'Omotola' by Head for the Hills

Color Red's propensity for releasing stunning music from innovative funk and soul bands many of which, but not restricted to, Denver, Colorado has seen their stock continue to rise with awesome projects from Matador! Soul Sounds, ATOMGA and The New Mastersounds.  The label - the brainchild of Mike Tallman and Eddie Roberts (The New Mastersounds) - has become a hub of creativity and collaboration which is an ethos perfectly encapsulated by the new single from bluegrass collective, Head for the Hills.

Since their debut in 2007 with 'Robbers Roost', Head for the Hills have gone on to release a further five projects with a mix of full-lengths, EPs and live sets as well as having become staples on the US festival circuit.  While heralded as a bluegrass collective, their music has often dabbled with other genres with subtle dalliances into jazz and soul, and work with a variety of vocalists and musicians.  Head for the Hills stepping into the Color Red studios with Mike Tallman is a fascinating prospect enough but there's further intrigue to be found from the story within the story...

'Omotola' actually draws unique inspiration from the music and works of revered Nigerian musician and Afrobeat pioneer, Fela Kuti, and his Kalakuta Republic compound.  The communal compound was renown for housing Kuti, his family, band members and his recording studio, and was considered something of a safe haven away from Nigeria's dictatorial leadership.  Omotola Osaeti had resided at the compound amongst nearly thirty women - who would later go on to become known as The Afrobeat Queens - many of whom were dancers, singers and composers for Kuti's Africa 70 band and helped to elevate the genre into what it is today.  Through 'Omotola', Head for the Hills strive to celebrate not only Fela Kuti's musical legacy but the Queens' role in helping to shape Afrobeat's ideology and aesthetic and to further celebrate, in part, their largely unsung contributions.

This inspirational "Bluegrass meets Afrobeat" composition sees eclectic and compelling interplay from violinist Joe Lessard, Sam Armstrong-Zickefoose's banjo and Troy Thill on baritone saxophone who really pull you into the dynamicism of 'Omotola' and its shared universe, but all the performers play their part masterfully including Adam Kinghorn (guitar), Matt Loewen (double bass), Todd Livingston (guitar) and Riley Williams (drums).

Color Red's continual exploration into contemporary funk and soul's parameters has resulted in a genuinely ground-breaking collaboration with Head for the Hills with 'Omotola' progressively taking the genre towards a bold new direction while celebrating the paths that led there.

For more info on Color Red, please visit: https://www.color-red.co/

'Lowdown' by Crowd Company

Crowd Company unveil their highly-anticipated third album 'Lowdown' through their label home of Vintage League Music.

The British collective have become firm staples within the UK's funk & soul lineage with two standout albums already under their belt in 'Now or Never' (2014) and 'Stone & Sky' (2017).  'Lowdown' however looks set to be the project that will see the collective ascend to even greater heights.

Crowd Company's tendency for three-part harmonies have always contributed strongly to the band's distinct sound - founder Robert Fleming really delivers something special when he shares vocal duties with the sublime brilliance of Joanne Marshall and Esther Dee.  And backed by Fleming on guitar, Claudio Corona (organ & keyboards), Emil Engstrom (bass) and Robin Lowrey (drums), the end-result really does produce a thrilling and incomparable aesthetic.  With the masterful players involved, Crowd Company have become adept at fluidly and effortlessly transforming the sonic soundscape at will - when they want to they'll take listeners on a full funk workout like 'Express 76', they'll produce Northern Soul-esque gems like 'Stories', dabble in their typical style of jazzy psychadelia as in instrumental closer 'Orbital' and deliver blissful 70s soul numbers like 'Brooklyn Summer'.

'Lowdown' has much more to boast about though - the inclusion of horn players Ryan Zoidis on sax and Eric Bloom on trumpet from the premier US funk & soul band Lettuce, who appear throughout the album, serves as a real treat, as does the return of the band's frequent collaborator and producer Alan Evans.  Fresh off the success of his own Alan Evans Trio album of last year ('The Wild Root'), Evans has become somewhat intrinsically linked to Crowd Company since his contributions to their 'Now or Never' debut.  Six years later, the founder of Vintage League Music now shares those label duties with Crowd Company's Fleming and Evans has tackled production on the band's last two albums.  It's become a genuinely exciting union that will hopefully lead to many more successes for the Vintage League label.

Crowd Company have crafted an excellent project that stands tall amongst their catalogue of wonderful music releases.  Their legacy as one of the absolute finest contemporary funk & soul acts working today is as assured now as it could ever be and as they declare on the album's opening track, "Get on board to the new direction".

