'The Channel' by Monzanto Sound

Following an incredible run of three EPs since 2020, 'The Channel' marks the debut full-length for the London-based collective Monzanto Sound who continue their long-running association through None More Records.

As champions of music-makers that thrive embrace the challenges and opportunities to forge their own path, None More Records describe themselves on their Bandcamp page as "an eclectic imprint that embraces psychedelic grooves, bass-heavy room two electronica and experimental sounds that defy categorisation".  Inspired ideals that Monzanto Sound wear proudly when releasing new music.

Spearheaded by sensational tracks like 'Golden Romance', 'Time Lapse' and 'The Letter', past EPs 'Time Lapse' (2020) and 'Tomorrow, Tomorrow and Tomorrow' (2022) have presented enthralling melting pots of lush neo-soul beautifully intertwined with contemporary jazz and flashes of dub.  A musical landscape that not only conveys Monzanto Sound's fascinating musical aesthetic but further waves the flag for the enticing and progressive London sound typified by names like Joe Armon-Jones, Tim "Chiminyo" Doyle and Blue Lab Beats.  The group's third EP 'TT&T Remixed' opened the doors even wider to a slew of new electronic and club-friendly re-interpretations of the band's music thanks to remixers Dave Okumu and Natty Wylah.

'The Channel' sees Monzanto Sound build upon the groundwork of their past releases brilliantly presenting a nine-track album that demonstrates considerably more confidence than in their previous outings along with an apt overall evolution of the music listeners may have come to expect from the band.  

Comprised of vocalist Mimi Koku, keyboardist Mali Baden-Powell, drummer Wazoo Baden-Powell, guitarist Rachel Asafo-Agyei and bassist Anthony Boatright, Monzanto Sound once again present a project that gleams amongst the None More treasure chest paying off the patience of long-term listeners and boldly engaging new ones.

While a good chunk of the album's tracks demonstrate the signature effervescent energy and off-kilter production associated with the Monzanto sound, 'The Channel' truly excels through a series of near transcendental compositions that sees the band plunge deeper into sonic soundscapes that border on ethereal.  'Foxy Cotton', 'Black Gold', 'Midas' and 'Oracle' all capture these quintessentially celestial moments that position Koku's exquisite vocal against some phenomenal and blissfully immersive backdrops.  

For all of the infinite praises that will be lauded onto 'The Channel', the album doesn't just represent a creative peak for Monzanto Sound but it further cements the project as a milestone release within their ongoing evolution - one that may very well mean that their most thrilling work may still lie ahead.

New Singles Round-UP

 

'Hooked' by Su.

The second single from Dutch singer-songwriter Su. continues to keep expectations high for the upcoming release of her debut EP.  With 'If All' having been released in June of this year and 'Hooked' unveiled this month, 'Nothing is Neutral' looks poised to deliver something incredibly special over the course of its planned five tracks.  Backed by an all-star ensemble including production by Vincent Helbers (Seravince/Flowriders), drums by Richard Spaven and bass by Robin Mullarkey, 'Hooked' continues to build upon the fantastic introduction that was 'If All' - a sublime ballad that teased the future soul soundscape typically associated with a Helbers production and one that was beautifully brought to life by Su.'s terrific vocal.  'Hooked' sees Su. plunge herself deeper into nu-jazz realms to sensational effect.  With two fantastic tracks now under her belt, it would seem that Su. can do little wrong as we enthusiastically edge that little bit closer towards 'Nothing is Neutral'.

'Sleepwalking' by Magro featuring Tom Ford

Marking the third in a run of singles that have spanned a four-month period, we're always thrilled to get our hands on new music from the boundlessly creative and imaginative German drummer and producer, Mathis "Magro" Grossman.  A string of independent releases including beat tapes, standalone singles and two full-length albums initially served as the introduction to Magro's sonic hip-hop-meets-nu-jazz-meets-electronica universe with his debut through the revered Sonar Kollektiv label eventually coming in late-2024 via his eclectic EP 'Tokyo Tree'.  And while we eagerly await his inclusion on the upcoming Jazzanova remix project - heralding their 2002 milestone project 'In Between' - this year's single releases including 'When I Grow Up', 'Many Changes' (featuring Telemakus) and 'Sleepwalking' have proved more than adequate accompaniment in the meantime.  Alongside featured guitarist Tom Ford, Magro's current trio is further comprised of frequent collaborator Martin Lüdicke on keys and bassist Francesco Beccaro who have been creating some outstanding music together this year.  

