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In what will be my final post regarding 2012 (I promise!), here's the playlist that aired live on Sunday morning. It was a really great show, with lots of good responses so thanks for tuning in!!
'Fever' - Robert Glasper Experiment f/t Hindi Zahra
'Cherry Wine' - Nas f/t Amy Winehouse
'Adorn' - Miguel
'It's All Over Your Body' [DJ Spinna Remix] - Jose James
'Funk Is Ruling My Head' - Pitch & Scratch f/t Alex Prince
'Give Me Your Love' - The Third Coast Kings
'You're The Kind of Girl' - Lee Fields & The Expressions
'Wishful Thinking' - JJ Barnes
'With Me Come Fly' - Gabriele Poso f/t Dionisia Cassiano
'Twice' [Questlove Remix] - Robert Glasper Experiment f/t Solange & The Roots
'Illio' - Southpaw
'The Consequences of Jealousy' - Robert Glasper Experiment f/t Meshell Ndegeocello
'I'm Getting Ready' - Michael Kiwanuka
'Walk On Through The Door' - Lee Fields & The Expressions
'Take It Easy My Brother Charlie' - Astrud Gilberto
'Any Day Will Do Fine' - Michael Kiwanuka
'Work It Out' - Hannah Williams & The Tastemakers
'That's Not My Name' - The Impellers
'Brighter Day' [Ill Advised Remix] - Nick Pride & The Pimptones f/t Susan Hamilton
'How Can We Go Wrong' - Khari Cabral Simmons f/t Incognito
Hi all
Following our Christmas special that aired Sunday just gone, we're now gearing up for our even bigger show including the absolute best of the year gone past. Well, I suppose I should make the point that this show will include the absolute best of 'what I was able to get my hands on at this time' - I imagine many of the CDs I'll be picking up in 2013 will have been released this year and would have gone beautifully on this show but hopefully those gems will take pride-of-place amongst the ongoing playlists as the months unfold.
While also addressing 2012's releases, I wanted to talk specifically about the posts I made a couple of weeks ago where I charted my top 5 albums of the year, which I'm sure will come as no surprise that each of them will have firmed places amongst this Sunday's playlist, but there were a few other releases that I just don't feel I can proceed without giving them their due credit and including them amongst 2012's honourable mentions...
'Home Again' - Michael Kiwanuka [Polydor Records]
Praised for his uncanny likeness to soul greats, particularly Otis Redding and Bill Withers, conversely criticised for exactly the same thing, Michael Kiwanuka's full-length debut album shouldn't really be looked at as anything other than a superbly sweet soul record. Although 'Home Again' was a critical darling and became fully embraced by the Magic FM crowd, perhaps bizarrely, in many ways it seems to have bypassed the hardcore soul-purchasing public as many soul fans I know just didn't seem to be aware of its existence. Stand-outs include 'I'm Getting Ready', 'Always Waiting' and 'Any Day Will Do Fine' but in truth you'd be hard-pressed to find anything bad on this release.
'Life is Good' - Nas [Def Jam Records]
I'd love to insert a bold statement here, something confident like 'Hip-hop album of the year!', but this is actually the only hip-hop album I actually purchased this year. There was a time that would have been a laughable statement for me to make in a December but I think hip-hop and I have just travelled in different directions. There are a very small handful of artists that I will consistently stick by though, and Nas is one of them. The bulk of the production is expertly handled by Salaam Remi and No ID, and amidst soul samples aplenty, featured guests include Anthony Hamilton, Mary J Blige and Amy Winehouse amongst others. With an album cover that was just genius in its execution (Nas seated alone with his ex-wife's wedding dress draped over his lap, with the words 'Life is Good' at the foot of the cover) setting much of the tone for this release, life at best could always only be bittersweet.
'Roots of Soul' - Gabriele Poso [Infracom Records]
Poso's effortless blend of jazz, latin and bossa flavours mixed with a natural soul aesthetic generated beautiful textures and layers of a fresh-faced sound always welcome when basking in the rays of a summer sunshine. Valuable vocal assistance comes from noteworthy jazz vocalist, Nailah Porter, who appears on two of the album's tracks, 'Into My Heart' and 'A Night With You'; Tanya Michelle, who secures the coveted spot on the album's lead-off single release, 'Sunshine', and the aforementioned Osunlade who lends an excellent contribution to one of the album's three cover versions, Dawn Penn's 'You Don't Love Me'. Album highlights also come in the form of ‘Dona Flor’, ‘With Me Come Fly’ and ‘Tin Tin Deo’.
