ukvibe

This latest compilation from DJ Gilles Peterson is the result of a brief visit made to Havana in September 2008 and in particular a recording session by an all-star Afro-Cuban group headed by ace painist Roberto Fonseca at the legendary Egrem studios. The double CD is neatly divided up into two parts: the first devoted to the new recordings; the second, a compilation of recent and new artists featured by Peterson on his regular radio programme. The first CD includes members of Fonseca’s current band with reeds from the excellent Javier Zalba and occasional vocals courtesy of Mayra Caridad Valdes. Fonseca is very much on classic Afro-Cuban jazz territory here and a number of standards are reworked to good effect. These include the steaming descarga ‘Pa’gozar’ which fans of Ruben Gonzalez from the Buena Vistas will enjoy, and the revisiting of a Blue Note classic originally composed and performed by the great Kenny Dorham, ‘Afro-Cuban’. Quite why no-one else has thought of covering this tune in recent times is a mystery. Trumpeter Yelfris Valdes impresses here as an emerging new talent and is a member of the Sierra Maestra band that has toured in the UK in the last few years. Elsewhere the mid-tempo ‘Mami’ sounds like an Afro-Cuban take on the riff of ‘Watermelon Man’ with Fonseca able to stretch out. Two of the best covers are the intriguing take on Fela Kuti’s ‘Roforofo Flight’ with the vocals in Spanish and the brass staying faithful to the original while ‘Chekere Son’ was made famous by Irakere and flute and brass combine well with Mayra Caridad Valdes again leading on vocals. However, a modern twist is added on ‘Arroz con pollo’ with traditional son instrumentation and vocals, but hip-hop drumming. Of the second CD, the great new piano talent, Harold Lopez-Nussa is showcased with ‘La Jungla’, a track receiving much airplay from his debut trio album while Yusa stands out on the rootsy ‘Candao cerrao’. Yusa was in fact part of the Latin Divas trio that toured the UK in the summer of 2006. Altogether an interesting selection and a first CD worth the price of admission alone.  Tim Stenhouse

Recently departed alto sax player Charlie Mariano made his name in the 1950s as a disciple of bop and of Charlie Parker in particular. However, as he developed his own sound Mariano began to explore other styles and by the 1970s and beyond was involved in jazz folk and fusion music. His openness to new sounds was furthered by settling in Europe in the early 1970s and forming the band Pork Pie with long-term collaborator guitarist Philip Catherine. For this live recording in Stuttgart (possibly among the last recordings Mariano made), we witness a reunion of a trio that had previously recorded ‘Sleep my love’ way back in 1979. The ambience recalls the chamber jazz sessions of Paul Bley with Jimmy Giuffre and throughout Mariano is in fine form on this most melodic of albums. Bizarrely the concert was not originally scheduled for release by anyone, but a member of the label after having attended the concert enquired if anyone had. Fortunately someone answered with a positive repsonse and digital quality recording. Of the six lengthy pieces, three are Mariano compositions while the others are shared between Catherine and Van’t Hof. The interplay between musicians is wonderful and brings to me the rapport that existed between Pat Metheny, Roy Haynes and Dave Holland some twenty years ago. This is a fitting epitaph to a musician who has enjoyed a varied and long career and a lovely, intimate album for those long winter nights. Tim Stenhouse

Cornish vibraphone player Jim Hart has been the subject of considerable attention among the jazz media recently and little wonder. With the notable exception of Victor Feldman from the 1960s, Orphy Robinson from the 1980s and Roger Beaujolais from the 1990s, British vibe players are somewhat thin on the ground to say the least. It makes for a refreshing change, then, to showcase a musician who has forged a career path on his own terms. In terms of influence Hart sounds to these writers ears to have listened on the one hand to a good deal of Bobby Hutcherson from the mid-1960s era when pioneering albums with Jackie McLean and Joe Henderson (not to mention the free jazz classic ‘Out to Lunch’ under Eric Dolphy and Impulse albums with Archie Shepp) went beyond the confines of hard bop into freer improvised territory, and on the other to the larger ensemble ECM recordings of Dave Holland for compositional inspiration. Certainly the group as a whole have been heavily influenced by the New York jazz scene. Jim Hart is a very talented composer as well as soloist and this is illustrated on the delicious mid-tempo groove of the lengthy title track with lyrical alto from the excellent Ivo Neame and Latin vamp on vibes and bass part way through. Of course the advantage of the vibraphone is its haunting quality on more reflective pieces and fine ensemble playing characterises both ‘Four little words’ and the ballad ‘Kindred’ on which Hart contributes a tender solo ably assisted by Neame on alto. Free form playing is equally showcased on the album on ‘Dark moon’, but above all it is the lyricism and soulful delivery of the musicians that is most evident, especially on a number such as ‘Deviation’. In recent times no-one has really examined post-bop vibes in as much loving detail with the exception perhaps of Chicago-based musician Steve Lehman and even that was in an octet format. That Jim Hart’s Gemini could easily pass for a seasoned New York quartet is testimony to the major strides these musicians have made. They will be touring at selected dates in the UK during November.  Tim Stenhouse

Portland-based group Pink Martini return with another instalment of their unique easy-listening approach to world roots music and this time the album is more focused on Latin music. In fact by inviting the ninety-year old Mexican ranchera legend Chavela Vargas they join the recent effort by Concha Buika and Chucho Valdes in paying homage to the veteran singer. Afro-Cuban sounds abound on the impressive mambo ‘Ohayoo Ohio’ complete with trumpet solo and not dissimilar to Mongo Santamaria from his 1960s crossover period. Henri Salvador appears to be the inspiration for the light, breezy French-language song ‘Ou est ma tete?’ while old-time jazz swing is the predominant theme on ‘Tuca Tuca’. Pink Martini have made a virtue out of their eclectic take and this is reflected on the bolero ‘Ninna Nanna’ and on the Augustin Lara classic ‘Piensa en mi’ on which Chavela Vargas participates, and which demonstrates, if evidence were required, that there is depth to the group’s repertoire. Only the schmalzy multi-lingual verse ‘Sing’, a Sesame Street favourite, grates on the ear, entering Andy Williams duet territory and the tango-influenced ‘And then you’re gone’ would probably sound better in Spanish. While Pink Martini may not endear themselves immediately to traditional roots fans, this is an album likely to attract a far wider audience to the music and that may be no bad thing. Tim Stenhouse

