Best of 2017 (pt3): BinG loves Funk & Soul

Thanks for riding with us for parts 1&2 of our best-of 2017!  The third and final part is now unveiled and focuses on the funk and soul releases that were too good for us not to scream and shout about.  The accompanying radio show that aired 19th December can be heard at the bottom of the page and features music by the below artists including Kind & Kinky Zoo, The Fader, Cookin On 3 Burners and El Michels Affair...

‘Soul Run’ by Tanika Charles [Record Kicks Records]
The debut album from Canadian vocalist, Tanika Charles, proved to be a heavy-hitter for the Milan-based funk & soul label, Record Kicks this year.  'Soul Run' oozed charm and charisma, and struck a chord with audiences around the world who were eager to embrace Charles' fast-paced and punchy effort.  With production by R&B artist and producer, Slakah The Beatchild, the results delivered an inspired and innovative project in keeping with the quality fans have come to expect from Record Kicks.

'Stone & Sky' by Crowd Company [Vintage League Music]
The second album from British funk & soul group, Crowd Company, arrived late in the year but we were thrilled it came!  Produced by Alan Evans - Soulive's drummer as well as boasting a vast array of other accomplishments - serves as producer for the project (extending his relationship with the band from their 2014 debut).  Highlights are aplenty on 'Stone & Sky', including the lead single 'Saw You Yesterday', 'Let Me Be' and 'Can't Get Enough'.  

'The Meltdown' by The Meltdown [HopeStreet Recordings]
The initial 'Better Days' EP from Melbourne's The Meltdown was initially released in 2010 so it's with great excitement that 2017 saw the release of the band's debut full-length, self-titled album.  Released through the excellent HopeStreet Recordings, it's certainly an understatement to say that the project has been worth the wait - the band's distinct blend of country and soul shines throughout the album best exemplified through songs 'Don't Hesitate', 'Crooked Country' and 'Better Days'.

'Islands' by Diazpora [Legere Recordings]
‘Islands’ marks the fifth album release from the nine-piece funk and soul orchestra from Hamburg, Germany.  Released  through Legere Recordings, ‘Islands’ marks the first album to see the group paired with Axel Feige who, primarily known for his work with Absolem Max, tackles lead vocal duties throughout.  His smoky and seasoned vocals act as an apt accompaniment to Diazpora’s musical prowess – he soars on the funk numbers that steam ahead at 100mph (‘Nap Xtra Long’ and ‘Moon’) and he mesmerizes on the more provocative songs like ‘Me & I’ and the album’s title track.  ‘Islands’ is an incredibly versatile and accomplished funk record from nothing less than an incredibly versatile and accomplished band.

‘Grow Yes Yes!’ by Professor Wouassa [Matasuna Records]
'Grow Yes Yes!' is an exciting and vibrant musical project that needs to be embraced.  Mixed by London's Malcolm Catto (the genius brainchild of The Heliocentrics), stylistically, this project moves so far beyond "afrobeat" as a label... while some songs like 'We Thit' and 'Doumadem' are definitive funk floor-fillers, songs like 'Serema' (featuring Ebo Taylor) and 'Sunu Reou' are slower-paced but still ooze their own undeniable groove.  Frankly, this is an excellent album and one ranked highly amidst some strong 2017 releases.

'Covers For Lovers & Others' by The Soul Immigrants
Reimagined in 2017 as a trio for their covers EP, The Soul Immigrants employ a more stripped-back approach which works wonders when tackling the four chosen songs for their project, 'Covers For Lovers & Others'.  Emrys Baird tackles vocal and guitar duties with long-term collaborator, David Bouet on drums, and rounding out the trio is David Dower on Organ and Rhodes; another member of the Soul Immigrants alumni, saxophonist Ian Bailey, marks a welcome feature on the EP's opening number as well.  The EP boasts an exciting tracklist including Stevie Wonder's 'Ebony Eyes' and Eric Clapton's 'Layla'.

‘My Name is Nicole Willis’ by Nicole Willis & The UMO Jazz Orchestra [Herakles Records]
Whether it's The Soul Investigators, The UMO Jazz Orchestra or the upcoming project with Banda Palomita, Nicole Willis solidifies her passion, ability and intent with every release.  This album is very much a declaration that is even further underlined by the fact it sees its release on Willis' own Herakles Records.  Musician and producer, Jimi Tenor, tackles horn arrangements throughout the project and joins the production trio of Willis and Pete Toikkanen, guitarist from The Soul Investigators.  Musician, author, talk show host and hero to Nicole Willis, Ian F. Svenonius, also jumps on the album's intro and outro, really rounding the project out as becoming one of her most personal efforts.

‘Soul Of A Woman’ by Sharon Jones & The Dap-Kings [Daptone Records]
As heartbreaking as it is to say, if this is in fact the final chapter in the Sharon Jones & The Dap-Kings book, they've really bowed out with a fantastic swan song.  The untimely passing of Sharon Jones to cancer in 2016 is still a scar for many of the Daptone faithful and for contemporary soul fans who recognised the indelible talent she was.  The match-made-in-heaven union with The Dap-Kings will live in the hearts of fans everywhere so I'll implore anyone who has never jumped on the Sharon Jones & The Dap-Kings bandwagon to do so and this is an incredible place to start.

'One Of These Days' by The Haggis Horns [Haggis Records]
Following in a long line of strong releases for The Haggis Horns, this “7 piece live funk extravaganza” constantly find ways to push their music and themselves forward cementing themselves as one of the leading acts in the UK's funk and soul scene.  Their fourth album features collaborations with Doc Brown, John McCallum and Lucinda Slim, who guests on 'World Gone Crazy' from the preceding EP spawned remixes from Sam Redmore, Smoove and Lack of Afro!

'Sweet Memories' / 'S.T.A.Y.' by Gizelle Smith [Jalapeno Records]
Marking an incredibly welcome return from Gizelle Smith, the double A-side singles are straight out of the box from 2018's upcoming Jalapeno Records project.  ‘Sweet Memories’ and ‘S.T.A.Y.’, the latter of which features a pairing with US-vocalist Eric "E" Boss, formerly of the duo Myron & E and currently affiliated with The Mighty Mocambos and their Mocambo Records label.  ‘S.T.A.Y.’ is a quintessentially Gizelle Smith number: funky, infectious, dares-you-to-sit-still, while ‘Sweet Memories’ encapsulates everything you’ll love about Gizelle Smith: her ability to lure you in with her lush verses before completely changing pace and tempo again.  Both singles whet your appetite for the new album which can't come soon enough.

