'Try' by Kim Dawson

"Admit it, it's time".  The opening words from the new single by Kim Dawson says what many have known for a while and it's Denver, Colorado's Color Red Records who have the distinct privilege of playing host to Dawson's debut solo single, 'Try'.

The news of Kim Dawson's 'Try' will undoubtedly be met with great excitement and when considering her invaluable contributions to funk and soul music over the years, it's probably fair to say the progression to a centre stage solo artist albeit a massively welcome step is perhaps slightly overdue.

As a vocalist for the powerhouse Color Red super group of Matador! Soul Sounds with Soulive/Ae3 drummer Alan Evans, The New Mastersounds guitarist Eddie Roberts and Dawson sharing vocal duties with the equally brilliant Adryon De Leon, the collective's debut album 'Get Ready' (2018) showcased a wonderfully versatile release with Dawson's vocals proving a real standout amongst the fantastic talent on board for the project.  Then there's her numerous contributions to further bands and artists including vocal appearances on three tracks for Kyle Hollingsworth's '50' album, The King Rooster's 'You Got Me Spinning' single, her work with The Pimps of Joytime and even a track from The New Mastersounds' 'Therapy' album, which dates as far back as 2014, with the awesome 'Soul Sista'.

Yes, Dawson embracing the spotlight is definitely a very welcome move.

While past musical offerings have positioned Kim Dawson as an incredibly powerful funk vocalist, 'Try' sees her steer towards more R&B and soul territory where she revels in the more elegant nature of her own exquisite production backed by an excellent array of musicians including Braxton Kahn on drums, Paul McDaniel on bass, Brent Williams on guitar and Ladamion Massey and Adriene Bible on backing vocals. 

And rounding out the brilliant ensemble of 'Try' is the contribution of revered organist Wil Blades.  Fresh off the success of last year's 'Egyptian Secrets' - the debut project by The Adam Deitch Quartet which boasts Blades as a member - his illustrious skills are unleashed alongside Dawson as he injects a new dimension into in to the track through a killer solo.

The real charm of 'Try' though comes from the writing and the gentle poignancy of its lyrics which strives to inspire people to take that giant leap towards achieving their goals.  This track serves as a wonderful (re)introduction to the brilliance of Kim Dawson as we excitedly continue to watch her career flourish.  "Admit it, it's time".



For more info on Color Red, please visit: https://www.color-red.co/

Nadav Peled (Anbessa Orchestra): "Golden Moments" [Interview]

Following the release of Anbessa Orchestra's inspirational - and dancefloor powerhouse single 'Tch'elema' in 2019 - the Brooklyn-based collective return with new single 'Werik'i', once again delivering on their unique take on Ethiopian-inspired culture and grooves.

As much as the seven-piece that comprise the Anbessa Orchestra have become associated with the aforementioned take on 60s and 70s Ethiopian styles and compositions, their efforts are also as much a celebration of the all important positivity and good vibes that any prospective flag waver of the funk could hope to aspire to.

While 'Tch'elema' aimed to inject hope into the world around us, 'Werik'i' strives to succeed that by injecting unadulterated joy.  Translating to "gold" in Amharic, the five minute flute-led gem that is 'Werik'i' dances in nostalgia while consecrating those cherished times and memories within each of our own lives, working in beautiful contrast to this single's predecessor.

With bandleader and guitarist, Nadav Peled at the helm, the Orchestra is comprised of Eyal Vilner on flute, Wayne Tucker on trumpet, Eden Bareket on baritone saxophone, Dor Heled on keys, Ran Livneh on bass and Eran Fink on drums and congas - all masterful musicians who play fantastically together and are committed to pushing forward and breaking down musical barriers while enthusiastically carrying the torch for the genre's forefathers that came before them.

We opened this review with the words "inspirational" and it's an incredibly apt description of everything about Anbessa Orchestra - whether it's their approach to making music, the message they hope to spread or through their fierce live performances - everything they do acts as inspiration for those their music reaches and it's a wonderfully rare thing.

Blue-in-Green:RADIO is thrilled to have secured time with bandleader Nadav Peled to discuss the group's music as well as their passion for Ethiopian compositions.

