Tuesday, 27 November 2018

Joe Armon-Jones & Maxwell Owin ‎– Idiom (2017)

Style: Future Jazz, House
Format: Vinyl
Label: YAM Recordings

Tracklist:
1.   SE Discotheque
2.   Idiom (Guitar – Oscar Jerome)
3.   Mind's Eye
4.   Tanner's Tango (Tenor Saxophone – Nubya Garcia)
5.   Easy Now
6.   Midnite Oil (Sparkzzz)

Credits:
Bass – Maxwell Owin
Drums – Jake Long
Keyboards – Joe Armon-Jones
Producer – Maxwell Owin

I’ve always thought that the music scene in London is the best in the world. The city is a melting pot of cultures, sounds and artistic creativity. Keyboard extraordinaire Joe Armon-Jones and the immensely gifted producer and overall nicest guy you’ll ever meet Maxwell Owin team up on what may be the project of the year. Incredibly crisp and groovy production from Maxwell is accompanied by incredible keys from Joe throughout, who plays the instrument so masterfully it’s often hard to keep up with his genius. Jake Long brings the drumming alive on this album, Oscar Jerome provides his talents on guitar, and South London’s jazz queen Nubya Garcia steals the show on ‘Tanners Tango’ with her mesmerising tenor saxophone performance. 
But for me it’s tracks like SE Discotheque and Easy Now which really hit my heart with infectious futuristic break-beat grooves, 2 Step rhythms and gorgeous melodies which will be the sounds of the dance floor in the near future. 
Idiom EP should and hopefully will be a landmark album for the London’s music scene as it embodies everything music should represent. Passion, groove, collaboration, unity and love. If only it were longer! 
So my hat goes of to the whole team behind this project. My admiration for what you do for music and art has never been higher and we’ll meet again. 
Please make sure you go support this project. Buy the digital album via Bandcamp, or if you live in London, make sure you head down to YAM Records and buy a physical copy if they haven’t sold out yet.
Martin Boev / In Search Of Media

VA ‎– Studio One Ironsides (Original Classic Recordings 1963-1979) (2013)

Style: Rocksteady, Ska, Roots Reggae, Dub
Format: CD, Vinyl
Label: Soul Jazz Records

Tracklist:
01.   Fabian Cooke - Mother And Child
02.   Marcia Griffiths - Mark My Word
03.   Freddie McGregor - I Man A Rasta
04.   Prince Jazzbo - Natty Ting A Ling
05.   The Paragons - Danger In Your Eyes
06.   Drum Bago & The Rebel Group - Reggae (Version)
07.   Don Drummond - Nanny's Corner
08.   The Stingers - Rasta Don't Stop No One
09.   Lone Ranger - Three Mile Skank
10.   The Soul Sister - Another Night
11.   Freddie McGregor - Come Now Sister
12.   Dennis Alcapone - Joe Frazier [Round Two]
13.   The Soul Brothers - Soho
14.   Alton Ellis - Can I Change My Mind
15.   Johnny Osbourne - Jealousy, Heartache And Pain
16.   The Gladiators - Bongo Red
17.   Pablove Black - Jamrec Dub
18.   Cornel Campbell0 - I'm Still Waiting

