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, 11th:

Teena Marie: Behind The Groove (from Lady T)
Roberta Flack: Will You Still Love Me Tomorrow (from Quiet Fire)
Stevie Wonder: Joy Inside My Tears (from Songs In The Key Of Life)
Bill Withers: The Same Love That Made Me Laugh
Marvin Gaye: You Can Leave, But It’s Going To Cost You (from Here, My Dear)
Nina Simone: Funkier Than A Mosquito Tweeter (from It Is Finished)
The Sounds Of Blackness: The Lord Will Make A Way (from Africa To America The Journey Of The Drum)
Curtis Mayfield: Make Me Believe In You (from Sweet Exorcist)
Courtney Pine: Hard Times (from Back In The Day)
Alice Russell: Tired Little One (Acoustic Version)(from Under The Munka Moon)
Beautiful Nubia: Ife Oloyin (Gotta Tell You)(from Fere)
Julie Dexter: Rhythm Daughter (from Conscious)
Brigette: One Wish (from Starlite Lounge)
Monday Michiru: A Calmaria (Sailing Into The Unknown Version)(from 10th Anniversary)
Osunlade: Music For The Gods (from Aquarian Moon)
Nnenna Freelon: Song For Silent Footprints (from Listen)
Caron Wheeler: Soul Street (from Beach Of The War Goddess)
D-Influence: Break Up (from Prayer 4 Unity)
Diane Jessurun: Sunrise (DU JnJ Remix)
Watergates: Bourgie, Bourgie (from The Scandal)
Maya Azucena: Still Searchin (from Maya Who?)
Carmen Lundy: Better Days (from Self Portrait)
Curtis Mayfield: Little Brown Boy (from Love)

Diane Jessurun’s Sunrise (DU JnJ Remix) is a remix a friend of mine did for, well, obviously jazz-not-jazz. You can download this song here. And also have a look at the website of DeutscheUnschuld, designed last week by yours truly by the way. That’s why I hadn’t posted very much.

Ayetoro is a Yoruba word that means world of peace. Ayetoro is also the name of a band formed in Nigeria ten years ago in 1996 by Funsho Ogundipe. Funsho has quite an interesting and unusual biography for a musician. He has never played the piano before he was seventeen and he only discovered his deep love for music while he was at the University of Ife (now Obafemi Awolowo University) in Nigeria. After he graduated he worked in a law firm for five years and then for the Prudent Merchant Bank (now Prudent Bank). Oddly enough one of his early encounters with a world famous musician ended in disaster. “I remember when I was in Law School, I used to hang out and go and watch Fela play at the Shrine on most Friday evening after school,” Funsho recalls. “There was this day I just walked up to him and told him that I wanted to play the piano. I was wearing a jacket, so I think I must have convinced him. At this time, I didn’t know what they were playing. I didn’t have a clue about what they were doing. So, he took me on stage and put on the piano and I succeeded in making a fool of myself because everybody laughed. I remember one of Fela’s dancers called Folake laughed at me and said ‘You this man, lawyer, Fela friend, you want turn to musician abi? Fuck off men!’ That was in 1988“.
Luckily Funsho didn’t give up then and continued to practise the piano, formed the band Ayetoro and has since then released four albums: Naija Blues (1996), Something Dey (1998), Six Thousand And A Minute (2004) and the Afrobeat Chronicles Vol. I, which was already released in 2003. Like most independently released albums the Afrobeat Chronicles Vol. I has escaped my notice back then. But as we all know there’s really no expiration date for good music. And Ayetoro’s own blend of afrobeat and jazz, with a strong emphasis on jazz on this album, is simply good music.
The album was recorded in London with no overdubs with Funsho Ogundipe (fender rhodes electric piano), Byron Wallen (trumpet), Robert Fordjour (drums), Linus Bewely (clarinet, soprano sax), Olalekan Babalola (percussion), Ayokunle Odia (tenor sax), Angela Al Hucima (percussion), Orefo Orakwue (fender jazz bass) and Curtis Shaw (guitar).
The album starts with the cheerful From Benin To Belize, a catchy tune with subtextual Latin references. Becklow Gardens (Afrofunkycool) with its tight woodwinds section is just that, afrofunkycool. One of my favourite tracks is Revenge Of The Flying Monkeys (yes, I’m always a sucker for oddly titled songs), an inspiring and danceable afrobeat song, I just wish it would last much longer than its 5:20 minutes.
Blues 4 The Earth Mother is another highlight that shows what a great band Ayetoro is and what beautiful songs Funsho writes. The album’s closer Yoruba Boyz Club can best described as afrobeat meets broken beats done with real instruments. And it features some fine fender rhodes playing by Funsho.
There’s just one letdown with this album and that is, it’s too short with five songs in less than half an hour. Especially the repetitive Yoruba Boyz Club could be a (dancefloor) monster in an extended version that could accent its trance-like qualities.
All in all The Afrobeat Chronicles Vol. I (The Jazz Side Of Afrobeat) is a great album that shows that afrobeat isn’t dead but but very much alive and it flourish if married with jazz and played by talented musicians. Highly recommendable.

