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Robert Mitchell’s Panacea ‘The Cusp’ (Edition) 3/5
About to start an extensive tour of the UK that commences in September and goes on until mid-February 2011, Panacea are a group that are intent on conquering the nation with their interesting brand of fusion sounds that are as much a part of the alternative rock tradition as they are of jazz. They are in fact the brainchild of pianist and keyboardist Robert Mitchell whose own influences take in Bill Evans and Andrew Hill. However, in the group context the musical influences stretch much wider and take on board jazz fusion, Prefab Sprout and even the uncategorisable Prince. Thus the band covers diverse musical territory ably aide by the singing talent of Deborah Jordan who reputedly has been influenced by Norma Winston, but who on this evidence sounds much closer to Blossom Dearie in tone. The title track is a jazz fusion ditty with fender rhodes and a slight Latin tinge. On ‘Fortunately so’ the band cook up a fusion storm with nice soloing on piano while Jordan’s voice is heard to best effect on ‘Miss Inamorato’. A promising debut for the ever expanding portfolio on Edition and their live performances should more than deliver. Tim Stenhouse
29/08
Various ‘Inna de Yard. Masters of reggae in acoustic’ (Makasound) CD/DVD 4/5
Paris-based label Makasound had made a virtue out of resurrecting the careers of roots stars as well as promoting those of some of the newer generation. This CD celebrates the former and captures them in live and acoustic format from the prestigious Bourges festival in April 2009 (but with various instrumentation) and is a treat from start to finish. Some of these have already been made available on individal artist albums, but this neatly enables the casual listener to both hear and view to enjoy the choice selection. Of particular interest to reggae fans is the presence of Kiddus I, a somewhat mythical figure who cut precious few singles, but those that surfaced were of the highest calibre. Here Kiddus I delivers the excellent ‘No salvation unit’ while the DVD adds ‘Graduation in Zion’. Undoubtedly one of the highlights is viewing Linval Thompson, almost better known as a producer than as a singer in his own right. Two songs are featured, ‘Gimme back’ and ‘Jah guiding star’ and both impress. In general the All Stars, with Winston McAnuff and Cedric Myton lending their weight, alternate vocal duties with Earl ‘Chinna’ Smith on bass, guitar and vocals and various percussionists, thus giving the session a nyabinghi flavour throughout. The DVD features all of the CD numbers plus an extra three cuts. A fascinating concert overall and one seldom seen on this side of the Channel. Tim Stenhouse
28/08
Clinton Fearon ‘Mi deh yah’ (Makasound) 4/5
Former bassist and singer with legendary roots group the Gladiators returns with a solo album that immediately takes the listener back to the nineteen-seventies. Recently interviewed on the ace roots reggae show ‘Boulibai Vibrations’ on French national radio (No less than Burning Spear was the next guest!), Clinton fondly recalled the classic songs he cut along with Albert Griffiths and the rest of the band and this new album is in some ways a retrospective of his career thus far, albeit with a new set of songs. Social commentary predominates from the very beginning with the opener ‘Life is a journey’ a superb slice of roots era reggae. This vision continues with ‘What a world’, but becomes more optimistic on the uplifting cut ‘Better days’. In contrasdt the title track harks back to the early dancefloor period and is similar in name to the Eek-a-Mouse tune. Reggaefied-ska might be one way to describe the number ‘Focus’ which as with the rest of songs on offer features the sweetest of harmonies and the tightest of playing. A truly excellent new roots album that will have you reaching for those old Gladiators albums in your collection. Tim Stenhouse
27/08
Nathaniel Ralieff ‘In memory of loss’ (Rounder) 4/5
This really is a breath of fresh of air from a virtually unknown musician. Nathaniel Ratlieff is a Missuori-born, but now Chicago based singer-songwriter who quite simply has a very personalised sound. In fact if one had to compare him to anyone, it might be a male equivalent of say Madeleine Peyroux minus the jazz content and instead increasing the folk-blues content. His influences include Muddy Waters, Van Morrison and the Beatles. Minimal accompaniment lends to an intimate feel to proceedings with only the occasional fiddle, added vocal and drum to remind one this is actually a recording form the twnety-first century. The melodic opener ‘Once in a great while’ impresses as does ‘Whimper and wail’ with its subtle use of guitar and harmonica, and two track vocals. The rockier hues of ‘Boil and fight’ are immediately offset by the gentler sounding ‘When we could’. Here is an album that is likely to go down as one of the most accomplished debuts by a new artist in the Americana genre. Tim Stenhouse
