Harvey Mason ‘Sho Nuff Groovin’ You: The Arista Records Anthology 1975-1981’ 2CD (BBR) 4/5

In the 1970s drummer Harvey Mason was one of the top session musicians. A graduate of the Berklee School of Music and then of the New England Conservatory, Mason was well schooled and immediately put his knowledge base into practice when he moved to Los Angeles in 1970 and became the drummer in George Shearing’s band.

As early as 1973, Mason had become one of Herbie Hancock’s Headhunters groundbreaking band and co-wrote, ‘Chameleon’, while for Grover Washington, he featured throughout on the fusion classic, ‘Mr Magic’. Elsewhere, the percussionist regularly filled in the drumming duties for mid-1970s Blue Note artists such as flautist Bobbi Humphrey and singer Marlena Shaw, and he fitted in just enough time to record on the label with both Donald Byrd and Bobby Hutcherson. Mason also found his way onto the 1975 ‘Mellow Madness’, album for Quincy Jones, the title track of which has become something of a summer rare groove tune of sorts and heavily sampled.

As a leader in his own right, Harvey Mason recorded several albums for the Arista label between 1975 and 1981, and this is what this anthology focuses attention on with excellent liner notes to unravel how his career unfolded. in fact, the Arista connection came about after Mason was invited to play on the Brecker Brothers debut album for the label and label boss Clive Davis enquired as to whether Mason had contemplated a solo career.

Soul fans will always treasure a track that surfaced in 1977 with the lead vocals of Merry Clayton, and that is the unmistakable groove of, ‘Til you take my love’, which has a strong Earth, Wind and Fire influence in the horn section and use of percussion. Arguably, it is Mason’s finest moment in the soul idiom. Another key number is the collective vocal led, ‘Say it again’, from 1979 and this featured the wonderful percussion breakdown of guest musician Sheila E, five years before she hit the big time as part of Prince’s band. A 12″ disco tune, ‘Groovin’ you’, again used collective male vocals and is notable for the inclusion of Ray Parker Jr. on guitar and Richard Tee on keyboards, but for this writer, the catchy, ‘How does it feel’, is the strongest of the dance floor outings. At various times, Harvey Mason, by virtue of his jazz credentials, was able to call upon the talents of the best session musicians in the business. Some of the lesser known songs are among the most interesting, with the mid-tempo, ‘Pack up your bags’, a personal favourite of this writer with veteran Dorothy Ashby on harp (she would record on Stevie Wonder’s, Songs in the key of life’) and Earth, Wind and Fire guitarist, A; McKay. On several tracks, the Seawind Horns are featured and they provide some jazzy context as on the instrumental, ‘The maze’, which is a jazz-fusion oriented piece and with no less than Greg Phillinganes on keyboards (the preferred keyboardist of Michael Jackson).

The second CD has a wonderful and epic eight minute cover of Marvin Gaye’s, ‘What’s goin’ on’, which is a real highlight, arguably the best of any of the jazz-inflected numbers on the anthology. Here, the lengthy intro leads into an epic instrumental take with George Benson on guitar, the late Jorge Dalto on piano, and this was recorded the year after Benson’s epic, Breezin’ album, on which Mason was the featured drummer and also performed on vibes! In an altogether moodier vein, ‘Modaji’, has a strong jazz element equally with the Fender Rhodes of Dave Grusin and the flute playing of Hubert Laws. Upon hearing, ‘When I’m with you’, the sound of George Benson was surely on Harvey Mason’s mind and the version here is a live recorded one, which is an instrumental with the great Motown bassist James Jamerson and featuring guitar solos from both Ray Parker Jr. and Mike Sembello.

Excellent graphics with numerous single label covers, with photos of Mason and various guests round off what is a most a deserved tribute to the production and performance talents of drummer Harvey Mason. Unquestionably one of the unsung heroes of the 1970s.

Tim Stenhouse

Angela Bofill ‘I Try: The Anthology 1978-1993’ 2CD (SoulMusic) 4/5

A limited and elite number of soul vocalists have the technique to operate in either jazz or soul idioms and this is the case historically for Aretha Franklin (even though she was primarily known as a soul singer, and of course she was equally at ease and adept in gospel and blues), and for singers in the 1970s such as Jean Carn and Phyllis Hyman, while in the 1980s Anita Baker made her career out of combining soul and jazz hues. More recently, Gregory Porter has demonstrated that the two elements are by no means mutually exclusive and that together with respect and sincerity, you can attract a wider listening audience. In the case of singer Angela Bofill, however, she could and probably should have reached a wider audience, and this over-arching anthology does at least go some way to rectifying her under-representation among the crème de la crème of soul singers.