Best of 2017 (pt2): BinG loves Jazz

Part 2 of our three-part series showcasing our favourite releases of 2017: this part is our jazz edition and there was so much that made us blissfully happy.  Please also feel free to check out the show upload at the bottom of the page that was broadcast 19th December featuring music from the below discussed projects...

‘Kinfolk: Postcards From Everywhere’ by Nate Smith [Ropeadope Records]
The beauty of 'Kinfolk' very much lies within its deeply personal nature.  An album dedicated to his father with family appearing on interludes throughout the album, drummer Nate Smith's fully-realised passion project is brought to life with the help of an excellent array of album guests: long-time friend and collaborator, Kris Bowers, appears on keys throughout the album, Gretchen Parlato delivers as always on 'Pages' and vocalist Amma What sounds luxurious on her two vocal contributions, 'Disenchantment: The Weight' and 'Morning and Allison'.  An incredible album which appears to garner much-deserved acclaim as the days pass and a clear standout of the year.

‘Notes Over Poetry’ by Philippe Baden Powell [Far Out Records]
With a handful of releases already under his belt, the pianist and son of Brazilian musical legend Baden Powell de Aquino has proved to be an invaluable asset in his debut release for Far Out.  'Notes Over Poetry' is a piece of work that thrives on collaboration and effortlessly weaves between different styles, taking elements of more traditional and classic stylings of jazz and comfortably incorporating tinges of samba and contemporary soul.  'Notes Over Poetry' stands tall amongst one of the best albums you can hope to own in 2017, but also as potentially one of the best releases to house the logo of 'Far Out Recordings'!

‘Attention Deficit’ by Jonah Levine Collective [World Galaxy Records]
Trombonist Jonah Levine’s debut album served as another terrific proponent for the recent West Coast jazz revival, highlighted by the releases from Terrace Martin and Kamasi Washington.  Released through Alpha Pup Records’ jazz imprint, World Galaxy, also places Levine in the excellent company of Josef Leimberg and Ronald Bruner Jr which is simply a perfect fit.  ‘Attention Deficit’ is an exquisite contemporary jazz release and one that still finds ways to surprise you with small touches of electronic and hip-hop that really give the project an inimitable quality.  Album closer, a genius remaking of Kendrick Lamar’s ‘For Free?’ from his seminal ‘To Pimp A Butterfly’ takes the two minute interlude and creates a five minute masterpiece.

‘Manifest Destiny’ by Adam Turchin [Ropeadope Records]
'Manifest Destiny' is a beautifully thought out and constructed concept album debut from saxophonist and producer, Adam Turchin.  The music weaves confidently between genres while presenting something wholly original: it's part R&B, it's part jazz, it's part hip-hop but it's all effortlessly brought together by lush and at times dreamy soundscapes and production making it an essential listening experience.  A true highlight for 2017 and for Ropeadope Records whose catalogue increases in excellence as the years pass.

‘Black Notes From The Deep’ by Courtney Pine [Freestyle Records]
Courtney Pine scored big with the release of his 19th album, ‘Black Notes From The Deep’, released through the match-made-in-heaven pairing with Freestyle Records!  Incredibly, this album offers saxophonist Pine another match-made-in-heaven pairing by also seeing him collaborate with UK vocalist, Omar, who appears on four of the album’s ten tracks marking this a momentous release from no less than two icons of UK’s soul and jazz worlds.  The music here is fantastic with the awesome uptempo numbers paired beautifully alongside the lush ballads but it’s the cover of Herbie Hancock’s ‘Butterfly’ that’s the big winner here.

‘Free of Form’ by Sarah Elizabeth Charles [Stretch Music/Ropeadope Records]
After having appeared on two of the Christian Scott's Centennial Trilogy releases, the partnership was subsequently extended to Sarah Elizabeth Charles's 'Free of Form' being the first release on Scott's Stretch Music record label.  Produced with Scott, who appears on four of the tracks, Charles soars over moody and intricate soundscapes with highlights 'Free of Form', 'Change to Come' and an out-of-the box cover of The Cranberries' 'Zombie'.

‘The Centennial Trilogy’ by Christian Scott [Ropeadope Records]
What a year for Christian Scott!  Along with the aforementioned project by Sarah Elizabeth Charles, trumpeter Scott released three albums in 2017 as part of his Centennial Trilogy project: 'Ruler Rebel', 'Diaspora' and 'The Emancipation Procrastination'.  Three staggering pieces of work all worthy of inclusion as individual pieces in any respectable end-of-year list, so instead of picking just one, let's just go with all three!

‘Escapee’ by Daniel Casimir [jazzre:freshed Records]
Bassist Daniel Casimir who is garnering a long list of collaborations already unveiled his debut EP with jazzre:freshed earlier this year.  Originally released as digital-only, it has since seen its release on CD now as well due to high demand.  ‘Escapee’ is an excellent and engaging introduction to Casimir’s boundless talent which is expertly aided by drummer Moses Boyd and Tess Hirst who provides vocals for the three of the tracks.

‘Trope's 5ive’ by Trope [jazzre:freshed Records]
Another big winner for jazzre:refreshed in 2017 was the continuation of their ‘5ive’ series, this time with Trope at the helm.  Following in the vein of previous contributors, saxophonist Nubya Garcia and drummer Richard Spaven, ‘Trope’s 5ive’ showcases a young UK band with an immense amount of talent.  Effortlessly – and brilliantly – fusing different styles and sounds into their music we wait with excitement to hear what’s going to be next from this creative and dynamic act.

'Repetitions (Letters to Krzysztof Komeda)' by EABS [Astigmatic Records]
This staggering debut full-length effort from Polish jazz septet, EABS, really solidify the band as exciting and dynamic players in an already thriving jazz scene.  Anything that could be said about how good EABS, and ‘Repetitions’, actually are would be an understatement: the album is a fascinating and charismatic piece of work brought to life through a concoction of styles which birth, what the band themselves describe as, a "personal interpretation" of contemporary jazz.

