"Jazz in an Uncivilized time"

Uncivilized - the nine-piece jazz ensemble from New York - are steadily cultivating their reputation as not only an incredible live act but for being a "no rules" jazz collective fully embracing every prefix of jazz that someone could conjure up from "folk-", "free-" and "psych-" jazz.

The variety of tags must read like respective badges of honour - to be part of a collection of musicians that makes the music that comes natural to them and then have the luxury of sitting back and not only watch people bask in its brilliance but, at the same time, try to position it within the boxes we've become accustomed to - to be able to carve your own path in this context is surely why any musician would want to make music in the first place.

What makes Uncivilized so enigmatic is their ability to have their music transcend these different styles and environments: while singles 'Yams' and 'Reign STOMP' showcase the band within the crisp confines of the studio, 'Uncivilized Plays Peaks' demonstrates the group's raw live chops through their October 2017 performance at Barbès in Brooklyn which saw them celebrate the music of David Lynch's Twin Peaks; or Uncivilized could subvert expectations once again through their project 'Placebo - Ish' which is comprised of a nine track collection of guitar-only compositions by Tom Csatari who, once again, takes the brand "Uncivilized" into entirely new directions.

In a poignant and inspiring self-penned article entitled "BRAIN", Csatari once described Uncivilized compositions as "hard to play and involve a mixture of four-on-the-floor grit with fast metric modulations against bluesy melodies (I guess) which are referential to doom metal; Frank Zappa’s freak-jazz; and the Stomp song form from New Orleans—some sort of post-postmodern, Experimental Americana, or whatever".  And while the charm in Uncivilized may very well rest in this seemingly unfocused approach to their music, the unpredictable nature of it - the exciting mish-mash and cacophony of styles, genres and sounds - is in itself the focus.

With the single 'Reign STOMP' having been released in March of this year and new single 'Yams' mere days away from being introduced to the world, Uncivilized are certainly not letting any conditions of everyday life having ground to a halt put a dampener on spreading their universal, and musical, message.  'Reign STOMP' served as a rebel rousing and political call to arms - asserting their desire for political revolution - while 'Yams' boasts three minutes of delightful discordance with twelve musicians constructing a stunning sonic backdrop that's nothing less than a joy.

On the band's Bandcamp page, there's a comment by band supporter "eagleboy", who had the great fortune to be present for the Barbès performance back in 2017, and he references Uncivilized as "jumping in with both feet to the unknown".  Although the comment is clearly intended with complete affection, I'd dispute the "unknown" quality of that statement in that I don't think what the group are jumping into is unknown to them at all - I think Csatari and company have a very clear idea of who they are and what they plan to achieve and with more time to grow and develop, their master plan won't be unknown to everyone else for much longer.

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Freya Roy: "Fantasy to Reality" [Interview]

2019 proved to be an exceptional breakout year for the multi-talented Freya Roy.  The release of her debut, self-produced album, 'AHLKE', saw Roy credited throughout as the writer, composer and producer of a project released through her own FCR label.

Spearheaded by the infectious groove of the utterly brilliant single 'Midnight Train', and the strong follow-up '22 Movements', the album took pride of place amongst many highlights of 2019 lists - including our own - and its success was further capped off with a sold out, headline performance at London's Servant Jazz Quarters.

As a graduate of Leeds College of Music (under the  of saxophonist Rob Mitchell from the Abstract Orchestra and ATA Records), Roy also studied jazz & production and jazz guitar at the Birmingham Conservatoire - all invaluable skills that have equipped her to have her musical vision realised.

While the compositions on 'AHLKE' were inspired by a more organic approach - something of an homage to the neo-soul and contemporary jazz artists that came before her like Jill Scott, Esperanza Spalding and Robert Glasper, 'Fantasies' looks to explore sonic soundscapes beyond 'AHLKE's comfort zone - perhaps in some way seeking inspiration from past collaborators Simon Beddoe, Taz Modi and Dom Howard of the Submotion Orchestra.