Originally published on liberationfrequency.co.uk in 2011
Written by Imran Mirza
Funk. When you think of that glorious four-letter f-word, the names that tend to roll off the tongue include the fellas: James Brown, George Clinton, Prince, Maceo Parker, etc. Conversely, funk is a genre of music where you just can’t fake it. It’s in you or it isn’t, and that’s regardless of gender – old skool fans will certainly know the ferocity of which artists like Vicki Anderson and Lyn Collins commanded a stage with a microphone. Even in today’s climate, the raw skill of funk’s leadings ladies is undeniable, as displayed by the likes of Sharon Jones, Nicole Willis, Randa Khan …and Gizelle Smith!
The UK’s very own funkstress secured herself a suitable musical backdrop with Hamburg’s finest – The Mighty Mocambos – providing the rich landscape of fiery drums and plush horns while Gizelle’s voice swoons skilfully over it all on their debut collaborative album, ‘This is Gizelle Smith and the Mighty Mocambos’.
From the first single, and album opener, ‘Working Woman’ (check for the Kenny Dope remix for even more satisfaction!) to the dare-you-to-try-and-sit-still groove of ‘Time is Right for Love’ and the quirky and seductive rhythm of ‘Snake Charmer’ – the twelve-track pleaser, available on Legere Recordings is perfect at getting in quick, hitting you hard and leaving you wanting more…
More, you say? Well we counted on that so Liberation Frequency is brimming with pride in being able to introduce you to Ms Gizelle Smith!
Can you tell us a little about where you're from and where you grew up?
I was born in Manchester and I grew up there and in the surrounding outskirts known as the High Peak.
What were some of your earliest memories of music as a child?
Oooh I have so many, I don't know which one you'll find most interesting! I guess my earliest musical memories are of me going through my mum's record collection and I vividly remember coming across the soundtrack to the musical CATS like it was yesterday. It was a double vinyl so the sleeve opened out and revealed stage shots of the cast and I really just couldn't imagine what kind of music would ever come out from people dressed as mental-looking felines. So I played it and it has been my favourite musical ever since.
Who are some of your musical heroes?
The wonderfully forgiving musicians who still understand/remember how hard it is to develop a music project from absolute obscurity and join in the fun – playing and recording for us even when our budgets are really limited. Those guys. I'm so grateful to have these wonderful people around me.
From a different angle, they're not so much 'heroes' but I guess I should mention Holland-Dozier-Holland, Ashford and Simpson... these guys wrote the songs that shaped me from the day I was born and although I didn't really have a choice in the matter, I'm glad for my mother and father's musical choices :D
Of course I could also say my dad since he played on some of these tracks, but he was never happy about his kids going into the music business so he remains off the list ;)
How did you hook up with the Mighty Mocambos?
I was introduced to them by my producer.
Can you tell us a little about what went into making 'This is Gizelle Smith & The Mighty Mocambos'?
Oooh god, I don't know where to start. They invited me to perform with them at one of their gigs in Hamburg and we got on very well, musically as well as on a personal level. At that stage, it was all very relaxed – no talks of recordings, releases, let alone a whole album. Then the Mocambos released a compilation on their own label where they wanted me to sing on one of their tracks, which I did and one thing led to the next. I think releasing 'Working Woman' was a bit of a defining moment in the whole emergence of the album. We received a huge amount of positive feedback from it: people started having a serious interest in the act and it didn't take long for gig requests to start flowing in. So really, the album was born through our need to have more original material to gig with, because at that point, we played quite a few covers.
The switch to working on a more serious level, where all of a sudden, people expected things from us, proved to be quite challenging... The band and I were in two different cities, which made recording a bit of a ball-ache and when it came to the actual music writing – you discover all of a sudden, how opinionated everyone is and unfortunately, Björn and I are control freaks, so it really didn't run too smoothly. But I'm proud of how we held it together and I'm proud of our album. Plus, we were all working full-time so it's a miracle we came out with a product at all! Loved it though.
Is the follow-up album continuing in the same vein or will the music go in new directions?
I guess it's all of the above. The biggest difference is the fact that it's a solo album; I won't be working with the Mocambos on this one. Nevertheless, I do love the funk – the basic musical elements, the rhythmical patterns... I'm very drawn to the tension and release pattern of having endless repeating riffs, broken by a sudden change of chord – it suits my surrealistic tendencies... a bit sexual really. But I carry other influences, and for the most part I won’t be able to help but add something very personal to it. Similar in the way that 'This Is...' wasn't your typical 60's replica. My new offering to the 'scene' and beyond, is a step away from the obvious but a huge stride closer to my roots. I'm not overly convinced by some of the funk that's around at the moment because it lacks a source from which is grows, whether that be historical, emotional, geographical...
Is there a song (by another artist) you wish you'd written?
Wicked the musical, by Stephen Schwartz. Yes, I wish I'd written the music to that musical. Writing a musical is definitely on my to-do list.
What music/artists are you currently a fan of?
