If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
Indeed, this British quintet brings a qualitative aspect to the rock world, sans any filler material amid gestures to the 70s array of space-rockers, along with current art-rock persuasions and impressions of vintage Brian Eno's spectral electronics-based dreamscapes. Moreover, Maria Charles' beatific vocals, supported by solid undertones, enhance the band's mesmeric grooves, tinted with hypnotic etudes and an air of innocence. But several works cast lucid imagery of forbidden zones and cautionary implications, in addition to nouveau psychedelic riffs and ostinato-framed keys. Ultimately, the artists' harmonically attractive song-forms spawn an emotional connection via a magnetic group-centric aura.
The band's second album is a melodic wonderland, especially on works such as "Circles in Halftone," featuring phased and psyched out connotations in unison with guitarist James McKeown's extended note, wah-wah licks. On "Curious Yellow," the musicians generate a sense of intrigue within a straight-four motif that is overlaid with choir-like pop vocals, echoing keys and a hummable melody line. The good news continues during "Fragmenting Song," where the frontline intertwines ambient electronics with Charles' animated lyricism, sketched on yet another memorably melodic hook. They translucently expand the proceedings into an upgrade of a 60s style pop tune, spiced with synth effects, and broadened by Matt Rich's heavy organ and Charles' chanting vocals atop a thriving rhythmic gait. Hence, the quintet even transforms conventional notions of all things Indie-Rock into a modern uplift. It's easy to deduce that great care and an unrelenting focus was enacted for this production. Curiously interesting, yet decidedly entertaining...
Track Listing: Digitalis; Circles In Halftone; Magpies (Against the Sun); Vapour; Curious Yellow; Komorebi; 1000 Years; Fragmenting Sons; Squaretaker.
Personnel: Maria Charles: vocals, guitar; Jeff Green: bass; James McKeown: guitar; Matt Rich: keyboards; Aidan Searle: drums and percussion.
I love Jazz because of its freedom.
I was first exposed to jazz in my teenager years.
I have met Art Blakey in Juan-les-Pins, my drum teacher Orphelia took us to his concert, it was magical!
The best Jazz shows I ever attended were Art Blakey, Michel Petrucciani, Miton Nascimento, Naná Vasconcelos.
The first jazz record I bought was Jazz from Hell by Frank Zappa.