Compact Disc

Miami Pop Festival

21 Nov 2013
The Jimi Hendrix Experience
Experience Hendrix

I was eating breakfast, BBC 6Music on the radio, then Sean Keaveny dropped Foxey Lady from this album and stopped me in my tracks. Lummy doesn’t fully express the effect that the track had on me that morning, but at least it’s polite. The sheer energy and power that Hendrix unleashed at the Miami Pop Festival was nothing short of phenomenal, and if it has that much power today there must have been some serious carnage down in Florida in the summer of ’68. Hendrix’s use of feedback is to use contemporary parlance, epic, and in truth rarely bettered. The studio albums are remarkable works but involved extra layers of guitar, bass and other elements, the live versions are just three instruments and a voice which have raw power that puts them on another plane.

Recorded by the remarkable Eddie Kramer at the time and mixed by the same wizard for this release over four decades later, this recording is the best encapsulation of the intensity, dexterity and imagination of rock’s most influential axe man I’ve encountered. It contains nine songs from the evening gig and two more from the afternoon of the same event, those two being the most incendiary numbers Foxey Lady and Fire. Tracks that make most so called rock gods sound limp but there’s more, Red House is as fine an example of electric blues as you could hope to hear. And it’s not just Jimi who’s on form the British guys, Mitch and Noel, are up to the mark as well, the drumming almost matching the ferocity of the guitar and the bass holding the whole thing in place.

Liquid Spirit

6 Sep 2013
Gregory Porter
Blue Note/Universal

This review took longer than most because Liquid Spirit is a great sounding record, so good that it became a reference within days of its arrival and looks like remaining one for a long time to come. This is Porter’s first major label release, quite why it took so long is a mystery but at least he was picked up by a label with pedigree. It sounds like jazz because the band has a double bass, piano and brass but Porter is closer to being a soul singer with the skill and range of a jazz singer. The rhythms are often jazz powered which gives them extra appeal, both the opener No Love Dying and title track are excellent examples, the latter being a driving, snappy number while the former thrills with the harmony of voice and band.
Porter cites gospel and Nat King Cole among his influences and these are apparent on many of the 14 tracks on this album but what sets it apart from the majority is his rich baritone voice. He really is a class act, this is the main reason that Liquid Spirit sounds so good but the recording and production have something to do with it too, it’s not devoid of compression but has decent dynamics and sumptuous tone which make up for a lot. Maybe I don’t listen to enough contemporary soul-jazz but this stands head and shoulders above what has come my way, to be frank it stands pretty high regardless of style.

Formats also available: 
vinyl, MP3 download

Into The Woodwork

13 Aug 2013
The Swallow Quintet
Xtra Watt

Steve Swallow is a bass player and partner of the organ player Carla Bley, her sound is as much a key to this album as Swallow's, it creates the ambiance. The bass is brought to the fore as you might expect but it doesn't compete with the lyrical skills of Bley, Chris Cheek on tenor and Steve Cardenas on guitar. Drums, provided by Jorge Rossy, are the only instruments dedicated to rhythm. The organ provides the smoky, late night feel, the lounge lizard vibe that pervades most of this often louche album. It reminds me of Swordfishtrombones by Tom Waits albeit sans vocals, the feel is the same even if the tunes are sometimes more dense. Most are played at a medium or relaxed pace, a tempo which allows Cardenas in particular to shine and I don't think that's just because I prefer guitar to sax, jazz guitar is not usually my bag.
Xtra Watt is a Swallow's own label and part of the ECM group but the sound is quite different from that usually found with ECM studio recordings, warmer, closer and well suited to the lounge feel of the band. Swallow himself plays superbly with a weighty but nimble sound that doesn't hog the limelight but provides a sinuous groove around which the rest of the band can orbit. Into the Woodwork reveals the diversity of Swallow's writing abilities and has a great vibe, he's no ordinary bass player that's for sure.


Formats also available: 
FLAC download

A Hero's Lie

24 Jul 2013
Grey Reverend
Motion Audio

Grey Reverend has bubbling under on and around the Ninja Tune label for a couple of years now, he popped up on the Cinematic Orchestra's last outing and that band's leader J Swinscoe has released this album on his Motion Audio imprint. The influences working on Reverend, or Larry D Brown as he was christened back in New York, would appear to include the likes of John Martyn, Bert Jansch and Nick Drake but the artist he actually cites is Elliot Smith, the late American singer/songwriter. Brown is also a friend of Jose Gonzalez and wrote the instrumental Little Jose in his honour. He has a pared back style, not quite just voice and guitar but often not a lot more and gets by on the quality of that voice combined with a gift for songwriting and picking skills which come together particularly well on My Hands and The Payoff, which also features Austin Peralta (who tragically passed away not long after the recording). The release notes compare Brown with Will Oldham and Ray LaMontagne as well as those mentioned above but he's rather more positive than that might suggest, not happy happy joy joy of course but there is little in the way of wallowing which makes a change.
The sound is pretty good too, open, modern but not slick. An honest record in all respects really and one that reveals the heart of a musician with empathy and compassion.


