Blitz The Ambassador - Native Sun

Native Sun is the follow up to Blitz The Ambassador’s 2009 soulful blend of hip-hop “Stereotype”. Using the jazzy sounds of his previous efforts and taking it one step further, Blitz embraces his African roots and thus we are treated to an expansive mix of hip-hop and afrobeat. Not since Nas and Damien Marley’s classic album “Distant Relatives” has the combination worked quite so well. But it is clear from the opening track “En-Trance” that Blitz is looking to challenge our perception of hip-hop.

An ancient horn takes centre stage and removes us from our comfort zone. This sound is quickly joined by light African drumming, and we are left wondering how Blitz is going to rap over such traditional production. But we are quickly reminded this is a hip-hop album as the track begins to incorporate vinyl scratching and other more familiar sounds. Lyrically Blitz is taking us on a cinematic journey through his homeland. It’s a burst of creative genius using the medium of positive hip-hop music.

A real highlight of the LP is “Best I Can” Feat. Corneille. It features haunting guitar strings combined with Blitz rapping at a pace which comes close to a Bizzy Bone or Twista. Lyrically he pours out his heart on this track whilst a distorted choir further enhance his verses. Corneille sings “I hear these voices in my head, I look at the choices that I made, trying to be the best I can”. It is a reflective mantra which encapsulates the mood of the song. The use of gently strum guitars is evident throughout the project, usually accompanied by soft drums. Although you could be forgiven for thinking that this music sounds light, Blitz carries a powerful lyrical style which brings a revolutionary message of unity. Therefore it is anything but.

A jazzy interlude serves as a bridge to the second part of the album. “Accra City Blues” is a journey through a war torn city, I would compare it favourably to Marvin Gaye’s “What’s Going On”, it may yet become an African hip-hop anthem for years to come. Certainly it reflects the people better than past attempts by plastic artists such as Akon. Many mainstream attempts at African music often result in tokenism, this is the real deal. The choice of guests on the album is a real strong point. Chuck D. makes a brief appearance on “The Oracle” whilst underground favourite Shad joins Blitz on the title track “Native Sun”. The cohesive nature of the sounds make it impossible to separate their quality.

Rather than feeling like a track by track album, it plays more like a melting pot of expermental music which amazingly keeps shape amongst the chaos of African/hip-hop fusion. The pieces are emotionally layered in that they are both celebratory and honest in their representation of African life. Proceedings come to a close with “Ex-Itrance”, a continuation of traditional African sounds met with Blitz in spoken word form. At 12 tracks long the project is a neat 44-minutes and yet there is enough music to digest for months. This is progressive hip-hop at it’s finest and an early contender for hip-hop of album of the year. It does what every great album should do and leaves a lasting impression.

 

 

 

 

 

 

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Jose James - No Begining No End

New York-via-Minneapolis singer José James was once comfortable being the oddball talent of the contemporary jazz scene, an unknown quantity in a world with plenty of known ones; “When it's all said and done, jazz with a capital J is where I'm coming from,” he told Billboard in 2010. “Dexter Gordon, Billie Holiday, Miles Davis, Charlie Parker, Thelonious Monk-- that's what I really studied when I was a teenager and what really fueled my passion.” While that loyalty manifested itself in releases like 2008’s The Dreamer and 2010’s Blackmagic-- two albums that showcased James’ penchant for genre-stretching while sprinkling in more straightforward covers-- his sound has always been hard to peg.

For his new record No Beginning No End, he’s staying true to that wanderlust, enlisting musicians like bassist Pino Palladino (who famously helped construct neosoul gems like D’Angelo’s Voodoo as well as Erykah Badu’s Mama’s Gun) and contemporary jazz star Robert Glasper as well as Franco-Moroccan singer Hindi Zahra. While he’s always been one to try stuff out-- he successfully collaborated with Flying Lotus on Blackmagic--on No Beginning No End he finds a way to make an eclectic approach feel unified and whole.

