Angeline Morrison: “She’s Ready, Cat!” [Interview]

Written by Imran Mirza

Angeline Morrison initially became known to fans via her scene-stealing vocal duties on projects by now-label mates, Lack of Afro (‘Fool’) and Frootful (‘Baby It’s a Fine Line’).  Thankfully, realising just what a find Angeline Morrison actually is, she was since snapped up by the purveyors of fine music that are Freestyle Records, and in 2013, our formal introduction came in the form of Morrison’s debut solo album, ‘Are You Ready Cat?’.

Freestyle Records’ catalogue of contemporary funk and soul is amongst the best that any label in this day and age can boast, and ‘Are You Ready Cat?’ glistens like a rare jewel – unique to all others – in an already packed treasure chest.

With a style reminiscent of 60s soul, jazz and bossa nova – the music of Astrud Gilberto comes to mind – Morrison presents herself with a befitting elegance and class throughout and marries herself to her music in the perfect nature that Dionne Warwick and Dusty Springfield would engage with classic compositions as constructed by Burt Bacharach and Hal David.  Standout numbers from this release are almost too many to list, but special mention should go to ‘What Has This Become?’, ‘The Music for The Spheres’, ‘Slowtime’ (produced by Nick Radford of Frootful) and the almost unrecognisable production from Lack of Afro on ‘Fool’s Gold’ and ‘A Word for The Words’.  Credited with writing, arranging and producing, Morrison throws herself into the deep end but tackles the responsibility seemingly with ease.  Even the effervescent title-track, ‘Are You Ready Cat?’, demonstrates how Morrison, more than anything, enjoys her music.

The album is a fully-realised vision composed with an effortless comfort and confidence that’s incredibly rare, making this an extraordinary jewel not only amongst the Freestyle catalogue, but amongst any treasure trove in can be placed in.

Ladies and gentlemen, it’s our great pleasure to introduce, exclusive to TheBlueInGreenBlog, Angeline Morrison…

Who were some of your earliest musical influences growing up?
I was quite a bizarre child, very macabre, and I spent a lot of time on my own looking for sounds. The sounds in nature remain a massive influence (raindrops on earth, or glass, or pools of water, the percussive sound of birds wings as they take flight). My parents' record collection was an important source for me; they brought a lush collection of 45s with them from Jamaica. I loved the look and feel of the records as well as the sound, Roland Alphonso's 'Look Away Ska' is a massive influence, as well as Justin Hinds and the Dominoes' 'Carry Go Bring Come'. I'm listening to that at the moment actually...  I also loved early 60s UK responses to American music as a child, I'd spend ages finding oldies radio stations and listening to early 60s beat pop under the covers after bedtime. The traditional English folk music I love so much came a bit later...

When did you realise you wanted to explore a career in music? 
It wasn't ever a decision I made consciously, it just never really occurred to me to not make music...

How did you come to the attention of Freestyle Records? 
My friend Nick Radford, whom you'll know as Frootful, asked me to collaborate with him on a couple of tracks on his first album for Freestyle Records. I'd also done some co-writing and vocals for Lack of Afro, another Freestyle artist, and that's really how I came to their attention. I'm very happy they liked what they heard, Freestyle are a fabulous label. They have a deep love for music and a care and respect for the way it comes into being.

Did you have a clear idea of what you wanted 'Are You Ready Cat?' to sound like? 
Yes, I always work with tracks fully produced and finished inside my head. By the time I share a track with others, it's always fully resolved for me, even down to the all-important emotional 'feel' of the track. It was the same for the album as a whole. It isn't always straightforward to translate the inside of my head to other musicians, but we get there in the end!

What was the process of putting the album together? 
It was fast and furious! There were a few constraints at play – if I had all the time in the world, and all the money in the world, maybe things would have been different. But I was inspired by some of my most beloved albums that were put together in a matter of days. Billy Fury's seminal, 'The Sound of Fury' was recorded in a day in 1960! I love that. So we were all working with time constraints, and hopefully some of the immediacy and freshness that brings has come across. I was super-lucky with the amazing bunch of musicians I've been able to work with. Cornwall is very rich in musical and artistic talent, I think something about the nearness of the sea encourages this...

You've worked a few times with Adam Gibbons [Lack of Afro] - how would you describe the way the two of you collaborate? 
Yes, I've been lucky enough to work with Adam a few times, from writing lyrics and melodies for him, to having him mix two of my albums. He mixed the second album for my band The Ambassadors of Sorrow, and did a very fine job. I was impressed with the way he just 'got it' straight away, he understood the sound I wanted to create. He also did a super-fine job on 'Are You Ready Cat?'. He collects a lot of analogue equipment and knows his way around all of that, so his ability to create an authentic vintage feel on tracks is superb. He produced two of the tracks on this album.

You're credited with having a lot of your creative input with the album, from writing, producing and arranging - was that a lot of pressure for a debut? 
I wouldn't have had it any other way! :-)

What was the concept behind the video for 'The Feeling Sublime'? 
One of my favourite films of all time is 'The Girl Can't Help It' (1956). It's often cited as inspiring the British rock n' roll stars, with its lush imagery... the video is based on the Julie London 'Cry Me A River' scene. Julie plays a ghost of herself, in the imagination of the man who has never been able to get over her. Those scenes have a massive effect on me, and my version is a spooky homage to this. The ghost I play is different though, she's thoroughly enjoying her power over the men, and is quite mischievous and twisted...

Before the album's release, songs where you collaborated with Lack of Afro and Frootful were floating around - are there other collaborations in the pipeline, and who would be a dream collaborator? 
Yes, there's another project with Nick Radford that's already begun. The pair of us are about to record an album as 'The Mighty Sceptres' on Ubiquity Records. The first single, 'Siren Call', is coming out at the end of January.  My dream collaborations are mostly with deceased geniuses. I wish I could have something produced by Joe Meek, or do some co-writing during a seance with Geoff Goddard...

Have you given any thought to how a follow-up album would sound? 
Oh yes, lots and lots... it's almost written in fact, but I don't want to spoil the surprise ;-)

What's been a notable musical highlight for you so far? 
Wow, there's so many I don't know where to start... I think when what I call the 'box of glory' from Freestyle Records arrived, with all the finished copies of the album inside, that was a very special moment.

2013: Top 5 albums

#5

'No Beginning No End' by Jose James [Blue Note Records]

For several months after this album's release, it looked certain to claim 2013's top spot.  Marking James's debut with Blue Note Records, 'No Beginning No End' saw him recruit heavy-hitters Pino Palladino, Chris Dave, Amp Fiddler, Hindi Zahra, Emily King and Robert Glasper, all in an effort to shift his music towards more 'soul' territory - notably for the first half of the album.  The division of 'halves' is ultimately what I think worked against it for me though: the first half, as mentioned, featured the album's soul aesthetic while the second half delves back into the jazz James was initially associated with, but ballads moreso than anything else, lacking the personality normally injected into his music (see Jose James's debut album 'The Dreamer', for example).  These are really just gripes for me as I place Jose James on such a pedestal.  What 'No Beginning No End' has actually gone on to achieve is undeniable though and much credit should go to Blue Note for the faith they clearly have in James and his product.  In and around this album though, we have to consider the two remix EPs that accompanied it ('It's All Over Your Body' (2012) and 'Come To My Door' (2013)) featuring alternate mixes by DJ Spinna, Taylor McFerrin and Oddisee, amongst others, as well as an incredible tour featuring Richard Spaven (drums), Takuya Karuda (trumpet) and Solomon Dorsey (bass).
For more info on the album, click here:
http://theblueingreenblog.blogspot.co.uk/2013/02/no-beginning-no-end-by-jose-james-album.html
For a review of Jose James live in 2013, please click here:
http://theblueingreenblog.blogspot.co.uk/2013/04/jose-james-live-xoyo-london-9th-april.html