New York based singer and lyricist Gretchen Parlato comes with a big reputation and her unsual vocal delivery recalls the impact a singer such as Rachelle Ferrell made when first entering the scene during the 1990s. While not possessing the multi-octave voice of Ferrell, Parlato does impress with her quirky selection of repertoire and especially in her excellent choice of musicians to surround her. For the former songs that can take on board mid-1960s Miles Davis, Headhunters period Herbie Hancock and even Stevie Wonder compositions from Michael Jackson’s ‘Off the Wall’ are a strong hint at the eclecticism on offer. For the latter a trio of pianist Aaron Parks (a Blue Note leader in his own right), guitarist Lionel Lueke (fresh from touring duties with Herbie Hancock and a well received debut album) and drummer Kendrick Scott indicate that Gretchen Parlato takes her art seriously and is respected by fellow musicians. Parlato reminds one in some respects of singer Judy Roberts and therein lies both her strengths and weaknesses. Excellent material, unusual delivery, but on straight forward jazz songs a somewhat limited range.
On the pared-down opener ‘I can’t help it’ Parlato provides whispery vocals, handclaps and interacts well with guitarist Lueke. This is repeated on ‘Butterfly’ with an intro that samples Parlato singing as a child. An almost identical beginning is heard on ‘ESP’ with wordless vocals and sensitive fender rhodes playing from Parks. Where the singer falls down is on the more straight ahead ‘Turning into blue’ on which the trio play beautifully, but devoid of vocal trickery Parlato’s voice becomes quite ordinary. It will be interesting to hear how she sounds live in concert and this opportunity will be afforded to fans who attend her Pizza Express date in London in mid-November.  A promising voice unquestionably, but a singer who needs to widen her range if a long-term career is envisaged.  Tim Stenhouse

Malian couple Amadou and Mariam have scored significant chart success with their last two albums includingthe latest ‘Welcome to Mali’ and this compilation brings together songs from the period 1997-2001 before international stardom beckoned. The selection of songs are taken from albums recorded in Paris. Some of their favourite concert numbers are contained within such as ‘Je pense a toi’ with its nice sparse accompaniment and the uplifting uptempo ‘Chantez, Chantez’ with a bass riff right out of Booker T and the M.G.s. As with the majority of their songs it is the apparent simplicity of the melodies and lyrics that stand out, perfectly exemplified on a tune like ‘Mon amour, ma cherie’.
Even without the input at this time of Manu Chao (who after all has produced only one of their albums), when listening to a song suich as ‘A chacun son probleme’ the distinctive Amadou and Mariam sound was already fully in evidence. At seventy-six minutes this compliation represents excellent value for money and is an ideal introduction to Amadou and Mariam’s back catalogue.  Tim Stenhouse

Former lead singer with 1980s cult French band Carte de Sejour, Rachid Taha has carved out his own career path that takes on board rock influences from a Franco-North African perspective. On this new album he has chosen to explore Americana, but from an Arabic language viewpoint. A potential dancefloor hit is ‘Selu’ with its funky guitar riff that could almost be an early 1990s Khaled song. In contrast Taha’s breathy vocals compliment the subtle electronica of ‘Lla liqa’. There is an attempt at French pop chart success on the title track duet with current heart throb Gaetan Roussel and this has a country-folk feel. Possibly the album’s most convincing song is ‘Ha baby’, originally a classic Egyptian composition immortalised by Farid El-Atrache, but here given a country feel with North African instrumentation. Not everything works in this hybrid of North American and Arabic music, but Taha is to be commended for attempting it in the first instance. The acoustic guitar accompaniment on the catchy mid-tempo ‘Mabrouk Aalik’ may be the way forward for the singer in investigating this field in future. You can catch Rachid Taha in a double bill with Malian guitarist/singer Vieux Farka Toure in London during November.  Tim Stenhouse

This is certainly not your usual take on Brazilian music. Forro in the Dark are ex-pat Brazilians resident in New York with a regular residency at an East Village night club. They have a modernised, quirky take on the traditional forro music of the north east of Brazil invariably with an indie rock input which at times lends the music a somewhat psychadelic feel. Surprisingly this approach actually works as on the updating of the 1950s baiao rhythm on ‘Baiao embolado’, or on the collective vocals of the uptempo ‘Lampiao chegou’. Perhaps one reason for the success is that traditional acoustic instrumentation is retained and the use of the flute adds rootsy authenticity to proceedings as on the flute-driven ‘Anao de jardim’. A good deal of the music on offer is highly meldoic such as ‘Forro de dois amigos’ while on other songs percussion comes to the fore as on ‘Caiprinha’. Several of the top MPB singers like Gilberto Gil and Gal Costa have attempted a reworking of forro, but few have managed such a unique interpretation as Forro in the Dark. The off beat ‘Nonsensical’ and the underlying reggae beat of ‘Better than you’ are further evidence of the departure from the original source. Forro legends Luis Gonzaga and Jackson do Pandeiro would have approved.  Tim Stenhouse

Electronica meets world roots on this album by Paris-based quartet Speed Caravan. This has become an increasingly comomn phenomenon in recent years with the likes of Gotan Project, Bebel Gilberot and Dub Colossus successfully fusing genres. However, all three artists had a cohesive roots music to fall back on whereas Speed Caravan’s influences are extremely diverse. The underlying indie rock base simply does not work for this writer and the album will be of borderline interest to world roots fans. After a while the guitar sounds start to grate on the ears as on the guitar and rap heavy ‘Dubai’. Most melodic and where a fusion does work is on ‘Parov Yegar Siroon Varj (check). It is a pity that the use of oud, a gorgeous instrument with a long and fascinating history in Middle Eastern and North African music is not employed with a more sympathetic instrumental backing. This is sadly a project that needs to be rethought more carefully. A plethora of guest artists adds to the musical confusion for the listener.  Tim Stenhouse