Tracklisting of The Afrobeat Chronicles Vol. I (The Jazz Side Of Afrobeat): 1. From Benin to Belize/ 2. Becklow Gardens (Afrofunkycool)/ 3. The Revenge of the Flying Monkeys/ 4. Blues For the Earth Mother/ 5. Yoruba Boyz Club | released 2003 by Funsho Ogundipe

For more infos visit ayetoro.com, sternsmusic.com, cdbaby.com and Funsho’s blog.

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

Courtesy of Jon Freer (mosoul.co.uk) here are 11 reviews of released and soon to be released albums (sorry no cover shots or tracklistings this time):

V/A – Moonstarr Remixes (PTR)

Broken tech jazz master Moonstarr exposes his midas remixing touch on this disc, which celebrates his work as a reformer of other people’s musical compositions. The ’starr certainly has his own distinctive production style, which can be observed at each stage of this musical voyage. Occasionally he strays to weird waters, but thankfully doesn’t venture too far out on most of his remixes. Highlights come in the shape of his slammed percussion and relieved key retouch of Rednose Distrikt’s “NY Boom” and his epic synth pointing version of Povo’s “Uam Uam”. This is a really rather impressive collection of rejigs from a very talented beat manipulator.

Latrice – Illuminate (Ultra)

Latrice Barnett’s silky vocals coat Jay-J and Kaskade’s House grooves in an aurally gratifying manner. Her hypnotic vocals are rather wonderful, but you can’t help wondering what it’d be like if she got to play over other musical styles, too. “Hold The Light” is gorgeous broken house number, with inquisitive vocals, feather light guitars and speeding beats. “Celebrate” lays Ms. Barnett’s rejoicing vocals over sweet keys and touching guitars. This album of genuinely soul-infused House rises above the rest, due to the inclusion of numerous tracks with meaningful vocal arrangements.

V/A – Sci.Fi.Hi.Fi Vol 2: Luciano (Soma)

Trippy teched up melodic fare reigns supreme on this comp from Luciano, a Techno wiz of Chilean and Swiss descent. It’s difficult not to marvel at the precision with which he switches between musical moods, whilst slipping tunes in and out. Unfortunately a few amazing tracks only get a very brief look in, but this is a minor quibble when Luciano manages to fit twenty one tracks into his seventy nine minute mix. Touching strings and cold beats meet on Thomas Melchior & Luciano’s moving “Father”. A beautiful melody is underpinned by considerate beats on the ‘Percussion Dub’ of Kuniyuki’s “Earth Beats”. “Sci.Fi.Hi.Fi Vol 2″ shows how technoid minimalism can enthral and with Luciano’s selection complemented by his inch perfect mixing.

V/A – Impulse! Revolutionary Jazz Reworked (Impulse)
V/A – Impulse! Revolutionary Jazz Unmixed (Impulse)

Mighty original jazz tunes get reworked by today’s future jazz and downbeat dons on the ‘Reworked’ comp, whilst the ‘Unmixed’ set features some cool dusty jazz gems. Certain tracks have been revisited impressively with the remixers managing to add their own influence, without snuffing out the original flames. A high remix point is RZA’s encircling bassed and gutsily saxed touch up of Charles Mingus’ “II B.S”. One of the most beautiful original pieces is Pharoah Sanders’ tenderly brass blown “Astral Travelling”. This is a very intriguing collection of remixes and it’s a real pleasure to have the originals on hand for comparison!

Kad – Société (Beleza)

“Société” is an endearing album of off-kilter easy listening compositions from a French-Algerian guy, who now resides in London. Kad’s music is beautiful, but some of his tracks sound a little lean and undernourished. Listen out for the skilfully key touched “Safaya” and the down hopped “Vue sur la Lune”. This longplayer is a little odd, but nevertheless enjoyable, and our world needs a few more eccentrics like Kad.

Ojos De Brujo – Techari (Diquela)

Ojos De Brujo bring us more flamenco grounded sonic fusion, complete with scratches, shouts, eastern percussion and a multitude of other musical ammunition. There’s a wonderful fluidity to Ojos’ music, and it’s always heartening to hear a group that stick unwaveringly to their principles and ideals. “Runalí” is a clappily percussed number, with kind hearted guitars and expressive vocals. “Bailaores” is a more upbeat number, where brass shrieks and thriving percussion assist glowing guitars. With the added bonus of a CD Rom featuring videos and visual displays, “Techari” is a feast for ears and eyes.

