Mats Eilertsen Trio ‘And Then Comes The Night’ CD (ECM) 3/5

Norwegian bassist Mats Eilertsen has been a regular contributor for ECM now for a good number of years, having recorded for the label with the likes of Tord Gustavsen, Trygve Seim, Mathias Eick, Nils Økland and Jakob Young. Eilertsen has concurrently maintained projects of his own, including his present trio with Harmen Fraanje on piano and Thomas Strønen on drums. Now in its tenth year of existence, this is the trio’s first recording for ECM, following two previous releases on the Hubro label.

“And then comes the night” is named after the Icelandic writer Jon Kalman Stefansson’s novel “Summer Light, And then Comes The Light”, and the resulting music focusses on subtle, spacious and luminous interplay between the three musicians. “There is almost no theme-solo-theme playing on the album,” Eilertsen notes. “It’s more like a river or whirlpool of moods that carries you with it.” And this does perhaps explain why some tracks inevitably feel more complete than others when listening, with some pieces sounding more written than improvised, and others giving more of an impression of mood/tone poems that drift in and out of conscious awareness.

After many years of performing together it’s no surprise that the trio sound as one with a natural and insightful understanding of what each other are doing. This often comes over in the space and the quiet, contemplative energy that fills it. In many ways I am reminded of The Bobo Stenson Trio. Eilertsen’s trio share the same kind of skill and ambience as Stenson’s trio, with a non-formulaic originality at the very core of what they do. And whilst some pieces on this album lose my interest a little, there are others that are quite simply beautiful.

The album opens and closes with variations of the sombre “22”, titled for the 22nd April 2011, when it was composed by Eilertsen in stunned response to news of the attacks on the island of Utoya. “Albatross” is a stunning piece, with a freedom of spirit coursing though its heart and soul, engaging the listener in its contemplative splendour. Hints of The Keith Jarrett Trio are very much at play on the title track “Then comes the night” with its more exploratory and bluesy edge. The fascinating almost introverted lyricism to “Soften” takes the listener into a deep place of peace and tranquility and as with many of the tunes on this recording highlight the quality of the trio working together.

“And Then Comes The Night” has a lovely nature to it, with its generally contemplative feel making for pleasant and rewarding listening, even if not perhaps one of the most inspiring and original albums to be heard in the burgeoning catalogue of ECM piano-bass-drums trio recordings.

Mike Gates

Mark de Clive-Lowe ‘Heritage II’ LP/CD (Ropeadope) 4/5

On ‘Heritage II’ LA-based producer and Jazz pianist Mark de Clive-Lowe completes his journey into his Japanese cultural heritage. The first part, ‘Heritage’ was released in February and part two will be released on the same day he performs in Hackney’s NT’s bar this April 5th (he also has an album launch show in LA later in the month). The material for both albums was recorded live over three nights at the Blue Whale Jazz Club in LA’s Japanese-American district Little Tokyo, with some recorded in the studio.

The music is well thought-out with most of the material being original, except for the arrangement of a traditional folk song. The concept of the album itself is interesting as it is influenced by Mark’s identity as a New-Zealander-Japanese person and takes influence from Japanese folksongs, stories and philosophies which are detailed on his Bandcamp page. Mark has travelled a lot since growing up in New Zealand and spent ten years living in London as a key figure in the UK’s Broken Beat scene from the late 90s, something which is still present in his contemporary work.

‘O Edo Nihonbashi’ is an arrangement of a folk song associated with the old workers’ bridges of Tokyo (Edo is the old word for Tokyo). Josh Johnson plays the mystical main theme on flute then moves on to the alto sax for some soloing which becomes beautifully unnerving when a detuned harmonizing effect is engaged. It is then combined with heavy bass and snare-driven J Dilla-influenced beat for a groove which will have your head rocking.

‘Ryugu-jo’ meaning ‘The Dragon place’, is in Mark’s own words ‘not the happiest of tales’ about a man who goes to the dragon world for 3 days only to return to the human world where it’s three hundred years in the future. This is the only track to have violinist Tylana Enomoto, and the result is very 70s fusion which is a big influence for Mark. Mahavishnu Orchestra springs to mind. The brooding bass provides a dark reference point for the piano to transcend the song’s parameters.