I am soooo terribly obsessed with the Orchestra Poly Rythmo De Cotonou at the moment. I discovered the album 'The Vodoun Effect' whilst I was on tour with the Mocambos in France this October and I haven't stopped playing them. The Budos Band keep getting better and better – I've just come across a mash-up project with Wu Tang to form The Wudos Band... YES! The [latest] Roots album, 'How I Got Over', is a pretty nice listen; Arcade Fire's album, 'The Suburbs', is fantastically intense and a good friend of mine recently introduced me to 65DaysOfStatic... they are incredible. Leaves you breathless. I can only describe the listening experience as being hit by a high speed freight train of sound, multiple times over... Oh and I'm also quite enjoying Little Dragon.
If you liked ‘Modern Funk Volume 3’, then you might like ‘This is Gizelle Smith & The Mighty Mocambos’.
How unbelievably right you are, Amazon!
And therein lays the tale of how I discovered the music of Gizelle Smith. But that was in 2009 and it certainly feels like an age since we were able to get our hands on anything new from Gizelle Smith which makes the release of her brand new single, ‘Jonny – Part 1’, a very, very welcome return for her to the music scene.
The aforementioned album, created collaboratively with The Mighty Mocambos and released on Legere Recordings, went on to establish Gizelle Smith as one of the UK’s leading ladies in funk and soul. Following extensive touring off the back of her debut album, anticipation is set to soar again – and rightfully so – as the new single, ‘Jonny’, is a brilliantly infectious, up-tempo, horn-heavy, hip-swinging number with one of the best ten-second intros to a song I have stuck in my head from recent memory. The single even boasts the instrumental mix as a bonus treat.
It genuinely is very exciting to have Gizelle Smith return to our headphones once again so we do hope that Mocambo Records will be able to follow-up on this single not too far down the line in to 2013. A little sooner than initially expected, the single release has inspired us to raid the Liberation Frequency archives once again so following this post, please check out the exclusive interview feature I carried out with Gizelle from May 2011.
'It's So Nice (To See Old Friends)' - Minnie Riperton
'12 Days of Christmas' - The Olympic Cyclone Band
In memoriam, Hal David and Terry Callier:
'Say A Little Prayer' - Aretha Franklin
'Anyone Who Had A Heart' - Dionne Warwick
'Ordinary Joe' - Terry Callier
'The Look of Love' - Dusty Springfield
'Live With Me' - Massive Attack f/t Terry Callier
You'll notice that we also included a 25-minute session at 9am celebrating the music of Terry Callier and Hal David who each sadly passed away this year but who each also left behind an incredible catalogue of music for fans as well so I'm happy we were able to pay tribute to that.
Next Sunday's show is looking to be just as good and will feature our look back at the 2012 in music releases so we look forward to the pleasure of your company from 8am this Sunday, 30th December.
Originally published on liberationfrequency.co.uk in 2009
Written by Imran Mirza
Listeners were first introduced to Jose James via his debut album, The Dreamer, released in 2008 via new/independent music champion Gilles Peterson, and his Brownswood Recordings label home. Citing influences from John Coltrane, Nat King Cole, Marvin Gaye, Billie Holiday, Kurt Kobain and Jean-Michel Basquiat, The Dreamer presented James as a young jazz artist, fast becoming a genuine master of his craft, earning him album credits including ‘writer’, ‘producer’ and ‘arranger’.
The album relies heavily upon its wonderful instrumentation, but the haunting pianos, commanding bass and sublime horns all take a back seat to James’ inimitable and awe-inspiring vocal that takes centre stage throughout. To call it simply ‘captivating’ doesn’t do it justice – it’s a delectable vocal that re-instils an enthusiasm in music, and will hopefully go as far as to make you want to further explore the world of jazz music and bask in the treasures that await you.
Although the release of album number two is on the horizon, fans can currently extend their Jose James catalogue through the numerous remixes floating around on iTunes, featuring alternate takes on Desire, Spirits Up Above, Love and blackeyedsusan (remixes by IG Culture and Ben Westbeech), along with a handful of guest vocal contributions on projects by Italian jazz connoisseur Nicola Conte, as well as Jazzanova and Bassment Jaxx.
It really is Liberation Frequency’s great honour to introduce you all to the incomparable Jose James…
What made you want to explore a career in music?
Well my father is a musician – tenor sax, latin percussion – and I really respected his artistry, but my first love was literature and creative writing. I think that's why I was into hip-hop because of the lyrics. Most serious jazz is instrumental so it takes a different place in your mind as well as emotionally. But my first taste of the performance bug for real was in high school as a featured vocalist with a visiting 9-piece band – what a thrill! I knew I would be a performer – then I discovered Coltrane and it was all over!
How did you end up joining Brownswood?
My first time in London was the winter of 2006 and Brownswood was just preparing its first releases. I didn't know Gilles was starting a new label, but I knew I was ready to be a part of some new progressive energy. I had just recorded an EP in NY the week before and performed at the Vortex for the first time. I was hanging out in London and giving out my EP, one of which landed in the hands of Gilles! One of the tracks was Equinox by John Coltrane, which is one of Gilles’ favourite classic Trane tracks I later found out. It was meant to be.
