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+2 (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). If you have a DSL/broadband connection you can also open this url directly in your mediaplayer: http://rautemusik.g24m.net:14000/ otherwise try http://rautemusik.g24m.net:14050 for ISDN connections.

Here’s the playlist for today Friday, 21th:

Roberta Flack: To Love Somebody (from Quiet Fire)
Oneness Of Juju: Bootsie’s Lament (Space Jungle Luv)
Doug Carn: Contemplation (from Revelation)
Teri Thornton: The Lord’s Prayer (from I’ll Be Easy To Find)
Juliet Kelly: Secret (from Delicious Chemistry)
Teena Marie: Too Many Colors (Tee’s Interlude) (from Lady T)
Mamayo: Born To Love (from The Game)
Maiuko: I Dream (from Different Wars)
Vanessa Simon: Lying (from Definitive Source)
Down To The Bone: Angel Baby (feat. N’Dambi) (from Spread Love Like Wildfire)
James Taylor Quartet: The Money (from Do Your Own Thing)
D-Influence: Running Away (from London)
Grupo X: X-Perience (from Food For Your Latin Soul)
Incognito: Where Love Shines (Kyoto Jazz Massive Remix) (from 10th Anniversary)
Donny Hathaway: The Slums (from Extension Of A Man)
Jhelisa: Freedom’s Land (from A Primitive Guide To Being There)
Emma Hutchinson: Homeless In Hollywood (from Hummingbirds)
daysahead: Don’t Fall Too Fast (from Turning Point)
Dee Robinson’s Black Pearls: I Never Knew (from The Voyage)
Denise LaSalle: A Man Size Job (from On The Loose)
Dee Daniels: Love Is Here (from Feels So Good)
Deborah J. Carter: I will/ Here There And Everywhere (from Daytripper)
Janet Klein & Her Parlour Boys: When (from Oh!)

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

V/A – Rolando: From There To Here And Now (NRK)

Rolando Rocha is a Detroit knight in shining armour, who recently relocated to Edinburgh. Here he lays down a compilation of pulsating Tech escapades and relaxed House numeros. The breadth of music on show impresses, as does Senor Jaguar’s record manipulation. Disc one focuses on lively Discoid and Technified cuts, with hot cuts including Andreas Saag’s thumping sax laced “Release The Groove” and Rolando’s own “In-Transit”, where life-changing strings and brimming over keys cohabit. Disc two is a thoughtful affair, where super deep tunes such as Malik Alston’s enticingly keyed “Butterfly” and Vince Watson’s cosmic synth shaped “Cycles” are aired. Rocha may be known for fiery Techno and aching string arrangements, but this comp shows he’s as comfortable presiding over an afterhours gathering as pleasing a packed dancefloor.

Jimpster – Armour (Freerange)

The immediacy and ear catching nature of the tracks on this ever so deep effort from Jamie ‘Jimpster’ Odell gives “Armour” a spellbinding quality. The album sees Jimpster produce a number of wonderful tunes that range from foot shoving House numbers to ponderous broken soul outings. Elsa Hedburg drags you towards an inevitable liaison on “Slippin’”, as her sultry vocals grip taut keys tightly. “Jus’ Wanna Feel” places engaging vocal murmurs over half-step beats and attractive keys. This is the strongest Freerange release in a long while, with main man Jimpster showing that he’s the deepest of them all.

Max Cole – Star Charts (Wah Wah 45s)

Max Cole can play various instruments and sing like an angel, but that’s not all. “Star Charts” gives a clear indication of Cole’s talent as a beat programmer and his desire to stick out from the crowd. Cole’s reliance on real instruments gives his music a raw quality, which is lacked by the work of airbrush conscious, computer relying producers. It is the unprocessed nature of this Broken Soul angled LP, which makes Max’s compositions stand out from that of his contemporaries. “Ay Calor” is all lurching beats, wah wahing bass work and standing up straight beats. “Silver Linings” is more glorious summer weather than black cloud doom and gloom, as an astounding flute weaves its magical web around rustling percussion and unwell synths. Today’s forward thinking jazz and soul fraternity should take note, there’s a new kid on the block and he’s got the talent to rise to the top…

SUMO – The Danceband (Heya Hifi)

“The Danceband” is an album of boisterous, posterior shaking House tunes from a heavyweight Swedish pairing. The smile inducing tunes on this album make this album rather endearing, and they outweigh the few cold-hearted compositions. “Tribute” is a spirited number, with powering keys and reaching brass. “Nini” shoots speeding guitars and quick tongued vocals over swingin’ beats. Latin and Afro House fun for all.

V/A – Gold Diggers: As Sampled By Kanye West (Harmless)

Some of West’s sources are exposed on this soul-steeped compilation. It’s good to see the top quality tunes like Gil Scott Heron’s tormented “Home Is Where The Hatred Is” and Bobby Bland’s gruff guitarred “Ain’t No Love In The Heart Of The City” getting the full airing they deserve, but others sounded better as Kanye’s butchered samples. Collections like this are a little bit of a cheat, but “Gold Diggers” shows West’s prowess as a music manipulator and features some fine soul articles.

V/A – This Is How We Lounge 2 (Sunshine Enterprises)

A number of catalogue highlights from Vienna’s Sunshine Enterprises imprint have been revisited here in an intriguing manner. A number of usual suspects and habitual remixers have done stellar jobs, but some revisitations are a little lacklustre. Yam Who treat Madrid de los Austrias’ “Para Don Alonso” to a souled up brass banquet, where free guitars and an attentive bass provide assistance. Blackbeard gives Rob Scott’s “Fallin’” a wonderful broken soul once over, courtesy of well thought out percussion and brass interplay, guitars of love and string sweetness. This is a mixed bag, where remix dons such as Yam Who, Blackbeard and Restless Soul shine!

Jesse Rose – More Than One (Front Room)

Rose’s premier album is actually a collaborative effort from start to finish, with guest appearances from a number of major players. Collaborations are an excellent opportunity for the cross pollination of musical ideas, and here have resulted in some startling but nonetheless welcome results. Jesse Rose teams up with Trevor Loveys on “Drop What You’re Doing”, where curt beats back leavering bass work. “Stop, Look & Listen” sees Jesse draft in Henrik Schwarz for a moving number, where comforting chords and lost voices float over commanding percussion. Broadly speaking, “More Than One” is a House album, albeit not one that really focuses on the sick and twisted floor pounders that Rose and his cronies have found fame with.