Partnering with vocalist Maya Law (herself riding high with her own excellent single, 'Tired'), the duo seek to carve a new path into the realms of future soul while still clinging to their own musical sensibilities.  With 'Fantasies' serving as the initial teaser for a planned EP due later in the year, the new musical terrain that Roy looks set to explore seems destined to deliver thrilling results.

Blue-in-Green:RADIO couldn't be prouder to have secured time with Freya Roy to discuss her musical journey thus far, 'AHLKE' and how the new single 'Fantasies' fits in to the wider vision of the upcoming EP.

Congratulations on the release of last year's debut album 'AHLKE': were you happy with how the project was received?
Thanks a lot!  I was very happy, yes!  I received funding from the MOBO Help Musicians Fund in 2018 which enabled me to push some boundaries and do the project in the way I wanted which I am very grateful for, for example, involving the likes of Submotion Orchestra members Taz Modi, Dom Howard and Simon Beddoe, who really helped bringing the tunes to life.  It’s still an album that I think people go back to which is a great feeling.  It’s also on the official Record Store Day 2020 list!  The vinyl LP is being re-released for this with Vinyl Hunter Recordings, based in Suffolk, so it’s another lovely way for new people to hear it.

'AHLKE' saw you credited as the album's writer, composer and producer: was that album the result of a vision that was a long time coming?
‘AHLKE’ was my first release in almost 6 years!  It was the result of a long development of creative work, I wanted to release something that felt completely right.  I had been reluctant to release anything before this and was spending the time trying to find the sounds I was hearing in my head, develop my writing and production approach, and that could only take time.  I feel that this album was just the beginning of a new creative start for me, it was a very organic production with the live and jazz element at the forefront, just the tip of the iceberg in the sounds I was wanting to create.  Even since the release in 2019, I have discovered new elements and subjects in my writing and producing and I am still going through a development process in many ways.  I am trying to write as much as I can, and the more I do it, the easier and smoother it feels to create what I have in mind.

Which artists have had the biggest impact on shaping your music?
There are definitely a bunch of artists that have shaped and continue to shape the direction of my music, such as Angie Stone, Jill Scott, Erykah Badu, D’Angelo, Roy Hargrove, Bill Frisell, Rosie Lowe, Bonobo and many, many more..

How does the process of writing and creating new music usually work for you?
It still seems to be a discovery process for me, and I'm regularly finding new and different techniques.  Recently, my lyrical writing has taken more of a centre-stage in creating in new music, and I have found journalling a really interesting way in helping to develop songs later down the line.  I like to go back to things I have written a few months before to find words and phrases that I can turn into a tune.  In terms of my production, I have more of a focus on the electronic-side these days, so another approach is sitting down and putting a beat together and building with a synth bass line, before adding a chordal progression which usually comes on guitar.  From here, the lyrics sometimes flow, very often I find it hard to push it and I might have to wait for them to come in time.  Other times, when sitting down with a guitar, a tune can pretty much fall out of my mouth and on to the paper which feels great but it rarely happens!  Somehow all the different approaches seem to piece themselves together and I suddenly find myself with a few different things on the go.

And another congratulations is due for the excellent new single 'Fantasies': can you talk a little about how that track came about and the collaboration with Maya Law?
Thanks so much!  'Fantasies' is a tune I started putting together towards the end of 2019.  I had taken a little time out after the album release and string of tour dates and was using the time to explore various production techniques and new synth instruments.  As I mentioned above, 'AHLKE' just felt like the tip of the iceberg with getting comfortable with my developing sound, so the time I took to create 'Fantasies' gave me that opportunity to find everything I wanted in the tune.  The song seemed to write itself on paper in a writing session one evening, and throughout the following few months I went deep into the beat-making, sound-scaping and synthesis, building layers and textures.  After a little while I started to lose my ear and love for it so left it aside until I was ready to go back.  Maya came over to mine to record one of her tunes, which is on her forthcoming EP 'Hitchhiking', and at the same time I played her the demo of 'Fantasies'.  She gave me back all my enthusiasm upon listening and after making a few tweaks here and there, Maya took a feature.  I had started playing in Maya's band around the same time, and working together in this way had felt really easy and fun, so this feature only seemed like the right thing.  It was really exciting once I heard it for the first time, it had been what I was imagining in my head and now I was hearing it out loud!  Now it feels great for everyone to be able to hear the single, particularly as the sound is where I am wanting to be right now.