#4

'Where Does This Door Go' by Mayer Hawthorne [Universal]

Well... he's certainly come a long way since his Stones Throw debut in 2009, and the retro-themed stylings of 'A Strange Arrangement'.  Now housed under the Universal umbrella, Mayer Hawthorne evolves his music immaculately by taking his sound in a far more progressive direction while still dipping his cap to vintage soul in the way he's been famed for.
The decision to relinquish the production reigns to names including Jack Splash has given a fresh perspective, direction and sound that establishes it as wholly unique for 2013.  Three contributions are even submitted from Pharrell Williams (four, if you include the iTunes bonus track) and his production on 'Reach Out Richard' stands blissfully tall amongst an album full of highlights, including 'The Innocent', 'Crime' and 'Her Favourite Song'.  'Where Does This Door Go' genuinely ranks as an essential purchase for 2013 and was a genuinely strong contender for 'album of the year'.

#3

'Are You Ready Cat?' by Angeline Morrison [Freestyle Records]

"Why so few words for the album you're ranking #3 of the year?"
Well, we're a mere few days away from unveiling our special feature on Ms Angeline Morrison, who was kind enough to engage in a Q&A just for you good people so we'll save all the best words about the album for that article.  Needless to say, it's claimed an incredible place on our list so it's worth already speaks volumes.  The BlueInGreenBlog bows down to you Angeline!

#2

'Victim of Love' by Charles Bradley & The Menahan Street Band [Dunham Records]

Charles Bradley (and The Menahan Street Band) formally introduced themselves to the soul-loving public with 'The World (Is Going Up In Flames)' in 2007, and it took four years for the full-length album release to finally hit the shelves, which it finally did in 2011 in the form of 'No Time For Dreaming'.  Released on the Daptone subsidiary label, Dunham Records (headed up by Thomas Brenneck), the album was standard Daptone fare with Bradley's heart-wrenching lead vocal soaring over Brenneck's musical platform.  Thankfully, we didn't have to wait as long as we did on the first time round for the follow-up or else 'Victim of Love' wouldn't have a home on this year's list.  So ridiculously close to claiming the top spot, this release was by no means play-it-safe.  Much like Brenneck did with the Menahan Street Band's sophomore effort released last year ('The Crossing'), this album could have easily followed in the vein of its predecessor but songs like 'Victim of Love' and 'Confusion' are almost reminiscent of 60s/70s psychedelic rock a la Jimi Hendrix or The Doors.  It's a far more gutsier and more mature record, and probably the boldest one to ever come out of the Daptone family.  This is a certified classic that demands your attention. 

#1

'Tortured Soul' by Nicole Willis & The Soul Investigators [Timmion Records]

It really has been as long ago as 2005 since the perfect made-in-heaven collaboration of Nicole Willis and the Soul Investigators came to its fruition unleashing their debut album, ‘Keep Reachin’ Up’.  Released on Timmion Records, an undeniable classic floor-filling record and soul connoisseur’s gem was unveiled, propelled by standouts including ‘Feeling Free’, ‘If This Ain’t Love’ and ‘My Four Leaf Clover’, the trans-Atlantic pairing of the Brooklyn-born, US songstress and Finland’s soul and funk power-house band garnered sterling reviews and a loyal fan base who patiently waited eight years for the follow-up record, delivered to us with glee, again, by Timmion Records in the form of 2013’s ‘Tortured Soul’.
While ‘Keep Reachin’ Up’ was glorious in its infectious enthusiasm and all-round feel-good vibes and nature, ‘Tortured Soul’ is a decidedly darker album – in both its themes and its music, adopting a more bluesy approach to many of its songs.  Few tracks on this release even seem like they’d have a home on ‘Keep Reachin’ Up’ with ‘Time To Get Business Straight’ being one of the few can’t-sit-still contenders.  By no means is this a bad thing at all – as a result of the new direction, songs are given more room to breathe and are fleshed out with more instrumental work showcasing just how unbelievingly good The Soul Investigators are.  These are conditions that Willis equally thrives under as well though – showcasing her indelible talent and ability, both as a singer and a songwriter, to get you up dancing or have you nostalgically lamenting.
With the new album’s release, it probably couldn’t get much busier, but despite it all, Nicole Willis took the time to bless this site with an exclusive chat about the last eight years and what went into the creating of the new album which you can read here:
http://theblueingreenblog.blogspot.co.uk/2013/04/nicole-willis-soul-investigator.html

2013: honourable mentions

We're not too far away now from unveiling our top 5 albums of 2013 but we were immersed in so much good music throughout a bumper year of releases, it was only right that we acknowledge some of the music we may not have had the chance to earlier on this blog.  If you've yet to do so, please check out the following releases and definitely let us know if you think we missed any!

‘Be My Monster Love’ by David Murray Infinity Quartet [Motema Records]

In the year that’s seen Motema Records celebrate its tenth year putting out incredible jazz music, they can also boast a brand new release from famed saxophonist David Murray and his Infinity Quartet, and their album, ‘Be My Monster Love’.  Featuring lyrics written by Ishmael Reed and Abiodun Oyewole, and vocal contributions from Macy Gray and Murray’s former label mate, Gregory Porter, who guests on a staggering three tracks: this album is exciting, vibrant and if there was room for a SIXTH place on our ‘best of 2013’ list, this album would’ve swiped it.  (The inlay card also features a short story penned by award-winning crime novelist, Robert Wilson, entitled ‘A Dangerous Kind of Love’.)

‘Sound The Alarm’ by Booker T [Concord Jazz]

Following his 2011 album, ‘Road From Memphis’, Booker T Jones returns in fine form, this time with the help of The Avila Brothers who helm much of the disc’s production.  Boasting an all-star cast including Mayer Hawthorne, Estelle, Anthony Hamilton, Sheila E and Vintage Trouble, along with production assistance from Terry Lewis & Jimmy Jam, and guitar work by Raphael Saadiq on a handful of tracks - ‘Sound The Alarm’ delivers some of the year’s best songs including ‘Broken Heart’ and ‘Your Love is No Love’.

‘Broadway’ by Myron & E [Stones Throw Records]
Produced by and featuring Finland’s awesome band of musicians, The Soul Investigators, the vocal R&B duo flourish with a distinctly exquisite soulful sound that has heralded them as one of the genuinely well-received surprises of the year.  TheBlueInGreenBlog was thrilled to have caught up with Myron Glasper for an exclusive chat about the album in October of this year, so click here for the full read: http://theblueingreenblog.blogspot.co.uk/2013/10/soul-from-sea-to-sea-myron-e-interview.html

‘Say That to Say This’ by Trombone Shorty [Verve Records]

Following what could be described as Trombone Shorty’s breakthrough album, ‘For True’ in 2011 (featuring heavy-hitters, Lenny Kravitz, Ledisi and Kid Rock), ‘Say That to Say This’ is a decidedly low-key affair – by no means a bad thing as this is brilliant.  Produced by Raphael Saadiq, the album’s highlight comes in the form of Trombone Shorty’s cover of ‘Be My Lady’, originally by The Meters and, here, featuring The Meters.