Throughout the album Mark adeptly uses sounds which instantly evoke a Japanese headspace, but it’s the programming effects he does on the fly which take the music to another, grittier and more underground place. From the pitch shifting to the oscillating repeats and audio glitching, it’s not what you expect to hear especially with something like Jazz which is usually perceived as pure. There’s a video well worth watching on YouTube of Mark demonstrating his skilful live technique for students. What’s blatantly clear from the outset is why Mark likes working with these musicians the most; they’re clearly talented Jazz musicians with an exotic and multi-genre Los Angeles sound. Songs like ‘Shitenno’ bring an exotic eastern flavour in a convincing and assured manner, shifting to modal Jazz Fusion and Neo-Soul grooves. It keeps interest up and feels innovative.

‘The Silk Road’ utilises both Alto (Josh Johnson) and Tenor (Teodross Avery) saxes for a hypnotising effect which will leave you transfixed by the song. Mark’s keys soloing is phenomenal, and he switches between piano and Rhodes for bell-like tone which draws the song to a close, juxtaposing the boisterous drums of Brandon Combs.

The album is something new and challenges perceptions of what Jazz is, which is why it feels so creative. Mark’s eclectic influences and his cultural outlook have produced what is a rich tapestry and a delight to experience.

Fred Neighbour

Read also: Mark de Clive-Lowe ‘Heritage’ LP/CD (Ropeadope) 5/5

Club d’Elf ‘Night Sparkles Live’ (Face Pelt) 4/5

Club d’Elf are a collective rather than a group and have a potential personnel list numbering into the hundreds. There has been a few studio based albums but it appears their strength is performing live and as such, releases like the one reviewed here are more successful. Night Sparkles (Live) is a recording of a show from 2011 with electric guitar, synths, various percussion instruments and the occasional bits of melodica. With this version of Club d’Elf, there is cohesion between the musicians, mainly built on the rock solid and ever-present rhythm section. Some of their other albums have heavily featured Moroccan influences. Here, those influences are pretty much reined in and although there’s still a variety (including other African) of styles on offer, nearly all the pieces are essentially heavy fusion groove jams with the rhythm section progressively ramping up the intensity. I guess the musical style will vary based on who turns up to play!

Although, there is a track listing, all the tracks flow from one to another, giving the listener the impression of one semi-improvisational piece with various movements within.

The opening tracks, End Of Firpo Parts 1 and 2, are a sort of statement of intent as it incorporates a handful of different styles. It starts off with the bass riff, the motif for these tracks, a slow build reminiscent of Miles’ Bitches Brew era. However, after a few minutes, the drumming suddenly escalates towards drum and bass and even the bass sound goes a bit wubwub! Part 2 returns to the bass line where part 1 starts from, this time bringing in a dub feel which drops out and then culminates with a return to the motif. As you can probably tell from the above description, the change of styles on these tracks are pretty abrupt. On the first few listens, this fires the interest but later I started to find some of the changes a little jarring.

Next up is the dubby Dance of the Machine Elves. It is a percussion fest which concludes with a blissful hypnotic section which flows into the title track. Here, the collective hits top gear. Built on a heavy repetitive driving rhythm pushing the track through to a noisy climax with a wah solo. The track lasts about ten minutes or so but really this jam could go on and on.

For Ecstatic Cling Parts 1 and 2, while the bass is insistent, the drums cool down, allowing more room for chanting and the quieter instruments to shine. This provides a much-needed contrast to the exciting, energetic finale. It’s my favourite tune.

Club d’Elf definitely prescribe to the concept that more is more. They wouldn’t be afraid of including the kitchen sink in here! I have to say, listening to this music as a recording rather than assessing as an in-the-moment live performance, I would have preferred to have a little more relief from the almost relentless heavy groove. Only Dance of the Machine Elves and Ecstatic Cling Part 2 really satisfy in that respect. On the whole though, I find their exploration of merging musical ideas joyous and if you appreciate that sense of adventure, I think you’ll find there’s a lot here for you to enjoy too.

Kevin Ward

Read also: Club d’Elf ‘Live at Club Helsinki’ (Face Pelt) 4/5

Tom Harrell ‘Infinity’ CD (HighNote) 3/5

American trumpeter and flugelhornist Tom Harrell is an elder statesman of Jazz having first recorded as a leader on 1976’s ‘Aurora’. With ‘Infinity’, however, the prolific Harrell has assembled some of New York’s most exciting talent to give his artful compositions a youthful exuberance. On guitar is the virtuosic Charles Altura of Terence Blanchard’s E-Collective, who also appeared on Blanchard’s Oscar nominated score for Spike Lee’s 2018 film ‘BlacKkKlansman’. Altura provides the harmony but also has a big role as soloist on tracks like ‘Folk Song’, on which he uses an acoustic guitar for a calm and warm tone. Bassist Ben Street and drummer Johnathan Blake blend nicely, while tenor saxophonist Mark Turner adds a sheen to Harrell’s compositions.

