Reviews

KATHY KOSINS; Uncovered Soul (Membran Records)

Monday, 29 January 2018 16:13 Bill B E-mailPrintPDF

altThroughout 2017 we heard a lot of and about Detroit soul and jazz singer Kathy Kosins. With a well timed series of singles and remixes, the PR people built up huge anticipation for the parent album which seemed to be constantly dropping back in the release schedules. Well, alleluia, the album is with us at last (well, it's released, for sure, on February 9) and the 12 tracker is, I can assure you, worth the wait. Worth the wait that is if you appreciate sophisticated, sensitive soul and jazz delivered with commitment, artistry and respect for the genre. 'Uncovered Soul' is, I think, the sometime Don Was mentee's fifth or sixth long player but with production from Gregory Porter collaborator Kamau Kenyatta and the aforementioned expectation, this should be the album to deliver Ms Kosins to a wider audience.

By now proper soul and jazz fans will be familiar with some of this album's songs – notably the title track and the Paul Randolph song, 'Could You Be Me' which was championed by Gilles Petersen and even won dance exposure via a tight and funky Opolopo mix. They still sound strong but there are plenty more treasures to be had.

To give you a flavour of what to expect you need to know that the set features plenty of covers and the choice of those covers will perhaps tell you something of the influences that have helped shape Kathy's oeuvre and the aspirations she has for her art. For 'Uncovered Soul', Kathy has dipped into the catalogues of artists/writers as diverse as Eugene McDaniels, Curtis Mayfield, the Neville Brothers, Blue Nile, Bill Withers and Burt Bacharach. At least once in a career most jazz and soul artists feel the need to tackle a Bacharach classic and here Ms K offers her version of the sweet but sad, 'Any Day Now'. Running in at just over 6 minutes, it's what a cover should be – a new perspective on the familiar. Kosins and Kenyatta eschew the familiar piano riff and starkly reconstruct the song (even more radically than the great Bacharach "reconstructor" Luther Vandross did) to create a forlorn ballad that recalls the best of Carmen Lundy.

Other highlights include the Latin-inflected reading of The Neville Brothers' New Orleans classic 'Voodoo' and the sparse funk of Mayfield's 'Ms Martha (which Curtis fans will know and love from his 'New World Order' album). Out of the orignals, the lazy meander that is 'A To B' boasts a strong melody that allows Ms Kosins' world weary vocal to shine. 

Kathy Kosins 'Uncovered Soul' is officially released on February 9th and she'll be appearing live on April 17th at Piazza Express' Chelsea Pheasantry.

(BB) 4/5

Last Updated on Monday, 29 January 2018 19:03

 

VARIOUS ARTISTS: 'Stax Singles Vol. 4 - Rarities & Best Of The Rest' (Craft/Rhino)

Friday, 26 January 2018 08:56 Charles Waring E-mailPrintPDF

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Issued to conclude Stax's 60th anniversary celebrations, this fourth and final instalment focusing on the iconic Memphis label's singles output collects together all the rarities and odds and sods from its catalogue. At 6 CDs and 145 tracks, it's a huge, almost indigestible cache of material even for a Stax completist with the most prodigious appetite. Some of Stax's big hitters are featured - think Isaac Hayes, Carla and Rufus Thomas, Booker T & The MG's, Sam & Dave, Eddie Floyd, and William Bell, who are all represented by some of their more obscure cuts and B-sides - but it's the label's more esoteric and unsung acts that dominate the track listing.  These include forgotten vocal groups -  among them The Astors, Ollie & The Nightingales, Baracudas, The Canes, The Cobras, Jeanne & The Darlings, The Newcomers, Barbara & The Browns, Hot Sauce - male singers (Sid Selvidge, Casper Peters, Clark Sullivan, Chuck Boris, Ben Atkins) and female songbirds (Ilana, Karen Casey, Connie Eaton, Ruby Johnson, Shirley Walton).

Anyone who though that Stax was exclusively an R&B label will need to think again after delving into discs 4, 5 and 6. Disc 4 brings to light some of the label's country music exponents. Black singer, O. B. McClinton (aka the 'Chocolate Cowboy')  was arguably the most famous of their country critters and is featured twice but there was also Sid Selvidge, a group called The Caboose,  and deep-voiced cowboy, Casper Peters. There were also pop singers like Clark Sullivan, old school crooners such as the resonant-voiced Billy Eckstine,  and even noted jazz drummer, Chico Hamilton, who recorded for the label in the '70s (though with little success). Disc 5, which focuses on some of the label's rock and pop  roster, including the excellent cult Memphis group, Big Star and psych-rock acts Finley Brown (whose hard rock-oriented 'Gypsy' is a standout) The Little Rich Kids, Lonnie Duvall,  The Knowbody Else, and the Doors-influenced Southwest F.O.B. It's a mixed batch of material but certainly an intriguing one.