Up, Bustle & Out – City Breakers: 18 Frames Per Second (Collision)

Former Ninjas Up, Bustle & Out visit hoppin’ Reggae places and downbeat gazing soulful landscapes on this album for Collusion. UBO’s inimitable take on Jamaican flavours is enticing, but a few of their tunes leave you expecting a little more. Fed up vocals are enveloped by a swirling bass on “Everyday”, whilst “Rainbow Town” gets its strength from wind up keys, guitar pressure and bass heaviness. “City Breakers…” is pretty easy on the ears and thus is a handy relaxation aid!

Loka – Fire Shepherds (Ninja Tune)

Loka make cinematically appealing and rather grown up sounding compositions. They make good use of organic sounding instruments and a ‘hop’ production structure, but album unfortunately gets a little too gloomy in places. “Safe Self Tester” moves wide eyed strings over heavy beats in an arty fashion, whereas the glum “Beginningless” is a teary string stained cut. Hardly pre party music, “Fire Shepherds” is for contemplative moments spent with the stereo.

Roots Manuva – Alternatively Deep (Big Dada)

This LP is another instalment of dark UK Hop business, which features cuts that didn’t quite make it onto “Awfully Deep”. There’s no faulting the punishing bass, jagged beats and tough raps, but isn’t it a bit of a cheat releasing this as an album and not just sticking it on the original album as a bonus disc? Whatever the politics of this release, “Nobody’s Dancing” is an ace brass blessed unreleased cut, with defiant percussion and jolly keys. A heavy subbed up bass, reggae chords and runaway keys make the alternative mix of “Clock It” worth a listen. There’s definitely some good stuff on this ‘extensions’ type LP, but it probably won’t reach many record collectors who didn’t check “Awfully Deep”.

V/A – Beginners Guide To Salsa 2 (Nascente)

Leeds’ very own Latin master Lubi Jovanovic delves into his encyclopaedic music library to put Salsa fans through their paces once more. There are some ace positively angled salsarey tunes here, but isn’t ‘Beginners Guide’ a little patronising? As far as the ’slow’ tunes go, a personal favourite is Jimmy Bosch’s “Cocosito”, where a breezy flute is joined by calm percussion and swingin’ brass. A hot ‘medium’ tune is Orlando Watussi’s “Son Caleno”, as pursed lipped brass pushes vocals and beats in the right direction. Urgent keys and chirpy vocals feature on Orquestra Tabaco Y Ron’s “Que Se Sepa”, a ‘fast’ highlight. This is a rather cool salsified collection. After much toe tapping, I must ask where do I go to get lessons?

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 Friday, 7th:

Bernadette Seacrest: Summertime (from Live)
Deborah J. Carter: Ticket To Ride (from Daytripper)
Carmen Lundy: Send Me Someone To Love (live) (from Jazz And The New Songbook)
Edsel Gomez: West 54th Street Theme (from Cubist Music)
Emma Hutchinson: Nature Takes Me In Her Arms (from Hummingbirds)
Jhelisa: Love Is A State Of Mind (from A Primitive Guide To Being There)
Rebirth: Walk Talkin’ Mizell (Until We Meet Again) (from This Journey In)
JTQ: See A Brighter Day (feat. Noel McKoy) (from Supernatural Feeling)
Maiuko: Hold My Hand (from Different Wars)
Natural Selection: 10-15-01 (from Come On Over)
Julie Dexter: Ketch A Vibe (from Dexterity)
Misty Oldland: U Came (from Forest Soul)
Martha Redbone: Hard Livin’ (from Skintalk)
McKoy: Lucky Fellow (from Full Circle)
Marvin Gaye: Anger (from Here, My Dear)
Beautiful Nubia: Ohun Oju Nri (from Fere)
Ayetoro: Becklow Gardens (from The Afrobeat Chronicles Vol. I)
Oneness Of JuJu: Soul Love Now (from Space Jungle Luv)
Snowboy And The Latin Section: Ven Rumbero (from New Beginning)
Grupo X: Sunshine (from Food For Your Latin Soul)
Oba Funke: Uzoamaka (from Cosmoafrique)
Kyoto Jazz Massive: Mind Expansions (Blaze Shelter Sundae Mix) (from 10th Anniversary)

Now that was really fast…I’ve mailed Walter Smith III my interview questions yesterday night after I’ve written about his highly recommendable debut album Casually Introducing and just a few hours later I already had the answers.
So here’s your chance to learn more about Walter, his music, why he teamed up with a Spanish label for his debut and the inspiration behind the album cover.

Q: You’ve started playing the saxophone at the age of seven. How soon did you know that this is your instrument?

Walter Smith III: I actually started at 7 because my father actually had been a professional saxophone player in New Orleans, and he kind of pointed me in that direction. After a few years it just kind of seemed that once I started to listen to instrumental music that all of my favorite players happened to be saxophonists. That made me really decide to stick with it.