‘Lady’ by Lady [Truth & Soul]
Truth & Soul struck gold with the seemingly random pairing of the UK’s Terri Walker with the US’s Nicole Wray, and teaming them with musicians from Truth & Soul and Daptone Records, led to a true throwback Motown-esque sound with all the youthful vibrancy of the genre’s architects.  The album proved to be a breakthrough success so hopefully the team will capitalise on this soon enough.  Click here for our full album review: http://theblueingreenblog.blogspot.co.uk/2013/05/lady-by-lady-album-review.html

‘Time to Do Your Thing’ by Zbonics [Membran]
Zak Najor, drummer for Greyboy Allstars, assembles a dream team of artists, including saxophonist Karl Denson, guitarist Melvin Sparks and singer Gregory Porter, who appears on five of the album’s 14 tracks.  Apparently created over several years, this very contemporary-sounding, funky soul/jazz release is a definite standout of the year.

‘Sometimes Too Much Ain’t Enough’ by The Excitements [Penniman Records]

 

I picked this one up based on liking the album cover – more retro good-timed and up tempo soul music with Spanish band, The Excitements and their American lead-singer, Koko-Jean Davis.  This is actually the group’s second album – the first having been released in 2010 which I’m yet to get so have some catching up to do as well.

Blue-in-Green Podcast#3: GetToKnow_Thomas Brenneck

Thomas 'TNT' Brenneck is the producer/musician/writer under our proverbial spotlight this month in Episode 3 of our 'get to know' the producer series.

Not an easy one to put together this month - Brenneck's music, as guitarist with (check this lineup...!) The Dap-Kings, The Budos Band, The Expressions (with Lee Fieds), The Menahan Street Band, along with contributing to albums by Mark Ronson, Daniel Merriweather, Amy Winehouse and Lady, it's been difficult trying to keep track of it all but hopefully you'll be pleased by the selection that's been put together.

Having set up his home with the Brooklyn-based record label, Daptone Records, his subsidiary label, Dunham Records, spawned the album releases by his own pet project, The Menahan Street band, as well as the two albums by Charles Bradley. 

Click below for your listening and downloading pleasure:
http://soundcloud.com/user305437292/blue-in-green-podcast-3

'Keep on Looking' - Sharon Jones & The Dap-Kings
'Deep in The Sand' - Budos Band
'The World (Is Going Up In Flames)' - Charles Bradley & The Menahan Street Band
'Make The Road By Walking' - Menahan Street Band
'Could You' - Daniel Merriweather
'Rehab' - Amy Winehouse f/t Jay-Z
'The Crossing' - Menahan Street Band
'Victim of Love' - Charles Bradley
'Ghost Walk' - Budos Band
'I'll Still Be True' - Sharon Jones & The Dap-Kings

Me, myself and my CDs (part3)

Welcome to the final part of our trilogy of posts celebrating the album hardcopy. 

'Home Grown: The Beginners Guide to Understanding The Roots, Volumes 1&2' by The Roots [Geffen, 2005]

In an effort to complete their contract under then-record-label-home, Geffen Records, The Roots agreed to release a dual album 'best of' containing an inspriring selection of, not only their hits but also fan favourites, remixes and exclusive live recordings of their songs as well.  It's very much an exemplary way of releasing a 'best of' - why provide fans with music they already have and throw a new price tag on it?!  Further to that, however, the reason this compilation has found a place within this series of articles is due to the exhaustive liner notes prepared by the band's leader and drummer, Ahmir 'Questlove' Thompson.  Always one for finding ways to connect with his audience - hence the very reason Okayplayer.com exists - it was the liner notes that made fans of The Roots salivate in anticipation of these releases.  Detailed stories are outlined for each of the songs on the tracklist, including the stories behind the shockingly long list of singers that were approached, and in many cases, actually recorded their parts, for 'Break You Off' (D'Angelo, Bilal, Erykah Badu, Gerald Levert, Claudette Ortiz, among others...).   Essential reading for Roots fans.

'One Nite Alone...Live!' by Prince & The New Power Generation [NPG Records, 2002]

A glorious 3-disc opus spanning recordings from Prince's tour in 2002 in support of 'The Rainbow Children' (2001), and the internet-only album release, 'One Nite Alone' in 2002.  Prince, live, is as good as it gets!  If there's any doubt about that fact then the brilliant funk of '1+1+1 is 3' to the intimate playfulness of 'Adore' will prove this is the release to convert you, and then there's the bonus of the aftershow performance as well, featuring guests, George Clinton and Musiq Soulchild.  Thinking about it, it's surprising that this is the only offical live release that there is to purchase (DVDs aside)(?). 
The CDs are presented amongst two jewel cases within a nicely-pacakaged box set.  The full-colour booklet acts like a scrapbook of the performance containing fan testimonials, media concert reviews, plus comments and input from the band (a dream team line-up including Maceo Parker, Greg Boyer, Candy Dulfer and Renato Neto) regarding their favourite moments from the US tour. 

'Lou Bond' by Lou Bond [Light in The Attic, 2010]

This masterpiece of soul music was originally recorded in 1974 and released on the Stax subsidiary label, We Produce, but after having fallen by the weyside back then, it's Light In The Attic reissue in 2010 reintroduced this gem to a whole new audience.
As much as quality music purchasers should be applauded, fans are doing themselves a disservice by not picking up a copy of the CD itself as the icing on the cake to this reissue (aside from the previously unreleased bonus track) is really the bonus booklet that comes along with it, which features an incredibly written feature and interview with Bond himself, along with contributions from artists he played with, members of Stax and friends from his childhood.  Reading about Bond's childhood amongst numerous foster homes, and his time living on the streets, makes songs like 'That's The Way I've Always Heard It Should Be' even that much more significant, and haunting in its own way, as the Carly Simon-penned song muses over marriage and family, and the expectations and disappointments they can bring:

You say we'll soar like two birds through the clouds
But soon you'll cage me on your shelf
I'll never learn to be just me first
By myself

'The Dreamer' by Jose James [Brownswood Recordings, 2008]

Any chance I can get to wave the flag for Jose James then I'm damn sure going to take it.  From his Brownswood Recordings debut in 2008, and what I believe to be his great offering to date, may I present to you, 'The Dreamer'.  This album is one of three that I've ever bought based on the album covers (along with Khari Cabral Simmons's 'Clementine Sun' and Shirley Brown's self-titled 'Shirley Brown'), and this has gone on to be something of a definable image for James.  Photographed by Lars Beaulieu, the image is the perfect invitation to the world you're about to delve in to - it's intimate, it's sincere, it's engaging and it sets the mood and tone perfectly for the gems littered throughout the album.

'Refried Mac' by Res [EP review]

What a welcome return this is!

If my math is correct, this is the first official release by Res since her debut album ‘How I Do’ was released in 2002.  (If my math is wrong though, someone please tell me so I can play catch up.)

An album that’s long-been one of my favourites – only right to name check the brilliance of Doc McKinney on production who created magic with Res and songwriter, Santi White (Santigold).

But anyway, back to our subject at hand: not your conventional Philly songstress, Res’s debut album saw her comfortably merging styles and genres until we were left with something distinctly Res.  Thankfully, even after all this time, her new project, ‘Refried Mac’, has managed to do it again.  A digital EP comprising of five Fleetwood Mac covers – hence the name, Refried Mac (...get it?), this is a great project to reintroduce her to the masses and hopefully swiftly have followed with a full-length album soon enough.

