Archives for posts with tag: Roy Ayers

2015 Year in Review: New and New to Me

For me, the year in music was characterized by breakouts and comebacks. Hard-at-work artists toiling in obscurity finally broke into the main. Legendary artists returned with quality works reminding us of why they are great.

In the breakout category, Kamasi Washington tops the list and gets my vote for album of the year, by far. In addition, three artists who I learned about through Gilles Peterson finally released new material, earning much-deserved notoriety: Lion Babe, Hiatus Kaiyote, and Ady Suleiman.

In the legend category, we had D’Angelo (his album dropped Dec 2014 but lets not split hairs), Jill Scott, Madonna, and Prince.

Favourite Albums

  1. Kamasi Washington, The Epic (Brainfeeder)
  2. Ady Suleiman, This is my EP (Sony)
  3. Lion Babe, Lion Babe EP (Outsiders/Polydor)
  4. D’Angelo and the Vanguard, Black Messiah (RCA/Sony)
  5. The Cookers Quintet, Vol. 2 (Do Right Music)
  6. Prince, HitnRun Phase Two (NPG Records)
  7. Haitus Kayote, Choose Your Weapon (Sony)
  8. The Rebirth, Being Thru the Eyes of a Child (Walk Talkin)
  9. Oddisee, The Good Fight (Mello Music Group)
  10. Jill Scott, Woman (Atlantic/WEA)
  11. Bluey, Life Between the Notes (Shanachie)
  12. Pete Josef, Colours EP (Sonar Kollectiv)
  13. Fourplay, Silver (Concord Music)
  14. Jamie Woon, Making Time (Polydor)
  15. Madonna, Rebel Heart (Live Nation/Interscope)

Favourite Tracks

  1. “Get Down,” Muz’art (Dream Team SA)
  2. “Elevator (Going Up),” Louie Vega feat. Monique Bingham (Vega Records)
  3. “Backyard Party,” R. Kelly, The Buffet (RCA / Sony)
  4. “Cel U Lar Device,” Erykah Badu, But you Caint Use my Phone (Motown / UMG)
  5. “Can’t Forget You,” RAC feat. Chelsea Lankes (Battestation Records)
  6. “Psychic,” XL Middleton, Tap Water (Mo Funk Records/Crown City Ent.)
  7. “Live your Life,” Pete Josef, Colour (Sonar Kollectiv)
  8. “Am I Wrong,” Anderson .Paak feat. ScHoolboy Q (Art Club / Empire)
  9. “Them Changes,” Thundercat, The Beyond / Where the Giants Roam (Brainfeeder)

New to Me (Rediscovered)

Every year, I’m keen to discover an artist or musical sub genre that made a mark on music but was unknown to me. This year, I made three musical finds of note.

Lonnie Liston Smith, a great soul, jazz, and funk keyboardist, has been making music for decades and likely inspired many of the musicians I follow today. His body of work is as broad as it is deep. For a George Duke and Roy Ayers fine such as myself, being oblivious to Lonnie Liston Smith is embarrassing. For the similarly wretched and uninitiated, I would recommend Explorations – The Columbia Years (Sony, 2002) as a nice primer.

For years, I’ve known of Vince Guaraldi Trio and their iconic music for the Charlie Brown TV specials. What I hadn’t heard in full until this Christmas was A Charlie Brown Christmas – Expanded Edition (Concord Music Group, 2012). It is a remarkable album, not only for the Holiday season but for any occasion when you need a dose of downtempo cool jazz. The instrumental version of “Christmas Time is Here” is one of the most sublimely perfect recordings of a piano, drum kit, and double bass.

Last but not least, seeing Incognito live and meeting Jean-Paul ‘Bluey’ Maunick was the musical highlight of my year.

Anticipating in 2016…

For the past five years, I’ve lamented the ever-postponed debut album from KING. Happily, it has a release date early in 2016 and I’ve already pre-ordered a download.

Omar (a.k.a. Omar Lye-Fook) released a single last year, suggesting a full length album is in the works. If it is anywhere near as good as The Man (Shanachie, 2013) – my pick for best album of 2013 – it will be worth the wait.

We may also see a sophomore album from soul/jazz breakthrough artist, Jarrod Lawson, who incidentally has hinted a collaboration with the aforementioned Omar is something he would like to do.

Happy, peaceful, and musical 2016!

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Album Review: Rising Son, Takuya Kuroda (Blue Note, 2014)

41wOFtEqAGLTakuya Kuroda is a jazz trumpeter whose debut on Blue Note Records marks a detour from the more straight-ahead jazz style of his previous recordings. Rising Son (Blue Note Records, 2014), although certainly a jazz record, puts beats before melody. This makes the album sound like a fusion project, borrowing hip-hop and R&B rhythms to lay beneath jazz instrumentation.

But Rising Son is distinct in that it stops short of an all-out crossover. It is still grounded in improvisational jazz and the arrangements are as sparse as a jazz purist would demand. Vocals appear on only one track, an imaginative take on Roy Ayers’ “Everybody Loves the Sunshine.” The uniqueness of this record comes back to the beats.

Now this just might be where Jose James, D’Angelo, and Roy Hargrove come in. Rising Son was produced by jazz vocalist and fellow Blue Note artist, Jose James. Kuroda previously arranged horns on James’ album, No Beginning, No End (Blue Note, 2012)The opening track on that album, “It’s all over your body,” is a sonic salute to D’Angelo’s Voodoo album (Virgin Records, 1998). Jazz trumpeter Roy Hargrove collaborated with D’Angelo on Voodoo. Kuroda’s muted style is reminiscent of Hargrove’s. “Spanish Joint” is a particularly apt comparison. It’s not a big leap, then, to surmise that Voodoo’s sound is the inspiration for James and Kuroda’s treatment on Rising Son.

The beats on Rising Son are well-chosen for each track.  The title track settles into a groove very quickly and is accented by synthesized effects. “Afro Blues” uses an afrobeat rhythm, suiting the punchy and dissonant horns that kick off the main melody. On the other hand, “Sometime, Somewhere, Somehow” could have done with a lighter treatment. It’s a gorgeous, mellow tune with an elegant arrangement for keyboard, trumpet, and trombone. But beneath it is an oddly chosen four-on-the-floor beat, too slow to be interesting and too heavy handed to let this track float on its own, as it should.

Kuroda’s distinct horn styling and rhythm choices will give Rising Son a broader appeal than other releases from jazz instrumentalists. This is also very simply a fine jazz album because of the performances, compositions, and yes, the beats.

Related

  • Reading: Jose James, No Beginning, No End
  • Listening: “Spanish Joint” feat. Roy Hargrove, D’Angelo, Voodoo