‘Sounds of Crenshaw, vol1’ by The Pollyseeds [Ropeadope Records]
For The Pollyseeds, the producer, saxophonist and mult-instrumentalist, Terrace Martin, makes the project a family affair enlisting a dynamic roll call of friends and long-time collaborators including Snarky Puppy drummer, Robert 'Sput' Searight, guitarist Marlon Williams, vocalists Rose Gold and Wyann Vaughn, Robert Glasper and saxophonists Kamasi Washington and Adam Turchin.  As expected, highlights are aplenty: the Glasper-assisted cover of Janet Jackson's 'Funny How Time Flies' is fantastic, 'Intentions' featuring rapper Chachi drips with infectious fun and 'Up and Away' simply soars.  Bring on Volume 2!

‘Nautiloid Quest’ by Nautilus [Agogo Records]
Available through Agogo Records, DJ Oonops compiles this collection of previously unreleased tracks by this Japanese jazz trio.  Comprised of Toshiyuki Sasaki on drums, Shigeki Umezawa on bass and Keyboardist Daisuke Takeuchi this excellent collection of songs draws from a myriad of different genres and styles, evidenced alone from the choice of covers employed here: Gil Scott-Heron’s ‘Lady Day & John Coltrane’ (featuring Kei Owada) sounds right at home beside their version of Suzanna Vegas’ ‘Tom’s Diner’ (which features Mizuki Kamata), but it may just be their version of Cyndi Lauper’s ‘Good Enough’ featuring Sara Yoshida that is the real show-stealer here.

‘Unity is Power’ by (U)nity [Ropeadope Records]
If you are yet to purchase anything from Ropeadope Records in 2017 then something is very wrong.  With releases that seem to appear weekly from the label, it was certainly hard to keep up with them all but with relief we get to cite this as an album that didn't slip through our fingers.  (U)nity are a five-piece who describe themselves less as a band but more of an “ideal”.  Their music is just as likely to embrace Afro Cuban styles as it is jazz and blues.  Aided by a diverse array of guests including Pino Palladino, Pedrito Martinez and Elena Pinderhughes, the project is nothing short of a thrilling ride.

Best of 2017 (pt1): Nu-Skool Soul Selection

This is the first of a three-part series celebrating the music of 2017: in part1 we focus on the R&B and nu-soul releases that gave us the most joy.  Be sure to check out the recording of the show that aired 19th December 2017 featuring tracks by The PLAYlist, Paul Randolph, The Pollyseeds, Anita Soul, Moonchild, Omar, Soul Understated, Goldiva, Shay Lia, Flyt, Charlotte Dos Santos, Aadae and Raymond Barton...

'In The Company of Others' by Paul Randolph [Mahogani Music]
The immeasurably talented singer, songwriter, producer and multi-instrumentalist unveils a 28 track project showcasing his contemporary and "Detroitesque" style - mixing new soul with elements of funk and house.  'Heavy', 'How Does it Feel' and the cover of The Stylistics' 'People Make The World Go Round' are a few of the standouts for the first half of the album and the second half, which serves as the remix suite, boasts appearances from heavy-hitters including DJ Spinna, Opolopo and Dez Andres among several others.

‘Cleo’ by Charlotte Dos Santos [Fresh Selects]
The limitless talent of Norwegian singer, songwriter, producer and musician, Charlotte Dos Santos, released her highly-anticipated debut album 'Cleo' this year to much-deserved widespread acclaim.  A brilliant insight into a musical mind inspired by soul, jazz and world music and one able to take this range of musical influences and forge her own inimitable sound.  Through 'Cleo', Dos Santos demonstrates a unique ability to make her contemporary and innovative sound resonate with audiences like a classic piece of 70s soul.  This is an enduring piece of work you'd be crazy to pass up.

‘Chasing Goosebumps’ by The PLAYlist featuring Glenn Lewis
Anything with the name 'DJ Jazzy Jeff' attached to it is absolutely worth your time and money.  But for this release, DJ Jazzy Jeff didn't come alone - recruiting an inspiring lineup of producers, musicians and writers the likes of James Poyser, Eric Roberson, Kaidi Tatham, Eric Lau, Jeff Bradshaw, Andre Harris and Vidal Davis along with vocalist Glenn Lewis, Team PLAYlist set out to record, mix and release an album in a week.  And they did.  And it's pretty awesome!

'Songs in the Key of Grease' by Soul Understated [Shanachie Entertainment]
This release marks the official debut collaboration of vocalist Mavis "Swan" Poole and drummer Jeremy "Bean" Clemons under the guise of Soul Understated.  Individually, their credentials are practically bursting at the seams so naturally expectations would be high for the duo's debut EP which delivers on all fronts: an exciting blend of contemporary soul and R&B with songs ranging from arresting uptempo numbers like 'Wibble Wobble' and 'So What', the lush ballad of 'Fantasy' and the jazzy neo-soul stylings of 'The Way I See' which is another strong highlight.

'Embers' by Flyt [Space Between Records]
Embers' is the brilliant EP from North London duo, Flyt, who have created an exciting blend of nu-soul, R&B and chillout which is all beautifully brought together by Mary Mycroft's exquisite and dreamy vocals matched perfectly with Josh Mycroft's fantastically lush soundscapes.  'Embers' is five tracks of sonic bliss!
https://weareflyt.bandcamp.com/album/embers

'The Rebirth of Soul' by Syleena Johnson [Shanachie Entertainment]
Syleena Johnson's 11th studio release could very well be her greatest effort yet as it unveils the full-length pairing with Johnson's own father - the soul and blues singer and producer, Sylvester "Syl" Johnson.  Featuring ten cover versions including Aretha Franklin's 'Chain of Fools', Curtis Mayfield's 'The Makings of You', Etta James's 'I'd Rather Go Blind' and Syl Johnson's 'Is It Because I'm Black', the album not only feels like a love letter to a classic bygone era of soul music, but also one to the artists, songwriters and record labels from Chicago.

The Soul Sound Collective
Definitely couldn't put this out without taking some time to talk about our dear friends of the station, The Soul Sound Collective!  Although no official releases in 2017, their Soundcloud page has some real gems that we sincerely hope will see official release in 2018.  Boasting a great mix of R&B, soul and electronica, we're excited about what the future holds for The Soul Sound Collective!
https://soundcloud.com/soulsoundcollective

Deva Mahal EP

Motema Records have really solidified themselves amongst the finest purveyors of contemporary jazz and world music.  Responsible for introducing luminaries including Gregory Porter, Marc Cary and Gerald Clayton to the masses, Jana Herzen can now add Deva Mahal to her label’s indelible list of world-class talent.

And what a talent they have found in Mahal.