26/08
John Mellencamp ‘No better than this’ (Decca) 4/5
This is the follow up to the much lauded ‘Life, death, love and freedom’ and produced by Americana/alt.country maestro T-Bone Burnett (he of ‘Oh brother where art thou? fame), this is an authentic slice of Americana that encompasses blues, folk and gospel with other musicians of the calibre of guitarist Marc Ribot to provide dissonant accompanying sounds. Recorded at various locations in the deep south and on vintage analog equipment, it has a deliberate retro feel. Mellencamp excels in the pared down format with just vocals and guitar on the lyrical ‘Love at first sight’ and ‘Clumsy of world’. Both have a gospel tinge running through them and this is no accident for the tunes were written by the African Baptist church of Savana. Old-time flavours are on hand with fiddle to boot on ‘Right behind me’. Though clearly influenced in part by Dylan, John Mellencamp possesses a raucous, throaty delivery and this suits this style of music to perfection. Add in some rockabilly and even Johnny Cash infused songs and you are on to a winner. Mellencamp has opened concerts for both Bob Dylan and Willie Nelson and on this evidence his wide-ranging repertoire will attract a sizeable audience of its own. Tim Stenhouse
25/08
Jacques Brel ‘Siècle d’Or’ 2CD (Chant du Monde) 4/5
In recent years Belgian singer Jacques Brel has undergone a major retrospective and has been cited by many an Engligh-speaking singer as a major influence. This compilation focuses on his early years up to the initial breakthrough he made when moving to France. For connoisseurs of his music the CD has the major bonus of including some of the earliest versions (and in some cases the originals) of his most famous compositions. These are all the more worthy of attention since previously they were on extremely hard to find 10” EPs. Now they are handily assembled into one package. Brel famously came to prominence in 1961 after performing as the second act at the Olympia theatre in Paris to the then teenage idol Johnny Hallyday. On the early sides he sometimes sings unaccompanied by anything other than his guitar and we hear a different, more sensitive side to his music on songs such as ‘Sur la pluie’ and ‘Il pleut des carreaux’. As from 1955 his writing became more intense and it is argued that this was due in no small to his relationship with his then lover Suzanne Gabriello. By the first LP, the voice was clearly recognisable, yet the unique style had not yet been fully realised. Nevertheless the strongs were becoming stronger and his style was maturing as evidenced on ‘S’il te faut’ and particularly on the jazzy ‘Qu’avons-nous fait bonnes gens?’ Brel was clearly listening to other singers of the era and Montand’s influence can be heard on a song such as ‘Les pieds dans le ruisseau’. By 1956 a bona fide classic had been written and this was ‘Quand on n’a que l’amour’, though taken at a different tempo from the more famous version and with a guitar accompaniment. Even with an orchestra on this first version, the sound is decidedly pared down in tone. Subsequently he would refine it and transform the song into an all-time favourite of his repertoire. Three years later and the compositions were in full flow with the epic ‘Ne me quittes pas’ and ‘La valse à mille temps’ being heard for the first time and other songs of the calibre of ‘Au printemps’ and the haunting ‘Je ne suis pas’ are truly underrated pearls. While not at his absolute creative peak here, this compilation is an indispensable document for those who wish to delve deeper into his genius. Tim Stenhouse
24/08
Francis Lemarque ‘Siècle d’Or’ 2CD (Le Chant du Monde) 5/5
Singer-songwriter Francis Lemarque will be known to few on this side of the Channel, but his contribution to French chanson is considerable and he has supplied some of its greatest exponents with among their most memorable songs. Into the bargain he is himself a very competent singer. This compilation, part of an ongoing series devoted to the greats of French chanson, finally does justice to the artist with over fifty songs showcasing Lemarque’s compositional and performing craft. Yves Montand, when performing his legendary ‘One man show’ invariably began with a song that he made his own, yet this was in fact another Lemarque composition, ‘A Paris’, and it is refreshing to hear another version, namely the original by its writer. Many of the songs featured tell everyday tales of life for ordinary Parisians and ‘Rue de Lappe’ actually refers to the very street where Lemarque and his family first settled. Like many other musicians of the period (Montand, Aznovour and later even Gainsbourg), they invariably came from immigrant backgrounds and in Lemarque’s case his parents originated from Lithuania and Poland. During World War II Lemarque frequented some of the literary giants at the café Flore such as Jacques Prévert, Joseph Kosma (a devastating writing duo) and the literary genius that was Jean-Paul Sartre and clearly the influence rubbed off with a spate of beautifully crafted songs. Banal events were thus elevated to an art for, Listen to ‘Cornet de frites’ (literally a cornet you put your French fries into) and the delectable ‘Bal, petit bal’. Lemarque ceased touring in 1980 and thereafter devoted himself along with Georges Coulong to creating a musical fresco of Parisian song entitled, ‘Paris populi 1789-1968’. Though he died in 2002, Lemarque’s music will undoubtedly live on and this anthology of his work bears testimony to the creative talents within. Tim Stenhouse