The tracklist includes:

Rhiannon
Dreams
The Chain
Little Lies
Edge of Seventeen

Going for the absurdly cheap price of £3.45 on Amazon, be sure to grab a copy!

Me, myself and my CDs (part2)

Following on from part 1 of the ‘me, myself and my CDs’ series, here’s our first batch of CDs – whether it be down to the artwork or the packaging – that would breathe life into any music fan’s collection...


‘Destiny’ by Shuya Okino [2011]

Shuya Okino - one half of the infamous Kyoto Jazz Massive - spun the soul world on its head in 2010, first by teasing fans with the release of 'Still in Love' the year before, and then following it up with its equally inspiring full-length release, 'Destiny'.  Filled with dancefloor, string-heavy releases, and a vocal guestlist including N'Dea Davenport and Pete Simpson, the album stormed to the top of the year's best-ofs.  The packaging is particularly noteworthy though - as it's a book: a beautiful matt-laminated hardback book with the CD tagged in at the end.  What do the pages consist of though?  Er... well, they're really just pictures of him getting dressed in really fly gear and close-ups of said really fly gear (cufflinks, shoes, etc.), unfortunately no real info about Shuya, the album or the record label.  To add to its appeal though - it's not a particularly easy album to find.  I had to get it from CDJapan but thankfully SImply Soul now stocks it, so visit them to get yourself a copy.


‘True Soul: Deep Sounds From The Left of Stax’, Volumes 1&2 [Now-Again Records, 2011]

Released in 2011, this two-volume compilation – probably more aptly dubbed an anthology – took thirteen years to compile(!) and comprises of rare and unreleased funk and soul music from the legendary independent Arkansas record label amidst the 1960s and 1970s.  Music-wise, Volume 1 boasts brilliance like ‘Follow the Rainbow’ by Thomas East, and ‘The Real Thing’ by The Conspiracy, while Volume 2 counters with ‘You For Me and Me For You’ by The Right Track and two gems by Portrait in the form of ‘Springtime Smile’ and ‘Love You For Now On’. 
The volumes are each beautifully-presented in matt-laminated hardback cases containing a CD and DVD (which features live performances by the True Soul All Stars captured from 1973’s True Soul Revue television program), as well as a 56-page colour booklet containing photos and interviews.  Frankly, these volumes are about as essential hardcopy purchases as it gets!

‘The Outsiders Are Back’ by Kings Go Forth [Luaka Bop Records, 2010]

The debut album by Wisconsin's own ten-man soul orchestra went on to secure the coveted title of 'The Blue-in-Green Session's AlbumOfTheYear' in 2010 – having deservedly done so by becoming a group (of varying ages and backgrounds) brought together by their love and passion for playing and performing quality funk-filled soul music.
The icing on the cake with ‘The Outsiders Are Back’ is the album’s cover art, which are original drawings by Mingering Mike.  If you’re unfamiliar with Mingering Mike – let me introduce you:  Mingering Mike is you.  Mingering Mike is me.  Mingering Mike is that dreamer with the unattainable ambition of gracing a stage and being heralded as an international soul superstar – but as people couldn’t celebrate the superstar, they celebrated the dreamer.  Mingering Mike would go on to create a fictional career as a soul sensation by creating actual record sleeves for over 50 of his own ‘albums’ featuring his sketches of himself and his friends, and even including cardboard ‘vinyl’ in the sleeves.  ‘The Outsiders Are Back’ marks the first album that features Mike’s artwork that was actually released! (The story is truly incredible and far more extensive so for more info, please visit http://www.mingeringmike.com/)

‘Made by Maceo’ by Maceo Parker [What Are? Records, 2003]

Oftentimes, it feels like Maceo has been one of funk's unsung heroes despite a resume that includes saxophonist for no less than the actual architects and pioneers of funk music, including: James Brown, George Clinton, Bootsy Collins and Prince, despite carving out an incredible solo career including no less than fourteen solo albums and a relentless touring schedule.  It's his 2003 album 'Made By Maceo' which is of particular importance to us here though - despite featuring a brass section of Ron Tooley, Candy Dulfer and my favourite trombonist, Greg Boyer, throughout the record, the album can also boast a beautiful package as displayed in the following picture.

‘Kingdom Come’ [deluxe] by Jay-Z [Def Jam Records, 2006]

Jay-Z's 2006 comeback album, three years after what was intended to be his swan song, borrowed the title from a classic Superman comic book story that sees the Man of Steel come out of retirement to don the cape once more and save the world.  (In case anyone was wondering 'wow, Jay-Z's a comics fan!?', he isn't, the title was pitched to him by long-term collaborator, album producer and comics fiend, Just Blaze.)  Certainly an apt album title when discussing the Ruler of Rap's return to hip-hop and a theme smoothly carried over to the deluxe album packaging with a cardboard case featuring a cover of 'suit and tie'/corporate Jay-Z, and a slip case sleeve 3D cover that when inserted over the cardboard image, reveals the true identity of 'street hustler' Jay-Z.  Quite nifty.  There's a bonus DVD too in this edition.

Me, myself and my CDs (part1)

Y'know when you're having an argument with someone and you know you're not getting your point across well at all - there's a logic, a stance and a moral standpoint that justifies and explains everything and you're just not able to verbalise it at all, but worst of all, you know that later when you're replaying the exchange back in your head, the exact thing you should have said will occur to you and you'll kick yourself for not having realised it at the time!

The argument I'm talking about - which you can hear in full drawn out completion - can be found here in LF's debate about how we (music fans) consume our music [I'll also post up a link to the more recent November podcast that's about to air where we discuss the 'future of music' which touches on how people currently consume music and how they may continue to do so in the future].  If you didn't know when listening to the podcast, I'm the one frantically on the defensive trying to justify my standpoint of still buying CDs - I think I was actually called 'grandad' at one point?!  It would appear that Team LF take in music through practically every means possible, as long as it isn't by purchasing a hard copy.

I think one of my leading arguments was that 'I present a radio show and see myself as a bit of a collector', but that arguement served no purpose as still I was unable to muster up any level of understanding.  I do feel though that if I had been a vinyl junkie and had said 'I present a radio show and see myself as a bit of a collector', then the response would have been 'Oh, that's ok then'.  There's certainly something about vinyl that garners peoples' automatic respect as a fan and collector but CDs are just met with 'What's the point?'

I started to get serious about my music in my mid-to-late teens and had no aspirations of DJing or presenting so through the ease of purchasing at that time, CDs were the way to go.  And this is actually a little bit before MP3s became readily available, so if your friend had a really cool song on a CD that you wanted, you wouldn't say, 'Can you burn me a copy or email me the MP3', you'd say, 'Can you record that song on to Side B of my D90 tape please - cos that's what we did back then!  Wait a minute, maybe I am a grandad?! (ha ha).  But it genuinelly wasn't long before MP3 sharing became the thing furthering the ease of burning your own CDs, etc.

I don't think it's a shame that more people don't buy CDs, and I certainly don't think they're wrong for not doing so but I guess I'm surprised that someone else would be surprised that someone does do those things.