'Sunday Best' by GC O'Connor

Courtesy of her range of releases through the Australian label Low Key Source, singer, songwriter, producer and multi-instrumentalist GC O'Connor unveils a fantastic new single in line with her affections for neo-soul and jazz-tinged R&B with 'Sunday Best'.  Through past releases including her debut single 'Love on High' and the swift follow-up with the EP, 'Soul Lament', O'Connor has already mastered the art of creating sublime and imaginative musical backdrops that bring to the fore everything that the Sydney native excels at - inspired production, elegant instrumentation and an excellent and compelling vocal.  O'Connor's notable career to date has seen her grace stages alongside Children of Zeus and Joyce Wrice while her own releases have seen her name included amongst other Australian acts who continue to present rousing perspectives of contemporary soul music.  'Sunday Best' serves as another wonderful entry into GC O'Connor's burgeoning catalogue which we hope to see flourish as the years pass. 

'Green Eyes' by Shingo Suzuki

The bassist, keyboardist and producer Shingo Suzuki unveils a wonderful new track with current single 'Green Eyes' through Origami Productions.  The Tokyo-based artist has long showcased an outstanding perspective of hip-hop and jazz-inspired productions dating back to his more sample-based and beat tape-inspired debut, 'The Abstract Truth' (2008).  Outside of his work as a band member for the alternative R&B and synth-pop trio Ovall, Suzuki's extensive musical credits include a litany of collaborations for Japanese-based artists including work with Hanah, Coin Banks, Laidbook and Kenichi Takemoto.  A series of standalone Shingo Suzuki specific singles would follow in the years since, many showcasing the excellent vocals of Ruri Matsumura, with some demonstrating Suzuki's own instrumental compositions.  Current single 'Green Eyes' features Suzuki delivering a fantastic jazz outing with a scintillating production.  Despite the extensive array of music there is out there bearing the name Shingo Suzuki, his Bandcamp page seems to feature a collection of tracks that reserve just that little extra sprinkle of magic for his own endeavours making his Bandcamp page compulsory exploring.

'After Hours' by Germana Stella La Sorsa & Tom Ollendorff

'After Hours' marks the brand new album from singer, songwriter and bandleader Germana Stella La Sorsa who presents an enthralling new record alongside celebrated guitarist Tom Ollendorff.

As an artist continually embracing new opportunities to present varying facets of her music, the Italian-born La Sorsa, who now divides her time between Italy and London, delivers a standout performance alongside accompaniment by Ollendorff.  Incredibly, 'After Hours' serves as La Sorsa's third album within a four-year period...

Typically leaning towards a Hammond organ trio backing, La Sorsa's debut album came in the form of the stunning 'Vapour' back in late-2021 and served as a heartfelt and impassioned introduction.  Through an incredible seven-track release, 'Vapour' found La Sorsa's exquisite vocal warmly at home amidst arrangements that paid homage to traditional jazz stylings but still boldly looked to the genre's future.  Featuring the musical talents of guitarist Nick Costley-White, organist Sam Leak and drummer Jay Davis, 'Vapour' was at times trippy and at times intrepid but ultimately an album that was an ethereal triumph ingratiating her to Italy's jazz scene where she had cut her teeth performing live for years, and to London's similarly vibrant setting where she has since sought to establish herself as well.

'Primary Colours' would follow exactly two years later - an aptly titled concept project with a further seven compositions that were as spirited and dynamic as the name would suggest.  And while Leak and Davis resumed their duties on the album, 'Primary Colours' would also induct Ollendorff into the fold paving the way for 'After Hours'.

Also releasing his debut album in 2021, Tom Ollendorff's 'A Song For You' on the Spanish label Fresh Sound Records went on to open the doors for the guitarist's international success.  With UK performances at the Royal Albert Hall and Ronnie Scott's as well as at venues across Europe, Ollendorff continues to assert himself as a key name amidst the UK's flourishing hotbed of talent.  

La Sorsa has consistently been able to present a compelling and engaging intimacy throughout her past projects regardless of the project's arrangements.  With Ollendorff's guitar as the singular accompaniment however, listeners are treated to a new level of care and devotion from La Sorsa's performance that recontextualises her typically impassioned delivery.

