Reviews

BEADY BELLE: 'Dedication' (Jazzland)

Saturday, 05 May 2018 09:17 Charles Waring E-mailPrintPDF

                              altOriginally from Oslo, Norway, Beady Belle started out as a duo comprising singer/songwriter, Beate S. Lech and bassist/producer Marius Reksjø, and made their debut back in 2001 with the album 'Home' for Bugge Wesseltoft's Jazzland label. Melding soul with jazz, electronica, and dance music flavours, the duo created an alluring sound and over the course of six more albums for Jazzland developed their own distinctive and immediately recognisable style. In 2016, Reksjø stepped into the background, allowing Lech - who adopted Beady Belle as her stage name - to go it alone, releasing the aptly-titled album, 'On My Own.' Now she returns with 'Dedication,' without doubt Beady Belle's most organic, soulful and satisfying long player yet.

Though intended as a homage to Lech's musical heroes and heroines - which range from old school icons like Marvin Gaye and Donny Hathaway to the present day's  Alicia Keys and Raphael Saadiq - it reveals what a singular talent the 44-year-old Norwegian musician possesses, both as a singer and a songwriter. In the 17 years since Beady Bell's debut, Beate has grown, blossomed, and gone from strength to strength in her evolution as an artist. She has a knack of crafting sinuous melodies that aren't necessarily immediate but which, on  repeated listens, insinuate themselves firmly in your grey matter. Her songs seduce by stealth, so that after a few spins, this album has got its hooks in you and won't let go. 'Out Of Orbit' is arguably the killer cut, where an addictive electric sitar line (which bring back memories of Philly soul group, Blue Magic, perhaps) rides on a mid-tempo groove, while the soulful interplay between Lech and her background vocalists is sublime. The confessional ballad, 'I Run You Ragged,' is similarly gorgeous while 'Traces' shows the singer's funkier side. There's even  hint of disco on the anthemic 'Last Drop Of Blood.' 'Mooring Line,' with its combination of warmly harmonised chorus and a crisp backbeat, is another winner. More reflective is the slow, introspective 'Waste Of Grace' while the mid-tempo 'My Religion' is a thoughtful examination of personal faith.

Unlike most contemporary R&B songs, Beady Belle's tunes aren't obsessed with sex and characterized by banal, disposable lyrics. Beate Lech writes songs about love and life that are intelligent without being too cerebral and eloquent without being wordy. She strikes the perfect balance between expressions of the heart and mind, resulting in songs that make you think while touching the heart. You can catch Beady Belle at Ronnie Scott's in London on May 6th.

(CW) 4/5

 

Last Updated on Sunday, 06 May 2018 18:47

 

LIVE REVIEW: Randy Crawford @ Cheltenham Jazz Festival May 3rd 2018

Friday, 04 May 2018 11:46 Charles Waring E-mailPrintPDF

                                          altWith thirteen UK chart entries to her name, including the Top 5 hits, 'One Day I'll Fly Away' and 'Almaz,' Randy Crawford has enjoyed a long and warm relationship with the British public. The huge ovation she received when she walked out on the stage in Cheltenham's Big Top (following an instrumental medley of her hits played by her band as an overture) underlined just how popular she is here, even though she's not a had a new record out for well over a decade.  Though the years have visibly taken their toll on the appearance of the 66-year-old Georgia singer, who's been battling with weight gain (something she alluded to during her in-between-songs chatter), time has not deprived her of her voice, which remains as beautiful and ear-caressing as ever.

Backed by a four piece band (including ace guitarist, Allen Hinds, who played superbly throughout), Crawford delivered a crowd-pleasing set that began indelibly with her gorgeous take on Brook Benton's atmospheric 'Rainy Night In Georgia.' Then followed a silky 'Rio De Janeiro Blue,' driven by sensuous Brazilian rhythms. She then served up three cover songs  that had appeared on her last album , 2006's 'Feeling Good' with Joe Sample - namely the Nina Simone-associated title song, which was propelled by a gentle, funkafied groove; a bittersweet version of Fred Neil's 'Everybody's Talking,' and a super-soulful rendition of Buddy Johnson's late night blues ballad, 'Save Your Love For Me.'

