Archives for posts with tag: Imaani

Concert Live Stream: Incognito, Live at the Java Jazz Festival, March 5, 2017

I crossed off a bucket list item two years ago when I saw Incognito live in Detroit. It was a short set but still a thrill to see them live after decades of my unwavering fandom. Last weekend, Incognito played the renowned Java Jazz Festival from Indonesia, a performance that was streamed live and enjoyed thoroughly by yours truly…from my couch.

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From Right to Left: Vanessa Haynes, Francisco Sales, Francesco Mendolia, Tony Momrelle, Francis Hylton, Imaani

Live stream concerts don’t look much different than any live recording. Indeed, one of the best Incognito shows I’m aware of is their 30th Anniversay Concert in London at the Indigo2. I’ve watched that recording but seeing a live stream does have an additional appeal – being a part of something in the now, no matter how far away.

The show was impeccable of course: energetic funk, deep soul, astounding jazz musicianship, great songs. One of the greatest treats of seeing Incognito live is witnessing virtuoso performances by each and every member of the band. Matt Cooper on keyboards is positively possessed by the music and has a natural touch that brings so much of leader Jean-Paul ‘Bluey’ Maunick’s compositions to life. The horn section, though only three strong, has a presence that you might expect from twice as many players. Guitar, Bass, Drums, and Percussion are equally featured and well served. The George Duke tribute after “Colibri” in particular features generous solos from Francis Hylton (bass guitar), Francesco Mendolia (drums), and João Caetano (percussion).

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During a brief instrument swap, Bluey takes vocals with Matt Cooper moving to drums while drummer Francesco Mendolia covers bass guitar for Francis Hyslop (not pictured), who took over keyboards

Another feature of the live experience was the unexpected swapping of instruments among band members. Bluey took to vocals with some whimsical rapping, Keyboardist Matt Cooper got behind the drum kit, Drummer Francesco Mendolia played bass guitar like it was his first instrument, and long-time vocalist Vanessa Haynes stepped into percussion. The music was just as tight and proved yet again that Incognito demands an exceptionally high standard of well rounded talent from its members.

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Incognito vocalists from Right to Left: Vanessa Haynes, Tony Momrelle, Imaani

Finally, the vocalists shined as they always do. In particular, Vanessa Haynes who has been with the band for over 20 years, showcased her power on “Just Say Nothing” from the latest record, In Search of Better Days (Shanechie Ent. Corp., 2016) and “Everyday” from 1995’s 100 and Rising (Mercury Records). Imaani did more than justice to “Deep Waters,” originally sung by Maysa who wasn’t on this tour. And Tony Momrelle delivered his signature performances of Stevie Wonder’s “As” and Incognito’s latest chart hit, “Hats.”

Bearing witness in real time to a show like this is the next best thing to being there. A distant second, admittedly but not without a hint of magic.

Setlist

  • Expresso Madureira
  • Goodbye to Yesterday feat. Tony Momrelle
  • I Love What You Do For Me feat. Vanessa Haynes
  • Smiling Faces feat. Imaani
  • As feat. Tony Momrelle
  • Just Say Nothing feat. Vanessa Haynes
  • Still a Friend of Mine feat. Imaani & Tony Momrelle
  • instrument swap interlude (Bluey rap)
  • Colibri feat. Vanessa Haynes + A Brazilian Love Affair feat. Francis Hylton, Matt Cooper, João Caetano, and Francesco Mendolia
  • Deep Waters feat. Imaani
  • Hats feat. Tony Momrelle
  • Everyday feat. Vanessa Haynes
  • Don’t You Worry ‘Bout a Thing feat. Vanessa Haynes
  • Nights Over Egypt feat. Vanessa Haynes & Imaani

The Players

Jean-Paul ‘Bluey’ Maunick; Matt Cooper, Keyboards; Vanessa Haynes, Vocals; Tony Momrelle, Vocals; Imaani, Vocals; Francesco Mendolia, Drums; João Caetano, Percussion; Francisco Sales, Guitar; Francis Hylton, Bass; Sid Gauld, Trumpet; Alistair White, Trombone; Jim Hunt, Saxophone.

