Review: The always busy Record Store Day 2024 release schedule has turned up another pearler here as Ann Young and Yuki Ohno Trio's 'Speak Low' gets a special reissue on 7" courtesy of Nippon Colombia. 'Speak Low' is a cut that showcases Young's expressive vocal style in all its glory as it implodes and explodes over 100-mile-an-hour double bass and light, airy triages, hi-hats and feathery drums. On the flip is another standout vocal jazz cut 'On Green Dolphin Street' that makes this an essential cop.
Review: Brownswood Recordings return to focus on Yussef Dayes and co. for their latest release. Live At Joshua Tree is Dayes' latest live album, capturing the jazz musician and drummer's stellar live performance while posted up slap-bang in the middle of Joshua Tree National Park in California, USA. With the music canopied by this natural desert amphitheater, the sound of the album is fittingly warm and dry, catching the tones of every instrumentalist to a muted, temperate T: there's bass from Rocco Palladino, sax by Malik Venna, keys by Elijah Fox and percs by Alexander Bourt. Make sure to catch the live video version of the album on YouTube.
Jiro Inagaki & Soul Media - "That's How I Feel" (3:38)
Soul Media - "Memory Lane" (4:23)
Jiro Inagaki & The All-Stars - "Barock" (3:06)
Jiro Inagaki & Aki & Big Soul Media - "Guru" (6:23)
Soul Media - "Painted Paradise" (6:44)
Jiro Inagaki & His Friends - "Express" (No SE version) (3:34)
Review: Japanese jazzmasuta Jiro Inagaki is graced by a stunning new tribute album via 180g, Legends, which celebrates his 90th birthday in 16-track compilation form. Made up entirely of works made between 1968 and 1980, and selected by DJ and producer Yusuke Ogawa, this is an album made almost entirely of Jiro's best-known instrumentals, not least a formerly unreleased version of the standout 'Express'. The recordings are impeccable, and this is a standard which does not waver over the entire 12-year period this LP spans.
Storm Before The Calm (feat Kaidi Akinnibi) (3:01)
Review: As fast-rising underground stars in their own right, you'd expect any collaborative album from soul-fired South London singer/songwriter/beat-maker Tom Misch and prolific jazz drummer Yussef Dayes (best known for his now long-running collaboration with Kamaal Williams) to be rather good. "What Kinda Music" is, with the pair mixing and mangling elements of soul, jazz-funk, electronica and jazz, a set that defies easy categorisation. Both musicians exceed themselves throughout, with tipsy electronics, sweeping strings, bass, effects-laden guitars, woozy synth lines and Misch's heartfelt, soul-flecked vocals offering a perfect foil for Dayes' loose-limbed, headline-grabbing drumming.
Review: Israeli funk quartet Sababa 5 and Japanese singer-cum-bellydancer Yurika Hanashima join forces again on 'Kokoro', a combination of two song suites: four brand new concoctions and four beloved older tracks. Sababa 5's unique combination of Middle Eastern funk and Mediterranean rhythm makes a surprisingly sensational combination with Japanese Jazz-fusion sensibilities. Opening track 'Empty Hands' is a string-led proposition by Yurika: When your hands are empty, you hold everything you need. The guitars are expressive without overpowering Yurika's gentle vocals - it's the perfect track for a sunny drive home. The real selling point here is the clutch of tracks from Sababa and Yurika's storied past, namely 'Tokyo Midnights, a jangly, groove-filled song describing a smoke-filled, drink-fueled night through the capital. This version is pressed on classic black vinyl, but has been in high demand on the artist's own store - so act fast.
Review: An overlooked spiritual classic in two parts, Yamash'ta & The Horizon were a one-off project consisting of a hat-trick of musicians seeking to perfect their craft. In 1971, Hideakira Sakurai, Masahiko Satoh, Stomu Yamash'ta and Takehisa Kosugi gathered in Japan to perform an invite-only concert to a handful of friends. Deep and distinctive electric shamishen becomes a sonic centrepiece over the course; handled by Sakurai, the sound is haunting, like a lone voice amidst a sea of percussive nymphs. Sloshing koto, percussion and eruptions of awe from the crowd all dominate the moments of downtime; a timeless snapshot of Fluxus Japan.