As part of the Blue-in-Green:PODCAST, we were really fortunate to have caught up with Rob Fleming last year to discuss the band and 'Lowdown', and you can revisit that conversation below:

'Grease Trap' by DLG 3

Soul music has long had a rich legacy of crafting timeless masterpieces - masterpieces that go on to be celebrated by future generations as commentary surrounding our world's socio and political climate consistently ring true.  We've highlighted Marvin Gaye's 'What's Going On?' before as a question that we're perhaps forever destined - and damned - to pose of the world around us.  But of these classic soul recordings, from masters including Gaye, Curtis Mayfield, Gil Scott-Heron, their music is also forever open to interpretation.  Neil Gaiman's 'American Gods' has an excellent passage discussing what it means to be a god in the eyes of others but is also an incredibly apt observation when considering the impact that great art has on people as well: "It means that everyone gets to re-create you in their own minds [...] You're a thousand aspects of what people need you to be. And everyone wants something different from you."

Great cover versions offer distinctly different and unique takes on the music that served as the initial inspiration, and for the DLG 3 collective of musicians, their debut full-length 'Grease Trap' offers really exciting takes on soul music's classics.  Boasting a strong selection of Hammond organ inspired compositions, the New York City based team of drummer Mike DeConzo, guitarist John Lynch and organists Greg Lewis and William Gorman present their eight track selection which sees them dip into the catalogue of some of the greats.

The Crusaders & Randy Crawford's 'Street Life', Bobby Womack's 'Across 110th Street', War's 'The World is a Ghetto' and Stevie Wonder's 'Living For The City' are all songs that offer a very different take on city and street life, with some specifically revolving around the band's home of New York City.  Each depicts a different aspect from unemployment to street hustling to racism, as mentioned before, all perspectives of city life that ring true for people nearly fifty years after some of these songs' original release.

While this aspect of social commentary is the core of 'Grease Trap', an affectionate take on Aretha Franklin's 'Until You Come Back to Me' serves as a nice touch as do the band's original compositions like the band's excellent second single, the near eight minute 'Lomy's Homies' which features guest Larry Bustamante from the Afro Latin Jazz Orchestra on baritone sax.

'Grease Trap' serves as something of a love letter to soul's icons as much as it perhaps is to New York itself.  The music here is lovingly recreated and a real treat and the original tracks really display DLG 3's talents which hopefully we'll have the chance to fully experience as they are revealed over future projects.

'Black Coddle' by Eamonn Flynn

Eamonn Flynn unveiled his sophomore album 'Black Coddle' late-2019 which sees Flynn build upon his desire to create music that draws its inspiration from American blues and Irish folk.

Flynn's debut album, 'The Irish Channel' released in 2017, saw the vocalist and pianist introduce this aesthetic through an intimate acoustic set over the course of a ten track, self-penned project featuring Flynn at the piano with backing vocalists Omega Rae and Kimiko Joy.  'Black Coddle' masterfully builds upon the 'The Irish Channel's' groundwork but now with the added excitement of having compositions with more complete arrangements brought to life by a world class array of musicians.

Born in Dublin, Ireland, but now living in San Francisco, California, the unveiling of Eamonn Flynn has a solo artist in his own right certainly seems overdue particularly when taking into account the fantastic career that he's already had.  Flynn can boast the incredible distinction of being the session organist/pianist for the soundtrack of the beloved musical comedy 'The Commitments' (1991, a film about a young music fan in Dublin who starts his own soul band), and then there's studio session work with Evelyn "Champagne" King for her album 'Open Book' (2008) as well as contributions for Michael Franti & Spearhead's 'Yell Fire!' album (2006) which saw Flynn provide keyboards for the tracks 'I Know I'm Not Alone' and 'One Step Closer To You' featuring guest vocals from P!nk.

With these collaborations and more under his belt, the multi-talented and versatile artist will clearly have a high level of anticipation for projects which see Flynn take centre stage but 'Black Coddle' has the added bonus of support from a strong selection of artists: Bay Area drummer Kevin Hayes who can count having played with legends like John Lee Hooker and BB King appears, blues/jazz guitarist Chris Cain who can cite work for Nancy Wright and The Ford Blues Band along with multiple of his own albums guests throughout, and then there's bassist Darryl Anders from the brilliant soul band AgapeSoul who features heavily also.

After many years of touring and studio work for other artists, the timing certainly seems right for Eamonn Flynn to step out and carve his own name as a solo artist and with two projects already in quick succession, it will be interesting to see Flynn's musical quest evolve going forward as he strives to draw from his cultural passions and inspirations turning them into something innovative and new.