How did members of the band initially come together to form Anbessa Orchestra?
After I moved back to NY in 2012 I really wanted to do something that deals with the Ethiopian music I fell in love with so it took some time to materialize but when I had an idea coming together I just called some of my best friends who are also incredible musicians.  Most of the guys I knew from Israel and or got together kind of on the NY scene.

How has Ethiopian music and culture factored into the music you make?
We started out playing mostly covers of 60's/70's tunes from Ethiopia.  Stuff by Mahmoud Ahmed, Tilahoun Gessesse, etc. and slowly, as we all grew familiar with the style, created our own music.  We incorporate the scales that are for the most part very unique to Ethiopia and in recent years I'm trying to study a music of a certain region and then go with that inspiration and maybe write a tune with some elements of that.  Whether it be the Gurage beat (like our tune 'Gurage' on the second record) or, for example, the Krar (Ethiopian 5 string harp) like guitar playing style.  In the tune 'Gize' from 'Negestat', for example, the horns are playing an adaptation of a Krar part from a song called 'Gizie Biyasayegnem' which creates a very interesting, thrusting sound.

Which artists have had the biggest impact on shaping your music?
I keep discovering new things whether it's actually from Ethiopia or other places in east Africa and the world.  But I'd say that with Anbessa the main inspirations would be Mahmoud Ahmed, Hailu Mergia, Tilahoun Gessesse, Mulatu Astatke (of course!), Budos Band and Charles Bradley.  Even though the last ones are from the US, I can still feel their influence on our music.

How does the creative process of writing and producing music work for you?
It's a bit of a difficult question to answer but I'll try... Basically there are many ways a tune can manifest itself.  There are a lot of moments where a melody or bass line or a groove kinda pop in your head and I try to document them.  Whether it's with an instrument, if one is handy, or a lot of times just singing the idea into the phone and creating a voice memo.  I'd go back to them periodically and try to develop them, sometimes they're cool but not really working with what we're doing with Anbessa so it might get used on other projects.
Sometimes it's a matter of me delving into a specific element of music from Ethiopia, for example, a specific scale, or the sound of the Krar and how it would translate to the guitar which leads to the writing of tunes (examples for that would be 'Yeleleu Hager Lidj' and 'Tch'elema' which were me studying the Antchi Hoye scale on the guitar but also learning about its social context - being used on happy occasions while having a seemingly "harsh" sound).  Another tune that came out of this kind of study is 'Get'err' which means "village" in Amharic.  I was working on getting the guitar to sound like a Krar which made a more traditional sound so the connotation of a village came up to me and created this kind of picture and story in my head that I could communicate with sound.
Production wise, we aim to do everything all analog.  We record to tape and mostly mix to tape as well though the last couple of tunes, seeing they only came out in digital form, were mixed with the help of the computer and sent back to tape.  I love the sound of old school records and it's not necessarily a desire to be "old school" ourselves.  I just feel that this music sounds so much better like that and also the tracking process gains a lot from doing it to tape.  The playing is more concise and we get more complete takes rather than cutting and pasting stuff around.

Congratulations on the excellent new single 'Werik'i': can you tell us a little about what inspired the song?
Thanks so much!  And I'm very happy you dig it!  This tune is one of the ones that came about from me just playing around with the guitar.  It's got a somewhat unusual harmonic structure where it's a 3 bar cycle as opposed to something more even (which is pretty common in Ethiopian music though) and I just heard a flute in my mind over it.  I came up with the melody and tried to find a line for the other horns to compliment it and the line that I wrote felt very comforting to me.  It kind of made me look back at good moments in my life and the notion of being able to give or receive love fully without any filters or guards.  I called it 'Werik'i', the Amharic word for "Gold", because these are like golden moments in your life.  I'm also very happy with how the artwork for that came out.  I feel like Bella Wattles, the artist who worked on it really captured the vibe of the tune.

Between the last two singles (with 'Tch'elema' being a song about hope and 'Werik'i' being a song about joy) there's a strong sense of optimism that floats through your music: can you discuss Anbessa's music as a vehicle for such positive messages?
Well, for every artist, their work is about self expression.  'T'chelema', for example, is a hard-hitting tune because we're mad at how things are right now but the subtext of the particular Ethiopian scale we're using is of happy occasions so we see that bright future ahead.  We always thrive to have our music as an expression of good and love.  I know it sounds corny but we do.  Some of it has more of a social meaning and relevance like the aforementioned 'Tch'elema' and 'Yelele Hager Lidj' ("child of no country") that speaks of the current refugee crisis but even the ones that don't have a clear agenda are just there to hopefully make the listener feel better.  I always want the people coming to our show to come out with a sense of extreme joy and just feel great.  When I'm down, I know music can pick me up and I'd hope that our music does that to other people as well.  It's all an expression of love.