Daughter of blues legend, Taj Mahal, Deva was raised in Hawaii before her unwavering passion for music saw her journey to study theatre at Southern Oregon University and then jazz & vocal performance in New Zealand before ultimately moving to New York to pursue her career in music.  She has graced stages from Carnegie Hall to North Sea Jazz Festival and Montreux Jazz Festival and toured extensively with New Zealand’s soul/dub band, Fat Freddy’s Drop.

...Which brings us nicely to Deva Mahal’s self-titled debut EP which showcases Mahal’s exciting blend of soul music rooted in blues with a splash of southern gospel for her debut EP.  The three tracks here act as the perfect teaser for the release of her upcoming album, ‘Run Deep’, currently scheduled for a 2018 release: beautifully written, beautifully arranged and beautifully sung... Deva Mahal has already knocked on the door of 2017 but for 2018 she’ll be kicking the door down.

'Sweet Memories' / 'S.T.A.Y.' by Gizelle Smith

Gizelle Smith has long been one of the leading, dynamic and most exciting names in the UK's funk and soul scene.  Her debut full-length project - the dream combination with Hamburg's The Mighty Mocambos - suitably titled 'This is Gizelle Smith & The Mighty Mocambos' was released on Legere Recordings incredibly as far back now as 2009 and proved to be a seminal project for both parties.

Musician, performer, writer, composer, radio presenter... it's difficult not to get excited by anything Gizelle Smith turns her hand to and with releases through Legere Recordings, Record Kicks, Mocambo Records and Kay Dee Records already under her belt, it's Jalapeno Records who have the fortune of housing the upcoming full-length project entitled 'Ruthless Day' currently set for an early-2018 release.

The double A-side singles straight out of the box for the upcoming project are ‘Sweet memories’ and ‘S.T.A.Y.’, the latter of which features a pairing with US-vocalist Eric "E" Boss, formerly of the duo Myron & E and currently affiliated with The Mighty Mocambos and their Mocambo Records label.  ‘S.T.A.Y.’ is a quintessentially Gizelle Smith number: funky, infectious, dares-you-to-sit-still, while ‘Sweet Memories’ encapsulates everything you’ll love about Gizelle Smith: her ability to lure you in with her lush verses before completely changing pace and tempo again.  Both singles whet your appetite for the new album which can't come soon enough.

It's a thrill to have The Golden Girl of Funk return to reclaim her Crown!

EABS: "Electro-Acoustic Beat Sessions" [Interview]

'Repetitions (Letters to Krzysztof Komeda)' marks the staggering debut full-length effort from Polish jazz septet, EABS, who really solidify themselves as exciting and dynamic players in an already thriving jazz scene.

As alluded to in the title, the album marks something of a tribute to Polish film music composer and pianist, Krzysztof Komeda, who is best known for his film scores for Roman Polanski releases including 'Rosemary's Baby' from 1968.  Komeda's seminal and ground-breaking 1965 album shares its name with the independent record label home to EABS, Astigmatic Records.  For this project, EABS (Electro-Acoustic Beat Sessions) attempt to revive slightly lesser-known compositions from Komeda's extensive catalogue and the results are as inspiring as they are thrilling.

The US jazz pianist, Hank Jones, once said "I am the sum total of everything that I have experienced musically", and that is such an apt description for EABS' approach to their take on jazz: theirs is a wonderfully organic, all-inclusive and free-flowing melting pot of styles.  In the specific case of 'Repetitions', EABS pay tribute to Komeda, but their unique sound has been equally honed by legends from a more modern era like J Dilla and Pete Rock: hip-hop pioneers who have each embraced jazz as a springboard for their production techniques.  This concoction of styles births, what the band themselves describe as, a "personal interpretation" of contemporary jazz.

Although 'Repetitions' is the first official album release from EABS, the band have gifted fans with 'Puzzle Mixtape', which is also available from their Bandcamp page as a free download.  The nine-track selection features a collection of live performances recorded between 2012-2014 and through collaborations with M.E.D., Jeru the Damaja and Coultrain, this selection of tracks is perfect to showcase that level of improvisation and creativity that EABS boast amidst a live setting. [And for Dilla fans, make sure you take the chance to check out 'Reminisce' featuring Paulina Przybysz as it masterfully recreates Dilla's production of 'Reminisce' originally found on Bilal's '1st Born Second' album.]

Anything that could be said about how good EABS, and ‘Repetitions’, actually are would be an understatement.  Both ‘Repetitions’ and ‘Puzzle Mixtape’ are fully accessible, fascinating and charismatic pieces of work, and it's our great pleasure to have secured time with Marek Pędziwiatr from the band to discuss the band's evolution.

How did members of EABS come together to form the band?
Initially, Electro-Acoustic Beat Sessions was an event.  There were many jam sessions in Wrocław... so, we found our home: Puzzle Club.  The host band comprised of four members: Me on keys, Adam Kabaciński (bass), Marcin Rak (drums) and Spisek Jednego (turntables).  I created a book of hip-hop standards to explore them through live music.  There were many musicians and observers coming and going on our sessions.  Some of them joined us to play without any idea what it's all about and never came again, some of them joined us at each session and stayed with us forever.  At some point, we decided to quit switching hosts with other players, as in jam sessions.  So finally, we’ve realized that actually, we are not an 'event', we are the band.  This is where the story begins.

Who have been some of the biggest influences on the band's music?
The band has gone through three stages of evolution so far.  In the Puzzle times we were influenced by American and Polish hip-hop/jazz heritage like: Pete Rock, Madlib, DJ Premier, DJ Volt, Ahmad Jamal, etc.  Second stage was our work on 'Repetitions (Letters to Krzysztof Komeda)'.  Then we were inspired by more darkish artists: Komeda himself, David Axelrod, Jihad, Wu-Tang Clan, Lalo Shiffrin.  Now we are working on 'Slavic Spirits Suite' - the greatest influence is the 70s period of Czeslaw Niemen’s music.

How does the process of writing and creating new music usually work for the band?
Usually, I spend time on creating compositions/arrangements as if I was making beats using samples, mixing break-beats, recording keys.  I send these audio sketches to my people.  Then I write them down to bring it to rehearsals.  We work hard together on my vision until we play it correctly.  Then, I give my people total freedom to let them flow into this music, so the magic comes out.  This is the moment where I should mention our manager and visionary, Sebastian Jozwiak [Astigmatic Records] - he brings deep philosophy into our music and his impact is priceless.