In acute contrast, disc 6 concentrates on Stax's gospel output, featuring sanctified sides by the Rance Allen Group, The Dixie Nightingales, The Jubilee Hummingbirds, The Stars of Virginia and Roebuck 'Pops' Staples. But if it's pure, unadulterated Memphis soul music you want, there's plenty to hand here on the first three discs. The Staple Singers are represented alongside such redoubtable Stax luminaries as Johnnie Taylor, Frederick Knight, The Soul Children, Shirley Brown, Mable John, The Mad Lads, Judy Clay, and Lynda Lyndell. An 80-page booklet featuring liner notes from Stax authority, Rob Bowman, plus essays by Lee Hildebrand, Alec Palao, and co-producer, Bill Belmont, puts the music into its rightful historical, political and cultural context. It provides the proverbial icing on the cake to what is a fascinating retrospective that offers plenty of surprises, even, perhaps, for the most knowledgeable of Stax fans.

 (CW) 4/5

Last Updated on Friday, 26 January 2018 09:06

 

JULIA BIEL; Julia Biel (Rokit Records)

Thursday, 25 January 2018 14:45 Bill B E-mailPrintPDF

altFor the past several years Julia Biel has been making quite a name for herself on the London club and jazz circuit. Brought up in the capital but of South African heritage, young Julia mastered the piano and after graduating from Oxford with a languages degree she became a fixture on the London scene with her musical and life partner, bassist Idris Rahman. Her first album was the low key 'Not Alone' which won Ms B a "Rising Star" at the 2006 BBC Jazz Awards. It took nine years for a follow up to materialize but 'Love Letters And Other Missiles' brought a MOBO nomination, an Urban Jazz Award and plaudits from taste makers like Jamie Cullum.

Maintaining the momentum, Julia is all set to release her third album at the start of February. The long player was prefaced by the single 'Wasting Breath'. The broody jazz/pop tune was played out on some of the more sophisticated jazz stations where listeners expect and appreciate elegance, artistry and commitment. Indeed those are the dominant traits of the album. Hardly surprising when you learn that Julia's heroes and influences number icons like Billie Holliday and Nina Simone. No surprise too to read that commentators have made comparison between Julia and Amy Winehouse; those same influences were dominant in the tragic North Londoner's formative years.

The musical soundscape and vocal styling of this eponymous 12 tracker recalls much of dear old Amy's work (I'd suggest a similarity to Corinne Bailey Rae too); the difference, however, is that though Ms Winehouse could "do bleak" she could also work up a head of optimistic steam... think 'Valerie' or even 'Rehab'. At this stage though Ms Biel is happy (not quite the right word) to stick with the bleak. Song titles like 'Critical Condition', 'The Wilderness', 'Dead Slept Rough' and, especially 'You Could Turn A Rainbow Grey' sound like their titles... melancholic, introspective and yes, bleak. An elegant and intriguing kind of bleak, but it would have been more intriguing to hear some optimism and joie de vivre. 'Emily' is as about as "up" as this album gets, but, hey, maybe the music reflects exactly where Julia Biel is right now.

BB) 3/5

Last Updated on Thursday, 25 January 2018 21:02

 

JAMISON ROSS: 'All For One' (Concord)