V/A – Dub Club: Picked From The Floor (G-Stone)

Nu dub and various envelope pushing electronic styles make their presence known on this comp, which celebrates a decade of Dub Club parties. Naturally, there are some wonderful dub based workouts on this disc, but one has to question the inclusion of D&B stormers in the middle of the mix, as they unsettle the flow of the compilation. The Dub Club Remake of Stereotyp’s “Um-Dois-Tres” is a writhing synthoid number, with demented vocal shrieks and steppin’ beats. A sooty bass, flamboyant strings and primed keys colour OMFO’s “Bagdub”. This great comp lets you peak into the Dub Club.

V/A – remixed suSU (suSU)

Soul kissed tunage from the suSU House gets rejigged here in order to extend the life of these dancefloor filling tracks. Some of the remixes are rather heartening, but others have you yearning for the originals. Phil Hooton does a great job with Blaze and Kenny Bobien’s “Hiya Luv”, as buoyant beats lounge behind swirling synths, praisin’ vox and dark’n'light bass touches. Soul Central give Rosie Gaines’ “Closer Than Close” a sumptuous makeover, courtesy of sharp string work and thumped beats. Soulful House magic.

Waxfactor – Sci Fu (Needlework)

Waxfactor brings us more cut and paste business with a side helping of hoppy scratchin’ action. There are a few dull tunes, but Waxfactor holds the attention most of the time, referencing Downbeat, Breaks, Reggae and more, as well as bringing listeners the usual hearty Hip Hop serving. “Adverse Camber” places moody strings and disjointed keys over a nasty bass. “Contact” relies on pleading strings to liven up murmuring vocals and a tremouring bass. Scratchadelic sample based fun.

Regular readers of jazz-not-jazz certainly know my desire for music that moves more than your body, for music with a political message. And an album that offers more than one political alibi track these days seems to be as rare as humane working condition in Chinese sweatshops. Well, Who’s Afraid Of William Scott is one of these rare albums that combines a message with a fresh blend of soul, R&B, hip hop and pop which at its best evokes memories of soul music’s halcyon days and Stevie, Curtis, Donny or Marvin.
William Scott labels his music as FreeSoul. Maybe it’s free because he’s proud to be black and gay and he isn’t afraid to mention this in his songs (namely Invisible Man). As most fans of black music may know there are quite a few gay singers/musicians but most of them are still in the closet and can’t be seen like invisible men, because they think they may lose their fans, sell less records, lose their record contracts, lose their friends (the term friend is used very loosely here because a real friend would of course stay through thick and thin) or whatever when they’s come out of the closet. So the late Sylvester is still the first who comes to people’s mind when talking about gay black artists. Maybe it was/is still easier these days to be open with your sexuality in the disco/dance music genre. It’s certainly harder in the more homophobic world of hip hop.
However, with the recent announcement that Sony Music launches a gay record label it looks like someone told them that gay people have a lot of money to spend. And with the rootkit desaster we all know how devoid of scruples Sony BMG Music is when it comes to making money. Maybe if CBS/Columbia would’ve come up with a gay label in 1969 (there was no Sony record label back then) it would’ve been innovative and maybe helpful for gay liberation. But in 2006? This is just a silly move from an almost dead dinosaur to make more cash.
Anyway, William Scott has released his debut album Who’s Afraid of William Scott? independently and thus had not to have meet any obligations but could decide freely what he wanted to sing about (another reason to call it FreeSoul).
The album starts with the soulful and pleading Mr. President. As a German, who doubts that just a change in the government without replacing the head himself is sufficient, I guess I rather don’t comment the line “Dear Mr.President we need a real change in the government/ Cause too many lives are spent on war please listen to my two cents“. All About Love is an inspiring uplifting soul song with a message straight out of the 70s (”If we are the higher species then/ Why is it boggling me that/ We can’t see what they see we can’t find a way to love/ Forget all the trivial stuff and/ Love whats inside of us/ So we can spread love to all man“). Act Like is a funky and catchy longing for the good ol’ days when black music actually had soul. In some way this is the musical translation of the article What the F**k Happened to Black Popular Music? by Kenny Drew, Jr.
You Are A Star is a soulful uptempo song with a slight house flavour and an uplifting message. William wrote this song in the awareness “that many people, minority groups such as African Americans and Homosexuals have not been affirmed by society [and] to give us that affirmation and self worth.”
Songs like Revolution or Do It with their hip hop/R&B sound show that William Scott is musically really versatile and don’t want to be pinned. Although musically these songs miss the point for me (and the readers of jazz-not-jazz certainly know about my general problems with rap, urban and today’s R&B). But luckily things get deeper and soulful with tracks like Soul II Soul, Repetition, a beautiful song with just William and an acoustic guitar, or the midtempo delight More To Life. The albums closer, the downtempo soul/rock of Death To The Poet, is another winner and wouldn’t be out of place on an album by Carl Hancock-Rux.
All in all Who’s Afraid of William Scott? is an impressive and musically diverse debut and finally a much-needed album with a political message.

Tracklisting of Who’s Afraid of William Scott?: 1. The Dedication/ 2. Mr. President/ 3. All About Love/ 4. Act Like/ 5. Invisible Man/ 6. You Are A Star/ 7. Revolution/ 8. Little Drum and The Devil/ 9. Do It/ 10. Soul II Soul/ 11. Repetition/ 12. Hold On/ 13. More to Life/ 14. Death to the Poet/ 15. Freedom | released 2005 William Scott Davison

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

[If you want to discuss the William Scott’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+2) and if you missed it it will be repeated on Friday 12:00-14:00 (UTC+2) and Sunday from 13:00-15:00 (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 tomorrow April, 25th [I’m sorry to let you know due to some technical problems with the upload on radiopellenera’s side you have to listen to last week’s show once more.]:

