01. Jerry Fielding – The Delivery
02. Silent Poets – Someday
03. First Cosins Jazz Ensemble – Please the Pleaser
04. Quincy Jones – How come, You People
05. Flora Purim – Mountain Train
06. Daisuke Tanabe – Sand Hill
07. The Billy Bang Sextet – The Glow of Awareness
08. The Natural Yogurt Band – Space Echo
09. Marvin Gaye – “T” Plays It Cool
10. Steve Kuhn & Gary McFarland – One I Could Have Loved
11. Chico Hamilton – Abdullah & Abraham
12. Martial Solal Trio – Fanfare Dondaine
13. Barbara & Ernie – For You
14. Rednose Distrikt – Mohs
15. Sirconical – Pear
16. Heikki Sarmanto – Broadway 5821
17. Bob Morgan And Steppin’ Out – Marguerite
18. George Howard – As We Grow
We’ve been writing about contemporary Jazz from South Africa for a little while now, having previously highlighted the work of Nduduzo Makhathini, Afrika Mkhize and Darren English. In truth we are just skimming the surface of what is a vibrant domestic scene. If domestic in this context sounds parochial then it is not meant to, but broader recognition is slow in coming. There are signs that this is changing, albeit primarily through collaborative work – take for example albums from Shabaka Hutchings and the Ancestors, Bänz Oester & The Rainmakers or Morten Halle’s group, Halle’s Comet.
Exposure is an issue. The fact is that Makhathini and Mkhize, like many South African Jazz artists, release albums independently and therefore do not have the resources of a corporate machine behind them to penetrate lucrative markets like the US and Europe. Whilst in theory digital platforms and social media give unprecedented opportunities on the biggest stage the marketplace is crowded and without avenues into more traditional media (print and radio), the impetus of a major label or touring internationally it is difficult to make an impact.
Arts funding is one way that South African musicians can receive support. Examples include international initiatives like Pro Helvetia which provides residencies and recording opportunities in Switzerland or the joint South African/Norwegian Concerts SA designed to support the live music scene in South Africa. In addition, there are a number of domestic award programmes which give artists promotion and vital financial support – the SAMRO Overseas Scholarship Program, the ImpACT Awards and probably the most prestigious, The Standard Bank Young Artist awards.
Siya Makuzeni was the Standard Bank Young Artist for Jazz in 2016. The list of past winners reads like a who’s who of South African Jazz in recent years – Gloria Bosman, Tutu Puoane, Andile Yenana, Kesivan Naidoo, Bokani Dyer, Kyle Shepherd and Nduduzo Makhathini to name but a few. Makuzeni is in good company.
The term Young Artist might imply that Makuzeni is new to the scene, when in fact she has been playing Jazz for 15 years. This is her first album as leader however. She learnt her trade as a trombone player and singer in groups led by progressive Jazz musicians like bassist Carlo Mombelli (The Prisoners of Strange) and trumpeter Marcus Wyatt (Language 12), but her musical footprint extends beyond jazz into rock, hip hop, reggae and electronica. Makuzeni does not want to be defined by one genre and her debut reflects this approach. She refers to her style as crossover – an organic concoction of traditional and modern Jazz, Xhosa music, soul, electronic and experimental sounds.
From the opening bars of “Moya Oyingcwele” (Holy Spirit in Xhosa) it’s apparent that Makunzeni’s is a voice to be reckoned with. Her vocals exude strength, confidence and an attitude that at times borders on the feisty. There’s a tangible sense of exploration as she slips seamlessly from words into vocalese, using her voice as an instrument to extend possibilities. It was Carlo Mombelli who introduced her to the vocal dexterity of Urszula Dudziak and it’s easy to hear how a musician might be at home experimenting through sounds as well as words. Makuzeni also makes good use of a vocal effects box, modulating her voice or looping her vocals to provide backing support.
