up and down the country in clubs like the Underground in Leeds and the Toucan in Cardiff. The scene was quite new and fresh and people wanted to hear good live bands. We found we were going down really well with our audiences. They liked our groove and found us good to dance to. We were still essentially a salsa band, but we’d started to get into boogaloo and Latin Jazz. It was a matter of finding what style suited us as a band and what went down the best with the crowds.

>>>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.

This time it’s all about freedom and the constant struggle one has to master to fight for it. The title was of course inspired by this entry about the Lift Every Voice Exhibition.
One might argue why fight for freedom because in most western countries the right for freedom and equality is part of the constitutions. That may be right but we all witness in recent time that the constitutionis is just seen as a noble piece of paper (like Gil Scott-Heron sings in Winter In America) without any obligations. And most politicians think the constitutions offers a mere suggestion and not the foundation their decisions should be based upon. Patriot Act in the USA and the Data Retention Directive in the EU are just two of the most striking examples of politicians’ ignorance.
Other rights and (social) achievement people has sucessfully fought for in the sixties or seventies are wiped out so easily these days that you rub your eyes in bewilderment and hope to wake up soon from your nightmare.
That’s why the fight for freedom is a constant struggle and you can’t rest on the merits.

Here’s the playlist for the show starting tomorrow March, 14th:

Intro (Wise Words By Lyrical from Above The Water)
3 Generations Walking: Days Of Slavery (from 3 Generations Walking)
Fertile Ground: Rise/Freedom (from Seasons Change)
Young Disciples: Freedom (Free For All Mix)
Sunny Sumter: Freedom Oh Freedom (from Freedom Sampler)
King Britt presents Oba Funke: Freedom (from CosmoAfrique)
Myron: Free (from Free)
Max Roach: Freedom Day (from We Insist! Max Roach’s Freedom Now Suite)
Nina Simone: I Wish I Knew How It Would Feel To Be Free (from Silk & Soul)
Gil Scott-Heron & Brian Jackson: Winter In America (from The First Minute Of A New Day)
Doug Carn: Search For The New Land (from Spirit Of The New Land)
Curtis Mayfield: Right On For The Darkeness (from Back To The World)
Jhelisa: Survivin’ In The Key Of Eflat (from A Primitive Guide To Being There)
Carl Hancock-Rux: Intro To (R)Evolution (from Rux Revue)
Natural Selection: Unity (from Come On Over)
Oneness Of JuJu: Liberation Dues (from African Rhythms)
Stevie Wonder: Black Man (from Songs In The Key Of Life)
McKoy: Fight (12″ version)
Carleen Anderson: Careful (from Soul Providence)
Mass Order: Maybe One Day (from Maybe One Day)

Canadian artist Nick-e aka Nicole Pratt demonstrated her diverse musical sound on the recently released mini album Mosaic which takes listeners from soul to jazz to urban/R&B to electro. The good news is that she’s already working on a full length album which will include a healthy dose of organic and electronic sounds and textures as she mentiones in her jazz-not-jazz interview.
So continue reading to learn more about the story behind her song Muse, Nick-e’s influences and the Canadian black music scene amongst others.

Q: Please tell me something about yourself. When did you start singing and writing songs?

Nick-e: I began singing close to the age that I began talking. Probably around 3 years old. I used to sing with my cousins and perform for our parents on holidays. As I got older, I joined school choirs and pretty much stuck with it all the way through high school and then went on to get my diploma in music production in college. Growing up I wrote a lot of poetry and short stories and as I heard music in my head I would turn some of my poetry into songs. The more I did it the more comfortable I became with the idea of song writing and I just continue to try to improve with every new song I write.

Q: Who has influenced you and how would you describe your music? Where do you see your niche in today’s market?

Nick-e: I was surrounded by a lot of music growing up. My brother was a DJ which exposed me to a lot of new music along the way such as R&B, Hip hop & Reggae and being close with my cousins, my uncle would listen to a lot of music like motown, The Stylistics, Al Green, Prince, & Anita Baker. I was influenced by these artists and also gained other musical tastes like Sade, U2, Janet Jackson, Ella Fitzgerald, Donny Hathaway. I think because of this exposure, I’ve learned to appreciate a lot of different types of music and incorporate those diverse musical styles into my own music. Kind of like a Soul/Jazz/Pop fusion. It may not be deemed the most popular style of music in relation to today’s current market, but I find that the market today is very fickle. I’ve never tried to mold myself into what the industry wants me to be. Today’s gem is tomorrow’s trash. I’ve always just tried to be more concerned with being honest and loving the music I create for me first and then hoping that others can appreciate it as well.