23/08
Kenny Burrell ‘Be Yourself’ (High Note) 4/5
Detroit guitarist Kenny Burrell has one of the most impressive portfolios in jazz and has recorded for over fifty years. His legendary live recording at the Five Spot on Blue Note goes way back to the mid-1950s and another recording from the Village Vanguard that came out a few years later on Chess’ jazz imprint Cadet was almost as impressive. Fast forward almost fifty years to September 2008 and a live performance at Dizzy’s Club in New York. Surrounding Burrell this time as some of the young turks of the jazz scene with Tivon Pennicott on tenor saxophone and flute and Clayton Cameron on drums. More experienced help comes from Benny Green on piano and Peter Washington on bass. Comparing live albums from a fifty year gap, one cannot help but hear that Kenny Burrell is still the most souful jazz guitarist in the business and has just got better with time. A classic repertoire includes a mid-tempo Latin take on ‘Tin Tin Deo’ with nice tenor playing from Pennicott, a lovely rendition of the Blue Note classic penned by Joe Henderson ‘Blue bossa’ and a faithful revisiting of ‘Bag’s groove’. In a more lyrical vein, yet never overly sentimental, is a cover of Ellington’s ‘In a sentimental mood’. The recording quality provides a beautiful clear sound and lends a certain intimacy to proceedings. Kenny Burrell simply has that ability to play pretty and this is why he has been one of the most in-demand session players in jazz history, recording with many of the all-time greats. Tim Stenhouse
22/08
Various ‘Far Out Spiced Odyssey volumes 1 and 2’ (Far Out) 2CD 3/5
This is a tribute to the more off-beat side to Brazilian music and as such takes in folk, jazz, psychadelic and even the odd rock influence. There are some familiar names here, but a number of unreleased, or reworked classics are included to keep the aficionado on his or her toes. Folksy Brazilica from José Mauro impresses on ‘Apocalipse’ while rootsy flavours are also the order fo the day from Piri with a decidely oddball start on ‘Reza brava’ where the majority of the piece features wordless vocals and both lovely flute and guitar accompaniment. CD 1 focuses primarily on the recent or more distant Far Out catalogue and among these Joyce’s ‘Todo bonita’ as part of the mid-1970s trio stands out as does Azymuth with their seminal ‘Caça a raposa’. The second CD has a good deal more unreleased material including the odd remix. A nice instrumental version of ‘Verdade anterior’ courtesy of Mauricio Maestro and Nana Vasconcelos is stand out track as is the Victor Assis band number with ‘Ao amigo quartin’. Afro-Cuban influences are relatively rare for Brazilian music and thus it is a pleasant surprise to hear them on the atmospheric ‘Son Cubano amparo’ by Rubens Bassini y los Latinos. The compilation as whole makes an ideal accompaniment to the late summer when it finally returns! Tim Stenhouse
21/08
Phronesis ‘Alive’ (Edition) 4/5
Multi-national piano trio Phronesis are the latest in a succession of excellent trios to come onto the jazz scene. Danish Double-bassist and leader Jasper Hoiby, something of a Niel Henning Orsted Pederson for the twnety-first century, is the founder of the band and fittingly this recording captures them live in Denmark. Their live credentials are impressive to say the least with performances at the prestigious Banlieues Blues in the suburbs of Paris and gigs at both Ronnie Scott’s and the Brecon Jazz festival during this August. Along with drummer Mark Guilian and pianist Ivo Neame, this trio already has a cohesive sound and are at once exploratory and melodic. The lengthy piece affords the trio plenty of space in which to improvise. They impress on the lyrical ‘Eight hours’ which is by far the shortest piece on the album at five and a half minutes and perhaps one caveat for any studio recordings is that they should radically shorten some of the numbers herein. This being said, the eleven minute ‘Blues inspiration’ is a lovely composition that the trio dissect in intimate detail. A piano trio to watch out for and one already being heralded in some quarters to be the next EST. That is an awful lot to live up to, but the future looks decidely rosey for them. Tim Stenhouse
20/08