Articles

Daily articles carefully curated by the All About Jazz staff. Read our popular and future articles.

ALBUM REVIEW

Sons of Kemet: Your Queen Is A Reptile

Read "Your Queen Is A Reptile" reviewed by Karl Ackermann

There is nothing quite like the Sons of Kemet. In a genre that struggles with the perception that it too often becomes mired in sameness and safety, this is a group that embraces the African roots of jazz while skirting the very essence of the genre. Eye-opening deviations come from unexpected places and in the case of Your Queen Is a Reptile, that source is London's “New School," or so-called “New British Invasion" in jazz. Including the likes of Kendrick ...

LIVE REVIEW

Brilliant Corners 2018

Read "Brilliant Corners 2018" reviewed by Ian Patterson

Brilliant Corners 2018 Black Box jny: Belfast, N. Ireland March 3-10, 2018 Compared to Dublin or cities in the UK, Belfast is usually overlooked when jazz groups tour. When the likes of Wayne Shorter, Charles Lloyd, Ahmad Jamal, Keith Jarrett or Brad Mehldau come to Ireland it's usually a one-stop visit to Dublin and then away. Pat Metheny's November 2017 Dublin/Belfast gigs was the exception that proves the rule. In recent times ...

ALBUM REVIEW

Sons of Kemet: Your Queen Is A Reptile

Read "Your Queen Is A Reptile" reviewed by Chris May

It is appropriate that this, British-based Sons of Kemet's third album, should be released under the Impulse banner. During its heyday, Impulse was the home of John Coltrane, Alice Coltrane and Pharoah Sanders and as such was the chief platform for the cosmic/spiritual jazz movement of the 1960s and 1970s and that movement's demand for white-majority society's recognition of black culture and respect for black people. In 2018, the multi-racial Sons of Kemet, led by tenor saxophonist and composer Shabaka ...

EXTENDED ANALYSIS

Sons of Kemet: Burn

Read "Sons of Kemet: Burn" reviewed by Phil Barnes

The first thing you notice about Shabaka Hutchings' latest project, Sons of Kemet, is the unexpectedly large feel to the recording's soundscape. Not only does it have the hallmarks of a warmer analogue past but the reverb is at times extraordinary, being akin to hearing the band play in an immense auditorium with twice as many musicians as the relatively paltry core quartet listed in the credits. Drummer and producer Seb Rochford explained in interview that this was achieved by ...


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