>>>continue

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 tomorrow Friday, 9th:

Davina: My Cryin’ Blues (from Best Of Both Worlds)
Abbey Lincoln & Archie Shepp: What Are You Doing For The Rest Of Your Life (from Painted Lady)
Teri Thornton: I’ll Be Easy To Find (from I’ll Be Easy To Find)
Carmen Lundy: My Ship (from Self Portrait)
Dee Daniels: That’s All (from Feels So Good)
Lois Deloatch: Perpetual Motion (from Closure)
Alice Coltrane: The Ankh Of Amen-Ra (from Universal Consiousness)
Sun Ra: Space Is The Place (from Space Is The Place)
Pedro Giraudo: Contrapuntren (from Desconsuelo)
Marcus Strickland: The Unsung Hero (from Brotherhood)
McCoy Tyner: His Blessings (from Extensions)
Sonny Rollins: The Night Has A Thousand Eyes (from What’s New)
Doug Carn: Feel Free (from Revelation)
Bobby D’Ambrosio: So Thankful (from Here I Am)
Degrees Of Motion: Dou You Want It Right Now (King Street Mix)

Maya Azucena and Anthony David will be in Europe soon for a short (unfortunately much too short) tour with gigs in the UK, Sweden and the Netherlands. Here are the dates:

March 13 & 14th (Monday, and Tuesday): Pizza Express, Soho in London, England
March 15th (Wednesday): Lydmar Hotel- Stockholm, Sweden
March 16th (Thursday): Bitter Zoet- Amsterdam, NL
March 17th (Friday): Nighttown- Rotterdam, NL

Also read my reviews of Maya Who?, 3 Chords & The Truth and my interview with Anthony David.
For more infos visit the websites mayaazucena.com and anthonydavidmusic.com.

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 tomorrow March, 7th:

Snowboy: Ochun/Carga Tu Bateria (from New Beginnings)
Clare Fischer: Favela
Caballero-Verde Quintet: Karmenalia (from Past Due)
Art Blakey’s Jazz Messengers: Ping Pong
Mondo Grosso: Cenario (from MG4)
Jon Lucien: Mi Bolero (from A Time For Love)
Pedro Giraudo: Eso Grito (from Desconsuelo)
Jhelisa: Far I Have Come, Far I Must Go (from A Primitive Guide To Being There)
Maya Azucena: Right Way (from Maya Who?)
Sample This!: Slippin’ Away (from Sample This!)
Caron Wheeler: Father (from Beach Of The War Goddess)
Marvin Gaye: Everybody Needs Love (from Here, My Dear)
Sandra St. Victor: Come Over (from Mack Diva Saves The World)
Robert Mitchell’s Panacea: The Thief Of Dimensions (from Trust)
Naima Shamborguer: I’ll Be Seeing You (from From My Heart To Yours)
Teena Marie: Pretty Man (from Passion Play)
Alice Russell: I’m Just Here (from My Favourite Letters)
Nnenna Freelon: Ballad For Aisha (from Listen)
Sonny Rollins: Harlem Boys
Alice Coltrane: Los Caballos (from Eternity)

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

V/A – Underground Hits & Exclusive Bits (Wah Wah 45s)

London’s Wah Wah has been blessing our ears with high-class broken jazz, fractured soul and neo-funkin’ for a good long while, so it was about time they put out a compilation. In a bloated market, where everyone and their gran thinks it’s a good idea to start a label, Simn Goss and Dom Servini release the same sort of records on Wah Wah as many of their compatriots. However, what sets the Wah Wah crew apart from the rest is their superior hearing and A&R nous, which results in releases with that extra sparkle. The keys advance, unkempt drums do their thing and a fed up vocalist shows her frustration on Belleruche’s “Bird Mess”. Alison Crockett strives to get more out of life in order to feel truly “Alive”, but will roaming keys and swinging broken-step beats help her? Capstone’s “I Don’t Know (Aaron Jerome Remix)” seems a little confused to begin with, but those nimble beats, inquisitive brass and close keys work out a solution in the end. Wah Wah don’t feel the need to release a 12″ every week, but quantity isn’t an issue, as they put out records of such high quality.