'Junk Love' by Seravince & LYMA

'Junk Love' is the new seven track project pairing friends and collaborators, Vincent "Seravince" Helbers and Tjerk "LYMA" Lammers, as they dissect the digital era of modern love.

The 'Junk Love' project seems to be the offspring of a particularly busy and productive period for both artists: vocalist and producer LYMA just coming off the plaudits of his debut solo EP - the excellent and diverse 'In Between Shifts' available through Wicked Wax Amsterdam (also the label home to Daniel Crawford's 'Revolution' album of 2019) - as well as his sights already set on a new full-length release and continued production and session work for other artists; the other half of this golden duo is the prolific musician and producer Vincent Helbers whose magical touch can be found across a wide range of projects from names including José James, Ntjam Rosie and Richard Spaven.  Whether he's operating under his Flowriders guise - of which his classic album 'R.U.E.D.Y.' saw its deluxe reissue in 2019 via Mr Bongo - or through his work as Seravince, his name is synonymous with crafting stunning pieces of music.

With both artists renown for their eclectic music and compositions, 'Junk Love' positions LYMA's charming vocal across a broad sonic palette incorporating styles from nu-soul to neo-soul with each's signature twinges into electronica smoothly adopted into the productions. 

Across songs including 'Junk Food', 'Future Boogie' and 'Other Side', the pair assess the challenges of dating within the online realm oftentimes throughout likening it to a disposable and insincere approach of connecting with someone.  The concept is genuinely a fascinating one for analysis in this context - while the gifts of the internet are that you can become exponentially closer to someone on the other side of the world, there's certainly a case for it driving you further away from the people closest around you.  And that balance is absolutely key - conditioning ourselves to rely on technology to support our way of life as opposed to relying on technology itself as our way of life.  With much of the recording of 'Junk Love' having been carried out through analogue equipment and means, it proves to be a further effective technique when considering it within the overarching theme of a rejection of modern or digital trends.

With both Seravince and LYMA already moving on to new projects there is the hope that the pair will reunite on a project like this again soon as their chemistry is evident and a truly excellent project awaits your attention.

Tony Adamo: "Space, Mark Murphy & All That Jazz" [Interview]

Ropeadope Records have always had an inspired approach to contemporary jazz.  The Philadelphia-based label - as well as housing a host of incredible names within the realms of hip-hop, soul and even synth-pop - always look to align with artists passionate about carving their own lanes within the genre.  The Grammy-winning brilliance of trumpeter Christian Scott continually redefines his own parameters with each of his releases; then there's the improv outfit from New York, Bright Dog Red, whose incomparable style of improvisational jazz masterfully interplays with other genres like electronica and hip-hop.  And now we have the new single from Tony Adamo, 'Did Mark Murphy Believe in UFOs?', who strives to carry that innovative approach to jazz into 2020.

Following on from his Ropeadope album release, 'Was Out Jazz Zone Mad' (2018), New York City native Tony Adamo introduced his distinct and free-flowing vocal style against classy and vibrant sonic soundscapes meshing into a timeless piece of music.  Of the incredible talent on display throughout, the album was also able to boast production from the revered jazz and funk drummer, Mike Clark, who built his reputation through his work with Herbie Hancock in the early-1970s as a member of The Headhunters.  While praise of Adamo's work tends to lean towards his spoken word vocal style, there's actually a considerable amount of versatility in what he's able to achieve, as an excellent singer, scatter and within his ability to convey the joy of jazz or the blues in... well, the blues.

Everything about Tony Adamo's music though screams 'celebration' - his love of jazz, his love of art and his reverance to the genre's forefathers that he continually seeks inspiration from.  Which again brings us to 'Did Mark Murphy Believe in UFOs?' which finds Adamo paying homage to the late, great vocalist Mark Murphy... 

"Be-bop trippin into the hip harmonic territory,
that was, that is Murphy's be-bop and phrasing,
Solidified his place,
in the American jazz landscape,
Vocalese all up his sleeve,
Rifting on a jazz note to please."

Tony Adamo has a very genuine and inimitable approach to his music - an artist that finds the joy in his ability to create and, in line with the Ropeadope tradition, an artist unafraid to carve his own lane.  With great pleasure, Blue-in-Green:RADIO caught up with Tony Adamo to discuss his music, his new single and working with Mike Clark.