Hailing from the Bronx, and with Puerto Rican ancestry (she was a close childhood friend of the sadly departed flautist, Dave Valentin). Angela Bofill could have gone in an entirely different direction and sung in Spanish on more traditional-flavoured Latin folk (akin to say Chicano singer Linda Ronstadt), or even commercially-oriented salsa material. However, her voice was so naturally rich and versatile, that Bofill instead opted to study music formally and Latin music’s loss was soul music’s undisputed gain.Her debut album in 1978 for Arista, ‘Angie’, provided all the evidence needed of that natural talent (it is incidentally available separately in its entirety on CD) and from that, the jazzy-tinged soul groove of, ‘This time I’ll be sweeter’, is a tasteful and sophisticated performance that quite simply stands the test of time, and in some ways prefigures the kind of material that Anita Baker would cover some five years later. In Bofill’s case, she had the misfortune of commencing her career at a time when real soul singing music was considered passé and even the likes of Aretha Franklin and Bobby Womack struggled to get themselves heard. Another example from that first album of note is, ‘Under the moon and over the sky’. The album just made it into the top twenty of the US R & B charts for what proved to be a most promising debut.

The second album, ‘Angel of the night’ (1979), arrived just a year later as disco was now on the wane. Once again, a similar style and accompaniment was adopted, typified by a quality intimate ballad such as, ‘I try’. Here, her voice is heard at its glorious purest and there was really no need to embellish it. With fine tenor saxophone accompaniment, this was music for a mature audience and it succeeded where the predecessor had failed in landing a place in the top ten of the R & B chart. The title track made a minor ripple in the R & B singles chart, but no more than that.

A two year gap resulted in the release of 1981s, ‘Something about you’, and her name was beginning to be more familiar to soul fans. While it did not fare any better than the previous album, it did at least cement her reputation as a singer who did not need to rely on short-term fads for popularity and once again the choice of songs was tasteful and in keeping with what had preceded. The singles released off the new album fare more strongly this time, with, ‘Something about you’, just outside the top twenty of the R & B charts, and, ‘Holdin’ out for love’, just outside the top thirty. Clearly, she was on the cusp of reaching a larger audience.

In the UK, that breakthrough album came with, ‘Too tough’, from 1983, and the long version of the title track was a significant hit on the UK soul charts, while in the US it scored highly in both the dance and R & B charts. Angela Bofill hit the dance floors with this song, co-written by Narada Michael Walden, who had produced Stacy Lattisaw and Sister Sledge and the picture cover edition featured Bofill in exotic looking pose with a passing hint to the 1930s in fashion. Her photogenic looks did the promotion of the single no harm at all. Bofill’s soul credentials were still very much to the fore, as illustrated on a terrific cover of Ashford and Simpson’s penned, ‘Ain’t nothing like the real thing’, on which she duets convincingly with blued-eyed soulster Boz Scaggs. Boosted by the stronger album sales, a second single, ‘Tonight I give in’, went to just outside the top ten of the R & B chart, and this was arguably Angela Bofill’s most complete and well-rounded album in her career to date.

A follow up album followed swiftly with Narada Michael Walden firmly in the producers seat and, ‘Special delivery’, was a reasonable dance chart success, though to these ears veering more towards the pop market which is presumably where Arista believed Bofill was heading. A duet with Johnny Mathis on, ‘You’re a special part of me’, was further evidence that the label was striving to open up Angela Bofill’s music to a non-specialist audience, but as a whole the album was unsatisfying.

By now, Angela Bofill was being marketed essentially as a dance floor singer, which severely limited her real talent, but she was with a voice so naturally blessed, able to adapt to. From, ‘Let me be the one”, in 1984, an extended remix of, ‘Can’t slow down’, is included, and it was a modest success. With the benefit of hindsight, one cannot but conclude that something of the individualism of the singer was lost in this attempt to rebrand her sound and she was certainly not alone in this respect. A final album for Arista fared less well and there was an inevitability that the tenure at the label would end. In actual fact, it would be some eight years before Angela Bofill resurfaced, this time on the Jive label, and in 1993 she offered a new album, ‘I wanna love somebody’, that fared modestly well just breaking outside of the R & B top fifty and of which the title track was released as a single as was, ‘Heavenly love’. In between, Bofill,m who had earned the respect of her fellow musicians, guested on Stanley Clarke’s 1986 album, ‘Hideaway’, with, ‘Where do we go’. Clearly, while the mainstream music industry had begun to tire of her and the lack of a major hit, musicians still placed their faith in the quality of her voice which remained undiminished.