I thought this would be a great way to maybe segue into a different perspective - something of a celebration of the CD: it's packaging, it's artwork, so in the next week or so, I'm going to compile a few pictures of some of my pride and joys, and some CD packaging and album cover artwork my collection simply could not do without.

Make sure to check back here soon...

'Give the People What They Want' - Sharon Jones & The Dap-Kings

I can't remember the last piece of news that made me this happy to report: Sharon Jones, who had to take some time off earlier this year for cancer treatment is now well, fit and healthy.  As excited as I am about the news that the band's new album is expected shortly, currently rescheduled for release in January 2014, it certainly comes second place to the news that she's ok as it was devasting to hear it when announced back in August. 

Tour plans have been announced in support of the album's release and I genuinelly implore anyone reading this, that's able to see them live, to not miss the opportunity as you'll be missing one of the leading performers that there is grace a stage (I really can't stress that enough!) 

Daptone have also released the album's tracklist, see below, and below that check the link for the animated video for 'Retreat':

Side One:
Retreat!
Stranger To My Happiness
We Get Along
You'll Be Lonely
Now I See

Side Two:
Making Up And Breaking U (And Making Up And Breaking Up Over Again)
Get Up And Get Out
Long Time, Wrong Time
People Don't Get What They Deserve
Slow Down, Love

Myron & E: Soul from Sea to Sea [Interview]

Written by Imran Mirza

The release of Myron & E’s ‘Broadway’ has come as one of the genuinely well-received surprises of the year.  Long gone are the days when Stones Throw were simply known as an independent, underground hip-hop label – now becoming increasingly more recognized for their innovative soul music output, including current heavy-hitters, Aloe Blacc (whose mammoth release ‘Good Things’, spearheaded by the classic-in-making, ‘I Need A Dollar’) and Mayer Hawthorne (currently riding high on the success of his third album, ‘Where Does This Door Go’).  But now, we can add Myron & E to the already impressive lineup.

Initially, each exploring careers as solo acts, it was the release of Eric Cooke’s independent solo record, under the moniker of E da Boss, that led him to Finland and to the music of The Soul Investigators.  The group’s head honcho and producer, Didier Selin, began exchanging music back and forth with E, prompting him to start collaborating with Myron Glasper as a singing and songwriting partner.  The two met while touring with Blackalicious, and while the work in this instance was intended to be short-lived, ‘when it works, it works’, and thankfully, the vocal duo ‘Myron & E’ was able to come to fruition.

Extending their relationship with The Soul Investigators further, Myron & E released a collection of funk 45s with the Finnish band’s home, Timmion Records (‘Cold Game’/’Can’t Let You Get Away’, ‘It’s A Shame’ and ‘On Broadway’) before finally signing with Stones Throw to release their debut album for 2013, ‘Broadway’, with The Soul Investigators on complete production and instrumental duties.

The inclusion of The Soul Investigators is, frankly, a genius move.  Didier and the team – already with one incredibly strong win under their belts this year with the long-awaited sophomore release of Nicole Willis & The Soul Investigators – once again prove that their lack of major notoriety is criminal.  With the support of such fantastic musicians, Myron & E flourish with a distinctly exquisite soulful sound, encapsulated by such gems like ‘On Broadway’, ‘They Don’t Know’ and the show-stealing, ‘Everyday Love’. 

At the time of writing, the duo’s success sees them touring across California, Finland, Copenhagen, Stockholm and Paris, all before the year is up, which makes us even more appreciative that Myron Glasper took time out of an insanely busy schedule to talk with us. 

Ladies and gentlemen, from Myron & E, may we introduce, Myron Glasper…

You must be overjoyed with how 'Broadway' has been received so far?
Hey hey hey! Yes, very excited about the response to the album! You just never know how people are going to react and thus far it’s been pretty good.  I try not to worry too much about it.  I don't want to be in my head you know, just want to stay focused.   I think the ‘Broadway’ album is pretty solid and I feel safe saying it can get in there and move around with other contemporary soul releases.

How did the two of you initially meet and start recording music together?
As for us meeting, we both toured with Blackalicious, both starting around 2002/3.  Me, doing the background vocals and E, DJing.  We started recording as a result of me popping up over E's house.  We were just in the middle of moving back to Oakland California.

And from there, how did you hook up with Didier and The Soul Investigators?
Eric and [I] visited Finland and met the Soul Investigators a year or two before.  He reached out to them for some music.  They agreed but only if he promised to sing on some of the music they sent.  He asked me to help him being that I had years of experience in writing and recording.  The first song was ‘Cold Game’, followed by ‘Can't Let You Get Away’ and the rest, well, here we are.

How did the making of 'Broadway' come together? Did you record separately from The Soul Investigators or record together?
We recorded the first two in Oakland Ca., later to record the bulk of the album in Helsinki, Finland, and a place called Kaapeli (old fiber optics cable manufacturing building) in an underground bunker.  We all just kind agreed on the singles together with different opinions of course but it all worked out.

How does the music from the album transfer to the live stage?
On stage, depending on which group of musicians we play with, it’s always different but we try to bring as much of a party/show as possible.  Some of the songs on the album are a bit laid back but we bring an exciting dance vibe to the stage.

Have you given any thought to what a follow-up album would sound like?
As far as the next album, yes, we have given it some thought.  We're kind of talking about it and writing ideas now.  We want to get a jump on the next project so there's no down time or lag.  We don't want to lose sight of building the ‘Broadway’ album so not much beyond that has been done.

What song would you play for someone who had never heard anything by Myron & E?
If I played a song from ‘Broadway’ for someone that has never [heard] anything by us, it would probably be ‘If I Gave You My Love’, but I'm not very good at choosing the songs that way.

Who would be a dream collaborator for an album or performance?
Well, before her passing, I wanted to work with Amy Winehouse, rest her soul.  I really liked what she did musically and enjoyed listening to her songs.  Others would be Raphael Saadiq, Norah Jones (her early releases) and Sheryl Crow.  There's more but I'll keep it short for now...

The Blue-in-Green Podcast #2: GetToKnow_Jack Splash

Welcome to Episode 2 of our 'get to know: the producer' series showcasing the work of some of our favourite producers and musicians, and this month, we're proud to bring Jack Splash's music under the spotlight. 

Splash was such an obvious choice for this series - he was nearly #1 - so hopefully we can put some of his gems your way here.  (For those new to Jack Splash, I implore you to check out Plantlife's debut album 'The Return of Jack Splash' as it's amongst one of the best things I own.)

Below is the tracklist for the show:

'T.O.N.Y.' - Solange
'Fool For You' - Cee Lo Green
'You' - Anthony Hamilton
'SST' [Plantlife Remix] - Prince
'Pretty Please' - Estelle f/t Cee Lo Green
'Kaila' - Mayer Hawthorne
'Guitar Love' - Dena Deadly
'Mo Better' - Raheem DeVaughn
'Right Now' - The Heart Attack
'Why'd You Call (3AM)' [Live] - Plantlife

Jesse Fischer: Past, Present and Retro Future [Interview]

Written by Imran Mirza

2013 has genuinely been a great year for Jesse Fischer.  The Brooklyn-based mastermind behind the jazz/funk/soul/electronica band, Soul Cycle, and the continual brilliance that he, and his ever-evolving group of musicians, continue to deliver over their multiple album releases saw them kick everything into overdrive this year.