Which artists have had the biggest impact on shaping your style of music?
I get this question a lot in live radio interviews. Not one vocal or spoken word artist has impacted my thought process in shaping my own vocal and spoken delivery.  I know there will be a lot of moans and groans behind that statement, but dig, that is the big truth. Instrumental wise it’s a whole different gig: Jimmy Smith, Brother Jack McDuff, Joey DeFrancesco, Dr. Lonnie Smith, Shirley Scott, Larry Young, Tower of Power, Rahsaan Roland Kirk, Sun Ra, Eddie Harris, just to name a few greats who have influenced me.  Listening to these musicians helps me to formulate the rhythm of the spoken word flow in writing the melody to a new song.  Since I can't read music, I hear the whole arrangement in my mind before I write the spoken word lyrics.

How does the creative process of writing and producing music work for you?
In preparing to record a new song I'll do my research infusing my brain with all the knowledge I can gather on a particular artist or theme (Rappers, City's, Jazz history, social comment, etc.).  I'll then write out an outline of the vocal spoken word to be recorded. But dig this. When I hit the mic to record, I'll improv the words and emotions to go along with the music. I have no idea where the new words come from but they seem to work better than the written lyrics.  At that moment, I'm in the flow of the rhythm of the music and the interplay between the bass and drums.  I have to sit down afterward and write out the new recorded words.  Drummer Mike Clark of Herbie Hancock and the Headhunters fame has been my music producer on Miles of Blu, Tony Adamo and the New York Crew, and the unreleased Tony Adamo and the NY Commission.  Mike understood the direction my songs needed to go in and brought in great musicians to the recording session.  While Mike and I were recording at Raw Recording Studio (JC Santalis) in upstate New York, it hit me that we were like de Niro and Scorsese working on a film but this was music.  Mike would direct the song and I would hit my mark.

Were you happy with how 'Was Out Jazz Zone Mad' was received?
Louis Marks, CEO of Ropeadope Records and his team have been great in getting the word out on Was Out Jazz Zone Mad: PR, World Wide Web, Music Blogs, Radio, Twitter and Facebook.  Music reviews are 5 stars all the way. 

How did you come to the attention of Ropeadope Records?
Mike Clark has recorded on many of my early songs before he produced my CDs and we became fast friends.  I owe him a hell of a lot in hipping me to many great musicians who would later record with me such as Paul Jackson, Bill Summers, Richie Goods, Michael Wolff, Tim Ouimette and Lenny White to name a few.  When Mike signed with Random Act Records he turned them on to me and I got signed.  When he signed with Ropeadope Records I got signed again.  I wrote the lyrics to a song on Clark’s Retro Report on Ropeadope called 'More Chicken' and renamed it 'Boogaloo the Funky Beat' and added it to my 'Was Out Jazz Zone Mad' CD.
  
Congratulations on the excellent new single 'Did Mark Murphy Believe in UFOs?' Can you tell us a little about what inspired the song?
I was a bomb tech/expeditor at Concord Naval Weapons Station, Concord, California, by day and by night I sang jazz.  I answered an ad Mark Murphy had posted in BAM magazine about auditioning for a jazz singer’s showcase.  I got the gig and showcased with four other jazz singers at smaller jazz clubs in San Francisco with Mark Murphy producing.  One night he called me and asked me to meet him at a club in San Francisco where a great new guitarist was playing.  That would be Joyce Cooling who went on to smooth jazz fame.  Mark and I recorded a song together at Dave Austin's Diamond Audio Recording Studio in San Francisco with Joyce Cooling added later.  Sad to hip you all to this news but that recording was lost over time.  Mark and I remained friends until his passing.  I wanted to convey in the song 'Did Mark Murphy Believe In UFOs' a part of Mark's music that not one lyricist or music composer has ever written about.  Along with the added words by Michael Franks and the great response from radio and music reviews, I think I've done just that. Ya dig?

Have you given any thought to where your next album will take you musically?
Not as of yet.  Still diggin on 'Did Mark Murphy Believe In UFOs' for the next few months on Ropeadope Records as they do their PR work.

How does your music transfer to a live stage?
It can be truly magical on stage when I have the musicians from Tony Adamo And The New York Crew to play live.  They dig and know the music.  They go over the music charts and instinctively read where the changes need to be.  Their musicianship and interplaying with each other gives them the musical chops to follow me on my improv trips.  Each time is unique and magical.

Who would be a dream artist to either record or perform with?
That would be Herbie Hancock, Joey DeFrancesco, Dr. Lonnie Smith, Roger Smith of Tower of Powers or any of the great soul-jazz organ players of today.