Composer, leader and trumpeter extraordinaire Terence Blanchard returns with another album which has a clear and distinct vision. This time he joins forces with academic and Philosopher Dr. Cornell West, who intervenes with brief comments, for a more optimistic take on life following on from the previous recording devoted to the events and effects of hurricane Katrina. From a musical perspective Blanchard has assembled new band members including the excellent pianist Fabian Almazan, Cameroonian guitarist Lionel Lueke (fresh from touring duties with Herbie Hancock and his own debut album), young saxophonist Walter Smith III and also Kendrick Scott on drums. The quintet pieces have the feel of the explorative mid-1960s Miles Davis quintet and this is best illustrated on the title track with freer form ensemble playing and where the words of Cornell West combine well. Band members have the opportunity to offer compositions and ‘Touched by an angel’ from Smith is very Wayne Shorter-esque in its form, featuring a fine piano solo while on ‘A new world’ the groove-laden piece allows Lueke to demonstrate what a fine and unsual guitarist he is. The reflective side to the ensemble is dipslayed on the ballad composed by Almazan, ‘Hacia del Aire’, and Blanchard himself contributes an extended solo on ‘Him or me’. Vocalist Bilal has more of a soul-blues delivery than a straight ahead jazz one, but performs sensitively on ‘When will you call’.  As ever an intriguing set from the New Orleans trumpeter who always has a larger-scale vision of the uplfting post-bop music on offer.  Tim Stenhouse

Stan Tracey returns with one of his freshest sounding recordings in years and at least one of the reasons for this seems to be the new musical collaboration with young and upcoming talent in saxophonist Simon Allen alongside long-term band members Andrew Cleyndert and drummer Clark Tracey . The elder Tracey has enjoyed special musical relationships with some of the all-time greats of the saxophone, most notably Sonny Rollins and Roland Kirk during their residency at Ronnie Scott’s, and this new recording recalls in part both the intimacy of the small group albums of Johnny Hodges with Duke Ellington, and even the Duke with John Coltrane on their sole collaboration.

For this latest album Tracey has revisited some of his vast back catalogue of compositions and, in addition, offering an excellent new suite, ‘The Grandad Suite’, devoted unsurprisingly to his own grandchildren. Coltrane and Ellington are conjured up with the reflective ‘Dream of my colours’ featuring beautiful soprano saxophone from Allen while in contrast ‘Duffy’s Circus’ is an uptempo bop number in which Stan Tracey stretches out and Allen delivers a fiery solo on alto. There is an obvious nod to Thelonius Monk on the be-bop number ‘Afro-Charlie meets the white rabbit’. However, of the non-suite pieces, the tour de force is unquestionably the calypso driven ‘Triple celebration’ where the tenor of Simon Allen hints at late-fifties Sonny Rollins and the overall feel one that Dollar Brand would be at home with. The lengthy four piece suite impresses greatly with the lyrical first piece, ‘Benology’ the stand out track once again featuring the sopranosaxophone of Allen and one of the album’s most melodic pieces wheareas the fourth part, ‘Zach’s dream’ is a blues-inflected number that is the ideal vehicle for Stan Tracey to solo at length. As ever immaculate accompanying from Andrew Cleyndert and Clark Tracey respectively. This is one of Stan Tracey’s most enjoyable albums in several years and a very fitting tribute to his sadly deceased wife Jackie.  Tim Stenhouse

Kansas City born and raised singer mirrors the overlapping of musical styles from her native town. Historically blues and jazz have interwoven effortlessly in Missouri and this goes some way to explaining why a whole host of musical talents have emerged from the genius that was Charlie Parker to the brilliant open-minded approach of a contemporary great in Pat Metheny. Warren has served an apprenticeship in the club scene of Kansas City and in addition has played with likes of Martha Wainwright, and appeared as opening act for Erykah Badu. Her influences are wide ranging and vary from Marvin Gaye and Bill Withers to Willie Nelson and Betty Carter. Little wonder, then, that the album reflects a myriad of musical influences from soul, blues and jazz to folk.  Folksy-funk is one way to describe the ambience on the excellent ‘Three women’ with its sensitive use of acoustic guitar. It is perhaps not surprising, then, that Warren has been compared to Joan Armatrading, though a more accurate comparison would probably be with Me’Shell NdegeOcello. Indeed it is the latter singer that immediately comes to mind when hearing ‘Sunday comfort’. Unquestionably one of the album’s highlights is the enthralling is the title track with a gorgeous soulful delivery from Warren while the mid-tempo groover ‘To the middle’ features jazz-inflected blues accompaniment that goes back in time to the 1930s. This is the kind of artist and album that simply could not be produced on a major label and Parisian-based label Because are to be commended for their support. With Amadou and Mariam and Manu Chao as fellow label musicians, they have a pretty good track record. Anyone who caught her recent appearance on the Jools Holland cannot fail to have been impressed by her musical credentials. This promises to be a slow burner of an album that will almost cetainly appeal to a wider audience.  Tim Stenhouse

Here is an interesting keyboardist deserving of wider recognition. Born in 1948 in the then Czechoslavakia, Emil Viklicky made his album debut in 1975 in the middle of the jazz-fusion/rock period internationally and the album sold over 30,00 copies within the country. During 1977/1978 Viklicky was awarded a one year scholarship to study at the prestigious Boston Berklee College of Music and here he came into contact with a number of fellow students who would go on to become established jazz musicians, most notably guitarist Bill Frisell. This excellent value (just a shade under eighty minutes) compilation selects from Emil’s 1970s and 1980s LPs as well as 45s. An additional bonus is the inclusion of a couple of duets with Czech jazz singer Eva Svobodova. One of this is the enchanting ‘A land full of love’ (sung in Czech) which vocal fusion fans will love while the classic bossa ‘Chega de Sudade’ is re-titled ‘Kam s Tim Blues’. Viklicky’s influences from a pianistic viewpoint include Herbie Hancock and Joe Zawinul with the former’s Headhunter’s period being evoked on ‘They’ve left the window open again’ with subtle use of electronic keyboards while the excellent title track ‘The funky way’ hints at the latter from his Weather Report days with former Berklee alumni Frisell on electric guitar, Kermit Driscoll on bass and Vinnie Johnson on drums. From a more general perspective fellow Czech and ace bass player Miroslav Vitous has clearly influenced Emil’s outlook. Born just a year before Viklicky, Vitous left Czechoslovakia for good during the 1960s and preceded Viklicky studying at Berklee by a decade. As in other former eastern bloc countries, jazz has played a vital psychological role in promoting political and social freedom. However, Viklicky is no mere impersonator and is both a gifted arranger and composer as illustrated on the big-band piece ‘Boston’ with Latin undercurrent that could be either an impressive MPS recording, or even a Thad Jones/Mel Lewis outing. Excellent inner sleeve notes from Lukas Machata (aka DJ Lou Kash) follows the progress Viklicky made in his career and features original album sleeve photos, one of which could be right out of the ECM album cover design. To this day Prague continues to be a city where home grown jazz flourishes in myriad styles. Tim Stenhouse