Still raking in the plaudits from his 2012 album release, and first under the ObliqSound banner, the aptly-named ‘Retro Future’ was another self-assured and confident declaration of Fischer’s proficiency and inimitable technique of creating music rooted within the essence of classic jazz, funk and soul stylings, but being brave enough to push those genres and boundaries into the new millennium resulting in a contemporary style all of his inimitable own.

‘Retro Future’ continues to serve as a source of inspiration amongst a seemingly non-stop touring schedule, most recently having chalked up performances at New York’s prestigious ‘Blue Note’ (which also sees the legendary pianist McCoy Tyner take to the stage within the same month), and recruiting friends and collaborators currently including Solomon Dorsey, Takuya Kuroda and Rachel Eckroth. 

Fischer’s penchant for collaboration continues to generate exhilarating results, with a consistently-expanding  list of artists who have benefitted from his virtuoso skills (be it as a performer, engineer or producer), including Stevie Wonder, Laura Izibor, Saunders Sermons, Melanie Charles, N’Dambi, Freddie Jackson and, most recently, Kat Webb from her sophomore album ‘A Better Picture’ released earlier this year, of which Fischer handled a hefty dose of production duties with Christian Ver Halen.  Describing her work with Fischer, Webb explained:

“I also met Jesse through other musicians, and saw his band, Soul Cycle, totally rock out live. I loved their funky and jazzy sound and wanted that for my original album as well.”

Jesse Fischer is one of those rare-breed of undeniable talents whose enthusiasm and passion soars almost as high as his musicianship.  Although specifically an album of cover versions, his 2010 release, ‘Flipped’, further demonstrated his propensity not just for ‘creation’ but ‘recreation’ as a selection of songs originally performed by artists as varied as Stevie Wonder, Andre 3000 and Duke Ellington were stripped down and totally reimagined with new vocalists and incorporating that indistinguishable ‘Soul Cycle’ aesthetic.

The Blue-in-Green Blog was truly most proud to catch Jesse in between touring duties and studio sessions for our exclusive one-to-one.

What are some of your earliest memories of music growing up?
Well, my dad and his friends would get together and play chamber music a lot so I was hearing a lot of Bach and other early classical music. My mom was a big Beatles fan so I had every Beatles record memorized by a really early age. My first band was actually with my brother and our two friends covering Beatles songs! We also listened to a lot of traditional American music as well as folk music from all over.

Can you tell us a little about the artists that were a big influence on you?
I was always drawn to the minimalism of people like Miles, Ahmad Jamal, Bill Evans, Herbie Hancock. Especially later when I was listening to a lot of golden-era hip-hop, Herbie was a huge influence on me because of how he formed the bridge between hard bop, funk, free jazz, classical, and hip-hop. In high school, I listened to a lot of A Tribe Called Quest, De La Soul, Nirvana, Soundgarden, DJ Shadow, and Pharcyde... more recently I’ve been studying and checking out everything from Hudson Mohawke to YMCK to Bruno Mars to Laura Mvula to Caetano Veloso to Debussy to Sousa... a really wide range of music on a day-to-day basis.


You must be overjoyed with how well your latest release, 'Retro Future' has been received?
It’s been great! I’m always happy when I can touch people with my music.

How are plans shaping up for a follow-up album?
I’ve done five albums with my Soul Cycle project and now I have about four or five different records in various stages of completion, all with different concepts and different bands. I’m working on some big-band stuff, a chamber jazz group, a couple different electronic albums... we’ll see what comes out first!

Our site interviewed Kat Webb earlier this year who was full of praise for your work on 'A Better Picture': what was the experience like working on that album?
That album was a lot of fun to make because I got to work with two of my best friends and favorite collaborators (Solomon Dorsey on bass and Adam Jackson on drums) – we work together in Laura Izibor’s band and we’ve become a sort of house band for all my production and engineering work. I love working with the both of them because they’re simultaneously very precise but very much in the moment.

I also wanted to ask about Melanie Charles: I am a big fan of her debut 'Introducing Melanie Charles & The Journey', and she's now become a frequent collaborator of yours, in the studio and touring.  How would you describe the way you work together?
I also met Melanie Charles when we were both touring in Laura Izibor’s band. We work really well together and we have a level of respect for each other’s artistry that makes everything easy. She was a guest on my ‘Flipped’ EP a few years ago and recently I helped her out co-producing and mixing her song ‘Drifting’. I look forward to doing more music with her!

Who would be a dream collaborator for you to record or perform with?
Well, there are a few singers that I really would LOVE to collaborate with either in the studio or live on stage: KING (the group), Emily King, Laura Mvula, Chantae Cann, and of course Cassandra Wilson. In terms of instrumentalists, I’m actually really excited to have the legendary Mino Cinelu sitting in with us at our Blue Note (NY) show Sept 16, as well as saxophonist Dayna Stephens. I’d also love to get a chance to work with Etienne Charles, Lionel Loueke, Julian Lage, Zach Brock, and Derrick Hodge, among many others. But most of all I’m really happy to work with the guys in my regular touring band – they’re all amazing!

'Flipped' has long been one of my favourite releases of yours (took me ages to find a hardcopy version!): how did you go about picking the songs to cover?
Thank you :) Glad you enjoyed that record. It was a lot of fun to make. I basically tried to keep it simple and picked songs that resonate with people. I’ve played a LOT of cover gigs at bars, weddings, corporate functions, etc, in my lifetime, so I know the repertoire really well, from the American songbook through Motown through today’s pop, and I have a feel for what kind of songs work with what kind of audience. When you’re recording new arrangements of classic songs, it’s a balancing act to keep the musical essence of the song while allowing yourself some liberties in the superficial aspects — hence, the ‘dirty south’ version of ‘Sentimental Mood’ or the soulful house version of ‘I Can’t Help It’.

You seem to be consistently touring – how do you enjoy being in front of a live crowd?
I LOVE being on stage and there’s nothing better than being completely in the moment and joining with your bandmates and the audience to create something special and one-of-a-kind. That said, I also really like being at home and having a regular schedule, and working in the studio allows me to sort of have a ‘normal’ life. Also, studio work is a different type of creation – it allows you to be a bit more analytical and create something that has a potential to reach a whole lot more people. I’m working on getting the perfect balance between the two for me.

What one song would you play for someone who had never heard your music before?
I would have to say ‘Digital Savanna’. Every album has one song that everyone requests, and that’s the song off Retro Future. It also happens to be the simplest and the most catchy song off the album, and came to me fully formed, so I would say it’s the least filtered and most successful recording to date. There’s also a great live video that I’m really proud of on YouTube!
Thank you so much for the questions!

Podcast: #1

I’ve toyed with the idea of creating themed podcasts for the longest time, and basing each one around an individual producer’s or session musician’s work has long been at the forefront of my ‘theme’ wish list.  I wrote a short-lived series of articles about producers for Liberation Frequency, again, focusing on some of their best stuff, but this idea brings me screaming into the current century.

Episode #1 of our ‘get to know’ series has kicked off with incredible success with Raphael Saadiq’s production wizardry under our respective spotlight this month.  I say ‘incredible’ success and, by my standards, I’m not actually exaggerating – the views, plays, favourite-ings, downloads are increasing by the day so there’s clearly a whole host of Saadiq fans out there and I’m thrilled to have connected with.

http://soundcloud.com/user305437292/blue-in-green-podcast-1

During the podcast, we announced our next producer whose music I’m chomping at the bit to showcase, and it’s Jack Splash – we’re about 2 weeks away from having that one uploaded, and we’re eyeing several other producers and musicians for podcasts including Questlove, James Poyser, Thomas Brenneck, Jay Dee, amongst many others, and with his recent work on Booker T’s and Trombone Shorty’s respective new albums, I’ve just completed the playlist for a second show dedicated to Raphael Saadiq’s productions (apologies, however, as it may be some time before you get to hear that one).