Joe Bataan – Call My Name (ESL Digital)

True, this album of honeycombed Latin from the distinguished Joe Bataan came out in a physical format a while ago on Vampisoul, but here ESL give it a digital release for web fiends. They’ve taped a handful of unnecessary funked up breaksy remixes on the end, but this album is certainly worth picking up for Bataan’s rockily guitarred and sweetly souled original compositions. Cosmic keys and true guitars reassure on the friendly “Call My Name”. Bataan is transfixed by love for a wondrous female on “Cycles Of You”, where dutiful guitars, trustworthy organ keys and devotional drums attempt to break the spell. “Ernestine” shows the shattering power of losing someone close, as sweet-talking guitars and anxious keys attempt to soothe the pain. Outstanding.

Maxence Cyrin – Modern Rhapsodies (F Communications)

Now this is quite an odd release, even for maverick French label F Comm. Here, they’ve let Maxence Cyrin cover a number of classic electronic tracks using only a piano. Sure, these versions sound a little bare when compared to the all-singing all-dancing originals, but they do show the melodic qualities of a number of peaktime dancefloor monsters. Some translate better than others to an acoustic setting, but it’s difficult not to be charmed by some of Maxence’s rearrangements. Felix’s “Don’t You Want Me” is turned from a glitzy House thumper into a purring easy listening beauty, where keys twinkle melodiously. The understated beauty of Moby’s “Go” comes to the fore on Cyrin’s overhaul, whilst “Smokenbelch II” feels somewhat purer in this form. This is a ‘concept’ album that somehow manages not to fall on its face.

Spank Rock – YoYoYoYoYo (Big Dada)

The high frequency of telephony squeals and rather rude dialogue of this release on Big Dada suggests that Mr. S. Rock spends a lot of time on the phone to a mistress that gets turned on by his dirty talk. As suggested by the recent malfunctioning key driven “Rick Rubin” single, Spank’s album is full of rabid electronic hop, which is set to blow your socks off. “Touch Me” is as vulgar as you’d expect it to be, with artificial keys, scowlin’ beats and a foghorn bass backing those foulmouthed vocals. Strangely shaped smackin’ percussion, inconsolable keys and fallin’ down strings grind suggestively on the Darwinian “Competition”. Downright filthy stuff!

Freddie Cruger Pres. The 3 Foot High People – 3 Foot High & Rising (Homegrown).

No, this is not a musical project from a murderous film character that got his kicks wreaking terror on a tree named street. In fact, it is an enticing album of stoned hoppy Soul grooves from Red ‘Follow Me’ Astaire. The highlight is “Kant Hold Us Back”, where squinting keys and in-awe harp play accompany cynical spoken vocals that ring true in a frightening manner. Permissive keys act as the glue on the cut and paste “Zodiac”. Cruger’s own kid Elijah supplies the laughing on “Childsplay”, as beats wobble on their feet and a bass holds firm through gritted teeth. For those mellow moments…

Aqua Bassino – Rue De Paris (F Communications)

It’s possible to pass off the heartfelt display of emotions as dwelling on feelings unnecessarily, but this does a disservice to artists like Aqua Bassino, who turn negative experiences into an expressions of artistic beauty. On the surface, this album is a positively toned jazzed-up effort, but underneath, many compositions are weighed down by a deep emotionality that could only come from heartbreak and loss. “We Could Be Friends” offers companionship but yearns for much more, backed by free feeling keys, satisfied guitars and nimble-footed percussion. The besotted “Sweetest Thing” twirls fragile guitar strands over unsettled keys and deep in thought percussion. Strings flourish as ailing keys try and get to their feet on “The Way I Love You”. Emotionally draining, but worth it!