Q: How important were your stays at the Berklee College of Music and the Manhattan School of Music for your musical development?

Walter Smith III: While I was at Berklee, I went through a huge amount of musical growth. Coming to a town like boston, you are surrounded with a lot of guys (and girls) on every level in all genres from all around the world. I felt like I was exposed to lots of different styles of music as well as many different approaches that really helped to encourage and motivate me to practice and learn all that I could from them. I was also able to work with a great trumpet player Darren Barrett weekly, and he was really a mentor to me in terms of exposing me to lots of different possible approaches to improvising. Also Bill Pierce and George Garzone were huge influences on me during my time at berklee. My Manhattan School days were really benificial to me due to the location in New York. I got a chance to be in the scene and work a lot as well as get some wisdom from the great faculty that teaches there. I got a lot of help with my writing from Gary Dial, Phil Markowitz and Dave Liebman.

>>>continue

Shuya Okino and Yoshihiro Okino aka Kyoto Jazz Massive may have the longest anniversary in history. In 2004 Shuya released FOR KJM, RE KJM and BY KJM on his own Quality Records imprint in Japan. FOR KJM was reviewed almost one year ago on jazz-not-jazz. So another 10th anniversary album may be a little bit late but that’s really nitpicking. It’s the music that counts. And this double album, which will soon be released by the German Compost Records label, features more than enough to keep any discerning fan of quality house, dance and even jazz music happy and grooving.
Most of the tracks from the FOR KJM album appear here as well so if you’ve missed it because it was only available as an obscure and expensive Japanese copy then here’s your chance to finally get the tunes I raved about last year. Don’t worry they still sound fresh and great like Da Lata’s latinesque Ronco Da Cuica, Reel People’s epic Tomorrow Never Comes with Vanessa Freeman at her best, Restless Soul’s delightful Time To Fly, Louie Vega’s classic latin instrumental jazz song Aphrodite or Kyoto Jazz Massive’s own Endless Flight.
Even if you have a copy of FOR KJM (or BY KJM or RE KJM which also feature some songs that appear on this double CD) you want this compilation because it features songs that have been previously available on sometimes hard-to-find 12″es only. There’s the inspiring Quantic remix of KJM’s The Brightness Of These Days (again with vocals by the ubiquitous Vanessa Freeman), the soulful and deep Blaze remix of KJM’s Mind Expansions with vocals by Maiya James or Kenny Dope’s remix of KJM’s Shine with Chris Franck and Guida De Palma on vocals.
One of the many highlights is A Calamaria by Japan’s best female jazz singer Monday Michiru. The epic Sailing Into The Unknown Version with its nine and a half minutes is an enchanting and deep track that starts (and ends) on the cill-out side with waves, piano and Monday’s talking to turn into a great jazz-house song with additional scatting by Monday.
Sleep Walker’s Eclipse is a fast instrumental jazz song with a driving saxophone by Masato Nakamura and an uplifting piano solo by Hajime Yoshizawa.
Behind The Shadow adds a welcome spirituality to this compilation. The song reminds me a lot of songs Alice Coltrane recorded in the late 60s/early 70s. Here we have Earl Zinger (pianica), Ski Oakenfull (piano), Simon Richmond (theremin, percussion) and Pentagon (programming and mix) under the production guidance of Toshio Matsuura (of United Future Organization fame) creating a song that’s already one of my most valuable finds this year. Stunning!
Although this 10th Anniversary compilation combines the best tracks of the previous Japan only released FOR, BY and RE KJM with some additional songs, the result is nevertheless an inspiring and coherent journey into the music of the Kyoto Jazz Massive and like-minded artists. You will hardly find a compilation this year that is musically as diverse as this one.

Tracklisting of 10th Anniversary:
CD1:
01. Kyoto Jazz Massive - “The Brightness Of These Days” - Quantic RMX/ 02. Incognito - “Where Love Shines” - Kyoto Jazz Massive RMX/ 03. Kyoto Jazz Massive - “Endless Flight”/ 04. Restless Soul feat. Rasiyah - “Time To Fly”/ 05. Kyoto Jazz Massive - “Mind Expansions” - Blaze Shelter Sundae Mix/ 06. Kyoto Jazz Massive feat. Chris Franck & Guida De Palma - “Shine” - Kenny Dope RMX/ 07. Domu - “Taking Flight”/ 08. Afronaught feat. Alison David - “Now Or Never”/ 09. Dego & Kaidi Tatham - “Come With Me”/ 10. Reel People feat. Vanessa Freeman - “Tomorrow Never Comes”

CD2:
01. Da Lata - “Ronco Da Cuica”/ 02. Jazztronik - “Shine”/ 03. Louie Vega & The EOL Band - “Aphrodite”/ 04. Monday Michiru - “A Calamaria” - Sailing Into The Unknown Version/ 05. DJ Mitsu The Beats - “Spireedom 2004″/ 06. Sleep Walker - “Eclipse”/ 07. Toshio Matsuura Group - “Behind The Shadow”/ 08. Electric Sheep feat. UA - “The Brightness Of These Days”/ 09. Aurora - “Nacel Do Sol”
released May, 8th 2006 by Compost Records

For more infos visit kyotojazzmassive.com and compost-rec.com.