Sadly, Angela Bofill’s singing career was cut short in 2006 when she suffered a stroke that both impaired her ability to speak and left one side of her body paralysed. She was especially saddened by the passing of her friend Dave Valentin earlier this year. Her musical legacy remains, but it is a tale of a mis-represented career that should have been infinitely richer given the beauty of the voice that she was born with and which was subsequently carefully honed and crafted.

Tim Stenhouse

Various ‘Inner Peace: Rare Spiritual Funk And Jazz Gems – The Supreme Sound Of Producer Bob Shad’ LP/2CD (WEWANTSOUNDS) 5/5

Spiritual jazz is not necessarily an easy term to pin down, though the roots and sources of the sub-genre are. In the case of Bob Shad’s Mainstream label, this emerged at a time of fluctuation in the development and fortunes of jazz. This excellent compilation focuses on a fixed and short time period between 1971 and 1973 when new groups and fusion sounds were challenging traditional conceptions of jazz. These included then new groups such as Weather Report and Return to Forever. Meanwhile Donald Byrd was funkifying the jazz world on the prestigious Blue Note label with his seminal, ‘Black Byrd’, and Herbie Hancock was in the process of making an important transition from the density of his Mwandishi band to the funkier climbs of the Headhunters in 1974. Miles Davis, on the other hand, was exploring world beats and jazz on, ‘On the Corner’, complete with streetwise cover graphics. Carlos Santana was arguably experiencing a spiritual jazz awakening on his, ‘Caravanserai’ album, and this neatly brings us on to the compilation in hand because that recording featured the relatively unknown reeds man Hadley Caliman.

Here, Caliman is leader on a funky jazz number that wins the contest for best track title hands down, ‘Cigar Eddie’. As a whole, this is very much a showcasing of the jazz side to Mainstream and its major strength is to delve deeper and beneath the surface to uncover some real gems and highlight some of the more obscure names who deserve to be better known. A real discovery to this writer was the Eastern-flavoured flute by Pete Yellen – a sedately paced, ‘Mebakush’. More needs to be heard of this musician if the rest is anything near as good as this scintillating piece. Modal bass and piano combine on Buddy Terry’s offering that also happens to be the name to which this compilation borrows the title. Bob Shad clearly had a deft ear for horn arrangements and these permeate the tracks here. Fine and lyrical horn ensemble playing plus percussion is a feature of the, ‘Senyah’, contribution from drumming legend Roy Haynes and the classic guitar riff and fender have grace many a hip-hop sample. Tenorist Harold Land was a long-time collaborator of Bobby Hutcherson in the late 1960s, but had branched out as a leader and the west coast musician excels on the intriguingly titled, ‘In the back, in the corner, in the dark’, which has something of an updated Blue Note groove. The same in fact can be said of LaMont Johnson’s, ‘Libras longing’, though in this instance it is Horace Silver who is the more obvious influence and there is a meaty trumpet solo from Sal Marquez that recalls Woody Shaw with the Horace Silver band circa the ‘Cape Verdean Blues’ period.

While Fender Rhodes predominate, the funkier edge of the Hammond organ is present on Charles Williams’, ‘Iron Jaws’, and this could easily be taken from a film soundtrack with influences including Charles Earland as much as Jimmy Smith. The compilation ends on a percussive, if all too brief note, with drummer Shelly Manne’s percussion-led, ‘Infinity’. All in all, a fine example of how jazz could progress on an independent label in the early 1970s and an ideal follow-up to the previous compilation of jazz-oriented material from Mainstream, ‘Feeling Good’.

Tim Stenhouse

JD Allen ‘Radio Flyer’ CD/DIG (Savant) 5/5

“Radio Flyer” is the latest in a long series (11 albums I think?) of uniformly impeccable offerings from saxophonist JD Allen. Every album displays his honest working methods and showcases his beautiful strong tone and, despite his obvious command of harmony, his clear sense of melody both in his writing and his improvising. This strong melodic sense having somewhat disappeared from many of today’s gunslinging tenor players. But Allen has always shown that he has a deeper understanding of what made The Greats great. Not that he sounds like any of them of course, you can hear the influences but he unquestionably has his own very strong voice and it is this that we hear to the fore on all of his recordings.