Formats also available: 
WAV download

The Beauty of Fake

26 Jun 2013
The Last Hurrah!!
rune grammofon

Another Scandiwegian gem The Last Hurrah!! is Norwegian guitarist HP Gundersen along with a cornucopia of unusual acoustic instruments played by an international ensemble of great musicians. It's floaty, light and often features vocals from Heidi Goodbye (great name) accompanied by female BVs. Infuriatingly the CD consists of a single 35 minute track. Mysteriously the artwork refers to track numbers with regard to specific musicians albeit the track names themselves are not numbered, another good reason to buy vinyl methinks. At its most interesting when the voices give way to a broad array of instruments including various guitars, drums and electric, acoustic and slide bass backed by Chinese guzheng (zither), flute, Hawaiian guitar and  Norwegian Hardanger fiddle to name a few. It's one of those albums that is too short by far, it would probably fit on a single vinyl LP although Rune Grammofon is offering double and single disc options.
I love the rich tone that the variety of instruments produces and would recommend this as an appealing bit of background music rather than something to sit down and scratch your goatee too. I'm not averse to a bit of the latter but it's good to have a palette cleanser once in a while and this is an appealingly fresh example.


Formats also available: 
vinyl, MP3 download


11 Jun 2013
Keith Jarrett, Gary Peacock, Jack DeJohnette

In the past I have found the standards covered by Jarrett, Peacock and DeJohnette are a little too old and soft for my tastes, but this selection, originally presented at a 2009 concert in Lucerne, has just the right balance of beauty and exploration. That's partly because it combines six standards with two originals, in both cases the Jarrett compositions segue into or out of someone else's work, the title track for instance which is a Bernstein/Sondheim piece becomes Everywhere a classic left driven Jarrett groove.
The album opens with a high contrast piece, Jarrett's solo Deep Space which has moments of shimmering beauty and others that reflect the title with their cold serenity. This migrates naturally into Miles Davis' Solar with bass then drum joining the piano. This piece is pretty adventurous and shows off the trio's chops as well as giving listeners some musical meat to get their teeth into. For me Somewhere/Everywhere is the highpoint of the album thanks to the pianists left hand constancy and some particularly inspired work from DeJohnnette who abandonsthe sticks in favour of what sounds like brushes. Jarrett plays with particular inspiration, the rhythm of the lower keys providing an anchor that lets his right hand take flight. This 20 minute revelry has a rhythmic grip that encourages you to close your eyes and be in the moment, that moment four years ago in Switzerland when the planets came into alignment and created this auspicious occasion.
I honestly think that Jarrett is playing on a higher plane than he was in when his name had a profile outside of the jazz universe, you get less of the introspective and perhaps fewer glimpses of the inner spirit but these standards allow him to show a warmer, gentler more human side. Age mellows even the most intense and not necessarily in a bad way as this superb concert reveals this in all its glory. Oh and it sounds great too, even by ECM's high standards.



Formats also available: 
MP3 download


9 Jun 2013

Just as the sixties has proved a happy hunting ground for Jack White the seventies would seem to be a major source of inspiration for Stephen Bruner aka Thundercat. This LA based singer/bassist's second album has a lot of familiar sounds and styles to those that appreciate the more imaginative strands of jazz/rock. Stanley Clarke would seem to be the strongest inspiration, specifically his early work but there are traces of Herbie Hancock and Clarke's band Return to Forever. Apocalypse is an unusual work that borders on the progressive but also has a lot of soul, so Tales from Topographic Oceans it ain't. In fact there are times when it could almost be smooth disco and the second half has a lot more appeal than the first which merely hints at what's to come. The final tryptich A Message for Austin/Praise the Lord/Enter the Void is particularly effective. I was intrigued by Thundercat's first album but this one seems more of a piece, it's a rare foray into realms that few artists understand today, a carefully crafted and richly detailed work that avoids the pitfall of sounding clever for its own sake. This could well be a result of producer Flying Lotus' (Thom Yorke, Earl Sweatshirt) involvement who Thundercat credits with making the album something that "people can actually see for what it is". If you dig spacey bass powered grooves give this far out cat a spin.

