What Shall I Tell My Children Who Are Black (Dr Margaret Burroughs) (3:20)
We Are Starzz (4:25)
Capetown (feat Asher Simiso Gamedze) (15:22)
The Oracle (5:38)
Review: Since turning up in the Windy city a few years ago, spiritual jazz singer, clarinetist and composer Angel Bat Dawid has become a stalwart of Chicago's vibrant avant-garde scene. Here he delivers a debut album that should, if there's any justice at least, propel her towards international superstardom. Both her melancholic clarinet lines and distinctive singing feature prominently throughout, alongside sparse percussion, occasional Afro-futurist synthesizer motifs, harp and guitars - all of which Dawid plays herself. It's a virtuoso display that more than confirms her status as one of the spiritual jazz scene's most authentic voices.
Review: In 2017, Jaimie Branch emerged from Chicago's spiritual and experimental jazz underground with a debut album of rare inventiveness. Two years on, the avant-garde, improvisational trumpeter is finally ready to offer up a sequel, "Fly Or Die II: Bird Dogs Of Paradise". It sees Branch wrap distinctive trumpet refrains - some played in a traditional manner, others mutilated by effects units - around a myriad of off-kilter and improvised backing tracks. While much of the instrumentation is from the jazz playbook, a number of tracks make great use of xylophone, mbira and other exotic but melodic percussion instruments. The album's standout moment, "Prayer For Amerikkka (Part 1 & 2)" sees her go even further, with vocalists and beat poets narrating a politically charged, future spiritual jazz anthem.
Review: Since he released his first album 11 years ago, bandleader, trumpeter and composer Matthew Halsall has proved to be one of British jazz's standout talents. In recent years he's delved into soul-jazz and big band jazz territory, so it's intriguing to find that "Oneness" is a much more spiritual, pared-down and minimalistic affair. Using a mixture of droning Indian instrumentation, languid and leisurely harp motifs, selective horn solos, melancholic trumpet lines and occasional traditional jazz instrumentation, Halsall has conjured up a series of meditative pieces that count among his most beguiling works to date. It may surprise a few listeners, but many more will find it enchanting, otherworldly and emotion-rich.
Review: Matasuna Records' latest release offers up two sought-after tracks from Bossa 70, a relatively short-lived Peruvian band whose ultra-limited 1970 releases (a total of 400 copies were pressed of their sole single and eponymous debut album) brilliantly joined the dots between jazz, bossa, soul and funk. Listening to these cuts for the first time, it's easy to see why Matasuna has gone to the trouble of licensing them: A-side "Si Voce Pensa" is an inspired Peruvian funk cover of a 1968 Roberto Carlos track rich in bustling breakbeats, punchy horns and confident female vocals. Just as potent is the band's flipside cover of Baden Powell's "Berimbau", which puts a funk-soul twist on a certified bossa-nova classic.
Review: Blue World is an album that was never intended for release. It features music commissioned for a soundtrack for a Canadian film in 1964 and showcases a quartet that was at its very best. It's made up of short tracks and alternate takes of early Coltrane material and is utterly vibrant. Catchy little ditties like "Village Blues", stripped down numbers like the title track and the mostly-improvised "Traneing In" are all testament to the enduring brilliance of Coltrane, no matter the setting in which he was playing. The clarity of the recording and richness of the bass playing also add to the overall beauty of this record.
Review: Ubiquity is back with another of its two part 7"s, this time from contemporary soul group The Soul Surfers. Experts at covering the greats, they recently turned their hand to a classic from The JB's, while this time out it is Kool & The Gang's classic "Summer Madness" that gets a deep-cut and sexy make over. Part 1 is a sensuous slow burner with downtempo drums and heavenly guitar playing, while part 2 has harder drum grooves and dreamy , psyched-out guitars. It's another ageless rework that you need in your life.
Review: Mukatsuku struck gold again on this latest first time on a "45" issue. It boasts a couple of lesser-known jazz-funk fusion jams which originally featured on Argentine musician Jorge Navarro's 1977 album "Navarro Con Polenta", an LP that has never been issued outside of South America. A-side "Funk Yourself" is a bustling, high-octane jazz-funk Hammond licks and spiralling horns jumping above a Blaxploitation style backing track. "Repartamos El Funky" is a more laid back but no less musically intricate affair, with a variety of high-grade electric piano and guitar solos riding seemingly endless jazz style drum solos and rubbery bass. Juno hand-numbered copies come in exclusive sleeves and this 45 not be repressed. DJ Support comes from Ge-ology, Dom Servini, DJ Koco (Japan), DJ Food,The Allergies,45LIVE.net ,Dr Bob Jones,Rob Luis, Smoov and more
Review: While he enjoyed a brief career as a musician in the 1960s, by the time he recorded debut album "Down On The Road By The Beach" in 1983 Steve Hiett was better known as one of the world's leading fashion photographers. In fact, it was at the suggestion of a Japanese gallery owner that he got back in the studio to record what has long been regarded as an impossible-to-find Balearic gem. Hiett's reverb and delay-laden Peter Green style guitar passages take centre stage throughout, winding in and out of languid grooves and ambient electronics to create what some have called "the ultimate desert island disc" - a record of such lazy, sun-kissed beauty that it sounds tailor made for drowsy days waking up on the beach.
Review: Dynamite Cuts lives up to its name with this limited 7" from acclaimed Brazilian jazz singer Tania Maria. Two driving and dancey tracks pressed nice and loud for the first time on 45, "Fio Maravilha" is a busy arrangement made up of wild piano, big raw drums and Maria's impassioned, lung-emptying singing that whizzes along at pace. "Bedeu" has a little more Latin flavour, bossa nova swagger and space in the mix for the soul to shine through. Drop either one and take shelter, cause both of these cuts are bombs.