What was the creative process of putting The Dreamer together like?
Amazing. Just pure music. I wanted to compose and record in the same way that Kind of Blue was made, or much of the late Coltrane Quartet albums – bringing in charts the day of and recording it fresh, capturing the moment. It worked. Gilles gave me some great ideas for covers and they worked too – Nola and Park Bench People. Junior Mance coming on the session was just pure love – he's so great! It really brought the whole project to another level. We recorded about 30 songs total and used 10. Beautiful.
Were you happy with how The Dreamer was received?
Absolutely! It's been a huge critical success for me and more importantly it has moved people... I really wanted that album to mean something and for people to really get it and they did. It's a huge honour to be a part of something like that, to touch people.
How are things shaping up for a follow-up album – will the music follow straight on from The Dreamer, or will you incorporate different styles and collaborators?
The next album is a continuation of what we started – an energy and an idea of where jazz, soul and hip-hop live together. This will be a next step in terms of styles and sound, but naturally and coming from the same mindset that music should mean something, be an honest expression. And right now, I'm in love, so it’s playful and sexy and wonderful. Other than that you'll have to wait and see!
How would you describe your approach to live performances?
Creative. I never perform the same way twice and everything is very natural and in the moment. I want to bring my full self in performance and I give myself to it fully! I live for that moment and space and time.
I'm very happy to say that I've just been lucky enough to secure Jose James tickets for his stop-over in London for April 2013 in XOYO. Although I've seen him perform twice at the Jazz Cafe and once with McCoy Tarner at the Barbican, I'm still reeling from having missed out on him sharing the bill with The Robert Glasper Experiment at this year's iTunes Festival.
How's this for an epic concert fail - after having been unsuccessful with the luck-of-the-draw lottery that's normally involved in securing iTunes Festival tickets, my buddy Phil calls me on the morning of the concert and says "I know a guy, who knows a girl, who's heard of a guy that can get us in - all we have to do is mention his name on the door". It used to be the kind of night out I'd always be up for: trecking across London, standing outside in the rain for two hours just to be laughed at at the door sounded great a few years ago, but now, married, 1 year old baby and a house full of family expected that night, I decided to do the mature, family thing and stay at home.
Imagine my disappointment when Phil texts at 8:30 saying "I'm in!".
Pastures new and all that so roll on April 2013!!
If you don’t know who Jose James is, then I honestly believe that’s something that’s about to change fairly early in 2013. Actually, if you don’t know who Jose James is, then you clearly don’t listen to The Blue-in-Green Sessions as much as you should :)
In anticipation of the release of his fourth album, which also acts as his debut on the prestigious Blue Note Records, an EP to whet your appetite was released in October. Comprising of six new songs, 'It's All Over Your Body', offers huge promises that this album could very well be James’ breakthrough record and will serve to establish the continuing legacy of one of the brightest stars of his generation. It’s a bold and fairly clichéd statement but not one I make lightly – I’ve been a frantic flag-waving supporter since ‘The Dreamer’ and I can’t think of an artist who displays more versatility and dedication, and one more deserving of the rewards than James. Amongst the EP’s highlights are an acoustic version of ‘Come To My Door’ (performed with Emily King) and a DJ Spinna remix of 'It's All Over Your Body', which ranks among some of Spinna’s best… and that’s another bold statement I stand beside!
A quick update on the new album (currently titled, 'No Beginning No End') reports contributions from an A* list of musicians, featuring a line-up including Robert Glasper, Chris Dave, Pino Palladino, Hindi Zahra, Emily King and Amp Fiddler, naming just a few!
Not long to go now until the album's January release so as a treat of its anticipation, I've dug through the old Liberation Frequency archives as I promised I would and following this post is an interview I did with from 2009 (several months before his second album release, 'Black Magic').
Caroline Lacaze bursts on to the music scene closing out 2012 with a brilliant new single entitled ‘L’Etrange’ – which translates to ‘The Strange’ (thanks Google Translate! :)), and with super-impressive backing by The Mocambo Electric Sound Orchestra, we can only deduce that the follow-up album, currently scheduled for release in spring 2013, will go on to be a real treasure once its unveiled.
Introduced to many by her scene-stealing vocal contribution to The Mighty Mocambos’ 2011 album, ‘The Future Is Here’, appearing on ‘Physique’, the Mocambo label – clearly familiar with knowing a good thing when they see it – have snapped her up and released ‘L’Etrange’ just in time to fill New Year’s Eve dance floors everywhere.
