So, rather than letting these reviews go to waste and remain unread, I'm going
to post them here. There are quite a few reviews, so I'll post these in two or
three parts. Also, some of these may have been posted here before (as relevant
to current discussions) but I'll repost them so all these reviews can be seen
together. Enjoy these summaries of relatively new releases!
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VARIOUS ARTISTS - Abstrakt Workshop (Shadow Records)
Instinct Records' new imprint Shadow Records aims to keep the beats alive
in jazz, hitting the listener over the noggin with the electronic and new. Funky
next shit is on the agenda, and all eyes are looking at Shadow to deliver to US
audiences. Abstrakt Workshop is seen as the manifesto catching us up on where
this label is at. Now, many Instinct collections contain more than a fair share
of boner selections and cuts licensed from dubious bands and labels that leave
the educated new jazz listener asking "why?" Abstrakt Workshop hopes to destroy
this reaction by taking cuts from un-represented in the States labels like
Yellow Productions, Pussyfoot, Ninja Tune, and Phat Vibes. Personal faves of
mine like Marden Hill, Remi Vibesmann, Diferenz, Mighty Bop, and Sharpshooters
all make appearances. And kudos to the compiler for being into such dope unknown
cuts as Daddylonglegs' (Howie B.!) "The Fourth Way" and The Herbaliser's "The
Real Killer". As a manifesto, Abstrakt Workshop is very promising. And with full
lengths from 9 Lazy 9 and DJ Krush on the way, Shadow Records is sure to be a
crowd pleaser. Hats off, yo.
-Q-Burn
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AUGUST - Pushin & Shovin 12" (Clean Up, UK)
The excellent Clean Up label proves its commitment to diversity by
releasing an EP by August, a band on the funk/jazz/soul train. The smooth vocals
of Helen Cox carry the title track around the band's rockin' groove. Guitars,
keyboards, a funked up bass line, and a totally 'in there' horn section play
loose enough to project a steamy bar band image. A prime tune at work!
"Questions" comes as a surprise... a wonderfully beautiful ballad that showcases
the talent that Ms. Cox is. Horns and pianos weave solos in and out, just to
please the jazz seekers out there. The acoustic version is a treat as well, a
late night gem for the romantics in the audience. And then, not to leave the
beatheads out, a massive Line of Flight mix of "Pushin & Shovin" blunts things
up a bit. Echoey scratches, spooky flutes, and buzzing stand-up bass all give
the Line of Flight possee the upper hand on August's top notch track. Clean Up
does it again... and again.. and again...
-Q-Burn
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VARIOUS ARTISTS - The Jazz Of Boogie Back (Instinct Records)
Boogie Back is a longstanding label out of Germany that has been putting
out some of the best new soul-jazz efforts to date. Instinct has done the right
thing in reissuing some of their music to a wider, US audience. Like last year's
Sound of Boogie Back coppilation, this features a wide array of soulful vocals,
jazz instrumentation, and upbeat vibes from a number of groups. The most
familiar to you may be Outside who shake things up with an excellent funk
number. Wah-wah guitar and horn lines abound in this instrumental floor mover.
Ex-Style Council members Talbot & White also check in with a slow groovy soul
effort titled "Don't Look Away". The deep vocals of Linda Muriel are a
highlight on this cut. Other highlights include the laid back "Jazz Scuffle" by
Chanon, the flute-power of FM Inc.'s "Pittstop", and the steel drums of Ananda's
"Caravan". Overall, this is a pleasant trip down a funky road that we'd love to
see modern urban contemporary radio follow. Good stuff.
-Michael Donaldson
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ECSTATIC ORANGE - World Keeps Spinning 12" (Pop God UK)
This is a two song twelve inch by a new band with an interesting dilemma. That
dilemma is Portishead's success as Ecstatic Orange hail from Bristol and make
slow, hip hoppy female vocal infused soul. Comparisons are unavoidable, so it
makes more sense to point out differences. Ecstatic Orange are even more minimal
than their counterparts. The lead song "World Keeps Spinning" revolves around a
single bass line and drum loop with alternate melodies and processed guitar
parts changing it up. An exceptional song, though. The vocalist has an appealing
voice (more accessible than you-know-who), and harmonizes hauntingly with
herself. The flipside is a tune entitled "Skimming Stones". We get more of the
same mood, but a quiet male voice takes the lead with the female adding back up
flavors. A deliciously above average release from a band that will hopefully
pull themselves from the Bristol blur.