Opener, ‘The Fast’ is a bass-driven Hard-Bop frenzy, a challenging cacophony of jazz phrases often clashing with the bass pattern. This tune certainly takes no prisoners, with everyone getting time to break free from the structure to contribute a dazzling solo.

‘Dublin’ is an open-sounding, wholesome tune with a beautiful introduction of harp-like guitar melodies. Contrasting with the prior track, this is a more solemn and expressive cut. Altura demonstrates his versatility on acoustic guitar and provides a less intense backdrop over which the soloists experiment and twitter.

The next ballad ‘Hope’ is melancholy and fuzzy, as if it’s been conceived by a drunk shuffling around the streets of downtown New York deep into the night. There are shifts in dynamics, but the continuity and imagery never dissipate. Harrell’s breathy muted trumpet wails and cries, slowly losing shape and potency. It’s a surreal piece bursting with drama and emotion.

The next few tracks are generally bluesy slow-paced numbers but nothing to write home about, though there’s a slight foray into some nice funky rhythms on ‘Coronation’ and ‘Ground’ where drummer Johnathan Blake breathes some life back into proceedings.

‘The Isle’ lifts the mood with some serene and undulating lines in unison from Altura and Turner, which nicely set up Harrell’s trumpet to converse with the ambient guitar. Turner’s solo later in the tune is a highlight as he explores his top range with supreme control and clarity.

The session concludes with’ ‘Taurus’, which is another hip Hard-Bop excursion. It simmers and rattles into a chaotic maelstrom where you don’t know which way is up and you’re lost and bewildered. The piercing screeches of the subway rails literally sound as if to say this is only the beginning.

Overall, the album feels a little over-long but is well worth a listen, especially if you’re a fan of 60s era Hard-Bop as everyone gives a top-notch performance.

Fred Neighbour

Read also: Tom Harrell ‘Colors of a Dream’ (HighNote) 4/5

Yotam Silberstein ‘Future Memories’ CD (jazz&people) 4/5

“Future Memories” is the follow-up to the 2017 release “The Village” from New York based guitarist Yotam Silberstein. His playing credentials have never been in doubt, yet his previous album seemed to lack a touch of originality and inventiveness. This release though sees the guitarist finding his own voice, confidently presenting a set of original tunes that have a touch of magic about them.

A cool Brazilian vibe drifts effortlessly through this music and the performances from all of the musicians involved are sensitive and thoughtful, whilst still sparkling with verve when called for. It’s the subtlety and skillful execution of the compositions that stand out for me, with an engaging warmth and joy coming across in the music being played.

Silberstein’s writing benefits greatly from working with some very intuitive musicians. Joining the guitarist/vocalist/percussionist on this recording are Vitor Gonçalves on piano, accordion, keyboard, and percussion, Glenn Zaleski on piano and Fender Rhodes, John Patitucci on bass, and Daniel Dor on drums and percussion. This quintet appear to have a great understanding together, with nothing ever sounding forced or contrived, there’s a synergy here that undoubtedly works.

The focus throughout the recording is based around acoustic and electric guitars, and acoustic piano. But it’s the subtle touches that sometimes make all the difference. Silberstein’s gentle vocals lift sections of the tunes into a special place, creating an atmosphere that draws the listener further in to his music. There are some really nice moments between guitar and piano, as the two instruments either echo one another or divert the attention, depending on the mood of the song.

I love the title track; a contemporary jazz piece full of colour and texture, engaging and satisfying. “Capricho de Espanha” is another favourite, with its darting, intricate melodies reminding me of a long-lost Pat Metheny tune. “Wind on the Lake” is pure and beautiful and as refreshing as the title might suggest. And I just adore the gorgeous “A picture of Yafo”, with its yearning piano chords leading to a path of mystery and discovery as Silberstein uses different guitars along with his voice to bring out the wonderful melody to its fullest.

“Future Memories” is a very accomplished album and a delight to listen to. There’s no doubt that Silberstein has found his true voice here, with a recording that will bring pleasure to many across the globe.