[If you want to discuss the music on this sampler, you can leave your comment below and also use the forum]

Just like Beautiful Nubia jazz singer Deborah J. Carter has become a constant artist on jazz-not-jazz with three albums reviewed (‘Round Midnight, Girl Talking and recently Deborah’s excellent tribute of Beatles songs Daytripper) and a previous interview featured. It’s good to see that independent artists can establish a career apart from the mainstream and major labels. And of course it’s good to see that these artists support websites like this one.
In her second jazz-not-jazz interview Deborah talks about the Beatles, their songs, her workshops and life in the Netherlands amongst other things.

Q: In the liner notes of Daytripper you are quoted with “I was never the greatest fan of the Beatles themselves but compositions of their calibre are a treasure“. Please tell me why you decided to dig out these treasures.

Deborah J. Carter: There was no ‘digging out’ of these treasures to do. These are songs that kept popping up throughout my lifetime - they still do - and I simply wanted to record them the way they were playing back to me in my head. I had never owned recordings of any of these songs, but the compositions were so familiar to me that by the time I started preparing the initial charts I already knew the chord progressions of most of them. Besides the original Beatles charts themselves I had heard several versions done by other artists of their songs. I think the most impressive of them was Sarah Vaughn’s Beatle’s tribute produced by Toto. I heard that album back in the 80’s and I think since then, I was forever destined to make a Beatle’s tribute album of my own.

Q: Please tell me why of all the songs the Beatles wrote you’ve chosen the eleven songs on the album. Is there a certain story behind the songs you’ve recorded?

Deborah J. Carter: Except for Fixing A Hole - which I first heard four years ago - these are the 11 songs that I knew best and found most interesting to ‘jazzify’ with my trio. The two songs on my album that have been in my repertoire the longest are ‘Something’ and ‘Yesterday’. In both of these songs, the things I liked best about them were the melody and the lyrics; I thought it would be nice to put more elaborate chords underneath. They say ‘less is more’, but now and then ‘more is also more’.

>>>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. And don’t forget that some countries already have daylight saving time (like Germany so you should add one hour, e.g. on Tuesday it’s 08:00-10:00 if you’re in Germany, France, Italy, Switzerland…).

Here’s the playlist for the show starting today April, 4th:

Janet Klein And Her Parlour Boys: Rebecca Came From Mecca (from Oh!)
Joanna Pascale: Give Me The Simple Life (from When Lights Are Low)
Deborah J. Carter: Can’t Buy Me Love (from Daytripper)
Mala Waldron: It’s Just Too Good For Words (from Always There)
Solar: Prototype For Constructive Dialogue (from Suns Of Cosmic Consciousness)
Walter Smith III: Kate Song (from Casually Introducing)
Kellylee Evans: Hooked (from Fight Or Flight)
Curtis Lundy: Groydology (from Against All Odds)
Ayetoro: Blues 4 The Earth Mother (from The Afrobeat Chronicles Vol. I)
Beautiful Nubia: Tables Turn (from Fere)
JuJu: Soledad Brothers (Live) (from A Message From Mozambique)
Carl Hancock-Rux: Protean Character (from Apothecary Rx)
Sandra St. Victor: They’re Cool (from Gemini Both Sides)
Denise LaSalle: You’ll Loose A Good Thing (from Trapped By A Thing Called Love)
Gladys Knight & The Pips: To Be Invisible (from Claudine)
Ohio Players: Is Anybody Gonna Be Saved (from Skin Tight)
Carleen Anderson: Salvation Is Free (from Soul Providence)
Victor Davies: Better Place (from Victor Davies)
Kyoto Jazz Massive: The Brightness Of These Days (Quantic Remix) (from 10th Anniversary)
Postmodern Jazz: Sun Theme (from Love Not Truth)
Legends Of The Underground: Paradise Garden (from Original Soundtrack)
Stephanie Mills: Free (Louie Vega Mix) (from Soul Lounge 2)
Janet Klein And Her Parlour Boys: Butterflies In The Rain (from Oh!)