Jafrosax – New Standard Of The Future (Pantone)

With a pseudonym like ‘Jafrosax’, you’d expect Kaz Katuta’s debut album on Pantone to be full of free wheeling sax based compositions. Produced by Yukihiro Fukitomi and Ryota Nozaki (aka Jazztronik), “New Standard Of The Future” is the jazzed out longplayer you’d expect, with Kaz’s sax sitting over various housey and fractured beat productions. Unfortunately some of the instrumental arrangements are a little cluttered and getting guest vocalists to sing on nearly every track only adds to the untidiness. “In The Morning” feat. Vikter Duplaix is one of the successes, where guitar pleasantries and unwavering percussion back his fun-loving vocals. A rare instrumental track is the playful sax and fiddling key laden “Free”. Studio Apartment tweak “Drawn 2 U” impressively, placing Yukimi Nagano’s attraction touched vocals over flashing synths and keys that have romance in their eyes. How about a few more instrumental tracks next time?

Tosca – Souvenirs (G-Stone)

Tosca are woken up here by an all-star remix cast, who’ve set about reinventing tracks from their recent “J.A.C.” album. Ranging from dub-beat snoozers to angular House bangers, this remix set features some fine interpretations. Plantlife’s ‘Love Philosophy Mix’ of “Heidi Bruehl” is a gorgeous revision, with space-gazing synths, dreamlike guitars and lovin’ vox. Guitars in a relaxed state smile at forward inching percussion and a logical bass on Lindstrom & Prins Thomas’ ‘Nordic Flavour Remix’ of “Zueri”. “Superrob” gets an evocative harmonica driven re-rub from Henrik Schwarz. This is a cool collection of musical mementos!
[note: Heidi Bruehl or Brühl was a so called Schlager singer with songs you wish they had never been recorded. Here are some cover shots of her 7″es.]

Last month I reviewed Naima Shamborguer’s dream project From My Heart To Yours, a fine collection of standards with Naima’s unique personal touch. In her second jazz-not-jazz interview tells us a little bit more about the songs on this album, what they mean to her and how she met fellow musicians George Benson and Don Revels amongst others.

Q: You’ve told me in our first interview that From My Heart To Yours is your dream project. Is it still your dream project after you’ve finished it? Because sometimes odd things happen when you do something you really long to do.

Naima Shamborguer: From My Heart To Yours started out as my dream project and has ended up as my dream project even larger than life. It took a little longer than planned to record, but haste makes waste, we took our time and the outcome is above measure. I’m very pleased with From My Heart To Yours.

Q: Please tell me something about the recording sessions and its memorable moments.

Naima Shamborguer: The recording sessions were done at The Live Wire Studio in Southfield Michigan. The Studio sits in an area with a creek running behind the building. I recorded looking out of a huge glass window at the beautiful trees and creek. The atmosphere of this studio is awesome. The memorable moments were the night that the horns came in to record. Trumpeter, Dwight Adams came in and augmented Smile only two takes. It was beautiful. Then George Benson (Sax Man Benson) added his horn to Fuchsia Mood, only two takes and When October Goes one take, we were Screaming, it was great. Then Wendell Harrison, clarinet, George Benson and Dwight Adams added the horns to If You Could See Me Now. We were at a concert then. Unbelievable.
Then Steve Turre Flew in from New York for a Weekend. We recorded The Nearness Of You one take. We also worked that weekend at Baker’s Keyboard Lounge the oldest jazz club in the world and we performed on a radio broadcast some of the tunes From My Heart To Yours and Steve performed some of his music and included the shells that he is so well known for mastering. What a great time.

>>>continue

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:

Russell Taylor: Sex Talk (from Soulstar Vol. II)
Mr. Alexander: Friday Night ‘Till (from From Friday Night ‘Till Monday Mornin’
Teri Thornton: Somewhere In The Night (from I’ll Be Easy To Find)
Jhelisa: Love Is A State Of Mind (from A Primitive Guide To Being There
Sandra St. Victor: Don’t Bring Me Down (from Mack Diva Saves The World)
Nick-e: I Say (from Mosaic)
Sonny Rollins: Bluesongo (from What’s New)
Juliet Roberts: How Can I Leave (from Beneath The Surface)
Carmen Lundy: I Dream In Living Color (live) (from Jazz And The New Songbook - Live At The Madrid)
Juliet Kelly: Guardian Angel (from Delicious Chemistry)
Teena Marie: Turnin’ Me On (from Wild And Peacful)
Noel McKoy: Sitting On Top Of The World (from Please Take This Personal)
James Taylor Quartet: Love The Life (feat. Noel McKoy) (from Do Your Thing)
Sharon Jones & The DAP Kings: Ain’t It Hard (from Dap-Dippin’)
Down To The Bone: Memphis Groove (from Spread Love Like Wildfire)
Gladys Knight & The Pips: Make Yours A Happy Home (from Claudine)
Marvin Gaye: A Funky Space Reincarnation (from Here, My Dear)
Jay Williams: Look Me Up (Original Classic Vocal)
BeBe Winans: Thank You (MAW 12″ Mix)

