Pianist, arranger, composer and conductor, Michel Legrand and music were a marriage made in heaven and his versatility is exemplified on this condensing of two film soundtracks onto a single CD. Legrand combined elements of French Romantic classical (Debussy and Ravel) with symphonic string accompaniment, musical hall bal musette with accordion and even human whistling, and of course jazz, both in big band and more intimate combo formations. All three elements are expertly interweaved on this set which sometimes comes across as a medley of individual pieces. The title track of the compilation and title of a late 1950s French film forms the main part of the CD and individual compositions are invariably made up of different sections and styles, so that the seductive, ‘Parlez-moi d’amour’, has a pared down brass and string section with accordion and then a larger ensemble. Throughout there is great subtlety with the use of flutes on the gorgeous, ‘Les lavandières du Portugal’, and again on the ballad, ‘Hymne à l’amour’. Highly inventive is a complete re-working of the immortal, ‘Mon homme’, that Edith Piaf made her own. Here, the intimacy of the spoken word sing is re-created by means of a tenor saxophone with an added echo and strings in the background. To convey s typical Parisian milieu, Legrand deploys accordion. Thankfully, he never resorts to cliché and even on Offenbach’s, ‘Quadrille de la vie parisienne’, better known in English as ‘french can can’, Legrand finds a new way to communicate and on Léo Ferré’s, La guinche’, takes a more vibrant tempo than on the original with a playful arrangement and execution. Even more audacious is the reworking of Trenet’s opus, ‘La mer’, which in the intro at least, owes more to Debussy’s own deeply impressionistic vision of the sea before unexpectedly the listener hears the sound of a banjo. The second film soundtrack, from the Chris marker ‘Joli Mai’ (1962) has the major bonus of the title track being sung by none other than Yves Montand and this, combined with some haunting whistling, makes for a memorable tune that lingers long in the mind. As with El/Cherry Red re-issues, the inner sleeves are lovingly illustrated with black and white photos of the era, a panoramic vision of Paris at its most romantic and the original covers to both of the vinyl releases and even a Polish poster of one of the films.
Last year saw the emergence of the complete, ‘Concerts be the sea’, live recording, arguably the greatest ever piano jazz album (some might argue strongly for Bill Evans ‘Live at the Village Gate’ from 1961), and this was a treat for jazz devotees with an additional CDs worth of previously unheard material plus an interview. How do you follow that? Octave Music found a way by trawling the archives and locating three separate studio dates plus a further single date in Paris. All had in common an identical quartet format including the same percussionist José Mangual Jr. and virtually the same rhythm section throughout with minor changes in personnel, with Jimmie Smith on drums and Ernest McCarty Jr. mainly on the bass (George Duvivier and Ike Isaacs elsewhere). Thus, there was a cohesion to the music and the sound quality was comparable to anything that Garner recorded elsewhere for major labels in the late 1960s and early 1970s.
The result is a revelation and its own right a truly outstanding re-issue, or rather to be exact a first issuing of material including six originals and the rest standards that are given that unique Garner phrasing with exquisite arrangements as only the maestro is capable of. Of the new pieces (to our ears at least), ‘Down Wylie Avenue’, is a stunning uptempo number that has the listener hooked from the outset and a strong latin jazz vamp as does, ‘High wire’, which comes across as though garner might have been listening carefully the then new sound of Eddie Palmieri, or maybe it was the other way round. Fans of cu-bop will immediately be taken by the reading of, ‘I want to be happy’, and of course Garner did record back in the mid-1950s a whole album in this vein entitled, ‘Mambo with Garner’ that has stood the test of time remarkably well.
Three and a bit separate sessions, then, but you would hardly notice because the same intensity is maintained and virtually the same line-up ensures a seamless transition from one number to the next. A rare gem of a recording and full marks to the teams at Octave and Sony for locating the music in the first instance and then re-mastering it. Among the co-production personnel, current pianist Geri Allen offers her own perspective on the garner genius and his legacy is most definitely enhanced by this superlative discovery.
