The Shared Stories Of Rivals [KEITA] (feat Saul Williams)
Forevergirl (feat Chris Turner & Mike Larry Draw)
Songs She Never Heard (feat Logan Richardson)
Ritual (Rise Of Chief Adjuah)
Before (feat Elena Pinderhughes)
Ancestral Recall (feat Saul Williams)
Review: New Orleans trumpeter Christian Scott aTunde Adjuah returns with his first album in almost two years, an essential set of spiritually conscious Afro-jazz that wraps his bold, mesmerizing and memorable trumpet solos around a variety of skittish tribal rhythms, Mariachi style horn riffs, soulful vocal arrangements and 21st century jazz instrumentation. It's a unique and thoroughly absorbing signature sound, with the assembled guests - most notably Saul Williams, Elena Pinderhughes and Logan Richardson - adding much to Scott aTunde Adjuah's intoxicating sound soup. Highlights come thick and fast throughout, from the slow burn soundscape of "Diviner (Devan)" and wonderfully percussive "Ritual (Rise Of Chief Adjuah)", to the intergalactic drowsiness of "Prophecy" and breezy "Double Consciousness".
A Caged Bird/Imitations Of Life (feat Roots Manuva)
Wait For Now/Leave The World (feat Tawiah)
The Workers Of Art
Zero One/This Fantasy (feat Grey Reverend)
A Promise (feat Heidi Vogel)
Review: Given the rise in popularity in new school jazz in recent years, it seems a fitting time to welcome back Ninja Tune stalwarts The Cinematic Orchestra. "To Believe" is not only their first album in some seven years, but also one of their strongest releases to date. Opening with the poignant neo-classical/soul fusion "To Believe", the set sees Jason Swinscoe and company attractively saunter between jazz-electronica fusion (Roots Manuva collaboration ("A Caged Bird/Imitations Of Life"), pastoral jazz epics (the sunset ready epic that is "Lessons"), gentle downtempo songs ("Wait For Now/Leave The World"), ambient jazz ("The Workers Of Art") and slowly unfurling dancefloor workouts (killer closing cut "A Promise"). In a word: stunning.
Review: "Ma Fleur" is the first full studio album by Jason Swinscoe's Cinematic Orchestra since 2002's "Everyday". The record was written as the soundtrack to a specially commissioned screenplay for an imagined film (which may or may not be made). Shortly after finishing "Everyday", a piece of music which achieved great critical and commercial success, Jason Swinscoe relocated from East London to Paris. Here he began work on the instrumentals which would form the basis of his new record - more moods than finished tracks, a series of sketches or diagrams of directions to follow. Having completed a rough version by early 2005, he gave this to a friend who disappeared for three weeks and came back with short story scripts in which each scene represented a story of a different time in life, expressing the emotions which underpin the journey from birth to death. Jason then took this and worked some more on the tracks, and in turn gave this back to his scriptwriter, the two aspects of the project developing alongside one another. Gradually, Swinscoe recruited suitable vocalists for the atmospheres and themes he wanted to deal with. The remarkable Fontella Bass, who is now sadly in frail health, is the woman behind both legendary soul number "Rescue Me" as well as some of the Art Ensemble of Chicago's finest moments, had worked on "Everyday" and was an obvious choice to voice the parts of the elderly protagonist that Swinscoe envisaged. Mercury-nominated Lou Rhodes is not only a fantastic singer but a young mother and so perfect for the "mid-life" singer. The as-yet unheralded Patrick Watson, a remarkable vocalist from Montreal, became the youngest of the trio.
Review: If you missed The Comet is Coming's brilliant debut album, Channel The Spirits, first time around, help is at hand. Happily, the Leaf label has decided to reissue the Mercury Music Prize nominated album, expanding it to two discs via the addition of 2015's similarly sublime Prophecy EP and a trio of previously unheard wig-outs. The genius of the London combo's music lies in their unique and eccentric approach to musical fusion. While their roots lie in fusing spiritual jazz and freaky psychedelic rock, keen listeners will hear a myriad of other influences and inspirations seeping into their distinctive instrumental compositions, from spiraling electronica, Afrobeat and skewed funk, to ambient, dub, drum and bass, Roots Manuva and low-slung industrial funk.
Review: With their penchant for off-kilter psychedelic explorations, deep-rooted spiritual jazz excursions and cacophonous, otherworldly workouts, The Comet Is Coming is undoubtedly one of the most groundbreaking and essential jazz combos of recent times. It's for this reason that "Trust In The Lifeforce Of The Deep Mystery" - their first outing on legendary jazz label Impulse - feels like an event release. It is another stunning album, with the inspired trio flitting between sweaty, dancefloor-ready tracks soaked in psychedelic electronics and more melodious, laidback numbers that sail closer to traditional jazz pastures. Throughout, the level of imagination, creativity and uniqueness remains dizzyingly high.
Review: This time last year, French combo Cotonete joined forces with Brazilian singer Di Melo to deliver what became one of the sleeper hits of last summer - the Latin disco/jazz-funk fusion of "A.E.I.O.U.". Here they continue their partnership with a first collaborative full length. It's a quietly impressive outing, with Di Melo's distinctive vocals rising above cuts that variously doff a cap to sultry Brazilian disco-funk, Azymuth-esque jazz-funk, soundtrack-friendly cinematic soundscapes, Astrud Gilberto style sweetness and humid salsa-funk (standout "Kilario (2019 Version)". It's a warm, loose and hazy set that feels authentically South American despite its Parisian roots.