'Plastic Estrogenus' by Gianluca Vigliar Quintet

'Plastic Estrogenus' is the new album from Gianluca Vigliar's Quintet which finds its home on the diverse jazz label of A.MA Records.

This project marks the second full-length release from the Italian saxophonist and composer following the success of his 2017 debut project 'FraGia' which saw Vigliar introduce his inspired piano-less jazz to the world.

Prior to the formation of his Quintet for 'Plastic Estrogenus', Gianluca Vigliar projects have taken on various iterations.  There is the aforementioned album 'FraGia' and prior to that there was the Vigliar G Trio in 2012 - also pianoless! - and there have been various big band projects including the Orchestra Jazz of Villa Celimontana and work with pianist Pino Jodice as part of his Quintet.  Vigliar's projects have certainly been as numerous as they have been varied and with the creation of the Gianluca Vigliar Quintet, the union marks something of an exciting time in Vigliar's continual evolution.

And turning our attention to the members of said Quintet, for 'Plastic Estrogenus', Vigliar reunites with the players that helped make 'FraGia' the success it was: Francesco Fratini (Milena Angelè, Ibrido Hot Six) returns on trumpet duties, Luca Fattorini (Eugenio Macchia Trio, Rosario Giuliani) on double bass and Marco Valeri (Alice Ricciardi, Riccardo Fassi Quartet) takes his place again on drums.  The collective does also see the welcome inclusion of vibraphonist Andrea Biondi who provides a wonderfully warm and exciting dynamic to the groundwork laid out by this album's predecessor.  The album starts with the sublime 'Julaya', with Biondi making his mark early amongst the incredible talent on display here, before moving to another of the album's strong highlights in 'Apoalypto'. 

The album's inlay card outlines more specifically the very timely message behind the music with the project seeking to serve as something of a warning and in turn raise awareness to the dangers of increasing levels of plastic found in the oceans.  The album's title itself referencing the effect plastic toxins have specifically on humans.

A.MA Records boast an impressive roster of artists and musicians but 'Plastic Estrogenus' genuinely has to rank highly amongst their fantastic catalogue.  Always seemingly on the hunt for new projects, we look forward to seeing where inspiration takes Vigliar next.

'Beast From The East' by Wild Card

'Beast From The East' not only serves as the excellent new album from jazz trio Wild Card, but it also boasts the distinction of being the group's landmark fifth album.

With each passing project, Wild Card seem to continually garner more praise and notoriety: their last effort, 'Life Stories' released in 2018, proved a definitive critical success with plaudits flooding in from mainstream publications and international radio.  And as fervent live performers, their reputation also grows - through their countless performances at London's revered Ronnie Scott's jazz club as well as venues and festivals around Europe.

With a core trio comprised of guitarist and band leader, Clement Regert, Hammond organist Andrew Noble and fresh off her wonderful contribution to Yazz Ahmed's 'Polyhymnia' on Ropeadope Records, Sophie Alloway on drums.  Having initially played together in 2011 at a club where Regert hosted a residency, the chemistry proved undeniable and the trio have - thankfully - remained together ever since.

The British conductor Charles Hazlewood once said "Music is about communication" and that chemistry between musicians is an invaluable quantity.  And while Wild Card albums, or in fact their performances, demonstrate that inspiring chemistry between its three main players, it's also one that can masterfully adapt and skilfully incorporate additional players.  When reviewing 'Life Stories' previously, we referenced Wild Card as a band that thrives on collaboration and 'Beast From The East' certainly features some wonderful collaborations with some masterful players made all the more special by the fact that the music presented here was recorded live over three recording sessions over the course of two years.

Fresh off the release of her own 'Rosie's 5ive' project with Jazz Re:freshed, Trombonist Rosie Turton guests on three of the album's tracks including strong album highlight 'The Saga of Harrison Crabfeathers' with Emilia Martensson on vocals, Incognito vocalist Imaani provides awesome lead on 'The Struggle' and then there's the return of long-term collaborators Graeme Flowers (trumpet), Denys Baptiste (tenor saxophone) and Will Fry (percussion) rekindling their magic as they have done on past Wild Card releases.

And as an added bonus for the project, while 'Life Stories' featured the excellent cover of The Rolling Stones' 'Paint It Black', 'Beast From the East' seeks inspiration from another classic, this time from the Motown vaults, with The Temptations' 'Papa Was A Rolling Stone' which serves as the brilliant album closer.

Wild Card's blend of high energy, funk-filled and Latin-laced jazz is once again on full display on 'Beast From The East' - they've become a band that continually find ways to out do themselves and raise the bar with each release.  Looking forward to album #6!