The French vocals on the single provide a refreshing perspective, and a nice touch, so it’ll be interesting to know if the album will feature a mix of English and French languages throughout; it’s also notable that the backing band here are dubbed as ‘The Mocambo Electric Sound Orchestra’ – who do a great job of extending the typical Mocambo funk-y sound into slightly more of an… well, an ‘electric’ one. Lacaze’s full-length album could go on to do great things for both names so we’re keen to say the very least!
The B-side also features the instrumental mix as a bonus treat and you can check out the video for ‘L’Etrange’ below...
#1: 'Black Radio' - Robert Glasper Experiment [Blue Note Records]
‘Black Radio’ will certainly be looked back upon as the album that rocketed jazz pianist Robert Glasper to a brand new plateau, and I imagine if his new album isn’t already on your radar then it must already be rocking your iPod and/or CD player.
Well let me correct myself first of all as this should officially be credited as the first full-length release of ‘The Robert Glasper Experiment’. For some years now, Glasper has divided the output of his music between The Robert Glasper Trio and the aforementioned Experiment, but if either of them was going to propel him towards becoming a household name, it was always going to be the Experiment - the more traditional and classic approach to jazz by the Trio could never compete with the more genre-encompassing and versatile spin of its sister band, which comprises a stellar list of members. Derrick Hodge (bassist and producer, having worked with Common, Jill Scott and Gerald Levert), Chris ‘Daddy’ Dave on drums, who not only played throughout Maxwell’s last album release BLACKsummer’snight, but also most recently joined D’Angelo on his 2012 European tour, and Casey Benjamin whose vocodered voice can be heard all over 'Black Radio', has notched up performing credits with Saunders Sermons and his own group, HEAVy.
Perhaps surprisingly, Glasper has made no bones about the fact this is a direct crossover-targeting album (I mean, it’s obvious when you look at the line-up of guests, but you’re not really supposed to say it, are you?!). As I say, the line-up does scream of that being the intention as it boasts, although a logical selection of R&B and soul vocalists, it’s a slightly predictable one as well - Musiq, Chrisette Michele, Erykah Badu and Ledisi are amongst the names added to the mix, along with rappers Mos Def, featuring under the name Yesiin Bey (why and when did that happen?!) and Lupe Fiasco. As great as many of the guest features are, it’s certainly the band that are the stars here - with immaculate production on a near flawless album, it’s actually difficult to not just hand Chris Dave the crown as the drumming is perfection throughout.
Standouts are far too many to delve into but, not to discredit other songs, ‘Why Do We Try’ (f/t Stockley of Mint Condition), ‘Afro Blue’ (f/t Erykah Badu), 'Move Love' (f/t KING) and the bonus track, ‘Fever’ (f/t Hindi Zahra) are simply awesome. A selection of covers have also been tackled here: there’s an almost unrecognisable, but genuinely exquisite, cover of Sade’s ‘Cherish The Day’ with Lalah Hathaway, David Bowie’s ‘Letter To Hermione’ is employed masterfully by long-time Glasper friend and collaborator, Bilal, and the song that sounds like it would have been an absolute disaster on paper, a cover of Nirvana’s ‘Smells Like Teen Spirit’, which is - surprisingly - sublime.
Jazz projects like this are always exciting - the most notable comparison I tend to draw on is jazz trumpeter Roy Hargrove’s off-shoot soul/funk project, The RH Factor (whose spin-off group was very much created in the same vein as the Experiment) and their debut effort, ‘Hard Groove’, whose new sound and line-up of guests, including D’Angelo, Erykah Badu and Q-Tip, were used as glorious bait to lure fans from the soul world to a new and exciting world called jazz. In this instance though, it doesn’t seem like Glasper is trying to lure fans over to this new and exciting world, he’s crossed over to the soul one and decided to set up camp there for this project. Perhaps some instrumental numbers might have acted as more of an incentive to entice new listeners to delve through Glasper’s back catalogue?
Glasper’s next project (aside from the follow-up remix EP that dropped in October 2012) will certainly be intriguing - will the collaborative nature of the Experiment continue to reign supreme? Will he have the confidence to perhaps look past his new fan exposure and revert to the traditional jazz stylings of the Trio? Whatever we’re delivered with, for now, we have a fantastic new album to cherish, and one I was fairly confident upon its February release would walk with ease towards the title of ‘Album of the Year’.
Ok gang, after much-too-much head-scratching, planning, strategising and in-between naps, I've finally compiled my stand-out albums of the year. Firstly, I should say that this is based on what I've actually been able to get my hands on so apologies straight away for anything that really, really should be here but isn't. There will be a follow-up post featuring a handful of honourable mentions within the next few days. Please note our 'best of 2012' show featuring songs from these albums and many more will air on Starpoint Radio 8-10am, Sunday 30th December, so we'd love the pleasure of your company for that one!
This post only deals with #5-#2 with the #1 album of the year being unveiled shortly afterwards. Right, let's kick things off...