What is it about Krzysztof Komeda that led you to explore his music?
There is such a thing as Komeda's standards.  We are diggers.  That is why we resisted to select songs which were interpreted billions of times.  We had to watch dozens of films and listen to the whole musical library of the composer before we started to arrange.  What we were looking for in Komeda's music was message, simplicity, melancholy and vibe.  The same thing happened in our previous works - if the source music is simple and has some space, we can easily fit in-between the cracks.  So then we were able to create a whole new substance naturally.

Can you talk a little about what went into the making of 'Repetitions'?
'Repetitions' took us a lot of work.  It required meeting a fairly large number of people, which is why this project took almost two years to see the light.  Although we are living in the digital world, here in Poland, the work process was almost analog.  Exchanging letters with Komeda’s heirs, watching films, digging unique recordings.  There is an interesting story behind Michal Urbaniak’s appearance.  The decision came when the album was already finished.  When I played it to Urbaniak, after the first song, he began to cry.  Before his solo career, in the 60s he played in Komeda's ensemble, so it brought him beautiful memories.  He asked me then if it was still possible for him to play on this album.  I was happy and confused.  Everything was ready.  Everything was played... I had to figure out the special place for Michal [...] which could have squeezed out freshness and roughness of Michal's sound.  'Free Witch & No Bra Queen/Suit' was the place to be.

Hip-hop seems to be such a prominent component in your music: to what extent has the genre impacted your style of jazz?
I was a hip-hop head since I was a little child, even before I started to play keys.  So every sound I make, even if it’s jazz, funk, soul, folk or even pop it always has this little flavor.  I think that rap music helped jazz to stay alive in its rough vibe.  Many young folks get into jazz via hip-hop.  So did I.

The Puzzle Mixtape features some very exciting collaborations: those performances must have been very exciting times?
Yes, and I remember the breakthrough.  It happened in 28th October 2012 when a Californian rapper Rashaan Ahmad came to Poland.  We managed to bring him to Wroclaw and organize an improvised concert without any previous arrangements and rehearsals.  The event was officially announced around a week before, and what was even worse, the concert was scheduled on Sunday.  We thought that we would play for a few music enthusiasts and leave the stage in a good mood afterwards.  But on the gig day, something completely unexpected occurred - the place was full of people!  We put on a brilliant, energizing concert, full of beautiful colours and the audience went crazy.  We had an after-party til 4am.  Few hours later we met in a studio to record a song together.  It was the beginning of a great adventure.  As Raashan’s band, we set off on concert tours all around the world, we visited France, Kazakhstan, and many more places.  Other propositions regarding collaboration were put to us by international performers such as Jeru The Damaja, Jesse Boykins III, M.E.D.  After having such a wealth of experience, we learnt how to play on an international level.

Who would be a dream artist for the band to either record or perform with?
EABS is a machine that makes your dreams come true.  It’s hard to say because it’s all happening now.  Now we are going to perform and record together with UK new jazz star Tenderlonious.  Probably, soon we will play with Polish trumpet legend Tomasz Stanko.  This is insane!


EABS are:
Marek Pędziwiatr: piano, synths, vocals 
Vojto Monteur: guitar 
Paweł Stachowiak: bass 
Jakub Kurek: trumpet 
Olaf Węgier: tenor sax 
Marcin Rak: drums 
Spisek Jednego: turntables

'The Rebirth of Soul' by Syleena Johnson

In a staggering career lasting nearly twenty years, Syleena Johnson emphatically delivers 'The Rebirth of Soul' - her eleventh studio release and, very possibly, her greatest effort yet.

For an artist that has collaborated with everyone from Anthony Hamilton to Busta Rhymes, the Grammy-nominated pairing with Kanye West for 'All Falls Down' and the duet album with Musiq Soulchild, it's the full-length pairing with Johnson's own father that people may have waited the longest to hear.

Soul and blues singer and producer, Sylvester "Syl" Johnson, boasts an incredible career that started in the 1950s and led him to record with Twinight Records and later Hi House.  Famed for his singles 'Is It Because I'm Black' and 'Different Strokes', the union of father and daughter for 'The Rebirth of Soul' has generated a fantastic piece of work and taken Syleena Johnson's music to an exciting new level.

Featuring ten cover versions including Aretha Franklin's 'Chain of Fools', Curtis Mayfield's 'The Makings of You', Etta James's 'I'd Rather Go Blind and Syl Johnson's 'Is It Because I'm Black', the album not only feels like a love letter to a classic bygone era of soul music, but also one to Chicago: the album was recorded in Chicago, the hometown and base for each of the Johnsons, plus the tracklist is neatly compiled to pay homage to either artists, songwriters or record labels from Chicago.

'The Rebirth of Soul' released through Shanachie Entertainment is masterfully executed and a truly exciting release marking this as something as 'Rebirth' for Syleena Johnson as well.

'Embers' by Flyt

'Embers' is the brilliant new EP from North London duo, Flyt, who now having resurfaced after a nine-year absence are already looking to make up for lost time with an exciting onslaught on 2018.

Released through their own Space Between Records, 'Embers' follows the beautifully-laid groundwork that their 'Soul Mentality' debut set out in 2008: an exciting blend of nu-soul, R&B and chillout and all brought together by Mary Mycroft's exquisite and dreamy vocals which are matched perfectly with Josh Mycroft's fantasticly lush soundscapes.

'Embers' is five tracks of sonic bliss and with more releases from Flyt currently scheduled for early-2008, this acts as the perfect introductory teaser for what lies ahead.

'Sounds of Crenshaw, Vol.1' by The Pollyseeds [Review]

Going into this review, Terrace Martin had already firmly secured his slot as one of the forerunners of the West Coast's burgeoning jazz scene.  With each year that passes though he seems to exponentially add to a never-ending list of achievements.

Outside of Martin's long list of collaborations on countless projects, Kendrick Lamar's seminal 'To Pimp A Butterfly' has been much-discussed on this site, Martin's 'Velvet Portraits' solo album of 2016 was outstanding, and the upcoming Herbie Hancock album scheduled for 2018 looks set to be another showstealer.  For 2017, however, we're still unwrapping the fantastic gift that is The Pollyseeds' 'Sounds of Crenshaw Vol.1' which is unsurprisingly another standout of the year released through the continually brilliant Ropeadope Records.

