Soul

28th November 2015 – Troxy

In support of a cause that is close to everyone’s heart, I attended the Motown & Soul Christmas Spectacular late November at the Troxy in Limehouse. Walking into the arena I noticed a very sizeable crowd who were obviously gearing up for a party! The London Soul Choir were in full swing directed by Abi Gilchrist and being much appreciated by the crowd for their talented vocals. Followed by a lively performance by former Drifter, Patrick Alan and his Motown Live Revue with Matthew Allen, Zalon Thompson, Alex Charles and Ade Omotayo. It was refreshing to hear many of the big Motown classics that we all know and love with an excellent band in a live environment. With female vocals from Denise Pearson, Kele LeRoc, Jennifer Phillips and the iconic Jocelyn Brown belting out “Somebody Else’s Guy” it was certainly an evening oozing with talent.
Britain’s Got Talent’s ‘Old Men Grooving’ delighted the audience by bustin’ some seriously extravagant moves in their Christmas jumpers… Never mind the dancing that must have been no mean feat under those lights… lol Not quite as dynamic as Diversity but my goodness they are fun to watch.

We then moved onto the after party with Fitzroy smashing out the tunes. He certainly kept the audience lively and dancin’ until they all practically collapsed exhausted at 2am. All in all a great night, for organisers Nathan and Gareth who pulled off a real Christmas Cracker for Cancer Research UK. Well done guys!

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16th – 17th November 2015, Under The Bridge, Chelsea

It was nice to get a second bite of the cherry and play for the second year running for Mr Soul Power Maceo Parker, the man with the funky horn and former saxophonist of the late James Brown. Both nights were packed with a mixed aged audience and Maceo was on form with his ensue of humour. He was joined again by Martha High another from the James Brown revue of yesteryear amongst his ‘all the kings men’ musicians. Maceo still skilfully does a mixture of hip-hop jazz and his own versions of James Brown penned classics like “Soul Power” and “Doing It To Death”. His drummer is the femme de fatal Queen Cora Dunham known for her notorious ill skills working with Beyonce and Prince. Boy she battered them drums like George Foreman on a heavy boxing bag but with the speed of a Mohammed Ali shuffle. Brilliant two nights and hopefully see y’all if Maceo comes back this year.

FARO 188

This is an album of excellence coming straight outta Brazil via Italy and the UK. Although like her collaborator Nicola Conti, Stefania Dipierro is Italian, she sings sensually both in English and a Brazilian dialect in the vein of Astrud Gilberto and Flora Purim. Full of bossa, samba and other latin influences, there is a touch of spiritualism resonating through the album which is quite a scoop for Far Out Records. It’s very classy with two nice and diverse version excursions of Gilberto Gil and Astrud Gilberto’s respective “Maracata Atomico” and “A Gira (Old Black Magic)”. The arrangements and production of this album is of a very high standard. It’s varied in tempo with hints of funk and soul within “I Feel The Sun” and “Natural” and some undeniably infectious dance tracks like “Open The Door”, “Ainda Mais”, “The Meaning Of Life” and “A Menina Danca”. Excellent purchase guaranteed!!

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I’ll do my best two do an overview of 34 tracks spread over 3 cd’s and pick the highlights from the package. The production levels of this track vary somewhat in the difference between live music and studio input. So to open with a very musical and classic melodic “HeartBreaking – The Sound Principle” featuring the very accomplished vocals of Richard Anthony Roberts of When you Need My Lovin’ from 1997 is a good start. Daniel March’s “Falling” is sung on a very rhythmic drum, high hat dominating and percussive cow bell groove that’s very noticeable. Antwyn’s falsetto sung “Still” has hallmarks of Eric Roberson’s Right Back To You 70’s vibe and this is followed a few tracks later by The Sun Orchestra’s bump and hustle grooved “Can’t Deny It”. CD 2’s selection starts with a very Chic influenced “Call On Me” by The R&R Soul Orchestra which works effectively as does Tom Glide’s very smooth and architect built horns and keyboard dance mix of a great vocal from Candace Wooten’s “Free”. One of two well produced acoustic productions showcases Tony Momrelle and Tony Remy on a Spanish guitar vibe. Different Street and fellow Inconito vocalist and UK answer to Lady T, Katie Leone slithers smoothly on a very cool jazz soul tinged “Yellow Fever”. The most stand out tracks on the whole album, is Nigel Lowis’s superb Philly Salsoul essences remix of The Sensationelle “Crystal Clear to Me”. The vocal and musical synergy make this a very individual retro but contemporary piece of soul in my humble estimation. I commend Marc Staggers on his very true to the original cover of Luther’s “So Amazing” which fortunately didn’t go horribly wrong.