The New York-based label ran from the late 60s to 1974 and was famed for its artists engulfing the spectrum of soul, jazz, funk and proto-disco. This compilation, unearthed and compiled by DJ Spinna (one of our heroes of 2012!) along with the BBE Soundsystem, brings us undeniable gems from each genre of their arsenal, including Astrud Gilberto's fantastic 'Take It Easy My Brother Charlie', JJ Barnes' 'Wishful Thinking' and a couple of excellent numbers by The Eight Minutes, 'Take My Love Don't Set Me Free' and 'Looking For A Brand New Game'.
Fresh from Hamburg, this electronic-spaced out funk duo seemed to have crept out of nowhere to storm their way on to this list with their second album, 'Together' which features brilliant vocal contributions from Leila Pantel ('Maculele'), Wayne Martin ('Papa Never Was A Genius') and Alex Prince ('Funk Is Ruling My Head'), and Lack of Afro also turns up to provide percussion on the aforementioned 'Papa Never Was A Genius'. The best thing about this record is that, although a funk album, it doesn’t root itself, or restrict itself, solely to a singular sound and it enthusiastically embraces more far-reaching genres and styles, like hip-hop and Latin rhythms. This is new millennium funk in the best sense – respectful and aware of the music’s heritage and history, but also progressive and ambitious, trying things you wish more bands would try. Not just a good record... this is a great record and one that'll be rocking our speakers for some time to come!
#3: 'Faithful Man' – Lee Fields & The Expressions [Truth & Soul]
Secondly, we doth our proverbial caps to Truth & Soul’s marquis act, Lee Fields, who, along with The Expressions, delivers ‘Faithful Man’ – his official follow-up to the extraordinary ‘My World’ in 2010. ‘Lee Fields’ releases now seem to be dripping consistently from the vault as ‘Problems’ and ‘Treacherous’ have both now been made available in the interim. A record from Truth & Soul, brought to life by the quality of musicians including members of the Dap-Kings, is never going to be met with the question, ‘Is it any good?’, just, ‘How good is it?’, but the one gripe I’d make mention of is the length. Clocking in well below 40 minutes, and consisting of nine songs plus an instrumental, you do feel that tiny bit short-changed as it’s a fraction more than EP status. Short and punchy has always been the Truth & Soul/Daptone way, but when you compare that structure to songs like the album closer, ‘Walk On Through That Door’, it gives you an indication of what’s achievable when songs are allowed to be fleshed out a bit more. Ultimately, another stunning release though from someone who’s fast becoming my most bankable name in traditional soul music!
#2: Clementine Sun – Khari Cabral Simmons [Dome Records]
Brand new – in many ways – for Dome Records in 2012, Simmons’ album sounds like nothing else I can think of ever having come out from UK’s Dome, which is a great thing! Heavily summer soul and jazz-tinged, this bass player has rounded up an impressive array of talent for his debut release, including the brilliant bossa star, Sabrina Malheiros, who appears on the appropriately-named, ‘Major Bossa’; label-mates, Incognito, who contribute to the album’s standout song, ‘How Can We Go Wrong’; Oteil Burbridge (who, as a quick aside, can also be heard on 2011’s live release from Soulive, along with his brother Kofi Burbridge, ‘Bowlive’ – very worth the price of purchase if I may say!) who plays bass on ‘Ninos’; and India.Arie, who appears on the Stevie Wonder cover of ‘Never In Your Sun’, and had boasted Simmons as a member of her band for some years.
Determined to leave as much of a mark on 2012 as possible, Jalapeno Records - following their excellent remix compilation by Smoove (of Smoove & Turrell) - sign the year off with The Olympic Cyclone Band's 'Season's Greetings': a Christmas album performed with a decidedly funky spin on festive classics.
Potentially a thematic style of release reserved for heavy sales hitters, Justin Bieber, Michael Buble, Beyonce, etc, but thinking about it - James Brown's catalogue bursts of Christmas-themed releases, including his three albums for King Records, 'Christmas Songs', 'A Soulful Christmas' and 'Hey America'. So bearing that in mind... why not?
The Olympic Cyclone Band are certainly a band whose experience lends itself to making a record like this a success - their musical proficiency having been honed from years of playing as a hugely in-demand lounge band bring to new life such Yuletide favourites including 'Away in a Manger', 'Hark The Herald Angels Sing' and 'Jingle Bells'.
What's instantly noticable is the fact that these interpretations don't sound like Christmas songs - they sound like funk and soul songs that just happen to be about Christmas, which is a nice touch as they lend themselves more to songs that don't require a specific calendar month to be played (having said that, when listening to 'Hark The Herald Angels Sing', it would be pretty hard to think of much else other than 'Hark The Herald Angels Sing'!). The album's guest vocalists, including Stephanie Davies and Fiona Egan, also take this approach on board, and when you hear Stephanie Davies sing '12 Days of Christmas', with that voice and that backdrop, it's performed with all the fiery sass of a woman laying down the law!