Formed in Leeds in 2006, Trio VD have rapidly gained useful experience collectively playing alongside the likes of Jack de Johnette, David Murray and Marc Ribot among others. Signed to the indie jazz label Babel that also serves as home to Acoustic Ladyland and Polar Bear, Trio VD have been eager to pursue a strong improvised feel to their high energy music, yet have fused it with world roots sounds that range from Javanese to sub-Saharan African music. The trio of Christophe de Bezenac (saxophone), Chris Bussey (drums) and Chris Stankey (bass) were previously free jazz musicians and their individual sound is now at a crossroads of post-bop jazz, rock and world roots. The most melodic track on the album is the title track which intriguingly features an edgy indie rock guitar riff that is inspired by Gamelan music. In contrast ‘Kesh’ was composed after a trip to Morocco and the breakneck speed of the ensemble playing, particularly the improvising on saxophone, takes a leaf out of the gnawa musicians who have inspired musicians of the calibre of Pharoah Sanders and Randy Weston. Of the other pieces, the opener ‘Returns’ is by far the freest in form offering a cacophony of sounds that replicate those produced by chickens no less. At a shade over forty minutes, one might quibble at the relative paucity of time on offer and the more reflective of listeners may balk at the use of heavy rock guitar licks. While this is certainly not music for the faint-hearted among jazz listeners, Trio VD nonetheless have a vitality that will serve them well for the future. Playing live at this week’s London Jazz festival, expect musical sparks to fly! Tim Stenhouse

Singer Concha Buika has followed an interesting and at times hasardous career path, but thankfully one that is now firmly devoted to musical endeavours. Described by some as an Afro-Mallorcan, Buika’s Equitorial Guinean roots have equipped her with a highly distinctive voice and this in tandem with the superlative accompaniment on piano of a Cuban legend and major innovator, Chucho Valdes, has resulted in one of the year’s truly outstanding world roots fusion albums. The brainchild of Spanish musician/producer Javier Limon, the project recalls the sensational duet of Chucho’s father Bebo Valdes with flamenco singer Diego El Cigala on ‘Lagrimas Negras’ that lit up the hearts of Spanish speakers throughout the world and went on to become a million seller. However, there is no flamenco on offer here. Rather the album is conceived as a tribute to the veteran Mexican (though born in Costa Rica) ranchera singer Chavela Vargas whose repertoire is re-interpreted here. This is the A-Z of the Latin American songbook in miniature with composers as distinguished as the Mexican Agustin Lara, Alvaro Carillo and perhaps Vargas’ favourite of all Jose Alfredo Jimenez Sandoval showcased to perfection. The album overflows with gorgeous songs with flawless interpretations, but if one had to be selected above all others, then it must surely be ‘Sombras’. Here the tempos shifts from stylish bolero to mid-tempo mambo with incredibly sensitive playing from Valdes. On the delicious cha-cha-cha ‘Cruz de Olvido’ Buika’s vocals soar over the catchy piano vamps while ‘Se me hizo facil’ changes from bolero to cha-cha-cha and then even to a Cuban-style boogaloo which even Nuyorikan Joe Cuba would be proud of. Recorded in Havana with top session musicians, a great deal of thought has gone into this project. Nothing is over-complicated and the simplicity of approach results in the immediacy of reception by the listener. Inner sleeve notes from no less a figure than Spanish cinema director Pedro Almodovar extol the virtues of Concha’s craft and places her in a similar lineage to the highly indivdual and often controversial singer that was Cuban star La Lupe. This is some commendation given Almodovar’s predilection for selecting the classiest of musicians’ music in his films from Trio Los Panchos to Caetano Veloso, and more recently flamenco singer Estrella Morente. Only a tiny minority of musical collaborations have the capacity to acquire magical status. ‘El Ultimo Trago’ is unquestionably one of them.  Tim Stenhouse

This is a most welcome return for Cesaria Evora given a career-threatening illness last year when she suffered a stroke and a new album at that after last year’s retrospective ‘Radio Mindelo’ which showcased the early voice of Cesaria in her twenties. Happily her voice is not in the least bit impaired and perhaps as a conscious desire to adopt a positive outlook on life, Evora has changed attack from the predominantly downtempo morna (Cape Verdean equivalent of the blues) to a more uplifting coladera rhythm. The result is a bright and breezy album which cements her existing reputation, particularly in France where her albums regularly feature in the top ten pop charts. The opener ‘Serpentina’ typifies the overall feel of the album and is a prime contender for radio airplay with its catchy chorus. Likewise the beautiful composition ‘Zinha’ which could almost be confused for a traditional Brazilian samba, featuring lovely soprano saxophone, and arguably the album’s strongest song. A close second is the delicate ‘Ligereza’ with its incessant rhythm and hook chorus with sensitive accompaniment on accordeon and guitar. Having said that, the mornas with which she is best associated are not forgotten. An innovation here is the added use of Egyptian strings under the tutelage of Fathy Salama, conductor of the Cairo Orchestra. Of the trio on offer, ‘Vento de sueste is perhaps the pick of the bunch and all three benefit from a heightened emotional content as a result of the use of strings. Once again the expert in-house writing tema of Teofilo Chantre and Manuel de Nouab are on hand to compose the majority of songs. All in all a stong album throughout and one that enhances her already impressive discography.  Tim Stenhouse