For The Pollyseeds, the producer, saxophonist and mult-instrumentalist makes the project a family affair enlisting a dynamic roll call of friends and long-time collaborators including Snarky Puppy drummer, Robert 'Sput' Searight, guitarist Marlon Williams, vocalists Rose Gold and Wyann Vaughn, Robert Glasper and saxophonist Kamasi Washington.  Adam Turchin also guests on sax duties and serves as the project's creative assistant. (It's absolutely worth mentioning that Turchin's own 'Manifest Destiny' project released earlier this year serves as an excellent accompaniment to 'Sounds of Crenshaw' so check out our previous review here.)

As expected, highlights are aplenty: the Glasper-assisted cover of Janet Jackson's 'Funny How Time Flies' is fantastic, 'Intentions' featuring rapper Chachi drips with infectious fun and 'Up and Away' simply soars.

We already know to keep eyes peeled for the Herbie Hancock project but what else 2018 brings for Terrace Martin will be just as exciting as what it will bring for the rest of The Pollyseeds team.  Bring on Volume 2!

'The Gene Ammons Project' by Brandon Allen

'The Gene Ammons Project' is the exciting new passion project from saxophonist Brandon Allen and his Brandon Allen Quartet.

Born in Perth, Australia, but having made London his home for nearly twenty years, Allen's resume is as formidable as those of his heroes: head of The Brandon Allen Quartet, The Brandon Allen Band, The Brandon Allen Sextet, Double Whisky Amnesia and one-half of QCBA with trumpeter Quentin Collins, Allen has also lent his talents to projects by The Kyle Eastwood Band, Omar, Soweto Kinch, Reel People and Paloma Faith amongst many others.

Be it live or through his studio recordings, Allen has always been one to tip his hat to the work of his heroes - Joe Henderson and John Coltrane were acknowledged in the uptempo swing of 'Modal Tranesition' on QCBA's 'Beauty In Quiet Places' album, released in 2015, and this very project was born of a series of live performances designed to showcase the music of iconic saxophonists.  Which brings us to the music of Eugene "Jug" Ammons.  Born in Chicago, Illinois, in 1925, the US tenor saxophonist will be remembered for his epic list of musical releases and having recorded and performed with talents including Miles Davis, Donald Byrd, Coltrane and Charlie Parker.  Of equal importance however, Ammons may perhaps be more remembered for the accessible way his take on jazz was able to fuse with elements of soul and R&B.

Accessibility in jazz has long been a discussion point all of its own, with many non-jazz fans feeling alienated by the lengthy and often improvised compositions of instrumental-based music.  Trumpeter Wynton Marsalis however once described jazz as "accessible to anybody who learns to listen to, feel and understand it," which is a sincere sentiment from a performer who, like Ammons, consciously takes steps to share the beauty of jazz with others.  Marsalis also went on to say, "The music can connect us to our earlier selves and to our better selves-to-come.  It can remind us of where we fit on the time line of human achievement, an ultimate value of art."  Taking the latter portion of Wynton's statement, Brandon Allen has masterfully used the music to develop that connection with one of his heroes with 'The Gene Ammons Project'.

Joining Allen on the project and rounding out this incredible quartet are Ross Stanley (piano, Rhodes and organ), Arnie Somogyi (bass) and Matt Home (drums) as they journey through a fairly comprehensive account of some landmark Ammons recordings.  Songs including 'Please Baby, Won't You Please Stay', 'You're Not The Kind', 'Ben' and 'The Black Cat' whose beautiful renditions are lovingly recreated for a new generation of jazz fans who may perhaps not be as familiar with Gene Ammons music, and this serves as a wonderful introduction.  Following on from Brandon Allen's live tribute series, it would be fantastic to see him tackle the music of another of his heroes if this is the end result.

For more on Brandon Allen, please visit https://brandonallen.co.uk/

'One Of These Days' by The Haggis Horns

With great excitement for funk and soul fans, The Haggis Horns have unveiled their fourth album - 'One Of These Days' - nearly twenty years after the band's initial formation.

The aforementioned great excitement for the new Haggis release not only comes from them being one of the leading acts in the UK's funk and soul scene, but also from having released an excellent EP which accompanied the album's second single, 'World Gone Crazy', unveiled earlier in September. 

Accompanying an excellent vocal on the single from long-term friend and collaborator for the Horns, Lucinda Slim, are remixes from an absolute dream team lineup of producers including Lack of Afro, Smoove and Sam Redmore.  The final gem from the slew of 'World Gone Crazy' mixes though is found on the album itself as the original and glorious eight minutes and thirty-five seconds can be found in full as originally intended. 

The album features a further collaboration with Lucinda, who guests on 'New York Beat' (another song making waves in its own right for its infectious disco flavours), along with another long-term friend and collaborator, John McCallum who also features on two songs including the album's fantastic title track.  But there's also room for new friends as London rapper Doc Brown appears on 'What's It All About' and the album's lead single from much earlier in the summer, 'Take It Back'.

Following in a long line of strong releases for The Haggis Horns ('Hot Damn!', 2007; 'Keep On Movin', 2010; 'What Comes to Mind', 2015), this “7 piece live funk extravaganza” constantly find ways to push their music and themselves forward and - to borrow a line we've used before - "their albums along with their reputation as tireless and exuberant live performers, have already solidified their status as one of the UK’s premier acts within the genre that we cherish so dearly".

'Love It or Leave It' by Louise Golbey

It's been three years since Louise Golbey's debut album 'Novel' was released so news of a brand new EP unveiled in 2017 is massively welcome news.

With releases dating back as far as 2008 ('Acoustic Sessions' available on iTunes), 'Love It or Leave It' marks an excellent introduction to woo prospective new fans of Golbey's music and acts as a solid release to have them trawling through past releases to play catch-up on an incredible career.

For those new to the name, Louise Golbey's passion has taken her to the stage of some of London's most iconic stages, including The Jazz Cafe and Ronnie Scott's and to share a stage with soul luminary Omar (who also contributed a guest vocal to 'The Outsider' on Golbey's 'Novel'), and to perform as the opening act for the incredible George Benson and Roy Ayers.

Having already secured airplay on Radio 2 with 'Family Tree', 'Love It or Leave It' has five other songs of excellent caliber smoothly mixing elements of R&B and soul to deliver great songs like 'I Have Never' and 'Please Don't'.

Again, this is a great release to jump into to Louise Golbey's music or for the long-term fans among us, a great release to add to a long line of great releases.

