Review: We're not sure who GeeW is but since 2021 they have served up three super fusion EPs, one on Ten Lovers Music and two on Colin Curtis Presents, which is where they return now for the third time. Their Deeper Than Black EP is a magic one that draws on all forms of jazz, soul, Latin, bossa, funk and house to cook up broken beat explorations doused in sunshine and with one eye on the stars. The title cut is a lively and vibrant jam with layers of percussion and mad Rhodes jams, 'Alzira Vida' is a little more chill but no less expertly arranged and 'Ocean Drive' then gets more dance with its prickly broken beats and lush horns. 'Difi The Hifi' is high-paced fusion brilliance.
Review: Matthew Halsall's Gondwana label is seeing a busy August what with the imprint flooding our jazz charts with reissues and, of course, new releases such as this wonderful collaborative effort from The Gondwana Orchestra and Dwight Trible. Trible's voice is like silk, running up and down the delicate waves of melodies from the collective, with "Colors" and "The Creator Has A Master Plan" both capable of making the toughest of audiences feel utterly uplifted. On the flip, "Love Is Everywhere" shines bright amid a flurry of flutes and intricate drum percussions, while "You've Got To Have Freedom" rides off a much smoother, deeper sort of vibe that's got a little funk at its core. Wicked.
Review: Spasibo Records has been busy lining up plenty of great funk sounds that all seem to be dropping at once. One of them is this limited yellow and red marbled vinyl from The Great Revivers. The band hail from St Petersburg in Russia and these two instrumental tunes are perfect examples of their lush library funk sound. Both were recorded pre-pandemic back in 2019 at a vintage studio in an old church. The organs really shimmer and bring the heat to opening cut 'Adventures Begin' while 'Estrellas' dial down into a more late night and intimate atmosphere before the funky breaks and neat guitar riffs come on with full force.
Review: Legendary jazz man and truly free spirited musical maestro Don Cherry joined up with Swiss pianist and composer George Gruntz and his group in Tunisia and Germany in May and September 1969 to record this. It brings together two powerhouses with North-African flavoured deep jazz results featuring piano, cornet, flute and celeste mixed up with various different reeds players as well as a selection of traditional instruments such as the bendir, ney, bagpipes, tabla and darbouka. It all adds up to a mesmerising and trance inducing ritual of jazz magic.
Review: The Fish Factory Sessions is a captivating live studio recording from the dynamic pairing of Greg Foat and Gig Masin. It features two brand-new compositions and two reimagined versions of tracks from their previous album, Dolphin. It was recorded at the namesake Fish Factory Studios in London with Moses Boyd on drums and Tom Herbert on bass. The four pieces are lavish and expansive with free-flowing sax melodies and tingling keys that bring to mind sun reflecting off glistering Mediterranean waters. It's happy, sombre, and beautiful, often all at once.
Review: Gadiaga, a rising star in the UK music scene, brings a fresh and captivating blend of old-school jazz tradition and modern rootsy sounds in her latest release, All Black Everything. Drawing from her Senegalese, Gambian, and Malian heritage, Gadiaga's music resonates with authenticity and vitality. Influenced by legends like Betty Carter and Stevie Wonder, she crafts a unique style that captivates audiences and critics alike. Through her soulful voice and compelling lyrics, Gadiaga explores themes of individuality, struggle and empowerment. All Black Everything serves as a poignant expression of her personal journey, celebrating the strength found in embracing one's uniqueness. With appearances at renowned festivals and support from influential platforms like Jazz FM and BBC Radio, Gadiaga's star continues to rise, cementing her status as a significant new voice in contemporary music. This album is a big reason why and should win over any listener.
Review: Pom Poko, also known as The Raccoon War, is a charming animated comedy-drama from Studio Ghibli that premiered on July 16, 1994. As the first feature film created at Ghibli's new Koganei studio, it marks the directorial debut of Isao Takahata. The story follows a group of tanuki (raccoon dogs) who band together to defend their forest home from encroaching urban development. The film's title, Pom Poko, refers to the traditional sound made by tanuki drumming their bellies, highlighting the rich folklore and cultural references woven throughout its enchanting and emotional narrative. The accompanying Pom Poko (Image Album), envisioned by Takahata, showcases an exploration of various facets of Japanese music, with raccoons as the film's central characters. This impactful soundtrack enhances the film's themes and moods, providing a delightful auditory experience that resonates with viewers. Overall, Pom Poko stands as a testament to Ghibli's ability to blend whimsical storytelling with profound environmental messages, making it a cherished addition to the studio's illustrious repertoire.