Andile Yenana: Mr. Harris (from Who’s Got The Map?)
Doug Carn: Mighty Mighty (from Adam’s Apple)
Fay Victor: What A Little Moonlight Can Do (from Darker Than Blue)
Kellylee Evans: Rapunzel (from Fight Or Flight?)
Janet Klein & Her Parlor Boys: Baltimore (from Oh!)
Carmen Lundy: Moody’s Mood For Love (from Something To Believe In)
Nina Simone: It Be’s That Way Sometime (from Silk & Soul)
Mala Waldron: I Do Remember You (from Always There)
Afra Behn: Looong Green (from Premier Cru Sampler)
Alison David: Really Doesn’t Matter (from Believe)
Kyle Jason: Butter Baby (from Generations)
Miki Howard: This Bitter Earth (from Femme Fatale)
Brigette McWilliams: Through It All (from Too Much Woman)
Martha Redbone: Future Street (from Skintalk)
Julie Dexter: Faith (from Dexterity)
Fertile Ground: Culture Bandits (from Seasons Change)
Amana Melomé: Caterpillar (from Indigo Red)
The Rebirth: Stray Away (from This Journey In)
William Scott: Soul II Soul (from Who’s Afraid Of William Scott)
The Family Stand: Where Does Mommy Live (from Moon In Scorpio)
Jazzhole: Circle Of The Sun (from Circle Of The Sun)
Mondo Grosso: Now You Know Better (from MG4)
Pedro Giraudo: Primer Intento (from Desconsuelo)
Postmodern Jazz: Undecided (from Love Not Truth)
Osunlade: TwoPhish (from Aquarian Moon)
Noel McKoy: Night Nurse (from Mind Is The Keeper)

Deep House Don Osunlade surely needs no introduction to most readers of jazz-not-jazz. Although there has been quite a few house producers/DJs/remixer who released full length albums, the main oeuvre can still be found on various 12″es. And if you have a look at Osunlade’s discography on his Yoruba Records site or on the discogs site you’ll see that this is still true. After his Paradigm release on Soul Jazz Records in 2001 his new album released by BBE Records in Europe is only his second album (if you don’t count the best of album Yoruba Records: El Primer Ano).
Quite a few things have changed since Paradigm , musically and in Osunlade’s life. He now lives on the Greek island of Santorini and Aquarian Moon pays homage to its rich culture. Musically this is a little bit different from his previous stuff. Albeit not too different, the trained listener will still recognize it’s Osunlade. Listening to this album sometimes reminded me of Larry Heard records like Sceneries Not Songs.
While there are still songs with a great dancefloor potential like the first single SokinSikartep (btw here’s a video of this song…although you might need quicktime to view it…or just use vlc) or the percussive ridden deep house title track Aquarian Moon, the overall concept of this album is creating a tapestry of richly orchestrated instrumentals and at its best spiritual moving soundscapes that take you on a musical journey. The Day We Met For Coffee with its lush strings is a good example.
On TwoPhish Osunlade digs into Down To The Bone territory with a damn funky uptempo groove. Fingerblood is an interesting downtempo track with piano sprinkles and cow bells!
One of my favourite cuts on this album is Circles, a fine late night electro jazz song. Other highlights includes the uplifitng groove of Casablanca Soul with its horn solo and the deep In Flight with lots of percussion.
Aquarian Moon shows a stimulating development of Osunlade as a musician who eventually have reached a state of being musically without boundaries or as he puts it “[Aquarian Moon] is not a house album, it is music, all styles are in there: jazz, funk, etc.”

Tracklisting of Aquarian Moon: 1. Thira/ 2. Aquarian Moon/ 3. The Day We Met For Coffee/ 4. Flow/ 5. TwoFish/ 6. Fingerblood/ 7. Circles/ 8. Oia In Winter/ 9. SokinSikartep/ 10. Casablanca Soul/ 11. Music For The Gods/ 12. Inspiriation/ 13. In Flight (Hidden Track)| released May, 26th 2006 by Yoruba Records/BBE

For more infos visit yorubarecords.com, bbemusic.com and myspace.com/yorubarecords.

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

It’s been a month ago since I reviewed Mala Waldron’s album Always There. If you’re looking for inspiring music soul music with lots of jazz (or jazz music with lots of soul) then Always There is the album for you.
In her jazz-not-jazz interview Mala talks about the influence her parents had, why she dedicated three songs to family members and her Soulful Sound imprint amongst others.

Q: Both your parents are professional jazz musicians. How much have they influenced you to become a musician yourself? Did they try to push you in this direction?

Mala Waldron: Fortunately, neither of my parents tried to push me in that way. They seemed to take note of my natural affinity for it, giving me lots of encouragement. As a young child I used to watch my mother rehearsing for performances. Mom started me off with classical piano lessons at age 7 years. When I wasn’t practicing scales or some sonata, I would often go through her sheet music collection looking for something “cool” to play to impress my friends. Sometimes my father took my sister, Lauren, and I on tour with him in the summers. I remember one concert in particular, in Italy where he was scheduled to do a solo performance. I was about 13 years old and recall feeling frightened for him because there were thousands of people at this outdoor festival. I couldn’t imagine what he could do up there all alone to hold this audience’s attention. I saw him take the stage and in a matter of minutes, mesmerize the entire crowd. It was an amazing experience that made a lasting impression on me.

Q: You’ve had the chance to work and record an album with your late father. Please tell me more about this experience.

Mala Waldron: The first time my father and I worked together it was in 1995 during a tour of Japan. Jazz vocalist, Jeanne Lee was also on that tour with us. Dad turned 70 that year so I wrote a song for him called “He’s My Father” and gave it to him as a birthday gift. Later it became the title track of our CD. We decided to make a recording of the songs we were performing. We ended up going to a studio on one of our days off and recorded six tracks. I couldn’t imagine trying to accomplish so much in so little time, but Dad seemed so relaxed about it, I just followed his lead. I did “He’s My Father” and another original piece as solo piano/vocals. We recorded the rest of the tunes as piano duets on two grand pianos. One of my favorites from that recording is a free piece called “Cat and Mouse.” It was totally improvised from start to finish. We didn’t know beforehand what we’d play, but somehow it was decided that I would be the “mouse” and he’d be the “cat” — the rest just unfolded naturally.

>>>continue

The Family Stand will be back in autumn 2006. Jeffrey Smith and Peter Lord have eventually reunited with Sandra St. Victor after they’ve engaged Jacci McGhee for their Connected album in 1998. Peter Lord and Jeffrey Smith also worked with Yewande on the awesome Rufus.
Fans of the Family Stand will certainly remember that they were Evon Geffries & The Stand first and the lucky ones still have a copy of the Chapters - A Novel By Evon Geffries & The Stand album.
And make sure to tune into my radiopellenera show next week, when I will play Where Does Mommy Live from the Moon In Scorpio album.
On the Family Stand’s myspace site you can listen to a few minutes of their new song In The Name Of What.
Meanwhile there are no news about Sandra St. Victor’s @myspheres album that should’ve been released ages ago :-(

Kellylee Evans recently impressed me with her all-original album Fight Or Flight?
And it looks Kellylee and I have more in common than just liking her music: Then, I proceeded to do my favourite thing - procrastinate. Well, I’m actually another person who likes to procrastinate things but finally I’ve found the time to copy & paste Kellylee’s jazz-not-jazz interview into my template. So keep on reading to learn more about how Kellylee started writing songs, why she recorded her debut album in NYC, what she had in mind when writing Enough or Rapunzel and much more.