Review: Unlike previous instalments in the 180g label's Wamono series, this isn't a compilation in the strictest sense of the term, but rather a retrospective. It showcases a range of killer jazz-funk and rare groove tunes recorded at Nippon Columbia studios in the mid 1970s by arranger Kiyoshi Yamaya, koto legend Toshiko Yonekawa and shakahuchi master Kifu Mitsuhashi. Highlights come thick and fast throughout, from the mellow, slow-burn lusciousness of 'Nanbu Ushioi-Uta' and the up-beat, guitar solo-laden brilliance of 'Hohai-Bushi', to the all-time Japanese jazz-funk classic that is 'Saitaro-Bushi' and the solo-laden brilliance of 'Asadoya Yunti', whose dazzling Fender Rhodes solos are reminiscent of the early '70s work of the late, great Billy Preston.
Review: Released in the wake of Tony Allen's death, Lagos Paris London is the latest full-length record by Foals' Yannis Philippakis in collaboration with the late great drumming legend. The Yannis And the Yaw project finally emerges after years of fan-teasers revealing Philippakis to have been working with the acclaimed Fela Kuti bandmate and Afrobeat pioneer in the studio; after Allen's death in 2023, the likes of 'Walk Through Fire' and 'Lagos Paris London' effortlessly blend the sounds of Afrobeat and post-punk, bridging the spirits of each while unexpectedly swerving from the duo's initial impulse to produce a nostalgic record.
Review: The EP Lagos Paris London by Yannis & The Yaw, featuring the late Tony Allen, is a testament to the powerful creative synergy between two musical luminaries. Initially envisioned as a nostalgic Afrobeat project, the collaboration took on a life of its own, weaving together elements of rock, funk, jazz, and dub in a dynamic fusion. Recorded over a series of sessions in a Paris studio, the music emerged organically from jams and loops, guided by the intuitive telepathy between Yannis Philippakis and Tony Allen. Joined by Allen's regular collaborators, the result is a collection of near-complete songs imbued with high-spirited, loose-grooved exuberance. Despite facing challenges such as scheduling issues and Covid restrictions, Yannis felt a deep obligation to complete the project in honor of Allen's memory and his desire to share the music with the world. Lagos Paris London serves as both a celebration of their friendship and a timeless testament to the enduring influence of Tony Allen's rhythmic talent.
Review: Although born and raised in Holland, the duo behind the Yin Yin project "make music for an imaginary tropical Island" based "somewhere between the Netherlands and South East Asia". It's an apt description of their undeniably humid, wide-eyed style, which variously combines elements of surf-rock, dub, psychedelia, ambient, electronica, spaced-out synth-pop and various traditional South East Asian musical tropes. It's a style that makes this long promised debut album a unique, distinctive and hugely vibrant listening experience. While inventive and colourful, their music is also largely dancefloor friendly and highly addictive. In other words, this is one debut album that's well worth picking up.
Review: In January, it was revealed that Thom Yorke composed the original score for Daniele Luchetti's film, Confidenza, which is based on Domenico Starnone's novel. XL Recordings now has that soundtrack on vinyl and it follows Yorke's acclaimed score for Luca Guadagnino's 2018 Suspiria remake, Suspirium, which earned a GRAMMY nomination. Yorke collaborates with producer Sam Petts-Davies again here , as well as the London Contemporary Orchestra and a jazz ensemble, including Robert Stillman and Tom Skinner. It is a grand and emotional work from the cult Radiohead legend.
Review: It can be something of a surprise to know that Young Gun Silver Fox hail from modern-day London, as the sound of this album couldn't be more '70s-tinged and Californian if it was sporing sideburns, reefer-in-hand and discussing the Watergate scandal. Redolent of the like of Steely Dan, The Doobie Brothers and even The Eagles, 'West End Coast' thankfully has chops and talent to stand as much more than a mere retro curiosity or museum piece - ditties like 'You Can Feel It' and 'In My Pocket' channel vocalist Andy Platts' falsetto croon, heavenly harmonies and AM radio production to considerable satisfaction for all.