Supporting Makuzeni are some of best from the current crop of South African Jazz musicians – Thandi Ntuli on piano/keyboard, the excellent Ayanda Sikade on drums, Benjamin Jephta on bass (himself recently announced as 2017 Standard Bank Young Artist for Jazz winner), Sakhile Simani on trumpet/flugelhorn and Sisonke Xonti on Tenor sax. The American drummer Justin Faulkner (part of Branford Marsalis’ band), who replaces Sikade on “Through the Thunder”.
Even with the use of vocal effects there is a raw, live quality to the album. Most of the tracks are fairly funky with central themes expanded through soloing. The lead single and title track is a perfect case in point. Building around looped, echoing chants and a prominent bassline it opens out into solos from Xonti and Ntuli.
There are two instrumental tracks,”Brazen Dream” and “Through the Thunder”, which feature Makuzeni on trombone. I’ve said it before, but I’m a sucker for a good trombone solo and it’s good to hear it on these tunes. The harmonies with the other brass instruments remind me of the jazz funk of Black Banda Rio.
The exception to the overall funkiness is the album’s only cover, of Bheki Mseleku’s “Through The Years”. Tackling a song originally sung by Abbey Lincoln further demonstrates that confidence I mentioned and showcases Makuzeni’s comfort in a traditional Jazz setting. I find it interesting rather than exciting; it’s as old fashioned as the rest of the album seems progressive.
Last and definitely not least, “Hold On”, is one of my favourite tracks in 2016. It grows around an insistent, funky bassline, trumpet and sax wheeling and circling around each other as if in flight. And then there’s Makuzeni’s scat…phew!! Great tune.
Music from such a creative and talented spirit really deserves wider recognition. Let’s hope we don’t have to wait another 15 years for album number two.
Ex-Gladiators vocalist and bassist Clinton Fearon returns with an album in which he performs on every musical instrument as well as composing the songs. The result is surprisingly good and a fine example of a neo-classic roots reggae album. Now resident in the US in Seattle, Fearon pulls no punches when it comes to pertinent social commentary and has the spate of police shootings against young black males in his sights on the chilling, ‘No Justice’, which really brings home the message with some lovely vocal harmonies very much in the Gladiators tradition. Chunky rhythm guitar and saxophone greet the listener on the excellent title track, and again the horn work is classy with strong hooks on, ‘Speak Your Mind’. Arguably his strongest lead vocal performance is reserved for, ‘Don’t Be Afraid’. Of note throughout the album is the interesting sparse use of hammond organ and this creates an earthier sound. Clinton Fearon may not be a prolific musician, but if this eleventh solo album in total, and third for Boogie Brown Productions, is anything to go by, then taking the time to compose and record has paid rich dividends with this excellent latest recording.
What was it our right royal queen called it..? Annus Horribilis. We don’t think there is any doubt that 2016 has been an unprecedented 12 months for the loss of some of our beloved and revered musicians. One or two losses may have been expected for a while whilst others have stunned us into total shock as we had no previous idea.
If you trawl online, some people have tried to explain why there have been more deaths in 2016 than for many previous years before and we’ll leave those explanations to them.
The power of music does come to the fore when you see music fans openly weeping or shaking their head in disbelief when they hear the news that their idol has died. And it is somewhat of a cliché when we say that a musician (who we have probably never met on a social basis) who has died, feels like a family member.
The connection with the music can be so personal when you’re sitting at home or on the bus or alone in your car listening to what that artist has to say. So when they do pass, it does feel like a huge hole in our lives.
We at UK Vibe would like to take a moment to honour the lives of those musicians who did sadly pass away this year. Not all are jazz musicians but all have touched our individual lives and understanding of the music that we love.
We simply encourage you to keep that spirit alive by keep buying & playing the music and also introducing the sound that you have come to love so much to others.
Remember not all artists who have given of themselves, sometimes selflessly, die as wealthy individuals. A lot of them die as paupers. Some of them even homeless and unfortunately some not of sound mind. We salute them all and thank them for enriching our lives and for bringing so much joy into a sometimes bleak and joyless world.