-Michael Donaldson
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I-CUE - Funky Vintage EP 12" (New Breed Records)
Yet another tasty platter from the New Breed camp. I-Cue, making appearances on
past Fat Jazzy Grooves compilations, pull out the hip hop stops on an EP of high
quality electronic jazz. Flowing poets won't get enough of "Dig This"... dope
drums, organ, bass, and horn make the foundation for one jam of a party. The
beats gather the abstract on "Keepin It On" and "Vibes". Mix masters will
appreciate the sparseness in the production of "Keepin It On" while jazz heads
will groove on the sampled piano and guitar breaks. "Vibes" is exceptional with
its use of dubby echo effects, bringing horns and vibraphone lines in and out of
the stew. Lastly, "Bright and Early" mixes a slight reggae feel with some spooky
psychedelic keyboards and old skool hip hop flava. New Breed once again proves
to be on top, with some of the most avant next hip hop shit around. Choice!
-Q-Burn
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Various Artists - LEAD WITH THE BASS (Universal Egg, UK)
It was only a matter of time that dub came back as a major musical force. As
Jamaican dub in the 70's gave rise to the concept of the 'armchair producer' or
'producer as musician', the growing number of home studio producers can only
create an upsurge in producer-oriented music. Dub is the word, and it seems that
England now has its fair share of young dub bands exploring the possibilities of
sound and texture. LEAD WITH THE BASS focuses on the meat of the scene, with
five new acts featured. Unfortunately, some of the songs show the problems with
this new scene... where classic dub plates were dirty and low tech (giving them
their identifiable sound in the process), the clean digital technology of today
produces a dub that is both sterile and unfeeling. Digital delays and
sophisticated effects processors will never capture the ambience and implied
struggle that tape delays and Mutron phase shifters can give. But, to its
advantage, LEAD WITH THE BASS does present moments of fascinating exploration.
Power Steppers lay down a groove on top of Beethoven's "Fifth Symphony" that
looks ridiculous on paper but works in a dubbed-out reality. Iration Steppers'
remixed version of "Scud Missile" appropriately captures a feeling of dread and
demise. And the Bush Chemists go for the huge ambience that dub usually exists
in. Four of the songs are followed by remixed 'versions' that prove to be much
more interesting to fans of true dub action. This record serves as a good taste
of how this intriguing scene is evolving in England. However, new dub artists
would be wise to check the production techniques of the pioneers who mixed their
plates in the days before sequencers, digital samplers, and flawless drum
machines.
-Michael Donaldson
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LITTLE AXE - The Wolf That House Built (On-U Sound/Okeh)
As creator of the 'second wave of dub', Adrian Sherwood has been a master
experimenter and innovator in the field of studio manipulation. HIs projects and
works have pushed the envelope of music, blending styles and reference points
together into unrecognizability. It is amazing to see that today, after a decade
and a half of experimentation, Mr. Sherwood is still pushing. Little Axe is the
latest innovative project.
Skip McDonald, Doug Wimbish, and Keith LeBlanc are the major players in
this project whose aim is to fuse American blues music with the On-U Sound
aesthetic. Largerly successful, the band manages to project a feeling of
isolation and desperation within a well produced, modern musical product.
Samples and vocal drops from classic blues recordings (such as the Leadbelly
vocal in "Ride On") are part of the concept, but not a gimmic that is relied on.
These drops are used sparingly, and always in a context that is fitting. Thus,
songs without prominent samples such as the extremely soulful "The Time Has
Come" still fit in the overall sound without sticking out. The overall mood
keeps everything cohesive and creates an album that wonderfully stands up as an
artistic whole. And then, as an added bonus, Sherwood's dub-infused production
makes the music exciting for the ears and head, demanding many return listens.
Little Axe turns out to be a brilliant new collaboration that will hopefully
continue for albums to come.
-Michael Donaldson
SOUL POWER MAGAZINE
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Orlando FL 32802
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