These sides practically dating between 1952 and 1959 defined Ray Charles’ illustrious career, and, while even this mighty tome is not the complete picture of his Atlantic tenure since the live recordings such as ‘Newport 1958’ are missing and fully deserve a special re-issue of their own on vinyl (even more so if additional numbers can be located in the archives), nonetheless this stunning box set is in a league of its own and a clear five-star recording, such is the outstanding quality of the compositions and the execution of the music by Charles and his band. What is surprising about viewing these individual albums collectively is that they cover a seven-year period in Ray Charles lengthy career in other words an album per year, yet they are still definitive examples of his art. They include the following albums in chronological order: Ray Charles (1957), The Great Ray Charles (1957), Yes, Indeed! (1958), What’d I Say (1959), The Genius Of Ray Charles (1959), The Genius After Hours (1961), and The Genius Sings The Blues (1961).
It would be churlish to even attempt a track by track analysis, but Charles somehow managed to almost single-handedly move rhythm and blues and jazz music into the modern era with his hybrid style that electrified a younger audience in search of something beyond the conventions of the ‘How much is that doggy in the window?’ approach to popular music. That Charles achieved this by taking the emotional intensity of the gospel vernacular and added secular lyrics may have earned him the damnation of the preacher (though one suspects the music was so catchy that the odd preacher or two might be caught illicitly listening to these sounds before carefully hiding the blasphemous content of the vinyl tucked away under a settee, or concealed in a closet), but earned the eternal respect of listeners, writers and Atlantic records alike, the latter of whom who would, at a later stage, transform the approach and fortunes of one Aretha Franklin from MOR singer to soul diva par excellence. How does the vinyl sound in mono format? As ever with such questions, the answer is necessarily subjective and dependent on the quality of hifi equipment one possesses. To this listener hearing the music through the prism of a Marantz amplifier, the sound was clean and crystal clear and compares most favourably with any previous CD version. As for the cover art, the original albums are faithfully reproduced and that means that the Lee Friedlander photos conjure up the 1950s jazz and rhythm and blues scene to perfection and evoke the era with Charles in his prime and looking every bit the start hit maker.
The only minor drawback of this re-issue, in comparison to say the ‘Complete Atlantic Recordings’ in the CD box set format, is that the latter was infinitely superior in its inner sleeve coverage with the contribute of several longer articles from authoritative jazz writers including Leonard Feather to illuminate the recording sessions and to provide a wider historical perspective on matters, whereas the present package simply reprints in A3 format the album covers (is this really needed when the replica original covers are already included with the vinyl?) and contains relatively brief notes from Charles’ biographer David Ritz. Otherwise the equation Genius = Jazz + Blues can emphatically be applied to the music recorded on Atlantic records by Ray Charles. These are the building blocks of twentieth century music that can proudly stand alongside ‘Kind of Blue’ and ‘A Love Supreme’.
Singer-songwriter and lifelong anarchist, Léo Ferré was unlike any other singer in outlook, yet still was considered an integral part of the post-WWII French chanson tradition. This lovingly presented box set that folds out in concertina style covers the decade from 1950 when Ferré was already a mature thirty-four and signed for French independent label Le Chant du Monde year old until 1960, after which time he signed for major label Barclay. Precious few singers were so devoted to the spoken word as Léo Ferré and he expertly interweaved his lyrics with the music of bal musette, jazz and tango, all of which give an authentic and novel side to his music.
It is significant in that not only did Ferré develop into a marvellous songwriter for others, most notably for Catherine Sauvage and including the riotous foursome harmonies of les Frères Jacques, but he was perfecting his craft as a lead singer, and this meant not only writing for himself, but experimenting with the classical poetry Charles Baudelaire, transposing the lyrics into musical melodies that he wrote for them. Such ambitious projects mark Ferré out from the rest, and even his contemporaries, Jacques Brel and Georges Brassens, collectively referred to as the ‘Holy Trinity’, could only stand and admire the creative mind of Ferré.
While it would be impossible to attempt a comprehensive review of every CD contained within, the decade crucially witnessed the emergence of songs that would be performed throughout Léo Ferré’s career and these included, ‘Graine d’Ananar’, ‘Le flamenco de Paris, the Left bank favourite, ‘Paris Canaille’, and a song whose title neatly sums up the vocation of Ferré himself,’La vie d’artiste’. Other wonderful recordings are early versions of later hits for the singer such as the immortal, ‘Jolie Môme’, which he re-cut for Barclay in the early 1960s and scored a major success with.