May they rest in rhythmic peace.
[26 Dec] Alphonse Mouzon, 68, American jazz drummer
[22 Dec] Carlos Averhoff, 69, Cuban jazz saxophonist
[21 Dec] Betty Loo Taylor, 87, American jazz pianist
[22 Dec] Sven Zetterberg, 64, Swedish blues musician
[13 Dec] Ahuva Ozeri, 68, Israeli singer
[12 Dec] Barrelhouse Chuck, 58, American blues musician
[06 Dec] Michael White, 83, American violinist and composer
[03 Dec] Herbert Hardesty, 91 American jazz musician
[28 Nov] Carlton Kitto, 74, Indian jazz guitarist
[29 Nov] Allan Zavod, 71, Australian composer and jazz musician
[24 Nov] Shirley Bunnie Foy, 80, American jazz musician
[20 Nov] Hod O’Brien, 80, American jazz pianist
[18 Nov] Sharon Jones, 60, American singer
[15 Nov] Mose Allison, 89, American jazz pianist, singer and songwriter
[02 Nov] Bob Cranshaw, 83, American jazz bassist (Blue Note Records / Musicians Union)
[27 Oct] Bobby Wellins, 80, Scottish jazz saxophonist
[18 Oct] Mike Daniels, 88, British jazz trumpeter and bandleader
[26 Sep] Karel Růžička, 76, Czech jazz pianist, Anděl Award winner
[08 Sep] Prince Buster, 78, Jamaican ska musician
[07 Sep] Clifford Curry, 79, American Soul/folk/beach singer (The Notations)
[29 Aug] Michael Di Pasqua, 63, American jazz drummer
[25 Aug] Rudy Van Gelder, 91, American recording engineer
[22 Aug] Toots Thielemans, 94, Belgian jazz guitarist, whistler and harmonica player
[20 Aug] Louis Smith, 85, American jazz trumpeter
[20 Aug] Louis Stewart, 72, Irish jazz guitarist
[19 Aug] Derek Smith, 85, British jazz pianist
[15 Aug] Bobby Hutcherson, 75, American jazz musician
[13 Aug] Connie Crothers, 75, American jazz pianist
[25 Jul] Allan Barnes, 66, American jazz saxophonist (The Blackbyrds)
[22 Jul] Dominic Duval, 71, American free jazz bassist
[16 Jul] Claude Williamson, 89, American jazz pianist
[15 Jul] Charles Davis, 83, American jazz saxophonist
[15 Jul] Roland Prince, 69, Antiguan jazz guitarist
[30 June] Don Friedman, 81, American jazz pianist
[26 June] Mike Pedicin, 98, American jazz bandleader
[23 June] Shelley Moore, 84, British-born American jazz singer
[17 June] Willy Andresen, 94, Norwegian jazz pianist
[13 June] Randy Jones, 72, British-born American jazz musician
[16 May] Fredrik Norén, 75, Swedish jazz drummer
[14 May] Paul Smoker, 75, American jazz trumpeter
[13 May] Buster Cooper, 87, American jazz trombonist
[11 May] Joe Temperley, 86, Scottish saxophonist (Jazz at Lincoln Center Orchestra)
[01 May] Doug Raney, 59, American jazz guitarist
[24 Apr] Billy Paul, 81, American R&B singer
[24 Apr] Papa Wemba, 66, Congolese singer
[21 Apr] Prince, 57, American musician, songwriter
[13 Apr] Pete Yellin, 74, American jazz saxophonist and educator
[13 Apr] Jeremy Steig, 73, American jazz flutist
[05 Apr] Leon Haywood, 74, American funk and soul singer
[05 Apr] Zena Latto, 90, American jazz saxophonist
[04 Apr] Getatchew Mekurya, 81, Ethiopian jazz saxophonist
[03 Apr] Bill Henderson, 90, American jazz vocalist
[03 Apr] Don Francks, 84, Canadian jazz vocalist
[02 Apr] Gato Barbieri, 83, Argentine jazz saxophonist
[26 Mar] Joe Shepley, 85, American jazz trumpeter
[26 Mar] David Baker, 84, American jazz musician
[24 Mar] Roger Cicero, 45, German jazz and pop musician
[23 Mar] Jimmy Riley, 68, Jamaican reggae musician