James sings with a steely grace that does in fact recall D’Angelo, a quality only reinforced by Palladino’s fingerprint on songs like the grooving opener “It’s All Over Your Body” and the back half’s soul clap “Make It Right”. But James’ more detached voice isn’t the weapon that D’Angelo’s proves to be, if you’re looking at No Beginning No End as a spiritual cousin of Voodoo or Mama’s Gun. While James’ record prizes overarching vibe over song-to-song substance, it’s more subdued and, in a sense, more unpredictable: the opener cedes to the hand drum cool-out “Sword + Gun”, which builds to the straightforward pop reach on the record, the taut “Trouble”, which in turn slides into Robert Glasper and James’ capital J jazz tribute “Vanguard”, a tribute to the Greenwich Village institution where the song was devised.

Though that sounds like a lot of hopping around-- the poppy, percussive midalbum standout “Come to My Door” is another good example-- No Beginning No End works smoothly as a suite, which is a testament to James shape-shifting nature as well as the session musicians' willingness to stay in a support role. While one could see the temptation to push further into a pop crossover sweet-spot, No Beginning No End contains few heavy brush strokes. Though James’ meandering gets the best of him on the slow shuffle “Bird of Space” and the never-quite-gets-there “Untitled” echo “Do You Feel”, even when he misses his low-key restraint retains its charm.

Though No Beginning No End succeeds in its laid-back approach, make no mistake that James is seeking to bust out of the NPR Jazz world and into the ears of new audiences. In March, he'll play Music Hall of Williamsburg, Bowery Presents' Brooklyn hype thermometer (also playing that month: Sky Ferreira, How to Dress Well, Savages, Django Django), just a 20-minute train ride from the Village Vanguard but a world away. With previous releases, he's earned his heroic acclaim in the tough, tried-and-trusted lanes of contemporary jazz. With No Beginning No End, he's built his own road out.

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Parov Stelar - La Fete EP

Austrian musician Parov Stelar has taken over the global music scene like a phantom in recent years. Through his music the modest but exceptional talent has not only gained an enormous fan base, but has also achieved cult status as a producer.

His retro- influenced music is borne out of an aura of elegance, wickedness and pure energy. inspired by styles and samples from themost varying of genres (soul, pop, jazz and swing) and combined with modern beats and grooves he creates an incomparable and peerless sound.

For his live shows Parov Stelar takes to the stage with a host of musical magicians. The performances of the Parov Stelar band are one of the most impressive live conversions of electronic music currently to be seen anywhere in the world. Brass and rhythm sections along with singer Cleo Panther reinvent Parov Stelar's electro beats, emotionally charging the public in a way never thought possible.

At the centre of the show is the creator himself, guiding the musical tour de force from the DJ booth. Despite 100's of live shows and excessive touring the band still continues to push their own creativity and break the boundaries of musical performance. Each show is uniquely different from the previous, inviting the listener to explore new aspects and emotions within Parov Stelar's music.

Etage Noir label-boss Parov Stelar is a master in electro-swing, as he proves yet again on this new three-track EP. "Wanna Fete" is a feast of 30s jazz samples, all wrapped around a tight electro-house beat that's subtle enough not to swamp the jive out of the samples. Same goes with "Diamonds", which keeps brilliantly keeps a heavy ride cymbal rocking that floats over the mix throughout and features some excellent cornet solos along with well-placed scratch breaks. No prizes for guessing the sample source on closer "Le Piaf" - another example of Stelar's skills in fusing that 78" sound with the dynamics needed to rock a modern floor.