Review: The 1986 sonic pentad by Diamanda Galas, Saint Of The Pit, is the second of two records forming the devised, pestilent occult rite - in her terms, the "plague mass" - known as the Masque Of The Red Death. In clairvoyant dialogue with the first part (The Divine Punishment), both records, in symbiosis, are said to possess an innate correctitude, with saintly playback "possible at maximum volume only." When we oblige by Galas' command, we find ourselves thickly immersed in the kind of sonic esoterics that only the most adept of oneiromancers might be able to swallow and integrate into their mantic: waspish whispers, dulotic dirges, heathen hums. Galas' episcope is a dissenting, idolatrous projection in sound and vision, with 'Artemis' and 'Deliver Me' spanning red-robed, sectarian vocal operatics, not to mention their backing, low-noted, open piano chord strikes. The *eschaton* of the record is, of course, is its quintessential fifth star-point: 'Cris D'aveugle (Blind Man's Cry)', on which Galas, the occult visionary, profanes the lyrical votive candle wax with blasphemous talk of nailed eyes and desecrated caskets.
Review: Elliot Galvin is a leading figure in UK jazz with four solo albums that have topped year-end lists in respected media outlets. He is also a member of the Mercury-nominated Dinosaur and has collaborated with key jazz cats such as Shabaka Hutchings, Emma-Jean Thackray and Norma Winstone. Known for his improvisational prowess, his latest solo album taps into that skill once more and is an entirely improvised record that takes in quiet beauty like the opener, more theatric drama on 'Still Under Storms' and world jazz sounds on 'High & Wide'.
Review: South Africa-based drummer Asher Gamedze looks into the relationship between time, music and history on this exceptional new album Turbulence and Pulse. This is a debut on this notable jazz label for this artist but those who follow free music closely will be familiar with his work such as his ZUZU debut album Dialectic Soul or last year's offering on Astral Spirits, Out Side Work. This album sees him again work with his core quartet from Dialectic Soul, namely South African musicians Thembinkosi Mavimbela on bass, Robin Fassie on trumpet, and Buddy Wells on tenor sax. It results in a soulful and accessible yet forward-thinking sound.
Review: Asher Gamedze's Constitution unfolds as a profound exploration of ensemble dynamics and collective creativity. Following the 2023 release Turbulence and Pulse, this double album introduces The Black Lungs, a ten-piece ensemble that expands Gamedze's vision of polyrhythmic and modal music. Recorded in a single day at Cape Town's Sound and Motion Studios, the album is a great example to the power of collective expression and autonomous constitution. The album features Gamedze on drums alongside Ru Slayen on percussion, Sean Sanby on bass, and Nobuhle Ashanti on piano, creating a cohesive rhythm section. This core is enriched by Tumi Pheko's cornet, Garth Erasmus and Jed Petersen's saxophones, Tina Mene's vocals, Athi Ngcaba's trombone, and Fred Moten's spoken word, each adding layers of tonal and atonal exploration. Constitution embodies the spirit of the Black Consciousness Movement, blending revolutionary thought with musical innovation. The ensemble's interplay reflects a process of collective unraveling, questioning, and creative resistance against systemic oppression. Gamedze's work is both a tribute to historical struggles and a celebration of the ensemble as a site of resistance and artistic possibility.
Om Supreme (feat Vijay Iyer & Immanuel Wilkins) (6:58)
Prema Muditha (feat Shabaka Hutchings) (4:49)
Elders Wayne & Carolina (4:36)
Om Namah Sivaya (feat Charles Overton & Ganesan Doraiswamy) (2:55)
Journey In Satchidananda/Ghana Nila (6:24)
A Love Supreme: Ishmael Wadada Leo Smith (part 1) (2:03)
A Love Supreme: Peter Sellars (feat Peter Sellars - part 2) (2:27)
A Love Supreme: Alice Coltrane (part 3) (3:25)
A Love Supreme: IONE (feat Ione - part 4) (8:33)
Review: GANAVYA's upcoming album Daughter of a Temple promises an extraordinary fusion of spiritual jazz and South Asian devotional music, featuring a rich tapestry of collaborative tracks. The lead single, 'draw something beautiful,' released in July, sets the tone with its ethereal blend of vocal intensity and intricate arrangements. Expect contributions from esperanza spalding and Vijay Iyer, whose signature styles weave into GANAVYA's soulful soundscapes. Shabaka Hutchings adds a vibrant spiritual jazz energy, while Immanuel Wilkins brings a hauntingly melodic saxophone presence. Each track unfolds as a layered ritual, capturing the album's theme of collective artistic and spiritual exploration.
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