[22 Mar] Phife Dawg, 45, American rapper (A Tribe Called Quest)
[11 Mar] Joe Ascione, 54, American jazz drummer
[10 Mar] Ernestine Anderson, 87, American jazz vocalist
[09 Mar] Naná Vasconcelos, 71, Brazilian jazz percussionist and vocalist, eight-time Grammy Award winner
[08 Mar] Claus Ogerman, 86, German jazz conductor and arranger
[07 Mar] Joe Cabot, 94, American jazz musician and band leader
[03 Mar] Gavin Christopher, 66, American R&B singer, songwriter, musician, and producer (Curtom Records)
[25 Feb] John Chilton, 83, British jazz musician and writer
[23 Feb] Rey Caney, 89, Cuban musician
[19 Feb] Harald Devold, 51, Norwegian jazz musician
[14 Feb] L. C. Ulmer, 87, American blues musician
[04 Feb] Maurice White, 74, American songwriter and musician (Earth, Wind & Fire)
[08 Jan] Otis Clay, 73, American R&B and soul singer
[05 Jan] Nicholas Caldwell, 71, American R&B singer (The Whispers)
[04 Jan] Long John Hunter, 84, American blues guitarist and singer-songwriter
A stalwart of the New Orleans music scene for some six decades. Dr. John is fully deserving of a tribute to his musical craft and this atmospheric live recording capturing an evening’s entertainment at the Saenger Theatre in the Crescent City does justice, both to the songwriting talents of the singer-songwriter and his prowess as a pianist. It cuts across musical boundaries to incorporate R & B, funk, jazz and blues, but above all else it is foot-stomping good music to embolden the soul. The impressive array of musicians bears testimony to Dr. John’s standing among his contemporaries and includes the late Allen Toussaint, members of the Meters, the Neville Brothers, Irma Thomas, Big Chief Monk Boudreaux, Dirty Dozen Brass Band, not forgetting Bruce Springsteen, Chuck Leavell (Allman Brothers and regular keyboardist for the Rolling Stones), and jazz trumpeter Terence Blanchard. Of course, Dr, John himself does perform on various numbers, especially his most popular songs, but Leavell does a fine job of performing in his pianistic place elsewhere. A full brass section including members of the Dirty Dozen Brass Band do a sterling job of backing up the tight rhythm section and New Orleans music would be nothing without its individualistic brass contribution. Blue Note label boss and musician Don Was provides the bass line grooves.
An opening statement of intent comes with the 1973 hit single, ‘Right Place, Wrong Time’, on which Dr, John and Bruce Springsteen duet on vocals and this adds a grittier side to the song. Of note throughout the live performance are the wonderful background harmonies of the McCrarys who are outstanding on the call and response vocals with Cyrille Neville on, ‘My Indian Red’. The listener is transported back to the R & B era of Fats Domino on ‘New Orleans’ with lead vocals and full band from John Fogerty. Former Meters members George Porter Jr. and Zigaboo Modeliste cook up a musical storm on the funky uptempo gumbo groove of, ‘Junko Partner’, while gospel-inflected R & B is offered up from Mavis Staples on, ‘Lay My Burden Down’, which is a definite concert highlight, and from Aaron Neville on the relaxed and jazzy tones of, ‘Please Send Me Someone To Love’, with brother Charles wailing on saxophone.