Comprised of six tracks, some original compositions and some covers, the duo's take on 'Because' by The Beatles may very well mark the album's brightest moment.  Beautifully performed throughout, it's really the song's latter more free-wheeling half that utterly captivates.  A cover of La Sorsa's past release 'In Time and (S)Pace' marks a further highlight transforming the noir jazz-esque original from 'Vapours' into a more enchanting rendition.

With 'After Hours', Germana Stella La Sorsa invites us into a quieter, more contemplative chapter of her musical journey.  With Ollendorff’s deft guitar work elevating the dialogue, the duo offer a stripped-back, quietly powerful collection that is elegant in its simplicity yet emotionally rich.

"From Bebop to Boom-Bap: The 90s Jazz-Rap Convergence"

 

In the cultural crucible of the 1990s, a new sound emerged from the fusion of two of Black America's most enduring musical legacies: jazz and hip-hop. While jazz had long been revered as the sophisticated artform of prior generations, and hip-hop had taken root as the raw, rhythmic voice of the youth, the crossover between the two created something both timeless and entirely new. Sampling became a bridge across eras, and soon dusty Blue Note records were being looped under boom-bap drums, saxophone riffs mingled with scratch hooks and MCs flowed over upright basslines with the cool poise of bebop legends.

This was more than just aesthetic experimentation — it was a reclamation of lineage. Projects like 'Reachin' (A New Refutation of Time and Space)' by Digable Planets, 'Do You Want More?!!!??!' by The Roots and A Tribe Called Quest's 'The Low End Theory' didn't just nod to jazz — they embedded it into the DNA of 90s hip-hop.  These collaborations and samples paid homage to jazz greats like Miles Davis, Herbie Hancock and Roy Ayers while simultaneously pushing hip-hop into more sonically expansive territory.

This article explores five projects that took the jazz-rap crossover of the 1990s into exciting new directions moving beyond sampling and venturing into shared spaces, ideologies and collaboration; where improvisation met lyricism and tradition embraced innovation.

'Jazzmatazz, Volume 1' by Guru (Chrysalis, 1993)

Synonymous with releasing music under the banner of 'jazz rap', the iconic Gang Starr stylistically interwove music by jazz greats to comprise the building blocks of their own revered catalogue.  Seminal releases including 'Moment of Truth', 'The Ownerz' and 'Hard to Earn' set the standard for Guru and DJ Premier with a catalogue that cemented their legacy as golden era legends.  While both Guru and Premier thrived with their own solo endeavours within the 90s, Guru perhaps took the boldest leap in spearheading his 'Jazzmatazz' series that would generate two releases within the 90s and four full-length releases overall.  While Gang Starr's music was constructed around samples of jazz artists, 'Jazzmatazz' opted to take the concept a step further with Guru creating music alongside a range of musician and vocalists.  Dubbed "an experimental fusion of hip-hop and jazz", 'Jazzmatazz, Volume 1' is arguably the most renowned hip-hop-meets-jazz album of its ilk.  Boasting a phenomenal roll call of 90s jazz names, the album featured a dream line-up including N'Dea Davenport, Ronny Jordan, Courtney Pine, Lonnie Liston Smith, Brandford Marsalis and Donald Byrd who guests on the album centrepiece 'Loungin''.

'The New Groove (The Blue Note Remix Project Volume 1)' (Blue Note, 1996)

Blue Note have always been very giving when it came to their own catalogue.  Their understanding of the importance of releases by Lee Morgan, Bobbi Humphrey, Freddie Hubbard, amidst countless others that have at one time or another waved the flag as a Blue Note artist, have had on subsequent generations of jazz artist couldn't be overstated.  Over the years, Blue Note have consistently invited interpretations of their music through the eyes of different visionaries including the incredible 'Shades of Blue' by Madlib, 'Blue Note Reimagined' which featured a range of UK-based jazz artists and musicians presenting contemporary takes on the catalogue, or 'Blue Note Street' which turned their catalogue over to Japanese artists for an equally riveting interpretation of the Blue Note story.  'The New Groove (The Blue Note Remix Project Volume 1)' from back in 1996 was Blue Note's acknowledgement of hip-hop's burgeoning prominence within pop culture and their subsequent embracing of it.  Over the course of the album's eleven tracks, 'The New Groove' opened the doors to the Blue Note vaults with music by Grant Green, Gene Harris, Bobby Hutcherson and Noel Pointer remixed and recontextualised through the visionary perspectives of 90s hip-hop luminaries including The Roots, Q-Tip, Large Professor, Guru and Easy Mo Bee.