Review: Larry Young was an American jazz organist, whose claim to fame lay in his use of the Hammond B3 organ in a genre context it wasn't regularly used for: post-bop. 'Unity' came out in 1965, and saw him collaborate with trumpeter Woody Shaw, saxophonist Joe Henderson, and drummer Elvin Jones. The aim was to transcend each artist's tendency towards individualism, producing a stunning mood piece that brought out the organ in a surreptitious yet noticeable context. Young's playing renders the instrument popping, bright and vibrant.
Review: Famously self-taught musician Adrian Younge is at the forefront of modern soul music after starting as a hip-hop producer in 1998. He expanded his skills by learning multiple instruments and took inspiration from classic soul and Italian soundtracks before he self-released his debut album Venice Dawn, a moody, synth-heavy album blending Ennio Morricone's style with contemporary flair. His Something About April album followed years later and is a modern classic that merges psychedelic soul, cinematic instrumentals and hip-hop aesthetics while taking cues from greats of the genre like Wu-Tang Clan.
Review: 'Linear Labs: Sao Paulo' on vinyl offers a deep dive into Adrian Younge's masterful blend of analog textures and global influences. Featuring unreleased gems from projects like 'Something About April III' and Snoop Dogg's 'Don't Cry for the Devil', this LP brings together a rich array of soundsifrom Brazilian samba with Samantha Schmutz to ALA.NI's Parisian jazz and Bilal's soul-infused tracks. The album resonates with Younge's signature analog warmth and forward-thinking production. Pressed on vinyl, this release is an essential piece for collectors and fans of psychedelic soul and genre-defying music.
Review: Adrian Younge's latest in the Something About April series is a stunning analogue opus that blends a 30-piece orchestra with breakbeats, synth work and Brazilian psychedelia. It has reportedly been years in the making and is the culmination of Younge's sonic vision as well as being his most expansive and experimental work to date. Brazilian vocalists, fuzzed-out drums and lush orchestration evoke MPB greats like Verocai and Os Mutantes and hip-hop kings Wu-Tang in equal measure. Tracks like 'Nunca Estranhos' and 'Nossas Sombras' are richly cinematic and deeply soulful standouts. More than a closing chapter, this record cements Younge's legacy as a visionary composer.
Review: Over the last 12 months, Adrian Younge and A Tribe Called Quest member Ali Shaheed Muhammad have been inviting some legendary musicians to swing by the former's Los Angeles studio to make fresh tracks with vintage equipment. The results are detailed on "Jazz Is Dead", a superb album that combines elements of dusty soundtrack jazz, soul, jazz-funk, Latin jazz and head-nodding live beats influenced by the duo's hip-hop roots. Highlights include the atmospheric, slow-motion warmth of Roy Ayers collaboration "Hey Lover", the floor-rocking fusion heaviness of epic Azymuth hook-up "Apocaliptico", the languid sweetness of 'Down Deep" (featuring Doug Carn) and the samba-soaked sunshine that is Marcos Valle composition "Nao Saia Da Praca".
Obi Do Woa (If Someone Loves You) (feat Ebo Taylor)
Menina Do Tororo (feat Antonio Carlos E Jocafi)
Uana Ete (feat Joyce E Tutty Moreno)
Viajante De Planeta Azul (feat Hyldon)
Atlas
Review: Adrian Younge and Ali Shaheed Muhammad share the 21st volume in the 'Jazz Is Dead' series, the LA-based "love story" founded by the pair in the fallout of the latter's involvement in A Tribe Called Quest. Jazz Is Dead is a longstanding series committed to unearthing and re-sharing the jazz artists who, after initial releases, found continual success in the continua of hip-hop and pop, especially by way of being sampled by other artists. That said, all the artists featured share new contributions to the series, rather than reissued goldies. A new eight-track record, this is yet another LP, one that multiplicitously celebrates and continues the legacies of the greats: chief among them this time is Ghanaian highlife and afrobeat pioneer Ebo Taylor - whom at 88 years old contributes the jolly synth-sonic rivulet 'Obi Do Woa', a sagacious modernising of his originally 70s and 80s psycho-beat sound - and Antonio Carlos e Jocafi, who updates, in the label's own words, "some of the sweetest samba-soul of the 1970s by way of Salvador, Bahia," Brazil. An all-out arsenal of differential Afrobeats (among other kinds of beat), packaged and presented for the modern listener gripped by an insatiable curiosity for the past.