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Soundtrack - Lock, Stock & Two Smoking Barrels

Writer-director Guy Ritchie's street-tough look at London's decrepit underworld and the unsavory dealings of four best friends whose cockiness is undercut by some serious trouble features a soundtrack of quick dialogue sound clips, a smattering of classic rock, pop, and reggae, and a few current submissions as well. Junior Murvin's "Police and Thieves," known most to rock audiences by the Clash cover, is a great piece of political resistance and laidback dub groove. James Brown's "The Payback" and "The Boss" and Iggy and The Stooges "I Wanna Be Your Dog" stake out the sharp end, while the late Dusty Springfield paints the softer corner with "Spooky." Ocean Colour Scene delivers the backwards guitar driven "100 Mile High City," and Stretch's "Why Did You Do It?" is a great recreation of early '70s soul.

Tracklist: 1. Hundred Mile High City - Ocean Colour Scene

2. HortifucKinculturist - Steven Mackintosh

3. Police And Thieves - Junior Murvin

4. Spooky - Dusty Springfield

5. Muppets - P.H. Moriarty/Lenny Mclean/Victor McGuire

6. The Boss - James Brown

7. Walk This Land - E-Z Rollers

8. Blaspheming Barry - Lenny Mclean

9. I Wanna Be Your Dog - The Stooges

10. It's Kosher - Jason Flemyng/Stephen Marcus

11. Why Did You Do It - Stretch

12. I've Been Shot - Steve Sweeny/Frank Harper

13. Oh Girl - Evil Superstars

14. Guns 4 Show Knives 4 A Pro - Nick Moran/Dexter Fletcher

15. Zorba The Greek - John Murphy/David Hughes

16. The Payback - James Brown

17. It's Been Emotional - Vinnie Jones

18. 18 With A Bullet - Pete Wingfield

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Kiko Dinucci & Thiago França - Duas Sessoes

Kiko Dinucci and Thiago França are two excellent musicians from the new brazilian music scene, in the first hours of 2013 they released the double album "duas sessoes" meaning two sessions, overall the two albuns are great instrumental music that mixes jazz, afrobeat, brazilian music and experimentalism among other music genres.
Check it out!

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Oka - Milk & Honey

With a signature sound and unforgettable live reputation, OKA is still serving their Progressive Roots music. Electrified Digeridoo, heavy slide guitar, soaring flutes and juju rhythms are some of the many ingredients in this Australian sound that’s matured over a decade. Humble beginnings busking on street corners have led to global tripping & independent CD sales in excess of 100 000 albums. Their past is unique and reflects a sun-drenched coastal lifestyle they call home. Here we find them with their 6th studio album ‘Milk & Honey’ that hints to be the most exciting yet. 

Incorporating flavours of Dub, Electronica, Hip-hop, Jazz and many forms of world music, for years people have tried to define the OKA sound. Instead, perhaps look at the line-up - Three characters with varying influences, backgrounds and talents. Stu Boga Fergie (Didgeristu), the big man behind the electronic beats & keys brings raw didgeridoo & vocals inspired by his aboriginal heritage. Chris lane plays captivating melody on Slide Guitar, Harmonica & Woodwinds including Bamboo Flute and Sax. Making up the trio is Samoan-Australian Charlie Zappa – a rhythm specialist with beats of Polynesian fire and deep pocket. Together they blend many pieces that is the OKA puzzle - A sound & force that touches the heart & feeds the soul. 

‘Milk & Honey’ brings a fresh and exciting addition to the OKA catalogue. It was created from on-stage jamming & relaxed sessions at their home Coolum beach on the Sunshine Coast. While keeping true to their indigenous roots the 14 track journey touches on new territory with vocal tracks & a soup of synth tones & beats not straying too far from the classic OKA feel.

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The Strides - Reclamation

With their explosive melting pot of Afrobeat, Reggae, Hip-Hop and Dancefloor jazz, 10-piece ensemble THE STRIDES has already won over a steadfast following in Australia. After a lengthy series of gigs that includes supporting afrobeat legend Tony Allen and becoming a headline act at both the Bellingen Global Carnival and Peats Ridge Festival, this dynamic outfit is ready to launch its new album “Reclamation” on Record Kicks. With a heavy rhythm section and a powerful 3-piece horn section, The Strides deliver a captivating blend of funky afrobeat, roots reggae, hip hop grooves, dubbed out beats, and hypnotic rhythms.