Falar em 'poço sem fundo' já perde impacto e Faz-se lugar-comum. Que 'há sempre mais um disco made in Kingston por ouvir' também foi chão que deu uvas. Momento, por isso, de chamar os boys pelos nomes. Segundo fontes próximas de Lee Perry, a lei jamaicana prevê, desde os anos 60, que quem não entre em estúdio com o expresso fim de gravar um disco por trimestre, receberá, de imediato, voz de prisão, e, uma vez aí despojado dos seus pertences (sound system, microfone, caixote de acetatos de 7 polegadas, gira-discos e, por vezes, roupa), será privado de qualquer forma de comunicação e obrigado a consumir — sob apertada vigilância — um charuto cubano por dia. Isto explicaria a sonora tosse nos seus registos do fim dos anos 80 e o voluntário exílio do produtor na Suíça. Já elementos do antigo entourage de Clement Coxsone Dodd (que pediram anonimato) asseveram que um parágrafo secreto da mesma lei garante aos cumpridores daquele procedimento chorudo desconto no IRS. Na ausência (conhecida) de rituais masoquistas na ilha próxima do suspeito Haiti, isso explicaria que a Jamaica continue a rebentar pelas costuras, sem quebra visível de produção musical. Por exemplo, que história vem a ser esta, agora, de 'Ironsides'? Música produzida por fãs da série policial com Raymond Burr on wheels? Reggae de metais e de 'blindagem estética' (o cocktail de crueza e sofisticação) mais à vista? Ou a resposta ao repto patronal: 'quando fores almoçar, hás de pensar, aí, num conceito, que a gente, da parte da tarde, compõe, para ver se se consegue livrar do que ainda para aqui há'? 
Que se saiba, e tendo esta cena reeditorial lugar em Londres, pende para a última hipótese o novo projecto de island digging da (imbatível, nesta matéria) Soul Jazz. Só que se esconde algo de mais sério (historicamente, até) sob o singular título. Porque a música remete para o período de maior pujança criativa do mestre da Studio One. O qual ditou um quadro de sobreprodução, cujo efeito perverso residiu na incapacidade de absorção das rádios locais, do que Clement se defendeu com a criação de editoras fictícias como a Iron Side. Numa palavra, dir-se-á que esta dúzia e meia de pepitas de ouro reitera o desejo de querer ser outra coisa que, então, se apoderou do hegemónico roots reggae. Só ouvindo se ficará com a noção desta insigne série de giant leaps for mankind. Por incrível que pareça, é quando paira a suspeita de que 'chove no molhado' que surge aquela que talvez seja a mais fresca, empolgante e inventiva obra de 'amantes da causa'. Que comece em Fabian Cooke e termine em Condi Campbell, será o menos. O 'problema' está naquilo a que ambos servem de bookends: Marcia Griffiths e uma obra-prima de frescura melódica, rítmica e vocal em qualquer género de música; Freddie McGregor a agitar a 'bandeira da revolução a cavalo de um baixo substancial de pasmar; Prince Jazzbo a abrir o livro rockers e, também ele, dando largas à arte de bem jock em toda a sela; The Paragons em aula magistral sobre a longevidade do roots reggae, Drum Bago & The Rebel Group mostrando como um só exemplo de dub futurista pode levar alguém, do outro lado do oceano, a abrir uma casa como a On-U Sound; The Stingers em vertiginoso rock steady instrumental com forte aroma a jazz local; Lone Ranger plantando future roots; The Soul Sister extraindo toda a riqueza soul de um pós-lovers rock, e por aí fora. Como dizia Clapton, à saí-da dos Cream, 'let it rain'.
 Ricardo Saló / Expresso (2013)

Matthew Dear ‎– Backstroke (2004)

Style: Techno, Minimal
Format: CD, Vinyl
Label: Spectral Sound

Tracklist:

1.   Another
2.  Tide
3.  Takes On You
4.   Grut Wall
5.   I Know Howser
6.   Huggy's Parade
7.   Good Girl
8.   And In The Night