What I'm Listening to... (90s State of Mind Edition)

Sundays on Blue-in-Green:RADIO finds us in a 90s State of Mind so here's a small handful of  acouple of recent additions to our 90s playlist to indulge in.  Tune in to 90s day via our website www.blueingreenradio.com or find us on iTunes or TuneIn.

'My Oh My' [Smoothed Out] by Chantay Savage
Most known for her breakout cover of 'I Will Survive', Chantay Savage actually followed that album up in 1999 with 'This Time'.  Featuring a number of great songs, many of which have been included in the 90s State of Mind playlist, this song serves as a great introduction to a classy album.

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'Love Don't Live Here Anymore' by Faith Evans featuring Mary J Blige
A track from two of the defining voices of 90s R&B, Mary J Blige guested on Faith Evans debut album on Bad Boy Records with their cover of Rose Royce's classic.

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'Sensitivity' by Ralph Tresvant
Released in 1990 from Ralph Tresvant's debut solo album, this incredible song stands as a 90s standout as well as a standout from the production catalogue of Terry Lewis & Jimmy Jam.

What I'm Listening to... (Liberation's Frequency Edition)

Here are just a few of the tracks that we've recently uploaded to our Liberation's Frequency playlist on Blue-in-Green:RADIO and very much hope you enjoy...

'It's The Music' by The Mighty Mocambos featuring Afrika Bambaataa, Charlie Funk, Hektek & DeeJay Snoop
Jumping back in time to 2015 to pick out a select few songs from The Mighty Mocambos release 'Showdown'.  An excellent album featuring top guest spots including DeRobert, Nichola Richards and Peter Thomas, as well as long-term friend and collaborator Afrika Bambaataa who appears on three of the album's songs.

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'Haunted By The Devil' by Nicole Willis & The UMO Jazz Orchestra
Fresh off our exclusive interview with US vocalist Nicole Willis discussing this very project, we're very excited to have added songs from this fantastic new album to our playlist.  Substituting The Soul Investigators for The UMO Jazz Orchestra does Willis no harm as she still delivers wonderfully.

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'Gave My Heart' by Omar featuring Leon Ware
Omar's 'Gave My Heart' EP boasts some fantastic remixes from the likes of DJ Jazzy Jeff, Rob Hardt, Scratch Professor and The Reflex, all of which you'll find amongst our selection but here's the original version of the duet featuring the legendary Leon Ware to whet your appetites.

Nicole Willis: "My Name Is..." [Interview]

Since debuting with The Soul Investigators on Timmion Records in 2005 and taking the soul world by storm with the undeniable classic floor-filling record and soul connoisseur’s gem, 'Keep Reachin' Up', Nicole Willis cemented herself as one of the premier artists for these glorious contemporary soul times.

Even with an eight year hiatus between the group's first and second albums ('Tortured Soul' would later follow on in 2013), support and anticipation did not waiver from the devout supporters of the trans-Atlantic pairing of the Brooklyn-born, US songstress and Finalnd's soul and funk power-house band, which has continued to garner sterling reviews.

Thankfully those eight years weren't replicated for subsequent projects with 'Happiness in Every Style' following in 2015 and now, backed by The UMO Jazz Orchestra, we have 'My Name is Nicole Willis'.

Although Willis shares top-billing with the excellent UMO Jazz Orchestra, this album is very much Nicole Willis taking centre-stage.  A declaration if you will that is even further underlined by the fact this album sees its release on her own Herakles Records.  Musician and producer, Jimi Tenor, tackles horn arrangements throughout the project and joins the production trio of Willis and Pete Toikkanen, guitarist from The Soul Investigators.  Musician, author, talk show host and hero to Nicole Willis, Ian F. Svenonius, also jumps on the album's intro and outro, really rounding the project out as becoming one of her most personal efforts.

It's a Nicole Willis release so highlights will always be aplenty: 'Still Got A Way To Fall', 'Break Free' and 'Togetherness' stand tall amongst some fantastic songs, and the re-imagined versions of previous releases, 'One In A Million' and 'Together We Climb' showcase just what The UMO Jazz Orchestra bring to the table.

Whether it's The Soul Investigators, The UMO Jazz Orchestra or the upcoming project with Banda Palomita, Nicole Willis solidifes her passion, ability and intent with every release.  With the greatest of pleasures, for the second time on this site, we're able to introduce the incredible... Nicole Willis.

How did the collaboration with the UMO Jazz Orchestra come about?
It had been a thought for some time that a live show with the group would work well, since my prior releases and gigs included horn sections.  We began writing some new material for that show which took place at Savoy and developed something slightly different from what I have written before. The writers team was Pete Toikkanen, Jimi Tenor and myself.  Jimi is rather gifted at making big band arrangements.

Is there any particular significance behind the album's title, 'My Name Is Nicole Willis’?
I suppose after finding creative differences in work and my divorce from my husband of 17 years, I wanted to reclaim myself.  I’d felt I put my own agenda on a back-burner for a rather long time and that I could no longer slip back into uncomfortable or diminutive situations.  It was like a push of assertion, that thing we somehow always do to make a change that might be difficult.

Can you talk a little about what went into the making of the new album? 
While preparing for the show at the Savoy here in Helsinki, we rehearsed at Ilmala for two days that were recorded.  The scores had been written well in advance and had been placed into the possession of the UMO creative team.  It was in a television studio with rather high ceilings, concrete walls that were covered in heavy curtain.  We got quality recordings, which were edited, thankfully from the initiative of Jimi Tenor.  He also recorded the vocals. Mixing was a combined effort.  I was quite insistant, and in the end was truly pleased with the result.

What led you to revisit some of the older songs in your catalogue, like 'One in a Million' and 'Together We Climb’?
Those two songs are actually from my last album release.  So yes, kind of newer, really.  It wouldn't make sense to work with UMO and not have these songs that are all arranged with horns originally.  In fact most of my catalogue with The Soul Investigators could have been ideal to perform with them.  Jimi has arranged extensively with the group and myself.  It just worked out.

How did the opportunity to include Ian Svenonius on the album present itself?
We pursued it.  I had been in touch with Ian from time to time over the years and been his fan for about 20.  Social media, that blessing & curse, makes it easy to stay in contact.  I always look forward to what he does and return to his recordings throughout time.  A hero for me.