On this latest album there is something of a new development going on. I wouldn’t call it a major change of direction so much as a deeper exploration of some of the possibilities hinted at previously in his music. By which I mean that the direction the music on this album takes has always been evident in Allen’s concept, sound-wise and otherwise. He is one of those musicians who have absorbed many aspects of the greats of this music, their concepts as well as their sound, but also the earlier music out of which their music was developed. His last album “Americana” showed that he understood that “the 12 bar blues form and the so called blues scale have very little to do with the blues” as he succinctly put it himself. Sound/timbre can carry more information/feeling than form or harmony and Allen understands this.

This time the music has a less planned structure to the form of the songs. Indeed the music is played without pre-arranged form or harmonic sequence or even tempo. The melodies/themes are relatively short and are played rubato, or without a specific statement of time. The themes then develop, both melodically and rhythmically, as each soloist plays (and as each of the other musicians react in their support) during their respective passages where they take the lead line. Even when the group moves into tempo the time is still unfettered by barlines.

This is a very spontaneous approach to music making but in the right hands always leads to the best music I believe. Having the right fellow travellers onboard is paramount in this way of playing and Allen has chosen his colleagues wisely. Both bassist Gregg August and drummer Rudy Royston have played on several albums (and no doubt many performances) with the leader in a trio format and along with Allen proved to be a magic triangle where the chemistry between them added up to considerably more than the sum of its parts. Adding another instrument here, the highly imaginative electric guitar of Liberty Ellman, has brought another dimension to this group and Ellman’s sound and playing serves this more open concept beautifully.

The music here is very expressive, full of life and energy. There is a strong group sound with the individual members’ personalities shining through. Everything is beautifully played and has a palpable “in the moment” character throughout. This album is a perfect illustration of what can be achieved with a deep understanding of what makes the music work and a spontaneous approach to structure along with the letting go of the fear of failing. The distinction between “Freedom to” rather than “Freedom from”. This is vibrant, soulful music that, like all Allen’s previous albums, will stand the test of time. Long may he continue.

George Lane

Coldcut x On-U Sound ‎’Outside The Echo Chamber’ 8×7″/LP/CD/DIG (Ahead Of Our Time) 5/5

When two sound producers, that have left huge Yetty like imprints everywhere for the last four decades get together, the expectations are always high and ‘Outside the Echo Chamber’ Coldcut x On-U Sound rises to the challenge and even goes beyond it. It’s the x between the names that makes this a different release which is also available as a limited edition of 7 inch singles with dubs, CD and digital release.

Bringing together a range of vocalists, Roots Manuva, Lee Perry, Chiezidek, Junior Reid, Hamsika Iyer and Ce’Cile you can’t go wrong. Combine that with bass rattling dub cuts and this is a DJ/Selector’s dream come true. ‘Vitals’, ‘Divide and Rule’, ‘Make Up Your Mind’, ‘Kajra Mohobbat Wala’, ‘Everyday Another Sanction’ – tune after tune. Sheer sonic quality.

Obviously, given their lengthy CVs this is not a ‘dub by numbers’ type project as Coldcut and On-U Sound, with decades of experience behind them, have always been busy pushing the envelopes, thinking out of the box, experimenting, tweaking things and coming up with a whole heap of rhythms and releases in the process. Thematic variety gives this release a breath of fresh air. Love themes sit alongside the weight of history in ‘Divide and Rule’ and while picking out a standout mind-blowing track is tricky there are a couple that rise above the rest. The remake of ‘Kajra Mohobbat Wala’ – an old Hindu-Urdu Bollywood love song featuring Hamsika Iyer – dropped at the right time and blended with the dub is just monumental through a big sound system. Then there’s ‘Vitals’ featuring Roots Manuva, the lyrics wordsmith that flows like a river. This is a powerful in-your-face number with a beat and Dub that sound like a musical spaghetti of different sounds and influences.

‘Make Up Your Mind’ comes in two vocal versions, which is a unique way of approaching things. The woman and man’s take and the dub, tweaked accordingly along gender and narrative lines. Finally, Chezidek on ‘Everyday Another Sanction’ sums up so many contemporary Babylonian societies that pressure and exploit poor people for the sake of profit for the few who are obsessed with ‘waking up to money’. It’s also the closest you get to a ‘roots’ Reggae tune on this release. This is not meant as a gripe as the diversity of sounds on this release is a blessing. It’s just meant as a hint, should you want to drop this inna dance as heads will swivel, and ask ‘who’s that?’. Long may their flags fly, together and apart. Big respect to On-U Sound and Coldcut.