A real bonus are the two live concerts from the prestigious Olympia concert hall and Bobino, both of which date from the late 1950s and are fine examples of what Ferré could achieve in a live context. Equally of interest, is a French national radio broadcast from 1951 with actor Jean Gabin (who was Jean Renoir’s favourite actor and a symbol of the turbulent Popular Front era in French history during the mid-late 1930s) reciting. Quite simply music of this level of complexity and intelligence is not made any more, yet even for the uninitiated the glorious melodies are so captivating that even if you do not understand the French language beyond basic level, the instrumentation will still captivate you and what is sometimes underestimated is what a beautiful voice Ferré possessed. A worthy contender for world roots music re-issue of the year, even if it has been available in France previously.
There are things worth waiting for. Amit Friedman’s much-awaited second album, Long Way to Go, released on Dot Time Records, is definitely one of those things. Joined in by most of the Israeli jazz heavyweights from his previous album, Sunrise, the album is fresh and riveting from beginning to end. Amit Friedman has managed to create a cool, clear, melodic set of 12 pieces that showcase a variety of vibes and musical influences.
The album features a collage of musical feels, all held together by Friedman’s cool, fluid style. As expected, Amit Friedman remains unpretentious throughout the album, with a soulful phrasing that is fluent but never ostentatious, even when tackling faster tempos. He has a pellucid timbre which appeals to a large array of jazz aficionados.
The album kicks off with the track title, “Long Way to Go,” a smooth tune which, through the oud, meddles that Middle Eastern resonance so dear to Amit Friedman. However, Amit is foremost a jazz player and his solo is superb. His tone is clean, warm and has an unfeigned fluency. The fast-paced “Enough is Enough” offers an energetic and tense interplay between the saxophone and the piano before they delve into an upbeat groove. “Blues?” captured my ear. It is an enlivening tune with a catchy refrain in which each instrument is given a piece of the melody to experiment with whilst moving it along in assertive lines. “Human Blanket” must be my personal favourite piece on the album. The tune grabs me from the very first notes played. There is an all-surrounding warmth to Amit Friedman’s performance, reminding me why I loved his first album so much. The melody is mellow at first but then slowly picks up enough speed to jostle the listener out of his reverie. This is exquisite jazz, with a piano solo that tickles all the senses and a saxophone’s serpentine solo that sways eloquently.
Throughout the album, the band members enjoy repeating, answering and toying with each other’s phrases. Tunes like “Rona,” “Candombe” and “Shirupiri” offer the listeners plenty of catchy runs, great hooks and lilting grooves. “Abadi & Salt” is an infectious tune with a cheerful repetitive riff and is another one of my favourites. Once again, the solid playing between the piano and the saxophone is pure delight.
Amit Friedman doesn’t leave us without vocal melody, as the album features three guest singers. The lovely “Momento,” with its Latin vibe and which is sung by Claudia Acuna, a rising star on the New York scene. “Momento” is a pleasant juxtaposition from the previous spirited “Enough is Enough” and Acuna’s intimate and stirring vocals are an introduction to Friedman’s brief solo which only prolongs the seduction. The mellow “Silent Blue” with its Bossa Nova feel is sung by Tamar Eisenman, whose voice is flirtatious and finally, the feet-tapping track “Love Must Be the Way,” sung by Yemen Blues’ lead singer Ravid Kahalani and which fizzes with energy as it closes the album on a high note.
With such a potpourri of colourful tracks, Amit Friedman is anything but ordinary. He cements his reputation as a notable composer and master of his instrument, and offers us a listening adventure that is simply magnetic. The album is definitely worth seeking out.
Pianist, presenter and all-round keyboardist Ramsey Lewis has enjoyed a long career that has spanned some six or more decades, and the first part of that has been the subject of a retrospective on Cherry Red’s El label, with two single CD compilations covering the Chess years between 1960 and 1967. Hopefully, a third volume in that series will complete the late 1960s Chess sessions when Charles Stepney took over arranging duties.