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

Kellylee Evans: I used to only sing standards. Even as a music listener, I found that I wasn’t open to listening to original music in jazz. Pop music, no problem, but for some reason I had this shut down mechanism when it came to jazz. I only wanted to hear songs that were familiar. And sing songs that were at least familiar to me.
I had this music theory teacher that kept telling me that I would never make any money as a singer if I didn’t write my own music. I thought you had to be a born writer. I had co-written a song as a teen with someone I knew, but I didn’t think I would be able to do it on my own. Still, I really respected this teacher and I went out and bought a bunch of books on songwriting. Then, I proceeded to do my favourite thing - procrastinate. I needed something really big to make me focus on writing.
That came one day after I had an ankle roll over playing tennis in the morning and almost ended up dying that evening. I had an allergic reaction to a common over-the-counter drug and went into anaphylactic shock. The next day, I started writing with a vengeance. One of my first songs, “I Don’t Want You To Love Me” ended up on the album. In fact, the album is all my first songs.

Q: Who has influenced and keeps influencing you musically?

Kellylee Evans: I was listening to Abbey Lincoln a lot initially, Sting…Shania Twain. When I say that, people cringe, but I love the way she is able to make songs that people really identify with. I think she’s great. I listen to a lot of soft rock, Coldplay, Keane, Rufus Wainwright, Feist. Every song I wrote seemed to come to me over a dancehall or calypso beat. That definitely speaks to my West Indian heritage (both my parents are from Jamaica). I have a very diverse musical collection - country, jazz, opera, classical, rock, pop, lots of pop, calypso.

>>>continue

Soon it’s Southport Weekender time again. So if you’re in the UK on May 5/6/7 2006 you should really consider going there. The list of live acts and DJs looks really impressive:

Live Acts

The Sounds of Blackness - Live in Concert
Alexander O’Neal
Dawn Robinson - (formerly En Vogue, Lucy Pearl)
The Rebirth - Live in Concert
Byron Stingily
Monique Bingham
Una
Fun*Demental03
J Davey
The Muthafunkas

The Powerhouse

Kerri Chandler, DJ Spen, Quentin Harris, Frankie Feliciano, Terry Hunter, Dennis Ferrer, Louis Benedetti, Pope & Oji, Norman Jay, Aaron Ross, Jonathan, Steve Butler, Billy Davison

The Barcadi B Live Room

Kenny Dope, Mr Scruff, Jazztronik, Rainer Trüby, Carl Craig, LTJ Bukem, I G Culture, Mad Mats, Snowboy, Kev Beadle, Dr Bob Jones, Simon Mansell, Collin Patterson

The Connoisseurs’ Corner

Richard Searling, Norman Jay, Terry Jones, Andy Davies, Mike Stevens, Dr Bob Jones, Pete Haigh, Bob Jeffries, Gary Dennis, Jonathan

The Funkbase

Trevor Nelson, Steve Sutherland, Ronnie Herel, Shortee Blitz, DJ Diggz, Bigger, DJ Swerve, Steve Wren, JP, Simon Schoolboy Philips, Max Rees

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+2 (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). If you have a DSL/broadband connection you can also open this url directly in your mediaplayer: http://rautemusik.g24m.net:14000/ otherwise try http://rautemusik.g24m.net:14050 for ISDN connections.

Here’s the playlist for today Friday, 21th:

The Dells: All About The Paper
Gladys Knight & The Pips: Love Is Always On Your Mind (from Still Together)
Teena Marie: I Need Your Lovin’ (from Irons In The Fire)
Ohio Players: Speak Easy (from Mr. Mean)
The Temptations: Happy People
Da Lata: Ronco Da Cuica (from KJM 10th Anniversary)
DJ Spinna feat Heavy: We Can Change The World (Club Mix)
Marshall Titus: Don’t You Worry About Me (Mark Grant In The House)
Frankie Knuckles: Walkin’ (Grant Nelson’s Divine Gospel Remix)
SOB: Joy (Overjoyed Mix)
Mondo Grosso: Butterfly (from MG4)
Danny Madden: The Secret (from These Are The Facts Of Life)
Fela Anikulapo Kuti & Roy Ayers: 2000 Blacks Got To Be Free (from Music Of Many Colors)
King Britt Presents Oba Funke: Bush Workout (from Cosmoafrique)

Courtesy of Jon Freer (mosoul.co.uk) here are ten thousand reviews (er, actually a few less) of released and soon to be released singles (12″, 10″ and 7″) (sorry no cover shots or tracklistings this time):

X.Panded Dimension.S – Space Jungle (Sacred Rhythm Music)

Joaquin ‘Joe’ Claussell welcomes another spiritually aware House producer, Anthony Nicholson, to join him on his voyage to the stars. Here, he gets Nicholson to pen a wondrous stargazing release for Joe’s personal Sacred Rhythm imprint entitled “Space Jungle”. Empowered by nature lyrics are backed by dedicated percussion, guiding strings and free moving jazz keys on the vocal version. Fear allaying strings, joyous keys and electric guitars that have been given a free reign shine on the equally organic instrumental.

Misia – Shinin’ (Joaquin ‘Joe’ Claussell Remixes) (Rhythmedia)

Dreadlocked Japanese singer Misia’s “Shinin’” gets the empowering spiritual House treatment from NY master Joaquin ‘Joe’ Claussell. Joe’s ‘Club Love NY Vocal’ instils Misia’s vocals with a stronger sense of purpose, courtesy of enchanting violin and cello work, fascinating guitar play and resolute beats. The ‘Sacred Rhythm Version’ is a similarly touching rendition, with beaming guitars, gushing strings and courageous bass work. Demonstrative synths and compassionate guitars back Misia’s luminous vocals on the slightly more reserved original version.