Haji Mike

Rotem Sivan Trio ‘Antidote’ (Aima) 5/5

“Antidote” is guitarist Rotem Sivan’s follow-up release to 2015’s excellent “A New Dance”. This excellent trio of Rotem Sivan, guitar, Haggai Cohen Milo, bass, and Colin Stranahan, drums, continue to impress and grow in maturity as a trio of note on this latest recording.

Music is one of the greatest healers known to mankind, and through the making of this album Sivan has expressed his emotions in the music he makes, confronting, coming to terms with, and moving on from the end of a seven year relationship. For me, the Israeli born, New York residing guitarist has now successfully gone from being “a very promising talent” a few years back, to one of the finest exponents of the jazz trio idiom, quietly coming of age as a unique voice in his chosen field of music.

Listening to Sivan play guitar, one might think of such luminaries as Wes Montgomery, Jim Hall, or Pat Metheny (in jazz trio mode). But one of the things I really like about Sivan, is he plays with his own voice. And this voice sparkles with invention. He is undoubtedly technically gifted, but so much of what he does is wonderfully understated, leaving the listener to discover the beauty for themselves.

In bassist Cohen Milo and drummer Stranahan, Sivan has found intuitive partners that not only hold down a groove or create an atmosphere for the guitarist, but also push through barriers and bring added life to the composer’s tunes. Together the trio take us on a personal journey through the album’s nine originals and two covers.

Most of the tunes presented here are short, at least in jazz terms, but in this instance it works so well. Collectively and independently the musicians are at one with the essence of the music itself. Sivan’s playing has a rare class to it, one where each note has meaning, each note a depth of soul and reason to be. No note is wasted, and no note is superfluous. And within the combinations of these chords and notes, the composer reveals to us a different part of his character, all laid bare and open to the keen listener’s ears. The music is full of heart, performed with skillful quick-as-you-like lightning fingers and intuitively mesmerising melody and lyricality.

From the captivating and propulsive opener “Shahar”, to the exhilarating depth and inventiveness of the title track “Antidote”, to the thought-provoking intensity of the lone voice on “Rustic Heart”, to the opulence and intrigue of “For Emotional Use Only”, this is an album of truly defined thoughts and beautifully executed musicianship. There’s always a keen eye on tone and balance, the tunes themselves always sincere and emotive, yet at times playful and often invigorating.

“Antidote” is like snowdrops falling on a soft, lush landscape. Slowly settling and growing in-depth and beauty. These are musical snowdrops that heal everything they touch.

Mike Gates

Baba Soul & The Professors Of Funk ‘Chronotapes’ CD/DIG (So Real International) 5/5

At the time of writing (late June 2017) this excellent 11 tracker was only available from the band’s own Bandcamp page, however having conversed with the musical director and guitarist, Gulherme Schmidt Camara, the CD is forthcoming and I am awaiting the arrival of trusty vinyl.

The album is solid funky soul with nuances of James Brown, Fred Wesley, Otis Redding and Charles Bradley. In fact, you could file this set alongside other recent and decent long players from the likes of St. Paul & The Broken Bones, The Monophonics, Durand Jones & The Indications.

However, there are two tracks on here that simply take your breath away. The guttural “I’m so lucky”, which is the kind of deep soul tune that shouldn’t be around in 2017. Thankfully we have bastions of the real deal like these guys, a strong passion fuelled lead from Hugo Castro Pereira AKA Baba Soul, mocking horns shadow his every word, heavy bass and strong percussion all manage to practice restraint. A simply wonderful piece of modern day deep soul moving on to “Can you be true to me”, which starts off with pleading vocals asking whether she can be true to him, a delicate guitar for company, then a thumping bass and in come the horns over the top, his vocals appear to have a slight echo which adds real clarity to the sound. Another monster soul tune.

Modern soul rooms should investigate “If you love me” with its urgent pace and classy feel. The funk boys will cream there pants at what’s on offer here: “Funkstorm” is exactly that a furious funker with keyboard runs doing battle with that bass and those horns. “I got soul” is another funky highlight, proving this band is as tight as any I have heard – I recently had the immense privilege to witness Alabama’s St. Paul & The Broken Bones smash up the Cambridge Junction with Paul Janeway’s vocals tearing up the place, I tell you what, how good would it be have this lot over here?