If it is groove-laden music that you are in search of, then the late Allen Toussaint ranks with the very greatest of them and ‘Life’ is a typically understated and dignified number that must be one of the very last songs the singer-songwriter, producer and arranger ever recorded. A moodier and soulful atmosphere is created by Irma Thomas on, ‘Since I Fell For You’, while in marked contrast, Big Chief Monk Boudreaux interprets one of the staple songs of the New Orleans songbook in, ‘Big Chief’, complete with funky keyboard riff and punchy brass. That Dr. John is a gifted pianist/keyboardist is showcased on the gentle-paced, ‘Rain’, on which he duets with New Orleans trumpeter and Spike Lee’s musical director, Terence Blanchard. In fact the music contained within this special evening undergoes myriad mood changes and in an uptempo and uplifting tempo comes Group Widespread and horn section members of the Dirty Dozen Brass Band who lay down a percussive near ten minute take on, ‘Familiar Reality’.
Ending off the evening’s proceedings on a high, Dr. John duets with trombonist Sarah Morrow on two of his most endearing compositions, ‘I Walk On Guilded Splinters’ and ‘Such a Night’, both of which receive a rapturous reception and rightly so. Crème de la crème musicians abound here, but the constant presence of a regular band keeps this from turning into an all-stars wash out that fails to deliver.
Chris Joss “Love I Reminisce” from the album ‘Escape Unlikely’ (Teraphonic)
Kabanjak “Dance of the Obscure” from the album ‘The Dooza Tapes Vol.1’ (Switchstance)
Spare Parts “Jazz Crimes” from the album ‘Warehaus West Sessions Vol.1’ (Ropeadope)
Steinar Aadnekvam “Lamento” from the album ‘Freedoms Trio’ (Losen)
Terrace Martin “Think Of You” from the album ‘Velvet Portraits’ (Ropeadope)
Manu Katché “Flame & Co” from the album ‘Unstatic’ (Anteprima Productions)
Alfredo Rodriguez “Yemaya” from the album ‘Tocororo’ (Mack Avenue)
Chantae Cann “Am I Rushing It” from the album ‘Journey To Golden’ (Atlanta)
Emanuele Parrini “Disk Dosk” from the album ‘The Blessed Prince’ (Long Song)
Sébastien Jarrousse “Bohemian Club” from the album ‘Old Fellow’ (Gaya Music Productions)
Cyrus Chestnut “I Remember” from the album ‘Natural Essence’ (HighNote)
Nate Lepine “Hennie” from the album ‘Quartet: Vortices’ (Ears & Eyes)
Claffy “Chapter 5 (Memories Of) Her Flat” from the album ‘Claffy’ (Ropeadope)
Larry Wilson “Light” from the album ‘No Secrets No Lies’ (Private Press)
The Wee Trio “Sound Evidence” from the album ‘Wee + 3’ (Bionic)
Jim Rotondi “In Graz” from the album ‘Dark Blue’ (Smoke Sessions)
Alchemy Sound Project “The Call” from the album ‘Further Explorations’ (Artists Recording Collective)
Shola Adisa-Farrar & Florian Pelissier Quintet “Evolution” from the album ‘Lost Myself’ (Hot Casa)
Trio ELF “Emptiness” from the album ‘MusicBoxMusic’ (Enja Yellowbird)
Jerome Jennings “New Beginnings” from the album ‘The Beast’ (Iola Records)
Hugh Masekela “Shuffle & Bow” from the album ‘No Borders’ (Semopa)
Myele Manzanza “Montara” from the album ‘OnePointOne [Live at The Blue Whale, Los Angeles]’ (First Word)
This latest edition in the series of Miles Davis recordings made for Columbia/Sony focuses on the period 1966-1968 and covers the very latter period of the classic quintet of Herbie Hancock, Wayne Shorter, Ron Carter and Tony Williams. Long-time fans will be curious about the insights that the alternative and often extended versions of the original albums provide as well as the studio banter that shunts back and forth between leader Miles Davis and producer Teo Macero. Those new to the original albums may find the constant switching from one take to another somewhat disorienting and detracting from the original listening experience. However, more seasoned observers of the Miles mid-late 1960s sound will find this to be a revelatory experience and one that brings them closer to the rationale and intentions of the musicians themselves. The first two CDs cover the albums, ‘Miles Smiles’ and ‘Nefertiti’, with bonus material from the latter. Excluded is any material from either, ‘Miles in the Sky’ or ‘Sorcerer’.