Media: 

Note, the March 5 concert is reviewed above but the stream was interrupted during the second last song. The March 4 recording is complete.

Roslin Orphanage: The band adopted this cause while in Indonesia for this tour. If you would like to learn more and support the cause, follow the link to the orphanage’s website.

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Album Review: Amplified Soul, Incognito (Shanachie Entertainment, 2014)

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I have to be careful when I choose to write about Incognito because they’ve been my favourite band for over two decades and I’m of the mind they can do no wrong. I’m afraid that’s not about to change. Amplified Soul is Incognito’s 16th Studio album. It follows their 2012 release, Surreal (Shanachie Entertainment).

In the two year gap, co-founder and leader Jean-Paul ‘Bluey’ Maunick has been busy – releasing his solo debut, Leap of Faith (Shanachie, 2013) and an instrumental project with Citrus Sun, People of Tomorrow (Dome Records, 2014). You might think Maunick needed some time to refuel his songwriting engine. Listening to Amplified Soul, you quickly realize this man’s music never ebbs.

With this album, Incognito welcomes back Tony Momrelle as their lead male vocalist, having sat out for Surreal. Vanessa Haynes returns as a featured female vocalist, among others including soul-jazz veteran Carleen Anderson.

Amplified Soul is essential Incognito, with songwriting and musicianship being front and centre. So many tracks are special and like all Incognito studio albums, your favourites move around depending on your mood, where you are in life, and how many times you’ve listened. “Rapture,” featuring long-time collaborator, Imaani, is particularly likeable and has a lasting appeal. The instrumental, “Wind Sorceress” evokes a Donald Byrd and Mizell Brothers quality, much like the Citrus Sun project. “I See the Sun” features addictive vocal phrasing by a new singer with the group, Deborah Bond.

With Amplified Soul, Maunick and his collaborators have given us another packed album that will surely carry us until their next release. Thankfully, the last two years suggest we won’t have too long a wait for Maunick’s next musical burst.

 

 

Album Review: Surreal, Incognito, March 2012

Incognito is my favourite band so I will try not to gush. Surreal is their 15th studio album and delivers a collection of songs that is consistent with what I’ve come to expect from this UK-based ensemble: Tantalizing arrangements, lush production, impeccable musicianship, and stellar songwriting.

Founder and premier songwriter, Jean-Paul ‘Bluey’ Maunick, describes this album as a ‘turning point’ for Incognito. It marks a transition to a younger generation of vocalists who take up the torch from the many performers who incubated a successful solo career under the Incognito umbrella. Maysa, and more recently Tony Momrelle and Imaani Saleem, have gone their own way, returning from time to time, as Maysa does on the opening track, “The Less You Know.”

Filling their shoes are Mo Brandis and Natalie Williams. At first, I was disappointed in the absence of Tony Momrelle from this record. But Brandis’ performance on the first single, “Goodbye to Yesterday” will convince Incognito fans that we have been left in good hands. Williams too, has a strong voice with great range that is so often called for in Bluey’s compositions. Maysa’s tracks are well chosen for her style. “Capricorn Sun” is classic Incognito, reminding me of their much earlier work on the Positivity album (1993).

“Rivers of the Sun” is the requisite instrumental and is one of the more memorable of recent albums. Maunick brings back the tonal chant he used in “Fearless” from 1999’s No Time Like the Future. Although it is a very subtle application, it is an effective hook and might feel nostalgic to those of us following the band through its three decades of recording history.

As usual for an Incognito album, all the tracks are strong. “Ain’t it Time” is the only cover, stemming from the disco era. Vanessa Haynes belts it out, no doubt in platform shoes behind the mic.

I can’t bring myself to ranking Incognito records in any way, stating one is better than another. Their albums are tirelessly consistent, yet each have a new appeal. Surreal continues that joyous tradition.