The Spanish label Fresh Sound Records is a label eager to release music by new talents but somehow they may lack a few things in the promotion department. Maybe that’s why Walter Smith III contacted me himself to tell me about his debut album. And I’m glad he did.
Hailing from Houston, Texas/USA, Walter began playing the saxophone at the age of seven. In 2002 Walter graduated from the renowned Berklee College of Music with a degree in Music Education. In 2003 he began stuying at the Manhattan School of Music to receive a master’s in jazz performance. In between and since then he has performed with what looks like a who’s who of jazz artists (Roy Hargrove, Joe Sample, Herbie Hancock, Wayne Shorter, Mulgrew Miller or Terence Blanchard to name a few) and even soul/R&B musicians like Bilal, Lauryn Hill or Destiny’s Child. Not being content to play other people’s music Walter took the next step and wrote songs for his debut album and recorded five original compositions with four cover versions for his Casually Introducing album. He’s supported by Reuben Rogers (bass), Aaron Parks (piano, fender rhodes) and Eric Harland (drums) with additional musicians like Ambrose Akinmusire (trumpet) or Lionel Loueke (guitar).
The album starts with the energy-laden hard bop of Sam River’s Cyclic Episode. By the way the CD cover is a remake of Sam Rivers Fuchsia Swing Song album which also used a fish-eye photograph on a red (fuchsia) background.
Walter’s original composition Kate Song with its beautiful melody adds some soul into the mix with Robert Glasper on fender rhodes and Linoel Loueke and Gretchen Parlato on vocals (actually it’s more humming than singing). If you liked the Marcus Strickland album Brotherhood than that’s the song to start with to discover Walter Smith III.
Tail Of Benin, another original, is an interesting song starting with a solo by Walter which then is modified into some futuristic effects. Benny’s, a song by Lionel Loueke starts as a relaxed slow groove with some fine guitar playing by Lionel himself until the band raises the pace after five minutes and a more ad-lib horn solo gives way for Aaron parks on piano. Great tune.
My personal highlight is Walter’s reading of the Mingus’s composition Duke Ellington’s Sound Of Love. On this ballad Walter delivers a moving and soulful solo. If this is the sound of love I really want to be in love so badly.
Walter’s own Wooden Box (Spatula In Three) continues with the calm mood set by Duke Ellington’s Sound Of Love while Ornette Coleman’s Peace offers a delightful uplifting vibe. P.O.S. is another fine mellow slow groove. The album’s closer, Blues, is actually a furious hard hitting song representing the wild and angry side of the blues.
The design of the CD with the reference to the Fuchsia Swing Song album and the typographical design of the back are certainly subtle hints that Walter likes to see his music in the tradition of Blue Notes’s halcyon days and judging the quality of songs and playing on Casually Introducing I can only say mission accomplished. A highly recommendable pure jazz album from a young and independent artist.

Tracklisting of Casually Introducing Walter Smith III: 1. Cyclic Episode/ 2. Kate Song/ 3. Tail of Benin/ 4. Benny’s/ 5. Duke Ellington’s Sound of Love/ 6. Wooden Box (Spatula in Three)/ 7. Peace/ 8. P.O.S./ 9. Blues | released 2006 by Fresh Sound Records

For more infos visit waltersmith3.com, freshsoundrecords.com and cdbaby.com.

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

Courtesy of Jon Freer (mosoul.co.uk) here are 24 reviews of released and soon to be released singles (12″, CD and even 7″) (sorry no cover shots or tracklistings this time):

Max Romeo / Prince Jazzbo – Give Praises / Live Good Today (Blood and Fire) 7″

This is the first of six limited seven’s taken from a compilation of Fisherman versions, which hits the shops soon. Max Romeo eloquently thanks God over a hearty guitar driven backing on “Give Praises”. Prince Jazzbo recalls the power of Selassie, alongside original Congo warbling.

Horace Andy / Dean Fraser – Love Love Love / Fisherman’s Anthem (Blood and Fire) 7″

These new versions using the Fisherman rhythm were recorded recently in Jamaica and then edited and mixed down in Germany by the mighty Rhythm & Sound crew. The positivity of Horace Andy’s lyrics shines through on the magical “Love Love Love”. The “Fisherman’s Anthem” sees Dean Fraser reverential sax tones coat those earthy grooves nicely.

Mykal Rose / Early One – Let You Love / Jig Jig Jig (Blood and Fire) 7″

The legendary Lee ‘Scratch’ Perry originally produced the Fisherman track in 1977, and these new interpretations are in the spirit of the original. Mykal Rose’s coaxing vocals give more praises on “Let Your Love”. Early One tells a Fisherman’s story on “Jig Jig Jig”.

Luciano / U-Roy – Going Home / Fisherman Style (Blood and Fire) 7″

Celebrated vocal artistes Luciano and U-Roy crop up on the fourth instalment of the Fisherman 7″ series. “Going Home” finds Luciano in a positive mood, happy at the prospect of his homeward voyage. U-Roy gives his view of the sea trawlers on “Fisherman Style”.