By far, the most interesting of the material and the most listenable is actually contained on the third CD where music from the ‘Water babies’ album is heard in significantly longer versions. For example, ‘Fall’ runs on for over eighteen minutes which is some three times longer than the original album take and it is a lovely ballad with Miles and Shorter working wonders in tandem on what proves to be a most haunting theme. As for Shorter, the tenorist plays at his most lyrical here. One of the joys of listening to the music in this setting is that it enables one to be in on the interactive dialogue and the creative process more generally. Thus on ‘Water babies’, the session reel take features a percussive background of Williams on the cymbals and just bassist and saxophone, but piano left out and then one hears Miles instructing the drummer who thereafter creates a Spanish-tinged flavour on percussion. Take one features the plaintive saxophone of Shorter which is most enjoyable, the tenorist and trumpeter in tandem once more, and Hancock in comping mode.
Some will question whether the chatter is absolutely necessary and here it is undiluted in a warts and all presentation. At the very least it does bring the studio sessions to life, but one can legitimately ask whether it actually enhances the individual’s understanding of the original finished product. As with the complete, ‘In a Silent Way’ box set, the extended versions do shed new light on the music as a whole, yet one can fully understand why Teo Macero felt the necessity to reduce the music down to a more manageable and, arguably, more coherent single disc. In the end the listener can compare and contrast with the original albums and that can make for a worthwhile endeavour.
Inner sleeve notes from Ashley Kahn with black and white photos of the individual members of the quintet. A pity there is no collective photo of this band in performance. An online transcription of the dialogue is available. What would really enhance the current series of complete recordings would be a re-issue of the ‘Complete Live at the Plugged Nickel’ in Chicago from 1965. Originally re-issued at an exorbitant price on vinyl and CD in the mid-1990s, a trimmed down CD package would make a welcome re-edition and enable a new generation to re-examine some of the most exciting live jazz performances ever recorded for posterity.
Austrian guitarist Wolfgang Muthspiel has, until recently, enjoyed a relatively low profile, with a career that stretches all the way back to 1990 when his debut album, ‘The promise’, was produced by Gary Burton. The guitarist went one step further in 2000 when founding his own label, Material records.
A first ECM recording beckoned for Muthspiel in 2013 in, ‘Travel Guide’, with a trio outing as part of MGT. However, his leader debut for the label, ‘Driftwood’, dates from 2014 and another trio, this time bassist Larry Grenadier and drummer Brian Blade, both of whom are featured for this new recording. The main difference with the new album is that, in addition to the existing trio, pianist Brad Mehldau and trumpeter Ambrose Akinmusire are on board and it is this larger ensemble that makes the music all the more worthwhile.
One of the most lyrical pieces is the Mehldau composition, ‘Wolfgang’s Waltz’, with trumpeter Akinmusire in scintillating form and a definite nod towards the Spanish tinge with a flamenco feel in parts. Another ambitious number is a tribute to the late Kenny Wheeler, ‘Den Wheeler’, and this has something of the feel of Wheeler’s own ECM recordings from the mid-1970s, ‘Gnu High’, immediately springing to mind. Grenadier takes a lengthy solo on, ‘Father and son’, where Mehldau comes to the fore as an accompanist, and this recalls his work with Charles Lloyd for ECM.
This is, in general. less of an album to showcase the guitarist’s virtuosity, be that on acoustic or electric guitar, and more of a recording to admire the musicality of the band, the compositions and arrangements. Great subtlety and an understated performance all around.