Courtesy of Jon Freer (mosoul.co.uk) here are nineteen reviews (phew, someone’s been very busy) of soon to be released 12″ singles (sorry no cover shots or tracklistings this time):

The Source feat. Candi Staton – You Got The Love (Positiva)

Due to the personally affecting nature of music, certain records can become incredibly significant to one person and mean next to nothing to the next. Sometimes, the significance can be down to the situation in which the record was heard or the memories that it invokes, which can have little or nothing to do with the actual music. However, other times, it can be the record itself that is the important factor, and certain tracks can alter your perception or even change lives. For me, hearing the Source’s version of “You Got The Love”, which places Candi Staton’s faithful vocals over the arresting synth led groove of Frankie Knuckles’ “Your Love”, for the first time, was an incredibly special experience. This mindblowing record showed me the emotional power that electronic music can have. On this release, the ‘Original Bootleg Version’ is accompanied by well-made steadying string led revision, but for me, the original mix will never be eclipsed.

Antibalas / Psyco – Family Affair / Mr. President (Mind Records & Services)

This Afrobt 7″ doubleheader finds both Antibalas and Psyco in fine form. Antibalas supply a fine cover of “Family Affair”, where relation tribute paying vocals are subjected to attack from full-bodied guitars and nifty bass work. Psyco show their annoyance at political set-ups on “Mr. President”, backed by fluttering flutes and serious percussion.

Spirit Catcher – Rise And Shine (Rotax)

Spirit Catcher have been rather busy of late, here turning up on France’s ace Rotax imprint with a gorgeous cosmic House effort. Dazzing synths and shimmering guitars provide the sparkle on the original. Pascal Rioux’s ‘Philly Remix’ amplifies the strength of the original, as primed strings and tantalising keys prove their worth.

Lee McDonald – We’ve Only Just Begun (Favourite)

Originally released in 1981, this smile-inducing slice of dancefloor moving soul deserved another outing. Life-giving strings, buoyant guitars and happy drums back those euphoric vocals on the original version. Meticulous brass and cute guitars do the work on TM Juke’s remix.

Lindstrøm – Another Station (Feedelity)

Norweigan Cosmic Disco disciple Lindstrøm has seen his profile soar of late, with clueless tastemakers claiming to have ‘discovered’ this talented multi-instrumentalist in the last few months. Lindstrøm has been an underground leading light for a while, and this sky gazing 12″ should bring him even more converts. Flamboyant synths take centre stage on the excellent original version, as trustworthy keys and unruffled guitars provide encouragement. Todd Terje gives “Another Station” a housier treatment, where quick beats and an eager bass guitar join those hypnotic synths.

SUMO – Nini (Heya Hifi)

“Nini” is another great afro-nodding Houser from the heavyweight SUMO duo. Willing beats, high-spirited brass and a typically bouncy guitar groove back Clarisse Muvemba’s positive vocals on the original version. Claude Monet adds babbling synths and caring strings, whilst stretching out those vocals a little bit further on his remix. “Boningisa” is likely to tire the listener out, courtesy of Clarisse’s energetic vocals, military band type percussion and threatening bass action.

Lindstrom & Prins Thomas – Mighty Girl (Eskimo)

L & PT show no sign of slowing down their production output, dropping another likeable release for Belgium’s igloo dwelling Eskimos. Gorgeous keys, order following synths and likeable percussion meet on
the title track. An untameable bass calls the shots on “Feel PM”, as crazed synths wreak havoc on “Vrang Og Vanskelig”.

Broken – Dreams (FAT/Mind Records & Services)

Fractured jazz is the sound of choice on this EP from Doctor L. “Dark Soul Aiff” is the standout track, where pushy keys and frowning sitars back smudged vocal imagery. Confused keys and twitchy percussion meet on the computer praising “Click To Move On”, whilst “No Fashion” is a hyper beaten number and “Got Something To Say” mixes whiny vocals with a corrosive bass.