Mike Gates

Read also: Yotam Silberstein ‘The Village’ (jazz&people) 3/5

Sokratis Sinopoulos Quartet ‘Metamodal’ CD (ECM) 4/5

Four years after the critically acclaimed “Eight Winds”, this Athens based quartet return with the aptly titled “Metamodal”. Folk, jazz, Byzantine and classical influences all combine to provide a uniquely beguiling album. The coalescence of Sinopoulos’s lyra, with its yearning, ancient tones, and the sensitive, modern piano of Yann Keerim is fundamental to the textural warmth of this recording. Dimitris Tsekouras’s bass, especially when bowed offers a perfect counterpoint to the lyra, creating something of a tonal spirituality. The varied hues of Dimitris Emmanouil’s drumming add a brightness of colour where required, helping adjoin the overall sound of the quartet.

The album title has open-ended significance for Sinopoulos. “Metamodal” could be interpreted as “post-modal” but the band-leader reminds us that the Greek root ‘meta’ also translates as ‘among, between, behind and in the midst of’ and carries the idea of ‘changed and altered’ as well.

The three “Metamodal” pieces are at the core of the recording. Subtitled “Liquid”, “Illusions” and “Dimensions” there is a forward-thinking, outward-reaching fluidity to these wonderful tunes. The music captures the imagination in many ways, with the traditions of the past forging new and intriguing possibilities for the future. The gorgeous melodies are at the heart of the compositions, with an intensity and slick understanding of the pieces allowing all four musicians to collectively contribute towards a fresh and exotic sound that somehow links traditional knowledge and wisdom with contemporary thought and attitude.

“We have a shared common knowledge of traditional music, and a shared feeling for its rhythms” says Sinopoulos. “It forms the basis of our communication, even if that is not immediately apparent to a jazz listener. At the same time, each of the musicians is a creative individual, bringing his own ideas into music that is becoming more open-ended all the time.” This integration of musical techniques, virtuosity and a shared enthusiasm to create music that ranges from pastoral to exhilarating, makes for a genuinely intoxicating album, and one that will delight many listeners no matter where their musical roots herald from.

Mike Gates

Read also: Eleni Karaindrou ‘Medea’ (ECM) 4/5

Giovanni Guidi ‘Avec le temps’ CD (ECM) 4/5

I once had the privilege of sitting in on an Esbjörn Svensson Trio concert sound-check. It’s a long story, but I was the only person in the concert hall other than Svensson himself. The sound-check came to a close, the sound engineers left, Dan Berglund and Magnus Öström left, leaving just the pianist at his piano. For the next half hour or so Svensson played a beautiful array of music, lyrical melodies with a soft, yearning romanticism flowing freely and openly as I sat, eyes closed, just listening, completely lost in the moment. That particular moment in time was a very special one for me, and as I started listening to Giovanni Guidi performing the title track to his new album “Avec le temps”, that memory was ignited within me with Guidi’s heartfelt playing reminiscent of that wonderful moment in time.

Born in Foligno, near Perugia in 1985, pianist Guidi was launched onto the international stage in the groups of Enrico Rava. After being struck by the focussed intensity of the young pianist’s playing, Rava invited him into his band. And it is that focussed intensity that flows through Guidi’s own compositions on this recording, leading to a thought that sparks within me; Guidi seems to share many similar attributes to the legendary pianist Keith Jarrett. Guidi shares the touch, sensitivity and freedom of expression with that of the master.

“Avec le temps” as an album is very worthy of praise. Essentially, Guidi has expanded on his trio, Thomas Morgan on double bass and João Lobo on drums, with the addition of Francesco Bearzatti on tenor saxophone and Roberto Cecchetto on guitar. Some of the eight compositions, like the title track itself, are trio based, whilst other tunes allow for the full quintet of musicians to contribute. The title track is a beautiful interpretation of a yearning song of love and loss by the Monaco born poet-composer-chansonnier Léo Ferré. The melody and atmosphere of Ferré’s “Avec le temps”, one of the classics of the French chanson repertoire, are explored in new detail by Guidi and bassist Morgan.