'Season's Greetings' marks the perfect stocking filler and soundtrack for this year's Christmas, so friends, make it a funky one!
Our very own UK as the home of funk and soul?!?!?? Sounds strange but something very, very exciting seems to be happening over here… While we’ve sat back and basked in the US-led resurgence of classic funk and soul from artists like Sharon Jones & The Dap-Kings, Lee Fields & The Expressions, Third Coast Kings, etc., at some point, musicians in the UK stood up, picked up a bunch of brass instruments, developed women whose vocal feats matched the classic female funkstresses of the 60s and 70s (Lyn Collins, Marva Whitney) and they packed out clubs and got people dancing again like they had ants in their pants!
It’s only been a few months since The Impellers left us dehydrated and gasping for breath with their second album release, ‘This Is Not A Drill’, but now it seems that Hannah Williams & The Tastemakers are fit to leave us in the same state… if not worse for wear!
Having initially reached a lot of peoples’ ears in 2011 from their contribution to the compilation album, ‘Mo Record Kicks: Act 2’, with the song ‘Deep Fried Funk’, released via their Italian independent record label home (Record Kicks), this 9-piece outfit, who are based in London, have honed their skills and developed a formidable reputation for their live performances, so much so that they can add having opened for Sharon Jones & The Dap-Kings, as well as Charles Bradley, to their ever-growing CVs.
‘A Hill of Feathers’, the band’s official debut album, delivers on far more than up-tempo funky dance floor fillers: where it excels – where it’s true brilliance lies – is within its soul-drenched and string-filled ballads, as beautifully demonstrated in the single ‘Work It Out’ and further in songs, ‘Washed Up’ and ‘(When Are You Gonna) Say You’re Mine’. Hannah Williams brings an aching authenticity and depth to powerful lyrics and emotions to a beautiful backdrop painted by The Tastemakers. It’s our sincere pleasure to introduce you to Hannah Williams…
Who would you all cite as early musical influences?
There are too many to give you a full picture of all the influences which have lead me to right now so I will just give you a brief run down of the soul specific artists I admire and am inspired by: Sharon Jones, Charles Bradley, James Brown, Stevie Wonder, Etta James, Nina Simone, Ella Fitzgerald, Jill Scott, Minnie Riperton and Aretha Franklin.
Where did the name 'The Tastemakers' come from?
We are interested in setting a trend, introducing something new to the listeners palette… we are literally making taste!
Why has heartbreak played such a significant theme throughout the album?
The record is a discussion of gender and the role it plays in the 21st century. The songs therefore naturally feature lust, love, heartbreak, confusion, sex, etc. as a result of this discussion. We believe that ‘A Hill of Feathers’ is taking a fresh look at ancient issues through the eyes of a 21st century author but through authentic soul music.
How does the music transfer from the studio to the stage?
It’s the other way round really. We have always been a live band. Everything you hear on the album is a product of continuous development in a live context.
For me, live shows are what it’s all about. I am predominantly a live artist. I like being up on stage with the band and having a whole crowd of hungry listeners around us. I personally practice, change and reinvent my vocals every time I’m behind the microphone. Don’t get me wrong, I really enjoy the studio process but I always have to close my eyes and imagine an audience in front of me. Weird, aren’t I?!
We work really hard to polish and perfect what we deliver both on stage and in the studio. They are very different animals to feed, develop, execute and accomplish but they essentially come from the same process which is playing live to a physical audience.
There are differences, obviously, between the record and the live show. We like a bit of audience participation which isn’t something you can demonstrate authentically on a studio album (that’ll have to wait for the live album ;) ). We also don’t have the stage space or the budget to be able to take our strings section or backing vocalists on tour with us so the live show involves different arrangements of the songs to make up for not having all our buddies with us. Sometimes, we’re fortunate enough to get everyone on stage and that is my own personal Nirvana! I am a self-confessed harmony junkie and being surrounded by edgy strings and glossy vocals is my definition of a musical orgasm!!! Keep your eyes peeled for the next time we’re appearing with this full line-up!!!
Who would be a dream guest to perform or record with?
Any of my previously mentioned influences….AND SOME!!!
Again…there are too many to mention. Many of them would be coming back from the grave too.
I would love to sing with Sharon [Jones]. Wow! That would be quite something!
I would also be really interested to sing with Adele. I love her voice and what she’s done for the UK music scene.
What has been a particular career highlight so far?
Chatting with Sharon Jones and the Dapettes!
We had the huge pleasure to support Sharon and the Dap Kings in February 2012 at Leeds Stylus and they came and spoke with us for a couple of hours after the show.
Sharon is my idol. She’s a real woman, she’s been through some real shit and she’s humble for it. The woman never stops working but she never stops loving. She’s got the biggest heart in soul music but on stage….she could kill you with one look!!