CD 3’s “Funky Mahoraja” feat Xantone Black is subltley funky with some retro deep background vocals that make a difference. Carmicheal Musiclover provides the steppers R&B lick with an all seasoned “Unconditional” and the better of two Ian Martin feat Jill Zadeh tracks included “One To One” evokes that 1990’s Total meets Davina old school vibe. I must say the last five wind down tracks from Aaron Parnell, Tracy Hamlin, Tyrone Lee are very infectious, calming and sensual. Dunn Street 1986 “Even A Fool” sounds so right amongst this contemporary selection accompanied by the live version of Kashif’s classic “Help Yourself to My Love” that concludes another eclectic Luxury Soul comp so it’s make ya mind up time like Hughie Green.

africa

Freestyle Records have had a bit of a scoop here releasing the unofficially dubbed grandfather of Afrobeat, the legendary Ginger Johnson. With the aid of Ginger’s son Dennis Dee Mac Johnson this album gets an official reissue from its humble 1967 beginnings. “The African Party” incorporates African, Brazilian and Latin percussive rhythms with freestyle horns, drums and subtle bass interaction, that are quite hypnotic and spiritual calling. “Witchdoctor” and “Ire” conjure up various tribes ritual dancing imagery with its repetitive chants. “Talking Drum” carries much of the indigenous Afro elements embraced by Fela and Manu Dibango in the 1970’s, and has been given a respectful up to date remix that’s separately available soon outside this album mix. “Lord Morocco” reminds me of latin cuts I have from Eddie Palmieri. “A You Momma”, “Alege” and “Hi Life” are certain to cause a few hip replacement candidates queuing up after being consumed by they entrancing pulsating rhythms. Original Afro drum and bass in ya face. Essential!!

karlito

I picked this up on Mike Stephens’s music stall at Luxury Soul Weekend Jan 2016 as I was attracted to the cover and the title, a twist of one of my favourite Al Pacino films Carlito’s Way. I was further drawn to the classic titles that include Earth Wind & Fire, Billy Griffin, Chaka Khan, Aretha, Teena Marie and The Crusaders so I thought I’d “Take A Chance” on it like Abba. I can only describe my delight upon hearing the fantastic music production mixed with spoken word and positive street rap as being a “Happy” one like Pharrell. Featuring amazing and the so perfect contributions from some of the UK’s finest The Floacist Natalie, Junior Giscombe, Paul Johnson, Don-E, Omar, Chris Balling Mark Harrison and Benjamin Ad, Karlito does all the instrumentation. He has additional support from The Hot City Horns, Pete Whitefield on violins. Trust me you need to get this!!