I understand this single is envisioned as part of an upcoming EP: what can people expect from that project when it's released?
The EP is going to be more in the direction of the sound of 'Fantasies'.  I have been exploring more electronics and this has slowly been trickling down into my tracks.  I'm spending a lot more time making beats and working on rhythm, and my lyrics have also started to take more of a centre-stage in the process.  Although it’s a lot more electronic, there is still an eclectic mix of styles in there, some stripped-back soul tracks, some more dub-orientated bits as well as tunes with an R&B and hip-hop direction.  All tracks are different and, although it's not finished, they seem to be fitting together already.  There is a lot more honesty in the whole of this project, probably fuelled by the break-up of a long-term relationship – in a way, the EP sort of feels like I'm putting my flesh out for everyone to eat, but I'm really excited nonetheless!

You had a successful series of live dates last year: how does your music translate from the studio to the stage?
Thanks!  I like to create a bit of a different atmosphere when playing live.  When playing solo, I strip things back with more of a jazz feel and I will also [add] loops and some drum samples here and there to build textures and energy, allowing space to incorporate some improvisation.  I played 3 dates with a 4-piece band during my UK tour, all of whom I met during my Jazz studies in Birmingham and Leeds, and this was also a different experience, combining a range of samples, triggered by drummer Greg Burns, along with jazz improvisation.  It brought a new energy to my tunes and to the performance as a whole.  I think it's important to treat the recorded music and the live performance differently, they are completely contrasting things in themselves so I think it's great to take advantage of that and create something interesting and engaging on stage, something you wouldn't experience otherwise.  I like people to hear my songs in as many ways possible!

Who would be a dream artist for you to either record or perform with?
It has to be Angie Stone, Jill Scott or Erykah Badu... I saw Erykah perform at Field Day 2018 in London and it was such an incredible performance!

Is there a song (by another artist) you wish you'd written?
Angie Stone, 'Wish I Didn’t Miss You'.

'I THINK I'M GOOD' by Kassa Overall

News of Kassa Overall's signing with the UK's Brownswood Recordings was met with much excitement, particularly from fans enamoured by Kassa's 'Go Get Ice Cream & Listen to Jazz' self-released debut in 2019.  Backed by some incredible guests, including trumpeters Theo Croker and Roy Hargrove, the drummer, rapper, DJ and producer delivered a genuinely stunning effort unveiling his unique concoction of hip-hop inspired jazz music placing his rhyming ability at the forefront.

2019 in general proved to be a very exciting year for Kassa - as well as 'Ice Cream's release and the Brownswood signing, there was his contribution to Theo Croker's 'Star People Nation', which saw him drumming on every one of the album's tracks, and his involvement as a member of Terri Lyne Carrington's Social Science ensemble which featured him as a rapper and on the turntables throughout.

'I THINK I'M GOOD' continues in very much the vein that 'Ice Cream' left off but seems to have expanded in scope incorporating even more musicians and contributors than its predecessor.  The fantastic Brandee Younger appears - harp in hand - on the project's opening two tracks with 'Please Don't Kill Me' in particular featuring the mouth-watering line-up of Kassa's drums, Younger's harp, Theo Croker on trumpet, Sullivan Fortner on piano and Joel Ross on vibraphone.

There's a very distinctive melancholy to Overall's music - it's joyous in its own way as it's characterised by music you can't help but fall in love with: his sometimes dusty drum patterns, rich piano keys, sublime horns, all paint this picture that you can't help but get lost in.  The CD's inlay card features a note from Kassa himself that sees him poignantly confess to times where he's lacked confidence in his own abilities to create but, with this project, finds himself in tune with the best of his creativity, "This is the best I've got for now.  I hope you think it's good."

No, Kassa... it's great!

Malcolm Strachan: "Better Late..." [Interview]

Malcolm Strachan releases his debut solo album, 'About Time', which sees the trumpeter - despite an incredibly decorated career within the realms of funk and soul - return to what was his initial passion and introduction to music, jazz.