This new anthology takes up the story post-1970s when Leonard Chess had first sold the independent label to corporate America, and long-time artists such as Ramsey Lewis, Ahmad Jamal and others left the roster. In Lewis’ case, he had already hit upon a winning musical formula of blues-inflected piano over a strong R & B beat, both reworking soul and pop standards of the day, as well as composing some of the catchiest piano grooves on 45. Initially the formula was barely tampered with, and a debut recording in 1972 for the major, ‘Upendo ni Pamoja’ flirted between straight ahead acoustic trio and electric piano. Two singles were released, with, ‘Slipping Into Darkness’ finding a funky groove, and was a minor R & B success. from the same year, a second album surfaced, ‘Funky Serenity’, and the B-side to the single, ‘What It Is’ is a glorious stomper in a not dissimilar vein to, ‘The In Crowd’, or ‘Sloopy’. For the third outing from 1973, a decision was made to reinterpret the Chess classics in a new setting and this proved to be something of a mixed blessing. On the positive side, ‘Wade In The Water’, sounded fine with electric piano and a slightly funkier backbeat. on the negative side, however, a reggae-tinged reading of, ‘Hang On Sloopy’, was ill-conceived and messy, and the same can be said of, ‘Hi Heel Sneakers’. More experimental, yet sounding more authentic was the 1974 album, ‘Solar Wind’, and a Caribbean-flavoured, ‘The Everywhere Calypso’, actually works extremely well, sounding like a proto-type Monty Alexander, and with a nod to Sonny Rollins. A slowed down instrumental take on The Isley Brothers’ hit, ‘Summer Breeze’, is pleasant, if unspectacular, but things were about to take a major upwards turn in the career of Lewis.
A new collaboration began in 1974 with the Earth, Wind and Fire group, produced by Teo Macero who famously was the producer of the classic Miles Davis albums on Columbia, and from this the first and most spectacular album, ‘Sun Goddess’, would become one of Lewis’ most loved recordings. The title track has an immediate pop appeal with its funky uptempo beat the hallmark of the earth, Wind and Fire sound, and over this Lewis revelled with his keyboard licks.
The eight and a half minute tune was a top twenty R & B chart hit and just outside the pop top forty, a commendable feat for an instrumental. Three other examples of this fine are showcased here including the funky ditty from which the anthology takes its title. A second collaboration with the band succeeded with ‘Don’t it feel good’ from 1975, this time with Charles Stepney returning to arrange. A beautiful reworking of, ‘That’s The Way Of The World’ was a highlight and Stepney co-wrote several songs including, ‘Don’t It Feel Good’. with Lewis now openly experimenting with synthesizers.
A third Earth, Wind and Fire produced album arrived in 1976 with the African influenced, ‘Salongo’ and from this, ‘Brazilica’ remains a perennial favourite, featuring percussion instruments that Maurice White would deploy time and again for the band. Sadly, this would be the last collaboration with Stepney who died in the summer of 1976, aged just forty-five. After a mediocre ‘Love Notes’ album in 1977 (though it did include a Stevie Wonder-penned gem in, ‘Spring High’, that is included here). Lewis reprised his association with Earth, Wind and Fire with fellow keyboardist Larry Dunn taking over production duties, and for this final fourth album with the band, he scored a major hit with, ‘Tequila Mockingbird’, that typified the group’s sound.
Moving on to the second CD and by the late 1970s disco was in and Ramsey Lewis’ jazz tones were somewhat passé and out of favour in comparison. However, his kind of jazz had always incorporated a healthy dose of soulfulness and from 1981’s excellent offering, ‘Three Piece Suite’, a modern soul gem emerged in, ‘So Much More’, featuring the gorgeous vocals of Alice Echols Sanderson who excels on this number. This duet was reprised on a subsequent album from which, ‘You Never Know’, became a single. A live album, ‘Live At The Savoy’, was a first for Lewis’ tenure Columbia and one track, the vocal ballad. ‘You Never Know’, is showcased here. Ramsey Lewis enjoyed his collaborations with fellow jazz musicians, and in singer Nancy Wilson he found a kindred spirit. They recorded together the 1984 album ‘The Two Of Us’, which became a minor R & B album chart success among an older generation that fondly remembered the two in their 1960s heyday. Two examples, the title track and ‘Midnight Rendez-Vous’ are included here. Lewis connected up with jazz bassist Stanley Clarke to write, ‘Quiet Storm’, and this gentle-paced mid-tempo number came out as a single in 1984.