Elsewhere, Crawford - who was in a bubbly, loquacious mood and told stories and laughed a lot - served up succulent versions of some of her biggest hits and most well-loved material, ranging from plaintive ballads like 'One Hello,' 'One Day I'll Fly Away,' 'You Bring The Sun Out'  and the haunting 'Almaz,' to more upbeat material exemplified by 'Last Night At Danceland,' where the singer, who was seated for most of the evening, got up from her stool to briefly strut her stuff. The venue erupted when the opening chords to 'Street Life' were heard, which allowed the band to really groove while the anthemic 'You Might Need Somebody' was saved for the encore.  

Time affects all of us so those who expected Randy Crawford to look as she did 30 years ago should take a reality check and perhaps look at themselves in the mirror.  None of us stays the same and we all age. And in that respect, Randy Crawford is no different from the rest of us. During the concert, she reminisced about seeing footage of herself in the '80s on the UK's Terry Wogan Show andTop Of The Pops on YouTube. "I thought, wow, she's so cute," she laughs, but follows it by singing the line from Phil Collins' song, 'Take A Look At Me Now.' The audience laugh at the irony and also, her candour. "All of a sudden I had two tons of fun," she laughs, pointing to her midriff. One senses, though, that behind the mirth and self-deprecation there are sensitive issues. But that's not for me to ponder. The most important thing is Randy's voice and it's in great shape. In fact, time has imbued her tone with a deeper lustre but she can still hit all those sweet notes and move us with her special gift. And that's all that matters really. Go and see her while you still can. You won't be disappointed.

(CW)

Last Updated on Sunday, 06 May 2018 18:48

 

DAVE GRUSIN: 'The Friends Of Eddie Coyle' (We Want Sounds)

Wednesday, 02 May 2018 11:59 Charles Waring E-mailPrintPDF

                             altDave Grusin's name is synonymous with smooth jazz, a polite, sometimes anodyne and anaemic kind of jazz-fusion that his label GRP helped to establish in the 1980s and '90s.  But as this stupendous soundtrack album shows, Grusin could make tough and edgy music if he wanted to. Never officially made available to the public until it was issued on CD a few years ago, Grusin's highly-sought-after score to 'The Friends Of Eddie Coyle' - an uncompromising crime thriller starring Robert Mitchum based on George V. Higgins' book - is now available on vinyl for the very first time and presented in a gatefold sleeve adorned with an eye-catching Oliver Barrett movie poster design.  

For those listeners who appreciate jazzy, funk-infused soundtrack albums from the late-'60s and early-'70s by the likes of Quincy Jones and Lalo Schifrin, then 'The Friends Of Eddie Coyle' will make a strong impression.  Interestingly, the original 1973 movie was the work of Peter Yates, the British director behind the 1968 Steve McQueen movie, Bullitt, which yielded  a memorable score - arguably the first of its kind - from Lalo Schifrin.  The atmospheric percussion on Grusin's soundtrack (especially prominent on the tracks, 'Guns To Artie/Artie Examines Guns' and 'Partridge Robbery/Take A Walk') shows unequivocally that the Colorado-born pianist/composer was acutely aware of Schifrin's groundbreaking soundtrack work.  

But aside from tense, atmosphere-building action cues, Grusin serves up a fabulous main theme, which after a dreamy beginning of chimes, mellow Rhodes chords and resonant flutes, evolves into chunk of  strutting street funk garnished with sweet strings.  The funk gets deeper on the driving 'Clean Cut' and 'Mr Connection,' and as a bonus track, an alternate version of the latter tune is included. Grusin's music has been completely remastered and the package is completed by liner notes from writer, David Toop. Though not as well-known, perhaps, as Grusin's ace 1975 score to the Robert Redford-Faye Dunaway conspiracy thriller, Three Days Of The Condor, it proves to be an equally enthralling listen. Essential listening for soundtrack buffs.