The way Guidi incorporates other instruments into his music is masterful. On “15th of August” and “No Taxi” I am reminded of how skilfully drummer Paul Motian used to do this when leading his bands featuring Bill Frisell and Joe Lovano. And these two tracks share that kind of post-bop vibe that journeys from intricate passages of interplay through to colourful and engaging improvisation. Much of Guidi’s playing and composing is melodic, but he’s obviously not averse to delving into the more avant-garde nature of things, as can be heard on “Postlidium and a kiss”. A difficult listen this tune, but very rewarding given the chance. Yet it’s the delicate nature of the pianist’s music that provides most of the high points, none more so than on “Tomasz”, the touching tribute to the late Tomasz Stanko.

Mike Gates

Read also: Giovanni Guidi Trio ‘This Is The Day’ (ECM) 4/5

Scopes ‘Scopes’ LP/CD (Whirlwind Recordings) 5/5

Scopes is the self titled debut recording from a pretty distinguished group of European jazzers. Austrian drummer Mathias Ruppnig and German bassist Tom Berkmann founded the quartet in 2018 and this album was recorded that year in Poland, they are joined by French pianist Tony Tixier and Dutch saxophonist Ben van Gelder. The tunes on this record are original compositions, five from Berkmann and four from Ruppnig.

My music player sorted the album tracks alphabetically, so the first track I happened upon was ‘Alter Ego’ which offers us just a glimpse of what’s in store in other parts of the recording.The title perhaps involves some wordplay as the tune prominently features the alto sax of Ben van Gelder. We get underway with the drums of Ruppnig who is also the writer here. Berkmann’s driving bass and Ruppnig’s drum precision underpin this track allowing the up close and personal sax of van Gelder to offer counterweight to pianist Tixier’s solid groove. I could almost feel van Gelder’s breath in my ear such is the intimacy of the sound, especially as his tones fall away towards the end of the song. After a quick consultation with the sleeve notes I began listening to the tracks in the intended sequence and this is where the real joy begins.

So back to the beginning of the album and a piece entitled ‘Echo of Their Own Prejudices’ which I thought sounds politically ominous especially when considered with the track that follows it, ‘Chamberlain’. ‘Echo of Their Own Prejudices’ is written by drummer Ruppnig who is the first musician we hear on the record, the rest of the band follow with a light and breezy sound building gradually before shifting towards something far more involved allowing van Gelder to really work out on the sax. Then here’s the treat, we get some electronic texture with a keyboard solo melding something reminiscent of Rick Wakeman with a change in time signature adding a distinctive prog feel to this sequence. All the while Ruppnig is giving us something much more 21st century with a low key drum and bass looping kind of sound. It all makes for subtly satisfying repeat listening. Tixier meanwhile runs the full gamut of his keyboard, mischievously exploring a rapidly changing mood board of light and dark tones. We close with further synth texture in the shape of a rather spacey electronic doodle.

‘Chamberlain’, track 2 refers to American sculptor John Chamberlain the transformer of rusting hulks of ageing automobiles not Neville Chamberlain appeaser of the Nazis. So it’s all less politically ominous than I had first imagined. We begin with Tixier on piano but with the inclusion of a barely audible series of underlying electronic textural bleepings. I don’t know if this is a joke about how we listen to music now with pure listening almost impossible without a device of some description always adding to the soundscape somewhere within earshot. The title reflects bassist and composer Berkmann’s interest in the American sculptor, and it is Berkmann’s sound that is prominent here driving the track along.

My personal favourite, ‘Aquaponies’ is apparently based on a story by German author Michael Ende. A Berkmann composition, it is set in motion with a mellow bass and piano combo in the manner of Horace Silver’s ‘Song for My Father’, it would glide along smoothly but for the addition of a kooky sax melody which gives the whole piece an intriguingly surreal edge.

Towards the close of the album we get ‘Nostalgia’, another Ruppnig composition which sets out on a quiet and contemplative path with Tixier’s piano accompanied by Berkmann’s almost conversational bass. The piano evolves a flowing liquidity as it picks up pace and aims for that elusive place within the imagination no longer within grasp.

The band explain the name Scopes was chosen as a kind of concept to allow individual members to channel their creativity in an unbound way and to create a type of musical playground. Berkmann also describes how he is interested in the personal associations that we, the listeners experience through the music and is keen to allow us the time and space to zone out and savour these. The album certainly offers a rich source of musical influences and new directions which make for rewarding and top-notch listening and our ‘Album Of The Month’ for March.