And what an incredibly decorated career it's been. As a founding member of The Haggis Horns, the revered collective have truly cemented their names within the hallowed walls of the UK's premier funk and soul lineage - their reputation as tireless and exuberant live performers has spurned on the release of four albums, numerous collaborations and the formation of their own label, Haggis Records. Haggis Records has been fortunate enough to boast the release of the past two albums from The Haggis Horns ('What Comes To Mind', 2015, and 'One of These Days', 2017), the brilliant classic funk and northern soul styled EP release from long-time collaborator Lucinda Slim as well as the debut album from The Jazz Defenders and now Strachan's 'About Time'.

 'About Time' appears to be a perfectly apt title when considering Strachan's years in the industry - through his years with The Haggis Horns and his innumerable collaborations as trumpeter for artists including Corinne Bailey Rae, Jamiroquai, Abstract Orchestra and Kyla Brox, jazz appeared to become something Strachan grew to love from a far before finally being able to place all of his efforts in to this genuinely thrilling project.

The album kicks off perfectly with the luxurious 'Take Me To The Clouds' which wins you over immediately with its rich vibrant energy which is carried over to subsequent tracks 'Mitchell's Landing' and 'Better Late Than Never'. 'Just The Thought of You' displays the collective's adept skill within the ballad-inspired compositions but it's the more effervescent numbers that really capture your imagination. The core musicians assembled for this album include Haggis Horns members Erroll Rollins on drums and George Cooper on piano, rounded out by double-bassist Courtny Tomas and features fellow Haggis Horn Atholl Ransome (tenor sax), Abstract Orchestra's Rob Mitchell (baritone sax), Karl Vanden Bossche (percussion), Danny Barely (trombone) and Richard Curran (strings) as supporting members.

Blue-in-Green:RADIO is thrilled to have had the chance to secure a Q&A with Malcolm Strachan to delve into the new project...

 

Congratulations on the release of 'About Time': this must be very exciting to finally step out as a solo artist after all your years making music?

Thank you very much.  Yes, I’m very pleased to release something that’s a bit different to my normal output.

Who were some of your earliest jazz musical influences?
My earliest musical influences came from my dad and his record collection.  I was lucky that he encouraged me to do music.  He regularly took me to concerts as a kid and and we had regular jam sessions with him on piano and me on trumpet.  We made regular home recordings which was always fun. He taught me melodies and I picked it up by ear.  I learnt a lot from my dad's record collection listening to Art Blakey, Dizzy Gillespie, Louis Armstrong and Miles Davis records.

From being a fan of jazz from such a young age, how did funk and soul - and The Haggis Horns - become the prevalent musical avenue you began to explore?
I’ve always been into jazz but I’ve also been aware that jazz isn’t always cool.  Jazz is such a broad term and it’s easy to forget that a lot of jazz is too self indulgent.  For me, it’s all about taste.  Knowing what is hip.  I’ve always been open-minded when it comes to music.  I think that’s the key.  Having a good knowledge of jazz has made my life easier.  If you can understand jazz and have the knowledge then you can do anything.

How did you go about selecting the musicians you worked with on this album?
I’m lucky enough to know some of the finest musicians on the planet.  And that’s because of having worked with so many different bands and artists.  I’ve learned from every band I’ve been in.  Choosing the musicians to play on my album was easy.  All my best mates happen to be the best musicians ever.

How would you describe the creative process in when it came to putting 'About Time' together?
Well, I started getting better on piano by messing about and as I got better I started writing chord structures.  So the chord structures came first.  Then once I had the finished chord sequences set in concrete I started thinking of Melody ideas.  I would sing the melodies into my phone to record them and experiment with different ideas until I found what was best.  You don't need complex chord structures to write catchy melodies.  I would say the opposite, simplicity sounds good to people's ears.  I wrote the bass lines on keyboard too.  I wanted to keep the bass as simple as possible.  Notice there's no walking bass lines on the album (like you get in swing music).  Some of it was more Latin based in style.  I came up with horn backing lines for underneath the solos instantaneously and in some cases they came to me by experimenting in my mind.  I had these chord structures going round my head all the time as I was playing them at home a lot so it was easy to think of simple backing lines.  I wrote and arranged everything except the string arrangements.  They were done by string arranger Phil Steel in London and a guy called Richard Curran who lives in Preston recorded Phil's string arrangements from his home studio.  Once everything was written the actual recording process was done in stages by multi-tracking all the instruments at our studio in Leeds and was engineered and mixed by Ben Barker (guitarist and producer for The Haggis Horns)