For those not familiar with Czech music, singer Marta Kubisova was an important voice of protest during the 1960s who was also an active member of the civic movement against the then Communist regime in power, and whose political stance resulted in her disappearing altogether from the radio airwaves at the end of 1969 (and banned from any public performances from 1970). A close ally of the future Czech president Vaclav Harvel, Kubisova only returned to the stage where she continues to sing following the 1989 revolution. From a musical perspective, this excellent value compilation covers 1960s pop and soul territory with the odd nod to jazzier sounds with orchestral backing. Kubisova’s influences included Ray Charles and Aretha Franklin (the latter of whom she met in Paris when singing at the prestigious Olympia concert hall) and ‘Bily stul’ is clearly an attempt at a soulful interpretation, sounding a bit like a Czech equivalent of Dusty Springfield. In a decidely funky down beat groove is the uplifting ‘Join us and we’ll travel the world’. The title track of the compilation provides a simple but effect political message to the then authorities (’No!’) with a beat rhythm to seduce the masses while in a less controversial vein there is a take on ‘Hare Krisna’ complete with a jazzy organ and an easy listening bossa nova on ‘Cerven coverano’ with vibes. Recorded at the state Supraphon studios which specialised in classical music as well, the sound quality is in general extremely good. This may be an acquired taste for some since all the lyrics are in Czech and there are no translations of these in the otherwise excellent inner sleeve notes that rightly place the music in their historical context. Nevertheless fans of 1960s pop music will be fascinated by the big band orchestrations and attempt at psychadelic pop. Marta Kubiosova is suffciently well known in the Czech Republic for all this music to be already on CD. Vampi Soul are to be commended for introducing this to an international audience. Tim Stenhouse

This marks the international debut of Polish pianist Pawel Kaczmarczyk with an all-Polish ensemble that varies from trio to septet. Polish jazz has an excellent historical track record with pianist Krzystof Komeda providing the soundtrack to several films including the early Polanski’s while in more recent times trumpeter Tomasz Stanko has flourished at ECM. Kaczmarczyk’s CV thus far is impressive in his native country. A live album recorded with the KBD trio won the album of the year award in 2005 on a Polish television channel while in 2007 Pawel’s first album as leader won him the award as most promising musician for the Polish magazine Audiofeeling. Now recording for innovative German label ACT, the pianist has offered up a promising debut that highlights his music in a variety of contexts including even free. The one standard, a surprisingly good take on Elton John’s ‘Blue Eyes’, is played with his trio and it is a pity we cannot hear more of him in this pared down format. Pawel’s influences tend towards the romantic side of jazz pianism, most obviously Bill Evans and Brad Mehldau. However, a chance encounter with the sadly deceased pianist and former fellow label mate, Esbjorn Svensson, at a festival in 2004 had a lasting impact upon the Pole. In fact so much so that Kaczmarczyk has composed a tribute to the Swedish pianist, ‘Elegy for E.S.’ which is a gentle piece featuring a sensitive soprano sax solo from Grzech Piotrowski. Equally the sad loss of trumpet legend Freddie Hubbard this year is remembered in the brass driven ‘Homage to Freddie’ with Pawel soloing to good effect. There is a heavy improvised feel to ‘Logan’ which is not entirely successful while on the title track soprano saxophonist Radek Novichi takes a leaf out of Jan Garbarek’s book. The pianist is at his best on the more delicate compositions such as ‘Fauchery’ which sounds as if Pawel has been very inspired by listening to Brad Mehldau. This may be one aspect of his playing that needs time to mature; Kaczmarczyk has yet to truly find his own voice and the multiple musical settings indicate that he is still striving to find the ideal musical background. Nonetheless there is clearly a musical talent on offer here and one looks forward to hearing Pawel Kaczmarczyk in a more cohesive setting in the future. Tim Stenhouse

Karen Krog (All CDs available via website: http://www.karinkrog.no
+ UK distribution at selected specialist sellers)

‘Joy’ (Meantime) 4/5

‘We Could be flying’ (Meantime) 4/5

‘Cloud Line Blue’ (Meantime) 3/5

Norwegian jazz vocalist Karin Krog may have only become known to a younger UK audience during the 1990s when her (MPS) version of Herbie Hancock’s ‘Maiden Voyage’ was featured on a Giles Peterson compilation, but some thirty years earlier the singer came to prominence internationally during the mid-late 1960s recording with a whole host of American and emerging Scandinavian musicians. Most of these albums are extremely hard to find and expensive rare originals, but thankfully they are available at a far more affordable price on CD as Karin Krog has sought to re-issue her back catalogue. The three albums reviewed here cover a period of roughly a decade between 1968 and 1979. The latest re-issue ‘Joy’ was in fact the second album Krog released under her own name and features her original interpretation of ‘Maiden Voyage’ (the MPS version is a later one with big band from an all-stars compilation). Opening with a lengthy eight minute modal cut, ‘Mr. Joy’, Karin Krog already possessed a highly distinctive delivery that would subsequently become her trademark. The album was important also in that it featured a very young Jan Garbarek on saxophone and in some ways the ambience created was almost a blueprint for the later ECM sound. In direct contrast, ‘Karin’s Mode’ begins at breakneck speed with wordless vocals and part way through transforms itself into freer improvisation. A more sedate take on the standard ‘Round about Midnight’ contains the lyrics that be-bop singer Babs Gonzales added and this is possibly the sparsest sounding song on the album with just bass and drums as accompaniment. New life is breathed into another standard, ‘Lazy Afternoon’ with a prominent bass riff and echoey vocals. The song is taken at a deliberately slower tempo than per normal which enables Krog to stretch out the lyrics. Finally there is ‘Maiden Voyage’ with its whispering intro before the all too familiar piano riff begins. Jan Garbarek is at his most lyrical here, sounding as though he is trying to replicate a relaxed version of John Coltrane or later Pharoah Sanders (Theresa period). All in all an excellent album and a good place to start off in the Karin Krog discography.  Fascinating line notes from no less than recently departed arranger and composer George Russell round off proceedings nicely.

