KAMAAL WILLIAMS レコード& CD

Review: Given that keyboardist and producer Kamaal Williams' 2018 debut album "The Return" was such a rip-roaring success critically and commercially, hopes are naturally sky-high for this delayed sequel. Happily, we can confirm that Williams has arguably excelled himself on "Wu Hen", once again blurring the boundaries between jazz-funk, seductive downtempo grooves, hazy space jazz, deep house influenced dancefloor workouts (see "Mr Wu", whose title references his other artistic alias, Henry Wu) and soft-focus soul - all with the assistance of an expanded line-up of guest musicians and vocalists. Perhaps the biggest impact is made by Miguel Atwood-Ferguson, a composer whose string arrangements add an ear-catching new dimension to Williams work. Stunning stuff all told.

Review: Given that keyboardist and producer Kamaal Williams' 2018 debut album "The Return" was such a rip-roaring success critically and commercially, hopes are naturally sky-high for this delayed sequel. Happily, we can confirm that Williams has arguably excelled himself on "Wu Hen", once again blurring the boundaries between jazz-funk, seductive downtempo grooves, hazy space jazz, deep house influenced dancefloor workouts (see "Mr Wu", whose title references his other artistic alias, Henry Wu) and soft-focus soul - all with the assistance of an expanded line-up of guest musicians and vocalists. Perhaps the biggest impact is made by Miguel Atwood-Ferguson, a composer whose string arrangements add an ear-catching new dimension to Williams work. Stunning stuff all told.

Review: Given that keyboardist and producer Kamaal Williams' 2018 debut album "The Return" was such a rip-roaring success critically and commercially, hopes are naturally sky-high for this delayed sequel. Happily, we can confirm that Williams has arguably excelled himself on "Wu Hen", once again blurring the boundaries between jazz-funk, seductive downtempo grooves, hazy space jazz, deep house influenced dancefloor workouts (see "Mr Wu", whose title references his other artistic alias, Henry Wu) and soft-focus soul - all with the assistance of an expanded line-up of guest musicians and vocalists. Perhaps the biggest impact is made by Miguel Atwood-Ferguson, a composer whose string arrangements add an ear-catching new dimension to Williams work. Stunning stuff all told.

Review: ***B-STOCK: Creasing and slight bending to the right corners of the outer sleeve but otherwise in excellent condition***


Given that keyboardist and producer Kamaal Williams' 2018 debut album "The Return" was such a rip-roaring success critically and commercially, hopes are naturally sky-high for this delayed sequel. Happily, we can confirm that Williams has arguably excelled himself on "Wu Hen", once again blurring the boundaries between jazz-funk, seductive downtempo grooves, hazy space jazz, deep house influenced dancefloor workouts (see "Mr Wu", whose title references his other artistic alias, Henry Wu) and soft-focus soul - all with the assistance of an expanded line-up of guest musicians and vocalists. Perhaps the biggest impact is made by Miguel Atwood-Ferguson, a composer whose string arrangements add an ear-catching new dimension to Williams work. Stunning stuff all told.

Review: Kamaal Williams has described The Return, his now reissued debut solo album, as "a natural evolution from the Yussef Kamaal project". Yet while that was made in collaboration with drummer Yussef Kamaal and played around with jazz in its myriad forms, The Return sees the man sometimes known as Henry Wu stamp his own mark on proceedings. So while "visionary jazz" (as the press release puts it) is his aim, this manifests itself in a range of ways. Contrast, for example, the leisurely jazz-funk flex and stoned feel of opener "Salaam" with the more groove-driven, dancefloor vibes of "High Roller", where sinewy strings tumble down over hip-hop influenced live house beats, meandering Herbie Hancock style synths and a superb bassline.

Review: Kamaal Williams has described The Return, his debut solo album, as "a natural evolution from the Yussef Kamaal project". Yet while that was made in collaboration with drummer Yussef Kamaal and played around with jazz in its myriad forms, The Return sees the man sometimes known as Henry Wu stamp his own mark on proceedings. So while "visionary jazz" (as the press release puts it) is his aim, this manifests itself in a range of ways. Contrast, for example, the leisurely jazz-funk flex and stoned feel of opener "Salaam" with the more groove-driven, dancefloor vibes of "High Roller", where sinewy strings tumble down over hip-hop influenced live house beats, meandering Herbie Hancock style synths and a superb bassline.

Review: Kamaal Williams has described The Return, his debut solo album, as "a natural evolution from the Yussef Kamaal project". Yet while that was made in collaboration with drummer Yussef Kamaal and played around with jazz in its myriad forms, The Return sees the man sometimes known as Henry Wu stamp his own mark on proceedings. So while "visionary jazz" (as the press release puts it) is his aim, this manifests itself in a range of ways. Contrast, for example, the leisurely jazz-funk flex and stoned feel of opener "Salaam" with the more groove-driven, dancefloor vibes of "High Roller", where sinewy strings tumble down over hip-hop influenced live house beats, meandering Herbie Hancock style synths and a superb bassline.

Review: Kamaal Williams has described The Return, his debut solo album, as "a natural evolution from the Yussef Kamaal project". Yet while that was made in collaboration with drummer Yussef Kamaal and played around with jazz in its myriad forms, The Return sees the man sometimes known as Henry Wu stamp his own mark on proceedings. So while "visionary jazz" (as the press release puts it) is his aim, this manifests itself in a range of ways. Contrast, for example, the leisurely jazz-funk flex and stoned feel of opener "Salaam" with the more groove-driven, dancefloor vibes of "High Roller", where sinewy strings tumble down over hip-hop influenced live house beats, meandering Herbie Hancock style synths and a superb bassline.