Featuring vocals by reggae master Ras Roni from Trinidad via London and rising hip hop star from Fiji MC Lil Gzeus (Little Jesus) over the super skanky, infectious, horn-heavy grooves of the band, “Reclamation” perfectly showcases the mighty force of The Strides’ innovative sound. From afrobeat-infused instrumental romps such as “Umbi Gumbi” and “Well Hung Parliament” to hip hop stormers such as first single “Reclamation”, to hints of roots reggae on "Storm Cloud" and "Fresh Lady", Australia's best kept secret The Strides impressively mix and combine a series of genres, and the result is something special, indeed!

”Boasting 10 fired-up members and wasting no time in following up their impressive self-titled debut, Sydney's The Strides return with frisk in their gait for eight new tunes straddling dub to Afrobeat, hip-hop to exotic jazz.” – The Sydney Morning Herald

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Cody Chesnutt - Landing One A Hundred

Universally hailed as a thrilling new figure in music for his edgy, lo-fi debut, The Headphone Masterpiece, back in 2002, Cody ChesnuTT is a soul troubadour whose frank, socially conscious ruminations on life continue to challenge popular notions of what modern soul music can look and sound like. Landing On A Hundred, Cody’s second full-length LP, marks his return to the music game after a period of family-man retreat and reflection that did a world of good for him after his meteoric rise to near fame. The title is a reference to the slang saying, “Keeping It One Hundred,” or telling the whole truth, and for lovers of true blue Southern soul this new album is a must-have- the rhythm tracks recorded with a ten-piece band in Memphis-based Royal Studios, the sonic birthplace of some of the deepest works by soul and blues luminaries like Al Green, Buddy Guy and Ike & Tina Turner. Topics on Landing On A Hundred cover lots of grown-folks business: a man’s road to redemption after years of womanizing and crack addiction, the power and labour of slow-burning marital love that eclipses mere material expressions of affection. Keeping it truthful is ultimately what matters most in Cody’s songs.

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Sebastian Sturm - This Change Is Nice

Sebastian Sturm’s debut album “This Change is nice“ takes both critics and lovers of classic roots rock reggae by surprise. The 70s off-beat interpretation by the native of Aachen, Germany, with German-Indonesian roots is met with acclaim and instantly propels him onto the European scene.

In contrast to the relaxed tempo of his roots sound and the dancehall scene, Sebastian quickly becomes a shooting star in the world of Caribbean sounds. Driven by the decades-long experience of the Jin-Jin band, Sebastian’s concerts form an integral part of festival stages in Bersenbrück (Reggaejam), Cologne (Summerjam), Paris (Zenith), Bordeaux (Reggae Sun Ska) all the way to Udine (Rototom) in Italy.

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Desmond Wlilliams - Delights Of The Garden

A delightful debut full-length indeed, featuring singles first heard on 
the introductory 12"s Um Favor and Theme From a Dream, as well 
as a composition called "First Touch" off the Cocoa EP. Over 14 marvelously constructed tracks, Desmond Williams unravels a poignant vision of downtempo that quite intelligibly illustrates his understanding of the foundation behind the styles he employs, included but not limited to dub, exotica, jazz, bossa pop, funk, and a sound that can simply be summed up with Eighteenth Street Lounge. All the flavors of the garden blend into each other with a rhythmic denominator fueled by Williams playing almost all the instruments himself, producing each beat and the entire album almost single-handedly. However, the standout tracks are definitely the ones featuring exotic vocals from Portia Cristina Joo, who soaks "Um Favor" and "First Touch" in a caressing opiate and guides her contributions to slightly more trip-hopping regions.

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