Fast forwarding in time to the mid-1970s Karin Krog on the album ‘We could be flying’ from 1974 finds herself fronting a superb trio comprising pianist Steve Kuhn, bassist Steve Swallow and Norwegian drummer Jon Christensen. The album contains a well balanced mixture of new compositions (four from the pen of Kuhn) alongside standards and this is arguably Karin Krog’s finest album of the period.  Of immediate interest is the DJ/dancefloor favourite ‘The meaning of love’ and the lovely fender solo by Kuhn makes his sound in particular akin to that of Herbie Hancock from his Headhunters period. Kuhn incidentally was in full compositional flow at the time recording two excellent albums as a leader for ECM, ‘Trance (1974) and Ecstasy (1975).  Another key song on the album is Kuhn’s composition ‘Raindrops, Raindrops’ where Krog excels on this evocative piece while ‘Hold out your hand’ is notable for its percussion-led intro. Karin Krog has always chosen her standards judiciously and on this album there is a fascinating selection of the instrumental ‘Sing me Softly of the Blues’ to which she adds lyrics and the ballad ‘Lament’ with lyrics by Jon Hendricks used here. Displaying an awareness of then contemporary trends, Krog also interprets Joni Mitchell’s ‘All I want’. Mitchell has since become a favourite for jazz musicians to cover.

The final album ‘Cloud Line Blue’ dates from 1979 and is more of an experimental outing. John Surman in a recent profile for BBC radio indicated that he first heard and met Karin Krog at a jazz festival and this was to spark an interest in recording an album with a vocalist he greatly admired, and a project that used electronic instrumentation as well as conventional strings. This album has a very different feel from the previous two and calls upon the multi-instrumental talents of Surman who plays baritone and soprano saxophones in addition to bass clarinet. There is a highly inventive use of strings and synthesizers to provide layered texture to the music and this is not in the least bit rock-oriented. All are original songs with words provided by Paul Rowlands and of these ‘Jonathan’’ is perhaps the most conventional in form while ‘Cycles in movement’ features string ensemble and moog synthesizer recalling the ‘Shukuru’ album that Pharoah Sanders would later record during the mid-1980s. The collaboration was clearly a fruitful one for the two musicians since they decided to repeat the experience a decade later on the album ‘Bluesand’ (1999) which is in fact a resume of the music they have been playing together for the last twenty years. Surman has been heavily influenced by working in Scandinavia and it is of little surprise, then, that he should record a quartet album (albeit with fellow British musicians) ‘ Stranger than Fiction’ in Oslo for ECM (1994).

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Tim Stenhouse

As part of a series documenting the fifty year history of the Monterrey jazz festival in Monterrey, California, we have here a big band concert from one of the legends of Latin music, Tito Puente. This recording captures Puente at a crossroads in his career. While mambo and big band orchestras were very much the flavour of the day during the 1940s and 1950s (the big three being Puente, Machito and Tito Rodriguez), by the mid-1960s they had been largely overtaken by a new phenomeon: salsa. This was a signficantly pared down version of the larger orchestral format and consequently band leaders such as Puente were perceived as old hat and consequently suffered commercially. The Tico label on which he flourished had been taken over by Fania and Puente during the early 1970s was relegated to old-style all-star dates. It was ironically one of the new stars of Latin rock, Carlos Santana, who would revitalise Puente’s career by reworking ‘Oye Como va’. As for Puente himself, he never stopped working in a live setting and this is perfectly illustrated by the excellence of the big band outing here. The selection takes in some of the classic Puente repertoire from the mambo era (’Barbaratiri’, ‘Oye como va’), some tasty Latin jazz instrumentals (’Picadillo’, ‘Tito’s Odyssey’) and classic Cuban tunes that Puente could rework into extended descargas. Of these ‘Pare cochero’ and the evergreen number ‘Delirio’ impress. An added bonus is the guest appearance of vibes master and fellow Concord Picante label mate Cal Tjader on the delicious ‘Picadillo’. By the early 1980s Tito Puente’s career would suddenly enjoy an upsurge in popularity with the creation of the smaller Latin Jazz Ensemble and a series of seminal Latin jazz recordings for Concord Picante. Going into the 1990s and beyond the big band era was now seen as back in vogue and Puente was rightly seen as a master in his field. The numbers on this live album are simply timeless and outlast the vagaries of fashion. Tim Stenhouse

One of the more recent manifestations of the Monterrey fiftieth anniversary recordings is this 2007 all-star outing featuring regular members of Dave Holland’s band drummer Eric Harland and saxophonist Chris Potter, and introducing to the band for the first time virtuoso Cuban pianist Gonzalo Rubalcaba. If the sum does not quite add up to the excellence of the individual parts, then it is probably down to the fact that Rubalcaba had not recorded in the studio with this band and therefore the arrangements are not as tight as one would wish them to be. This would explain why some of the compositions have a tendency to meander with occasional over-long soloing. Nonetheless such a stellar cast are capable of fine things and this is amply demonstrated on the opener ‘Trechery’ where Potter improvises over a rapid tempo recalling Jan Garbarek. The Rubalcaba piece ‘Fifty’ is a pretext for the composer to demonstrate his pianistic prowess while ‘Maiden’ is a lovely laid back number with Potter displaying great lyricism and Holland engaging in a lengthy bass intro. Rubalcaba provides a lovely Latin piano vamp on Holland’s ‘Step to it’ and another composition by the bassist, ‘Veil of Tears’ is an impressionistic piece with a Middle Eastern theme that might have been inspired by Ellington’s ‘Far East Suite’.  Tim Stenhouse

Virtuoso French accordeon player Richard Galliano returns with a solo live recording in Paris from March this year that showcases his talents in a variety of contexts: jazz, classical, tango, Brazilian and chanson francaise are all part of the musical metissage. Above all else it is the sheer musicality of the musician that comes shining through on this excellent recording. Galliano surprises us with a delightful take on Franco-Scottish composer Erik Satie’s first two Gnossiennes while he manages to convey on the accordeon a Bach that conjurs up the great organ recitals of his work. Monk’s perennial favourite ‘Round Midnight’ is given a warm treatment, probably at approximately the same time of night, while his homage to Piazzolla ‘Oblivion’ is both emotive and generous. Piazzolla was a seminal influence on the French musician and indeed the latter spent a good deal of time with the Argentine during his last few years exiled in Paris. However, the piece de resistance has to be Galliano’s fabulous rendition of an early Serge Gainsbourg song, ‘La Javanaise’. This conjurs up all that is magical about nocturnal life in the Latin quarter of Paris. One quibble. The concert, apparently scheduled at an unearthly hour according to one French jazz buff who actually attended, lasts only a tad over forty-two minutes. This being the case, Cam Jazz should have provided a more generous coupling of other works by Galliano. Otherwise the musicianship is quite simply irreproachable.  Tim Stenhouse