(CW) 4/5

Last Updated on Wednesday, 02 May 2018 15:56

 

BLUE LAB BEATS: Xover (All Points)

Monday, 30 April 2018 12:20 Bill B E-mailPrintPDF

altAll the serious soul media has been featuring Blue Lab Beats over the last 18 months or so. The consistent comment from almost all has been that the music making duo , NK-OK and Mr D.M are not every one's cup of soul tea but they do offer something which is almost hypnotic... irresistible even. Yes, so much so that they've enjoyed high profile play outs on all the credible soul stations while discerning DJs have held their nerves and given several of the pair's singles several spins. I've lost count of how many singles that have come out of the Blue Lab (remixes have made the count more tricky) but now the long-promised album is here and over the 16 tracks you'll be taken on an extraordinary musical journey – hearing soul nuances, jazz garnishing, electronic sweeps, laid back ethereal horns, boom-bapping beats and off the wall, intriguing vocals.

If you've been following the progress of Blue Lab beats by now you'll be familiar with tunes like 'Blue Skies', 'Pineapple' and 'Sam Cooke and Marvin Gaye' and maybe that last, intriguing, iconic title is a good place to get to grips with what Blue Lab Beats are about. The track isn't really a tribute to two of soul's all-time greats; rather it's a jazzy, hip-hop reflection on the power of nostalgia. It's not "nostalgic" (like many soul "tributes" are) but a statement that we all need our heroes and rather than copy their style and sound , we should emulate them; in this case, like Marvin and Sam – stay ahead of the curve and offer something new and exciting. I think Mr C and Mr G would approve!

Though we've singled out that one cut as a sonic example and kind of mission statement, cherry-picking isn't what 'Xover' is all about. The 16 tracker is one, consolidated sound sweep that's meant to be enjoyed in its entirety. That said there are some specific special moments here. We have the gentle Latin rumble 'Pina Colada' on repeat right now. For two music makers so young (I think NK-OK and Mr D.M aren't yet 20), this is a work of considerable maturity...a quasi cinematic masterpiece. Helping the duo deliver here are Nubya Garcia and Richie Seivright and  right across the album there's a guest list of Cecil B De Mille proportions while on the outro a number of London soul and hip-hop "names" sing the duo's praises. One of them – Nina, photographer- calls the music here "just a vibe". And that just about sums everything up. 'Xover' is just one cool vibe – creating a new-age soulful hip-hop renaissance.

(BB) 4/5

Last Updated on Monday, 30 April 2018 12:32

 

MAMAS GUN; Golden Days (Candelion)

Thursday, 26 April 2018 18:32 Bill B E-mailPrintPDF

altUK blue-eyed soul band MAMAS GUN was born in 2007. Put together by LIPA graduate Andy Platts, the band members shared a mutual love for soul and funk and named themselves for the classic Eryka Badu long player. Their 2009 debut album, 'Routes To Riches' won 'em plenty of friends and now two releases later and with the inevitable personnel changes, MG are about to unleash a brand new album.... 'Golden Days.'

The set is a little different to their first three collections in as much as this time everything is self-produced and, free from label interference (the band had an early career major label disappointment), the fivesome Andy Platts, Terry Lewis, Chris Boot, Cam Dawson and Dave Oliver were able to make the music exactly as they envisaged it and, at the same time, have a ball whilst putting it all together.

That sheer enjoyment and pleasure in making the music is reflected in the track 'Golden Days' –which the quintet chose as the set's title... reflecting the good times they had in the studio recording the album. A similar good-time optimism can be heard in the LP's opener – the very catchy 'You Make My Life A Better Place', the cheery, light 'I Need A Win', the brassy 'London Girls and the punchy 'On The Wire' which comes complete with some biting Ernie Isley-esque guitar. 'Strangers On A Street' is another album highlight – proof that despite their ages, Mamas Gun revere that magical irresistible 60s vibe.

The album also offer some prime down time moments – notably the sombre 'Diamond In the Bell Jar' (inspired by the work of Sylvia Plaith, I believe) and the simple and sweet 'We'.

Most ambitious and experimental of the 10 cuts is 'This Is The Day'. More a sound sketch than a "proper" song, Andy Platts' sweet and genuine falsetto soars over a plaintive backing track. And it's that Platts voice that holds the album together. Hear it in full flight on the atmospheric 'The Spooks'.

Already in 2018 we've enjoyed some fine Brit, new soul albums... notably those of Diane Shaw, Lisa Stansfield, Soulutions and more recently Jon Allen. Now we can add to that list Mamas Gun's 'Golden Days'. Highly recommended... check our interview archive to learn more about the band.

(BB) 4/5

 

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