280 West feat. Diamond Temple – I Never Knew (Phuture Sole)

Self styled purveyors of ‘uptempo soul music’, New Jersey’s 280 West follow up the heart stopping “Fly” with another earnest vocal stomper in the shape of “I Never Knew”. A breezy guitar bass, classy brass and swingin’ keys provide an ideal backdrop for Diamond Temple’s comprehending vocal display. The strength of the musical arrangement can be heard from a quick listen to the beatless ‘Reprise’, whilst the ‘Dub’ lets sharp brass and a funked out bass call the shots.

Phil Hooton – Revelations / Afro Phunk (Phuture Rhythms)

Phil Hooton gets Phuture Sole’s rhythmic sub-label going with an awesome jazzied House release. Spirited percussion, jiving brass and strong willed chords meet on the awe-inspiring “Revelations”. “Afro Phunk” is a brassed up dancer, but it’s the lead cut that demands repeat plays.

Liquid Dope feat. Chronkite – I Want You (Dope Wax)

Kenny Dope hooks up with soulster Chronkite on a charming cover of Marvin Gaye’s lustful “I Want You”. Kenny’s ‘Main Mix’ floats those desiring vocals over innocent keys, fiddling guitars and flashing synths. The ‘K-Dope Dub’ offers roughened bass work and persistent keys, whilst the ‘Dub Reprise’ is home to diligent keys and chunky yet supple drums.

Jim Noir – My Patch (Hot Chip Remix) (My Dad/Atlantic)

It seems that besuited guitar caresser Jim Noir has been kidnapped by demented electro-chemists Hot Chip and turned into a cyborg. Noir’s vocal chords have been roboticised and thus fit rather well over the Chipsters’ insolent keys and synthesised guitar grooves.

Jimpster – Armour LP Sampler (Freerange)

If this sampler is anything to go by, then Jamie ‘Jimpster’ Odell’s “Armour” LP should be pretty special. “A Love Like This” is unfortunately not a cover of Faith Evans’ Chic nabbing Disco & B banger, but instead is an uplifting synther, with commanding vocals and laughing keys. The other standouts on this sampler are a mind altering key driven number entitled “Seventh Wave” and “Don’t Push It”, where addictive keys and demonstrative strings rule.

Hanna Haïs – Jazz Samba (Atal Music/Bubble Soul)

Angelic French singer Hanna Haïs continues her House quest with “Jazz Samba”, a track produced by Danny Marques. Eloquent Latin guitars, well-defined percussion and a friendly bass back Ms. Haïs’ vocals on the original version. Gentle strings and slow to react keys calm the listener on the ‘Uranus Lounge Remix’.

Kirk Degiorgio pres. Esoterik – Starwave EP (Freerange)

Captain Kirk moves to previously uncharted Discoey shores on this release for Freerange. A circling bass, wow inducing synths and matter of fact percussion meet on the original version. Impolite beats and a live bass make their feelings known on Jimpster’s remix, with all-powerful synths rising to the top on Spirit Catcher’s retooling.

V/A – Gold Diggers: As Sampled By Kanye West SAMPLER (7″ Harmless)

Kayne West might be known in popular music circles for his rappin’ and production work on his own releases, but arguably it’s his talent as a beat manipulator for other R’n'B and Hip Hop heavyweights, which has transported West to where he is today. This 7″ is an aperitif for a full compilation, which exposes Kanye’s might as a sampler spotter. Careful keys, fresh air brass and slow walk percussion meet on Hank Crawford’s “Wallflower”. Etta James’ devoted vocals ring out over beautiful guitar play and bewitching brass on “My Funny Valentine”.

Burning Spear – Never (Remixes) (Burning Music Production)

Burning Spear get the once over in a disappointing trance-breaks style by superstar spinner Paul Oakenfold, but the day is saved by Barry O’Hare. Hare’s rootsy ‘O ‘Rastaman’ Dub Mix’ is home to a swirling bass, trorch holding brass and intriguing guitar work.

Speaker Junk – Scratch Up The Music (Speaker Junk)

New boy Herve teams up with Trevor Loveys for an instalment of head messing guttural House on the pair’s new Speaker Junk imprint. “Scratch Up The Music” is an ear-bending thumper, with subby bass rolls, demented computer sounds and ridiculous string hits. “Run The Track” is rather restrained by comparison, as a squelchy bass converses with committed beats and vox slices.

Blaze feat. Barbara Tucker – Most Precious Love (Freemasons RMX) (Defected).

The Freemasons make Dennis Ferrer’s refix of “Most Precious Love” a little easier to swallow, in order to boost the commercial appeal of this dancefloor monster. By taming Ferrer’s bassline, sanitising Ms. Tucker’s vocals and cleaning the bassline, the Freemasons have achieved their goal. If Defected feel the need to commission such a remix in order to guarantee commercial success, mainstream radio and the pop charts must value streamlined music over challenging creations.

Deepgroove – Attack! Attack! (Slave)

Slave keep the unapologetic House flag flying with this delightfully brutal release from Deepgroove. It ain’t very deep, but “Attack! Attack!” is a devastating housefloor belter, with cold hearted beats, pierced strings and a monstrous bassline. Bobby Lorenz & Kristoph’s synth driven ‘Lock-In’ Re-work’ is rather domesticated by comparison!

Jeremy Warmsley – Other People’s Secrets (10″ Transgressive)

Jeremy Warmsley is a musical prodigy just into his 20s, but he doesn’t seem like the type of guy that released his first Hip Hop album when he was 10 or passed his Grade 8 piano exams aged 12. Instead, he’s been busying himself producing engaging and musically accomplished downbeat tunes with heartfelt vocals and the occasional electronic flourish. His songs can have you captivated one moment and cringing the next, but this master craftsman is a welcome break from a flood of songwriters that always take guitars over instrumental variety and electronics. Snooty strings and ramshackle percussion dominate the embittered “Dirty Blue Jeans”, whilst “I Knew That Her Face Was A Lie” is only soft vocals and caught in the wind keys. Noble keys chart a tale of woe on “Jonathan And The Oak Tree”, as “Modern Children” comes on like macabre guitarists Interpol, until light keys and acoustic guitars bring fun to the proceedings. Predictably, “Hush” ends the EP on calm note, as slovenly vocals and lost keys attempt to escape from a quietly menacing bassline.

Dead Disco – The Treatment (High Voltage Sounds) (7″ SOLD OUT!)