I’ll end with one of the best teases ever… In further exciting news to readers of The Blue-in-Green Blog, exciting interviews have just been secured with Jesse Fischer (from Soul Cycle), along with Myron (from Myron & E).  Our exclusive features will be available to readers of the site over the next few weeks.

Nick Pride+

We recently went through the Liberation Frequency archives and dug out a great Q&A with Nick Pride (of Nick Pride & The Pimptones fame) – largely inspired to do so from having unquestionably scored the song of the summer with ‘Everything's Better in the Summertime’ (Mayer Hawthorne’s ‘Crime’ coming in at a close second, by the way!).

Before we discuss *new* music by the group however, aside from their debut album release (‘Midnight Feast of Jazz’), discussed within the interview, there was also reference to a remix project which was subsequently released following that chat in 2012.  The very, very limited hardcopy is available via the Record Kicks site only, but widely available as an MP3 release.  While ‘Midnight Feast of Jazz’ served as the band’s ‘interpretation’ of jazz music from the perspective of a soul and funk band, these interpretations are now offered up to new perspectives from DJs and producers who re-mix, re-interpret and re-imagine the original songs embracing even more sounds and styles including dance, explosive soul numbers and even Latin rhythms.

Smoove’s (from Smoove & Turrell) remix of ‘Waiting So Long’ (featuring Jess Roberts) makes the cut, but new to our ears would be (Daytoner's remix of 'Hug Lorenzo', Diesler's remix of 'Hotdoggin', along with other DJs and producers, such as Fab Samperi, Danny Massure and Wild Palms.  James Baige's rework of 'Lay It On The Line', which opts for a completely new groove as the song builds slowly around a nice guitar pattern, while still thankfully retaining Zoe Gilby's guest vocals, was a strong contender to be the quiet show-stealer here, but that was before the funky/R&B-infused Ill Advised remix of ‘Brighter Day’ kicked in.

But about the NEW music I mentioned… as I say, I was initially making this post to highlight the brilliance of ‘Everything's Better in the Summertime’ (which was made available as one of the exclusive new tracks on the new Record Kicks compilation celebrating their 10-year anniversary), but the band seem to have found a way to post-jack themselves as I’ve just discovered their cover of Massive Attack’s ‘Unfinished Sympathy’ – apparently only made available as a 7” near the end of 2012.  How did this completely pass me by?!?!  Well, these two tracks have left me practically salivating for a new album so here they are for you guys to enjoy as well…

The Blue-in-Green Podcast #1: GetToKnow_Raphael Saadiq

Welcome to the very first Blue-in-Green Podcast!  These podcast shows are a spin-off from our live radio show that airs every Sunday morning exclusive to StarpointRadio.com, and will be a series of shows highlighting the work of some our favourite producers, session musicians and writers that have helped so much of our radio show, the music we play and the music we want to get you to play too.

The inimitable work of Raphael Saadiq kicks this series off, so download/listen at your leisure. 

‘Faith’ – Amp Fiddler

‘Come to Me’ – Kenny Lattimore

‘Glow’ – Kelis

‘Kissing You’ – Total

‘Don’t Say’ [Raphael Saadiq Remix] – Jon B

‘We Fight/We Love’ – Q-Tip f/t Raphael Saadiq

‘Please Stay’ – Ledisi

‘Soul Sista’ – Bilal

‘Lady’ – D’Angelo

‘Boomerang’ – Marcus Miller f/t Raphael Saadiq

*Bonus track

A Pimptroduction to Nick Pride (& The Pimptones)

Originally published on liberationfrequency.co.uk in August 2011

Written by Imran Mirza

Providing further proof that Record Kicks is the label to beat this year – following the release of the independent Italian soul and funk label’s compilation album, ‘Mo Record Kicks: Act 2’ (that we absolutely loved!), Nick Pride & The Pimptones take the baton and sprint towards prominence with the release of their debut album, ‘Midnight Feast of Jazz’.

Displaying far more diversity within their music than the album title suggests, this Newcastle-based band shine a light on jazz but, as Nick Pride will go on to explain shortly, it’s their specific interpretation of jazz as seen through the eyes of a soul and funk band, which is at their core, what Nick Pride & The Pimptones are.
It’s a refreshing and welcome approach and one that succeeds with aplomb.  Ironically, the free-flowing and open-for-interpretation nature of jazz means it’s likely the only genre that would welcome the compliment.  The Pimptones’ efficiency is undeniable as they thrive over the brilliant production and enable their guests (Zoe Gilby, Susan Hamilton and Jess Roberts) to shine – the latter of which appears on the group’s up-tempo single, ‘Waiting So Long’, which serves as the perfect introduction to the band.

The band’s proficiency is immeasurable and their fresh-faced approach will endear them to fans all over, be them from funk or jazz camps, for hopefully many years to come.  It’s Liberation Frequency’s great privilege to catch up with Nick Pride…

How did the members of Nick Pride & The Pimptones come together as a group?
A lot of the Pimptones are professional musicians who I've worked with for years, so when I decided to put a band together I knew exactly who I wanted to get.  I obviously needed people who could really play but, more importantly, I wanted people whose heads were in the right place.
The line-up has changed a bit since The Pimptones first started, but I think that that's helped to keep things fresh and moving forward.

Which artists have been the strongest influences in shaping your overall sound?
Thinking back, the first time I heard The New Mastersounds I found their approach really inspiring, same with Sharon Jones & The Dap-Kings, I love that really low-fi, dirty style and it was exciting to hear people producing such a shamelessly retro sound.  Now those guys are Funk Royalty and it feels like they’ve been around forever, but I still remember hearing them and how it opened new doors for me!
From a compositional point of view, I love Lalo Schifrin and that soundtracky vibe.  On a subliminal level, I think all the Dirty Harry films I watched as a kid had a big effect on the sound (and look) of this record.

Can you talk a little about what went into the making of ‘Midnight Feast of Jazz’?
It really was a crazy process – the project started out fairly small-scale then took on a life of its own.
In previous projects, we’d spent a lot of money in the studio but this time we went for the DIY approach – it was recorded in a very low-tech and downright cheapskate way! We’d been hammering the tunes live for a while so we were pretty confident in what we were doing, but capturing that energy on the recording is always a challenge.
Another part of the plan was to have a lot of the local cats on there, so there are plenty of guest appearances by friends from the Newcastle jazz scene.
Throughout the whole process, I had a good feeling about how it was all sounding, but I’ve been genuinely surprised and delighted at how well the record has been received, especially when I think of how cheaply it was recorded!
 
The music on ‘Midnight Feast of Jazz’ is so versatile – do you see yourselves as solely a jazz band?
No, I wouldn’t describe The Pimptones as a jazz band at all, but we did set out to make a jazz album.  So what you hear on the album is a soul/funk band hammering out some jazz, but it’s our take on what qualifies as ‘jazz’ – the purists may disagree!!
Perhaps the point of the album is to look at just how many different genres you can get away with squeezing into the category of jazz.
I’m really glad to hear you describe the record as versatile – it’s very easy for a mostly instrumental act to become ‘samey’.  We’re always trying to head in new directions to keep things exciting – it’s our duty to the listener!!!