Significantly, by the mid-1980s a new formulaic style of jazz was gaining traction, smooth jazz, and Ramsey’s latter 1980s work fell very much into that category and is a shadow of his former work. It would be little surprise, then, that when he did change labels in the 1990s, it would be to GRP which customised that smoother jazz feel. Extended sleeve notes from Mojo writer and music Charles Waring. In general, an excellent selection of numbers that accurately reflects Lewis’ evolution, with a small caveat that the reworkings of his 1960s hits could have been dispensed with in favour of more of the Afro-Brazilian grooves of his Earth, Wind and Fire productions. Otherwise, exemplary sounds and as ever beautifully illustrated with sleeve covers and 45 labels, both in the US and UK.
From the first notes of “Urban Dilemma” I knew that I was in for a treat and hopefully you will be too. American saxophonist Anderson is a new name to me, but this is his second album as leader. This is a beguiling take on modern jazz with a Blues inflection. It just goes to show that to be enjoyable, jazz today doesn’t always have to be clever, thrusting and innovative.
For me, it’s almost impossible to beat the combination of a hot tenor or soprano saxophone in tandem with the sound of the Hammond B3 organ. The organ takes centre stage throughout the recording.
We have organist Jimmy Smith to thank for bringing the B3 to wider prominence in the 1950’s, recording a number of memorable sessions for Blue Note Records. He eschewed a bass player and played all of the bass parts himself, generally using a walking bassline on the pedals, in combination with percussive left hand chords. This time-honoured practice is adopted here too.
Anderson’s band-mates are also new to me. Pat Bianchi on organ, Tom Guarna on guitar, and Matt Wilson at the drums all acquit themselves in exemplary fashion.
Now to the music. “22 Doors” has a lovely groove to it with fine, meaty tenor saxophone from the leader along with some tasty guitar from Guarna. The standout track for me is the bop inspired and bluesy “12-Step Blues” with more full bodied tenor sax from Anderson.
Just to prove that they can do mellow too try the bossa-nova inflected “Parallel Present” with tenor and guitar taking the theme in unison. Alternatively, try “Stuck” where a sultry soprano sax come to the fore in a wonderful ballad performance.
The title track is dedicated to another organ master – Joey DeFrancesco and is in easy swing tempo and a pure delight for the ears.
This is original, straight-ahead modern mainstream jazz with a strong vein of the Blues running through it and none the worse for that.
Aleif Hamdan is a guitarist/composer from Indonesia and Malaysia. Growing up in South East Asia, Hamdan was exposed to a wide variety of music, contributing to a diverse and eclectic palette of taste. He moved to Kuala Lumpur in 2010 to pursue studies at the International College of Music, and eventually earned a reputation in the national music scene after winning several competitions and awards. In 2012, he moved to the States after receiving the Berklee Achievement Scholarship to further explore new voices in music. After graduating from Berklee with Summa Cum Laude, Hamdan worked his way to becoming an in-demand session player; performing and arranging on a wide variety of projects with globally renowned artists from the United States, India, Japan, and several other countries. Perhaps unsurprisingly, given his background, “Emblem” is a jazz-blues-rock fusion album that incorporates the guitarist’s love for worldwide music in general. What is more surprising, is the sheer class that shines through on this recording. Not just his undoubted skill as a soloist, but perhaps more notably, his compositional talent combined with a genuine, raw and unadulterated desire to bring joy with the music he makes. Rarely have I heard a debut that is just so…skilful.