This Leeds four piece made up of three ladies and a guy on drums don’t make music to stir the ghosts of Bernard Edwards (Chic), Larry Levan et al, but instead they create exciting electroic indie. It’s the ‘Metronomy Mix’ of “The Treatment” that stands out, courtesy of its screeching synths, slanted vocals and eccentric beats. The loopy-keyed original, with its controlling guitars and smug vocals, is a little dull by comparison.

Kill The Young – Addiction (7″ Discograph)

Many know Discograph for their Housey releases by the likes of Dimitri from Paris, but this imprint can also do it for the indie crowd. Kill The Young are three brothers that hail from a Manchester suburb and make powering guitar based compositions. “Addiction” is a tale of trying to find your niche, backed by running drums and quick paced guitars. “Radio” is stirring number, where frustration seeps into steadfast guitars.

Waxplanet – Streets On Fire (7″ Grand Transmission)

Waxplanet’s sunshiny guitar play and pert drumming is a little at odds with their adopted home, as they reside in a bohemian yet rough around the edges Manchester suburb, where the weather is more likely to be dreary than summery. “Streets on Fire” pays homage to the city they’ve come to call home, as dependable rhythmics and probing melodies keep the flames burning. “Get Involved” is another hi-octane display, with urging vocals and quick-cymballed percussion.

Autokat – Dish Out (7″ akoustik Anarkhy)

The dark Autokat bring us their second single in the shape of “Dish Out”, inspired by many a debauched gig driven party. The vocals ponder the sights, smells and everything else that goes with fun music-focused gatherings, backed by understated percussion and voracious guitars. Endearing guitars, single level vocals and dependable drums meet on “Get Off The Bar”.

Thomas Truax – Have We Been Left Behind? (7″ akoustik Anarkhy)

Mr. Truax is an endearing NY based musician who makes music with his own custom built instruments that include ‘The Stringaling’ and a drum machine called the ‘Sister Spinster’. Truax even manipulates his own voice, by putting his words through a gramaphone type ‘Hornicator’. “Have We Been Left Behind?” philosophises over jangling percussion and bendy melodics. Ostentatious strings, itch relieving rhythmics and off colour vocals inhabit the disturbed “Lessons In Art”.

I’ve mentioned Janet Klein And Her Parlor Boys some weeks ago and finally I have a copy of her latest (and fifth) album Oh! for a review.
Janet and her Boys are really out there on a mission. And that mission is to keep old jazz and vaudeville from the 1910s, 20s and 30s from sinking into oblivion. Even if you think you’re not into the old stuff, I recommend to pay Janet’s website a visit because here we have an enthusiastic artist totally devoted to her music and wallowing in yesteryears’s design and glory. And with five albums under her belt you can tell that’s really her and not just a clever marketing decision.
Somehow Janet seems to be beamed from the past into our present to make us aware of the beautiful songs and melodies people have written decades ago. Sometimes you hear a few of these songs while watching vintage b&w movies. Whether it be The Jazz Singer (one of the first Vitaphone movies) or movies that featured songs that later became standards like The Bad in Every Man (made famous as Blue Moon) from Manhattan Melodrama, even screwball comedies like The Awful Truth featured scenes with song performances by a (in this case not really talented) songbird, who sang My Dreams Are Gone With the Wind).
And let’s not forget the Screen Songs with the bouncing ball (something like karaoke to sing along in the cinema, Irene Bordoni singing Just A Gigolo for example) and cartoons like the early Betty Boop that featured Cab Calloway (Snow White [St. James Infirmary Blues], Minnie The Moocher, The Old Man Of The Mountain) or Louis Armstrong (I’ll Be Glad When You’re Dead, You Rascal You).
But Janet has dug much deeper. In an interview with David Reffkin she answered when asked how she finds new material: “I do collect sheet music, in a lot of cases for the beautiful graphics. From the mid-teens through the early thirties, every piece of sheet music, practically, had ukulele arrangements. I mostly work out things from listening to old recordings. Many of these tunes were not particularly meant to be played on ukulele. What works really well are the nice verses, the little prologues to the songs. Along the way the verses came to be considered corny. By the Forties, nobody bothered with these verses. But for me, they’re perfect to be performed rubato…out of time and they set up a story and are great for the ukulele.”
(By the way, the Duke University gives us an impression what Janet may have meant with the beautiful graphics).
It’s not only Janet, her singing and her ukulele that bring the old songs back to live. Her Parlor Boys are equally important. With cornet, upright bass, piano, guitar, trombone, sousaphone, mandolin, banjo or accordion amongst others the Parlor Boys provide the perfect musical background.
If you listen closer to the songs there’s one thing that may be the most obvious difference to most of today’s music and that is that the writers of songs like That’s Love, Ida, I Do or Rebecca Came Back From Mecca really cared about the language they used and loved to play with it. The catchy That’s Love (written by Ray Henderson and Lew Brown) for example is a swinging song that’s really funny with its menagerie of comparisons (”When the bull looks at a cow, says eventually ‘Why not now’/ Ladies and gentlemen, that’s love/…/When the toucan at the zoo do what only two can do, Ladies and gentleman, that’s love“). Rebecca Came Back From Mecca features some racy lyrics about a quite emancipated young woman who spend two years in a Sultan’s harem and came back full of new ideas (”And since she got back from the harem/ She’s got clothes, but she don’t wear them.“) [Here’s a longer explanation of this song]
Baltimore is another highlight here. This song by Jimmy McHugh is really a great dance song with a memorable melody.
Sweet Man is one of my favourite tunes with Janet accompanied by the piano only. Here she impersonate the ever true and loyal lover (”He’s as true as I would expect him to be/ And he sees only me/ It’s true, I know, cause he told me so.“)
The daring I’m Busy And You Can’t Come In (originally from 1928) is another fine example that the 1920s were in some way more liberated then the decades that followed. Even today most people may feel a little puzzled if a woman tells you she’s busy rigth now with another.
With nineteen songs on offer there are actually too much to mention every song here. But believe me they are all worthwile and Oh! is a real lovely designed treasure box of long forgotten songs.