She is the personification of inspiration.
Sharon aside though, the rest of the band have a similar ethos. They are SO supportive of other artists and that’s so refreshing. Saundra and Starr (The Dapettes)…man!! I wish I was related to them. They are hilariously funny and sing like sexy angels!
So this is nice, we're getting to know each other now :)
I mentioned a radio show in my last post - well, it's the reason this blog even exists so I should probably tell you guys a little more about it. In great news, The Blue-in-Green Sessions celebrated its THIRD birthday on Starpoint Radio! (The show actually started on air in 2006 but we've been aligned with Starpoint since 2009. Can't believe it's been that long!?!)
Have I told you guys about the eerie start dates for my show?
No?
Well...
The very first station I ever played at was Invincible Radio. My debut date was initially scheduled for the 6th January 2006. Due to technical problems that night though, I was unable to go on air so it was postponed to the following Friday, 13th January.
The second radio station was Elete FM. Again, the debut date was set for 6th April 2008, but due to (I genuinelly can't remember what!), the debut was postponed to the following Friday, 13th April.
Noticing any patterns yet?
Which then brings us to Starpoint Radio... obviously we're broadcast live on a Sunday so that removes the eerie Friday connection, but which day of the month my start date was: initially scheduled for 6th September 2009, due to issues with keys (they couldn't get me keys in time), so... can you guess what happened?... That's right, we were postponed til the following Sunday, 13th September.
My biggest fear would be if I were to start at another radio station and for them to suggest a start date of the 22nd of the month. I'd turn them down flat. :)
Thanks for anyone that's ever tuned in to the show. I've included the playlist for our Birthday show below which hopefully will give you guys some indication of what you can expect from the show and artists we love for the blog (you can see the full list of our playlists at the Starpoint Radio forums):
16th September 2012
'Send It On' - D'Angelo (first song we ever played on Starpoint Radio)
'Don't Take My Shadow - Kings Go Forth
'Love You' - Maxwell
'Soon I'll Be Loving You Again' - Joe
'This Room' [live] - Fat Freddy's Drop
'Winter Wind' - Jose James
'Joyful Girl' - Soulive f/t Dave Matthews
'Poetry' - RH Factor f/t Erykah Badu & Q-Tip
'Midnight In Trieste' - The Five Corners Quintet
'Jazzy Joint' - J.A.M. f/t Jose James
'Hopeless Romantic' - Raheem DeVaughn
'Love and Revolution' - Nicola Conte f/t Melanie Charles
'I'm Ready' - Anthony Hamilton
'Your Name' - Reggie Watts
'Skyy, Can You Feel Me' - Raphael Saadiq f/t Rosie Kaye
'Pretty Man' [Extended Mix] - Prince
'Luv 4 The World' - Plantlife
'Soul Power' [live 2011] - Soulive f/t Nigel Hall & Questlove
'Got To Getcha' - Maceo & All The King's Men
'Blind Man Can See It' - James Brown
As most bloggers probably feel when they finally get round to starting them, my sentiments at this time would be... 'this has been a long time coming!'.
But that's the thing isn't it, we're writers so, therefore, we're procrastinators!
Firstly, thanks so much for reading this. Hopefully this will be the first of many of these posts that you'll end up reading here. This blog is specifically to run in conjunction with the internet radio show, The Blue-in-Green Sessions (hence the blog name!), that airs every Sunday morning 8-10am (UK) exclusively to Starpoint Radio. The show has existed - albeit originally via a different radio station - since 2006 and focuses on the very best that I can get my hands on in soul, jazz and funk music.
I'll talk a little bit more about the show specifically in the next post or two, but as regards this blog, it used to exist under the guise of the 'My Funky (In)Disposition' blog as a part of Liberation Frequency but after six glorious years with them, it's just become time for me to move on and see if I can do this standing on my own two. Liberation Frequency is family though so you'll no doubt come across some of those names in due time. One thing about LF is some of the incredible content I was able to amass there, including interviews with some of our absolute favourites including Jose James, Greg Boyer, Dena Deadly, Ben Westbeech, and also with some of the brand new crop of soul and funkateers, including Saunders Sermons, Smoove [of Smoove & Turrell], Gizelle Smith, Nick Pride, [re:jazz] and soooooo many more. Well, I'm a shameful hoarder so I'll be bringing over a fair few of those treasures and unveiling them as the weeks go past.
The blog should be chronicling my adventures in soul music as I discover new artists/albums and interview a fair few along the way too. The plan is/was/and always will be to hopefully put you guys on to something fantastic and new in the world of soul music. If you've never heard of them, and like what you hear, then that's great; if it makes you want to get in touch and pitch things my way, then that's even better.
I guess I'll leave it there for now. Hopefully, we'll see lots more of you in the future :)
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