The album’s opening track “Rooftop Porter” immediately brings to mind Pat Metheny’s Unity Band. I make this comparison for a couple of reasons. Firstly, the passion and power of Hamdan’s guitar and saxophonist Billy Yeung’s playing mirrors that of Pat Metheny and Chris Potter. Really? I hear you say! Well yes. The fiery solos mixed with intricate and intense musicianship stand up and stand out as something quite incredible. The second reason is the composition itself. There are three or four tunes on this session, this being one of them, that take the listener on a journey, in a similar way to how Metheny achieves this through a wonderful mix of clever writing, interesting twists and turns, an intelligent use of sound, and last but not least, some awesome improvisation and soloing. Put all that together and you have one hell of a piece of music. Seriously, you can listen to this tune many, many times (as I have) and still feel a sense of excitement at what you’re hearing.
Although I prefer the more carefully crafted tunes presented here, the riff based pieces are also very enjoyable. “Scotch Hopping” is built around the guitarist’s riff and gradually builds in intensity. One very important point I’d like to make is that Hamdan is very much his own man. I might make comparisons with other guitarists; Pat Metheny, Adam Rogers, even a touch of Frank Zappa, but essentially he sounds, to me, a true original.
“Mistraction” is another well thought out composition that delivers on many levels. Hamdan benefits from a great group of musicians around him on this album, including Jongkum Kim on drums, Alex Gorchesky on bass, the aforementioned Billy Yeung on alto sax, and JennHwan Wong on piano and Rhodes. They all seem to share a musical awareness that benefits the overall sound; one of sensitivity mixed with sheer pleasure for the music they’re performing.
The infectious “Peak” is an adventure from start to finish. Once more the soloing is varied and energetic, with Hamdan appearing to relish the many changes of pace and feel as he uses different guitar sounds and techniques as the tune develops. His fluency is a key feature and every solo has purpose and meaning.
There’s a change of pace, and feel, on “Improper Intent”. The guitarist takes on a more supportive role, allowing the beautiful melody to be played in style by trumpeter Caleb Hensinger. This is a haunting piece of music that shows just how articulate the composer can be in his writing. There’s a sincerity to this that just has to be admired, with an effortless feel that suggests a strength and confidence that is a joy to behold.
The album closes with “Figurehead”, a piece of music that sparkles with invention and vivacity. As a unit, the band are on fire and together they play their way through various grooves, riffs and solos, resulting in a feast for the ears.
“Emblem” is available as a download only album, so I can only assume that at the time of it’s release earlier this year, Aleif Hamdan didn’t have many record labels banging on his door. I would like to shout this loud and clear; he should have! To my mind this guy has a huge future ahead of him, and on the evidence of this album alone, deserves to be considered as potentially one of the leading lights in the world of jazz for many years to come. His music is spellbinding, courageous, and above all, joyful. With the right label and support he could in time be releasing music that not only gets listened to by thousands the world over, but also receives huge critical acclaim to go with it.
I first saw Resolution 88 live in October 2012 at the excellent Jazz Meet sessions, which at the time were based at Floripa, a Brazilian bar in Shoreditch, London. I vaguely knew their keyboard player and frontman, Tom O’Grady, through the Brownswood online music forum and was aware of his passion for the music of Herbie Hancock. The prospect of an evening of Jazz Funk, plus some of the best caipirinhas in London, was enough for me to break my usual Sunday lethargy and give Tom and his band a listen. It was an excellent night. Had they just covered classics from the Jazz Funk canon then I dare say I would have been happy enough, but to my total surprise they had the confidence to strike out with their own tunes. That was 4 years ago; through regular gigging Resolution 88 have made steady progress, building a fanbase and playing at established landmarks on the UK Jazz scene like Ronnie Scott’s and Pizza Express Soho as well as younger upstarts like The Love Supreme and London Jazz Festivals.
Their first album, eponymously titled, was released in 2014. The group is now signed to Splash Blue, the label fronted by Jean-Paul “Bluey” Maunick. This feels like a good fit as they inhabit a similar space musically to Incognito. There have been a couple of changes in the line-up since their debut with Alex Hitchcock replacing George Crowley on saxophones and Ric Elsworth taking over from Afrika Green on drums, but the vibe of the group is pretty much the same, which is not too surprising as Tom remains at the band’s creative centre.