Tracklisting of Oh!: 1. Oh!/ 2. Concentratin’ On You/ 3. When the World Is At Rest/ 4. That’s Love/ 5. Baltimore/ 6. Ida I Do/ 7. Who-oo You-oo That’s Who!/ 8. Mon Ami Perdu/ 9. Don’t Worry ‘Bout Me/ 10. Undecided Now/ 11. Sweet Man/ 12. Hello Bluebird/ 13. Little Coquette/ 14. I’m Busy and You Can’t Come In/ 15. Lonesome and Sorry/ 16. Butterflies In the Rain/ 17. If You Hadn’t Gone Away/ 18. Rebecca Came Back from Mecca/ 19. When? | released 2006 Coeur de Jeanette

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

[If you want to discuss the Janet Klein’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+2) and if you missed it it will be repeated on Friday 12:00-14:00 (UTC+2) and Sunday from 13:00-15:00 (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 today April, 18th:

William Scott: The Dedication/ Mr. President (from Who’s Afraid Of William Scott)
Nuwamba: Above The Water (from Above The Water)
Me’shell NdegeOcello: Shoot’n Up And Gett’n High (from Plantation Lullabies)
Amp Fiddler: Love & War (from Waltz Of A Ghetto Fly)
Jazzhole: Love Philosophy (from Circle Of The Sun)
Grupo X: Spare Ribs (from Food For Your Latin Soul)
Luis Mario Ochoa: Mestizos (from Cimarrón)
Edsel Gomez: The Minetta Triangle (from Cubist Music)
Walter Smith III: Wooden Box (Spatula In Three) (from Casually Introducing)
Kellylee Evans: I Don’t Want You To Love Me (from Fight Or Flight?)
Lois Deloatch: A Good Cry (from Closure)
Roberta Flack: Compared To What (from First Take)
Mala Waldron: Maybe It’s Not So (from Always There)
Sleep Walker: Eclipse (from 10th Anniversary)
Ayetoro: Yoruba Boyz Club (from The Afrobeat Chronicles Vol. I)
JuJu: (Struggle) Home (from A Message From Mozambique)
Alice Coltrane: Lord Of Lords (from Lord Of Lords)
Osunlade: Aquarian Moon (from Aquarian Moon)
Curtis Mayfield: Minstrel And Queen (from Love)
Janet Klein And Her Parlor Boys: Sweet Man (from Oh!)

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+2 (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). If you have a DSL/broadband connection you can also open this url directly in your mediaplayer: http://rautemusik.g24m.net:14000/ otherwise try http://rautemusik.g24m.net:14050 for ISDN connections.

Here’s the playlist for today Friday, 14th:

Alice Coltrane: Shiva-Loka (from Journey in Satchidananda)
Toshio Matsuura Group: Behind The Shadow (from KJM 10th Anniversary)
Speak In Tones: Oracao (from Subaro)
Ayetoto: Revenge Of The Flying Monkey (from The Afrobeat Chronicles Vol. I)
Osunlade: Fingerblood (from Aquarian Moon)
Marcus Strickland: Values & Imperatives (from Brotherhood)
Walter Smith III: Duke Ellington’s Sound Of Love (from Casually Introducing)
Donny Hathaway: I Love The Lord, He Heard Me Cry (Parts I & II) (from Extension Of A Man)
Roberta Flack: Let Them Talk (from Quiet Fire)
Abbey Lincoln: Kohjoh-No-Tsuki (from People In Me)
Oneness Of Juju: Incognito (from African Rhythms)
Doug Carn: Moon Child (from Infant Eyes)
Carmen Lundy: Walking Code Blue (live) (from Jazz And The New Songbbok)
Fay Victor: Sometimes (from Darker Than Blue)
Angela Bofill: The Voyage (from Angel Of The Night)
Beautiful Nubia: Higher Steps (O Mbo Wa D’ero) (from Fere)
Mondo Grosso: Cenario (feat. Ed Motta) (from MG4)
Johnny Lytle: Gunky
Curtis Mayfield: Future Shock (from Back To The World)
Fertile Ground: Be Natural (from Spiritual War)

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):

Tortured Soul – Introducing Tortured Soul (R2 Records)

This magnificent three piece, headed by eloquent vocalist and drummer, John-Christian Urich, bring us an ace album of soul kissed House-floor tunes, with a few restrained broken soul numbers thrown in for good measure. Tortured Soul have done a wonderful favour by bringing songwriting and real musicianship to a listenership more often exposed to computerised grooves and lyrics of the lowest denomination. Highlights include a lovelorn synther entitled “How’s Your Life” and the helpless “I Might Do Something Wrong”, here re-rubbed in a hypnotically keyed fashion by Osunlade. It’s a crime that this album was barely acknowledged on it’s original US release a couple of years ago, and we should thank R2 for giving it a UK outing, albeit in a slightly different form. In a world where many acts prefer to stick with conformity and follow musical fashions, acts like TS that choose to be themselves and dance to their own beat should be supported.

[for more info visit torturedsoulmusic.com]

2020 Soundsystem – No Order (2020 Vision)

The 2020 Soundsystem is comprised of 2020 label head Ralph Lawson, reliable drummer Danny ‘Dubble D’ and a pair of handy Argentinean musicians, Fernando Pulichino and Julian Sanza, known for their work as Silver City and under a multitude of other pseudonyms. Together, the group make top quality electronified cuts, which combine House type dancefloor sensibilities with committed indie and punked up guitar work and ear catching synth action. Sometimes when acts go for an indie-dance fusion, the listening public get a dull indefinable dirge, but thankfully that’s not the case with the 2020 Soundsystem. “Won’t Bother Me” is a collaboration with The Glass, and sees a jagged bass and steadfast drums back shiny guitars and downcast vocals. Trippy synths, a gurgling bass and confident guitars meet on the ‘Ewan Pearson Vs 2020 version’ of “Shiver”. The Soundsystem’s music is pretty accessible, but despite having the same musical dynamism as various painfully fashionable electronic-indie groups, it’s unlikely that this Leeds based act will attract the acclaim their music deserves outside of electronic circles.

David Borsu – Insight (Counterpoint)

Mr. Borsu, a talented Belgian neo jazz purveyor, finally brings us his debut album, two years after he originally entered the Counterpoint fold with the jaw dropping “Monster EP”. On this LP, Borsu shows how it’s possible to create new tracks that harness the emotional power of jazz and funk from the past in a stirring fashion, with tracks from the aforementioned EP still shining brightly. “Nocturne” is the location for a battle between twisted synths and falling keys. “Way Of Life” sums up the beguiling power of music, as wide-eyed string-synths breeze over loving keys and en-aweing bass action. “Insight” is an assured longplayer from an exciting jazzy talent.