(www.juanbelda.com)

Having already showcased his band live in performance at the Eurocultured festival live in Manchester in May of this year, Spanish keyboardist/guitarist Juan Belda offers an album of electronica-flavoured jazz that will open the eyes and ears of many a listener to the plethora of sounds that encompass the jazz scene in Madrid in particular and Spain more generally, and put to rest the stereotype of flamenco-jazz being the sole genre practised on the Iberian peninsular. Of particular note is the appearance on several tracks of multi-reedist Jorge Pardo, ironically best known for his unique take on flamenco-jazz and for his extended residency with Paco de Lucia during the late 1970s and early 1980s. Here Pardo is in a completely different musical environment and clearly revelling in the change of style. Pardo and Belda’s musical collaboration began in the most casual of circumstances, with Jorge one day passing by the recording studio of Belda, the former interested in discovering more about the latter’s fusion of jazz and rock sounds. Juan Belda’s roots as a teenager were in the early Stones and Doors albums and then in progressive rock with Hendrix, Pink Floyd and Zapp being seminal influences. However, from a jazz perspective the innovations of Ornette Coleman were a revelation as was the emerging jazz fusion of Weather Report and Chick Corea, and of course Miles Davis’ ‘Bitches Brew’ changed Belda’s outlook for ever. It is little surprise, then, that Belda and Pardo should have a common musical bond since the saxophonist began the early part of his career in the fusion group Dolores (now attracting a cult audience) alongside bassist Carlos Benavent with whom he would feature in Paco’s group and also the great pianist Chano Dominguez (vastly underrated and deserving of recognition well beyond the Spanish frontier).  The album features Pardo on five compositions and is a jazzier take on electronica than say Gotan Project, but with a subtle rock feel underpinning proceedings. An infectous bass rhythm permeates ‘Los criminales nunca ganan’ with fine soprano playing from Pardo while there is a lovely tribute to Joe Zawinul on ‘El viaje’ (’The journey’) with a delicate use of keyboards and vocal programming. An undoubted album highlight is the instrumental ‘Ellos y nosotros’. In general this is an excellent debut and one that will help to showcase the diversity of jazz on offer in twenty-first century Spain.  Tim Stenhouse

Hailing from the relatively little known Caribbean island of Curacao in the Lesser Antilles, situated just off the coast of Venezuela, singer-songwriter and guitarist Oswin Chin Behalia delivers one of the year’s world roots most interesting albums of exploration. Curacao has soaked up a multitude of different religions and various languages that include the former coloniser’s Dutch, English, Spanish and an indigenous patois. Consequently the music reflects this diversity, though a strong Cuban montuno influence permeates the entire album and points to Cuban country or guajira music with an instrumentation of two percussionists, piano and guitar with background vocals and no brass. Other musical influences include bachata from the Domincan Republic and local tumba and sehu rhythms. Behalia also has strong political opinions, notably with regard to the former colonial ruler’s continuing economic interests on the island, yet he manages to transmit his message in the most musical of manners. Opening proceedings is the uplifting dancer ‘Zkinza’ with a Cuban montuno piano vamp. Almost as irresistable is the mid-tempo guajira rhythm that accompanies ‘Buta la pasta’ (’Serve the pasta’), a humourous take on the tale of a beautiful Italian woman and her culinary skills. A similar theme graces ‘Den bo kushina’ (’In your kitchen’) while the album title track is simply an enchanting song. Imbued with a more politically charged ambience is ‘Ata Toni’ which is a metaphor for Dutch interest in Curacao’s petroleum industry. Local politicians are not spared the wrath of Behalia’s pen with ‘Korupshon (’Corruption’). Never have political messages been so beautifully wrapped up in intoxicating melodies. Excellent sleeve notes include biographical details and bi-lingual lyrics of the songs. This may just be as suprise a hit as the late Andy Palacios’ album was a few years back. An impressive album from a musician of great integrity. The label’s name, by the way, refers to the division of the island’s capital, Willemstad, into two parts, the old commerical part being Punda and the other Otrabanda (literally ‘the other side’). Tim Stenhouse

Veteran Angolan singer Bonga has been a national treasure since he recorded two landmark recordings of Angolan music: ‘Bonga 72’ and ‘Bonga 74’.
This generous compilation covers the period from the first of these until the present. From the debut album ‘Mona Kingi Xica’ is taken and it is a passionate lament that is one of his best loved songs. Pared-down instrumentation and lovely use of rhythm guitar feature here. A couple of years later Bonga recorded ‘ Sodade’, better known in a version two decades later that catapulted Cape Verdean singer Cesaria Evora to stardom internationally. Here the song is taken at a slower tempo with a truly beautiful flute solo and double bass giving the number a rootsy feel. In a more uptempo vein ‘Mulemba Xangola’ impresses on a song where young singer Lura guests while the recent hit ‘Bairro’ from 2008 is equally deserving of a place. An unreleased composition ‘Dikanga’ maintains the standard of the rest of the compilation. What comes through from the songs as a whole is the concise nature of Bonga’s songwriting. There is no fat whatsoever and this allows the listener to marvel at the Brazilian influence on the cavaquinho and at the juxtaposition of Bonga’s own raspy delivery set against the delicious female background harmonies. A great voyage of discovery for those who would like something a little to the left-side of Africa music with a marked Brazilian flavour.  Tim Stenhouse

