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Maisha: There Is A Place
by Chris May
The London jazz scene, which is in 2018 more active and characterful than it has been since the jazz-dance movement of the 1980s, offers up another jewel with this debut physical-release by spiritual-jazz septet Maisha. The band, led by drummer Jake Long, surfaced in 2016 with the download-only live album Welcome To A New Welcome (Jazz ...
Anders Lønne Grønseth: Multiverse
by Chris May
Ever since Jan Garbarek put Norwegian jazz on the map, and especially so after the international success of his rigorously ascetic Officium (ECM) in 1994, the music has acquired a reputation for being not entirely passionless, but emotionally withdrawn. The “Scandinavian sound" which Garbarek championed was conceived in collaboration with ECM label founder Manfred Eicher as ...
Sarathy Korwar & The UPAJ Collective: My East Is Your West
by Chris May
Indo-jazz fusion has distinguished ancestry in Britain. The music took shape in the mid to late 1960s, when a string of extraordinary albums, each with one foot in Indian classical music and the other in post-bop jazz, were recorded by guitarist Amancio D'Silva and violinist John Mayer. Both featured empathetic jazz musicians (Joe Harriott, Don Rendell, ...
Charles Mingus: Jazz In Detroit / Strata Concert Gallery / 46 Selden
by Chris May
Summer 2018 saw the general release of privately held recordings by two giants of twentieth century jazz. First up was John Coltrane's Both Directions At Once: The Lost Album (Impulse!). It was followed by Thelonious Monk's Mønk (Gearbox). In autumn 2018, recordings by another totemic figure, Charles Mingus, become the year's third newly revealed archaeological discovery. ...
Moses Boyd: Displaced Diaspora
by Chris May
The pre-release anticipation surrounding drummer and producer Moses Boyd's Displaced Diaspora was a sure sign that the cultural revolution that has reset London's jazz world over the last three years has bedded itself firmly into the architecture. Not because the album is a newly recorded set--but because it is not. The disc is a selection of ...
Charles Lloyd: Love-In
by Chris May
Five decades after the event, Charles Lloyd's Love-In, recorded live at San Francisco's Fillmore Auditorium in 1967, endures as much as an archaeological artefact as a musical document. From sleeve designer Stanislaw Zagorski's treatment of Rolling Stone photographer Jim Marshall's cover shot, through the album title and some of the track titles ("Tribal Dance," “Temple Bells"), ...
Various Artists: Running The Voodoo Down Volume 2
by Chris May
A raft of scholarly theories can be put forward to explain the affinities linking the genres represented on this compilation, subtitled Explorations In Psychrockfunksouljazz 1965-77. But there is a simple explanation: grass and acid, the lingua franca of the era's counterculture. True, there is only circumstantial evidence to suggest that John Coltrane and Joe Zawinul, both ...
Thelonious Monk: Mønk
by Chris May
Summer 2018 has seen the release of previously unknown recordings by two giants of mid-twentieth century jazz. First we had John Coltrane's Both Directions At Once: The Lost Album (Impulse!), and now Thelonious Monk's live album Mønk. Both discs were made in 1963. The breathless hyperbole which greeted the Coltrane was unjustified, if predictable, but the ...
Binker & Moses At London's Jazz Cafe
by Chris May
Binker & Moses Jazz Cafe London September 12, 2018 Binker & Moses began life around five years ago, when saxophonist Binker Golding and drummer Moses Boyd started playing ferocious, free-association duets during pre-performance sound checks as members of Zara McFarlane's band. Both musicians still tour and record with ...
Various Artists: Nicola Conte presents Cosmic Forest: The Spiritual Sounds of MPS
by Chris May
The description “spiritual jazz" means different things to different people. It was first applied to the predominantly African American style platformed by the Strata-East and Muse labels in the early and mid 1970s. The tag was not introduced until a decade later, and a better one would have been “cultural jazz," despite the tautology--for although every ...
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