If you're attempting to keep tabs on Matthew Dear, Backstroke arrives eight months after Leave Luck to Heaven; during the time between these releases, he produced two more singles for Spectral Sound (including one as the relatively hostile Audion) and another for Richie Hawtin's Minus label (as False), in addition to remixes for Monobox, Lusine, and Håkan Lidbo. By today's silly standard, Backstroke is being classified as a mini-LP, even though it's 40 minutes in length. (The LP version has one less track and is still longer than your AC/DC or early Prince records.) Whatever its designation, Backstroke is a marked turn away from Leave Luck to Heaven, if scarcely a stylistic changeup. Several cuts will indeed serve adequately in the clubs, but the album as a whole is tailored for a more personal setting. "Grut Wall" is an instant standout, one of the handful of instances where Dear continues to tweak the traditional pop-song format. Backward-sounding basslines, cascades of battered keyboard melodies, and multi-tracked vocals make it askew enough to make you feel as if you've just spent too much time on a sit 'n' spin, but the hooks are equally important -- it's the strangest and catchiest song he has made yet. On "Tide," everything is tangled up with great intricacy and is nearly as insidious and addictive when balled together, assisted by another refrain that could double as a playground taunt. The closing "And in the Night" is the greatest diversion, a chaotic Afro-German hybrid that crosscuts Dear's natural rigid bounce with a muffled disco rhythm section and shards of horns. The chances he takes pay off almost without exception, but the album doesn't have the easy-fit cohesion of Leave Luck to Heaven, and the dispassionate vocals that surface here and there won't be for everyone. (During "I Know Howser"'s verses, he sounds like he'd rather be folding laundry or sorting recyclables.) Some will see this as the Amnesiac to Leave Luck to Heaven's Kid A. There really isn't anything wrong with that.
Andy Kellman  / AllMusic

Matthew Dear ‎– Leave Luck To Heaven (2003)

Style: Techno, Minimal
Format: CD, Vinyl
Label: Spectral Sound

Tracklist:
01.   Nervous Laughter (Intro)
02.   Fex
03.   Just Us Now
04.   The Crush
05.   But For You
06.   In Unbending
07.   Dog Days
08.   Huffing Stuff
09.   Reason And Responsibility
10.   You're Fucking Crazy
11.   It's Over Now
12.   Machete (Outro)

Credits:
Lacquer Cut By – r
Mastered By – Rashad
Producer, Written-By – Matthew Dear

Najma ‎– Pukar ~ Calling You (1992)

Style: Fusion, Indian Classical
Format: CD, Vinyl
Label:  Last Minute Productions CBS/Sony, Mondo Melodia

Tracklist:
1.   Jheel Mai Chand
2.   Mousum Suhana
3.   Dil Mai
4.   Jhoomo Gao
5.   Pukar
6.   Dil Jala Ne
7.   Improvisation (Semi-Classical)
8.   Baabul
9.   Pukar (Without Tabla)

Credits:
Bass Guitar – John Deemer
Keyboards – Paul Honey
Oud – Bahman Nowroozi
Percussion – Arun Shendurnikar
Shanai – Kadir Durvesh
Soprano Saxophone, Alto Saxophone – Ray Carless
Tabla, Dhol – Sirish Kumar
Violin – Nawazish Ali Kahn
Voice – Salma Akhtar

Najma ‎– Atish (1989)

Style: Fusion, Indian Classical
Format: CD, Vinyl, Cass.
Label: Triple Earth, Polydor, Shanachie, CBS/Sony

Tracklist:
1.   Atish Fishan
2.   Naina
3.   Apne Hathon
4.   Parvanon
5.   Nikala
6.   Ghoom Charakhana
7.   Faithless Love

Credits:
Bass – John Deemer
Guitar – Clem Clempson
Keyboards – John Smith, Roland Perrin
Saxophone – Ray Carless
Tabla, Percussion – Talvin Singh
Violin – Kamal Bir Nandra
Vocals – Najma
Producer – Iain Scott
Mixed By, Producer – Bunt Stafford-Clark
Recorded By, Mixed By – Hugo Nicolson

Najma ‎– Qareeb (1987)

Style: Fusion, Indian Classical
Format: CD, Vinyl, Cass.
Label: Triple Earth, Shanachie

Tracklist:
1.   Neend Koyi
2.   Jane Kis Tarha
3.   Dil Laga Ya Tha
4.   Apne Hathon
5.   Zikar Hal Apna
6.   Karoon Na Yad Magar
7.   Har Sitam Aap Ka

Credits:
Bass – Lazar Der Gregorian
Keyboards – Ian Terry
Santoor – Kiran Pal Singh
Saxophone – Ray Carless
Tabla, Dholak, Percussion – Naushad Sheikh
Violin – Navazish Ali Khan
Vocals – Najma Akhtar