Comparisons to the likes of Headhunters-era Herbie Hancock, The Crusaders, the Mizell Brothers, Azymuth and others of that ilk are inevitable and entirely valid, connections made easier by the limited number of contemporary alternatives. That said I think it is too reductive to categorise Resolution 88 simply as a revival band. What emerges from “After Glow” is a distinctive sound, Jazz-Funk with discreet post-modern undertones. The album has an easy charm from beginning to end; it’s full of funky, upbeat grooves and rich, exuberant melodies. It’s colourful, refreshing, varied in tone and texture. That cosmic sound of keyboards/synthesisers, which would have sounded futuristic in the ‘70s, still has an otherworldly, open quality to it, together with an almost limitless scope for invention. Harmony and interplay between keys and saxophone is a strong feature, good examples being “Banana Skin Central” and the brazilian fusion of “Raios do Sol”.
My favourite track on the album is “Phantom of the Oberheim” which builds and builds around a punchy bass clarinet, before shooting off, like exploding stars, into some future world; energised by gutsy drumming and wonderfully expansive play on the Rhodes. It’s a tune to put a smile on your face, to get the pulse racing faster.
Those modern elements I referred to come through primarily in the drumming, which seems a little more prominent in the mix than on my old Jazz Funk LP’s, especially on “Homing In” with it’s broken beat rhythm; or sections of synth play on “Raios do Sol”, which almost enter house territory.
Overall “Afterglow” demonstrates increasing confidence, scope and creative vision, which bodes well for the band’s future. The band are rounding off the year with a gig at La Raza in Cambridge on 23 November, but if you can’t catch this keep an eye out for them in 2017.
Andy Hazell rating 4/5
Every now and then there comes an artist/band with an album that ticks all the boxes – This is where Resolution 88 step in.
Their second studio album on the heels of the critically acclaimed ‘Resolution 88’, which delivered the excellent homage to the West London sounds with “Broken Beat”, which gave Maestro (also an influence on the band) Kaidi Tatham freedom to flex his mixing muscles on a limited edition 12″ of the same name and definitely a gem worth hunting down. “Afterglow” is rooted in the Jazz-Funk of Lonnie Liston Smith, Herbie Hancock, Eddie Russ, Jeff Lorber Fusion, Weather Report and the ilk. But it’s much more than just a homage, or even an imitation, it’s far too superior in its own right to be that. It’s a retelling of Jazz fusion with a fresh and modern perspective, for a modern audience who have experienced music with different sonics and with the passing of time the genre which has been reinvented and brought into the now yet confidently wink at the past and a brave nod to the future.
The LP boasts 12 exceptional stand-alone cuts, from “Taking off”, a winding fender laced Funk groove, to “Three Four Or More”, one for the slap bass heads courtesy of bassist Tiago Coimbra – a movie score in the making, which would make Lalo Schifrin proud. Then there is “Banana Skin Central”, straight out of Harlem 1975 and the homage to the sound of the Headhunters is right there, with some mellow grooves in there too. The album is relentless in proving that Tom O’Grady (Fender Rhodes and CEO of the group) is totally in control of what they are doing and where they are taking us, with one of my favourites – and it is no easy task – “Phantom Of the Oberheim”, a menacing Jazz-Funker with some slick rolling drumming from Ric Ellsworth – it really gives the sternomastoids a working out, if not the feet! Oh! then there’s another Liquid Fusion anthem…In the delightful form of “Raios Do Sol”, which touches everywhere from Rio De Janeiro to L.A and Jazz clubs around the planet.
It Really is a sterling album, which can not get enough praise from me plus getting universal props from seminal Jazz Funk band Incognito’s very own Bluey and Co., as is Eddie Pillar, calling it “The Best thing he has heard in ages!”. Craig Charles, Snowboy and the ilk all have shown love and support respectively. The album is sensibly pieced together with talented and passionate musicians, who obviously love Funk, Jazz, Hip Hop and Broken, but confident enough to give their own take on the said genres without any hints of being formulaic.
It will be interesting to see if any mixes follow the album from maybe Afronaught, IG Culture, Daz I Kue or even Kaidi again, I for one can hope…let’s wait and see.
Resolution 88’s “Afterglow” is the must-have Jazz Funk album and certainly one of the great moments of 2016!… even after the sun has set at the end of the year, the luminary quality of the “Afterglow” will certainly be felt for a long time to come.
Bruce Q rating 5/5