It's exciting to see Haggis Records continue to flourish with releases by The Haggis Horns, Lucinda Slim, The Jazz Defenders and now 'About Time': how are you as a collective finding life on that side of the industry?
We’re very pleased to finally have our own label. The process to get there was a long one but we’re finally in a position where we can have complete control of our own music which is a very liberating feeling.

I'd love to ask at least one question about The Haggis Horns if I may: how do you look back at the band's legacy, successes and releases over all the years of making music together?
I try and look back with positive thoughts. There’s been many ups and downs over the years. But we’ve been lucky enough to have had some amazing times, amazing gigs, and we’ve been lucky enough to have met some incredible people. All types of people.

You've recorded and performed with so many artists: is there anyone you'd particularly like to get in the studio with?
Yes, I’ve been very lucky to have met some cool people I’m during my career and I’ve worked with many international names. I’m always up for doing collaborations and I’m always open to suggestions! There’s endless artists out there to work with.

'I AM A MAN' by Ben Williams

In a wonderful win for the newly-formed Rainbow Blonde Records, bassist Ben Williams releases his brand new album 'I AM A MAN' gifting the relatively young label with an incredible treat.

As a solo artist, Williams' past projects 'State of Art' (2011) and 'Coming of Age' (2015) are indicative of the prodigious talent that Williams displayed from a young age - a graduate from the Duke Ellington School of the Arts, awarded a Bachelor of Arts in Music Education from Michigan State University, a Master of Music in Jazz Studies at the Juilliard School and recipient of the Thelonious Monk International Jazz Bass Competition in 2009.

And as a bassist, Williams has graced projects for a variety of contemporary jazz luminaries including Otis Brown, Harvey Mason, Carmen Lundy and Jazzmeia Horn, not taking into account Williams' contribution to the super group of the NEXT Collective (with Gerald Clayton and Kris Bowers amongst others) and their excellent covers album 'Cover Art' released through Concord Jazz, and then there's his contributions to the Grammy-winning Pat Metheny's Unity Group.

While the incredible work of Ben Williams has typically focused on his abilities as one of his generation's leading bassists, 'I AM A MAN' gives Williams the opportunity to showcase his abilities as a vocalist which is a role he seems to fill effortlessly.  The introduction of Williams as a vocalist very much contributes to a more honest and sincere recording particularly with regards to subject matter of such sensitivity.  'I Am a Man!' has long served as a declaration of civil rights and a declaration of independence against oppression.  More specifically, Williams poignantly uses this project to bring attention to the Memphis sanitation strike in 1968 over poor pay and hazardous working conditions.  The strike would go on to highlight the larger problems regarding inequality within Memphis with "I Am a Man!" emerging as a civil rights theme during this period.

Providing invaluable assistance to Williams throughout the album is a dream team of musicians including long-time collaborators like Marcus Strickland (saxophone), Kris Bowers (piano), Keyon Harrold (trumpet) and Jamire Williams (drums), each appearing on several tracks throughout, and there's vocal contributions from the excellent Muhsinah and Kendra Foster.  While Ben Williams albums have often found themselves rooted in jazz, Williams - aside from taking on the daunting role of lead vocals for the project - also embraces the opportunity to represent his music through different styles and aesthetics, incorporating elements of R&B, soul and even gospel-infused compositions on songs making tracks like 'High Road', 'Come Home' and the absolute album highlight, 'If You Hear Me' just stunning pieces of music.  Hip-hop is even brought into the mix through rappers Wes Felton and Niles appearing on 'March On' and Take It From Me' respectively.

'I AM A MAN' is Ben Williams's line-in-the-sand album.  It's a touching, earnest and heartfelt record that deserves your attention.