Harvey Lindo – Kid Gloves: A Modaji Longplayer (Compost/Planet Groove)

Dominic Jacobsen adopts a new persona for this Hop slanted longplayer, which originally surfaced in the Far East last year. As per usual, it has taken a while for this album to make it to Western shores. Mr. Modaji has done a pretty good job, creating some rather endearing vocal and instrumental tracks. Rugged beats and ever-happy keys guide Phillipa Alexander’s nature conscious vocals on “Lifeforce”. Fluidous keys and heavy-footed beats are the focus of attention on the epic “Kalima”. Compost must be thanked for deciding to give the short but perfectly formed “Kid Gloves” another outing.

Thievery Corporation – Versions (ESL Music)

Perhaps somewhat predictably, “Versions” is a compilation of the Corp’s worldly-wise remixes. As with their own production work, The TC’s remixes feature beautifully crafted spacey ethereal soundscapes. The Corp’s work tends to be ever so polished and their remixing style only really suits certain artists, but when given suitable musical apparatus on which to experiment, the results are spellbinding. Stretched eastern chords, unhappy sounding keys and an encircling bass backs frustrated vocals on the Corp’s refix of Nouvelle Vague’s “This Is Not A Love Song”. Heavenward gazing strings and fragile guitars provide the answer on The Thievery’s sublime refix of Astrud Gilberto’s “Who Needs Forever?”. There are few surprises with this Washington DC based duo, but if you’re after a charming and easy to digest take on multicultural musical flavours, then look no further.

Dalminjo – One Day You’ll Dance For Me Tokyo (Deeplay Music)

“One Day You’ll Dance For Me Tokyo” is an album of electrocuted soulful compositions from the talented Dalminjo. He has the ability to make heartfelt tracks at varying tempos, but they unfortunately don’t all have the same musical dynamism and he excels when working on instrumental compositions. “Kosmisk Brekt Lapskaus” is home to charming keys and empowering bass work. Portly hop house beats and a mellow bass back Alexandra Hamnede’s encouraging vocals on “Come Here”. Charming digitised soul.

Alex Smoke – Paradolia (Soma)

“Paradolia” is another album of minimal trickery and thoughtful techy pressure from Alex Smoke. Thankfully, Smoke has not lost his singular production style between albums, even if this does mean a few tracks are a little cold hearted. A jumping bass dances with skippy beats behind sharp synths on “Meany”. Synths struggling to think straight dominate on “We Like It Insipid”. On this LP, Alex Smoke continues his one man Techy crusade against unruly machines.

V/A – Om Lounge Vol 10 (Om)

OM’s celebrated horizontal listening series finally makes it to double figures. There’s a range of lovely restrained stuff on this CD, produced by well-known artists and newcomers. There are a few sleep inducing numbers, but most hit home convincingly. Stolen Identity’s “Argentina” is a tingly stringed number, with guitar gold dust and sloath-like percussion. Tender guitar licks soak heavenly keys on Hideo Kobayashi’s “Almost There”. A luscious relaxation aid.

Canada is becoming more and more important upon the map of black music and the attentive readers of jazz-not-jazz surely remember Nick-e, Diane Taylor or LAL. Kellylee Evans is another Canadian who impresses with her debut album full of original songs.
Kellylee was born in Toronto but lives now just outside Ottawa, Ontario. Throughout the years, she performed at various talent shows and was a member of the Toronto Mendelssohn Youth Choir. At the Carleton University she was part of a school jazz combo. Soon she realised that studying law may be fine but her heart was really with music and she eventually pursued a career in music.
And Flight Or Fight?, her debut album, is really an amazing start. To start with, there’s the well photographed cover (yes, I’m always a sucker for a great photo) and unlike most of her peers Kellylee relies only on the strength of her own compostitions.
Kellylee offers a unique blend of jazz, soul, blues and reggae and then some with a few pop overtones on her debut album. “I started getting into jazz before Diana Krall started getting big. Her success really floored me,” Kellylee says. “Growing up, I wanted to be a pop star, but when I started liking jazz so much, I realized I wasn’t going to be pop star famous, but then Diana’s success really got exciting.”
The majority of the songs were produced by Lonnie Plaxico and Kellylee and recorded within two days in New York City (January 12-14 2004 to be exact). Only the first two songs were recorded in April 2005 (again in NYC, but co-produced by Carlos Henderson).
The album’s starter What About Me?, is a great haunting slow tune with fine acoustic guitar input by Carl Burnett. The subtle Lead Me Closer is of the same calibre.
The powerful Hooked provides a nice change with its rock influences. The heartfelt I Don’t Want You To Love Me is one of my favourite tracks, here we have a singer torn between one of the greatest emotion and the fear of getting hurt one day (”I don’t want you to love me no, no/ I can’t handle the thought that you would go/ It’s easier if we cut these ties that bind/ Ever tightening as days go by/ This may come as a surprise but/ I don’t want you to love me goodbye/ Don’t think of this as a fear to commit/ My therapist said there’d be days like this/ Though it seemed that our love would go stronger each day/ It did, but I fear this attachment to you/ I know I’m not meant to feel passion this was/ Just as I know that you won’t stay“)
But Kellylee’s lyrics can cut even deeper. On the Latin-tinged title Fight Or Flight? (Help Me, Help You) for example. “That song is all about seeing tragedy and people in need all around you, but not really wanting to get involved; not being sure how far you can get involved,” Kellylee says. “So many people of my generation, we feel apathetic. We feel like if we make a move we’re not gonna be able to effect any change.”
The album continues with the bluesy I Don’t Think I Want To Know, which adds further proof to Kellylee’s musical diversity. There’s even some reggae thrown into Let’s Call A Truce Tonight and Rapunzel impresses with a mixture of Spanish and French folk.
Finally there are more traditional jazz songs with How Can You Get Along Without Me? or Enough, which explores jazz in the vicinity of soul music.
With these different influences and styles it may seem that Kellylee tries everything not to get pigeonholed and this album may lack coherence. Quite the contrary, it’s her distinctive voice and her personal lyrics that make this a well-rounded album. To sum it up, Fight Or Flight? is an exceptional and musically diverse debut album.

Tracklisting of Fight Or Flight?: 1. What About Me?/ 2. Lead Me Closer/ 3. Hooked/ 4. I Don’t Want You To Love Me/ 5. Fight Or Flight? (Help Me, Help Me)/ 6. I Don’t Want To Know/ 7. Let’s Call A Truce Tonight/ 8. Rapunzel/ 9. How Can You Get Along Without Me?/ 10. Enough/ 11. Who Knows/ 12. What About Me (Bonus Track) | released May 2006 by Enliven! Media

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

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