Erik Rug feat. Dynamax – Tribute To My People (Les Disques Du Telegraphe)

The Rugster is back with a record that celebrates the work of pioneering Hip Hop clan, The Zulu Nation. Dynamax a member of the crew, blesses the record with his old-time vocals, which are backed by thudding beats. The Dub makes room for vigorous synths and jabbing keys.

Grant Phabao feat. Lone Ranger & Carlton Livingston – Rudie (T.I.M.E.C.)

Made famous by a late 70s cover by The Specials, “(A Message To You) Rudie” returns to Jamaica on this version, which has been put together by Grant Phabao and features the vocal stylings of Lone Ranger and Carlton Livingston. Hearty brass and plucky guitars back the cautionary vocals on the ‘Extended Version’. Grant’s dub is a shootout between valiant brass, gallant guitars and an engulfing bass.

Danny Clark – The Sun EP (Digi-Peng)

Jazzually angled House in the flavour of this delightfully musical two tracker from Danny Clark. “Sunset” places an adorable flute over sweeping brass, likeable keys and ever so nice guitar play. “Sunrise” opts for butterfly flute fluttering and muted trumpet magic.

Sada Brahma – Damodara EP (Digi-Peng)

Sada Brahma is not one person, but the alias of a Finnish pair, Sampsa Kaukua and Jani Jaatinen, two classically trained musicians who make thought provoking House and Downbeat. “Bhakta” is a wow inducing key led number, whilst “Yoga Junkie” is a synthilating number. Precise keys do the work on “50 Metres Of Water Per Head”, as Kaukua’s magnificent bass guitar shines on “Lakshmi & Narayan”.

Isoul 8 feat. Paul Randolph – On My Heart (Still Music)

Isoul 8 aka Volcov hooks up with Paul Randolph on this smooth House outing. Randolph’s hurting vocals ride skating keys and a hazy bass on the vocal version. Overpowering synths and flying keys spread their wings on the Dub, as sweet keys and romanceful strings meet on the ‘Jazzstrumental’.

Eelko & Olaf – Jazzyaa EP (S-Sens)

Hailing from Amsterdam, Eelko & Olaf make lovely jazzed out House. “Jazzyaa” glides an unable to keep still sax over persuasive keys and keen percussion. Remix duty on this release falls to Luke McKeehan (Nordic Trax), Ty Tek and Vernon.

Pete Moss – Keep On Shining EP (Nordic Trax)

Respected Philadelphian Pete Moss has been churning out wonderfully subtle Deep House records for a good long while, and this EP for NT doesn’t disappoint. The finest track is “Keep On Shining”, a shining synth led number tucked away on the B Side. “Let Me Hold U” slides guitars over a heads down bass and beats combo, with “The Big Move” travelling along at a slightly more frantic pace.

D’Julz – Fast-Forward (Brique Rouge)

D’Julz applies the minimal House pressure on this fine three tracker for David Duriez’s respected Brique Rouge imprint. Bleepin’ keys and precise beats are held together by a pitch black bass on “Fast Forward”. Acid dipped synth patterns colour “Forward”, as the controlling bass comes to the fore once more on the nasty “Rewind”.

Ils – Loving You (Atomic Hooligan RMX) (Distinctive Breaks)

Atomic Hooligan has turned “Loving You” from a sweet request to a desperate beg for affection. Nagging synths, heavy cymbadelic percussion and a growling bass meet behind devoted vocals on the Hooligan’s impressive remix.

Future Funk Squad – Audio Damage (Default)

It’s the D Ramirez remix of this cut from Future Funk Squad that is set to cause the mightiest rumpus on the dancefloor. Pounding beats, unforgiving synths and a brutal bass workout colour his tuff House revision.

Andy ‘Touchfingers’ – Touch Of Jazz EP (Kwaito)

A few of the tracks on this jazzually flavoured House EP are a little too polite for their own good, but the final cut, “HaHa Made You Look”, is charismatic enough to demand repeat plays. Heidi Stewart relays the tale of a temptress over pointed keys and a bass that doesn’t mess around this funny little track. Elsewhere, “Are You A Jazz Fan” lays the piano keys on thickly over a chin scratching live bass, whilst “The Key Maker” and “Moving Finger” plod along courteously.

Just in case you’ve missed something last month, here are some highlights that were featured last month on jazz-not-jazz::