Following up the critically acclaimed debut ‘Sending my love’ was going to be no easy task, but Manchester-based trumpeter Matthew Halsall and group have made a pretty good job of it and once again tackle early 1960s Coltrane and post-free Sanders territory. Successful stints at Ronnie Scott’s and Dingwalls in London, not to mention at the newly re-opened Band on the Wall in Manchester, have helped tighten the cohesive feel of the ensemble and the compositional writing of Halsall is as strong as ever. This writer immediately fell in love with the Coltrane-influenced ‘I’ve found joy’ which is an uplifting piece that features the rhythm section in full flow, particularly the drums. It could just as easily have been a composition left off the ‘Coltrane’ Impulse album and is an album highlight. The title track repeats the devotion to modal melodies on the debut with a lovely soprano saxophone solo from Nat Birchall while for the dancefloor crowd ‘Mudita’ does not disappoint with the horns in unison on stating the theme here. Greater depth to the band’s repertoire is achieved on ‘Me and you’, a light waltz featuring the lilting harp of Rachel Gladwin (who participates on three numbers in all) with gorgeous restrained solos from Haslall and especially Birchall. By far the longest track at over thirteen minutes, ‘I’ve been here before’ is an impressive ballad with as ever plenty of space for the soloists and a delicate solo from pianist Adam Fairhill. The question remains: where next beyond modal for this group? The answer appears to lie in a multitude of different musical avenues and the future looks decidely rosy.  Tim Stenhouse

2LP/CD (Soundway) 4/5

For this third instalment in the continuing history of Panamanian music, Miles Cleret and local musicologist Roberto Gyemant have once again set about discovering rare gems of vinyl that had largely been discarded in the country. Of the no less than twenty-three songs on offer, as in the previous volumes there is an eclectic mixture of styles, testimony to the open-minded nature of the music industry in Panama. In fact one of the inner sleeve photos reveals a record shop at some time in the 1960s with album sleeves clearly visible of Thelonius Monk and and the Supremes as well as Latin American artists. Soul and funk grooves are in evidence on the James Brownesque ‘Moving and Grooving’ by the intriguingly named Little Francisco Greaves and on ‘Up Tight’ by Los Silvertones that has a Latin soul feel. The Fania anthem ‘El Raton’ originally by Cheo Feliciano becomes a big band salsa clasica number for Los Invasores. In a roostier vein, the pared down instrumentation of the classic song ‘Bilongo’ (a hit for Eddie Palmieri in the early 1970s) by Papi Brandao y sus Ejecutivos impresses as does the big band Latino of ‘Chevere que chevere’ (modern Cuban band NG La Banda reworked this to good effect in the 1990s) by Maximo Rodriguez and the Panamanian All Stars (a conscious attempt to replicate the Alegre All Stars, perhaps?). For Latin jazz fans there is a hard-hitting rendition of ‘St John’s Guaguanco’, originally a hit for Vladimir on the Alegre label, but here performed by Los Salvajes del Ritmo with vocals and a blinding no-holds barred descarga on ‘Gua-jazz’ (plus flute) from Ralph Weeks and the Telecasters. Perhaps the most interesting musical hybrid is to be found in the musical mixture of calyspo and Latin rhythms. While ‘Fire down below’ by Lord Panama and the Stickers is a delicious calypso complete with Spanglish lyrics taken at a slower tempo than a typical Trindiadian calypso with a
quasi-reggae rhythm guitar, ‘Samba calypso’ by the Orquesta de Armando Boza with Manito Johnson (who sounds very much like Ismael Rivera - a musical inspiration no doubt) effectively fuses Afro-Cuban big band with calypso and Jamaican patois features on the percussive ‘Chombo pa’ la tienda’ by Soul Apollo with Frederick Clarke. This almost comes across as an early Jamaican DJ dialogue. A fascinating number. Cumbia is an influence on ‘El pajaro zum zum’ by Ceferino Nieto and on the classic sounding ‘Carratera al canajagua’ from Conjunto Inspiracion Santena with highly unusual vocals courtesy of Amalia Delgado. As ever with Soundway releases exquisitely packaged with luxurious and lengthy notes featuring authentic photos of the era and original 45 labels. Another worthy trip to the tropics.  Tim Stenhouse

A new name to most is Argentine guitarist, composer and arranger Rodolfo Alchourron on this compilation that groups together two volumes of a rare and hard to find indie label out of Buenos Aires. Born in 1934, by the 1960s Alchourron was soaking up diverse musical influences that ranged from film music soundtracks, the tango innovations of Astor Piazzolla to modern jazz guitarists such as George Benson and Gabor Szabo as well as modern big band jazz. The two volumes contained within take on board all this music and are a cohesive mixture of grooves. Volume one sounds like the rhythm section of Serge Gainsbourg’s group circa ‘Melody Nelson’, but given a panoramic film score with jazzy inflections from the guitarist himself. Alchourron excels on the twelve minute jam that is ‘Clarificacion’ augmented by trumpet and big band brass. A truly anthemic piece with Alfredo Remus providing a propelling electric bass throughout. Almost as impressive is the Brazilian influenced groove of ‘El saltabancos’ with scat vocals and jazzy accompaniment. The arrangements of Oliver Nelson come to mind on another number, the big band inspired ‘No divaguen’ with a nice alto saxophone solo courtesy of Jorge Gutello. It is the soundtrack feel of ‘Melopea’ that provides the backdrop for Alchourron to stretch out once more on guitar with the overall feel sounding akin to a CTI session at Rudy Van Gelder’s from the same period. Volume two, recorded a couple of years later in 1974, is more varied in concept with only four members of the original group remaining and the addition of trumpeter Ruben Barbieri, brother of ace Argentine free jazz saxophonist Gato. The second album has a more easy listening feel illustrated by ‘Esas dos cosas benditas’ which changes track part way through with a saxophone solo. Side two is the more enjoyable with the band opening up on ‘Casi un tango’, a reflective mid-tempo piece with nice use of guitar and flute as does the lengthy ten minute plus ‘Parajos sueltos’ with free improvised intro and jazz-rock fuzzy guitar before flute and big band brass join in. The excellent digipak features lengthy sleeves notes chronicling Alchourron’s career and also impressive artwork from Argentine designer Jorge Pruneda. Vampi Soul are to be commended for unearthing this fascinating guitarist and volume one is worth the admission price alone.  Tim Stenhouse