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I came across this group of unassuming student looking musicians who warmed up for the Blackbyrds at Under The Bridge. They truly are a gifted collective paying homage to jazz fusion of the early Headhunters, Jeff Lorber Fusion and Chick Corea kind. Between them Tom O’Grady and his band of merry men Tiago Coimbra, Afrika Green, Ric Elsworth, Alex Hitchcock and George Cowley, have either studied music have played with, Don Blackmon, Herbie Hancock and Deodato. Surrounding the short interludes “Cosmic Cascade” and In “The Rhodes of Ecstacy” are some authentic productions and unexpected key changes. Varied in tempo their fusion of jazz soul and funk is highly exampled on “Collidoscope”, “Pursuit Of The Jetson Mobile” and a Herbie Butterfly esq slow jazz jam “Sejuicing My Squeeze”. The unpredictable and journalistic matrix cut is “UnRavelling” with its unassuming false mid tempo start that converts to a bass rumbling ferocious HeadHunters Sly simulation bullet. Truly impressive album and must get if you missed the January sales.

tbc

This creme de la creme quintet of soul surviving talent with at least 150 years of musical history between them share a few common denominators. Like Caron Wheeler they are all ‘UK Black’ with West Indian roots and have had successful solo careers, however they join forces to be known as The British Collective. Featuring Don E, Noel McKoy, Omar, Leee John and Junior Giscombe, This has been leaked to me by their Lady Di Dunkley. These Enid Blyton Famous Five are our own homegrown UK’s version of the USA’s BMU (Black Men United) but with something a little extra. They trade places delivering alternative lead vocals and provide great harmonies if you initially check out “Stay” featuring Junior on lead vocal, and Leee John on an almost Imagination sounding 4 floor up-tempo “Higher Love”. They explore different tempos and genres as Noel takes the lead on a lovers rock laced “Tek Her”, and they borrow an interpolation of Junior Giscombe’s “Mama Used To Say” on a poignant fatherly messaged “Papa”. Typical UK rugged ragga funk bass line runs riot through “It Can Only Get Better” and they bless with more than ample justice soulidifying Trevor Walter’s classic lovers rock anthem and first album single release “Love Me Tonight”. Leeee John takes lead on the slow jam “Tell Her” accompanied by a powerful crying in the wilderness ad lib from monsieur Noel McKoy. “Sign Of The Times” is a very catchy two step piece of memorabilia with a very melodic and quite infectious up-tempo “Flow” make this debut album one worth waiting for. Watch this space…

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After seeing Esperanza’s impressive live showcase of this album at Shepherds Bush Empire late last year, for those who love he soul and jazz catalogue, this embraces more of a rock, jazz, fusion influence. It’s certainly abstract and an acquired taste, very reminiscent of the 1970’s era, which is attributed to groups like Santana and The John Mahavishnu Orchestra. The first four songs “Good Lava”, “Unconditional Love”, “Judas” and “Earth To Heaven” see’s Esperanza transform into a Kate Bush ‘Wuthering Height’s’ vocal octave of eerie and mysterious proportions. “Rest In Pleasure”, the albums second longest track reminds me in parts of Art Of Noise’s “Moments In Love”. It’s more of an experimental listening album that other than a short and sweet acapella bass funk “Farewell Dolly”, does provide more R&B melodic cut. “Funk The Fear” has chants and the complicated rhythm changes funk fusion is renowned for, with a touch of Carlos Santana rock and soul lead guitar.

ashford and simpson

From one of the 20th centuries most prolific singing song writing teams comes one of a few from the Cherry Red stables. The late Nickolas Ashford and his soul mate Valerie Simpson’s “A Musical Affair” arrives with 3 extra bonus tracks including the single and a previously unreleased long and welcomed version of the album’s anthem “Love Don’t Alway’s Make It Right”. After a very seductive “Rushing To” my personal favourite is “I Ain’t Asking For Your Love”. With an uplifting feel good factor message and harmonious vocal delivery “Make It To The Sky” and “We’ll Meet Again” share the orchestral strains and crescendos that always sounded epic on 70’s disco recordings. Don’t be fooled by the mellow beginning of “You Never Left Me Alone” as it does build up nicely before it reaches its 3-minute 50 mark. As well as the longer album version as a bonus check out the single edit of the power ballad “Happy Endings”. With other album titles “Send It” and “Come As You Are”, catch up the brilliance of Ashford & Simpson.