Formats also available: 
vinyl, WAV download


3 Jun 2013
June Tabor, Iain Ballamy, Huw Warren

According to the great Danny Baker: "Any pure music is inferior to mongrel music". The album reviewed here can be seen as prima facie evidence that the wordsmith/broadcaster is right. I have to confess that when the request to opine on this album was made my heart sank, I know nothing about English folk music. I have been exposed to very little of it, and the image conjured up for the most part is somewhat akin to that created by the mention of Morris dancing. In short, expectations were neutral at best, and I was bracing myself mentally for a review that apologised for my lack of enthusiasm.
However... I am happy to report that once I started listening to it all fear was quashed and expectations exceeded. Quercus is an album that succeeds in spite of its sober musical musings. The album is a lyrical journey, it offers a very intimate sound which relies on a combination of factors. None of its contributors can lay claim to a particular prominence, the two better known  members of the trio are June Tabor and Iain Ballamy (vocals and saxophone respectively) who are supported by Huw Warren; in my view the star of the album. The material is mostly made from songs but there is a single instrumental piece.
The recording quality has a typical ECM sound, impressive and clean if not entirely natural. Ms Tabor's voice has an unforced essence, combining emotion and flow without any discernible exclamation, it is honest and unaffected. Iain Ballamy's sax reminds me of John Surman, those who are frightened by modern reed players will find his sound cosseting and gentle.  Pinning together the unusual combination of folk and instrumental styles which can loosely be described as jazz is Huw Warren's excellent ivory tinkling. Fans of the Nordic jazz revolution of the past few years (Tord Gustavsen etc) will no doubt be drawn to the melodious melancholy which permeates through every piece.
This is serious album, a cerebral expression of control and a calculated effort to maintain a degree of cool not usually encountered in folk. But that is what gives it an appeal outside of folk circles, it's a fascinating amalgam of styles the like of which one rarely encounters. Those who dare to experiment will discover some wonderful music on here, it's highly recommended for the musically curious amongst us. A relaxed and absorbing experience for those not frightened by a experimental/cerebral presentation which is always melodious but occasionally challenging.

Reuben Klein
Best Album Track: Who Wants Evening Rose

Out of kilter fact: June Tabor has recorded a version of Jefferson Airplane's White Rabbit

Youtube track from the album



Formats also available: 
MP3 download

Live with Britten Sinfonia

14 Apr 2013
Jaga Jazzist
Ninja Tune

This pairing seems as unlikely as Deep Purple's Concerto for Group and Orchestra did back in the seventies yet it works, possibly rather better than the Purp's efforts judging from its place in the classic rock pantheon. Jaga Jazzist's effort has some chance of standing the test of the time because this performance captures their latter day prog inventiveness coupled with the tonal riches and majesty that only an orchestra can deliver. It is also a fully combined effort, the Britten Sinfonia is an integral part of each piece, the arrangements are remarkable and a very positive reflection of this Norwegian ensemble's capabilities. Almost an orchestra by most standards Jaga Jazzists is led by Lars Horntveth who plays tuba, flute and percussion and features powerhouse drum pummeller Martin Horntveth alongside seven other highly talented multi-instrumentalists
They use the full dynamic breadth of the orchestra and reinforce it with their own unique vision, a richly varied but purposeful and subtle view that gains an extra dimension in this setting. I was a little disappointed in One Armed Bandit, it couldn't quite match the intensity of What We Must but this unexpected treasure has reaffirmed their position as one of the most inventive an interesting leaders on the extremely fertile Scandinavian progressive music scene.
There are a number of new compostions on this album alongside rearrangements of five from previous albums
Bananafleur Overalt has overtones of Sketches of Spain, Mathias Eick's solo being distinctly Davis esque, the performance brings new dimensions to the piece without straying far from the framework of the original. The finale is an arrangement of JJ's strongest piece to date Oslo Skyline is as gloriously noisy as ever, enhanced by distorted brass and the scale of the orchestra it must have made a phenomenal finale at the live event. I was surprised that the press release lead with with "It's a live album, and when are those ever very exciting?" In my experience live albums can be among the very best but perceptions must differ. If this release doesn't shift that notion then nothing will.



Formats also available: 
vinyl, WAV download

Change the Beat

2 Apr 2013
The Celluloid Records Story 1979 - 1987

Jean Karakos founded Celluloid Records in Paris in the late seventies but it wasn't until he started releasing bass player/producer Bill Laswell's work in the early eighties that it got off the ground. This two disc, 26 track retrospective (the download adds a further five including a rare Jimi Hendrix and Buddy Miles piece Doriella Du Fontaine) reveals Celluloid to have been an extremely eclectic and forward thinking label. The material ranges from post punk to electro, dub, world and hip-hop and includes hits such as Timezone's World Destruction featuring John Lydon and Afrika Bambaataa. The sound varies as well but there is naturally a strong eighties feel as a result of the synths, drum machines and for that matter production styles that were popular at the time. Only the african artists manage to escape this and have not dated so obviously as a result, or is it that they are merely making better music?
The second disc serves up some interesting musical morsels including an instrumental credited to Ginger Baker called Dust To Dust and early examples of hip hop that serve to illustrate how much the genre has changed in the last 25 years. There is plenty to explore here especially for those who enjoy a good drum machine, the drum sounds on here have pretty much disappeared from music today but this isn't necessarily a bad thing! This may not be the view of those who weren't there the first time however and this compilation offers a fascinating insight into the era, one that has shown some signs of revival already but could come back stronger if enough people get to hear this.


Formats also available: 
vinyl, MP3 download


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