Review: 2016 celebrated 20 Years of Atjazz, where Martin Iveson's Atjazz Record Company re-released his 1988 debut album that featured some bonus tracks and remixes. Now in conjunction with Record Store Day 2017, we have remastered originals and remixes alike on offer here with this limited version. The master Charles Webster works his magic as always on the truly deep and sublime rework of "Slide It In" which we didn't think could be beat in its original version. "Dark Slide" and "Ghost Spaces" appeared on the album version also, but hearing them here you truly realise just how timeless Iveson music really is.
Review: UK nu-jazz/broken beat Maestro Martin Iveson aka Atjazz returns with more properly soulful and emotive deep house music on his new epic "Tear". Featuring all the hallmarks of his idiosyncratic sound, the original features soothing melodic tones, intricate rhythm arrangements and an all-round evocative feel. On the B side are two terrific remixes: UK producer Soulfuledge serves up a dreamy and hypnotic rework that will mix in well with your All Day I Dream/Tale + Tone records. Iveson looks further North to Peacey as he delivers an ethereal and sensual remix equally suited to all the daydreamers out there.
Review: Atjazz & Jullian Gomes released their "Big Bad Crazy" album nearly a year ago to wide acclaim, and here is one of the LP's standout tracks which receives a rework from Freerange/Delusions Of Grandeur chief Jimpster. He replaces the sensual late night deepness of the original version of "It's My Time" with a slinky, hypnotic and absolutely mesmerising vibe, awash in shimmering melodies, delay drenched snippets of the original vocals and an absolutely addictive bassline. There's a handy instrumental on the flip too. Braintree's finest delivers the goods once again on this hit that's sure to have wide crossover appeal.
Review: Atjazz chief Martin Iveson teams up with South African producer and label staple Jullian Gomes for a collection of sublime hi-tech soul expressions on the second part of the Big Bad Crazy album. It follows on five years after their exceptional debut collaboration The Gift The Curse and 'points out the broken state of our world, and .. the ongoing struggle to make it through the pain.' Indeed, they're all emotive offerings here: from the life-affirming daydream fantasy of "Decoded", the perfect chord progressions on "Don Esquire" (sure to get everybody's hands in the air) right through to the mysterious dancefloor drama of "Love Me". Here's to hoping it's not another five years before the pair choose to collaborate once more.
Review: It's been six years since Martin "Atjazz" Iveson started mentoring South African producer Jullian Gomes, and five since they last released any collaborative material. Perhaps they shouldn't have left it so long, because the material showcased here is exceptionally good. The standout for us is undoubtedly breezy soulful deep house jam "It's My Time", though EP opener "Daggers Drawn", a suitably symphonic and musically complex cut that pairs atmospheric orchestration and electronics with a snappy, tech-house beat, is almost as inspired. Elsewhere, "Blow By Blow" is a spacey and woozy number rich in broken house beats, and "The Pursuit" is a swinging, triple time workout that draws heavily on Gomes' South African heritage.
Review: Originally released back in 2018, this collaboration between UK broken beat/nu-jazz pioner Martin Iveson aka Atjazz and rising South African deep house star Jullian Gomes was featured on their full length album Big Bad Crazy. The track in focus, "Love Me" in its original form is a glassy-eyed and heartfelt affair, accentuated by immersive dub chords and powerful symphonic arrangement. It gets the Kaytronik treatment on this 12", and if the name sounds familiar that's because it's the alias of legendary Baltimore producer Karizma. A side houses the stripped down and hypnotic "Kaytronik Difibrillator Dub" that works those orchestral sounds really well against dusty barebones rhythms, while "Kaytronik Difibrillator Beats" on the flip sees him serve up a handy and functional bass-driven dub for DJ use.
Roll Of The Beast (Atjazz remix - instrumental) (6:12)
Review: Those with long memories may just about remember Clyde. The East Midlands-based vocalist and producer released a clutch of soul-flecked fusions of deep house, broken beat, jazz, hip-hop and Detroit techno on Mantis Recordings between 2003 and 2009. Here his final single, 2009's previous digital-only "Roll The Beast", is given a belated vinyl release courtesy of his old pal Martin "Atjazz" Iveson. This time round, the original version - an inventive chunk of purple-coloured, glitch-sporting vocal deep house that portrays Clyde as Derby's answer to Prince - comes accompanied by two slick remixes (vocal and instrumental passes) from Iveson. His takes are deep, groovy, organic and fluid, with plenty of the spacey "astro" style flourishes we've come to expect from his tracks and remixes.
Review: Slow Poison is Jullian Gomes' second album on Atjazz, but also gives its name to this tasty sampler ahead of its arrival. As ever, it is a warm and colourful collection of fresh perspectives on a range of sounds - the crisp electronic disco of "Control" (feat. Jinadu) is upbeat and clean, while "Temple Of Snakes" (feat. label boss Martin Iveson) is dreamy and balmy house that sinks you into a late night reverie into the soul drenched summer grooves on FKA Mash hook-up "Ghetto Ballerina". Lastly, "Original" (feat. B Bravo) might just take the best track of the EP award for its feel-good acrobatic beats and bass.
Review: Back to 2006: Chris Clayton's mid-noughties lesson in deep house class still hits home with precision. Subtle, jazzy but heavy and insistent, it now comes complete with fresh updates from Atjazz and Yoruba Soul. The former adds more atmospheric layers and percussion that compounds the sense of hypnosis while the latter takes us right back to the NYC 1990 with a lavish 10+ min, subtly dubbed excursion. Tech no imitations.