Wednesday, 24 January 2018 14:50 Charles Waring E-mailPrintPDF

                           altA contemporary equivalent, perhaps, of the late Grady Tate - a jazz drummer who also made his mark as a distinguished vocalist - singer/sticks man Jamison Ross garnered a Grammy nomination for his 2015 debut album, 'Jamison,' and looks set to build on that success with this, his second LP for Concord. Though not yet 30, Ross - whose voice with its smoky timbre and gospel inflections brings to mind Donny Hathaway - seems older than his years in musical terms, showing the kind of maturity associated with a well-seasoned veteran. Though Ross can do straight ahead jazz with aplomb - as evidenced by a fine performance of the Etta Jones-associated jazz standard, 'Don't Go To Strangers' - his signature style is a seamless meld of jazz and soul music. He contributes to seven of the album's thirteen songs (either as a writer or co-writer), blending his own well-crafted tunes with material gleaned from the songbooks of Mose Allison ('Everybody's Cryin' Mercy'), Kurt Weill and Ira Gershwin ('My Ship,' which is given a  gorgeous reading), Allen Toussaint ('A Mellow Good Time,' inspired by Lee Dorsey's version), and Fats Waller ('Let's Sing Again'). The unifying factor that brings cohesion to the album's disparate elements is Ross's super-soulful voice, transfiguring everything he sings into a joyful expression that plumbs the deep emotional reservoir of his own psyche. Of his own songs, 'Keep On' is a bright anthem of perseverance and 'Call Me' boasts an uplifting, gospel-infused chorus while 'Safe In The Arms Of Love' is a succulent ballad with a delicate bossa nova undertow. Also listen out for an engaging version of New Orleans funk meister Willie Tee's cult rare groove, 'All For One,' which is spiced up with Cory Irwin's Hammond B3 organ asides and rides an infectious swing beat. Unlike his first album, which was divided into instrumentals and vocal cuts, here Jamison Ross focuses more on his voice and the results are much more satisfying. There's nothing truly mind-blowing here but it's a solid, pleasing and worthwhile album and will certainly help to establish the young Floridian as an upcoming soul-jazz vocalist of note.  

(CW) 3/5

Last Updated on Wednesday, 24 January 2018 20:58

 

BETTE SMITH: 'Jetlagger' (Big Legal Mess)

Monday, 22 January 2018 19:38 Charles Waring E-mailPrintPDF

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Bette Smith has a voice that is the sonic equivalent of an exploding volcano. And that's putting it mildly. Perhaps that's because it has a deep, intense, pent-up quality and pours forth from the singer's throat in a deluge of cathartic emotional release. It's got a rough, sandpapery texture, too, and even though the singer is in her early thirties, it's a weathered, lived-in voice that sounds like she's not had the easiest of lives. The nearest equivalent I can think of to Smith's cavernous contralto tone is gospel-soul veteran Mavis Staples (interestingly, the younger singer covers the Staple Singers' 'City In The Sky' here on her debut album) but one listen to 'Jetlagger' will tell you that Bette's got her own distinctive 'thang' going on.

Though Bette Smith was born and raised in the Bedford-Stuyvesant area of Brooklyn, the album evinces a decidedly old school, southern soul sound.  Appropriately enough, she recorded it in Memphis, with Jimbo Mathus, who's played with Buddy Guy, and more recently, Valerie June, at the helm. While their collaboration has resulted in a retro-hued album that could squeeze into the soul revivalist category alongside  the likes of the late Sharon Jones & The Dap-tones, it's not a totally comfortable fit. That's because there are some heavy blues-rock overtones to Smith's work. There's also an epic, psych-rock dimension on the incredible opener, 'I Will Feed You,'  where Smith's  craggy voice is framed by haunting Mellotron-style strings.

The album's energised title song is another memorable tune though it comes across like a fusion of the Stax sound (with its heavy horn blasts) and the '60s psych-band, Love. Stylistically, then, 'Jetlagger' seem to occupy the space occupied by 1971 Stax album, 'Down The Earth,' which was an attempt at soul-rock by Eddie Floyd. The next track, a wild rave-up called 'I Found Love,' is even more rock-oriented with its slashing guitar power chords, though there's a palpable tinge of gospel and R&B in its DNA (it's actually a cover of a Lone Justice song from 1986). The uplifting 'Flying Sweet Angel' (written by Famous L. Renfroe) is slightly more sedate by comparison, featuring a gospel choir and channelling  the spirit of Al Green and Hi Records, while both 'Shackles & Chains' and 'Moanin' Bench' are imbued with a Stax/Atlantic '60s soul feel. Different again is 'Man Child,'  a slice of strutting blues-rock  and the excellent 'Durty Hustlin','  a softer slice of '70s-style  cinematic soul, again spotlighting Smith's magnetic, once-heard-never-forgotten voice.  The album's rounded off with a couple of strong covers - Isaac Hayes' evergreen Shaft-era groover, 'Do Your Thing,' and The Staples Singers' 'City In The Sky,' both of which are reconfigured to reflect Bette Smith's voice and personality, though are respectful to the originals.

So much contemporary soul today is plastic, passionless, and pre-programmed, but this is the real deal. It won't be everyone's cup of with its blues-rock colourations, perhaps, but on this evidence, there's no doubt that Bette Smith is a new and exciting soulful vocal force to be reckoned with.  

 (CW) 4/5

Last Updated on Wednesday, 24 January 2018 15:03

 

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