How did you come to collaborate with Billy Aukstik for the last two singles?
Billy is a dear friend to us and, on top of being our engineer and studio of choice owner, he also plays trumpet with us quite a lot.  He first subbed with us on a New Year's eve gig we did in Brooklyn and he just crushed it and since then he's been on the road with us a bunch and also in the US band for Gili Yalo who's another dear friend and amazing Ethiopian/Israeli artist.  Billy is an incredible musician and just a great person.  I feel very lucky I got to work with him.  I had wanted to check out his studio in Brooklyn (Hive Mind) for a while after I met him and had the chance to do so when we did a project for United Airlines called "Rhapsody Remastered".  They have the rights to Gershwin's 'Rhapsody in Blue' and contacted four artists around the world to create their own spin on the tune.  We got to work at Billy's studio and I really liked recording there and the sound of the room.  He also really understands the sound I'm striving for.

The band has also become heralded for its live shows: how does the music translate from the studio to the stage?
There's one thing I always tell the guys before a gig "HIT IT HARD!".  I want people to dance and feel the groove of everything we do.  Doesn't matter if we were on the road for 10 hours during one of the worst snowstorms heading from NY to DC (true story!), when we get to the venue we put our suits on and hit it.  The audience feels it and then returns that energy to us and vice versa.  If there's 20 people in the audience or 6000 we'll still give it our all every time.  Sounds kinda like something a TV football coach would say but some things are a cliche' for a reason.

Who would be a dream collaborator for the Anbessa Orchestra to either record or perform with?
First one that comes to mind is the great Mahmoud Ahmed.  I can't express how much I love his music and admire his creation over the years.  I missed a couple of opportunities to play with him in Israel so I hope there will soon come a day we'll collaborate with him.  Mulatu would obviously be amazing to work with too.  It'd be great to do something with our Brooklyn brethren, the legendary Antibalas.  I think also two relatively big bands like that could be amazing live.  I have always fantasized about Talib Kweli rapping over some of our grooves.

Kyle Lacy: "Tomorrow Starts Today" [Interview]

Kyle Lacy's solo introduction through Dala Records came in early-2019 courtesy of his debut single, 'Hangin On'.  We previously gushed about the incredible gut-wrenching nature of the break-up number and Lacy's masterful ability in conveying such a sincere and raw emotion - so with great excitement, a year later, the single has expanded into a full-length project further developing Lacy's passion for an old school and classic soulful aesthetic.

And 'The Road To Tomorrow' aptly celebrates that aesthetic in true Dala fashion.  Recorded to analog tape with a band comprised of JC Myska on drums, Cole Stone on saxophone, Evie Andrus on fiddle and Dala founder Billy Aukstik on production, trumpet amongst other instruments, Lacy plunges head-first into a strong gospel-infused set inspired by the likes of Sam Cooke, Les McCann and Eddie Harris.  The album also further benefits from the backing vocals of musical duo Mel Johnston and Kim Foxen (Mel & Kim) who themselves are certainly due a follow-up to their northern soul inspired, Dala Records release, 'Bad Man'.

From the album's opening number, 'Hello Monday', the innumerable talents of Kyle Lacy absolutely shine through.  Lacy, who throughout the album, is credited as singer and songwriter as well as playing guitar, piano, bass amongst others, makes the transition so effortlessly from the 1950's inspired Rockabilly he initially carved his name from as one-half of Harlem River Noise (with Cody Gibson).

Dala Records releases have a unique way of presenting its artists with the creative freedom to express themselves in ways they haven't done so before: Antibalas trombonist Ray Mason veered from the afrobeat funk of his usual projects to deliver a more rock-infused set of singles with 'Back When' and 'No Clue', folk singer Georgia Lee Johnson's 'Languages' EP saw her delve into more soul territory and 'The Road to Tomorrow' carries on in that vein taking Lacy from the dancehall rock’n’roll and rhythm & blues realm into pristine southern soul. 