The pace drops for the meandering “Believe” and it works perfectly in this setting, percussion and horns open proceedings then the man’s vocals take it up another level.

The Professors include the following: Guilherme Schmidt Camara – Guitars and backing vocals, Stian Nordviste Skog – Drums & backing vocals, Oystein Bends Aune – Bass, Auden Kjeldahl Bernsen – Keys, Kristian Halvorsen Kjaernes – Trombone, Andreas Lovold – Trumpet and Michael Strut on Tenor Sax.

Funky, deep soul from Oslo, you better believe it.

Brian Goucher

Juanes ‘Mis Planes Son Amarte’ CD + DVD edition (Universal Latino) 3/5

Take away the socio-political content of say Manu Chao, but retain the essential elements of Latino pop with a strong element of pop-inflected reggae and you have a clearer idea of where Colombian singer Juanes aka Juan Esteban Aristizábal Vásquez is coming from. This is squarely aimed at a twenty-five to forty something demographic in both the United States’s burgeoning young Latino population as well as in Latin America and Spain, and he most definitely has his devotees among them. For all that, the compositions are in fact melodic with a colourful cartoon-esque inner sleeve typical of the breezy optimistic outlook on life that Juanes portrays via his music. Thus catchy guitar riffs abound on the latin-reggae of ‘Fuego’, and the funkier hues of ‘Es tarde’, which has a mid-tempo groove that is more or less repeated throughout the album without ever becoming tiresome. There is an attempt at mild-mannered pop-electronica on, ‘Esto no acaba’, while the rock-tinged guitar on, ‘Angel’, quickly grates on the ear. One effort at a wider demographic with the English language song, ‘Goodbye for now’, which it has to be said is fairly unremarkable.

Overall, easy on the ear and ideal summer background music to a tapas or two and cerveza (beer) in the garden.

Tim Stenhouse

Vibe Out: Poland


Urszula Dudziak – Samba Ula (live)
Laboratorium – Nogero
Maciej Fortuna Quartet – Lost Keys
Contemporary Noise Sextet – Chasing Rita
Rafał Sarnecki Quartet – Living Like Weasels
Artur Dutkiewicz – Third Stone from the Sun
High Definition Quartet – Alan’s Birthday
Fortuna Acoustic Quartet – Grey Carol
Nor Cold – Maria
Miłość & Lester Bowie – Let’s Get Serious
Vehemence Quartet – Gabrys
Mikrokolektyw – Little Warrior
Pink Freud – Diamond Way
Marek Surzyn – Incydent
Sławomir Kulpowicz – Unisono
NAK Trio & Arcos – Do You Really Need All This Money
Tomasz Stańko New York Quartet – Yankiels Lid
Daniel Toledo Trio & Pianohooligan – Margins
Janusz Muniak Sextet – Aeoioe
Andrzej Dąbrowski – Nie Ucz Mnie

Oregon ‘Lantern’ (Cam Jazz) 4/5

Chamber jazz specialists Oregon return with an album that is very much in the lineage of their ECM recordings, even if a new member is on board in Italian double bassist Paulino Della Porta. Group founding members Paul McCandless and Ralph Towner are both on hand to ensure that the Oregon tradition is maintained. That said, there is a lovely departure in the flamenco guitar led and inspired piece, ‘Duende’, the title of which refers to that essential, yet difficult to pin down (and define in English at least) ingredient at the essence of flamenco music. Classical guitar and soprano saxophone combine well here and, as a whole, the number succeeds in conveying the flavour of southern Spain.

More akin to the Oregon sound of old is the folk-jazz of the opening track,’ Doloniti dance’, where what sounds like oboe and then sweet soprano saxophone play off the guitar, and the percussion enters organically into proceedings. Towner reverts to piano on the quiet and calming duet of, ‘Figurine’, with McCandless this time operating on soprano. A fine ensemble performance can be heard on, ‘Aeolian tale’, where bass and classical guitar combine effectively with the subtle use of percussion and soprano saxophone finally entering. For something that is quite a departure from the rest of the album, ‘Walk the walk’, is a post-bop influenced number that is thoroughly modern in approach and features Towner comping on piano and an extended solo from McCandless. This writer would like to hear more of this more flamboyant side of Oregon. This is the thirtieth Oregon album in total and these seasoned musicians, albeit with a new input on this occasion, have once more come up with a quality recording.

Tim Stenhouse