Lutan Fyah / Country Culture – Whitewash Walls / Make Poverty History (Blood and Fire) 7″

Lutan Fyah and Country Culture make an appearance on the penultimate 7″ in the series, with Culture delivering one of the finest interpretations in the shape of “Make Poverty History”. On this track, he pleads for leaders to make the effort to eradicate unnecessary suffering. Lutan Fyah talks about important life issues on “Whitewash Walls”.

The Congos / Big Youth – Fisherman (Edit) / Feed A Nation (Blood and Fire) 7″

The Congos finally make an appearance, bringing us an edit of the original track. Solemn beats and a substantial bass sit beneath begging vocals on the wonderful “Fisherman”. Big Youth supplies the final adaptation, where his smooth vocals show the importance of Fisherman and the metaphorical significance of their work. The full compilation will certainly be worth waiting for!

King Kooba – Static Society EP (Freerange) 12″

Well, there are a couple of new tracks on this EP, but they’re nowhere near as exciting as the reworks of Kooba’s “San Salvador”. Luke Soloman grabs the bull by the horns and twists the track into a fierce floor moving mission, as beats thump, the bass boils over and the sax ends up in a frothy mess. Patchwork opts for a more grown-up angle, where a turning bass, gorgeous keys and sweet sax create a restrained touch up.

Soulphonic Soundsystem – EP (Convincing Woodgrain) 12″

Santo and Chauncey Canfield might be based on opposing coasts, but this hasn’t stopped this US based pair making great records together. Unfortunately, this isn’t an EP of original material, but a remix 12″ featuring overhauls from The Fort Knox Five, Ed Royal & DJ Enne and Ben Mitchell. Mitchell’s summery remix of “Catalina Sunset” is the pick of the bunch, with its playful keys, sunshine strings and powering percussion.

Benjamin Devigne – The Soul & Jazz Of…(Still Music) 12″

Benjamin Devigne and Patchworks show us that musically inspiring yet dancefloor pushing jazzed up House didn’t die when St. Germain moved to Blue Note. “Beginner” is an innocently keyed journey to the other side, where saddened vocals and a shakin’ bass poke the listener in the right direction. “Mess Up” is a dazzling key driven composition, whilst “Ocre” grooves politely, courtesy of honest bass delvings, pretty keys and masterful brass work. “Nostra River” is the only track on this EP not to feature French Deep House master Patchworks, but it still enchants, courtesy of laughing flutes, brave brass and a veiled rhythm section.

Unknown – Re-edits #4 (Jiscomusic) 12″

Once again putting the pieces together in a different order, yet still managing to create ear pleasing morsels, this 12″ is fine, but probably won’t be as huge as the last Jisco release. The producer behind these fine re-edits hails from across the pond, but made it over to the Jisco crew’s neck of the woods recently. High-spirited vocals fly over fun-loving brass and a wholesome bass on the A Side track. Euphoria inducing strings provide the high point on the B Side, as they strut their stuff alongside emphatic drums and a bass that carves out its own little groove.

Lephtee – So Far Back (Buzzin Fly) 12″

New whirring creepy-crawly recruit Lephtee opens his account with a tripped out slice of deeper House, which references his Michigan upbringing and abstract musical ideas. Smacked beats sit behind melancholic keys that just hang in the air on the original version, with mean metallic synths providing a nasty twist to the tale. Phonique’s remix floats those pained keys over computerised beats and a gritted teethed bass.

The Everything Treatment – Sola (Buff International) 12″

The Everything Treatment use their worldly influences to produce culture respecting compositions that are exciting interpretations and not lazy pastiches. Ever so lovely guitars and sweet strings meet on the Brazilian dream like “Sola”. “The Theme From…?” floats ghostly vocals over uneasy keys, scrunched brass and bass unpleasantness.

Lorayne – Something About You (Deeplay Music) 12″

Buzzin Fly regular Rocco injects a little magic into Lorayne’s “Something About You”. Lorayne’s ever so beautiful vocals sit atop world brightening keys on Rocco’s vocal version. His ‘Deep Mix’ is home to a throbbing bass, blinding keys and layered strings.

Jazztronik – en:Code EP (Especial Distribution) 12″

Ryota Nozaki brings us another jazzy banquet, once more handpicking cuts from a CD only album, and there are three hot tracks that deserve your attention “Pathways” is a highbrow string led number, with imploring vocals from Rob Gallagher and Valerie Etienne. “Rio, Sol E Mar” is a jittery percussed number, where Marcos Valle’s agreeable vocals slide over guitars that grow in stature. Sonia Satana features on “Working Day”, a tasty narrative with exploding bass action and sweet keys.