It was our distinct pleasure to have secured time with the multi-talented Kyle Lacy to discuss the new album 'The Road To Tomorrow'...

Congratulations on the single releases in the run up to the excellent new album: are you happy with how the project is being received so far?
It can be hard to tell how things are being received in this age of streaming.  I still count heavily on my friends and loved ones for the feedback I value most.  The process of this record brought my band closer than we've ever been, and that relationship in turn moves the music to a new height.  I hope that when people listen to this record, they receive the message that hope will always come back.  And I hope they dance a little, too.

Who are some of the musical influences that have gone on to shape your own sound over the years?
Ray Charles, Van Morrison, The Beatles, The Stray Cats, Elvis Presley, Chuck Berry, Nina Simone, Nick Waterhouse, JD McPherson, T-Bone Walker, Sam Cooke, Jerry Lee Lewis, Aretha Franklin, Mose Allison, Big Joe Turner, Lou Rawls and Lake Street Dive.

How did you initially come to the attention of Billy Aukstik and Dala Records?
I met Billy in a session where I was recording with my previous band.  We really enjoyed working together and I went to see him play with the former Charles Bradley guys, The Extraordinares.  I told him I wanted to sing with his band, and he invited me to the studio.  The day I came, we recorded 'Bad Days' which is the eighth track on the album.  We hit it off pretty quickly, and I invited my friends and road band to join us over the summer as we finished the record.  We had seven or eight days of recording and mixing, and did the final eight tracks with the band.

What was the process of putting this album together like?
Kind of answered this above, but adding that working with people who love music as much as I do was the biggest joy I've ever had in my life.

How does the writing and recording process usually work for you?
The best songs that I've written have been effortless, as easy as noticing something someone said and writing it down, I notice a thought as it goes by and put it on paper, and usually, if it's any good, the whole song is written within twenty minutes.  On the record, we did songs that I'd written the same day - we'd bring everyone together and I'd teach everyone the new song on the spot, and then we'd go record it.

Whether it be through your solo projects or through music with Harlem River Noise, there seems to be a strong commitment to traditional standards when putting the music together and recording to analog: where does that stem from?
I just love the magic of analog equipment: it forces you to be real on the mic, because you can't go back and fix things like intonation or phrasing.  In effect, recording to tape forces you to stop thinking about the music and start feeling it.

How does your music tend to transfer to the live stage?
I play a show full of traditional rock’n’roll and blues alongside our original music which we've crafted over hundreds of shows on the road for the past three years.  People should expect to dance when they come see us. Think: Jazzy-blues-punk-boogie-woogie-extravaganza.

Who would be a dream artist for you to either record or perform with?
Elton John [to perform with], Lake Street Dive [to record with].

"Party Over Oops Out Of Time"

In what appears to be the second of Warner Brothers' inspired album  reissues of Prince's classic works, the first being the glorious three disc reissue of 'Purple Rain' in 2018 - the focus is now on '1999'.  And what stunning focus it is.

The beautifully-presented "super deluxe" set includes five CDs - a re-mastered version of the original album, a b-sides and remixes compilation, two discs of unreleased music from the Vault, a live performance from 1982 and a bonus DVD plus a bonus booklet - making this an indisputable treasure trove of gems.

But this "treasure trove" really begs the question, as the die-hard fan of Prince's music that I consider myself to be - should I really be enjoying this record as much as I am?

Prince's revered "Vault" had become stuff of legend.  As a guest on Arsenio Hall's show, he once referenced the Vault as containing so much music that if anyone ever attempted to listen to all of it, they'd look a lot different at the end of it.  And with the amount of music that Prince would go on to release, be it material for his own work or projects that he would write or produce for others, it's widely understood that if it wasn't released then he didn't want it heard.  That level of "control" is synonymous for Prince - as much as he was a pioneer for seeing the value in the internet as a useful tool as an independent artist, he would later go on to revile his own creation by refusing to have his music available on YouTube or streaming sites even going as far as to have websites shut down for sharing his music illegally or for featuring his songs as background in home videos uploaded to
YouTube.