'Buckshot LeFonque' by Buckshot LeFonque (Columbia, 1994)

Having solidified himself as a leading collaborator and solo artist in the 80s, saxophonist and bandleader Branford Marsalis went on to achieve incredible successes throughout his career.  A Grammy-winning recording artist, former leader of The Tonight Show Band and frequent collaborator with names including Herbie Hancock and Sting, Marsalis' 80s run generated some inspired accolades and achievements solidifying the musician as a leading name for the jazz of that era.  Buckshot LeFonque proved one of numerous musical endeavours for Marsalis and one that once again saw him embracing musical shifts due to the unbridled creativity a platform like hip-hop offered a new era of artist.  Marsalis' riveting side-project sought to unify the musical realms of jazz and hip-hop in ways that echoed Guru's intentions with 'Jazzmatazz': with Marsalis on saxophones, he shared the director's chair for much of the album with Gang Starr's DJ Premier - an inspired collaboration in of itself but throw in names like Claire Fischer on strings, Mino Cinelu on percussion, Jeff "Tain" Watts on drums, Frank McComb on vocals and trumpets throughout by Roy Hargrove (who would deliver his own timeless jazz-funk fusion outfit in The RH Factor some ten years later), then you end up with something very special.  A second, and final, Buckshot LeFonque album would follow in 1997 ('Music Evolution') but the Buckshot project as a whole also spawned a series of remixes by DJ Premier and Salaam Remi that are also very worth your time to find.

'Doo-Bop' by Miles Davis (Warner Bros, 1992)

Arguably the most celebrated artist within jazz's glittering lineage.  Beyond helming what is considered by many to be the Bible of Jazz in 'Kind of Blue' (1959), trumpeter Miles Davis was synonymous with steering his music in entirely new directions throughout his lengthy career.  An advocate for collaboration and fusion, Davis keenly experimented with rock, funk, African rhythms and emerging electronic music technology for releases that pre-date any of the adventurous projects on this list.  Through a recommendation via Def Jam co-founder Russell Simmons, 'Doo-Bop' saw Davis once again seek to create a project with a contemporary sound which ultimately brought producer Easy Mo Bee into the fold.  Easy Mo Bee's production in the 90s saw him seated amongst hip-hop royalty as a producer of the time - with productions that graced projects by Heavy D, Tupac, Public Enemy, Big Daddy Kane and perhaps most famously, The Notorious B.I.G.'s 'Ready to Die' album, Easy Mo Bee provided fantastic accompaniment for Davis' vision for the project.  Named as something of an homage of the two worlds coming together, doo-wop and bebop, it would be only fair to cite that 'Doo-Bop' was certainly divisive upon release and despite winning a Grammy for Best R&B Instrumental Performance, it is perhaps an album that has aged better over time. 

'Stolen Moments (Red Hot + Cool)' (GRP, 1994)

Through an extensive series of albums and documentaries dating back to 1990, the Red Hot Organization has long sought to bring attention to the AIDS epidemic and associated stigma surrounding the disease.  Musically, the Red Hot brand has delivered, at this time, in excess of 20 compilation albums that have celebrated various styles and genres including country, Latin, classical and soul  including full-length musical odes to Fela Kuti and Sun Ra.  'Stolen Moments (Red Hot + Cool)' perhaps ranks as one of the series' most renown offerings with a celebration of hip-hop and jazz that presented some incredible cross-genre collaborations that were executed in a seamless fashion.  Hailed as Time magazine's Album of the Year in 1994, the album actually generated one of the decade's most impressive hip-hop and jazz crossover projects that in no way felt like an experiment but more like a natural and cohesive presentation.  Highlights included Herbie Hancock and Meshell Ndegeocello's 'Nocturnal Sunshine', Lester Bowie, Digable Planets and Wah Wah Watson's 'Flyin' High in the Brooklyn Sky' and 'Trouble Don't Last Always' by Incognito, Carleen Anderson and Ramsey Lewis.