Will Saul feat. Ursula Rucker – Where Is It? (Air) 12″

A clear standout on Will Saul’s recent longplayer, Ali B has snapped up “Where is It?” for his Air imprint. It’s all about the original version, where Ms. Rucker’s angered vocals are laid upon unsure keys, a snarling bass and steady percussion.

Mocky feat. Feist – Fightin’ Away The Tears (Four Music) 12″ & CD

This rather lovely collaboration pits Mocky’s production precision against Feist’s gorgeous vocals. “Fightin’ Away The Tears” stirs up the emotions in the way that every song about heartbreak should, with Feist’s hurt vocals aided and abetted by fragile guitar work and tender brass kisses.

Johnny Arthur – Evil Edna (Kill Brique) 12″

London’s Johnny Arthur steps up with the second release for David Duriez’s harder edged sub-label. The original is a disorientating key mission, with a naughty bass and uncaring percussion. Hateful beats, flashing keys and a fearsome bassline cohabit on Deetron’s tougher retooling and Duriez himself even supplies a noxious synth led DJ tool.

Coldcut feat. Roots Manuva – True Skool (Ninja Tune) 12″

Coldcut’s tabla’d collab with Roots Manuva has been soiled by Sway, Switch and Spank Rock. A pissed off bass and swimming keys dominate Sway’s revision, whilst Mr. Rock gives the track his normal shrill keyed treatment. Switch’s mix is in his usual style, as a churning bass mixes up groovin’ keys and powering strings.

The Superimposers – I Wait For You (Little League) 7″

The summery Superimposers bring us a couple of warm-hearted sunshine laced offerings. Demonstrative synths, submissive vocals and pretty organ keys offer patience on “I Wait For You”. Fussing keys, restless guitars and enthusiastic percussion show a perkier side to the group on “Superimposters”.

Foreign Beggars feat. OhNo & Dubbledge – Slow Broiled Ilk (Dented) 12″

The Beggars offer us rough and ready UK Hop. “Slow Broiled Ilk” is a tussle between a grating bass and emphatic beats, whilst glass smashes and a nasty bass makes its voice heard on the violent “Backdraught”. Hundred mile an hour vocals are chased by shining keys and a growling bass on “Hot Plate”.

Young Dog Alien – EP (Young Dog Alien) 12″

A certain expert blender has been in his musical kitchen once more, this time delivering a triplet of odd musical dishes. A bass tries to groove away against languid beats on “Gotta Keep Workin’ It”, whilst the tiny “Amp Trouble” is home to sleepy guitars and a hollow rap. Het up guitars and an energetic string display dominates “Electric Eel”.

Spies Like Us Vs Exit Only – Destination EP (Analog Anonymous) 12″

Analog Anonymous launches with a musical battle between Spies Like Us and Exit Only, with the secret agents coming out on top. Bass darkness meets string lightness on SLU’s sturdy “Destination Unknown”, whilst “Jamaican Flood” is a messy keyed hitter. Exit Only’s finest contribution is “Musik”, where Marvin’s vocals are expertly manipulated over jumpin’ guitars and a sandpaper bass.

V/A – Taster EP 3 (Cookshop) 12″

The Implosion Quartet reign supreme on this Cookshop Taster EP. “Luksus Problem” weaves tragic guitars and sad keys together over clomping beats. “Phase Out” spins violin stringed loveliness over powering percussion and a harsh bass.

The Ape Drape Escape – 200 Angry Bikers (The Laundrette) 7″

Well, the Ape Drape Escape sound as angry as the riders. “200 Angry Bikers” sees a scared vocalist run from sprinting drums and fierce guitars. “They Filled A Bag…” is a fuzzy guitarred number with staccato vocals, forward march percussion and electronic warbling.

Following my third review of an album by Beautiful Nubia (i.e. his new album Fèrè) here’s the third jazz-not-jazz interview with the man who knows like no other how to combine food for thought with music for your feet. This time Segun Akinlolu aka Beautiful Nubia talks amongst other things about the re-recording of songs from his album Voice From Heaven, how he teamed up with Tunde Kelani to write the theme song Ikoko Akufo for the movie The Narrow Path and the risks of globalization for the African continent.

Q: Please tell me what the new album Fèrè means to you and where do you see the progress as musician, singer, songwriter compared to its predecessors?

Beautiful Nubia: I think Fere showcases the greater cohesion of the band (it’s has been the easiest album to record so far). Beyond this, there is really not much difference - we are still trying to reach people with uplifting messages while not losing sight of the need to be commercially attractive.

Q: Some of the songs are re-recordings from your Voice From Heaven album. Why did you re-record them? And in which way are they different from the original take?

Beautiful Nubia: The early recordings were done in a much different way and using fewer musicians. And since we normally play these songs at our shows and people love the new arrangements, we thought we should record them anew especially since some of them are suitable for ongoing events in the world.

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