You appear to constantly be diversifying, from your work with The Soul Investigators to the 'Big Fantasy'/'Tear It Down' EP and now to this project: do these reinventions come naturally?
As a matter of fact, yeah.  I don’t like to pigeon hole myself. If one does not feel that they can do anything then they won’t.  Also must be careful of taking the reins on your destiny.  I would suggest that for anyone.  Make your own decisions about what you do.  I like so many genres of music, that it is easy to find inspiration everywhere.

Have you given any thought to what your next project might be?
Possibly some kind of future disco for record. I already have a new live band, Nicole Willis & Banda Palomita.  I’m really pleased with that.

Who would be a dream artist for you to either record or perform with?
I’ve just had that opportunity to work with Ian Svenonius on my recording.  We tried to set up him joining in live with UMO but it didn’t work out.  That would be me set for the next two decades!

5 Songs About: Ubiquity Records

Acting as something of a prelude to our GetToKnow radio special on Ubiquity Records (initially airing 16th October on Blue-in-Green:RADIO at 6pm), we thought we'd whet your appetites with a brand new edition from our 5 Songs About series.  Music from the fantastic Ubiquity Records is under the spotlight here so let's dive straight into the catalogue of this extraordinary record label...

'Take My Time' by Breakestra featuring Choklate
Breakestra solidified themselves as one of the leading names in contemporary funk with the release of their debut album album, 'Hit The Floor'.  But what some fans may not have known is that an EP actually preceded the LP and that it's an essential purchase.  Not only does it house an excellent Quantic remix of 'Hiding', there's also an alternate take of the album's opening number 'Stand Up' presented here as 'Take My Time'.

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'Playboy Bunny' by Shawn Lee featuring Darondo
The ever-prolific producer, musician, multi-instrumentalist, Shawn Lee, could never not be included on any list to do with Ubiquity.  In this case, we've opted for one of the two collaborations between Lee and vocalist Darondo that appear on Lee's 'Soul in The Hole' album.
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'Got To Be A Love' by Greyboy featuring Sharon Jones and Quantic
The man whose first album kicked off the onslaught of Ubiquity releases that would follow on from it.  DJ Greyboy, who kicked off his career with Ubiquity in 1993, has a gem of a record from his 'Soul Mosaic' release which partners him with the awesome Quantic and the late - but oh so great - Sharon Jones.
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'Love is A Hurting Thing' [12" Mix] by Gloria Ann Taylor
Dipping into the Luv N' Haight catalogue for this entry and although there is a lot of fantastic releases to pick from, we're opting for a stunning house-esque number for this 12-inch mix of the title track.  Reissued in 2015 from recordings from the 1970s, Gloria Ann Taylor has an excellent release that you should be scrambling to get your hands on.
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'Shy As A Butterfly' by The Mighty Sceptres
From the album that paired long-term friends and collaborators, Angeline Morrison and Nick Radford (aka Frootful), together as The Mighty Sceptres comes this Almighty track.  With additional production throughout the album by Chris Pedley of The Baker Brothers and mixing duties tackled by Benedic Lamdin (aka Nostalgia 77), fingers crossed for another release from them in time, but in the meantime we have this fantastic record to keep us happy.

'Songs in the Key of Grease' by Soul Understated

'Songs in the Key of Grease' marks the official debut collaboration of vocalist Mavis "Swan" Poole and drummer Jeremy "Bean" Clemons under the guise of Soul Understated.

Individually, their credentials are practically bursting at the seams, with Mavis Poole having sung with Prince and securing features on projects with Motema saxophonist Lakecia Benjamin's excellent album 'Retox' as well as Jesse Fischer's Soul Cycle album, 'Flipped'; while Jeremy Clemons boasts having performed with monumental jazz vocalists Andy Bey and Gregory Porter.

So backed by all of these credentials, naturally expectations would be high for the duo's debut EP which thankfully delivers on all fronts: theirs is an exciting blend of contemporary soul and R&B with songs ranging from the arresting uptempo numbers like 'Wibble Wobble' and 'So What', the lush ballad of 'Fantasy' and the jazzy neo-soul stylings of 'The Way I See' which is another strong highlight.

The songs are backed by an array of excellent musicians throughout including the dynamic and accomplished piano virtuoso, Marc Cary, who appears on 'Junkie' and 'So What', and Maurice "Mighty Moe" Hagans who contributes congas to 'So What'.

'Songs in the Key of Grease' has already secured 'album of the week' in September's Nu Skool Soul show on Blue-in-Green:RADIO and not only serves as a great introduction to Poole and Clemons' musical union but hopefully also as the first of many releases under the 'Soul Understated' banner.

'Songs in the Key of Grease' is available to purchase from Amazon and iTunes.

'Compendium' by Mosche

The legendary jazz vocalist, Ella Fitzgerald, once said: "Just don't give up trying to do what you really want to do.  Where there is love and inspiration, I don't think you can go wrong"; when applying that theory to the musical efforts of trombonist Mosche Snowden... there is only love and inspiration.

Mosche is very much an embodiment of where an unrelenting passion for music can take you.  Currently riding high from the recent release of his brand new album 'Compendium', this Washington DC-based talent has an ever-growing resume that currently includes supplying original compositions for  Washington's annual Chamber Dance Project, Ballet & Brass 2016 and Ballet Brass & Song 2017, performing for various pre-game shows on FOX and taking the music from 'Compendium' all over the United States and setting stages alight wherever he goes.  And it's on the live stage where Mosche is really starting to establish himself, and where 'Compendium' finds its true home.  With musical influences ranging from Stevie Wonder to James Brown and fellow trombonist, Kenny Carr, Mosche seems to have taken elements from each and delivers through feverish and innovative live performances.

Planned as part of a series, the music on 'Compendium' showcases the diversity of his influences: 'Next Level' and 'Rue Noir' will definitely have people off their seats while numbers like 'I Will Always' are more lush and sentimental affairs.  When writing and putting the project together, Mosche describes the process:

"There's really no method to the madness, when it comes to writing I could be doing anything from sleeping, watching movies to driving and lyrics or a melody will come to me. When it comes to producing I like to create from the mood that I'm in at that moment."

Mosche’s music is born of passion and the love for his craft is evident in whatever medium someone chooses to embrace his music.  Fingers crossed for more in the Compendium series to come but in the meantime the first of hopefully many projects is awaiting attention.  As Lady Day herself states at the outset… if there is only love and inspiration in the music, how could he go wrong?

'Compendium' is available to purchase from iTunes.