We could really spend thousands of words when reflecting on Prince and his desire for control.  It's incredibly stretches as far back as to the creation of his 1978 debut album 'For You'.  During initial conversations, Warner Brothers, feeling that Prince was too inexperienced to helm production on a full-length at such a young age, wished to secure the services of Maurice White from Earth, Wind & Fire to produce the project - a suggestion that was immediately shot down as "who could produce Prince better than Prince?".  (Prince's words, not mine.)

And despite indulging in covers himself - both in the studio and on stage - Prince inexplicably felt that covers somehow over-rode the original version to the point where the original would no longer exist (as he once outlined to presenter George Lopez).  I always imagined these comments stemming from people who assumed that he was covering songs like 'Nothing Compares To You', 'I Feel For You' and 'Kiss' without realising he had actually written and recorded them first.

Control.  I've yet to decide if it's a dirty word in this context or not.  While I suppose some of these thoughts and actions might seem extreme to most, I suppose it's fair that any artist be in control of their own art - how people receive it, consume it, etc.  Which brings us back to '1999's super deluxe reissue and the previously mentioned Vault discs.  As I say, I consider myself a die-hard Prince fan so it's natural for me to clamour for this material but, knowing what I know about Prince, I have to ask... is the real die-hard fan the person who would stay away from projects like this?

As an added bonus, check Episode #37 of the Blue-in-Green:PODCAST which sees Imran and Rhonda chop it up about the complete project...

Shawn Lee: "Riding Again and Again" [Interview] (+ GetToKnow... exclusive)

Shawn Lee returns to centre-stage with his new album 'Rides Again', released through the excellent Légère Recordings.

Hailed as something of a passion project, Lee takes the opportunity on 'Rides Again' to revisit his Wichita roots and fully immerse himself within the soul-inspired country music that shaped his informative years and contributed to him becoming the inexhaustibly versatile artist that he is today.

There's something about projects carrying the name 'Shawn Lee' that generates a genuine form of excitement from fans - namely, because we never know what he's going to do with each project.  And this is in relation to an artist who's technically capable of doing anything.  Singer, songwriter, producer, multi-instrumentalist, DJ... Lee's boundless talent and skill have seen him deliver a range of projects as a front-man, as part of numerous collaborative full-lengths like Young Gun Silver Fox (with Andy Platts), The Brothers Nylon (with brothers Mike & Nick Rufolo), projects with Chinese guzheng player Bei Bei and of course as head of his Ping Pong Orchestra.  Just as inclined to celebrate golden era hip-hop as he is to immerse himself within the deep funk of bands like The Monophonics, The Mighty Mocambos or The Soul Surfers, Lee's only limitations rest within those his imagination can set for him - and it would seem there are none.

To further emphasise that point, in the same year that Shawn Lee helps to deliver a truly stunning funk and soul project with Hannah Williams & The Affirmations by producing their Record Kicks album '50 Foot Woman', he has somehow mustered up the time to unveil his country music inspired album 'Rides Again' once again subverting any expectations anyone could dare to restrict him to. 

The nostalgia-ridden 'Wichita' kicks the album off perfectly really showcasing Lee's comfort within this world and his masterful ability to make it his own.  Having tackled the production and bulk of the instrumentation throughout, the project does benefit from a handful of invited guests including saxophonist Andy Ross (The Brand New Heavies, Incognito), pedal steel guitarist Joe Harvey-Whyte (Comet Gain, David Atkinson), keyboards on two tracks by Carwyn Ellis (Rio 18, Sarah Cracknell) and a contribution from violinist Everton Nelson (Jamie Cullum, Nick Cave).

'Rides Again' is a further testament to Lee's abilities and a further credit to Légère's immaculate catalogue so the only thing left to ask is... what's Shawn Lee going to do on the next project?

We're thrilled to have secured time with Shawn Lee for a Q&A regarding the new album, and to further celebrate his fantastic music, we're releasing Blue-in-Green:RADIO's GetToKnow... special exploring his productions and session work through a diverse range of projects including Alice Russell, Diane Birch, Peder, The Monophonics and much more...



IMRAN MIRZA: Congratulations on the release of 'Rides Again': I understand this project has been in the making for a long time - are you happy with how it's been received so far?
SHAWN LEE: The genesis of this album started with the song 'Wichita' which was recorded over ten years ago.  Since then, I never seemed to find the time to make this record.  Last year, I finally pushed the button on writing and recording and finally completing 'Rides Again'.  It’s been well-received and I’m ultimately very happy with that.