How did you hook up with the vocalists for the album [Zoe Gilby, Susan Hamilton and Jess Roberts]?
Each of the vocal tracks on the album was written with that particular singer in mind.
Zoe is a super-talented jazz singer from Newcastle and a good mate of mine.  I’ve worked with her on straight-ahead jazz gigs for years, so when I wanted to have a slinky little Shirley Bassey style number, she was an obvious choice.
Jess Roberts is from the North East too but moved to London and is doing really well now.  She asked The Pimptones to be her backing band on some recordings recently so I said how’s about if you sing a Pimps’ track in return.  This was the track which really got us noticed, Jess is great to work with and she did an incredible job on that song.
I think Susan Hamilton is a star in the making!  ‘Brighter Day’ was one of the last things to go on the album and I sometimes wish we’d used Susan on more tunes. Recently she’s been making guest appearances on stage with the band which really pushes the live show through the roof!

Who would be a dream vocalist to have featured on one of your albums?
That’s a great question!
There’s an obvious crowd of ‘big name’ vocalists who seem to guest on almost everything – and while I think those guys are really good, I’m proud that we’ve established ourselves in our own right before working with anyone super-famous!
But there are so many people I’d like to collaborate with.
I would love to hear Ben Westbeech on a dirty break-beat funk track, and someone like Jamie Liddell would be an inspiration to work with, I’d be fascinated to see how he goes about making music.
I met Michael Kiwanuka on a gig in London a couple of years ago – he’s got a terrific soul voice and is starting to really break through now.
I’m a big fan of Laura Vane, Darondo, Choklate from Breakestra too.  And if Mary J rang I would probably be cool with that too.

What have been some of the highlights for the group so far?
Releasing this record and enjoying the attention it’s getting has been a blast.  It’s mad to think about how far the band has come.  Our first ever gig was at a fashion show after just one rehearsal. We didn’t have a name yet.
Since that bizarre beginning there have been a lot of little milestones – first tour, first proper release, first overseas airplay, first semi-naked bloke on stage, etc.  We met Candi Statton and we demanded a kiss each, I don’t think she could understand our accents.
But as for highlights, I feel as if we are really just arriving and all the best stuff is ahead of us.  I’ll have a much better answer for that question in a few years.

Are there currently any follow-up projects in the pipeline?
Yup we’ve got loads of stuff on the go at the moment.  As we were finishing off this current record I approached a load of my favourite producers to each remix a track from the album, so ‘Remixed Feast of Jazz’ should be out soon.  Actually Record Kicks are running a remix competition with one of the songs so there’s the chance for up-and-coming remixers to jump all over that.
Meanwhile, we have a side project where we’ve used some choice acapellas from different artists like Aretha Franklin, ODB, Dead Prez and totally re-imagined the music.  Like a mash-up but with a live band.  The legality of such a release is dubious so we’ll have to think long and hard about how we put it out there, some kind of white label perhaps, but there’s some dynamite on there for funk DJs!
Then eventually there’ll be the next Pimptones’ album.  Where ‘Midnight Feast’ is all about the jazz, the next one is shaping up to be much more of a soul record – more song based, loads of vocals, really tasty stuff.  I get impatient to play people all this stuff so we have a podcast (it’s on iTunes) where I go nuts for half an hour just playing and talking about whatever we’ve been working on recently.
So yeah I can’t wait for people to hear what’s in the pipeline!

'The Electric Lady' / 'Black Radio 2': tracklists + album artwork

Just caught wind of two tracklists and album artworks that have just been released for two albums I’ve now come to massively anticipate: Janelle Monae’s ‘The Electric Lady’ and the follow-up to last year’s ‘Black Radio’, Robert Glasper Experiment’s ‘Black Radio 2’.

 ‘The Electric Lady’ by Janelle Monae (due to be released 10th September, Bad Boy Records)
Disc 1:
1. Suite IV Electric Overture
2. Givin Em What They Love (Feat. Prince)
3. Q.U.E.E.N. (Feat. Erykah Badu)
4. Electric Lady (Feat. Solange)
5. Good Morning Midnight (interlude)
6. PrimeTime (Feat. Miguel)
7. We Were Rock & Roll
8. The Chrome Shoppe (interlude)
9. Dance Apocalyptic
10. Look Into My Eyes

Disc 2:
12. Suite V Electric Overture
13. It’s Code
14. Ghetto Woman
15. Our Favorite Fugitive (interlude)
16. Victory
17. Can’t Live Without Your Love
18. Sally Ride
19. Dorothy Dandridge Eyes (Feat. Esperanza Spalding)
20. What An Experience

Firstly… it’s TWO discs!!  That kinda blew my mind.  Secondly, what an amazing line-up of guest features, many of which had previously been revealed, apart from Esperanza Spalding who’s name I’m seeing attached for the first time.  Monae made headlines a little while ago when she was asked to accompany Prince on his ‘Welcome to America’ tour (along with the aforementioned Spalding), and he made no secret of his adoration for Monae and her music, but it’s still a surprise that he’s actually granted her an appearance on the album, plus even took the time to remix ‘Q.U.E.E.N’ (check for it friends, it’s out there!).  ‘The ArchAndroid’ took a formerly independent, struggling solo artist and introduced her to millions so now it’s time for ‘The Electric Lady’ to do it again.

‘Black Radio 2’ by The Robert Glasper Experiment (due to be released 29th October, Blue Note Records)

1. Baby Tonight (Black Radio Intro)
2. I Stand Alone featuring Common and Patrick Stump
3. What Are We Doing featuring Brandy
4. Calls featuring Jill Scott
5. No Worries featuring Dwele
6. Trust featuring Marsha Ambrosius
7. Yet To Find featuring Anthony Hamilton
8. You Own Me featuring Faith Evans
9. Let It Ride featuring Norah Jones
10. Persevere featuring Snoop Dogg and Lupe Fiasco
11. Somebody Else featuring Emeli Sandé
12. Jesus Children of America featuring Lalah Hathaway and Malcolm-Jamal Warner

It’s really impossible to judge music based on a tracklist – surely it’s what you hear on the finished product that’s most important! – but there’s a lot that’s been revealed here that I’m not overjoyed about.  Let me firstly say, that ‘Black Radio’, even though it’s still really early to say this, but I actually think it’s one of the best albums I own so I’ll definitely be purchasing this within seconds of its release, but with the news that’s been revealed that Chris Dave (official Experiment member and drummer on ‘Black Radio’ will NOT be a part of this project… man, I’m a little heartbroken by that.  I assume that’s down to a busy schedule on his part but his drumming on ‘Black Radio’ is what made me a fan of his so I’m very disappointed to hear that.  Also, in honesty, I’m scratching my head at some of the guest features here, and although I’m thrilled to see Anthony Hamilton and Norah Jones on the line-up, I’m not fully visualising the inclusion of Patrick Stump or Snoop Dogg. 

Again though, I’m keeping an open mind and very much look forward to being proven wrong, but what can I say, my doubts are in place.  Also, I was aching to see the words ‘featuring Jose James’ somewhere but alas, that isn’t the case either.  I do still have high hopes for this one - how incredible is it that within less than 2 years, the group would have put out two full-length studio albums and one remix EP, along with continuous work with other artists, and unlimited tour dates.  Truly incredible!