James Read

David Liebman/Jeff Coffin ‘On The Corner Live! The Music Of Miles Davis’ CD (Ear Up) 5/5

It seems appropriate that Dave Liebman should get top billing on this album, as he played on the first side of the original On the Corner which was released in 1972. Early in 1973, Liebman also joined Davis’s touring band. However, the current album is not a recreation of the music produced in 1972. This is more of an overview of the music that Miles Davis was producing during the period when he was beginning to produce an essentially collective music which focussed on multiple rhythms and textures. This was something that had its genesis in 1969 with the release of In a Silent Way.

After a spoken introduction about Davis and this period from the leader, it is the title track from that album which we hear first and which is performed with a kind of delicate intensity. This is a curtain-raiser for what follows which is indeed the title track from On the Corner. Here the heat increases greatly with the twin soprano saxophones of Liebman and Jeff Coffin going into battle.

‘Wili’ is next. Originally appearing on the Davis album Dark Magus from 1974, the version here opens with atmospheric keyboards from Chris Walters soon joined by the leader on wood flute and the rhythm team of Victor Wooten on bass and Chester Thompson at the drums putting down a rock steady beat. Soprano saxophone and flute in unison prove to be very effective here and it’s not long before we get to hear the guitar artistry of James DaSilva adding to the tension. This performance has a similarly atmospheric feel to ‘In a Silent Way’.

The various themes are interspersed with features for the band members and so a bass interlude is inserted between this and ‘Black Satin’ which readers will recognise as being on the original On the Corner. This is no slavish copy. Clearly the instrumentation differs. I particularly like the change in tempo around nine minutes in allowing Walters to shine again.

‘Selim’ which featured on Live-Evil from 1971, opens with a thoughtful piano introduction before a most delicate soprano saxophone interlude and some equally wonderful clarinet from Coffin. The unusual soprano/clarinet voicing is mesmerizing here and leads into a guitar interlude before the band return for ‘Ife’ from Big Fun released in 1974. This is moody, mysterious and intense music but never abandons the funky rhythmic bass and drum figures which hold the performance together. A drum interlude follows and the album is rounded out with a frantic ‘Mojo’ and, for me, the outstanding track from the album ‘Jean Pierre’ from We Want Miles, the most recent album represented on this collection dating from 1982. This is great fun and is a fantastic closer to this live set. Everyone seems to be having a great time and the electric saxophone of Coffin is particularly outstanding. This album succeeds in delivering a mix of jazz, funk, rock and fusion all expertly performed and so there should be something for every listener to enjoy during this hour or so of music-making.

Alan Musson

Sugaray Rayford ‘Somebody Save Me’ LP/CD (Forty Below) 5/5

Well, I’ve been waiting with bated breath for his second album, his first “The world that we live in” was quite exceptional in places and even now still throws up first time magical moments. So what of this one? Well I can tell you he’s maintained the quality with a slight change in sound, more 60s influenced but it’s still heavy on the blues, very black and once again not for the faint hearted. I have just got to go to the real meat straight away with “My cards are on the table”, which is one of the finest tunes to surface in a million years of soul releases, it’s an epic stroller with a Bobby Bland feel, vocally and lyrically I doubt I will hear the likes again, yes yes yes it’s that good, I was moved to tears, swallowing repeatedly and just a tad embarrassed, but this is what we keep on searching for, music that moves us, and this has rocked me to my boots, it just builds and builds in its intensity – he’s a black man pleading as only he knows how too. I would love to say I will hear this out… well we’ll see.

Lee Fields came along and knocked this off its lofty perch for a few days but hey Sugar’s back on top. The title track, “Somebody save me”, comes a close second, it’s a scintillating ballad of some merit, strings consisting of Violin and Cello caressing the whole show, but well in the background just loud enough to comfort us all, what a stunning piece of music. Now into something totally different how good would it be to walk into a Northern room and hear “Is it me”, an on the fours dancer with everything needed to put bodies on the dance floor, incessant percussion, dominant bass, stabbing horn runs and mocking female backing, trust me this is brilliant – he’s probably never heard of Northern Soul and just doing what he feels is right, and it is so so right.

There’s another cracker on here in “You and I”, all very Stax/Atlantic in its feel, head nodding, foot tapping and it certainly registers in your head. This too is available on vinyl and CD. The rest of the album has its highlights with funky, bluesy compositions. I love it.

Brian Goucher

Read also:
Sugaray Rayford ‘The World That We Live In’ LP/CD (Blind Faith) 5/5

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