Review: Jazz Is Dead is a series that welcomes contemporary musicians to revisit jazz storied of old. This collection challenges Adrian Younge and Ali Shaheed Muhammad to utilise vintage equipment to create new master soundscapes, and they really come correct. Roy Ayers, Gary Bartz, Marcos Valle, Azymuth, Doug Carn, Joao Donato, & Brian Jackson are some of the legends who feature and the album is a free flowing delight that touches on soaring and soulful highs as well as bossa-tinged shufflers and plenty in between.
Review: Adrian Younge and A Tribe Called Quest man Ali Shaheed Muhammad's recently released "Jazz Is Dead" album had the feel of a landmark set: a collection of inspired, all-star workouts that combined live, hip-hop style beats with the effervescent musicality of soundtrack jazz, soul, jazz-funk and Latin jazz. This speedy sequel flips the script, stripping back the guest list to a single guest collaborator: jazz-funk and fusion legend Roy Ayers. From start to finish, the set bristles with sweet female group vocals, mazy Vibraphone solos, ultra-warm electric piano, hybrid hip-hop/jazz-funk beats, and Ayers' effortless musical positivity. While nowhere near as eclectic as its predecessor, "Jazz Is 2" is arguably an even more coherent and enjoyable album - and that's saying something.
Review: Performer, composer and educator Brandee Younger is an accomplished ensemble leader who has worked with the likes of Lauryn Hill and Phaorah Sanders. Here she is back at the front of her own troupe with an album that was recorded in New York City at the legendary studio of Rudy Van Gelder. The music is richly detailed contemporary jazz but with echoes of Black greats like Alice Coltrane and Dorothy Ashby. Legendary bassist Ron Carter appears as does Tarriona Tank Ball to make this a real jewel of a record.
Tioga Pass (feat Rocco Palladnio - live From Malibu) (5:57)
Tidal Wave (live From Malibu) (3:24)
Portrait Of Tracy (3:43)
Black Classical Music (Malibu version) (4:33)
Malibu (2:08)
Mountain Steppa (5:30)
The Colour Purple (2:39)
Review: Yussef Days, a virtuoso drummer, has injected fresh energy into contemporary jazz and broken beat genres through multiple innovative projects, each showcasing his remarkable talent. One of them is The Yussef Dayes Experience which recently dropped its Live At Joshua Tree Presented By Soulection album and now follows it up with another live album, this time from Malibu, on Gilles Peterson's revered Brownswood label. It features music from his critically acclaimed debut solo album, Black Classical Music, and plenty of other gems on limited vinyl with features from his usual longtime collaborators Rocco Palladino, Venna, Elijah Fox, and Alexander Bourt.
Review: Brownswood Recordings has high hopes for this debut album from the previously unheralded Yussef Kamaal, which brings together hyped producer Kamaal Williams (AKA Henry Wu) and fast-rising Afrobeat drummer Yussef Dayes. With such talent to draw on, you'd expect Black Focus to be rather good. Happily, it is, with the duo delivering a typically London-centric take on jazz funk. That means that they take as much inspiration from the work of Kaidi Tatham as, say, Herbie Hancock. The key to the album's success - and, yes, it is generally as special as Gilles Peterson suggests - is the fluid combination of Dayes' brilliant drumming and Williams' superb synth solos and effortlessly groovy Rhodes playing.
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