Having amassed such an incredible body of work now, do you still feel the pressure of releasing new material?
I don’t feel pressure per se, but I still feel the burning need to write and record new music.  I love the process and I’m always learning.  Making music is a magical thing.  It’s one of the things that gets me out of the bed in the morning!

How much of an influence has country music had on you, and who were some of those early influences that made you a fan?
Country music was always there in the background when I was growing up in Wichita, Kansas.  I loved people like Glen Campbell, Jerry Reed and Roy Clark.  Great guitar players!  I loved watching the TV show Hee Haw too.  Saw some great people on there.

Can you talk about the process of putting 'Rides Again' together?
Once I started working on it went really fast.  I would go with the first idea I’d have and I’d run with it.  It was a very natural and organic process.  The whole album was done in a few weeks.  Typically, I would write and record a song in about three hours total.

How would you say the creative process in writing, producing and recording new music usually work for you?
I’m all about working fast and being intuitive.  I believe in that whole 'first thought/best thought' kinda vibe.  That’s where the magic is.  I think music should be fun and not laboured over.  Knock it out and move on!

On a personal note, 'Soul in the Hole' (Ubiquity, 2010) was my first Shawn Lee album: do you have fond memories of that project looking back at it ten years later?
'Soul in the Hole' was very enjoyable to make - there are a lot of talented singers on there.  I had an emergency surgery back then and had only been out of the hospital for a few days when I got an email from Jeremiah saying he was in London for a few days.  I got in a taxi and went to my studio in a lot pain.  I was really fragile, man.  We recorded the song 'Lucy Lucy' and it really lifted my spirits and I managed to come alive while we were in the studio.  The power of music is a real thing!

You've been a part of so many collaborative projects from artists including Bei Bei, Michael & Nick Rufolo and Clutchy Hopkins: who would be another artist you'd love to create a full-length project with?
I’d love to do something with Michael McDonald.  That would be epic!

You've developed such a strong and loyal fan base – how would you describe peoples' expectations of your music?
That is a good question... I honestly don’t know what people expect of me?  I just make records I wanna make and I believe in both quality and quantity.

'50 Foot Woman' by Hannah Williams & The Affirmations

Hannah Williams & The Affirmations return with '50 Foot Woman' - the follow-up to their widely acclaimed breakthrough project back in 2016.

And what a breakthrough that was!  The now famous sampling of the band's title track 'Late Nights & Heartbreak' by hip-hop producer No ID for the title track of Jay-Z's '4:44' in 2017 was masterful in its execution not only serving to propel the notoriety of Hannah Williams & The Affirmations but also that of their Milan-based independent label home, Record Kicks.

While 'Late Nights & Heartbreak' also benefitted from the production wizardry of the revered drummer and producer Malcolm Catto (The Heliocentrics), '50 Foot Woman' sees the reigns expertly picked up by the tirelessly prolific Shawn Lee whose varied work for a variety of artists ranging from the deep funk of the Monophonics to the synth-pop of Diane Birch makes him the perfect production partner for the Bristol-based collective.

As a band whose live shows receive boundless acclaim - it's never been hard to see that each of the band's studio recordings are the result of compositions that have seen their development continuously honed from a live setting - and whether it's these infectious high-energy numbers or whether it's their lush ballads, you should be salivating at the thought of seeing Hannah Williams & The Affirmations live however you can.

‘50 Foot Woman’ displays their excellence on the more up-tempo funky dance floor fillers as per usual but where this album excels – where its true brilliance lies – is within its soul-drenched and string-filled ballads, as beautifully demonstrated in songs ‘Tablecloth', 'Please Be Good To Me' and the absolute show-stealer, 'Hourglass'.  Hannah Williams brings an aching authenticity and depth to powerful lyrics and emotions over a beautiful backdrop painted by The Affirmations.

Record Kicks have always been incredibly blessed with a roster that epitomises a flawless selection of contemporary funk and soul but projects from Hannah Williams & The Affirmations really do sit in a class of their own against practically any band you could them in comparison to.  Even venturing back to when Hannah Williams was paired with The Tastemakers for 'A Hill of Feathers' (2012) resulting in another flawless record, the talent on display is undeniable and '50 Foot Woman' is further proof of that fact.